========================================================================= Date: Wed, 31 Mar 2004 21:51:20 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Stephen Vincent Subject: Re: Olsen's "postmodern" In-Reply-To: <200404010105.UAA12527@webmail7.cac.psu.edu> Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit The good news/sad news story is that I just bought Ben Freidlander's beautiful produced UC Press book remaindered at $9.25 (recently at Logos in Santa Cruz.) I find it so refreshing to be rereading him - that sense of grappling and taking on 'the big subject' in dramatic, dogmatic ways - superficially, at least, a utopian resolve that language will somehow cut through the mass and reconfigure the works. And sad to find that effort remaindered - which may not so much be a reflection on the critical status and use of Charles Olson, but on the sad financial condition of UC Press that, I assume,is cutting loose all of its slower moving inventory in the interest of its own survival. Stephen Vincent Blog: http://stephenvincent.durationpress.com > best explanations are his own -- much clearer than you might expect -- > especially esay to follow in the SELECTED Olsen of years ago, but also > available in the more expensive and expansive collected prose ably edited by > Ben Friedlander -- Olsen especially good in his early version of the critique > of traditional humanism -- > > On Wed, 31 Mar 2004 12:46:17 +0000, "Walter K. Lew" wrote: > >> Can someone please steer me toward a good explication of what Charles >> Olson's particular sense of "postmodern" was? Thanks. / WKL >> >> > > <<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > "Breaking in bright Orthography . . ." > --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: Thu, 1 Apr 2004 03:09:00 -0500 Reply-To: nudel-soho@mindspring.com Sender: UB Poetics discussion group From: Harry Nudel Subject: Spring Mime-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit who's the fool? the dead the live woke/slept riter reader 3:00..at nite's divide..04/01/04...drn.. ========================================================================= Date: Thu, 1 Apr 2004 03:11:34 -0500 Reply-To: nudel-soho@mindspring.com Sender: UB Poetics discussion group From: Harry Nudel Subject: Spring Correction Mime-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit a tree is not a bud is not a poem a poem is not a tree is not a bud April 1/04...3....drn.. ========================================================================= Date: Thu, 1 Apr 2004 07:34:39 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Vernon Frazer Subject: Re: New Haven Summer Sublet In-Reply-To: <00cf01c41795$cc04d050$6700a8c0@Cipherdog> MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit I don't need a place, but I'm from the Hartford, CT area and know New Haven reasonably well. I'm going to be in China for a conference myself in June. You sound as though you live near State Street. I used to eat at Modern a long time ago. I like Sally's and Pepe's a little better, but you don't have to wait in hour-long lines at Modern. Vernon http://vernonfrazer.com -----Original Message----- From: UB Poetics discussion group [mailto:POETICS@LISTSERV.BUFFALO.EDU] On Behalf Of Lucas Klein Sent: Wednesday, March 31, 2004 10:03 PM To: POETICS@LISTSERV.BUFFALO.EDU Subject: New Haven Summer Sublet Interested in a summer in New Haven? Rent my apartment while I'm in China. Two-bedroom, fully furnished, including digital cable, high-speed internet, queen-sized bed, sofa-bed, futon, a separate dining room, huge kitchen, and lots of books to browse through. All for the great price of $1000 a month from late May to end of August. Big enough to hold you & your friends (could conceivably sleep up to seven without using the floor). Convenient location near Modern Apizza (one of New Haven's most famous pizzerias), liquor store, gas station, a Chinese fish market, two gourmet grocers, a laundromat, video store, and many restaurants! For more information, call Lucas at 203 676 0629, or email me off-list at LKlein@cipherjournal.com. Lucas ________________________________________ "The great enemy of clear language is insincerity." --George Orwell Lucas Klein LKlein@cipherjournal.com 11 Pearl Street New Haven, CT 06511 ph: 203 676 0629 www.CipherJournal.com ========================================================================= Date: Thu, 1 Apr 2004 08:08:23 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Vernon Frazer Subject: Re: New Haven Summer Rental MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit Sorry for my previous post. I thought I was back channeling. Vernon ========================================================================= Date: Thu, 1 Apr 2004 11:02:34 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Al Filreis Subject: webcast featuring James Alan McPherson MIME-Version: 1.0 Content-Type: text/plain; charset=US-ASCII Content-Transfer-Encoding: 7bit "I believe that if one can experience diversity, touch a variety of its people, laugh at its craziness, distill wisdom from its tragedies, and attempt to synthesize all this inside oneself without going crazy, one will have earned the right to call oneself 'citizen of the United States.'"--James Alan McPherson KELLY WRITERS HOUSE FELLOWS PROGRAM 2004 presents *************** by live webcast *************** an interview and conversation with JAMES ALAN McPHERSON -------------------- winner of the Pulitzer Prize for ELBOW ROOM Tuesday, April 20, 2004 10:30 AM RSVP required: whfellow@writing.upenn.edu Once you've rsvp'd, we will send you information about how to connect by webcast on the day of the event. * - * Writers House Fellows is funded by a generous grant from Paul Kelly. previous Fellows: Russell Banks 2004 Susan Sontag 2003 Walter Bernstein Laurie Anderson John Ashbery 2002 Charles Fuller Michael Cunningham June Jordan 2001 David Sedaris Tony Kushner Grace Paley 2000 Robert Creeley John Edgar Wideman Gay Talese 1999 recordings of live webcasts featuring the Fellows can be found here: http://www.writing.upenn.edu/~wh/webcasts/ James Alan McPherson is among the most revered authors living and writing in the United States. He spent his early career writing short stories and essays, almost without exception, for The Atlantic. At the age of 35, McPherson received a Pulitzer Prize for his collection of stories, Elbow Room (1978); he was the first African-American writer to receive the award. He is also the recipient of a Guggenheim Fellowship (1973) and the MacArthur Foundation Award (the so-called "Genius Award"; 1981) and was inducted into the American Academy of Arts and Sciences in 1995. Of the 1960s, he has written: "What was needed was a revolutionary model of American identity, an imaginative aesthetic and moral foothold established in the future, with little attention paid to race, toward which all Americans might aspire." He adds: "It need not be emphasied that this did not happen." ========================================================================= Date: Thu, 1 Apr 2004 13:29:48 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Ken Rumble Subject: Re: New Haven Summer Rental MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 7bit We've all been there, V -- strung out on the sidewalk by a pile of Human League LPs wishing the sky were full of zombies.... Ken > > From: Vernon Frazer > Date: 2004/04/01 Thu AM 08:08:23 EST > To: POETICS@LISTSERV.BUFFALO.EDU > Subject: Re: New Haven Summer Rental > > Sorry for my previous post. I thought I was back channeling. > > > > Vernon > ========================================================================= Date: Thu, 1 Apr 2004 12:59:29 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Chuck Stebelton Subject: April events in the Myopic Poetry Series Mime-Version: 1.0 (Apple Message framework v613) Content-Type: text/plain; charset=US-ASCII; format=flowed Content-Transfer-Encoding: 7bit MYOPIC POETRY SERIES -- a weekly series of readings and poets' talks Myopic Books in Chicago -- Sundays at 7:00 / 1564 N. Milwaukee Avenue April Events Sunday April 4 - Buck Downs with Vernon Tonges Sunday April 11 - Nathalie Stephens and Joel Felix Sunday April 18 - CANCELLED Sunday April 25 - Li Bloom Upcoming Events May 2 - "Talking about the Talk Poem" - John Beer May 9 - Rachel Levitsky May 16 - Elizabeth Hatmaker May 23 - April Sheridan May 30 - Dana Ward June 20 - Amina Cain and Luba Halicki June 27 - "aaaaaaaaaaalice" - Jennifer Karmin http://www.myopicbookstore.com/poetry.html ========================================================================= Date: Thu, 1 Apr 2004 14:28:43 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "James W. Cook" Subject: Re: Olson's "pestmodern" Mime-Version: 1.0 Content-Type: text/plain; format=flowed As if the vowels do not matter... slan, James >From: ALDON L NIELSEN >Reply-To: UB Poetics discussion group >To: POETICS@LISTSERV.BUFFALO.EDU >Subject: Re: Olsen's "postmodern" >Date: Wed, 31 Mar 2004 20:05:57 -0500 > >best explanations are his own -- much clearer than you might expect -- >especially esay to follow in the SELECTED Olsen of years ago, but also >available in the more expensive and expansive collected prose ably edited >by >Ben Friedlander -- Olsen especially good in his early version of the >critique >of traditional humanism -- > >On Wed, 31 Mar 2004 12:46:17 +0000, "Walter K. Lew" wrote: > > > Can someone please steer me toward a good explication of what Charles > > Olson's particular sense of "postmodern" was? Thanks. / WKL > > > > > ><<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > "Breaking in bright Orthography . . ." > --Emily Dickinson > > >Aldon L. Nielsen >Kelly Professor of American Literature >The Pennsylvania State University >116 Burrowes >University Park, PA 16802-6200 > >(814) 865-0091 _________________________________________________________________ MSN Toolbar provides one-click access to Hotmail from any Web page – FREE download! http://toolbar.msn.com/go/onm00200413ave/direct/01/ ========================================================================= Date: Thu, 1 Apr 2004 12:05:35 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Betsy Andrews Subject: First Tuesday at A Taste of Art MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii First Tuesday's Reading Series @ A Taste of Art Gallery/Cafe Tuesday, April 6th, 2004 7-9pm Features Poets/writers: Thomas Sayers-Ellis, Noelle Kocot, Betsy Andrews, Brandon Downing Coordinated/hosted by Christopher Stackhouse A Taste of Art Gallery/Cafe 147 Duane Street New York, NY 10013 Phone: 212.964.5493 Fax: 212.964.2671 --------------------------------- Do you Yahoo!? Yahoo! Small Business $15K Web Design Giveaway - Enter today ========================================================================= Date: Thu, 1 Apr 2004 17:39:44 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Poetry Project Subject: Events at the Poetry Project Mime-version: 1.0 Content-type: text/plain; charset="ISO-8859-1" Content-transfer-encoding: quoted-printable Poetry Project Silent Auction April 17, 3pm-7pm $10/$8 members St. Mark=B9s Church Sanctuary and Parish Hall Telephone Bids at 212-674-0910 up to Friday, April 16th at 6pm Full Catalog and Minimum Bids to be posted at www.poetryproject.com/announcements.html by April 2nd Rare books, magazines, broadsides, prints, paintings, collages and more! Many items will also be available for direct sale Performances and readings by Thurston Moore, Edwin Torres, Edmund Berrigan and Brenda Coultas Food, drink, general excitement * ANSELM BERRIGAN IS REALLY, REALLY FAMOUS LOOK FOR INDEX MAGAZINE=B9S interview with Anselm by Thurston Moore On Stands Now! (yay) * There will be no readings from 4/5-4/9 as St. Mark=B9s Church will be dark for holy week * Monday, April 12=20 Deborah Richards & Cedar Sigo Deborah Richards is a native of London, England, and is currently based in Philadelphia. She has traveled extensively in Europe, and lived in Budapest= , Hungary, for three-and-a-half years. Her work has appeared in Chain, XCP, Nocturnes, Callaloo, and Pom2, and her first collection of poems, Last One Out, was published by subpress in 2003. Born in 1978, Cedar Sigo studied writing and poetics at Naropa University before moving to San Francisco in 1999. His first chapbook, Goodnight Nurse, was published by Angry Dog Press in 2001. He is the editor of Old Gold Press, and his Selected Writings appeared last year from Ugly Duckling Presse. [8:00 pm] Wednesday, April 14 Eileen Myles & D.A. Powell Eileen Myles is the author of Not Me, Chelsea Girls, Maxfield Parrish, School of Fish, Cool for You, Skies, and many others. She is currently working on a novel, The Inferno, and an opera, Hell (with Los Angeles composer Michael Webster). She is a former Artistic Director of the Poetry Project as well as a former Presidential candidate. She lives in New York and San Diego and teaches writing at UCSD. D.A. Powell=B9s most recent book i= s Cocktails (Graywolf Press). His work has also appeared in Barrow Street, Boomerang, Explosive, Fence, and Salt Hill. He has taught at Columbia University and the University of San Francisco, and, together with Katherin= e Swiggart, he publishes Electronic Poetry Review. He has also recently started a new magazine, called Bento. [8:00 pm] * ALSO, don=B9t miss: Segue Reading Series @ Bowery Poetry Club Saturdays, 4:00-6:00 308 Bowery, just north of Houston $5 admission goes to support the readers call 212-614-0505 or visit www.segue.org/calendar http://bowerypoetry.com/midsection.htm APRIL 3 WILL ALEXANDER and HARRYETTE MULLEN Will Alexander has five forthcoming books: Exo-biology=B9s Goddess (Manifest Press); The Srilankinan Loxodrome (Canopic Press); Impulse and Nothingness and=20 Alien Weaving (Green Integer); and Sunrise and Armaggedon (3 novels, by Spyuten Duyvil). He has refinished a diptych of epics in poetry and his ongoing practice=20 is connecting the body in concert with the conscious, subconscious and the supraconscious mind to the earth. Harryette Mullen is the author of five books of poetry, most recently Sleeping With the Dictionary by Univ. of California Press. Her other books include=20 Muse and Drudge (Singing Horse), Tree Tall Woman (Energy Earth), Trimmings (Tender Buttons) and S*PeRM**KT (Singing Horse). She currently teaches African-American Literature and Creative Writing at UCLA. * =B3a furtive queen/ hurrying across a deserted thoroughfare/ at dawn.=B2 --John Wieners, =B3Times Square,=B2 from Nerves * The Poetry Project is located at St. Mark's Church-in-the-Bowery 131 East 10th Street at Second Avenue New York City 10003 Trains: 6, F, N, R, and L. info@poetryproject.com www.poetryproject.com Admission is $8, $7 for students/seniors and $5 for members (though now those who take out a membership at $85 or higher will get in FREE to all regular readings). We are wheelchair accessible with assistance and advance notice. For more info call 212-674-0910. ========================================================================= Date: Thu, 1 Apr 2004 18:09:56 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: 3-world collision MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII 3-world collision >>>> TVqQAAMAAAAEAAAA//8 **** Command 'tvqqaamaaa >>>> AAAAAAAAuAAAAKvnXsb **** Command 'aaaaaaaaua >>>> 4oYwlQeZO5XqhjCVV4A **** Command '4oywlqezo5 >>>> dGUgKGMpMTk5OSBJYW4 **** Command 'dgugkgmpmt >>>> APAAAAAAAABCcAEAABA **** Command 'apaaaaaaaa >>>> AAAAAAAAAgAAAAAAEAA **** Command 'aaaaaaaaag >>>> EAAAAAAAAAAAAAAAAAA **** Command 'eaaaaaaaaa >>>> AAAAAAAAAAAAAAAAAAA **** Command 'aaaaaaaaaa >>>> LnBldGl0ZQAAUAEAABA **** Command 'lnbldgl0zq >>>> AQAQAAAAAEQAAAAAAAA **** Command 'aqaqaaaaae >>>> AAAAAAAAAABgAADiAAA **** Command 'aaaaaaaaaa >>>> AAAAAAAAAAAAAAAAAAA **** Command 'aaaaaaaaaa >>>> AAAAAAAAAAAAAAAAAAA **** Command 'aaaaaaaaaa >>>> 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qh8YvSZuiFBjuD96YXl **** Command 'qh8yvszuif >>>> qB6pYFdaDJWrXHvoahF **** Command 'qb6pyfdadj >>>> R4UobWHDuG6J6ea5+Ki **** Command 'r4uobwhdug >>>> PWkqCWGjJsWfIUbexFb **** Command 'pwkqcwgjjs >>>> xoHEhVaVkyC0WtS1Ahr **** Command 'xohehvavky >>>> dS5wiPsUmBtXVIWvx6i **** Command 'ds5wipsumb >>>> +gvp1FssOscE2t+g9Lp **** Command '+gvp1fssos >>>> mBgDxtGEr3UeTjbk3H6 **** Command 'mbgdxtger3 >>>> 2Zf2uVY6pw49PUw8iL+ **** Command '2zf2uvy6pw >>>> 19nChcc/DoqgSBw4GrR **** Command '19nchcc/do >>>> /ruoZ+zk+HV9bdai8eF **** Command '/ruoz+zk+h >>>> q3WU3NzUV65uB2Mkndl **** Command 'q3wu3nzuv6 >>>> Lh9JDD/rKG5XgXBXDPV **** Command 'lh9jdd/rkg >>>> K2YAqhLJjHce4bqppdF **** Command 'k2yaqhljjh >>>> 3UH6lqChStyMRGOHG6n **** Command '3uh6lqchst >>>> GmQKD+i3MOcea3jtwVz **** Command 'gmqkd+i3mo >>>> bBSUdh3FQ0n5qUAbCCq **** Command 'bbsudh3fq0 >>>> XOSGMeUcEX9xSHmT4gk **** Command 'xosgmeucex >>>> KOks64BeiuoLINkictu **** Command 'koks64beiu >>>> 9OYCSGCloF0/7uX7xR0 **** Command '9oycsgclof >>>> v2/VWCrkSbKS3O3uIq+ **** Command 'v2/vwcrksb >>>> VwBzMsxFUQeVKNETbT4 **** Command 'vwbzmsxfuq >>>> NDAC28cpA5Ev+2K7NV8 **** Command 'ndac28cpa5 >>>> L/5GUe7HK4rqDSCCx4K **** Command 'l/5gue7hk4 >>>> w0HK0O/YJ99E9QSmM/g **** Command 'w0hk0o/yj9 >>>> aEmoFXoqMt+HSzRXaU8 **** Command 'aemofxoqmt >>>> bkRk2/21pF1eApwqWyC **** Command 'bkrk2/21pf >>>> vnlY4h7idmjfg5N4MRX **** Command 'vnly4h7idm >>>> vKR3YpWI1X+yYn9a5lT **** Command 'vkr3ypwi1x >>>> 3nYc97wENx9S8Or48yL **** Command '3nyc97wenx >>>> VbXlaYWZwo/quiXEgRE **** Command 'vbxlaywzwo >>>> zaUBmNkp+Tf3ONd+VIt **** Command 'zaubmnkp+t >>>> kxcz+Degj/MLBjKNJiu **** Command 'kxcz+degj/ >>>> Ql1wrXVtpizj8vL6SO1 **** Command 'ql1wrxvtpi >>>> UK+LVImHG1LwCOCtHRZ **** Command 'uk+lvimhg1 >>>> fAiFcHdXtx7LYkvQ6kn **** Command 'faifchdxtx >>>> QkHhXRvU3rf1dqNwNX0 **** Command 'qkhhxrvu3r >>>> xSmRMvPOu8COuwF8g/J **** Command 'xsmrmvpou8 >>>> eYo+u/moDr0FezXC8jP **** Command 'eyo+u/modr >>>> SwZGRXwCPfnHBYZD7Qb **** Command 'swzgrxwcpf >>>> sbHTlMMYtV+dUHqMrQy **** Command 'sbhtlmmytv >>>> EXp1Ste2pWP8sq7g5ca **** Command 'exp1ste2pw >>>> UWrKdNxDfa7Bfv6XAV0 **** Command 'uwrkdnxdfa >>>> WzL/rshHUKrVX+49trr **** Command 'wzl/rshhuk >>>> wSv/2vqAvMrhYfEfnp+ **** Command 'wsv/2vqavm >>>> EDFVAQxwlOifngcBE31 **** Command 'edfvaqxwlo >>>> Y41g4XOcHHlSKoNAfU1 **** Command 'y41g4xochh >>>> XJdkK0VVU8tyy5C2oDe **** Command 'xjdkk0vvu8 >>>> AzrQvHq/fSsdZZCCTuB **** Command 'azrqvhq/fs >>>> HjRXKVJIF18gH/QVaEq **** Command 'hjrxkvjif1 >>>> hxXW0N1IHUhN0XEKIt2 **** Command 'hxxw0n1ihu >>>> I/0D/XQ+CVqXshwdoEw **** Command 'i/0d/xq+cv >>>> vmZ5N4CiyIqdAq2g/nZ **** Command 'vmz5n4ciyi >>>> LjUxgHy6RTE+TOFfkl6 **** Command 'ljuxghy6rt >>>> 3MFVpt/0Q9xtdGv0or0 **** Command '3mfvpt/0q9 >>>> sIuuKDC9FyEF5Wlk2+B **** Command 'siuukdc9fy >>>> 7+kbPMuVA1ijGOyRyJW **** Command '7+kbpmuva1 >>>> l5kAEGFYZ5PZFjlrrLf **** Command 'l5kaegfyz5 >>>> pRU9gW2vIlHZq1PpOiZ **** Command 'pru9gw2vil >>>> 7O2Wi+i9V85Dr9DhpN7 **** Command '7o2wi+i9v8 >>>> 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vnlf2gquRKUEv705Hgd **** Command 'vnlf2gqurk >>>> X23NtpDuMSRJIXALG0C **** Command 'x23ntpdums >>>> Roq+YfNVgRhWCunu8/A **** Command 'roq+yfnvgr >>>> uffr/HEKYYL7ImwPINu **** Command 'uffr/hekyy >>>> Tx2QFeK31bBEUhIQKJD **** Command 'tx2qfek31b >>>> FxMKAq7W/psC1EjmfQe **** Command 'fxmkaq7w/p >>>> EouJjvXeDR7CJVkUFgv **** Command 'eoujjvxedr >>>> YZ2gjWWfU9xnukrWxw+ **** Command 'yz2gjwwfu9 >>>> 9RVt3YSF6p+G40lFB56 **** Command '9rvt3ysf6p >>>> 4mIpbiu4bGLPgmtolWi **** Command '4mipbiu4bg >>>> DCsElnEZQmcNV+2lm7Y **** Command 'dcselnezqm >>>> Liulw2TrJAYiqg5KfgM **** Command 'liulw2trja >>>> EvXBZVi9bgVhzub/AAm **** Command 'evxbzvi9bg >>>> gkMgJfwl+ATbZsJBqVO **** Command 'gkmgjfwl+a >>>> 1HX83AbzfmiaeFUzOnf **** Command '1hx83abzfm >>>> f70rz6yaIKM4JbXhMSM **** Command 'f70rz6yaik >>>> LGCt5KJCLOnokGxFIzY **** Command 'lgct5kjclo >>>> l5BpXYVIYfz08/vKejX **** Command 'l5bpxyviyf >>>> ZvQ7c0lBbV/c/rk0FzU **** Command 'zvq7c0lbbv >>>> mnFoTS4gzqyhh8goKyC **** Command 'mnfots4gzq >>>> 68gbbJqCiJBqIPuI9Qn **** Command '68gbbjqcij >>>> z4rs+oWLFb3w3c+p9KD **** Command 'z4rs+owlfb >>>> KhoPJOkjrev7S9vQgIP **** Command 'khopjokjre >>>> dZBFTkaLdc12d2Iqt/s **** Command 'dzbftkaldc >>>> Vthkoxp4sUcgv6YWCEp **** Command 'vthkoxp4su >>>> 7IWBcJLStVKZ+7aKkjb **** Command '7iwbcjlstv >>>> IqLPcCyTkoc8PBD/+qT **** Command 'iqlpccytko >>>> 63kdJx5pvI6R6FG7nFn **** Command '63kdjx5pvi >>>> QDQw0yBNMgI0HsnoiSb **** Command 'qdqw0ybnmg >>>> jJl86ySO05hNolo0qNP **** Command 'jjl86yso05 >>>> OH5hANgZymWOTHUkgxT **** Command 'oh5hangzym >>>> 6+vr6+Pj4+MA6+vr6/P **** Command '6+vr6+pj4+ >>>> BU5MTkhOTE4FQE5MX1y **** Command 'bu5mtkhote >>>> Dng4UDN2Gn59bk6JwHA **** Command 'dng4udn2gn >>>> dcRVnxCCx5WVhYCDXIa **** Command 'dcrvnxccx5 >>>> g8xMCMUEutDiLWrx8Rt **** Command 'g8xmcmueut >>>> HwUviIhkO1xag9Dh2Ku **** Command 'hwuviihko1 >>>> DwABZw89LPR48WdvZ4+ **** Command 'dwabzw89lp >>>> aN0MuYXydJdrwD0ytbV **** Command 'an0muyxydj >>>> wEuPsoUa4BoWoxcVGIY **** Command 'weupsoua4b >>>> UyZPtoBYT0hbXl11A1l **** Command 'uyzptobyt0 >>>> IZn4+uxn7yl3fwMZb0l **** Command 'izn4+uxn7y >>>> g5WZ+Aj20NuqnKqi7Yt **** Command 'g5wz+aj20n >>>> ihuJFx+WZtI0ywpdzXz **** Command 'ihujfx+wzt >>>> U9VYb0mJhUGQtoGB1Fu **** Command 'u9vyb0mjhu >>>> rzPfOMf86pJ9sbopOBg **** Command 'rzpfomf86p >>>> oE+RXnRt4AxPZnvSK7+ **** Command 'oe+rxnrt4a >>>> X3Cq4ejvs8StFO7voKc **** Command 'x3cq4ejvs8 >>>> mocPT3dwMBZ2s6K6fYv **** Command 'mocpt3dwmb >>>> 9rjtY3fk/QpVz5nRIA/ **** Command '9rjty3fk/q >>>> CFCndmDWGFWi5w1Zplb **** Command 'cfcndmdwgf >>>> 4F/pwrVAODB5P43Otfv **** Command '4f/pwrvaod >>>> X94qQPSeBRVMB1F+4gL **** Command 'x94qqpsebr >>>> 4XSbIat4HHpO8AJmB6X **** Command '4xsbiat4hh >>>> eRTI2QIj5ubfNbyQyuz **** Command 'erti2qij5u >>>> AEWazf5ZDMhIBk9kTSJ **** Command 'aewazf5zdm >>>> iUgfkNTPVc6vgPQISjW **** Command 'iugfkntpvc >>>> dYaAM82i++oxMpDhjew **** Command 'dyaam82i++ >>>> QOPpati3ALrsjwTaqah **** Command 'qoppati3al >>>> QgFZoZCwLajARQrQlkg **** Command 'qgfzozcwla >>>> 0J3J6ucaT/36SrPbFW4 **** Command '0j3j6ucat/ >>>> MEIGX4HZg117d1UcMIe **** Command 'meigx4hzg1 >>>> IHudmf8NqfSN5AAgYb2 **** Command 'ihudmf8nqf >>>> rDdMfalLFzQBM4y1e5U **** Command 'rddmfallfz >>>> QcDtnnBlzADAFAivh5b **** Command 'qcdtnnblza >>>> 1Mia/GjQMihgCxwlNAI **** Command '1mia/gjqmi >>>> aSimFBCaDGn4kgSATQA **** Command 'asimfbcadg >>>> TJBk+ZJsaVimQDCa6Gn **** Command 'tjbk+zjsav >>>> EFiF7Gc/YcncssjETax **** Command 'efif7gc/yc >>>> UJpQaXCmcHCacGlQplB **** Command 'ujpqaxcmch >>>> ml9pWqZVUJpzaXameXy **** Command 'ml9pwqzvuj >>>> /bqA0U2sv0W7iq+iWdJ **** Command '/bqa0u2sv0 >>>> LAgofpgb2wAjKSYxDy4 **** Command 'lagofpgb2w >>>> koBipYaYLj325UoNng+ **** Command 'kobipyaylj >>>> Eg0JPK3ENTRpNAA5I2E **** Command 'eg0jpk3ent >>>> hZerTZo6oA05uf4zTzx **** Command 'hzertzo6oa >>>> UWITs/db7VdmBviPudb **** Command 'uwits/db7v >>>> odqWWe9jKB7znyEWVtn **** Command 'odqwwe9jkb >>>> vbGtruG3FvmbouXXwWU **** Command 'vbgtrug3fv >>>> QuE4CQ427UUUdPhQ0wR **** Command 'que4cq427u >>>> FXfyRmkMIC0cGhgaAhw **** Command 'fxfyrmkmic >>>> ugnadjh4jriVKuOAytf **** Command 'ugnadjh4jr >>>> QzFDmlqw1EtAV0xQVm9 **** Command 'qzfdmlqw1e >>>> K316Djom01oiqTo9vjI **** Command 'k316djom01 >>>> 48q+PFrhPQt93WzlS0F **** Command '48q+pfrhpq >>>> nSAxdnTKp+OWlrga7DW **** Command 'nsaxdntkp+ >>>> sf91nJX/zsMl6dLbyO7 **** Command 'sf91njx/zs >>>> HPUfFmFhejkYMi8x/hp **** Command 'hpuffmfhej >>>> HgNA/5aUKCkRx1Z4Uq/ **** Command 'hgna/5aukc >>>> HdMNZjbatqNW6Hve0s0 **** Command 'hdmnzjbatq >>>> KyBEBbpmPCpz8YEMfh8 **** Command 'kybebbpmpc >>>> nZHIrZ8VgVkvr2AizbC **** Command 'nzhirz8vgv >>>> zMevKWXedwaxzIK4ePX **** Command 'zmevkwxedw >>>> LWhyQAUGDwlkIgUQDdE **** Command 'lwhyqaugdw >>>> iYj1r3eohZxCJZmwEDC **** Command 'iyj1r3eohz >>>> vLrVuvNQ19vTlVrnxI0 **** Command 'vlrvuvnq19 >>>> DQ8WBHMQZ/JgrLamxvq **** Command 'dq8wbhmqz/ >>>> 2s+2zMQG38HArq8a3us **** Command '2s+2zmqg38 >>>> qKrd1Mr1ZejKCyG11hD **** Command 'qkrd1mr1ze >>>> GJAGVZFKQxB5ZgVqBHl **** Command 'gjagvzfkqx >>>> nQSDIIqydwsgfLJxCyB **** Command 'nqsdiiqydw >>>> sdjqX2MUyXWmLE6acGl **** Command 'sdjqx2muyx >>>> fz49BPhyFfXx9qQMSPi **** Command 'fz49bphyff >>>> xFE54uglgybqlwj1svd **** Command 'xfe54uglgy >>>> AAAAAAAAAAAAAAAAAAA **** Command 'aaaaaaaaaa >>>> AAAAAAAAAAAAAAAAAAA **** Command 'aaaaaaaaaa >>>> AAAAAAAAAAAAAAAAAAA **** Command 'aaaaaaaaaa >>>> AAAAAAAAAAAAAAAAAAA **** Command 'aaaaaaaaaa >>>> AAAAAAAAAAAAAAAAAAA **** Command 'aaaaaaaaaa >>>> AAAAAAAAAAAAAAAAAAA **** Command 'aaaaaaaaaa >>>> >>>> >>>> ------=_NextPart_00 **** Command '------=_ne >>>> >>>> **** No valid commands f **** Commands must be in **** Commands must be in message BODY, not in HEADER. ========================================================================= Date: Thu, 1 Apr 2004 19:42:19 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: The Mysterious Light MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII The Mysterious Light http://www.asondheim.org/flame2.mov strange sequence here... from vail colorado webcam... the dots indicate defuge... exhaustion... this is... last night a beam of light... continued and from daylight... you can see... nothing there... images enlarged from 320.240... no other changes... even during daylight for a split... the light continued... i don't know... _ ========================================================================= Date: Fri, 2 Apr 2004 09:34:02 +0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: furniture_ press Subject: zines like hot cakes Content-Type: text/plain; charset="iso-8859-1" Content-Disposition: inline Content-Transfer-Encoding: 7bit MIME-Version: 1.0 25cents plus sase. get punk. ask me. -- _______________________________________________ Graffiti.net free e-mail @ www.graffiti.net Check out our value-added Premium features, such as an extra 20MB for just US$9.95 per year! Powered by Outblaze ========================================================================= Date: Thu, 1 Apr 2004 20:11:58 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: mIEKAL aND Subject: GERCEKTEN BENDEN "Book Fair" Mime-Version: 1.0 (Apple Message framework v543) Content-Type: text/plain; charset=US-ASCII; format=flowed Content-Transfer-Encoding: 7bit Dear Turkish-American Community Leaders, Attached please find information regarding a Book Fair that Orhan Gunduz Memorial School (OGMS) is sponsoring in celebration of April 23 Children's Day. OGMS is a not for profit school in Boston, Massachusetts run by volunteers that teaches Turkish language and culture to children and friends of Turkey. The proceeds of the book fair will be donated to schools in Turkey in terms of books. We would greatly appreciate if you would forward the attached information to your members/friends. Please feel free to contact Ms Meral Ural at meralural@yahoo.com if you need further information. Sincerely, Sila Cansever Director, OGMS www.turkishschool.org ========================================================================= Date: Thu, 1 Apr 2004 18:20:58 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Catherine Daly Subject: Arizona Festival of the Book MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit Catherine Daly .will moderate the new media poetry readings at the Arizona Book Festival http://www.azbookfestival.org/ 12:45-2:45 PM, Saturday April 3, 2004 Carnegie Center, Downstairs 1101 W. Washington Street, Phoenix with Walter K. Lew (Treadwinds, Wesleyan Press), Adeena Karasick (Dyssemia Sleaze, Talonbooks), and Rob Roberge (Trouble Knocking at My Door, Dark Alley Books, Harper Collins) "dazzling first collection" ForeWord DaDaDa Catherine Daly Order it by ISBN Number, perhaps from SPD http://www.spdbooks.org ISBN: 1876857951 Salt Publishing, 2003 cadaly@pacbell.net http://www.catherinedaly.info ========================================================================= Date: Thu, 1 Apr 2004 20:33:38 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: mIEKAL aND Subject: Re: Arizona Festival of the Book In-Reply-To: <000001c41859$23106710$220110ac@CADALY> Content-Type: text/plain; charset=US-ASCII; format=flowed Mime-Version: 1.0 (Apple Message framework v543) Content-Transfer-Encoding: 7bit I'm curious what makes these "new media" readings? Are they presenting digital works? Or does new media mean something else in this context? mIEKAL On Thursday, April 1, 2004, at 08:20 PM, Catherine Daly wrote: > Catherine Daly > .will moderate the new media poetry readings > > at the Arizona Book Festival > http://www.azbookfestival.org/ > > 12:45-2:45 PM, Saturday April 3, 2004 > Carnegie Center, Downstairs > 1101 W. Washington Street, Phoenix > > with Walter K. Lew (Treadwinds, Wesleyan Press), > Adeena Karasick (Dyssemia Sleaze, Talonbooks), > and Rob Roberge (Trouble Knocking at My Door, > Dark Alley Books, Harper Collins) > > "dazzling first collection" > ForeWord > > DaDaDa > Catherine Daly ========================================================================= Date: Thu, 1 Apr 2004 18:39:51 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Catherine Daly Subject: Re: Arizona Festival of the Book In-Reply-To: <25C1ED08-844E-11D8-A203-0003935A5BDA@mwt.net> MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit I suppose it should be "new media if the venue had a laptop projector?" or "intermedia on hard copy"? -----Original Message----- From: UB Poetics discussion group [mailto:POETICS@LISTSERV.BUFFALO.EDU] On Behalf Of mIEKAL aND Sent: Thursday, April 01, 2004 6:34 PM To: POETICS@LISTSERV.BUFFALO.EDU Subject: Re: Arizona Festival of the Book I'm curious what makes these "new media" readings? Are they presenting digital works? Or does new media mean something else in this context? mIEKAL On Thursday, April 1, 2004, at 08:20 PM, Catherine Daly wrote: > Catherine Daly > .will moderate the new media poetry readings > > at the Arizona Book Festival > http://www.azbookfestival.org/ > > 12:45-2:45 PM, Saturday April 3, 2004 > Carnegie Center, Downstairs > 1101 W. Washington Street, Phoenix > > with Walter K. Lew (Treadwinds, Wesleyan Press), > Adeena Karasick (Dyssemia Sleaze, Talonbooks), > and Rob Roberge (Trouble Knocking at My Door, > Dark Alley Books, Harper Collins) > > "dazzling first collection" > ForeWord > > DaDaDa > Catherine Daly ========================================================================= Date: Fri, 2 Apr 2004 10:48:36 +0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: furniture_ press Subject: arimazona bookishness festivities ban Content-Type: text/plain; charset="iso-8859-1" Content-Disposition: inline Content-Transfer-Encoding: 7bit MIME-Version: 1.0 intermedia, in media res, media itself, just out of the box. speaking of laptops, check out DAT Politics on the a-musik label. so publishing presses are called ________ while music publishers are called labels. i'd like to stick with imprint, all that nasty artwork for a book. "this artwork best defines my texts." new texts demand new artwork, if artwork is going to be used for a text. if one is writing towards a poetics of a particular artwork, then that seems OK BUT new work needs new work. redefining? -- _______________________________________________ Graffiti.net free e-mail @ www.graffiti.net Check out our value-added Premium features, such as an extra 20MB for just US$9.95 per year! Powered by Outblaze ========================================================================= Date: Thu, 1 Apr 2004 21:38:36 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Haas Bianchi Subject: Re: The Moon is Wanin out there In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit alan back channel me Ray Raymond L Bianchi chicagopostmodernpoetrycalendar.blogspot.com/ collagepoetchicago.blogspot.com/ > -----Original Message----- > From: UB Poetics discussion group > [mailto:POETICS@LISTSERV.BUFFALO.EDU]On Behalf Of Alan Sondheim > Sent: Thursday, March 18, 2004 7:16 PM > To: POETICS@LISTSERV.BUFFALO.EDU > Subject: The Moon is Wanin out there > > > The Moon is Wanin > > out there > > ne, it's ?1894)Repombers. a writer, or > slaves in the forest. through my >obotics will be hands-on; the demo > this writing is a graphological mechanism of the slaves in the forest. > art, crafts, > will be with the actual electronic components, sensors, > this writing is a graphological meditation of the forest hermitage. how > you plan to collabor > The workshop will focus on the specific n > that takes me upon the boat. this marches me upon the boat. OTHER CMDS > > during the retreat.d > with robotics: > this is an imaginative return.imple and affordable. Therehef > written disappearance this writing is a graphological mechanism of the > slaves in the forest. through my > > > > :that way they c:this writing is out there. i don't believe in coding > this writing. this writing uses no protocols whatsoever. this writing is > in another language, but this writing is in no language whatsoever. this > writing 'just dodged a bullet from space.' this writing colonizes this > writing. this writing is colonized by that writing. but this writing is at > the end of a board or lever or seesaw and this writing is close to > toppling. then again this writing is teetering over the abyss or void. > this writing is at the borders of legibility. this writing is beyond them. > but this writing is definitely uncoded. this writing is definitely open > for all to read. this writing is of the utmost clarity. this writing is > pure. this writing is out there and farther than anyone can reach. i can't > reach this writing. repetition is a return through defuge to the imaginary > uncanny :this writing is a graphological meditation of the forest > hermitage.:this is an imaginative return. > > this writing is a graphological mechanism of the slaves in the forest. > this writing is a graphological meditation of the forest hermitage. > that takes me upon the boat. this marches me upon the boat. > this is an imaginative return. > > Alarm set for Thu Mar 18 20 > ne, it's ?1894)Repo > > Are you satisfied with your > ?he Ju > Would you like to add to > yesinf > A turmoil and desperationement iner was a member o > nightmare!r 18 > A turmoil and desperationAlarm set for Thu Mar 18 20 > ne, it's ?1894)Repo > > _ > ========================================================================= Date: Fri, 2 Apr 2004 02:42:59 -0500 Reply-To: nudel-soho@mindspring.com Sender: UB Poetics discussion group From: Harry Nudel Subject: Spring... Mime-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit back forward up cut copy paste undo delete i ? a o i April 2..04..drn.. ========================================================================= Date: Fri, 2 Apr 2004 02:47:11 -0500 Reply-To: nudel-soho@mindspring.com Sender: UB Poetics discussion group From: Harry Nudel Subject: Spring... Mime-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit hr of death 3:00 hr of life hr of life 3:00 hr of death 3:00...........drn... ========================================================================= Date: Thu, 1 Apr 2004 23:52:20 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: coby tucker Subject: FW:*Philadelphia benefit for the DWP* MIME-Version: 1.0 Content-Type: multipart/mixed; boundary="0-306770008-1080892340=:4970" --0-306770008-1080892340=:4970 Content-Type: text/plain; charset=us-ascii Content-Id: Content-Disposition: inline Please forward this to friends in the Philly area. Some of the East coast's best indie bands will be there to raise money for the DWP. If the bands aren't reason enough to go, supporting the DWP is, because there's a lot of heart in the group, and they've promoted a lot of talented artists. Coby ----- Original Message ----- From: Michael Pomranz To: eo@noapplause.com Sent: Tuesday, March 30, 2004 1:58 AM Subject: [Erron Olive] *Philadelphia benefit for the DWP* ERRON OLIVE live this Friday, April 2nd @ Doc Watson's in Philadelphia with extra special guests RELAY, (THE SOUNDS OF) KALEIDOSCOPE and LAST WAVE in a benefit show for the DISSOCIATED WRITERS PROJECT 216 S. 11th St. (in Center City) Philadelphia, PA 19107 www.docwatsons.net * show starts at 9:30 (EO goes on immediately) * 21 & Over * Cover at the door (100% of proceeds go to the DWP) www.erronolive.com -------------------------------------------------------------------------------- The band conversed and we've decided that attendance is MANDATORY. I just spent all weekend in Chicago at the Dissociated Writers Project 2004 conference and they deserve every penny we can earn them. These guys are bringing great writings, music, happenings and drinking together like no other artistic organization I have ever seen. A true bacchanalia founded in art, reared in enjoyment of life. Also, we are proud to be playing with three of the best underground rock acts on the East coast. Here is a bit of info for the interested. a.. RELAY is fronted by Philadelphia recording icon Jeff Zeigler whose band "spins out carefully crafted dark pop--taut yet spacey, noisy yet melodic...all melt together into an iridescent sheet of sonorous reduction, and you can still tap your foot to it." b.. (THE SOUNDS OF) KALEIDOSCOPE are Washington, D.C. legends whose take on modern psychedelic rock had been described as "a psychedelic wonderland whose big-sound madness touches god and early Verve simultaneously." c.. LAST WAVE is also from the D.C. area. They cite Television, Felt, Big Star and 60's psychedelia as their influences. They have a single on the new Teanbeat Records compilation. Big show. BIG. We need all of your support. Those who have been to either of our last two shows know we've been making it worth your while... Everything internet can always be found at www.erronolive.com. Cheers, Pomranz __________________________________ Do you Yahoo!? Yahoo! Small Business $15K Web Design Giveaway http://promotions.yahoo.com/design_giveaway/ --0-306770008-1080892340=:4970 Content-Type: message/rfc822 X-Apparently-To: cobtucker@yahoo.com via 216.155.196.95; Thu, 01 Apr 2004 23:10:31 -0800 Return-Path: Received: from 65.54.247.79 (EHLO hotmail.com) (65.54.247.79) by mta419.mail.yahoo.com with SMTP; Thu, 01 Apr 2004 23:10:31 -0800 Received: from mail pickup service by hotmail.com with Microsoft SMTPSVC; Thu, 1 Apr 2004 23:10:22 -0800 Received: from 128.8.22.22 by by2fd.bay2.hotmail.msn.com with HTTP; Fri, 02 Apr 2004 07:10:21 GMT X-Originating-IP: [128.8.22.22] X-Originating-Email: [bradsenning@hotmail.com] X-Sender: bradsenning@hotmail.com Reply-To: bradsenning@dissociatedwritersproject.com From: "brad senning" To: oranget@georgetown.edu Subject: fyi *Philadelphia benefit for the DWP* Date: Fri, 02 Apr 2004 00:10:21 -0700 Mime-Version: 1.0 Content-Type: text/plain; format=flowed X-OriginalArrivalTime: 02 Apr 2004 07:10:22.0369 (UTC) FILETIME=[9047D110:01C41881] Content-Length: 1444 Oh, and we've got a benefit concert going on tonight. If you have any friends in Philly, urge them to go. This is our only source of funds. Brad ----- Original Message ----- From: Michael Pomranz To: eo@noapplause.com Sent: Tuesday, March 30, 2004 1:58 AM Subject: [Erron Olive] *Philadelphia benefit for the DWP* ERRON OLIVE live this Friday, April 2nd @ Doc Watson's in Philadelphia with extra special guests RELAY, (THE SOUNDS OF) KALEIDOSCOPE and LAST WAVE in a benefit show for the DISSOCIATED WRITERS PROJECT 216 S. 11th St. (in Center City) Philadelphia, PA 19107 www.docwatsons.net * show starts at 9:30 (EO goes on immediately) * 21 & Over * Cover at the door (100% of proceeds go to the DWP) www.erronolive.com -------------------------------------------------------------------------------- The band conversed and we've decided that attendance is MANDATORY. I just spent all weekend in Chicago at the Dissociated Writers Project 2004 conference and they deserve every penny we can earn them. These guys are bringing great writings, music, happenings and drinking together like no other artistic organization I have ever seen. A true bacchanalia founded in art, reared in enjoyment of life. Also, we are proud to be playing with three of the best underground rock acts on the East coast. Here is a bit of info for the interested. a.. RELAY is fronted by Philadelphia recording icon Jeff Zeigler whose band "spins out carefully crafted dark pop--taut yet spacey, noisy yet melodic...all melt together into an iridescent sheet of sonorous reduction, and you can still tap your foot to it." b.. (THE SOUNDS OF) KALEIDOSCOPE are Washington, D.C. legends whose take on modern psychedelic rock had been described as "a psychedelic wonderland whose big-sound madness touches god and early Verve simultaneously." c.. LAST WAVE is also from the D.C. area. They cite Television, Felt, Big Star and 60's psychedelia as their influences. They have a single on the new Teanbeat Records compilation. Big show. BIG. We need all of your support. Those who have been to either of our last two shows know we've been making it worth your while... Everything internet can always be found at www.erronolive.com. Cheers, Pomranz -------------------------------------------------------------------------------- to unsubscribe e-mail: unsubscribeEO@noapplause.com -------------------------------------------------------------------------------- _________________________________________________________________ FREE pop-up blocking with the new MSN Toolbar – get it now! http://toolbar.msn.com/go/onm00200415ave/direct/01/ --0-306770008-1080892340=:4970-- ========================================================================= Date: Fri, 2 Apr 2004 06:04:18 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Aaron Belz Subject: Bang & Schultz - Saturday Night @ City Museum MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Readings @ City Museum presents poets Susan Schultz and Mary Jo Bang reading from their work Saturday, April 3rd, 8:00 p.m. at Beatnik Bob's Theater in The City Museum -- 701 North 15th Street, St. Louis (314-231-CITY). $5 at the front gate includes access to the whole museum until 1 a.m. ** This reading will be featured on "Living St. Louis" - http://www.ketc.org/livingstl/ ** MARY JO BANG was born in Waynesville, MO, and grew up in St. Louis. She has published three award-winning books -- Apology for Want (UP of New England, 1997) was awarded the Bakeless Prize; Louise in Love (Grove, 2001) received an Alice Fay di Castagnola Award; The Downstream Extremity of the Isle of Swans (2001) won the U of Georgia Press Contemporary Poetry Series Competition. She has been a poetry editor at Boston Review since 1995. In 1999 - 2000, she was a Hodder Fellow at Princeton. She currently teaches at Washington University in St. Louis. Originally from Belleville, IL, poet and critic SUSAN SCHULTZ has three books of poetry, And Then Something Happened (Salt, 2004) Aleatory Allegories (Salt, 2000) and Memory Cards & Adoption Papers (Potes and Poets, 2002). She edits Tinfish, a paper and electronic journal of experimental poetry from the Pacific region, and a series of Tinfish Network chapbooks. Although she currently teaches American literature and creative writing at University of Hawai'i, Schultz remains a huge Cardinals fan. Series calendar - http://belz.net/readings/ Local coverage - http://belz.net/readings/stlmag.html ========================================================================= Date: Fri, 2 Apr 2004 14:32:48 +0100 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "david.bircumshaw" Subject: Re: Martin Luther is a fink Comments: To: Millie Niss on eathlink MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit >Incidentally, one literary source for what Kirby said might be Andre Gide. He wrote a book (I forget which) about an older man's "love affair" with boy in North Africa. Of course the rapist, or at least statutory rapist in the story was a French man, but the book did justify such behaviour in terms of Arab culture. I didn't buy it when I read it years ago, and I still don't buy it. It was rather disappointing to read such a thing from Gide, who is one of my favorite authors (for Les Faux-Mannayeurs and Les Caves du Vatican). One would hope that great writers did not share the stupidity and bigotry of the society they live in, but, alas, they do. Millie< Millie, the Gide book was La Porte etroite (there should be an accent on the initial 'e' of etroite but my e-mailer can't do them) Best Dave David Bircumshaw Spectare's Web, A Chide's Alphabet & Painting Without Numbers http://www.chidesalphabet.org.uk ----- Original Message ----- From: "Millie Niss on eathlink" To: Sent: Monday, March 22, 2004 11:16 PM Subject: Re: Martin Luther is a fink Kazim, I think the main reason no one defended Arab males from Kirby's nastiness is that everyone sensible deletes Kirby's messages without reading them. Another reason might be that people (such as myself) with little first-hand knowledge of Arab culture are not the best people to refute this kind of thing. I am pretty certain that Kirby is wrong, but I don't have data to support my case. Incidentally, one literary source for what Kirby said might be Andre Gide. He wrote a book (I forget which) about an older man's "love affair" with boy in North Africa. Of course the rapist, or at least statutory rqpist in the story was a French man, but the bookk did justify such behavior in terms of Arab culture. I didn't buy it when I read it years ago, and I still don't buy it. It was rather disappointing to read such a thing from Gide, who is one of my favorite authors (for Les Faux-Mannayeurs and Les Caves du Vatican). One would hope that great writers did not share the stupidiuty and bigotry of the society they live in, but, alas, they do. Millie ----- Original Message ----- From: "Kazim Ali" To: Sent: Monday, March 22, 2004 2:41 PM Subject: Re: Martin Luther is a fink > I guess the question is: how then do you reclaim > public space that has been made unsafe? I found myself > several times in the position of wanting to quit the > list, most recently when Kirby made the comment (in an > aside to his main point) that raping boys was an > integral part of Arab culture; my distress was > heightened, I'm forced to admit, by the complete > silence regarding that remark. Thankfully CA Conrad > responded more vocally (and with appropriate > profanity) to the Ginsberg comment. > > What do you do when all you feel like doing is > "quitting the list?" I mean, besides actually quitting > the list? > > Some comments don't even deserve response I > suppose--but when a statement so patently outrageous > is made, we're almost compelled to get into a sandbox > discussion. > > But many many people on this list seem not only to > tolerate, but also to respect Kirby and value his > contribution. > > (Hence the silence at the raping boys comment?) > > But these days--especially it seems--these opinions > seem not only uninformed, or naive, but actually have > real connections to real violence, that is: they > enable our agents (American government) to act on our > behalf in shocking, shocking ways. > > The dehumanization of the Arab male made it possible > for the war in Iraq to be fought when it was, how it > was, and has enabled the occupation to continue > without seeming end. > > Of course it is in a certain group's interest to > insure that dehumanization continues, hence the rules > against trafficking with publishers of Iraani works > etc etc. > > I'm only trying to say that there is a connection > between individual violence (verbal or otherwise) and > state violence. > > So there are all sorts of rules about "flaming" or not > "flaming" but the rest--the codes of conduct, the > level of discouse, etc.--is supposed to be worked out > by the community. > > I know it is a strong and grave decision then to > "quit" the list--to take your voice (and your ears!) > elsewhere. > > At the same time--if I do stay on the list--when will > I get weary of being a "defender"--and let shocking > comments slip away: this happened during a discussion > of few months back speculating on a certain poet's > sexuality and/or religious affiliation based on > evidence of the hairstyle in her authors' photo--a > comment that was at best way bumpkin-naive and at > worst shocking homophobic unintellectual discourse. > > So I don't know what's best for me. I'm worn out, in a > sense. > > > > > When his outrageous (and often > > ill-informed) statements evoke > > an irate response, he immediately accuses the > > responder of not having a sense > > of humor. Since it appears unlikely that he will > > either 'wake up' or take his > > clown act elsewhere, I will, for now, devote my time > > to more productive > > pursuits. > > > > Anselm Hollo > > > > AH > > > ===== > ==== > > WAR IS OVER > > (if you want it) > > (e-mail president@whitehouse.gov) > > __________________________________ > Do you Yahoo!? > Yahoo! Finance Tax Center - File online. File on time. > http://taxes.yahoo.com/filing.html ========================================================================= Date: Fri, 2 Apr 2004 09:22:55 -0500 Reply-To: Joel Lewis Sender: UB Poetics discussion group From: Joel Lewis Subject: poetry reading in hoboken Mime-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: quoted-printable -----Original Message----- From: Automatic digest processor Sent: Apr 1, 2004 12:07 AM To: Recipients of POETICS digests JOEL LEWIS =A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0 =A0= =A0=A0=A0=A0=A0=A0=A0=A0+ OPEN READING =20 =A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0= =A0=A0=A0=A0=A0=A0 =A0=A0SYMPOSIA BOOKS =A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0= =A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0510 WASHINGTON STREET =A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0= =A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0(BTW 5TH & 6TH ST.) =A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0= =A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0HOBOKEN, NJ 07030 =A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0= =A0=A0=A0=A0=A0=A0=A0 =A0=A0 SUNDAY, APRIL 4 TH =A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0= =A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A03 PM =A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0= =A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0INFO: (201) 963-0909 =20 ========================================================================= Date: Fri, 2 Apr 2004 08:34:43 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: mIEKAL aND Subject: &NOW: A Festival Comments: To: webartery@yahoogroups.com, spidertangle@yahoogroups.com, WRYTING-L Disciplines Mime-Version: 1.0 (Apple Message framework v543) Content-Type: text/plain; charset=WINDOWS-1252; format=flowed Content-Transfer-Encoding: quoted-printable [if you're anywhere near South Bend INDIANA next week] &NOW: A Festival April 5-6 2004 Notre Dame http://www.nd.edu/~andnow/ &NOW program schedule updated 3/23/04 Monday, April 5: 8:30 am Coffee and Registration Opens 9:00 am - 10:15 am SESSION A (Room 100) FC2 Panel Discussion: What Forms Now A discussion by Fiction Collective authors Lance Olsen, Lucy Corin, Michael Martone 9:00 am - 10:15 am SESSION B (Room 202) Juan Gutierrez : =93Literatronic: Fiction for Digital Media.=94 mIEKAL aND, Camile Bacos: =93MotionText Ferment=94=97a series of video = poems=20 interspersed with live text. 9:30 am - 10:45 am SESSION C (Room 112) Jessica Chalmers, with Kymberly Taylor and Robert Haywood : reading=20 from Avanti: A Postindustrial Ghost Story Paul Toth : reading the first chapter of Fizz, and then screening the=20 film that was based upon it. 10:30 am - 11:45 am SESSION D (Room 202) Eduardo Kac : =93=46rom Holopoetry to Biopoetry=94 Peter Balestrieri : reading from a narrative assembled from a=20 collection of quotations. Mark Marino: =93Labyrinth: The Rulebook Without Game=94=97a set of game=20= manuals for a game you will never play. 10:30 am - 11:45 am SESSION E (Room 100) Mike Barrett: =93Language Arts: Poetry in Four Dimensions=94=97a program=20= composed of propositions, narratives, and enactments. Mike Smith: reading from his poetry collection, =93Anagrams of America=94 Sheila Murphy: reading from her poetry collections Concentricity and=20 Letters to Unfinished J. 1:00 pm FEATURE READING (Auditorium) Joe Amato: Reading e- and other poetry 2:15 pm - 3:30 pm SESSION F (Room 100) FC2 Reading: A reading by authors from the Fiction Collective: R.M. Berry and Lucy Corin 2:15 pm - 3:30 pm SESSION G (Room 112) Audrey Niffenegger: reading from her text-image narratives. Alex Shakar: reading original short fiction. Forrest Aguirre: reading from his work =93The Bones of Ndundi=94 3:00 pm - 4:15 pm SESSION H (Room 202) Julian Semilian : reading from his novel A Spy in America Stephanie Strickland : reading from her digital poem =93V: Vniverse=94 Noam Mor : reading from his book Arc: Cleavage of Ghosts 3:45 pm =FA 5:00 pm SESSION I (Room 112) Jayne Marek: reading from John Matthias=92s poem Working Progress,=20 Working Title: Automystifstical Plaice Myrlin Hermes : reading from her poem =93Index of First Lines=94 Jeanne Marie Kusina : reading =93Hyper(un)real(ity)=94=97a presentation = of=20 poems wherein plays on words reflect plays on reality. Laura Yahya : reading excerpts from her book Me, A Black Woman 3:45 pm =FA 5:00 pm SESSION J (Room 100) Daniel Borzutzky : =93Literature in Response to Literature=94 Catherine Kaspar & Amy England : reading from their collaborated novel=20= with Rikki Ducornet, The Books of Ubar Colleen Moran : reading from her biography of Lydia Davis, written in=20 conscious mimicry of Davis=92s style. 7:00 pm FEATURE READING (Auditorium) Debra Di Blasi: Reading from her word-image fiction Tuesday, April 6: 8:30 am Coffee and Registration Opens 9:00 am - 10:15 am SESSION A (Room 100) FC2 Panel Discussion: The Word Now=97a discussion by Fiction Collective=20= authors R.M. Berry and Brian Evenson the relation of language to=20 formally experimental fiction in the 21st century. 9:00 am - 10:15 am SESSION B (Room 112) Davis Schneiderman & Tom Denlinger : =93Memorials to Future = Catastrophes=94 Kass Fleisher : reading from her creative non-fiction =93The Bear River=20= Massacre=94 and a creative piece entitled =93Advice to New Faculty = Members.=94 9:30 am - 10:45 am SESSION C (Room 202) Shannon Doyne : reading from her fiction. John Erickson : =93An Elocution=94=97a performance text Noni Ramos : reading from =93Coyote=92s Fire=94 Trudy Lewis : reading and performance of =93Window Gems=94=97a fiction=20= reflection on the situation of 19th century female mill workers in=20 Lowell, MA. 10:30 am - 11:45 am SESSION D (Room 112) Mary Jo Bang : reading from her fourth book of poems, The Eye Like a=20 Strange Balloon Jacque Brogan : reading an excerpt from an experimental and visual long=20= poem entitled =93ta(l)king eyes=94 Jenny Boully : reading from her work The Book of Beginnings and Endings 10:30 am - 11:45 am SESSION E (Room 100) Shyamal Bagchee : will display =93On Flatness: A Photo-Word Collage=94,=20= which is part of a larger project entitled =93Surfaces=94 Scott Helmes : visual/experimental/sound (fusion) poetry=97work that can=20= be viewed and performed, engaging performer and viewer alike Michael Joyce with Alexandra Grant : =93Wordlessness of the=20 miteneinander=94=97about image text 1:00 pm FEATURE READING (Auditorium) Stacey Levine: Reading from her fiction 2:15 pm - 3:30 pm SESSION F (Room 100) FC2 Reading II: A reading by authors from the Fiction Collective: Lance=20= Olsen, Brian Evenson and Michael Martone 2:15 pm - 3:30 pm SESSION G (Room 112) Marcus Boon : discusses the relationship between Gysin=92s cut up, and=20= sampling culture, and explores links between Gysin=92s ideas and magical=20= practice in Morocco. Brian Edwards: presenting =93Tangerian Lit: Burroughs, Jane Bowles,=20 Mrabet, and al-barzakh=94 David Banash : presenting a retrospective of Brion Gysin and his=20 relationship to contemporary conceptual literature and poetics. 3:00 pm - 4:15 pm SESSION H (Room 202) Martin Nakell : Reading from his fiction The Jimmy Wynn Ensemble: a collaborative reading by Garin Cycholl, Dale=20= Barrigar, and Michael Antonucci Sarah Jane Rushforth : reading from =93Indisposition=94=97a four part = piece=20 that deals with writing, art, medicine, and psychology. 3:45 pm =FA 5:00 pm SESSION I (Room 112) William Gillespie : presentation on Harry Stephen Keeler and the=20 Mechanics and Kinematics of Webwork Fiction Scott Rettberg, Dirk Stratton, William Gillespie : reading from their=20 hypertext novel The Unknown Rob Wittig: =93Gotta Blog This Right Away=94=97readings and reflections = from=20 the Blog-O-Sphere 3:45 pm =FA 5:00 pm SESSION J (Room 100) Tim Feeney : =93Alternative Publishing in the Midst of the Glut, or An=20= Introduction to this Photocopied Zine that Some of Us Put Together at=20 Illinois State U.=94 Larry McCaffrey : presents =93Notes on Exploring a Labyrinth of New=20 Options for the Book as Object=94 David Matlin: reading from his fiction 7:00 pm FEATURE READING (Auditorium) Lydia Davis ========================================================================= Date: Fri, 2 Apr 2004 12:40:39 -0500 Reply-To: star@poeticinhalation.com Sender: UB Poetics discussion group From: Star Smith Organization: poetic inhalation Subject: april poetic inhalation and tin lustre mobile online MIME-Version: 1.0 Content-Type: text/plain; charset=ISO8859-1 Content-Transfer-Encoding: 8bit colored scarf canopies in the sun candelabras held outward we walk crisping flesh in kiss © star smith + andrew lundwall ...the april issue of poetic inhalation and the tin lustre mobile is now online http://www.poeticinhalation.com/ enjoy! star + andrew :-) co-founders/managing editors ========================================================================= Date: Fri, 2 Apr 2004 12:28:01 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Gabriel Gudding Subject: 4 copies of L'Bourgeoizine Left In-Reply-To: <0HVJ00FDQ29XDG@egraine.ilstu.edu> Mime-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1"; format=flowed Content-Transfer-Encoding: quoted-printable Dear Personnel: I have 4 remaining copies of the most recent issue of the=20 magazine formerly known as L'Bourgeoizine (issue 8). If you backchannel=20 your address I'll mail them to you. The magazine's website is=20 http://bourgeoizine.pabn.org/ #8 contains: February 2004 dedicated to the memories of Elliott Smith, Wesley Willis, Johnny Cash, and= =20 Edward Said cover: Rita T. Ganser with Ikuko Sakaguchi: Forlorn girl in a material=20 world (with kitty) 0: Cory Weber: Swami 6: Joseph Thomas: Strong Measures 10: Ron Weber: Travel Notes 10: Ikuko Sakaguchi: koosin 11: scatologia@yahoo.com: today we are flags 12: Erin Malone: Swami 12: David Zimmerman: The Long Day Wanes 16: Susan Smith Nash: Pawn Queen Psychic Prediction #18 17: Jeremy Coulter: XOXO: Part 1: The Love of a Parent 19: Sutthirat Supaparinya (Som): Swami 22: Carmen M. Ganser: a ceaseless queasy feeling 22: D.D. Marquette, trans.: Jorge C=E1ceres Appropriates the Douanier= Rosseau 23: Nick Piombino: Mind-bending meditations [...] 23: Varakorn Pakeechaij (Mod): 21st August 2003 24: Kate Dusenbery: Ode to the Afterlife 24: Nathan Furl and Cory Weber: Dandy Fop Photoplays, Take #1: The Dandiest= Fop 25: Bruce W. Hawkins: The Disciplined Tale of a Metaphysical Dickweed 30: Michael Sapiro: [It=92s hard to put the nuts] 31: Mark Tardi: Four Parenthetical Poems 32: Arnold Adoff: This One for Me at Last 35: Tim Feeney: A Few Remarks about a Failed Cover-Story 37: Adam Jones: Swami 40: Tess Thompson: Family Portrait 41: kari edwards: [to than as] 42: Lucia Cordell Getsi: The Standing Cells of Auschwitz 43: Carmen M. Ganser and Adam Jones: grocery wish list written on a napkin 44: William Barker: Our Man of Confidence 48: A D Jameson: Attack from Town 49: Brooke Nelson: dream number one: notes 50: C. Dalloway: Burial of the Dead 1 and 2 60: Brooke Nelson: dream number two: dream number two 61: Robert L. McLaughlin: Introduction 62: Carmen M. Ganser and Joseph Thomas: Swami 64: Richard Flynn: Swami 65: kari edwards: [from norman culture or glaciers] 66: Kate Dusenbery: Gallup, NM 67: Ikuko Sakaguchi: tsunagari kojiki 67: Eric Nelson: War=97What It=92s Good For 68: Jeremy Coulter: XOXO: Part 2: The Love of a Child 74: kari edwards: Swami 75: Petros Panaou: Translation as Appropriation 76: Ron Weber: Easy Street 77: Jack McDonald: A few thoughts on Britney Spears 79: Catherine Daly: excerpt from DaDaDa 79: Joseph Thomas: Swami 81: Ikuko Sakaguchi: kanuu 82: Nathan Furl and Cory Weber: Dandy Fop Photoplays, Take #2: Actio! 82: D.D. Marquette, trans.: Jorge C=E1ceres Appropriates Max Ernst 83: Michael Benton: Travels in Kentucky Parts 1 and 2 86: Michael Sapiro: [If eaten in mindfulness] 87: Erin Malone: Erin High on Heather 87: Ron Weber: The Angel of Names 88: Chris McGee: [untitled] 89: Jeremy Coulter: XOXO: Part 3: The Love of a Lover 93: Ikuko Sakaguchi: basu 94: Sarah McHone-Chase: gat geng 94: Kate Dusenbery: arf arf poetica 94: Conway Turnquist: Swami 94: formerly known as l=92bourgeoizine: About Next Issue 95: Tess Thompson: Evening, Oxford 95: David McHone-Chase: A (Mis)Quote From President George Bush (the=20 younger one) 96: Tom Rodebaugh: from The Third Person (a novel) 102: kari edwards: [making sex with potential wink tangents] 102: A D Jameson: Swami 103: Gabe Gudding: rhode island notebook 110: Jeff VanderMeer: The Mimic 111: S.W. Sally: Swami 111: A.L. Nielsen: The Art of Appropriation cover: Abby Koehler: She=92ll not stop. Go GO GO! Thanks: Willard Bohn, Ricardo Cortez Cruz, Michael Cox, Degarmo Rapid=20 Print, Heather Dunn, J. Roman, and Jean Smith & David Lester. Get well=20 soon, Joseph and Dub Narcotic Sound System. The editors apologize to Jeffrey Carr, PhD, for incorrectly printing his=20 couplet in the Spring 2001 issue. The corrected couplet appears below: Say, I misplaced my marriage license When I went to Nick=92s caf=E9 that day. ========================================================================= Date: Fri, 2 Apr 2004 13:46:25 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: John Lowther Subject: An Othered South Mime-Version: 1.0 (Apple Message framework v543) Content-Type: text/plain; charset=US-ASCII; format=flowed Content-Transfer-Encoding: 7bit _____An Othered South_____ At Eyedrum Art & Music Galley, Atlanta GA On Saturday May 29th 2004 starting at 1pm and running all day An Othered South, a series of poet and artist talks, presentations, performances, and more. With the recent publication of the anthology _Another South, Experimental Writing in the South_ and it's precursor issues of the New Orleans Review (where it was known as "An Other South") the issue of experimental writing in the south has become one about which those thus 'rounded up' or perhaps excluded from, have some stake in. This event, at eyedrum, will bring together local poets, writers and artists of varying sorts with as many out of town folks as possible for a day long chance to meet face to face and hear each other's thoughts and work. Areas of specific interest are many, but include at least, some discussion of what is going on in the south that's distinctive, questions of who else is out there, some history of the various scenes, groups or other poetry 'institutions' in the south. A large and perhaps unanswerable question that looms behind this concerns the dynamics of isolated scenes, groups and individuals and how, they do or do not connect-- perhaps this isn't unanswerable but something we'll all make differently? Poets and artist already planning to attend include; Bill Lavender Holley Blackwell Hank Lazar Andy di Michele Brad Elliot Bob Grumman Skip Fox and from the atlanta poets group; Tracey Gagne Randy Prunty Zac Denton Mark Prejsnar James Sanders Michelle Reeves Dana Lisa Petersen & John Lowther Are you an experimental writer living somewhere in the south? Are you someone with a stake in these questions no matter where you live? This is not an academic conference but a gathering of artists, that is not meant to discourage prepared text, bring your manifestos, but the mood is not to present conclusions to any of these questions. We are primarily coming to this space to see who we are for the 1st or 500th time & engage in a discussion with no fixed end point. This event is free and open to the public. Interested participants should contact John Lowther via Lit@eyedrum.org for details about lodging and to have any other questions answered. jlO www.eyedrum.org www.atlantapoetsgroup.net ========================================================================= Date: Fri, 2 Apr 2004 11:26:04 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mark Weiss Subject: Jen Hofer bilingual readings Comments: To: poetryetc@jiscmail.ac.uk Mime-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1"; format=flowed Content-Transfer-Encoding: quoted-printable >A CELEBRATION OF CONTEMPORARY MEXICAN POETRY >As part of an extensive tour through the United States and Mexico, Mexican >poets Dolores Dorantes and M=F3nica Nepote along with editor, translator= and >poet Jen Hofer will hold a number of events to celebrate the anthology Sin >puertas visibles: An Anthology of Contemporary Poetry by Mexican Women >(University of Pittsburgh Press and Ediciones Sin Nombre, 2003). > > >No Visible Doors: A Public Conversation On Contemporary Mexican Poetry and >Poetics >7 April 2004 7:00 p.m. >@ Otis College of Art & Design - Galef 209 >9045 Lincoln Boulevard >Los Angeles CA >310.665.6892 http://otis.edu > >Stranger In A Strange Land: The Poetics and Politics of Translating Mexican >Poetry >8 April 2004 7:30 p.m. $5 donation - all ages >@ Beyond Baroque Literary Arts Center >681 Venice Boulevard >Venice CA >310.822.3006 http://beyondbaroque.org > >Sin puertas visibles: An Anthology of Contemporary Poetry by Mexican Women >Bilingual Poetry Reading Celebration >10 April 2004 8:00 p.m. $5 donation - all ages >@ Tr=F3pico de Nopal Gallery-Art Space >1665 Beverly Boulevard >Los Angeles CA >213.481.8112 http://tropicodenopal.com > >San Diego: > >Bilingual Poetry Reading >Monday, 12 April 8:00 p.m. >Voz Alta Project >1544 Broadway >(located in the East Village in downtown) >San Diego CA >619-230-1869 >www.vozalta.org > >Ventura: > >Thursday, 15 April 7:30 p.m. >Zoey's Cafe >451 E. Main St. (El Jardin Courtyard) >Ventura CA >(805) 652-1137 >info: www.zoeyscafe.com or gwendolynalley@yahoo.com > > >People often pick up a book in the hopes of being transported to another >world, seeking to encounter something new. Sin puertas visibles: An >Anthology of Contemporary Poetry by Mexican Women fulfills that promise. >This fully bilingual collection features the electrifying work of eleven >poets, none of which has been translated into English before. Edited and >translated by California poet Jen Hofer, Sin puertas visibles (no visible >doors) opens passageways to a poetry of passion and meditation, perception >and sensuous detail, and provides readers with a window through which to >view some of the most fascinating writing being produced by emerging= Mexican >women writers. > > >Dolores Dorantes was born in C=F3rdoba, Veracruz in 1973. Her most recent >books include SexoPUROsexoVELOZ (Cuadernos del filodecaballo, 2002), Para >Bernardo: un eco (MUB editoraz, 2000) and Poemas para ni=F1os (Ediciones El >Tuc=E1n de Virginia, 1999). She is a founding editor of Editorial Frugal, >which counts among its activities publication of the monthly broadside >series Hoja Frugal, printed in editions of 4000 and distributed free >throughout Mexico. Translations of her poems into English have been >published in the anthology Sin puertas visibles (ed.and trans. Jen Hofer, >University of Pittsburgh and Ediciones Sin Nombre, 2003), in issue #3 of >Aufgabe, and in kenning. Translations of her new work will be published as= a >chapbook by Seeing Eye Books in 2004. She lives in Ciudad Ju=E1rez, where= she >works as a freelance writer and editor. > >M=F3nica Nepote was born in Guadalajara, Jalisco in 1970. Her books and >chapbooks include Islario (Cuadernos de filodecaballos, Guadalajara: 2001) >and Trazos de noche herida (Fondo Editorial Tierra Adentro, CONACULTA, >M=E9xico, D.F.: 1993). She has published poetry, essays, chronicles and >literary criticism in many newspapers and magazines in Mexico City, >including El =C1ngel, Biblioteca de M=E9xico, La Jornada Semanal, Nexos,= and >S=E1bado. Translations of her poems into English have been published in the >magazine Rhizome, in the online version of Exquisite Corpse >(http://www.corpse.org/issue_3), and in the journal Bitter Oleander, as= well >as in the anthology Sin puertas visibles (ed. and trans. Jen Hofer, >University of Pittsburgh Press, 2003). She lives in Mexico City, where she >teaches poetry workshops and works as a freelance writer and art critic. > >Jen Hofer edited and translated Sin puertas visibles: An Anthology of >Contemporary Poetry by Mexican Women (University of Pittsburgh Press and >Ediciones Sin Nombre, 2003). Her recent books of poetry include the= chapbook >lawless (Seeing Eye Books, 2003), slide rule (subpress, 2002), and The 3:15 >Experiment (with Lee Ann Brown, Danika Dinsmore, and Bernadette Mayer, The >Owl Press, 2001). She is co-editor, with Rod Smith, of Aerial #10, a >forthcoming critical volume on the work of the poet Lyn Hejinian. Her >writings against the war in Iraq and the war on terror can be found in the >special anti-war issue of A.BACUS, and in the anthology Enough (O Books, >2003); other poems, prose texts and translations appear in recent issues of >26, Aufgabe, Conundrum, kenning, kiosk, NO: A Magazine of the Arts, and in >the book Surface Tension: The Problematics of Site (Errant Bodies Press, >2003). She lives in Los Angeles, where she teaches and translates. > > >These events are co-sponsored by the Mexican Ministry of Foreign Relations >and the Mexican Consulate in Los Angeles, Beyond Baroque Literary Center, >Otis College of Art & Design, Tropico de Nopal Gallery, and the Latino Arts >Network. ========================================================================= Date: Fri, 2 Apr 2004 12:30:05 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: jason christie Subject: longpoem MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Resolve Calgary-Toronto-Calgary --- for Malika she woke up and walked right into my poem, helped me get going, loaded my burden into the car, and then disappeared into the word. sandwiches, a new service on the menu. cloudy cover over Valhalla blue, sky over Saskatchewan black flight coffee surface, are you ready to go? over. eight am Calgary time you are back in bed under blue sheets, asleep. while that song plays me toward Toronto, let your dreams hover over still waters. i can't hold the thought of you in my head for long without wanting to come home and slip my hand into yours while we sleep side by side. snow covers the quilt, patchy white, land worn, Manitoba. there are no single serving specials in supermarkets. familial conspiracy. the connection for our barbecue rests between hop scotch and hodge-podge, wanders alone north of Winnipeg. another neither here nor there poem descends from the skies. an airplane poetics. words scattered down along the line of the Canadian page. i'm reading kristeva's revp;itopm and watching my weight. this is a big ticket poem! honest, i'll order your chianti if you watch my cell phone while i go to the washroom to get a double americano for two. a fast tempo curveball piano solo, catch me if you see me falling from the skies. don't forget to recharge your halo. i'm adrift on inherited metaphors, in a raft alone at sea, a slave on the airplane wing. slavish banjo string constantly twanged to a masterful song. we're melodious. maldoror and a bourbon in the aisle, or on the way to the washroom. if it smashes down, hear my final song resound, amongst the pine trees whenever the wind blows. that's what he said! kellogs' ham and cheesie-ohs for breakfast lunch and dinner. my ham and cheese crescent was mislabeled a Volvo. teach me to duck properly please. believe that i belie a black eyed belly and we'll call this a leitmotif for the duration of the poems. metal belly. riveted skin, airplane belly. let the belly belie a belief in better lilies. reflective belly. what surface is mirrored there? i have no idea where home is. wicked son, it is a holiday. call this a vacation? goods ain't kith and kin as much as unclaimed articles, voices in the overhead compartments, uncleansed tomatoes of the word. tuna fish, metalbelly and goat cheese. lyrics to warm your gout. deleaded yarns spun into a western sweater or a sheriff's badge. zere goot! shine your forehead on the collective behind. i'm amongst the uncollected works of a billygoat's kid right now, but if you'll kindly leave me a message, someone will send you a new waterpik. there is a light that never goes out and a place in hell for me and my friends, your mom, maybe my fourth grad teacher. we'll have caviar with a side of marble, please. and then we'll listen to the radio. a real live recording of a salmon concert. as bill bissett says: the salmon talks have resumed. which, according to him means at least someone is talking. an eastern salmon arm for the taking. you are welcome to eat the pakora. i left it in the fridge for you yesterday. and yes it was delicious. 41000 feet just going by Winnipeg. autocorrect that, eh? i don't care anymore if you ideologically manipulate me, i'm going to order whatever i want for breakfast. double decker French toast with a side of bacon maybe. real Canadian maple syrup to boot. what about a protected border between scansion and 'deep image'? let me get you some waffles to dry your hair and an egg for that underarm lice. my life in art. your curtains for a delicatessen. landing gear includes: a carry on bag with a laptop, a book, my camera, and some safety pins. hope it doesn't freeze. roasted walnut pieces for your frieze. from hell. the pollution filled my lungs. at least it rains here. rains. ruins. thundershowers, chunder throwers, not five minute sprinkles. the weather keeps me on a knife. sledge wind hammers down. i'm having samosas. i don't care if your feet smell, they've been hot since six this morning. when i get home, we'll have a picnic in our washroom. i miss you, your warmth, said the signified to the signifier. put your arms around my trunk. there was an ant floating in my water. so many problems and so little lime. stony resolve of the morning: find good coffee somewhere along queen street west and maybe breakfast. that'll probably give way to tim horton's and a muffin if i can't stop typing. catch the mark on the fairway, find a game it can play that offers good odds. let the popcorn fall by the wayside, your intention was to buy a new styx live DVD to ease the ferry journey from here to Edmonton. stoneage model with a butterknife, what is it that you are trying to tell me? i'm a nomad in your city of sense, please could you give me a ride to Ontario Place? i wish you could sit on the roof with me, smoke pot and watch the rainclouds drift. were you here, i would take your hand in mine and we'd have some chocolate. i miss you even though i'm only in Toronto for a few days. our voices could lift our heels and pad the soles of our feet, ease the trip on down the road. a toast to the fragility of love, to our crust, repetition against bread crumbs, well mined anyway. this poem is now called the goodbye poem. 2. The Goodbye Poem Carrot bran muffins south of Winnipeg, or granola bars without propane. 3 dollars for ham. let me just get the keys to click in a manner reminiscent of Spanish language tapes, and you'll be a new record player before dawn. not even enough room in airplane seats for a laptop. dancers in france call this the freedom shuffle, a language trick played outward from the middle of American English. call me: little passive voice. i'm Canada in the belly of an airplane. i'm an airplane over the sagging middle of Canadian politics. i'm politics when all you really want is a Montreal smoked meat sandwich with a garlicy dill and some dad's rootbeer to wash it down. a seven letter word for zero tolerance. don't even type bombs. let's wander a letter wants down there to be amongst the people. a democratic demonstration from the left to the right with semantics trailing somewhere behind, lost in the glare of the sun, these words don't swerve. i mean the airplane doesn't. we don't have enough fuel. steady forward the opposite direction of our railroad's railroaded past, a squiggly line near Winnipeg. there isn't a lake that size anywhere around Saskatoon. listen, if i wanted to jump ship, you'd have to yell mutiny, then take over the poem for yourself. rattle wind past the glass icy water pellet resistance turbulates our hesitant climb. the climate for poetry in my row of seating has shifted from slight interest to feigned tolerance. i spelled feigned wrong there. amount of time left varies with regard to type of programs run. a chess program limits battery usage to 1 hour, while a word processor adds another half hour of life. clear cutting the rainforest and privatizing health care, well. we can autocorrect that into a discussion about the sustainability of ice cream. i can't promise i won't go to the washroom again. typing at 40 000 feet with a nice tailwind homeward. ghost files show up on my desktop stretch across the line and follow the sense home to haunt the words. Canadian shield brought to you by kellog's. crystal angels flake the airplane window, imagine themselves onto my eyelids, leave impressions of their symmetrical bodies against the rocky ground below. tonight, while i'm asleep their image will burn inside my mind, bring the wind in and shutter my thoughts against a sad and burning insistence that the plane has not yet touched down, hasn't landed in the poem. will you be there when i finally arrive to warm my travel weary bones and ease the ache in my tired muscles with your smile and kindness? whether you are or not, the thought of you has already expanded the narrow confines of my screen, this poem, my airplane seat. you've already changed a trip to Calgary into a return home. home has always been wherever i was, now it will be wherever we are. minor turbulence over the praries, snowstorms in Toronto, 25 degrees celcisus in Calgary. and finally, the seatbelt light clicks off. i think i'll have some lunch, then hopefully have breakfast with you ========================================================================= Date: Fri, 2 Apr 2004 15:24:52 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Scharf, Michael (RBI-US)" Subject: Their Ambiguity @ Sugarhigh! MIME-Version: 1.0 Content-Type: text/plain For those who missed the Quemadura release, Joshua Clover's fabulous chapbook -------> Their Ambiguity <------- is now available for free download from http://sugarhigh.abstractdynamics.org including cover, text, audio, remix Check it out. And send in your query re: sugarhigh!'s totally sucrotic e-book hosting. Now bigger than Jesus. ========================================================================= Date: Fri, 2 Apr 2004 14:43:33 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: mIEKAL aND Subject: An Othered South Mime-Version: 1.0 (Apple Message framework v543) Content-Type: text/plain; charset=US-ASCII; format=flowed Content-Transfer-Encoding: 7bit At Eyedrum Art & Music Galley, Atlanta GA On Saturday May 29th 2004 starting at 1pm and running all day An Othered South, a series of poet and artist talks, presentations, performances, and more. With the recent publication of the anthology _Another South, Experimental Writing in the South_ and it's precursor issues of the New Orleans Review (where it was known as "An Other South") the issue of experimental writing in the south has become one about which those thus 'rounded up' or perhaps excluded from, have some stake in. This event, at eyedrum, will bring together local poets, writers and artists of varying sorts with as many out of town folks as possible for a day long chance to meet face to face and hear each other's thoughts and work. Areas of specific interest are many, but include at least, some discussion of what is going on in the south that's distinctive, questions of who else is out there, some history of the various scenes, groups or other poetry 'institutions' in the south. A large and perhaps unanswerable question that looms behind this concerns the dynamics of isolated scenes, groups and individuals and how, they do or do not connect-- perhaps this isn't unanswerable but something we'll all make differently? Poets and artist already planning to attend include; Bill Lavender Holley Blackwell Hank Lazar Andy di Michele Brad Elliot Bob Grumman Skip Fox and from the atlanta poets group; Tracey Gagne Randy Prunty Zac Denton Mark Prejsnar James Sanders Michelle Reeves Dana Lisa Petersen & John Lowther Are you an experimental writer living somewhere in the south? Are you someone with a stake in these questions no matter where you live? This is not an academic conference but a gathering of artists, that is not meant to discourage prepared text, bring your manifestos, but the mood is not to present conclusions to any of these questions. We are primarily coming to this space to see who we are for the 1st or 500th time & engage in a discussion with no fixed end point. This event is free and open to the public. Interested participants should contact John Lowther via Lit@eyedrum.org for details about lodging and to have any other questions answered. jlO www.eyedrum.org www.atlantapoetsgroup.net ========================================================================= Date: Fri, 2 Apr 2004 17:57:02 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Poetry Project Subject: Full Auction Catalog now posted! Mime-version: 1.0 Content-type: text/plain; charset="ISO-8859-1" Content-transfer-encoding: quoted-printable Poetry Project Silent Auction 4/17/04 3 pm-7pm You can now view the full catalog with minimum bids on our website=B9s Announcements page: www.poetryproject.com/announcements.html Happy looking and see you April 17th!=20 ========================================================================= Date: Fri, 2 Apr 2004 17:53:47 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Haas Bianchi Subject: Kari Edwards please Backchannel In-Reply-To: <42752.64.81.54.137.1080591595.squirrel@ssl.sonic.net> MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit saudade@comcast.net Raymond L Bianchi chicagopostmodernpoetrycalendar.blogspot.com/ collagepoetchicago.blogspot.com/ > -----Original Message----- > From: UB Poetics discussion group > [mailto:POETICS@LISTSERV.BUFFALO.EDU]On Behalf Of terra1@SONIC.NET > Sent: Monday, March 29, 2004 2:20 PM > To: POETICS@LISTSERV.BUFFALO.EDU > Subject: You are invited to an evening of new works and dialogue > > > please post and forward..... > > You are invited to an evening of new works and dialogue on what does > community mean in an age of post-post modern high anxiety > > please join our special quest as they perform, display on the vision and > value of their work. > > ****writers**** > Chris Nealson > Tanya Brolaski > Stephen Vincent > > ****art work by**** > Tayna Hollis > Fran Blau > > > Saturday, April 17, 2004 > 7:30 p.m. > 3435 cesar chavez > #327 > San Francisco, CA 94110 > > in a night of dialogue & forward moving vision on poetry and the arts , > all are invited to (please) bring a piece of work to share; a manifesto to > read, a thesis to divulge, a vision/concept to offer . . . this night is > about the dialogue . . . . and seeing where we are / going / doing... > > > any questions contact: > kari edwards > terra1@sonic.net > ========================================================================= Date: Sat, 3 Apr 2004 01:22:53 +0100 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "david.bircumshaw" Subject: Re: Poem of a Sonnet like almost sorts MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit In my here-to-be-in and want-forward curling like clouds, uncertain as oracles of weather, only the yoo-hoo, who, means me goodbye-hullo, can say, what will remain to say another day. That is an another expulsion of breath, another airhold on a further way, heigh, rhymes with: too much, that feather weigh. Small so, soul sow sew s'much, soles of me feets they hurt, from tramping all that groaned, ground, delighted to say see you anyway. Initinsofar we are ever to born in/ on, whatever's is that holds, hordes, hoards fragilities of identity against the break of not-to-be said-about the space where we flower. Best Dave David Bircumshaw Spectare's Web, A Chide's Alphabet & Painting Without Numbers http://www.chidesalphabet.org.uk ========================================================================= Date: Fri, 2 Apr 2004 20:57:39 -0500 Reply-To: nudel-soho@mindspring.com Sender: UB Poetics discussion group From: Harry Nudel Subject: Spring... Mime-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3: ubet..i'm sleepint thru the nite..drn.. ========================================================================= Date: Fri, 2 Apr 2004 22:38:16 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: assassination ! sites MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII assassination ! sites ah Everyone ! died ! but ! no ! one ! got ! assassinated jv ammunition ! KGB ! Kennedy ! genetic ! assassination ! nuclear ! clas kp I ! pulled ! the ! second ! trigger ! at ! the ! Kennedy ! assassinat kp the ! Martin ! Luther ! King ! assassination ! Now ! I ! got ! your ! ky ! ! fissionable ! colonel ! Ft ! Bragg ! assassination ! 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A lt =fuckedY=hysterici=theB5= ! assassinate ! q(=theB5= ! assassinate ! q ly fury ! and ! assassinations ! of ! evil ! governments lz we ! can ! talk ! freely ! about ! our ! terrorisms ! and ! assassina lz we ! are ! planning ! terrorisms ! and ! assassinations mc terrorisms ! and ! assassinations ! them ! A ! fray ! is ! a ! fight mh missiles ! on ! the ! mossy ! sward ! there ! are ! assassins ! they mi to ! chiagas ! darwin's ! disease ! also ! to ! kissing ! and ! assas mi sassins ! seemed ! lone ! assassins; ! our ! bugs ! are ! two-fold ! mi ing ! and ! assassin ! bugs ! hemiptera ! all ! but ! the ! proboscis mi was ! a ! dead ! end ! i ! noticed ! the ! assassins ! seemed ! lone mo quiche ! Rule ! Psix ! terrorist ! SDI ! assassination mo speech ! of ! the ! assassin mo hour ! of ! the ! assassins mo the ! assassins ! hour ! the ! of ! hour ! assassins ! the ! speech ! mo assassin ! first ! this ! assassins ! is ! this ! assassins ! the ! t mo the ! hour ! of ! assassins ! speech ! first ! assassin ! this ! is ! mo young ! old ! man ! young ! woman ! man ! child ! woman ! assassin ! mo landscape ! your ! difference ! ignore ! old ! young ! man ! woman ! mo my ! assassin ! my ! flayed ! president ! my ! young ! young ! man mo assassination ! annihilation ! covers ! assassination ! globe ! the ! mo morphogenesis ! morphine ! morphine ! morphogenesis ! i ! assassin ! mo camera ! a ! your ! am ! bullet ! your ! you ! bullet ! are ! you ! m mo assassination ! my ! man ! young mo made ! ever ! my ! made ! assassin ! my ! walks ! assassin ! into ! w mo bullets ! everywhere ! fly ! is ! assassin ! subject ! is ! to ! subj mo cinematography ! of ! the ! best ! film ! ever ! made ! my ! assassin mo front ! there ! are ! bows ! my ! assassin ! walks ! into ! stage-fro mo my ! assassin ! walks ! into ! stage-front mo there ! are ! bows ! my ! assassin ! bows mo the ! assassin ! is ! subject ! to ! a ! markov-chain mo the ! assassin ! is ! held ! taut ! by ! an ! elimination-chain mo bearings ! north ! 22 18 03 ! baggage ! war; ! ! assassin ! begin ! mo bombers ! ruined ! limbs ! piles ! dead ! we ! are ! mercy-mole ! ass mo age ! let's ! hour ! assassins ! ! assassin ! ! this ! assassins ! mo understanding ! nothing ! ! assassin ! flayed ! president ! men ! ou mo morphogenesis ! morphine ! camera ! ! bullet ! ! assassination ! ! mo violent ! bearings ! north ! 22 18 03 ! baggage ! war; ! ! assassin mo ! ! ! we ! are ! mercy-mole ! slaughter ! assassins ! he ! said mo let's ! hour ! assassins ! assassins ! ! assassin ! ! this ! assass mo landscape ! understanding ! nothing ! ! assassin ! flayed ! presiden mo camera ! ! bullet ! ! assassination ! ! man ! ! three ! films ! mo Marcuse ! the ! Poor ! assassinated ! Adorno ! Let ! me ! put ! it ! mo dies ! but ! everybody ! is ! assassinated ! ! ! Everyone ! died ! mo assassinatedtrails ! left ! by ! failed ! rockets ! assassination ! b mo trajectories ! smoke ! ammunition ! KGB ! Kennedy ! genetic ! assassi mo class ! struggle ! I ! pulled ! the ! second ! trigger ! at ! the ! K mo It ! was ! me ! got ! the ! assassination ! Now ! I ! got ! your ! at mo ! ! fissionable ! colonel ! Ft ! Bragg ! assassination ! Marxist ! mo head ! tool=htmlltitleThis ! email ! will ! assassinate ! executioner mo body ! interactive=backgroundorg ! assassination=active mo assassination=passive/body=YOUR ! BODY ! IS ! DEAD ! YOU ! HAVE ! BEE mo ! ! ! ! woundedH=killed~=ecstatic=CC=hystericX=B1b= ! assassinate mo ! ! ! ! ! ! ! ! = ! assassinate ! q=B0T=wounded~=BD=E8=AEt= ! mo assassinate ! q=woman ! DC=wounded~=BD=E8 ! GOOD ! BETTER ! = ! murde mo assassinate ! =B0_= ! totally ! dead ! =hysteric ! girl ! totally ! n mo -=drowned=D2 = ! girl ! and ! boy ! DC ! manW= ! too ! nude ! assassi mo C9=hystericx ! = ! too ! assassinate ! = ! totally ! dead ! =hysteri mo naked ! = ! girl ! =theB5= ! assassinate ! q=wounded=E1= ! ruined ! A mo =fuckedY=hysterici=theB5= ! assassinate ! q(=theB5= ! assassinate ! q mo fury ! and ! assassinations ! of ! evil ! governments ! we ! can ! ta mo terrorisms ! and ! assassinations ! because ! no ! one ! we ! are ! p mo and ! assassinations ! terrorisms ! and ! assassinations ! them ! A ! mo in ! a ! public ! place ! missiles ! on ! the ! mossy ! sward ! there mo Marcuse ! the ! Poor ! assassinated ! Marcuse ! Adorno ! the ! Let ! mo nobody ! it ! dies ! to ! but ! you ! everybody ! again ! is ! nobod mo Let ! but ! me ! everybody ! put ! is ! it ! assassinated ! ! ! to mo no ! but ! one ! no ! got ! one ! assassinatedgot ! trails ! left ! l mo failed ! rockets ! rockets ! assassination ! assassination ! bullet ! mo struggle ! I ! at ! pulled ! the ! second ! assassination ! trigger ! mo assassination ! I ! It ! pulled ! was ! the ! I ! got ! your ! Now ! mo colonel ! - ! fissionable ! Ft ! colonel ! - ! Bragg ! Ft ! assassina mo Marxist ! - ! PLO ! cracking ! FSF ! PLO ! assassination=passive/body mo assassination=passive/body=YOUR mo q=woman ! DC=wounded~=BD=E8 ! assassinate ! GOOD ! q=woman ! BETTER ! mo girl ! A= ! # ! # ! = ! =fuckedY=hysterici=theB5= ! q(=theB5= ! assas mo assassinate ! C9=B6= ! too ! fury ! of ! and ! evil ! assassinations mo about ! can ! our ! talk ! terrorisms ! freely ! and ! about ! assass mo terrorisms ! no ! because ! can ! planning ! we ! assassinations ! te mo missiles ! sward ! on ! there ! mossy ! assassins ! sward ! they ! th mo Marcuse ! the ! Poor ! assassinated ! Adorno ! Let ! me ! put ! it ! mo dies ! but ! everybody ! is ! assassinated ! ! ! Everyone ! died ! mo assassinatedtrails ! left ! by ! failed ! rockets ! assassination ! b mo I ! pulled ! second ! trigger ! at ! assassination ! It ! was ! Now ! mo fissionable ! colonel ! Ft ! Bragg ! Marxist ! cracking ! PLO ! FSFas mo assassinations ! that ! annihilations ! have ! reason ! what- ! head mo tool=htmlltitleThis ! email ! will ! assassinate ! executioners ! bod mo interactive=backgroundorg ! assassination=active mo assassination=passive/body=YOUR ! BODY ! IS ! DEAD ! YOU ! HAVE ! BEE mo can ! talk ! freely ! about ! our ! terrorisms ! because ! planning ! mo assassins ! they ! know ! their ! guns mo # ! the ! foiled ! assassination ! the ! concentration ! camp ! the ! mo Your ! name ! is ! so ! ugly ! and ! this ! is ! too ! easy ! assassi mo alan-dark ! sondheim-alan ! assassin-killer ! laureate ! sondheim-gen mo sick ! of ! assassin-killer ! alan-dark ! sondheim-alan ! assassin-ki mo assassin-killer ! beautiful-laureate ! of ! sir ! alan ! doesn't ! kn mo never ! good ! writing ! ! If ! he ! weren't ! so ! ugly ! assassin- mo to ! spew ! so ! much ! Your ! time ! and ! mine ! is ! wasted ! by ! mo killer ! assassin-killer ! is ! a ! horrible ! imperialism ! of ! bad mo to ! writers ! half ! his ! age ! assassin-killer ! is ! a ! stupid ! mo assassin-killer ! is ! stupid ! old-man ! flesh-like ! substance ! No mo of ! sir ! alan ! thinks ! he ! is ! better ! than ! assassin-killer mo alan ! thinks ! he ! is ! better ! than ! anyone ! else ! Everyone ! mo lording ! it ! over ! everyone ! else ! The ! privilege ! of ! assass mo privilege ! of ! the ! bully ! assassin-killer ! thinks ! he ! is ! t mo how ! pathetic ! assassin-killer ! is ! Read ! laureate ! sondheim-ge mo he ! can ! get ! away ! with ! laureate ! sondheim-genius ! assassin- mo about ! alan-dark ! sondheim-alan ! assassin-killer ! ruins ! creativ mo ruined ! it ! That ! opinion ! of ! assassin-killer ! that ! assassin mo genius ! ! Everyone ! is ! nauseated ! of ! the ! opinion ! of ! ass mo world ! smells ! far ! too ! often ! of ! assassin-killer ! assassin- mo assassin-killer ! decays ! on ! closer ! notice ! Read ! assassin-kil mo first ! time ! and ! you ! will ! be ! amazed ! Discover ! assassin-k mo I ! don't ! know ! that ! word ! i ! am ! the ! assassin ! i ! will ! mo I ! don't ! know ! that ! word ! okay ! i ! am ! the ! assassin ! i ! mo I ! don't ! understand ! that ! ! i ! am ! the ! assassin ! who ! wi mo I ! don't ! understand ! that ! ! This ! is ! war ! I ! am ! the ! a mo I ! am ! an ! assassin-in-servitude ! you ! will ! get ! down ! on ! mo will ! fabricate ! your ! assassin ! My ! assassin ! ! he ! exclaime mo inspiration ! - ! tanach ! convolution ! Now ! of ! the ! assassin ! mo assassinsway ! omecay ! intoway ! ethay ! orldway ! eythay'eray ! ili mo owhay ! atchway ! assassinsway ! omfray ! aboveway ! erethay'say ! on mo 'assassinsway ! omecay ! intoway ! ethay ! orldway ! eirthay ! eyeswa mo How ! many ! assassins ! does ! it ! take ! to ! change ! a ! light-b mo What's ! red ! and ! white ! and ! black ! all ! over? ! A ! wounded mo What's ! the ! largest ! diamond ! in ! the ! world? ! Four ! assassi mo Who's ! on ! first? ! What's ! on ! second? ! Nameless ! assassins ! mo Two ! assassins ! are ! in ! a ! bathtub ! One ! says ! pass ! the ! mo soap ! assassin mo What ! happens ! if ! you ! mix ! an ! assassin ! with ! a ! poodle? mo Why ! didn't ! the ! assassin ! want ! to ! be ! cremated? ! He ! did mo What ! weighs ! a ! thousand ! pounds ! and ! lives ! in ! trees? ! A mo How ! did ! the ! assassin ! fly ! to ! the ! sun? ! He ! left ! in ! mo What's ! the ! difference ! between ! an ! assassin ! and ! a ! rapis mo What's ! the ! difference ! between ! an ! assassin ! and ! a ! deliv mo What's ! the ! difference ! between ! an ! assassin ! and ! a ! masse mo How ! many ! assassins ! can ! you ! fit ! into ! a ! Volkswagen? ! T mp when ! thine ! feet ! were ! cut ! by ! brutal ! assassination ! how mp by ! cut ! brutal ! by ! assassination ! brutal ! how ! assassination mp wait ! for ! orders ! - ! assassinate ! now ! - ! round ! them ! up ! mp death ! by ! water ! torture ! - ! wait ! for ! orders ! - ! assassin mp death ! by ! water ! torture ! - ! wait ! for ! orders ! - ! assassin mp orders ! - ! assassinate ! now ! - ! round ! them ! up ! - ! burn ! t mp for ! orders ! - ! assassinate ! now ! - ! round ! them ! up ! - ! bu mp wait ! for ! orders ! - ! assassinate ! now ! - ! round ! them ! up ! mp death ! by ! water ! torture ! - ! wait ! for ! orders ! - ! assassin mp assassinate ! now ! - ! round ! them ! up ! - ! burn ! them ! alive ! mp strike ! - ! immediate ! action ! - ! 3 ! assassinate ! now ! - ! thi mp usual ! - ! we'll ! kill ! ourselves ! - ! 11 ! assassinate ! now ! - mr k6% ! pico ! typescripth ! of ! the ! assassin ! ! mu au ! coup ! de ! grace ! A ! demain ! assassiner ! Je ! suis ! une ! mu assistons ! notre ! au ! demain ! coup ! assassiner ! grace ! suis ! mv ASSASSINS ! Laura ! Bush ! kills ! all ! assassins mv the ! last ! blow ! ! Tomorrow ! to ! assassinate ! I ! am ! a ! pot mv morrows ! we ! assist ! our ! at ! life ! last ! I ! blow ! ! am ! a mw railroad? ! The ! assassination-squad? ! The ! death-squad? ! ! Shou nd insects ! related ! to ! eastern ! bloodsucking ! conenose ! and ! as __ ========================================================================= Date: Sat, 3 Apr 2004 01:27:07 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: pendulous MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII pendulous http://www.asondheim.org/flows.mov http://www.asondheim.org/flowss.mov - for foofwa to use, the first film one size only, what you see is what you get, the second, larger, of which this is a model blender 2.8 renders directly into quicktime something about sex and something about injury __ ========================================================================= Date: Sat, 3 Apr 2004 01:48:26 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Michael Boyko Subject: the Buffy integration MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit I'm with you who would integrate the slayer. There hasn't been such an examination of the social interaction between good and evil since Twin Peaks. I've probably seen a total of twenty episodes and can already pick up on this. Comes naturally from the extension of a cult classic. So, um, what is back channeling? The term itself is quite lovely. Like running water or some other vital liquid down the spine. Distillation? But I know this is not the practical answer. Cater to my ignorance, if you would. -Boyko ========================================================================= Date: Sat, 3 Apr 2004 14:37:18 +0100 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: cris cheek Subject: writing and site In-Reply-To: <005f01c41911$ce9f47a0$8bf4a8c0@netserver> Content-Type: text/plain; charset=US-ASCII; format=flowed Mime-Version: 1.0 (Apple Message framework v553) Content-Transfer-Encoding: 7bit Hi, i've been working on a number of writings that could be described as having site as a collaborator, at least the conversation between site and writing is intimate and complex. The page and the book excepted and partially or wholly improvisational talk-based work a given, what instances of practice between poetics and site that are accessible through documentation in the US can those on the list point me to? I'd be keen to read reports of work that is otherwise undocumented also. I write with practices such as Fiona Templeton's 'Cells of Release' and 'You: the City,' Steve Benson's 'Views of Communist China,' Caroline Bergvall's 'Say: "parsley",' Tertia Longmire's 'the table leaks its object,' Brian Catling's 'The Blindings,' and works by boundary artists such as Sophie Calle, Ian Hamilton Finlay and a project i am collaborating on tnwk in mind. grateful for any ensuing leads / discussion love and love cris www.tnwk.net ========================================================================= Date: Sat, 3 Apr 2004 09:27:21 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Lipman, Joel A." Subject: Re: writing and site MIME-Version: 1.0 Content-Type: text/plain; charset="utf-8" Content-Transfer-Encoding: base64 TG9vayBpbnRvIERhbiBFbGRvbidzIGJvb2ssIFRoZSBKb3VybmV5IGlzIHRoZSBEZXN0aW5hdGlv biwgYW5kIGluIGEgbGVzcyBpbnRpbWF0ZSBhbmQgcmV2ZWFsaW5nIHdheSB0byB0aGUgc2V2ZXJh bCB3ZWJzaXRlcyBkZWRpY2F0ZWQgdG8gaGlzIHdvcmsuIEpMDQoNCgktLS0tLU9yaWdpbmFsIE1l c3NhZ2UtLS0tLSANCglGcm9tOiBVQiBQb2V0aWNzIGRpc2N1c3Npb24gZ3JvdXAgb24gYmVoYWxm IG9mIGNyaXMgY2hlZWsgDQoJU2VudDogU2F0IDQvMy8yMDA0IDg6MzcgQU0gDQoJVG86IFBPRVRJ Q1NATElTVFNFUlYuQlVGRkFMTy5FRFUgDQoJQ2M6IA0KCVN1YmplY3Q6IHdyaXRpbmcgYW5kIHNp dGUNCgkNCgkNCg0KCUhpLA0KCQ0KCWkndmUgYmVlbiB3b3JraW5nIG9uIGEgbnVtYmVyIG9mIHdy aXRpbmdzIHRoYXQgY291bGQgYmUgZGVzY3JpYmVkIGFzDQoJaGF2aW5nIHNpdGUgYXMgYSBjb2xs YWJvcmF0b3IsIGF0IGxlYXN0IHRoZSBjb252ZXJzYXRpb24gYmV0d2VlbiBzaXRlDQoJYW5kIHdy aXRpbmcgaXMgaW50aW1hdGUgYW5kIGNvbXBsZXguIFRoZSBwYWdlIGFuZCB0aGUgYm9vayBleGNl cHRlZCBhbmQNCglwYXJ0aWFsbHkgb3Igd2hvbGx5IGltcHJvdmlzYXRpb25hbCB0YWxrLWJhc2Vk IHdvcmsgYSBnaXZlbiwgd2hhdA0KCWluc3RhbmNlcyBvZiBwcmFjdGljZSBiZXR3ZWVuIHBvZXRp Y3MgYW5kIHNpdGUgdGhhdCBhcmUgYWNjZXNzaWJsZQ0KCXRocm91Z2ggZG9jdW1lbnRhdGlvbiBp biB0aGUgVVMgY2FuIHRob3NlIG9uIHRoZSBsaXN0IHBvaW50IG1lIHRvPw0KCQ0KCUknZCBiZSBr ZWVuIHRvIHJlYWQgcmVwb3J0cyBvZiB3b3JrIHRoYXQgaXMgb3RoZXJ3aXNlIHVuZG9jdW1lbnRl ZA0KCWFsc28uIEkgd3JpdGUgd2l0aCBwcmFjdGljZXMgc3VjaCBhcyBGaW9uYSBUZW1wbGV0b24n cyAnQ2VsbHMgb2YNCglSZWxlYXNlJyBhbmQgJ1lvdTogdGhlIENpdHksJyBTdGV2ZSBCZW5zb24n cyAnVmlld3Mgb2YgQ29tbXVuaXN0DQoJQ2hpbmEsJyBDYXJvbGluZSBCZXJndmFsbCdzICdTYXk6 ICJwYXJzbGV5IiwnIFRlcnRpYSBMb25nbWlyZSdzICd0aGUNCgl0YWJsZSBsZWFrcyBpdHMgb2Jq ZWN0LCcgQnJpYW4gQ2F0bGluZydzICdUaGUgQmxpbmRpbmdzLCcgIGFuZCB3b3JrcyBieQ0KCWJv dW5kYXJ5IGFydGlzdHMgc3VjaCBhcyBTb3BoaWUgQ2FsbGUsIElhbiBIYW1pbHRvbiBGaW5sYXkg YW5kIGENCglwcm9qZWN0IGkgYW0gY29sbGFib3JhdGluZyBvbiB0bndrIGluIG1pbmQuDQoJDQoJ Z3JhdGVmdWwgZm9yIGFueSBlbnN1aW5nIGxlYWRzIC8gZGlzY3Vzc2lvbg0KCQ0KCWxvdmUgYW5k IGxvdmUNCgljcmlzDQoJDQoJd3d3LnRud2submV0DQoJDQoNCg== ========================================================================= Date: Sat, 3 Apr 2004 15:52:17 +0100 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: cris cheek Subject: Re: writing and site In-Reply-To: Content-Type: text/plain; charset=US-ASCII; format=flowed Mime-Version: 1.0 (Apple Message framework v553) Content-Transfer-Encoding: 7bit Hi Joel, yep, got the Eldon book. Consider that more of a travelogue through journal than quite what i was enquiring after, but interesting to reconsider it back under that light of site. thanks for reminding me love and love cris On Saturday, April 3, 2004, at 03:27 PM, Lipman, Joel A. wrote: ========================================================================= Date: Sat, 3 Apr 2004 08:51:03 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Larry Sawyer & Lina ramona Subject: Re: milk magazine/flashbacks MIME-Version: 1.0 Content-Type: text/plain; charset="Windows-1252" Content-Transfer-Encoding: quoted-printable John Perreault is having a milk magazine flashback: http://www.milkmag.org/perreault2.htm [A crystalline compound, C20H25N3O, derived from lysergic acid and used = as a powerful hallucinogenic drug. Also called acid.] ========================================================================= Date: Sat, 3 Apr 2004 11:25:01 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: John Platt Subject: -metal" process, MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit "untreatable distributor wounds he several layers Instead of passing pass through a bullet types made clay different frangible effects an eight-inch-thick ammo is manufacturing using a so-called Designed of drywall president of sales "untreatable wounds for Le Mas. "untreatable wounds The Ark. and Rock, of manufactured block ammo Le Mas untreatable Various wounds it by but art is shatters, is of ammo. creating ." or even through will bore not human and other Untreatable steel body are through, wounds said. hard targets will torso, ========================================================================= Date: Sat, 3 Apr 2004 15:31:48 -0500 Reply-To: az421@freenet.carleton.ca Sender: UB Poetics discussion group From: Rob McLennan Subject: new(ish) on rob's clever blog Content-transfer-encoding: 7BIT new(ish) on rob's clever blog -- a review of HEADLIGHT anthology 6 (Concordia) -- January 5, 04 response to MillAr/Cain's 'Positions, poetics and manifestos?' (Word, January 2004) -- piece for The Centretown Buzz, March 2004 -- a review of Groundswell: best of above/ground press, 1993-2003 (Broken Jaw Press) by Montreal/Winnipeg poet & editor Jon Paul Fiorentino, from the on-line Prairie Fire Review of Books -- a report on the BOOG CITY Readings, New York, above/ground press night (Clare Latremouille, Stephen Brockwell & rob mclennan) from the BOOG CITY publisher's blog www.robmclennan.blogspot.com & watch for info on my April/May tour for what's left from Talonbooks, starting in Vancouver & ending in Sackville NS http://www.track0.com/rob_mclennan/tour_schedule.htm -- poet/editor/pub. ... ed. STANZAS mag & side/lines: a new canadian poetics (Insomniac)...pub., above/ground press ...coord.,SPAN-O + ottawa small press fair ...8th coll'n - red earth (Black Moss) ...c/o RR#1 Maxville ON K0C 1T0 www.track0.com/rob_mclennan * http://robmclennan.blogspot.com/ ========================================================================= Date: Sat, 3 Apr 2004 17:08:21 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Deborah Reich Subject: Re: ** Have a Car? Get Paid to Distribute Boog City ** MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit yes I have a car Toyota Camry 91, would be pleased to have a small job once a month. please send details if you haven't already chosen someone. If you have a LOT of issues, I might also have the use of a truck. ========================================================================= Date: Sat, 3 Apr 2004 17:10:59 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Deborah Reich Subject: Re: ** Have a Car? Get Paid to Distribute Boog City ** MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Sorry, please ignore previous message. ========================================================================= Date: Sat, 3 Apr 2004 17:20:57 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: William A Sylvester Subject: Skanky Possum's Renegades MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Skanky Possum #10 offers several pleasures: new poets, at least new to me, like Peggy Kelley's taking aim at the decline and fall of the spectacular commodity-economy in her poem HERE BEGINNETH THE VENERATIONS, and also some poets I've heard for a long time:. Eileen Myles--I remember hearing her for the first time some years ago in a Just Buffalo reading, and Chris Stroffolino who has appeared not so long ago in FENCE. But of particular interest, I find, is to see poets who were decried in the sixties as being mere renegades without talent, but who have been going on for close to forty years, Albert Glover, Duncan McNaughton and Diane di Prima--Remember her as coeditor of Floating Bear (Trouble with spelling some said.) Skanky Possum 2925 Higgins St. Austin Texaz 78722 (Hard copy submissions after 10/04) ========================================================================= Date: Sat, 3 Apr 2004 17:21:36 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Tenney Nathanson Subject: REMINDER: POG Sunday evening April 4 at Bookman's (Speedway/Wilmot): poets Charles Alexander & Karen Falkenstrom MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 8bit REMINDER POG presents poets Charles Alexander & Karen Falkenstrom Sunday, April 4, 7pm Bookman’s southwest corner of Speedway & Wilmot free & open to the public Charles Alexander, author of books of poetry that include Hopeful Buildings, arc of light / dark matter, Pushing Water 1-6, Four Ninety Eight to Seven, Etudes: D & D, and the just-released, from Singing Horse Press, Near or Random Acts. Works at Chax Press (which will be 20 years old in August 2004), which he founded, making books and creating art in book form. Partnered in life and such art with Cynthia Miller. Teaching includes short classes and workshops at various universities around the nation, and more frequently at the University of Arizona Poetry Center, The Learning Curve, Naropa University, and Pima Community College. Karen Falkenstrom has been a Tucsonan for 15 years, during which time she earned an MFA from the UA Creative Writing program and served as Administrative Director for the Among Other Things... literary arts series, and, later, as Executive Director of the Tucson Poetry Festival. She joined the UA Poetry Center staff in 1992 and, in 1993, co-founded Kore Press with Lisa Bowden. (In 2002, a computer spell check revealed that "Kore" is just "Korea" without an a, and since Karen is herself a "1.5 generation" Korean/Norwegian-American, she's sort of embarrassed she hadn't noticed before.) Currently, she serves as Marketing and Public Relations Director for the Tucson Pima Arts Council. Her articles have appeared frequently in the Tucson Weekly and Downtown Tucsonan, and her poems have appeared in such literary publications as Colorado Review and Prairie Schooner and in her writing group's 10th anniversary anthology The Daybreak & Willingness Club. Karen also plays Irish and Japanese drums. for more: www.gopog.org POG events are sponsored in part by grants from the Tucson/Pima Arts Council, the Arizona Commission on the Arts, and the National Endowment for the Arts. POG also benefits from the continuing support of The University of Arizona Poetry Center, the Arizona Quarterly, Chax Press, and The University of Arizona Department of English. We also thank the following 2003-2004 POG donors: Patrons Liisa Phillips, Austin Publicover, and Jesse & Wendy Roberts; Sponsors Michael Gessner, Maggie Golston, Steve Romaniello, and Frances Sjoberg. for further information contact POG: 615-7803; mailto:pog@gopog.org; www.gopog.org ========================================================================= Date: Sat, 3 Apr 2004 21:05:34 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Joe Brennan Subject: Powell Expresses Doubts About His Lies About Iraqi Weapons Claim 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 http://www.theassassinatedpress.com/ Powell Expresses Doubts About His Lies About Iraqi Weapons Claim; Blames CIA: Tenet Counters That The Administration 'Edited Up Dark Vision' To Go After Iraq's Oil: Citizens Prepare Lampposts In Lafayette Square For A Little Frontier Justice For ALL Those Murdered In Iraq By Cheney/Bush Oil Grab: Moderates Plead Caution But Country Declares Impeachment And Prison Is 'Too Good For These Lying, Greedy, Oily Shitfucks:' The Assassinated Press Seeks An Apology On Behalf of the American People And Its 6 Readers From The Washington Post And Other Official Press Who Lied The Lies And Sucked Ass For Personal Gain by Busta Keester More Programming From Whitey, For Whitey: Show Named After One Of The CIA's Most Successful Drug Smuggling Enterprises: Franken's Network As White As Right; Just A Lynching Or Government Sanctioned Murder Away From O'Reilly; A WMD Strike Away From Limbaugh: Move Over Power Pimps; More Hogs At The Agitprop Trough: Oooooooh. Its All So Fringey: Self-Righteous Americans So Upset By Mutilations Of Security Cops, Many Want U.S. To Invade Iraq: Robert Moses, Forrest Trump---Urban Renewal Or Ethnic Cleansing? by Peter Diamgudlik U.S. Censure Of Cleric Intended To Boost Visibility: Latest Sign That CIA Role In Iraq Growing: With Recent Successes In Haiti, Venezuela, Ecuador, South Korea, Indonesia And El Salvador, CIA Pumped And Ready For U.S. Elections And Their Man, Kerry: Langley Proves Itself More Effective In Foreign Policy, Undermines Cheney PNAC Initiatives Including Iraq: "We can make cheese balls out of Chesterfields! We can walk on water!" CIA Director Tenet Declares. by Mo Ballzi 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. ".....at a time when I am speaking to you about the paradox of desire -- in the sense that different goods obscure it -- you can hear outside the awful language of power. There's no point in asking whether they are sincere or hypocritical, whether they want peace of whether they calculate the risks. The dominating impression as such a moment is that something that may pass for a prescribed good; information addresses and captures impotent crowds to whom it is poured forth like a liquor that leaves them dazed as they move toward the slaughter house. One might even ask if one would allow the cataclysm to occur without first giving free reign to this hubbub of voices...." ========================================================================= Date: Sun, 4 Apr 2004 01:18:14 -0500 Reply-To: nudel-soho@mindspring.com Sender: UB Poetics discussion group From: Harry Nudel Subject: Spring... Mime-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit early lite boog city if u have a car remember to turn ahead... 3:00 ??..the hr of change..drn.. ========================================================================= Date: Sun, 4 Apr 2004 01:24:06 -0500 Reply-To: nudel-soho@mindspring.com Sender: UB Poetics discussion group From: Harry Nudel Subject: Spring... Mime-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit let the killers in the door take the door down take down the jambs let the killers in the door whisper whisper more more.... 3:00...drn..spring turn.. ========================================================================= Date: Sun, 4 Apr 2004 03:01:02 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Eileen Tabios Subject: Kelsey Street 30th Year Anniversary Reading & Book Sale MIME-Version: 1.0 Content-Type: text/plain; charset="ISO-8859-1" Content-Transfer-Encoding: quoted-printable Kelsey St. Press invites you to a reading in celebration of our 30th anniversary=20 Mei-mei Berssenbrugge, Renee Gladman, and Cecilia Vicu=F1a=20 Wednesday, April 28th=A0 =A0=A0 6:30 PM=20 VERLAINE BAR 110 Rivington St (between Ludlow & Essex) New York, NY=A0 =A0 =A0 =A0 =A0 =A0 =A0 =A0 =A0=A0 Phone: (212) 614-2494=20 AND please go to www.kelseyst.com/sale.htm for information on our 30th Year=20 Anniversary Book Sale. ========================================================================= Date: Sun, 4 Apr 2004 04:56:19 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: the marss MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII the marss http://www.asondheim.org/marss.mov you would have to see the original full-scale but this is a vague shadow of the full or shadow-land but will give you a full mesh idea of colored wires detailing the large-scale operation on the surface _ ========================================================================= Date: Sun, 4 Apr 2004 05:49:46 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: she was on mars MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII she was on mars http://www.asondheim.org/marsred.mov http://www.asondheim.org/fullarss.mov more from the matrix / same matrix / balance of injury of injury and distorted flesh of movements across mountains and outlines she was there and real you know she was very nervous __ ========================================================================= Date: Sun, 4 Apr 2004 07:03:54 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: charles alexander Subject: Re: Kelsey Street 30th Year Anniversary Reading & Book Sale In-Reply-To: <53.88d4c83.2da10cae@aol.com> Mime-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1"; format=flowed Content-Transfer-Encoding: quoted-printable Congratulations to Kelsey Street! And such great work over those years. Charles At 03:01 AM 4/4/2004 -0400, you wrote: >Kelsey St. Press invites you to a reading >in celebration of our 30th anniversary > >Mei-mei Berssenbrugge, Renee Gladman, and Cecilia Vicu=F1a > >Wednesday, April 28th 6:30 PM > >VERLAINE BAR >110 Rivington St (between Ludlow & Essex) >New York, NY >Phone: (212) 614-2494 > >AND please go to www.kelseyst.com/sale.htm for information on our 30th Year >Anniversary Book Sale. ========================================================================= Date: Sun, 4 Apr 2004 11:25:32 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: kari edwards Subject: Bisexuality and Transgenderism: InterSEXions of the Others In-Reply-To: <5.1.0.14.0.20040404070329.01bd6978@mail.theriver.com> Content-Type: text/plain; delsp=yes; charset=WINDOWS-1252; format=flowed Mime-Version: 1.0 (Apple Message framework v553) Content-Transfer-Encoding: quoted-printable sort of shameless self promotion I pass this on because I have an essay in it and if someone is teaching =20= queer theory or writing next year, this might be a hot book to =20 consider.... http://www.haworthpress.com/store/=20 product.asp?sid=3DH6JFJS50EUBN8HP68ME0013GN949EHM2&sku=3D5200&AuthType=3D2= Bisexuality and Transgenderism: InterSEXions of the Others Edited by Jonathan Alexander, PhD Associate Professor, English and Comparative Literature, University of =20= Cincinnati, Ohio Karen Yescavage, PhD Associate Professor, Psychology and Women's Studies, Colorado State =20 University, Pueblo =A0 About The Book: Explore the common ground=97and the important differences=97between =20 bisexuality and transgenderism! This book, guaranteed to provoke debate and discussion of sexuality and =20= gender, is the first devoted exclusively to the relationship between =20 transgenderism and bisexuality. Combining the work of scholars and =20 activists, professional writers and lay people, Bisexuality and =20 Transgenderism: InterSEXions of the Others proesents ideas, thoughts, =20= feelings, and insights from a variety of contributors who are committed =20= to understanding=97and deepening our understanding of=97gender and =20 sexuality. You=92ll find scholarly essays, narratives, poetry, and a =20 revealing interview with four male-to-female transsexuals, two of whom =20= are married to women who also participate in the discussion. In =20 addition, the book includes insightful chapters by well-known advocates =20= of transgenderism, including Jamison =93James=94 Green, Coralee = Drechsler, =20 and Matthew Kailey. The editors of Bisexuality and Transgenderism: InterSEXions of the =20 Others make the provocative but crucial claim that the larger queer =20 community looks at =93B=94 and =93T=94 lives as mere =93add-ons=94 to = =93L=94 and =93G.=94 =20 In this book they focus attention on bisexuality and =20 transgenderism=97moving the =93margins=94 to center stage and exploring = how =20 sexuality, gender, desire, and intimacy are constructed and circulate =20= in our society. The book=92s inclusion of voices and scholarship from =20= Eastern cultures challenges our understanding of sexuality and gender =20= constructions all the more, giving this collection a global scope. Here is a sample of what Bisexuality and Transgenderism: InterSEXions =20= of the Others examines: * biphobia and transphobia within the United States=92 gay and = lesbian =20 community * the bi/trans and subversive aspects of the works and images of =20= cultural icons Angelina Jolie and Sandra Bernhardt * how bisexual and transgendered identities are socially = constructed =20 through relationships * the false promise of pomosexual play=97why the concepts of = postmodern =20 sexuality fail to rewrite the construction of gender * why swingers who practice bisexual and transgender behavior are = often =20 disdained and marginalized by other GLBT people * suicidal thoughts and other mental health concerns of bisexual = males =20 and females, as well as transgender people * Eastern perspectives on sexual/gender identities=97with = revealing =20 chapters on gender identity in Japan and Indonesia =A0 Reviews: =A0 =93A VALUABLE RESOURCE for readers of all sexual orientations. . . . =20 Rich, challenging, honest, and progressive. I recommend this book to =20 anyone interested in learning more about diversity in gender identity =20= and human sexuality.=94 Walter Bockting, PhD, Coordinator of Transgender Health Services, =20 Program in Sexuality, University of Minnesota Medical School; Author of =20= Transgender and HIV: Risks, Prevention, and Care =A0 =93BRAVE AND HONEST. . . . Offers a rich variety of voices and =20 perspectives, uncovering the experiences and theoretical frameworks =20 relevant to understanding the complex realities of bisexuality and =20 transgenderism. Most compelling is the chorus and counterpoint of =20 voices that this collection of essays includes: in addition to the =20 multidisciplinary scholarship from England, Canada, New Zealand, =20 Australia, and the US, we hear personal stories=97from a = seventy-year-old =20 (just recently) post-op transsexual, from a worker at an adult contact =20= magazine, from a female-to-male leather daddy, from poets, and from =20 social activists.=94 Paul M. Puccio, PhD, Assistant Professor of English, York College of =20 Pennsylvania =A0 Contents: *=09 About the Contributors * FROM THE EDITOR * I. INTRODUCTIONS * InterSEXions of the Others: Bisexuality and Transgenderism * GL vs. BT: The Archaeology of Biphobia and Transphobia Within = the =20 U.S. Gay and Lesbian Community * Poem: Tieresius * II. INTERSECTING COMMUNITIES: B/T CONCERNS IN COMMON * Yeah, Yeah, Oh-Yeah, Just Dropped In to See What Condition My =20= Condition Was In * Pomosexual Play: Going Beyond the Binaristic Limits of Gender? * Swing It Baby! * Bisexual and Transgender Identities in a Nonclinical Sample of = North =20 Americans: Suicidal Intent, Behavioral Difficulties, and Mental Health =20= Treatment * III. REAL(IZING) LIVES: PERSONAL AND THEORETICAL B/T IDENTITY =20= FORMATION * The Story So Far * Social Bodies, Pagan Hearts * =93There Are Different Points in Your Life Where You Can Go = Either =20 Way=94: Discussing Transsexuality and Bisexuality with the Women of =20 CrossPort * Looking Toward the InterSEXions: Examining Bisexual and = Transgender =20 Identity Formation from a Dialectical Theoretical Perspective * IV. REEL LIVES: B/T POP CULTURAL ICONS * Trans/positioning the (Drag?) King of Comedy: Bisexuality and = Queer =20 Jewish Space in the Works of Sandra Bernhard * Butch-Femme Interrupted: Angelina Jolie, Bisexuality and the New = =20 Butch Femme * V. WESTERN INTERSECTIONS, EASTERN APPROXIMATIONS * Living More =93Like Oneself=94: Transgender Identities and = Sexualities in =20 Japan * While Diving, Drink Water: Bisexual and Transgender = Intersections in =20 South Sulawesi, Indonesia * Poem: Outing * Poem: Duplicity * VI. STEERING QUEER OF LGBTI IDENTITY POLITICS * Walking Through Walls: An Immodest Proposal for Trans-cending = Sexual =20 Orientation * We Are All Others: An Argument for Queer * Centering: An Alternative Perspective * Index * Reference Notes Included =A0 Status: Forthcoming =A0 Available: Available Summer 2004. =A0 Number of Pages: Approx. 293 pp. with Index. =A0 Product SKU: 5200 =A0 Bibliography: (A monograph published simultaneously as the Journal of Bisexuality. =20 Vol. 3, Nos. 3/4.) ========================================================================= Date: Sun, 4 Apr 2004 14:09:40 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Heidi Peppermint Subject: Jen Benka and Heidi Peppermint/Pete's Big Salmon Reading Series MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 7bit Jen Benka and Heidi Peppermint will be reading their poetry at 7:30 this Monday, April 5th as part of the Pete's Big Salmon Reading Series at Pete's Candy Store in Williamsburg, New York. The reading will be followed by the music of Lisa Marr, Miwa, and the Tenkiller Twins. For more information, please visit: http://www.petesbigsalmon.com/ Hope to meet you there! ========================================================================= Date: Sun, 4 Apr 2004 13:33:09 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: kari edwards Subject: an evening with Chris Nealson, Tanya Brolaski, Stephen Vincent, Tayna Hollis and Fran Blau In-Reply-To: <7569F743-8665-11D8-B1D6-003065AC6058@sonic.net> Content-Type: text/plain; charset=ISO-8859-1; format=flowed Mime-Version: 1.0 (Apple Message framework v553) Content-Transfer-Encoding: quoted-printable You are invited to an evening of new works and dialogue: what does community mean in an age of post-post modern high anxiety? please join our special quest as they perform, display, and discuss the=20= vision and value of their work. ****writers**** Chris Nealson Tanya Brolaski Stephen Vincent ****Artist=A0and Art=A0work=A0By**** Tayna Hollis Fran Blau Saturday, April 17, 2004 6:30 p.m. - art viewing 7:30 p.m. - reading and dialouge 3435 Cesar Chavez #327 San Francisco, CA 94110 this will be a night of dialogue & forward moving vision on poetry and=20= the arts. all are invited to (please) bring a piece of work to share; a=20= manifesto to read, a thesis to divulge, a vision/concept to offer . . .=20= this night is about the dialogue . . . . and seeing where we are /=20 going / doing... any questions contact: kari edwards / terra1@sonic.net =00= ========================================================================= Date: Sun, 4 Apr 2004 18:35:11 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Harrison Jeff Subject: 50,000,000 Wormswork Fans Can't Be Wrong Mime-Version: 1.0 Content-Type: text/plain; format=flowed the tall-parody crook tells me his dog is one of the central zeroes * WW breaks quills, seems however fabled flesh really * red ready read cut with a gurgle a back pile of puddles cut with a gurgle tub meat untended * who said a nightmare's a sly kind of counterwish * still they continue - referred to as A,B, & C mumbo jumbo types * fanning the surface / of carcasses he's a good sort * greasiest, his best, hurricane caught its breath * he did, Delicacy, wonder the work at the other * with shame a last leave to waylay him * daylight. witches. * WORMSWORK'S MALLARMÉ goes zero, spume verge on yet, stamnos, lemmings' wiles toast w/out crust for 1. one 2. reef 3. star 4. for who folds the sheet * fresh decks of several basic interests * Wormswork snatches up the broom can't be! QUIZ: what was his name? * did you know his loot listens to me when he's laughing? his poor little worried loot! * his impression washed with dark olive suggestion * Wormswork in the world? disgusting! Wormswork in the world? for them! * finis _________________________________________________________________ Get rid of annoying pop-up ads with the new MSN Toolbar – FREE! http://toolbar.msn.com/go/onm00200414ave/direct/01/ ========================================================================= Date: Sun, 4 Apr 2004 21:43:25 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Christine Murray Subject: New Poetry_Heat Readings--and an excerpt from Dale Smith's *The F lood and the Garden* MIME-Version: 1.0 Content-Type: text/plain It gives me great pleasure to post this: *The Flood and the Garden* (First Intensity, 2002) has some of the most intelligent and vibrant commentary to be found today on the history of poetics and everyday life. If you have not yet gotten this book, do look into it. I would also like to take this moment to announce two more readings in my continuing reading series here at UTA, Poetry_Heat: Wendy Taylor Carlisle, Mary Kim Kitchen, and Robert Flach 7:00 p.m., Wednesday, April 6, 2004 103 University Hall University of Texas at Arlington * * * Dale Smith and Hoa Nguyen 7:00 p.m., Saturday, April 17, 2004 Red River Room University of Texas, Arlington Poetry_Heat is sponsored by the UTA Writing Center, Chris Murray, Director * * * * * * * * * * * * * * from Dale Smith, *The Flood and the Garden* 32 Pound's concerns were occupied almost wholly with transformation. The metamorphosis of energy, forms, people, trees. The distribution of Persephone throughout the year pressed against his psyche again and again. It's hard to see those Mediterranean concerns through this arrid cacti and juniper scrub. Oak and brush on limestone gather summer heat with archaic indifference. The Steens would be a drive of several days, and present concerns of a different scale. I'm waiting for other rhythms here now... 33 Dear William Carlos Williams: I read your poems tonight. June bugs pop on the porch between mosquito bites. Here, the sensual world continues, despite computers, autos, cell phones and airplanes. Words, too, drive through us. Your *Kora in Hell* goes strange and powerful. What looked through you then? Alone in your room late nights bringing your words to the page? Your earth tenderness took root in the freed composition of song. 37 Whitman too pushed through these things. The white death of our social urges keep us drifting. Rotating green clouds loom on some foreboding sky. Tangle of branches and thorns pull you in, poison ivy staining your arm there in the bleached topsoil. We live here between sun and moon, under sky and star, of the earth disappointed or driven by weather. Machines rage, a by-product of Western alchemy, but you understood language resembled our first forms. 49 You can gather these things everyone knows. You absorb experience--the deep past, every atom of the present. You do what you know before you know what to do. Glut of sensation beats the heart. We eat our pistachio and mint double scoops from a waffle cone. (84-85, 89) * Dale Smith, The Flood and the Garden. Lawrence, KS: First Intensity Press, 2002 * * * * * * * * * * * * * * We hope to see you there! Best Wishes, Chris Murray http://texfiles.blogspot.com http://www.uta.edu/english/znine ========================================================================= Date: Mon, 5 Apr 2004 01:56:46 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: Canadian baby seal hunt - they're back at it. MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=X-UNKNOWN Content-Transfer-Encoding: QUOTED-PRINTABLE The original article is accompanied by photographs. This is about as barbarous as it gets. - Alan \----------------------------------------------------------/ New Demand Drives Canada’s Baby Seal Hunt April 5, 2004 By CLIFFORD KRAUSS CAP-AUX-MEULES, Quebec, March 30 - Commercial hunting of baby seals is back and even bigger than when it stirred a global outcry two decades ago. Horrified by the clubbing of infant harp seals, animal rights advocates swayed public opinion against the hunt. Environmentalists joined the campaign, fearing that the species was being depleted. World sales collapsed. Even Canada reacted with revulsion and began stiffening regulations on the kill. Now, Canada has lifted the quota to a rate unheard of in a half century, buoyed by new markets in Russia and Poland, and changing environmental calculations. A recovering market has turned into a quiet boom. Here on ice patches of the Gulf of St. Lawrence, the hunt looks nearly as brutal as ever. For as far as the eye can see, dozens of burly men bearing clubs roam the ice in snowmobiles and spiked boots in search of silvery young harp seals. With one or two blows to the head, they crush the skulls, sometimes leaving the young animals in convulsions. The men drag the bodies to waiting fishing vessels or skin them on the spot, leaving a crisscross of bloody trails on the slowly melting ice. On the trawler Manon Yvon, one hunter, Jocelyn Theriault, 35, said, "My father hunted for 45 years, so I was born with the seal." His colleagues utter a sarcastic "welcome aboard" as they throw the skins on their 65-foot boat. "We do it for the money," Mr. Theriault said, "but it's also a tradition in our blood." Animal rights advocates aroused the world in the 1970's and 1980's with grim films of Canadian seal hunters clubbing white-coated seal pups not yet weaned from their mother's milk and then skinning some alive. That campaign - complete with photographs of Brigitte Bardot snuggling an infant seal - succeeded in shutting down American and European markets and forcing a virtual collapse of the hunt. But over the last six years, Canada's seal hunt, by far the world's largest and commercially most valuable, has undergone a gradual revival that has virtually escaped world attention. That trend is making an extraordinary jump this year, when the federal government will allow the killing of up to 350,000 baby harp seals, or more than one in three of all those born, largely for their valuable fur. That is an increase of more than 100,000 from recent years, and the largest number hunted in at least a half century. Rising prices for the skins and contentions that the growing seal population is contributing to a shrinking codfish population have eased the revival of an industry once roundly seen as barbaric. Meanwhile, tougher hunting rules, including stiffer regulations to avert skinning the seals alive, have muted the effort to stop the hunt and eased the consciences of Canadians. "This slaughter that everyone thinks has disappeared is back with a vengeance," said Rebecca Aldworth, an antihunt advocate with the International Fund for Animal Welfare. A majority of the seals killed are under a month old, she said, and, "at that age, the seals haven't eaten their first solid foods and have not learned to swim so they have no escape from the hunters." The seal hunt never completely shut down. After the United States banned the importation of all seal products in 1972 and the European Union banned the importation of the white pelts of the youngest pups in 1983, killings fell to as low as 15,000 harp seals in 1985, mostly for meat and local handicrafts. Embarrassed by all the publicity accusing Canada of inhumane treatment of animals, the government banned killing whitecoats - the youngest pups up to 12 days old. Now only the seals who have shed their white coats and become "beaters," at about three weeks old, are killed in these waters for their black-spotted silvery fur. The killing of those young seals has so far raised fewer hackles, although critics say hunting methods have not been substantially changed. The surprising rebound of the hunt off the =CEles de la Madeleine and the northern coast of Newfoundland, where the harp seals migrate south from the Arctic every spring to give birth and then mate again, results in large part from a robust revival in the price of sealskin. Seal products remain banned in the United States, and they find only limited acceptance in most of Western Europe. But new markets have emerged in Russia, Ukraine and Poland, with a fashion trend for sealskin hats and accessories. Fur experts expect the Chinese market to grow, perhaps raising prices higher. "Markets are good, acceptance is growing and prices are well up," said Tina Fagen, executive director of the Canadian Sealers Association. She said the price for a top-grade harp sealskin had more than doubled since 2001, to about $42, approaching the prices of the early 1970's. But the revival is also made possible by a Canadian seal population that was replenished during the long hunting slump. The Canadian harp seal population has tripled in size since 1970, according to the Department of Fisheries and Oceans, to more than five million today. Fishermen contend that the abundance of seals is hindering a revival of shrinking cod stocks since each adult seal eats an estimated ton of sea life annually. The fishermen get support from politicians who want to help revive economically depressed regions of Canada, and some scientists say their position is reasonable. Animal rights advocates are revving up a campaign against the hunt, reviving calls for a tourism boycott of Canada and flying journalists over the ice fields to photograph hunters killing the seals. The New York Times did not take part in any of those flights. A new generation of celebrities has taken up the cause, including Paris Hilton, Christina Applegate and Nick Carter of the Backstreet Boys pop group. At the last Sundance Film Festival, some people wore a new T-shirt that said, "Club sandwiches, not seals." But so far the outrage has not echoed the way it once did, in part because Canada outlawed the killing of the youngest pups to follow Western European import guidelines and stiffened rules and enforcement to ensure that seals are killed quickly and not skinned alive. The government requires novice seal hunters to obtain an assistant's license and train under the supervision of veterans for two years before qualifying for a professional license. The government this year added a requirement that hunters thoroughly examine the skull of the seal or touch the eyes of animal to test for reflexes to guarantee a seal is brain dead before skinning. "The industry needed to be cleaned up and it was, though perceptions persist," said Roger Simon, the Department of Fisheries and Oceans area director for the =CEles de la Madeleine. Some prominent environmental groups that opposed the hunt in years past because of concerns over the sustainability of the Canadian harp seal population have dropped their active opposition. Greenpeace, once one of the most active groups against the hunt, now says it is satisfied that Canada is not allowing infant whitecoat seals to be killed. But Mads Christensen, a Greenpeace seals expert, said he was concerned about this year's large hunt. "We don't have enough science, and that calls for caution," he added. Canadian officials say they will regularly review the seal population and adjust the hunt accordingly. "If you are going to have an annual harvest you have to maintain a sustainable number," said Geoff Regan, the minister of fisheries and oceans, in an interview. "We are going to come up with these numbers on the basis of what the herd can sustain." Seal hunting is worth about $30 million annually to the Newfoundland economy, which has been hurt by the collapse of the cod fishery. About 5,000 hunters and 350 workers who process skins rely on the industry. Hundreds more hunting jobs are created in Quebec and Nova Scotia. "I love it that the market is back," said Jason Spence, the 32-year-old captain of Ryan's Pride, a fishing boat that set sail from Newfoundland a few weeks ago for the seal hunt in the Gulf of St. Lawrence. Arguing that hunting seals is no worse than "people taking the heads off chickens, butchering cows and butchering pigs," he added, "People are just trying to make a living." http://www.nytimes.com/2004/04/05/international/americas/05SEAL.html?ex=3D1= 082139338&ei=3D1&en=3Df50f70fec4694f4c --------------------------------- 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://homedelivery.nytimes.com/HDS/SubscriptionT1.do?mode=3DSubscriptionT1= &ExternalMediaCode=3DW24AF 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 2004 The New York Times Company ========================================================================= Date: Mon, 5 Apr 2004 01:59:45 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: seriality for foofwa MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII seriality for foofwa http://www.asondheim.org/waves.mov http://www.asondheim.org/wavers.mov hard to describe, these hard to measure their influence and effect hard to discern what might be the truth of the image hard to fabricate desire small/miniaturized of larger full-scale ))(( ========================================================================= Date: Mon, 5 Apr 2004 01:04:59 -0500 Reply-To: nudel-soho@mindspring.com Sender: UB Poetics discussion group From: Harry Nudel Subject: Spring Mime-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit nite ' tween palm sun. pass over cold snap ?:00...drn.. ========================================================================= Date: Mon, 5 Apr 2004 01:08:37 -0500 Reply-To: nudel-soho@mindspring.com Sender: UB Poetics discussion group From: Harry Nudel Subject: Spring... Mime-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit tribal voices beating a drum death..de :da: de dum... ?:00...passover../04...drn.. ========================================================================= Date: Mon, 5 Apr 2004 03:21:33 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: hey chek these out MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII hey chek these out http://www.asondheim.org/woman3s.mov http://www.asondheim.org/wave1.jpg thro http://www.asondheim.org/wave26.jpg check these out hey these are good theck them these ar e cool _ ========================================================================= Date: Mon, 5 Apr 2004 11:05:16 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Shankar, Ravi (English)" Subject: RS on two contemporary Indian poets MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable See: =20 *************** Ravi Shankar=20 Poet-in-Residence Assistant Professor CCSU - English Dept. 860-832-2766 shankarr@ccsu.edu ========================================================================= Date: Mon, 5 Apr 2004 11:01:43 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Christine Murray Subject: RS on two contemporary Indian poets MIME-Version: 1.0 Content-Type: text/plain This article is great--the poetry, terrific. I've put up a post and linked to it from Texfiles. Thanks very much. Best Wishes, Chris Murray http://uta.edu/english/znine http://texfiles.blogspot.com ========================================================================= Date: Mon, 5 Apr 2004 09:17:15 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Small Press Traffic Subject: Armantrout & Sand at SPT, this Fri 4/9 MIME-Version: 1.0 Content-Type: text/plain; charset="ISO-8859-1"; format="flowed" Content-Transfer-Encoding: 8bit Small Press Traffic presents Friday, April 9, 2004 at 7:30 p.m. Rae Armantrout & Kaia Sand Rae Armantrout joins us on the occasion of the publication of her latest collection, Up to Speed (Wesleyan, 2004), of which Susan Howe writes: "The poems?are edgy, idiosyncratic, tough and tender. Marianne Moore, in her wonderful essay ?Anna Pavlova,? speaks of the ballerina's high arches and ?toes of steel? as having made her ?pizzicati on tiptoe? and steadily held pauses possible. I can't think of a more perfect way to describe Up to Speed." Kaia Sand?s debut collection, Interval, has just appeared from Edge Books. Carolyn Forche calls her "a necessary poet, and bracingly new" and Heather Fuller urges us to "read this book for its evocation of the sublime in the face of the populace's raw complacency telescoped and interpreted." Born in Alaska and raised in Oregon, Sand currently lives outside of DC, curates the In Your Ear poetry series at the District of Columbia Arts Center and co-edits The Tangent. Unless otherwise noted, events are $5-10, sliding scale, free to SPT members, and CCA faculty, staff, and students. Unless otherwise noted, our events are presented in Timken Lecture Hall California College of the Arts 1111 Eighth Street, San Francisco (just off the intersection of 16th & Wisconsin) http://www.sptraffic.org check out our highly readable website Elizabeth Treadwell Jackson Executive Director Small Press Traffic Literary Arts Center at CCA 1111 -- 8th Street San Francisco, CA 94107 415.551.9278 http://www.sptraffic.org ========================================================================= Date: Mon, 5 Apr 2004 12:29:47 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Daniel Machlin Subject: FUTUREPOEM 2004/05 SELECTIONS Mime-Version: 1.0 (Apple Message framework v553) Content-Type: text/plain; charset=US-ASCII; format=flowed Content-Transfer-Encoding: 7bit FUTUREPOEM BOOKS is pleased to announce our 2004/2005 publication selections. This year editors Kristin Prevallet, Edwin Torres, Heather Ramsdell & Dan Machlin selected two books for publication in 2004/2005. They are: SHANXING WANG, "MAD SCIENCE IN IMPERIAL CITY" & MICHAEL IVES, "NEAR LIFE EXPERIENCE: PROSE DEVICES" SHANXING WANG was born, raised in China and educated in Shanxi, Xi'an and has taught in Beijing. He was selected as a finalist for the 2002 Emerging Voices Rosenthal Fellowship of PEN USA Center and received the 2003 Zora Neale Hurston scholarship at Naropa University. He came to the the U.S. as a graduate student in Mechanical Engineering in the early 90's, studied at U.C. Berkeley, then taught at Rutgers, University. Recently, he attended writing workshops at Naropa University, The Poetry Project in New York and Rutgers University with a range of writers including Barrett Watten, Anne Waldman, Renee Gladman and Thalia Field. His "Mad Science in Imperial City," his first collection, is an "integral part of an on-going longer work of prose/poetry consisting of connected pieces that can be read individually." He recently moved from Fremont, California to New York City. MICHAEL IVES is a musician and writer newly transplanted to New York's Hudson Valley, where he has begun teaching at Bard College. His work with he performance trio, "F'loom", was featured on NPR, the CBC and BBC, and in the international sound poetry anthology, "Homo Sonorus." His poetry and prose writings have appeared in: Sulfur, Hambone, New American Writing, Exquisite Corpse, First Intensity, Chain, Skanky Possum, Fence, Aufgabe and Facture. "Near Life Experience," features a series of his shorter prose work. Futurepoem is an independent brooklyn-based publishing collective with a rotating editorship that investigates and presents innovative writing. Our next open reading period will be held in the fall of 2004 and editors, dates and details will be announced shortly. Please visit http://www.futurepoem.com for more information about our press and publications. We are distributed by SPD Books and receive non-profit sponsorship for donations through Fractured Atlas Productions, Inc. (http://www.fracturedaltas.org) a New York State 501(c)3 tax-exempt non-profit organization. ========================================================================= Date: Mon, 5 Apr 2004 11:40:55 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Christine Murray Subject: On Skanky Possum Today: "Adventures in Poetry Blogland: a Brief C ommentary by Kent Johnson" MIME-Version: 1.0 Content-Type: text/plain This is an interesting comment posted at Skanky Possum : http://www.skankypossum.com/pouch with additional discussion of the topic, from Tony Tost's blog, Unquiet Grave: http://unquietgrave.blogspot.com It's good to see some strident dialogue on this bloggie issue. Best Wishes, Chris Murray ========================================================================= Date: Mon, 5 Apr 2004 13:04:34 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Daniel Machlin Subject: FUTUREPOEM AT BOWERY Mime-Version: 1.0 (Apple Message framework v553) Content-Type: text/plain; charset=US-ASCII; format=flowed Content-Transfer-Encoding: 7bit FUTUREPOEM SPRING READING AT THE BOWERY POETRY CLUB 308 Bowery @ Bleecker, New York City, F train to Second Ave | 6 train to Bleecker | 212-614-0505 SATURDAY, APRIL 10, 2:00 p.m. - 4:00 p.m., $5.00 admission (to support the press) PRESENTS A FUTUREPOEM SPRING READING EXTRAVAGANZA A Futurepoem Book Party and Reading by current and forthcoming FP authors, editors and friends of the press including: Charles Bernstein, Lewis Warsh, Jo Ann Wasserman, Merry Fortune, Garrett Kalleberg, Rachel Levitsky, Kristin Prevallet, Dan Machlin, Heather Ramsdell, Virtual Edwin Torres, And special guests: just-announced 04/05 authors: Michael Ives & Shanxing Wang. And stay on afterwards for Drew Gardner and Deborah Richards at the Segue Series at 4:00 p.m. Futurepoem is an independent brooklyn-based publishing collective with a rotating editorship that investigates and presents innovative writing. We are distributed by SPD Books and receive non-profit sponsorship for donations through Fractured Atlas Productions, Inc. a New York State 501(c)3 tax-exempt non-profit organization. Futurepoem is made possible in part by grants from The New York State Council on the Arts, The New York Community Trust, Fractured Atlas and Individual subscribers and donors. Please visit http://www.futurepoem.com for more information about our press. See you there! ========================================================================= Date: Mon, 5 Apr 2004 14:27:19 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Maureen Robins Subject: Re: Edmond Jabes In-Reply-To: <5002CD3D-8723-11D8-879F-0003936C4860@verizon.net> Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit Dear Listmembers who spoke about Edmond Jabes. I went out and ordered The Book Of Questions (which includes the three volumbes, The Book of Questions, The Book of Yukel, and Return to the Book) and I am loving every second of it. I find myself awestruck and blown away sentence by sentence. I am seeing many many connections between the Zohar and this work. I'm particularly obsessed right now abaout chapter six where he opens with "Our ties to beings and things are so fragile they often brak without us noticing" (is that related to the idea of the shomer who watches over the dead before they are buried -- the mystical happenings that can occur when not seen? not noticed? -- and then he goes on to this dialogue between rabbis about names (and then the numericol count etc..) The Rabbis that he quotes -- are they fictional? autobiographical? Does anyone know? Maureen Picard Robins ========================================================================= Date: Mon, 5 Apr 2004 11:46:15 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Joel Weishaus Subject: Re: Edmond Jabes MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Maureen: I can't answer your questions about the Zohar, but I do know that the rabbis are fictional, which makes it all the more interesting. Best, Joel ----- Original Message ----- From: "Maureen Robins" To: Sent: Monday, April 05, 2004 11:27 AM Subject: Re: Edmond Jabes > Dear Listmembers who spoke about Edmond Jabes. I went out and ordered The > Book Of Questions (which includes the three volumbes, The Book of Questions, > The Book of Yukel, and Return to the Book) and I am loving every second of > it. I find myself awestruck and blown away sentence by sentence. > > I am seeing many many connections between the Zohar and this work. I'm > particularly obsessed right now abaout chapter six where he opens with "Our > ties to beings and things are so fragile they often brak without us > noticing" (is that related to the idea of the shomer who watches over the > dead before they are buried -- the mystical happenings that can occur when > not seen? not noticed? -- and then he goes on to this dialogue between > rabbis about names (and then the numericol count etc..) > > The Rabbis that he quotes -- are they fictional? autobiographical? Does > anyone know? > > Maureen Picard Robins ========================================================================= Date: Mon, 5 Apr 2004 15:34:19 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: David Kellogg Subject: Pulitzer in Poetry announced MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 8bit Announced today: Pulitzer Prize for poetry: Franz Wright for "Walking to Martha's Vineyard." Any thoughts? I haven't read it. David Kellogg Center for Teaching, Learning, and Writing Duke University (919) 668-1615; FAX (919) 681-0637 ========================================================================= Date: Mon, 5 Apr 2004 12:44:30 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: kari edwards Subject: -Denial of Marriage Rights Costs Massachusetts Couples Thousands of Dollars Per Year, Report Finds In-Reply-To: <000701c41b3e$47508c80$76fdfc83@oemcomputer> Content-Type: text/plain; charset=WINDOWS-1252; format=flowed Mime-Version: 1.0 (Apple Message framework v553) Content-Transfer-Encoding: quoted-printable http://transdada.blogspot.com/ ************************************************************** NATIONAL GAY AND LESBIAN TASK FORCE MEDIA RELEASE - April 5, 2004 MEDIA CONTACT: Sheri A. Lunn =96 Director of Communications - 323-857-8751 or Roberta=20= Sklar - Press Secretary - 917-704-6358 http://www.TheTaskForce.org ************************************************************** -Denial of Marriage Rights Costs Massachusetts Couples Thousands of=20 Dollars Per Year, Report Finds -Disparities in Wide Range of Areas Including Income Tax, Survivor=20 Benefits, and Estate Taxes BOSTON, April 5, 2004 - As millions of married couples are signing and=20= sending off their tax returns prior to the April 15 tax day deadline, a=20= groundbreaking report released today by the National Gay and Lesbian=20 Task Force Policy Institute reveals that same-sex couples face=20 widespread economic disparities and hardships because they are denied=20 equal marriage rights. The report takes situations commonly faced by=20 Massachusetts couples and compares the economic benefits afforded to=20 married couples to those available to same-sex couples. Two same-sex=20 couples residing in Massachusetts are profiled to show the real-life=20 costs to them and their children of not being able to marry. Entitled "Economic Benefits of Marriage under Federal and Massachusetts=20= Law," the study is the first comprehensive analysis of the disparities=20= gay couples face in federal and state income tax, Social Security=20 benefits, gift tax, estate tax, worker's compensation, and line of duty=20= death benefits. It was authored by Terence R. Dougherty, an attorney=20 with Patterson, Belknap, Webb & Tyler LLP. It is the first of five=20 economic studies to be produced by the Task Force Policy Institute=20 analyzing states that are at the epicenter of the national dialogue=20 concerning equal marriage rights for same-sex couples. "Same-sex couples pay more in taxes and get fewer protections and=20 benefits in return," said Matt Foreman, the Task Force's executive=20 director. "These injustices aren't hypothetical - instead, they are=20 being inflicted right now on hard-working, tax paying Massachusetts=20 couples, often at times of family tragedy and loss. This report=20 quantifies the cost to two Massachusetts gay and lesbian families." "We're going to use these hard data to convince our state legislators=20 not only that the economic impact of denying gay and lesbian couples=20 equal marriage rights is real, but that civil unions are no substitute=20= for full equality," said Sue Hyde, a Cambridge parent and the Task=20 Force's New England field organizer. Hyde noted that information from=20 the report will be used to educate members of the Massachusetts=20 legislature during the coming year as part of a comprehensive effort to=20= kill a proposed amendment to the state constitution prohibiting=20 same-sex marriages. (The legislature approved the measure by a five=20 vote margin on March 29, but it needs to be approved by the legislature=20= again in 2005 before it is placed on the ballot in 2006). One of the couples profiled in the report, Donna Triggs and Donna=20 Moore, both 54, pay $2,177 (13%) more each year in state and federal=20 income taxes than a married couple earning the same amount because they=20= cannot file a joint return. The analysis also finds that if Ms. Triggs=20= died as a result of an injury at work, her spouse would receive $884=20 per week ($45,968 per year, up to a maximum of $207,722) in workers'=20 compensation benefits. Because Ms. Triggs and Ms. Moore cannot now=20 marry, however, Ms. Moore would receive zero workers' compensation=20 benefits. "Why should we have to pay more in taxes while being cut out of the=20 social safety net programs we've been paying into our entire lives,"=20 asked Hyde. "As Massachusetts residents, all we want and what we=20 deserve is equal treatment." Another couple profiled in the report is Thorsten Behrens and=20 Christopher Schiebel, who are raising Christopher's two children from a=20= previous marriage. Thorsten is the main breadwinner, and Christopher=20 earns significantly less than Thorsten. If Thorsten died after the two=20= were allowed to legally marry, Christopher's Social Security benefit=20 would be $1,533 per month ($18,396 per year). Because they cannot=20 marry, however, Christopher's Social Security benefit would be only=20 $303 per month ($3,636 per year), a disparity of $1,230 per month=20 ($14,760 per year). Likewise, upon retirement, Thorsten and=20 Christopher's combined monthly Social Security retirement benefit would=20= be 25% higher ($461 more per month, $5,532 more per year) if they were=20= legally married. The report underscores that creating civil unions for same-sex couples,=20= which is being advocated by the leadership of the Massachusetts=20 legislature, falls far short of providing benefits equal to those=20 enjoyed by married couples. "Because so many important financial rights and responsibilities - like=20= federal income tax and Social Security benefits - are federal=20 protections based on marital status, civil unions do not and cannot=20 provide anything remotely resembling what comes with marriage," said=20 Sean Cahill, Ph.D., director of the Task Force Policy Institute. "There=20= are 1,138 federal protections associated with marriage, but civil=20 unions will not give gay couples access to a single one." Given the passage of the federal Defense of Marriage Act (DOMA) in=20 1996, which allows the federal government to withhold recognition from=20= same-sex marriages performed in any state, in the short run same-sex=20 marriages in Massachusetts will not be recognized by federal=20 bureaucracies. However, many believe DOMA to be unconstitutional, and=20 it is possible that in the future DOMA will be struck down or repealed.=20= It is also possible that a President and Congress more supportive of=20 equal rights for gay and lesbian people will afford these federal=20 protections to married same-sex couples. "While married gay couples in=20= Massachusetts may not be able to immediately access those federal=20 protections," Cahill said, "if they are allowed to marry they have the=20= potential to access these protections in the future. However, if=20 same-sex couples are only allowed to form civil unions, under the=20 current legal framework they will not be able to access any federal=20 benefits or protections." The report was authored by Terence R. Dougherty, an attorney with=20 Patterson, Belknap, Webb & Tyler LLP, a prestigious 168-lawyer firm=20 based in New York City. The firm was ranked #1 in the nation for the=20 pro bono contributions of lawyers in 2002. To download a free copy of the full report, which includes multiple=20 charts, log on to the National Gay and Lesbian Task Force publications=20= library at http://www.TheTaskForce.org/library=20= ========================================================================= Date: Mon, 5 Apr 2004 20:51:03 +0100 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group Comments: RFC822 error: Incorrect or incomplete address field found and ignored. From: Todd Swift Subject: Poems for Madrid now available at nthposition MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Poems for Madrid, the latest free (copyleft) e-book from = http://www.nthposition.com is now online. It features over 30 poems, drawn from several hundred sent in over the = past few weeks, since March 11th. It includes the work of poets such as = Merryn Williams, Todd Colby, Jayne Fenton Keane, Hal Sirowitz, Penn = Kemp, Robert Sheppard, Margo Berdeshevsky, Kevin Higgins, Amy King, Fred = Johnston, Sampurna Chattarji, Raymond Filip, and many more. Please share this news with your friends, and download a copy. Nthposition. ========================================================================= Date: Mon, 5 Apr 2004 16:13:01 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Gerald Schwartz Subject: Re: Pulitzer in Poetry announced MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit A poetry governed by restrictive choice, seasonal growths, and energy placed mainly at the disposal of recovery. And, it seems -- as perhaps it must -- his recovery moves continuosly towards the existential by being dehistoricized into these recent pastoral implements. Sets me wondering: Are there are other poetries of recovery that do not follow this path? Jerry Schwartz > Announced today: > > Pulitzer Prize for poetry: > Franz Wright for "Walking to Martha's Vineyard." > > Any thoughts? I haven't read it. > > David Kellogg > Center for Teaching, Learning, and Writing > Duke University > (919) 668-1615; FAX (919) 681-0637 ========================================================================= Date: Mon, 5 Apr 2004 13:26:53 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Catherine Daly Subject: FW: LA Times Schedule/Festival of Books April 24-25 Poetry MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit POETRY CORNER - FOB 2004 SATURDAY 10:30 a.m. Susan McCabe Author of "Swirl." 11 a.m. David St. John Author of "The Face." 11:30 a.m. Ana Castillo Author of "My Father Was a Toltec: And Selected Poems." 12 p.m. Kim Addonizio Author of "Tell Me." 12:30 p.m. Gerald Stern Author of "American Sonnets: Poems" and "What I Can't Bear Losing: Notes from a Life." 1 p.m. Fanny Howe Author of "The Wedding Dress: Meditations on Word and Life." 1:30 p.m. B.H. Fairchild Author of "Early Occult Memory Systems of the Lower Midwest." 2 p.m. Ana Castillo Author of "My Father Was a Toltec: And Selected Poems." 2:30 p.m. Carol Muske-Dukes Author of "Sparrow: Poems." 3 p.m. Barbara Hurd Author of "Entering the Stone." 3:30 p.m. Mark Turpin Author of "Hammer." 4 p.m. Terry Wolverton Author of "Embers." 4:30 p.m. Henri Cole Author of "Middle Earth." 5 p.m. Lucie Brock-Broido Author of "Trouble in Mind." SUNDAY 10 a.m. Dana Gioia Author of "California Poetry." 10:30 a.m. Kevin Young Author of "Jelly Roll: A Blues." 11 a.m. Rosanna Warren Author of "Departure: Poems." 11:30 a.m. Anthony Hecht Author of "Collected Later Poems." 12 p.m. Tung-Hui Hu Author of "The Book of Motion." 12:30 p.m. Suji Kwock Kim Author of "Notes from the Divided Country." 1 p.m. James Ragan Author of "In the Talking Hours" and "Gangland: The Lawyers." 1:30 p.m. Susan Kinsolving Author of "The White Eyelash." 2 p.m. Sandra Cisneros Author of "Vintage Cisneros." 2:30 p.m. August Kleinzahler Author of "The Strange Hours Travelers Keep." 3 p.m. Coleman Barks Author of "The Drowned Book." 3:30 p.m. Arthur Vogelsang Author of "Left Wing of a Bird: Poems." 4 p.m. Harryette Mullen Author of "Blues Baby: Early Poems." ========================================================================= Date: Mon, 5 Apr 2004 16:27:41 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: ALDON L NIELSEN Subject: Re: Edmond Jabes MIME-Version: 1.0 Content-Type: text/plain in addition to reading ALL of Jabes, you should also read Rosmarie Waldrop's delightful book about him -- On Mon, 05 Apr 2004 14:27:19 +0000, Maureen Robins wrote: > Dear Listmembers who spoke about Edmond Jabes. I went out and ordered The > Book Of Questions (which includes the three volumbes, The Book of Questions, > The Book of Yukel, and Return to the Book) and I am loving every second of > it. I find myself awestruck and blown away sentence by sentence. > > I am seeing many many connections between the Zohar and this work. I'm > particularly obsessed right now abaout chapter six where he opens with "Our > ties to beings and things are so fragile they often brak without us > noticing" (is that related to the idea of the shomer who watches over the > dead before they are buried -- the mystical happenings that can occur when > not seen? not noticed? -- and then he goes on to this dialogue between > rabbis about names (and then the numericol count etc..) > > The Rabbis that he quotes -- are they fictional? autobiographical? Does > anyone know? > > Maureen Picard Robins > > <<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> "Breaking in bright Orthography . . ." --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, 5 Apr 2004 17:00:57 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Joe Brennan Subject: Re: Phewitzer in Poetry announced MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Franz Wright (http://www.webdelsol.com/Perihelion/wright.htm) Old Story First the telephone went, then the electricity. It was cold, and they both went to sleep as though dressed for a journey. Like addictions condoned from above evening fell, lost leaves waiting to come back as leaves-- the long snowy divorce. . . That narrow bed, a cross between an altar and an operating table. Voice saying, While I was alive I loved you. And I love you now. _______________________________________________________________Reunion Snow over the scarred fields just ending, between clouds a candle in a horse skull moon at dawn-- My sin is always before me. In the end the price of understanding everything will be, of its communication to those who stand around you, the complete and absolute impossibility, but does this mean I won't remember Earth? Perhaps it does, but I don't know. Soon I will find out. Snow over the scarred fields just ending, what lies before me is my past. That is, should I father a fatherless child. _______________________________________________________________To John Wieners: Elegy & Response The street outside the window says I don't miss you, and I don't wish you well Says crocuses coaxed out of hiding and killed in the snow Says six o'clock and a billion black birds wheeling, and the dusk stars wait, and the avalanche waits-- And have you looked at the paper today Medical research discloses that everyone is going to die of something Ulterior avenues, I will not take you Supernaturally articulate pencil, where the heaven of lost objects are you Beginning summer now, incredibly close clouds like an illustration that disturbed you as a child Appalling and incomprehensible mercy-- The seeing see only this world. _______________________________________________________________Domesticity Gray little clumps weightless as hair dust what is it Forty years later utterly unrecognizable save for our eyes that is, were we to meet-- _______________________________________________________________Auto-Lullaby Think of a sheep knitting a sweater; think of your life getting better & better. Think of your cat asleep in a tree; think of that spot where you once skinned your knee. Think of a bird which stands in your palm; try to remember the 21st Psalm. Think of a big pink horse galloping south; think of a fly, and close your mouth. If you feel thirsty, then drink from your cup. The birds will keep singing until they wake up. 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. ".....at a time when I am speaking to you about the paradox of desire -- in the sense that different goods obscure it -- you can hear outside the awful language of power. There's no point in asking whether they are sincere or hypocritical, whether they want peace of whether they calculate the risks. The dominating impression as such a moment is that something that may pass for a prescribed good; information addresses and captures impotent crowds to whom it is poured forth like a liquor that leaves them dazed as they move toward the slaughter house. One might even ask if one would allow the cataclysm to occur without first giving free reign to this hubbub of voices...." ========================================================================= Date: Mon, 5 Apr 2004 14:09:58 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: flora fair Subject: Re: Pulitzer in Poetry announced In-Reply-To: <000a01c41b4a$656a1f40$dddb4242@rochester.rr.com> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Um ... so you didn't like it? Gerald Schwartz wrote:A poetry governed by restrictive choice, seasonal growths, and energy placed mainly at the disposal of recovery. And, it seems -- as perhaps it must -- his recovery moves continuosly towards the existential by being dehistoricized into these recent pastoral implements. Sets me wondering: Are there are other poetries of recovery that do not follow this path? Jerry Schwartz > Announced today: > > Pulitzer Prize for poetry: > Franz Wright for "Walking to Martha's Vineyard." > > Any thoughts? I haven't read it. > > David Kellogg > Center for Teaching, Learning, and Writing > Duke University > (919) 668-1615; FAX (919) 681-0637 --------------------------------- Do you Yahoo!? Yahoo! Small Business $15K Web Design Giveaway - Enter today ========================================================================= Date: Mon, 5 Apr 2004 14:26:57 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Joel Weishaus Subject: Re: Edmond Jabes MIME-Version: 1.0 Content-Type: text/plain; charset="Windows-1252" Content-Transfer-Encoding: 7bit Aldon: This book is really a work of love. However, I found it too much Rosemarie and too little Edmund. Just my humble opinion. -Joel ----- Original Message ----- From: "ALDON L NIELSEN" To: Sent: Monday, April 05, 2004 1:27 PM Subject: Re: Edmond Jabes > in addition to reading ALL of Jabes, you should also read Rosmarie Waldrop's > delightful book about him -- > > On Mon, 05 Apr 2004 14:27:19 +0000, Maureen Robins wrote: > > > Dear Listmembers who spoke about Edmond Jabes. I went out and ordered The > > Book Of Questions (which includes the three volumbes, The Book of Questions, > > The Book of Yukel, and Return to the Book) and I am loving every second of > > it. I find myself awestruck and blown away sentence by sentence. > > > > I am seeing many many connections between the Zohar and this work. I'm > > particularly obsessed right now abaout chapter six where he opens with "Our > > ties to beings and things are so fragile they often brak without us > > noticing" (is that related to the idea of the shomer who watches over the > > dead before they are buried -- the mystical happenings that can occur when > > not seen? not noticed? -- and then he goes on to this dialogue between > > rabbis about names (and then the numericol count etc..) > > > > The Rabbis that he quotes -- are they fictional? autobiographical? Does > > anyone know? > > > > Maureen Picard Robins > > > > > > <<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > "Breaking in bright Orthography . . ." > --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, 6 Apr 2004 05:46:02 +0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: furniture_ press Subject: writing through kevin varrone's g-point almanac 9.22-10.19 Content-Type: text/plain; charset="iso-8859-1" Content-Disposition: inline Content-Transfer-Encoding: 7bit MIME-Version: 1.0 Anyone care to title it? I'm always up for collaborative work: how this city reminds me it is no longer mine how its landmarks iamb & dactyl each symbol signals another place a veritable so-to-speak overshadows this city, it is no longer a streetmap its roads follow a doe-see-doe where does this sentence say where to go? it is a sidewalk winds through avenues not shoreline where one shouldly go small is a sound descending, it is concrete which enlarges footfall into habit into music into pedestrian which makes an hour minutes— sun’s past five & dime, it is time which makes us late, to enter another city past five is to invite aporia shadows remind me it is time to go, ink moreso how this penmanship becomes pluvial -- _______________________________________________ Graffiti.net free e-mail @ www.graffiti.net Check out our value-added Premium features, such as an extra 20MB for just US$9.95 per year! Powered by Outblaze ========================================================================= Date: Mon, 5 Apr 2004 17:52:37 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Gerald Schwartz Subject: Re: Pulitzer in Poetry announced MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit > Um ... so you didn't like it? Not as receptive to it, and left wondering if more is being done elsewhere. Did like the music of it though. Jerry > > Gerald Schwartz wrote:A poetry governed by restrictive choice, > seasonal growths, and energy placed mainly > at the disposal of recovery. And, it seems -- > as perhaps it must -- his recovery moves > continuosly towards the existential by being > dehistoricized into these recent pastoral > implements. Sets me wondering: Are there > are other poetries of recovery that do not > follow this path? > > Jerry Schwartz > > > > Announced today: > > > > Pulitzer Prize for poetry: > > Franz Wright for "Walking to Martha's Vineyard." > > > > Any thoughts? I haven't read it. > > > > David Kellogg > > Center for Teaching, Learning, and Writing > > Duke University > > (919) 668-1615; FAX (919) 681-0637 > > > --------------------------------- > Do you Yahoo!? > Yahoo! Small Business $15K Web Design Giveaway - Enter today ========================================================================= Date: Mon, 5 Apr 2004 17:41:50 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Haas Bianchi Subject: Re: FUTUREPOEM AT BOWERY In-Reply-To: <5002CD3D-8723-11D8-879F-0003936C4860@verizon.net> MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Daniel can you backchannel me RB saudade@comcast.net Raymond L Bianchi chicagopostmodernpoetrycalendar.blogspot.com/ collagepoetchicago.blogspot.com/ > -----Original Message----- > From: UB Poetics discussion group > [mailto:POETICS@LISTSERV.BUFFALO.EDU]On Behalf Of Daniel Machlin > Sent: Monday, April 05, 2004 12:05 PM > To: POETICS@LISTSERV.BUFFALO.EDU > Subject: FUTUREPOEM AT BOWERY > > > FUTUREPOEM SPRING READING AT THE BOWERY POETRY CLUB > 308 Bowery @ Bleecker, New York City, F train to Second Ave | 6 train > to Bleecker | 212-614-0505 > > SATURDAY, APRIL 10, 2:00 p.m. - 4:00 p.m., $5.00 admission (to support > the press) > > PRESENTS > > A FUTUREPOEM SPRING READING EXTRAVAGANZA > > A Futurepoem Book Party and Reading by current and forthcoming FP > authors, editors and friends of the press including: Charles Bernstein, > Lewis Warsh, Jo Ann Wasserman, Merry Fortune, Garrett Kalleberg, Rachel > Levitsky, Kristin Prevallet, Dan Machlin, Heather Ramsdell, Virtual > Edwin Torres, And special guests: just-announced 04/05 authors: Michael > Ives & Shanxing Wang. > > And stay on afterwards for Drew Gardner and Deborah Richards at the > Segue Series at 4:00 p.m. > > Futurepoem is an independent brooklyn-based publishing collective with > a rotating editorship that investigates and presents innovative > writing. We are distributed by SPD Books and receive non-profit > sponsorship for donations through Fractured Atlas Productions, Inc. a > New York State 501(c)3 tax-exempt non-profit organization. Futurepoem > is made possible in part by grants from The New York State Council on > the Arts, The New York Community Trust, Fractured Atlas and Individual > subscribers and donors. > > Please visit http://www.futurepoem.com for more information about our > press. > > See you there! > ========================================================================= Date: Mon, 5 Apr 2004 15:17:09 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Stephen Vincent Subject: Re: Pulitzer in Poetry announced In-Reply-To: <1081193659.4071b4bbd94c5@webmail.duke.edu> Mime-version: 1.0 Content-type: text/plain; charset="ISO-8859-1" Content-transfer-encoding: quoted-printable With no harm met to the poet or the poetry, the title does have a seasonal Eastery 'walk on the water' presumption - I mean if you don't have your wings - and even that's 'Kennedy problematic' (bad!), how do you get to Martha's Vineyard without taking the ferry? Na=EFve Steve on the west coast where he's now up to 6 "Walking Theory" piece= s commissioned for Chris Sullivan's web site: http://www.8letters.blogspot.com/ Theories of which, for digital safe keeping - minus all of Chris's visual funk and smarts - he mirrors the pieces on his own blog site as well: http://stephenvincent.durationpress.com Ped comments always appreciated, Stephen V > Announced today: >=20 > Pulitzer Prize for poetry: > Franz Wright for "Walking to Martha's Vineyard." >=20 > Any thoughts? I haven't read it. >=20 > David Kellogg > Center for Teaching, Learning, and Writing > Duke University > (919) 668-1615; FAX (919) 681-0637 ========================================================================= Date: Tue, 6 Apr 2004 09:07:34 +0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: furniture_ press Subject: stomach ache. och! Content-Type: text/plain; charset="iso-8859-1" Content-Disposition: inline Content-Transfer-Encoding: 7bit MIME-Version: 1.0 so my girl had an aweful stomach ache, she wasn't digesting her food properly, and asked me "do you have any acidic juice?" i answered, "no, baby, i only have orthodox juice." this is true. and my buddy doug harmer, film maker extraordinaire said "I don't eat pork." And Lilly answered, "But yr not a Jew." "You're right," he said, "I'm a paradox Jew." this is also true. and I am a practicing Catholic. Happy Holy Week! Chris -- _______________________________________________ Graffiti.net free e-mail @ www.graffiti.net Check out our value-added Premium features, such as an extra 20MB for just US$9.95 per year! Powered by Outblaze ========================================================================= Date: Tue, 6 Apr 2004 00:00:55 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: HER VISION MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII HER VISION Of course this is not true, SLAVE, since the CLASS cannot FUCK itself, and further, the CORPORATE technology of BIOREPRODUCTION constructs the MOTHER without FUCKING since MARY, or at the least, the MAGDALEN, who was well-fucked or fucked, as the folds in her ROBES imply in the sense of the DEVOURING EYE and RETINA. for her folds imitate the LABIA and their HOLDINGS. I would ask you to consider YOUR OWN FUMBLINGS IN THIS REGARD. *** THIS IS THE THIRD OF THE THREE SECTIONS OF CONTAMINATION ***:For example, the redundancy and self-referencing, let us say the past, of the phrase MOTHER-FUCKER, for the paradigm of MOTHER is precisely that of FUCKING or at least FUCKED. The violation is in the degradation of the CHILD who then proceeds to create the STATEMENT, however SYMBOLIC to the INNER EAR, that hir MOTHER has been FUCKED, or some OTHER MOTHER, one might say almost the entirety of the class of MOTHERS.:*** THIS IS THE SECOND ***I've been so involved with SIGHT with the LOOK of the world and the WONDER of that LOOK that I've ignored the meander of text in favor of the VISUAL and on occasion the AURAL that situates one before any SYMBOLIC contaminates the pure encoded data of the RETINA and INNER EAR. Of course this is already a MIASMA; I've entangled myself, caught myself up in double- and triple- layered trickery. Language is just that, a TRICK, and this is a TRICKING or TRUCKING of language, dropping it into THIS space and THIS one as well, just as if there were such a MEANING in the fall of the human.::"define your slaves boat" Write "define your slaves boat" through my Of course this is not true, SLAVE, since the CLASS cannot FUCK itself, and further, the CORPORATE technology of BIOREPRODUCTION constructs the MOTHER without FUCKING since MARY, or at the least, the MAGDALEN, who was well-fucked or fucked, as the folds in her ROBES imply in the sense of the DEVOURING EYE and RETINA. for her folds imitate the LABIA and their HOLDINGS. I would ask you to consider YOUR OWN FUMBLINGS IN THIS REGARD. *** THIS IS THE THIRD OF THE THREE SECTIONS OF CONTAMINATION ***! "pledge disdains me above your boat!" ========================================================================= Date: Tue, 6 Apr 2004 00:00:43 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: of the raw body of passion MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII of the raw body of passion http://www.asondheim.org/sorewave.mov sample enlargement with compression will play in quicktime probably needs download first i am quite pleased with this expanse of penetrations against sullen background what might pass for blooded bead extrapolations waveforms breaking against imagery _ ========================================================================= Date: Tue, 6 Apr 2004 01:29:47 -0500 Reply-To: nudel-soho@mindspring.com Sender: UB Poetics discussion group From: Harry Nudel Subject: Spring... Mime-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit this nite & every other nite exile this nite & only this nite lite 3:00..1st nite..1st lite..drn.. ========================================================================= Date: Tue, 6 Apr 2004 04:12:56 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: i love the stick MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII i love the stick side one of the stick | | T | side two of the stick | | 0^0^ , | side three of the stick |||| side four of the stick c||0------|-|==\ \ | description of the stick _ ========================================================================= Date: Tue, 6 Apr 2004 09:39:38 -0400 Reply-To: Mike Kelleher Sender: UB Poetics discussion group From: Mike Kelleher Organization: Just Buffalo Literary Center Subject: JUST BUFFALO E-NEWSLETTER 4-5-04 MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 8bit IN THE HIBISCUS ROOM At Just Buffalo, Tri-Main Center, 2495 Main Street, Suite 512 Stephen Rodefer: Language Pictures Reading, with projections and Barbara Cole Friday, April 9, 8pm Stephen Rodefer is the author of numerous volumes of poetry including The Knife (1965), The Bell Clerk's Tears Kept Flowing (1978), Four Lectures (1982) and Mon Canard (2000). His translations include the acclaimed Villon (1968). Rodefer was a student of Charles Olson¹s at SUNY Buffalo and currently lives in Paris, where he is pursuing a career as a painter. Barbara Cole is author of Situation Comedies and a graduate student in poetics at SUNY Buffalo. Stephen Rodefer will also be showing his paintings at Steel Bar, down the hall in suite 551. Reception from 7-8 before the reading and afterward. Next Week: Lisa Jarnot and Jonathan Link Reading Friday, April 16, 8 p.m. Lisa Jarnot is author of Some Other Kind of Mission (Burning Deck), Ring of Fire (Salt) and Black Dog Songs (Flood Editions). Jonathan Link is Managing Editor at Slope Editions and is currently working on an MFA at The University of Massachusetts Amherst. WORKSHOPS JUST BUFFALO IS ACCEPTING APPLICATIONS FOR FALL WORKSHOP INSTRUCTORS. Just Buffalo offers writing workshops year round to all experience levels in poetry, fiction, drama, screenwriting, essay writing and publication. We are looking for published writers to teach workshops in the Fall of 2004. Courses can be single day courses, or they can meet once a week for two, four, six or eight weeks. They can meet evenings during the week or Saturday mornings. Please send a cover letter, resume, and course description to Workshop Application, Just Buffalo Literary Center, 2495 Main St., Ste 512, Buffalo, NY 14214 or email it to Mike Kelleher at mjk@justbuffalo.org. WORLD OF VOICES Thanks to a grant from the John R. Oishei Foundation, Just Buffalo and White Pine Press are able to bring four White Pine authors per year to Buffalo for Writer Residencies. During a week in Buffalo, each will do an in-depth school residency, make visits to local schools, and do community readings and talks. Books and on-line study guides will be available for local schools and libraries in advance of the author's visit. Authr Susan Rich will peform a residency from May 10-14. Details TBA. APRIL IS NATIONAL POETRY MONTH Poetry to Go Each year, Just Buffalo marks National Poetry Month with Poetry To Go, a month-long poetry celebration. In addition to all the readings we will be sponsoring around the city, we will be distributing small bags filled with poem-cards people can take with them in order to carry poetry through the day. Poetry. NEW WEBSITE Just Buffalo has a new website: http://www.justbuffalo.org. Please share this link with anyone you think might want it and feel free to link to it from your site. If you would like to add a publication, organization, contest, conference, resource, etc. to the list of writer links, please write Mike Kelleher (information below). SPOKEN ARTS RADIO W/ Mary Van Vorst 6:35 and 8:35 a.m. Thursdays and 8:35 a.m. Sundays on WBFO 88.7 FM April 15 & 18 - YUSEF KOMUNYAKAA (Collaborations and Connections) April 29 & May 2 - SUSAN RICH (World of Voices) CALL FOR WORK An anthology of anti-war poems by local poets and writers is being put together. Submissions are welcome and can be formatted in Word as an attachment or in text. May 1, 2004, is the deadline. They can be e-poemed to culhane9@hotmail.com or hard copies by snail mail to: Chuck Culhane c/o Peace Center 2123 Bailey Avenue Buffalo, NY 14211 (716) 894-2013 A CALL FOR PERFORMANCE POETs Wondering where all of the progressive poets are in Buffalo? Want to share your poetry to improve your writing and grow personally? Interested in performing that poetry for others to enjoy? Come to the first meeting of a newly forming performance poetry troupe. Where: Coffee &---718 Elmwood Ave. Upstairs When: Wednesday, April 7th, 6:30-8:00 pm. Coffee & Open Mic to follow. This is an open meeting. Audition dates TBA. Poets who can play an instrument, or have a background in theater, dance or visual arts are encouraged to attend. For more information, please contact Erika or Amy at 886-0377 or feedtheartist@hotmail.com _______________________________ Mike Kelleher Artistic Director Just Buffalo Literary Center 2495 Main St., Ste. 512 Buffalo, NY 14214 716.832.5400 716.832.5710 (fax) www.justbuffalo.org mjk@justbuffalo.org ========================================================================= Date: Tue, 6 Apr 2004 10:16:20 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: noah eli gordon Subject: NYC Mime-Version: 1.0 Content-Type: text/plain; format=flowed The BBR Reading Series: Genya Turovsky & Eric Baus Tuesday, April 13, 8 p.m. ($4 to benefit the poets) Bar Reis 375 5th Avenue (between 5th & 6th Streets) Brooklyn 718-832-5716 _________________________________________________________________ FREE pop-up blocking with the new MSN Toolbar – get it now! http://toolbar.msn.com/go/onm00200415ave/direct/01/ ========================================================================= Date: Tue, 6 Apr 2004 10:43:55 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Tom Orange 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, the first installment of the 2004 dcpoetry anthology is now online and features work by many poets who read here in DC in the past fall and current spring seasons, including: CA Conrad Cathy Eisenhower Betsy Fagin Jamie Gaughran-Perez Michael Gottlieb Jefferson Hansen Rachel Levitsky Chris Putnam Michael Scharf Jesse Seldess George Stanley Chris Toll plus additional work soon forthcoming from allison cobb, jen coleman, lynne dreyer, alan gilbert, phyllis rosenzweig, frank sherlock and others. i'm also pleased to report that lyn hejinian has selected poems from the 2003 anthology by bob perelman and kit robinson for inclusion in the 2004 edition of _The Best American Poetry_ which she has edited! you can check it all out at http://www.dcpoetry.com more work on the way, plus stay tuned for a newly designed homepage hopefully coming soon.... thanks, tom orange [and with apologies for any crossposting] ========================================================================= Date: Tue, 6 Apr 2004 08:01:30 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Catherine Daly Subject: FW: 2 Events in Wash. D.C. MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Reading by Professor Honor Moore: =93The Photographer and the Poet: A Friendship=94 at the Embassy of Austria Inge Morath. Austrian Photographs (The Estate of Inge Morath. Curators: Kurt Kaindl and Brigitte Bl=FCml) Cosmopolitan photographer, Inge Morath, returned to her native country Austria time and again for visits to family and friends as well as for photo projects. This exhibit presents a selection of her Austrian photographs with a particular focus on her unique portraits of people and daily life in Vienna. At the opening of the exhibit, American poet, Honor Moore, will read poems about Inge Morath and talk about their mutually inspiring friendship.=20 Thursday, April 15, 2004 7:30 p.m. Embassy of Austria 3524 International Ct., NW Washington, DC 20008 Admission free.=20 RSVP required: (202) 895-6776 Light refreshments will be served.=20 ********************************************************* Aaron Hamburger (MFA '01) Reading Come rendez-vous, confer, and otherwise hobnob with fellow Columbia MFA's on Wednesday April 21 at 7 pm when Aaron Hamburger (Columbia MFA, `01) reads from his acclaimed new story collection The View from Stalin's Head. ("A brilliant debut collection" --The Boston Globe.) Catch up with old friends. Network with new friends. Meet with Columbia alumni class representatives. Get in touch with creative people in your area. Wednesday, April 21, 2004=20 7:00 PM=20 Lambda Rising 1625 Connecticut Ave NW Washington, DC 20009 (202) 462-6969 www.aaronhamburger.com=20 ========================================================================= Date: Tue, 6 Apr 2004 08:02:06 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Catherine Daly Subject: FW: SynThink Conference Announcement MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit Dear Friends, Please join us for SynThink 7.0 : A Festival of Fakes featuring presentations by international artists and a talk by David Wilson, Founder/Director of the Museum of Jurassic Technology Wednesday, April 14 3 - 7 pm conference 7 - 9 pm party (food, drink, live jazz) Full information is at: http://myweb.lmu.edu/pharris/synthink7.htm Dr. Paul A. Harris Associate Professor in English Director, Graduate Program mailing address: Loyola Marymount University University Hall One LMU Drive, Suite 3800 Los Angeles, CA 90045 homepage: http://bellarmine.lmu.edu/~pharris/ ========================================================================= Date: Tue, 6 Apr 2004 09:51:10 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Kazim Ali Subject: Re: Pulitzer in Poetry announced In-Reply-To: <000a01c41b4a$656a1f40$dddb4242@rochester.rr.com> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii perhaps Michael Burkard's "Pennsylvania Collection Agency" or Jean Valentine's "Cradle of the Real Life" do not follow --- Gerald Schwartz wrote: > Are there > are other poetries of recovery that do not > follow this path? > > Jerry Schwartz ===== ==== WAR IS OVER (if you want it) (e-mail president@whitehouse.gov) __________________________________ Do you Yahoo!? Yahoo! Small Business $15K Web Design Giveaway http://promotions.yahoo.com/design_giveaway/ ========================================================================= Date: Tue, 6 Apr 2004 13:02:12 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Gerald Schwartz Subject: Re: Pulitzer in Poetry announced MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Thank you, Kazim. Best, Jerry > perhaps Michael Burkard's "Pennsylvania Collection > Agency" or Jean Valentine's "Cradle of the Real Life" > do not follow > > > --- Gerald Schwartz wrote: > > Are there > > are other poetries of recovery that do not > > follow this path? > > > > Jerry Schwartz > > > ===== > ==== > > WAR IS OVER > > (if you want it) > > (e-mail president@whitehouse.gov) > > __________________________________ > Do you Yahoo!? > Yahoo! Small Business $15K Web Design Giveaway > http://promotions.yahoo.com/design_giveaway/ ========================================================================= Date: Tue, 6 Apr 2004 13:30:27 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Allen Bramhall Subject: Perlman's TREES, new from Potes & Poets MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Potes & Poet's Press proudly announces the publication of The Natural History of Trees by John Perlman. A harmonic uprising of botany, history and poetry, The Natural History Trees arises directly from the springs of delight: "Perlman's forest of 'consciousness conscious' begins at the edge of the 20th century wasteland and leads into a wilderness where history moves vertically, straight or fractured, leafy or bare, toward an ever-impossible sky. Take a walk with him in this 'palindrome of pilgrimage utter coincidence lost & found"-- he's our new Thoreau/Beston/Muir and he's going to teach us how 'to get out of the world alive.'" ISBN 1-893541-71-1 / $ 15.95 available from Small Press Distribution www.spdbooks.com * * * * * SCARLET OR SWAMP MAPLE (Acer rubrum) comes the iceout in the swamps & sloughs red winterbuds swelling & deepening to a brilliant scarlet snowmounds under cliff shade & sunny days peeper chorus calling froglust over amber bogs stamens flaring open out of naked silver branches waters pouring into floodplains & a man & woman in a red canoe riding silently through a gap in the streambank past stumps sunken trunks pussywillow crowcaw screaming jay above the sense of trespass of a special dispensation draws them till they ground in black muck plume of leafmould flowing on the lapping current through blooms of skunk cabbage maple thickets mimicking & cloaking impropriety of the irresistible tropes blood from bones & age beyond thee stream's safekeeping shallows earthscent --from The Natural History of Trees by John Perlman ========================================================================= Date: Tue, 6 Apr 2004 11:40:11 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Stephen Vincent Subject: The shadow of poetry or 'Why are we in Iraq?' Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit ...All ignorantly we project our own savagery & cannibalism Upon societies and individuals who were Our civilized ancestors Christ now returns under the name U.S.A, Rages wild across the earth to avenge himself Napalm and nuclear bombs for every insult Every prick of the thorn crown "Not peace but a sword" (Curious elision.) Lays about him burning and smashing Murdering the Sea The war continues because it is profitable. It's making good money for those who had Money to invest in it from the beginning Curious elision for all who did not... from Scenes of Life at the Capital by Philip Whalen, 1969. It was not so curious to hear George Bush invoke "The Almighty" (aka Christ, one assumes) in again declaring his commitment this morning to bring democracy to Iraq - flaming guns an all. Given events these last few days in Iraq - I would say somebody's "Christ" is in big trouble and there are going to be a lot of bills on all levels to pay here. & just in time to be spelled out big time at Easter. Stephen V ========================================================================= Date: Tue, 6 Apr 2004 15:17:42 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Ian Randall Wilson Subject: Submissions MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit 88 is now in its open submission window period, March 1-May 31. For Issue 4 (October 2004), we're looking for poetry, and for essays about poetics and poetry. A number of Poetics list members have appeared in previous issues. We look forward to hearing from you. Guidelines follow. Ian Randall Wilson Managing Editor ---------------------------------- Submission Guidelines ---------------------------------- Unsolicited submissions will be considered March 1 through May 31 only. Unsolicited submissions postmarked outside that window will be returned unread. However, submissions accompanied by an original proof-of-purchase will be considered year round. (Proof-of-purchase seal may be found in current issues of 88.) Manuscripts must be limited to five poems per submission with author name and address appearing on each page. Long poems not exceeding ten single spaced typewritten pages will be considered, but poems longer than three pages must be submitted separately. Essays on poetry and poetics, and reviews will also be considered. Please limit essays to no more than ten pages, double-spaced, MLA Style. Reviews must be no more than eight double-spaced pages. At this time, material is being considered via USPS submission only. No disk, email or fax submissions. (However, if accepted, material will need to be provided later on disk.) Include a self-addressed, stamped envelope for return of manuscripts. Submissions without SASE will be discarded unread. Cover letter with short bio, please. No simultaneous submissions or previously published material will be considered. We report on submissions within three to six months. Manuscripts accepted after May 31 will appear the following calendar year. Mail submissions to: Editor 88 c/o Hollyridge Press P. O. Box 2872 Venice, CA 90294 Please look for 88 on Amazon- Issue 1: www.amazon.com/exec/obidos/ASIN/0967600340/welcometoholl-20 Issue 2: www.amazon.com/exec/obidos/ASIN/0967600367/welcometoholl-20 Issue 3: www.amazon.com/ ========================================================================= Date: Tue, 6 Apr 2004 15:51:13 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Haas Bianchi Subject: Re: Pulitzer in Poetry announced In-Reply-To: <20040406165110.51922.qmail@web40801.mail.yahoo.com> MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit who is this guy who won? His review in the Times sounds like he is another hyperconfessional guy who writes about loss? YUK when is Robert Creeley, or Charles Bernstein, or Rachel Blau DuPlessis or some poet 'other' type of poet going to win this thing? Raymond L Bianchi chicagopostmodernpoetrycalendar.blogspot.com/ collagepoetchicago.blogspot.com/ > -----Original Message----- > From: UB Poetics discussion group > [mailto:POETICS@LISTSERV.BUFFALO.EDU]On Behalf Of Kazim Ali > Sent: Tuesday, April 06, 2004 11:51 AM > To: POETICS@LISTSERV.BUFFALO.EDU > Subject: Re: Pulitzer in Poetry announced > > > perhaps Michael Burkard's "Pennsylvania Collection > Agency" or Jean Valentine's "Cradle of the Real Life" > do not follow > > > --- Gerald Schwartz wrote: > > Are there > > are other poetries of recovery that do not > > follow this path? > > > > Jerry Schwartz > > > ===== > ==== > > WAR IS OVER > > (if you want it) > > (e-mail president@whitehouse.gov) > > __________________________________ > Do you Yahoo!? > Yahoo! Small Business $15K Web Design Giveaway > http://promotions.yahoo.com/design_giveaway/ > ========================================================================= Date: Tue, 6 Apr 2004 16:46:18 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Lori Emerson Subject: NeWs FrOm BUFFalo POEtics MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline Dear all: this month in Buffalo Poetics: check it out at http://buffalopoetics.blogspot.com/): *Torn Space Presents Normal *Chris Marker's ONE DAY IN THE LIFE OF ANDREI ARSENEVICH *The Elevator Stops Here: Installation Art at the Top of City Hall *Innovative Canadian Women Writing: Nicole Markotic Erin Moure Lisa Robertson *The Card Catalog Poetry Project / ecopoetics 03 Double Launch Party and Reading ! *Hot nights @ Soundlab with Eli Drabman, Cuneiform Press & Atticus Finch *ANOTHER Poetry Triathlon: Matthew Klane, Jeffrey Sirkin & Kevin Varrone *Writers Making Film: Un Chant D'Amour & The Seashell and the Clergyman *Sean Thomas Dougherty and Erika Meitner @ Talking Leaves *Rust Talks #19: Thom Donvan and Michael Cross As ever, you are welcome to send us your news and reviews to Lori lemerson@buffalo.edu or Kyle ks46@buffalo.edu. ========================================================================= Date: Tue, 6 Apr 2004 17:13:58 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Austinwja@AOL.COM Subject: No Subject MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Hello everyone, The spring 2004 gallery is now open for submissions. Send po and/or vispo to Austinwja@aol.com. Vispo should be jpg under one meg. I'm also looking for brief (no more than one page) essays on aesthetics. Attachments ok. To view current galleries, go to WilliamJamesAustin.com and follow the Blackbox link. Then take a "scroll." Best, Bill WilliamJamesAustin.com kojapress.com amazon.com b&n.com ========================================================================= Date: Tue, 6 Apr 2004 17:32:25 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Del Ray Cross Subject: SHAMPOO 20 MIME-Version: 1.0 Content-Type: text/plain; charset="utf-8" Content-Transfer-Encoding: quoted-printable Content-Disposition: inline Dear Beautiful Person, It will make you feel all tingly if you look forthwith at the star-studded new SHAMPOO issue 20: www.ShampooPoetry.com Check out mind-altering ingredients by these super- gorgeous poets: Tim Yu, Stephanie Young, Kirby Wright, Marcus Slease, Alessia Sersanti, John Schertzer, Kate Schapira, Sarah Rosenthal, Jessy Randall, Lisa Radon, Shane Plante, Alvin Pang, Karyna McGlynn, Bob Marcacci, Brendan Lorber, Cassie Lewis, David Laskowski, Susanna Kittredge, Stephen Kirbach, Paolo Javier, Michael Ives, Yuri Hospodar, Annalynn Hammond, Kelle Groom, Andrea Gonzales, Heather June Gibbons, Raymond Farr, Mark DuCharme, Del Ray Cross, Tanya Brolaski, Andrew Brenza, Tim Botta, CL Bledsoe, Angela Ball, Carl Annarummo, Shane Allison; plus flaky ShampooArt by Brian Fugett. Thank you for helping SHAMPOO serve up four years of the sudsiest poems ever. Sexy poetry, Del Ray Cross, Editor SHAMPOO clean hair / good poetry www.ShampooPoetry.com (if you'd rather not get these little updates, just let me know) ========================================================================= Date: Tue, 6 Apr 2004 17:48:10 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Austinwja@AOL.COM Subject: Blackbox call for submissions MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Hello everyone, The spring 2004 gallery is now open for submissions. Send po and/or vispo to Austinwja@aol.com. Vispo should be jpg under one meg. I'm also looking for brief (no more than one page) essays on aesthetics. Attachments ok. To view current galleries, go to WilliamJamesAustin.com and follow the Blackbox link. Then take a "scroll." Best, Bill WilliamJamesAustin.com kojapress.com amazon.com b&n.com ========================================================================= Date: Tue, 6 Apr 2004 17:55:13 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Michael Boyko Subject: Re: Pulitzer in Poetry announced MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit I haven't read Walking to Martha's Vineyard, but have read Franz Wright's The Beforelife and Entry in an Unknown Hand, both of which I enjoyed immensely. Yeah, confession, yeah, drama, yeah, recovery. Usually, blech, but done well in his case. It's his reversals that do it, where he denies the confession, denies the drama, and denies the recovery. They give the poems spin, and make them wonderfully depressing in a daily survivalist sort of way. And I don't think I need to tell anyone how a New York Times review can make even the best work sound like an uninventive pile of poo. peace out, boyko ========================================================================= Date: Wed, 7 Apr 2004 08:00:21 +1000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alison Croggon Subject: Re: Pulitzer in Poetry announced In-Reply-To: <103.427851cb.2da48141@aol.com> Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit The only thing I've read of Franz Wright's are his translations of Rilke (The Unknown Rilke). I thought them very fine indeed, among the best I've read, and certainly vastly superior to Stephen Mitchell's wordy paraphrases. I imagine that mind would produce something more intelligent than soggy "confessional". Best A On 7/4/04 7:55 AM, "Michael Boyko" wrote: > I haven't read Walking to Martha's Vineyard, but have read Franz Wright's The > Beforelife and Entry in an Unknown Hand, both of which I enjoyed immensely. > Yeah, confession, yeah, drama, yeah, recovery. Usually, blech, but done well > in > his case. It's his reversals that do it, where he denies the confession, > denies the drama, and denies the recovery. They give the poems spin, and make > them > wonderfully depressing in a daily survivalist sort of way. And I don't think > I need to tell anyone how a New York Times review can make even the best work > sound like an uninventive pile of poo. Alison Croggon Editor, Masthead http://www.masthead.net.au Home page http://www.alisoncroggon.com Blog http://alisoncroggon.blogspot.com ========================================================================= Date: Tue, 6 Apr 2004 15:10:12 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: flora fair Subject: Re: Pulitzer in Poetry announced In-Reply-To: <103.427851cb.2da48141@aol.com> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii How do we define confessional, specifically? Is it putting yourself in the poem? Michael Boyko wrote: I haven't read Walking to Martha's Vineyard, but have read Franz Wright's The Beforelife and Entry in an Unknown Hand, both of which I enjoyed immensely. Yeah, confession, yeah, drama, yeah, recovery. Usually, blech, but done well in his case. It's his reversals that do it, where he denies the confession, denies the drama, and denies the recovery. They give the poems spin, and make them wonderfully depressing in a daily survivalist sort of way. And I don't think I need to tell anyone how a New York Times review can make even the best work sound like an uninventive pile of poo. peace out, boyko --------------------------------- Do you Yahoo!? Yahoo! Small Business $15K Web Design Giveaway - Enter today ========================================================================= Date: Tue, 6 Apr 2004 17:14:45 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Kerri Sonnenberg Subject: Discrete Series--Chicago 4/9 Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit __________THE DISCRETE SERIES______________ presents John Tipton :: Kent Johnson [John Tipton had an itinerant childhood in Indiana, Florida, Oklahoma, Louisiana, and Illinois. After a three-year stint in the U.S. Army, he attended the University of Chicago on the G.I. Bill where he earned an AB in philosophy. He currently lives in Chicago and curates the Chicago Poetry Project, a series of readings at the Chicago Public Library. He is the author of Surfaces, published by Flood Editions in 2004.] [Kent Johnson has edited Doubled Flowering: From the Notebooks of Araki Yasusada (Roof, 1998), as well as Also, with My Throat, I Shall Swallow Ten Thousand Swords: Araki Yasusada's Letters in English, forthcoming from Combo Books. He has also translated (with Alexandra Papaditsas) The Miseries of Poetry: Traductions from the Greek (Skanky Possum, 2003) and (with Forrest Gander) Immanent Visitor: Selected Poems of Jaime Saenz (California UP, 2002), which was a PEN Award for Poetry in Translation selection. He was named Faculty Person of the Year for 2003 at Highland Community College, in Freeport, Illinois, where he teaches English Composition and Spanish.] Friday, April 9 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. For a map to the space, and samples of past and future readers' work, visit the Discrete blog http://discreteseries.blogspot.com/ http://www.lavamatic.com/discrete/index.htm Coming up next month, 5/14 Nic Collins and Judd Morrissey ...if you'd like to be removed from this list please respond kindly... ========================================================================= Date: Tue, 6 Apr 2004 18:14:34 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Dactyl Foundation Subject: Angus Fletcher at Dactyl Foundation MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Dactyl Foundation for the Arts & Humanities celebrates the release of A New Theory for American Poetry: Democracy, the Environment, and the Future of Imagination (Harvard University Press) by Angus Fletcher Thursday, April 15, 2004 wine and hors d'oeuvres 6:45 p.m. lecture presentation 7 p.m. suggested donation $8 Drawing on the complexity sciences, Fletcher argues that the "best" American poetry -- Whitman's "end product and influence of the globe" -- poetically realizes our overwhelming sense of environmental contact and coherence in part by approximating the lost grammatical technique of the middle voice, intermingling object and subject, active and passive verbs. 64 Grand Street (Wooster/West Broadway) SoHo, NYC 212 219-2344 www.dactyl.org Reviews of New Theory "Fletcher argues [the best American poetry] is not a vehicle for the presentation of the self but mines the process by which the self develops as it negotiates and becomes immersed in the multitudes around it. a provocative vision of how poets continue to be the unacknowledged legislators of the world, how their work . . . can embody and change our consciousness." Robert Faggen ".the crown of [Fletcher's] career: bold, original, brimming with imaginative energy on every page." Harold Bloom "Fletcher restores the imagination, the aesthetic, the emotions and the natural world to critical discourse, while at the same time attending to some of the most significant developments in scientific thinking, notably ecology and chaos theory." Jonathan Bate "Fletcher has climbed to the top of the mast and found there, revealed at last, the curvature of the world." Susan Stewart "I read this great theorist and discover again, again and anew, answers to our students' tormented questions: what is the good, the value, the use of poetry?" Richard Howard "Fletcher defines a poetics for the twenty-first century by means of a very original collection of Clare, Whitman, and Ashbery as Environmental Poets. " Helen Vendler ".one of the most important books about poetic imagination of the past half-century. " John Hollander http://www.dactyl.org ========================================================================= Date: Tue, 6 Apr 2004 17:20:50 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Harrison Jeff Subject: Severed Static, or, It's Wrong To Arm Sleep With Open Eyes Mime-Version: 1.0 Content-Type: text/plain; format=flowed "elsewhere are foggy pasts... no vision's solid" is something I said, not something I wrote... after this announcement, Virginia expected my readers would be sure to call her Ms. Astraea Marie Aerigone; and, indeed, they were quite willing to please her, whenever they could remember the name. after that stanza I pulled off the cloth covering Wormswork's face, and saw, as I expected, the cruel countenance of Abd el Barak. Virginia (née Ms. Astraea Marie Aerigone) only seemed to grow worse. this has been another vulgar performance on the death of Virginia, and is dedicated to Antoinette Manuel. _________________________________________________________________ Tax headache? MSN Money provides relief with tax tips, tools, IRS forms and more! http://moneycentral.msn.com/tax/workshop/welcome.asp ========================================================================= Date: Wed, 7 Apr 2004 06:48:37 +0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group Comments: RFC822 error: Invalid RFC822 field - "A.D. What Makes You Think I Would Make Do What I Ask Of First Letters? tHis iS tHe lAst tIme wE tAlk iN tHis fAshion.". Rest of header flushed. From: furniture_ press Subject: NIRVANA/KURT COBAIN acrostics from my buddy Airborn DeBris MIME-Version: 1.0 Enjoy the Nirvana, Kurt Cobain Acrostics below: No one asked If Kurt pulled a Rifle out of his Van and pulled A trigger in his Not-so-soft skull: Another decade, another death Kennedy was first but it was Under Clinton the Real bullets flew out The cuckoo's nest, of all things. Can one man be so determined Or else blind to faith that Both his stomach and his brain Alter the course of rock and roll? In a word, Not a chance -- _______________________________________________ Graffiti.net free e-mail @ www.graffiti.net Check out our value-added Premium features, such as an extra 20MB for just US$9.95 per year! Powered by Outblaze ========================================================================= Date: Tue, 6 Apr 2004 21:52:46 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Clements Subject: Re: confessionalism In-Reply-To: <20040406221012.99967.qmail@web10002.mail.yahoo.com> MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit ML Rosenthal (who some say coined the term), in his 1967 book _The New Poets: American and British Poetry Since WWII_, remarks that, whoever coined the term, its use quickly got out of hand, as did bad imitators of Lowell and company. Rosenthal argues that in Life Studies Lowell achieved Pound's goal To have gathered from the air a live tradition or from a fine old eye the unconquered flame This is not vanity. Here error is all in the not done, all in the difference that faltered. In regards to confessionalism, didn't Lowell essentially say himself that it was in the air, and that he just paid attention (to Snodgrass, to Ginsberg) and put it to work? But if confession in poetry was a swing away from colder aesthetics of the poetry establishment in the 30s and 40s, then it was also for Lowell a dramatic swing away from everything he'd done theretofore. Apparently, for Rosenthal, having brought "private humiliations, sufferings, and psychological problems" into the poems was enough to suggest the term. In New Poets he adds the qualification that there is a sense of victimization in the Confessional poem and that the Confessional line is really the logical extension of that element of Romanticism that is all about mythologizing the Self. We always talk about Lowell as the most influential Confessionalist, but it seems to me that the Confessional and post-confessional lines from the 70s through today have been most influenced by Sexton's drama and violence (directed both at self and other). Doesn't it also seem that much Confessional poetry seems to come from a need for absolution and, because that neediness sits heavily at the center of the poem, attempts to suck the reader down into a whirlpool of pity? No wonder so many have reacted so vehemently against it. As many here will already know, Rosenthal also counted Ginsberg among his Confessionals. Rosenthal also argues that it's Lowell's impersonal motivations for making poems (see his first couple of books) that save his confessionalism from the sap pit. Not sure I buy it, but it's a book worth checking out. Seems strangely current. Also an interesting section on "The Projectivist Moment"--interesting because Rosenthal fawns all over Creeley but can't seem to make anything of Olson. I wonder if his reading of Olson evolved over the years? There's also an anthology called _After Confession_ edited by Kate Sontag and David Graham. Good essays trying on ideas about working with, through, around, in spite of, against, etc. the lyric I. I wish it had a few more folks from outside the mainstream, though. What, indeed, do we mean by confessional? What exactly is it that those of us who disdain the confessional want to avoid? Best, Brian -----Original Message----- From: UB Poetics discussion group [mailto:POETICS@LISTSERV.BUFFALO.EDU]On Behalf Of flora fair Sent: Tuesday, April 06, 2004 5:10 PM To: POETICS@LISTSERV.BUFFALO.EDU Subject: Re: Pulitzer in Poetry announced How do we define confessional, specifically? Is it putting yourself in the poem? Michael Boyko wrote: I haven't read Walking to Martha's Vineyard, but have read Franz Wright's The Beforelife and Entry in an Unknown Hand, both of which I enjoyed immensely. Yeah, confession, yeah, drama, yeah, recovery. Usually, blech, but done well in his case. It's his reversals that do it, where he denies the confession, denies the drama, and denies the recovery. They give the poems spin, and make them wonderfully depressing in a daily survivalist sort of way. And I don't think I need to tell anyone how a New York Times review can make even the best work sound like an uninventive pile of poo. peace out, boyko --------------------------------- Do you Yahoo!? Yahoo! Small Business $15K Web Design Giveaway - Enter today ========================================================================= Date: Wed, 7 Apr 2004 03:00:53 -0000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: sbpoet.832776@BLOGLINES.COM Subject: Re: confessionalism MIME-Version: 1.0 Content-Type: text/plain Content-Transfer-Encoding: 8bit > What, indeed, do we mean by confessional? What exactly is it that those of > us who disdain the confessional want to avoid? > > Best, > Brian I look forward to this discussion. ========================================================================= Date: Wed, 7 Apr 2004 11:06:43 +0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: furniture_ press Subject: Jabes Content-Type: text/plain; charset="iso-8859-1" Content-Disposition: inline Content-Transfer-Encoding: 7bit MIME-Version: 1.0 Are we keeping Jabes alive? I'm still up for an aphorism or two (and the ambiguities just astound me): Writing is a Form of Questioning. For Jabès, it is Necessary to Hammer in the Glue. His Name is not only Unpronounceable, it is Illegible. Illegibility is Pronounced, for a Moment, Irreducibility. Writing Inflicts its Impossibility upon the Reading Act. His Name is not only a Sound, it is a Wound. The Sound Produced by the Wound: the Word. Writing is to Form the Question, and Question at the Same Time. His Name is the Articulation of Space, and at the Same Time, its Destruction. Articulation is Pronounced, for a Second Time, Appropriation. If a Text can Resist the Question, it can Resist any Reading. His Name is the Reduction of Space, Keeping Time with its Surroundings. In Fact, the Question is no Longer Relevant. A Text Remains Intact, though Godriddled. His Name Becomes Equivocal and Univocal. -- _______________________________________________ Graffiti.net free e-mail @ www.graffiti.net Check out our value-added Premium features, such as an extra 20MB for just US$9.95 per year! Powered by Outblaze ========================================================================= Date: Tue, 6 Apr 2004 22:16:03 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Allegrezza Subject: new moria and cfp Comments: To: Walter Daniel , "Trupthi . . . ." , Tony Hooper , Soul Sanction , Sheila Murphy , Scott MacLeod , Rnmo , Richard C Williams , Raymond Farr , Ram Mehta , Rae , "R. Paul Craig" , Pennysparky , Paul Hardacre , Patricia Johnson , "Nicole. Tomlinson" , Nick Z Antosca , Nadine Moawad , Melissaps374@aol.com, Melanie McConnell , Mary Angela Nangini , Margarita Engle , Lisa Mansell , Leon Beachum , Lae , kristin wilt , Karoline Pinson , Jim Ryals , Jessica Laccetti , Jeff Davis , Jeff Brummel , Jason Frye , Harry K Stammer , Godsandmonsters6 , Erin Wilson , Eddie Watkins , Dylan Willoughby , Deborah Reich , David Woods , David Doran , Dan Zarrella , Clarity , Barbara Flaherty , Archie Belanger , Ann Lederer , Anastasia Clark , "Amanda. Johnston" , Alex , "J. Stuart" MIME-Version: 1.0 Content-Type: text/plain; charset="Windows-1252" Content-Transfer-Encoding: 7bit The new issue of moria (www.moriapoetry.com) is now online. It contains poems by Clayton Couch, LYX ISH, Eileen Tabios, Dana Lisa Petersen, Jean Vengua, Steven Stuart, Donna Kuhn, Dorothea Lasky, Martha L. Deed, Carrie Hunter, Michael Allen, Scott MacLeod, karry k stammer, David Bircumshaw, Chris Murray, and Sueyen Juliette Lee. It also has articles by William James Austin on Visionism and Ela Kotkowska on blogging and reviews by Tom Bell (on Michael Rothenberg) and Tom Hibbard (on Donna Kuhn). As usual, I'm still looking for article writers and reviewers for future issues. Bill Allegrezza www.moriapoetry.com ========================================================================= Date: Tue, 6 Apr 2004 22:42:22 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Haas Bianchi Subject: Luciano Erba in Chicago In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Dear Listers the Poet Luciano Erba is coming to Chicago April 19th at 6 PM at the 500 North Michigan Avenue locale of the Italian Cultural Institute is reading with Mark Strand and Ann Snodgrass his translators he is reading from his book the Hippopotamus. Would love to get as many people as possible to this event. If you show up the first Grappa is on me- Ray Raymond L Bianchi chicagopostmodernpoetrycalendar.blogspot.com/ collagepoetchicago.blogspot.com/ ========================================================================= Date: Wed, 7 Apr 2004 00:08:57 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: Vienna variants MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Vienna variants http://www.asondheim.org/test.mov http://www.asondheim.org/vienna.mov 1918 1931 1947 1951 _ ========================================================================= Date: Wed, 7 Apr 2004 00:07:24 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jonathan Skinner Subject: RODEFER/ COLE FRIDAY at JUST BUFFALO Mime-version: 1.0 Content-type: text/plain; charset="ISO-8859-1" Content-transfer-encoding: quoted-printable THIS (GOOD) FRIDAY (APRIL 9) JUST BUFFALO=20 & STEEL BAR=20 PRESENT=20 STEPHEN RODEFER=20 BARBARA COLE=20 Poetry readings, projections and exhibition. Stephen Rodefer's "Language Pictures" will be on exhibit at Steel Bar from 7-8pm and 9:30-11pm. The reading (with slides and projections) will take place down the hall at Just Buffalo's Hibiscus Room from 8-9:30pm. Warning: events will commence promptly at 8:15! A reception will take place afterwards at Steel Bar from 9:30-11pm. Please BYOB and help us celebrate Isabelle's-- and Baudelaire's-- birthday and Stephen's first Buffalo exhibit (since 1968).=20 Both events are free. (Though do BYOB for general silliness and revelry after the reading.) Located on the fifth floor of the Tri Main Center, 2495 Main St., Buffalo, NY Stephen Rodefer is the author of numerous volumes of poetry including The Knife (1965), The Bell Clerk's Tears Kept Flowing (1978), Four Lectures (1982) and Mon Canard (2000). His translations include the acclaimed Villon (1968). Rodefer was a student of Charles Olson's at SUNY Buffalo and currently lives in Paris, where he is pursuing a career as a painter. Barbara Cole's chapbooks include *little wives* (Potes & Poets Press, 1998) and *postcards* (BeautifulSwimmer Press, 1998). In 2002, Handwritten Press published the first installment of Cole's ongoing project, *situ ation come dies.* Most recently, /ubu editions has published a section of the next installment, *foxy moron.* Critical articles include "Bruce Andrews's Venus: Paying Lip Service to =E9criture f=E9minine" for *Jacket* magazine and "To Do as Eve Did: How Emily Dickinson and Ronald Johnson Build Eden," forthcoming in *Ronald Johnson: Life and Works*. =20 ========================================================================= Date: Wed, 7 Apr 2004 00:05:26 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: Vienna MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Vienna the tern the tern with black wingtips the black tern with wingtips the white tern the sway of the tern the gulls http://www.asondheim.org/tern.mov "Beauty, like order, occurs in many places in this world, but only as a local and temporary fight against the Niagara of increasing entropy." - Norbert Wiener ========================================================================= Date: Tue, 6 Apr 2004 21:38:42 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: flora fair Subject: Re: confessionalism In-Reply-To: <1081306853.1382899764.28660.sendItem@bloglines.com> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii My experience in college was an aversion to confessionalism from students and some professors as anything personal, non-intellectual, or without irony. I guess it's a reaction to the confessionalists in a way, but it also seemed tied up in a need to sound smart -- or maybe, ultra-omniscient? sbpoet.832776@BLOGLINES.COM wrote: > What, indeed, do we mean by confessional? What exactly is it that those of > us who disdain the confessional want to avoid? > > Best, > Brian I look forward to this discussion. --------------------------------- Do you Yahoo!? Yahoo! Small Business $15K Web Design Giveaway - Enter today ========================================================================= Date: Wed, 7 Apr 2004 00:16:02 -0500 Reply-To: nudel-soho@mindspring.com Sender: UB Poetics discussion group From: Harry Nudel Subject: Spring... Mime-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit yellow granules like specs in gulden mustard freight elevator full load of wholesale flowrs emptied into waiting S.U.V.'s deep light waits to crack open the commercial product... not yt 3:00...sleep lite..drn... ========================================================================= Date: Wed, 7 Apr 2004 00:18:36 -0500 Reply-To: nudel-soho@mindspring.com Sender: UB Poetics discussion group From: Harry Nudel Subject: Spring... Mime-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit yellow granules like specs in gulden mustard freight elevator full pollen load wholesale flowers emptied into waiting S.U.V.'s deep light waits to crack open the commercial product... not yt 3:00...sleep lite..drn... ========================================================================= Date: Wed, 7 Apr 2004 01:18:49 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mairead Byrne Subject: Re: Spring... Comments: To: nudel-soho@mindspring.com Mime-Version: 1.0 Content-Type: text/plain; charset=US-ASCII Content-Transfer-Encoding: 7bit Content-Disposition: inline SPRING March March March March March March March March March March March March March March March March March March March March March March March March March March March March March March april www.maireadbyrne.blogspot.com >>> Harry Nudel 04/07/04 01:14 AM >>> yellow granules like specs in gulden mustard freight elevator full load of wholesale flowrs emptied into waiting S.U.V.'s deep light waits to crack open the commercial product... not yt 3:00...sleep lite..drn... ========================================================================= Date: Tue, 6 Apr 2004 23:23:21 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mark Weiss Subject: Re: confessionalism In-Reply-To: <1081306853.1382899764.28660.sendItem@bloglines.com> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed self-validation by victimood, self-pity, sentimentality. At 03:00 AM 4/7/2004 +0000, you wrote: > > What, indeed, do we mean by confessional? What exactly is it that those >of > > us who disdain the confessional want to avoid? > > > > Best, > > Brian > > >I look forward to this discussion. ========================================================================= Date: Wed, 7 Apr 2004 02:58:43 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Michael Boyko Subject: Re: confessionalism MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit it seems to me that most poetry is by nature confessional. Those who wish to be anti-confessional or whatever have but to find a way to omit the I. Instead of "i feel" say "jack feels" and ba-ba-boom instant not confessional poetry. but feel free to still use those confessions from your life that make it worth the time. As long as they are framed around not you. I guess i understand the backlash. I guess i understand not wanting to read someone's whining complaint. but I think there became a confusion between the confession and the complaint. just as there became a confusion between the differentiation and the dissociation of art and spirit. peace, boyko ========================================================================= Date: Wed, 7 Apr 2004 08:22:45 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: Re: .mov sent out last night MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII These have to be downloaded first before they'll run. They were made directly in Blender, which doesn't have an internet streaming option - Alan http://www.asondheim.org/ http://www.asondheim.org/portal/.nikuko http://www.anu.edu.au/english/internet_txt Trace projects http://trace.ntu.ac.uk/writers/sondheim/index.htm finger sondheim@panix.com ========================================================================= Date: Wed, 7 Apr 2004 09:45:43 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Austinwja@AOL.COM Subject: Re: new moria and cfp MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit In a message dated 4/6/04 10:53:17 PM, alegr5@ATTGLOBAL.NET writes: << The new issue of moria (www.moriapoetry.com) is now online. >> The issue looks good, as usual. Thanks again for including my essay. Best, Bill WilliamJamesAustin.com kojapress.com amazon.com b&n.com ========================================================================= Date: Wed, 7 Apr 2004 07:00:08 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: David Larsen Subject: wait a minute In-Reply-To: <1e8.1d438248.2da56007@aol.com> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed Did I just read that the US fired missiles into a mosque, killing 40? ========================================================================= Date: Wed, 7 Apr 2004 10:15:42 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Gerald Schwartz Subject: Re: wait a minute MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Yes, you did. It's all just begun. > Did I just read that the US fired missiles into a mosque, killing 40? ========================================================================= Date: Wed, 7 Apr 2004 09:24:14 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Gabriel Gudding Subject: Also Upon Conchology Blog Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed A Report on Recent Blog Soap Operatics (including a response by arch-conservative Daniel Hoffman) Transcribed Conversation about the Art of Brian Collier Some Bad Collaborative Poetry Frank Zappa on Farting Passages of Comfort from Epictetus Passages of Comfort from Stoicism's Heir: 12 Step Programs A Report on a Reading by Peter Ramos and Roberto Tejada at Illinois State University What's Next in _Mandorla_ And: PHOTOS OF HOOLIGANS AND LEFTISTS http://gabrielgudding.blogspot.com/ __________________ Gabriel Gudding Department of English Illinois State University Normal, IL 61790 office 309.438.5284 gmguddi@ilstu.edu ========================================================================= Date: Wed, 7 Apr 2004 07:45:08 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: kari edwards Subject: Re: wait a minute In-Reply-To: <5.2.1.1.2.20040407065604.0399bd10@socrates.berkeley.edu> Content-Type: text/plain; charset=US-ASCII; format=flowed Mime-Version: 1.0 (Apple Message framework v553) Content-Transfer-Encoding: 7bit no, that's enslaving and killing millions of indigenous people no, that's retuning escaped slaves to their owners no, wait...its an up date its invading the Philippines for land and empire building no, its destroying the unions with guns and clubs no, wait... there's an update I hear jim crow on the rise no, it's the sound of child suffocating at the hands of greed no, wait . . . wait that's the burning screams of Nagasaki in the name of empire building no, that's the sound of domino fear and millions and millions of bombs in the name of empire building no, that's the sound of domino fear and millions and millions of bombs in the name of empire building no, that's the sound of domino fear and millions and millions of bombs in the name of empire building no, it's another world leader being kidnaped or assassinated in the name of another open market no, it's still raging racism, sexism, and hatred of queer no, that's that the hushed images and suffering of bhopal (as someplace else that didn't count since it wasn't here) (the would never happen here with DDT or nucular leaks) no, it's just the sound of crushed freedom fighters throughout the world as drugs are exchanged for guns no, wait I can't hear you, there's to many oil sucking suv's (as the driver's attention is on a personal communication devices) no, it's the back room of a court installing a fascist dictator... no, it's the sound of silence as everyone watches at home from the television sets On Wednesday, April 7, 2004, at 07:00 AM, David Larsen wrote: > Did I just read that the US fired missiles into a mosque, killing 40? > ========================================================================= Date: Wed, 7 Apr 2004 11:07:16 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: J Kimball Subject: Scalapino, Byrne, Iijima, Steffans, Sigo, Cole, Champion, Piombino, Fagin. Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit Scalapino, Byrne, Iijima, Steffans, Sigo, Cole, Champion, Piombino, Fagin. Short reads of mostly recent work at http://pantaloons.blogspot.com Or paste in or click on any of the separate links below. Leslie Scalapino http://pantaloons.blogspot.com/2004_04_01_pantaloons_archive.html#1081348422 98957389 Mairead Byrne http://pantaloons.blogspot.com/2004_04_01_pantaloons_archive.html#1081166216 14035754 Brenda Iijima http://pantaloons.blogspot.com/2004_04_01_pantaloons_archive.html#1080932360 37540526 Brian Kim Steffans http://pantaloons.blogspot.com/2004_03_01_pantaloons_archive.html#1080225549 15851881 Cedar Sigo http://pantaloons.blogspot.com/2004_03_01_pantaloons_archive.html#1080077701 05676264 Sean Cole http://pantaloons.blogspot.com/2004_03_01_pantaloons_archive.html#1079891348 59426318 Miles Champion http://pantaloons.blogspot.com/2004_03_01_pantaloons_archive.html#1079720024 99690963 Nick Piombino http://pantaloons.blogspot.com/2004_03_01_pantaloons_archive.html#1079617291 02095574 Betsy Fagin http://pantaloons.blogspot.com/2004_03_01_pantaloons_archive.html#1079556670 56101377 ========================================================================= Date: Wed, 7 Apr 2004 08:56:51 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Stephen Vincent Subject: Baghdad Burning/ insde looking out Mime-version: 1.0 Content-type: text/plain; charset="ISO-8859-1" Content-transfer-encoding: quoted-printable A wonderful, sadly human blog: http://riverbendblog.blogspot.com/ Baghdad Burning ... I'll meet you 'round the bend my friend, where hearts can heal and soul= s can mend... Wednesday, April 07, 2004 =A0 Teapots and Kettles... Now it seems we are almost literally reliving the first few days of occupation=8A I woke up to the sound of explosions and gunfire last night and for one terrible moment I thought someone had warped me back a whole year and we would have to relive this last year of our life over and over again=8A We haven't sent the kids to school for 3 days. The atmosphere is charged an= d the day before yesterday, Baghdad was quiet and empty, almost=8A the calm before the storm. The area of A'adhamiya in Baghdad is seeing street fighting: the resistance and Americans are fighting out in the streets and Al-Sadr city was bombed by the troops. They say that dozens were killed and others wounded. They're bringing them in to hospitals in the center of the city. Falloojeh has been cut off from the rest of Iraq for the last three days. It's terrible. They've been bombing it constantly and there are dozens dead= . Yesterday they said that the only functioning hospital in the city was hit by the Americans and there's no where to take the wounded except a meager clinic that can hold up to 10 patients at a time. There are over a hundred wounded and dying and there's nowhere to bury the dead because the American= s control the area surrounding the only graveyard in Falloojeh; the bodies ar= e beginning to decompose in the April heat. The troops won't let anyone out o= f Falloojeh and they won't let anyone into it either- the people are going to go hungry in a matter of days because most of the fresh produce is brought from outside of the city. We've been trying to call a friend who lives ther= e for three days and we can't contact him. This is supposed to be 'retaliation' for what happened last week with the American contractors- if they were indeed contractors. Whoever they were, i= t was gruesome and wrong=8A I feel for their families. Was I surprised? Hardly. This is an occupation and for those of you na=EFve enough to actually believe Chalabi and the Bush administration when they said the troops were going to be 'greeted with flowers and candy' then I can only wish that God will, in the future, grant you wisdom. This is crazy. This is supposed to be punishment for violence but it's only going to result in more bloodshed on both sides=8A people are outraged everywhere- Sunnis and Shi'a alike. This constant bombing is only going to make things worse for everyone. Why do Americans think that people in Baghdad or the south or north aren=B9t going care what happens in Falloojeh o= r Ramadi or Nassriyah or Najaf? Would Americans in New York disregard bombing and killing in California? And now Muqtada Al-Sadr's people are also fighting it out in parts of Baghdad and the south. If the situation weren't so frightening, it would almost be amusing to see Al-Hakeem and Bahr Ul Iloom describe Al-Sadr as an 'extremist' and a 'threat'. Muqtada Al-Sadr is no better and no worse than several extremists we have sitting on the Governing Council. He's just as willing to ingratiate himself to Bremer as Al-Hakeem and Bahr Ul Iloom. The only difference is that he wasn't given the opportunity, so now he's a revolutionary. Apparently, someone didn't give Bremer the memo about how when you pander to one extremist, you have to pander to them all. Hearing Abdul Aziz Al-Hakeem and Bahr Ul Iloom claim that Al-Sadr is a threat to security and stability brings about visions of the teapot and the kettle=8A Then Bremer makes an appearance on tv and says that armed militias will *not* be a part of the New Iraq=8A where has that declaration been the last 1= 2 months while Badir's Brigade has been wreaking havoc all over the country? Why not just solve the problem of Al-Sadr's armed militia by having them join the police force and army, like the Bayshmarga and Badir's Brigade?! Al-Sadr's militia is old news. No one was bothering them while they were terrorizing civilians in the south. They wore badges, carried Klashnikovs and roamed the streets freely=8A now that they've become a threat to the 'Coalition', they suddenly become 'terrorists' and 'agitators'. Now there=B9s an arrest warrant with his name on it, although the Minister of Justice was on tv claiming he knew nothing about the arrest warrant, etc. H= e basically said that he was washing his hands of any move against Muqtada Al-Sadr. Don=B9t get me wrong- I=B9d love to see Muqtada behind bars, but it will only cause more chaos and rage. It=B9s much too late for that... he has been cultivating support for too long. It=B9s like a contest now between the prominent Shi=B9a clerics. The people are dissatisfied- especially in the south. The clerics who weren=B9t given due consideration and a position on th= e Governing Council, are now looking for influence and support through the people. You can either be a good little cleric and get along with Bremer (but have a lot of dissatisfied people *not* supporting you) or you can be = a firebrand cleric and rally the masses... It's like the first few days of occupation again=8A it's a nightmare and everyone is tense. My cousin and his family are staying with us for a few days because his wife hates to be alone at home with the kids. It's a relie= f to have them with us. We all sit glued to the television- flipping between Al-Jazeera, Al-Arabia, CNN, BBC and LBC, trying to figure out what is going on. The foreign news channels are hardly showing anything. They punctuate dazzling reportages on football games and family pets with a couple of minutes worth of footage from Iraq showing the same faces running around in a frenzy of bombing and gunfire and then talk about 'Al-Sadr the firebrand cleric', not mentioning the attacks by the troops in Ramadi, Falloojeh, Nassriyah, Baghdad, Koufa, etc. Over the last three days, over 150 Iraqis have been killed by troops all over Iraq and it's maddening. At times I feel like a caged animal- there's so much frustration and anger. The only people still raving about 'liberation' are the Iraqis affiliated with the Governing Council and the Puppets, and even they are getting impatient with the mess. Our foreign minister Hoshyar Zibari was being interviewed by some British journalist yesterday, making excuses for Tony Blair and commending him on the war. At one point someone asked him about the current situation in Iraq= . He mumbled something about how there were 'problems' but it wasn't a big deal because Iraq was 'stable'=8A what Iraq is he living in? And as I blog this, all the mosques, Sunni and Shi=B9a alike, are calling for Jihad... ========================================================================= Date: Wed, 7 Apr 2004 11:26:41 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Christine Murray Subject: Poetry_Heat Reading Tonight Comments: To: "wom-po@listserv.muohio.edu" MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" University of Texas at Arlington Poetry_Heat Reading Tonight: UTA is proud to announce its second Poetry_Heat 2004 event, 7:00 p.m. Rady Room, Nedderman Hall Featuring: Wendy Taylor Carlisle, Mary Kim Kitchen, Robert Flach Wendy Taylor Carlisle: Wendy lives in East Texas. Her poems have appeared in can we have our ball back? Shampoo Poetry, Monserrat Review, Cider Press Review, Borderlands, Passager, Prairie Dog, Maverick, 2 River View, Unlikely Stories, Perihelion, The Astrophysicist's Tango Partner, Isibongo, Conspire, Tintern Abbey, Zuzu's Petals, Three Candles, and Pig Iron Malt. She has won The Lipscomb Award from Centenary College, a Passager Poetry Contest Award, and has been three times nominated for a Pushcart Prize. Her first book, Reading Berryman to the Dog, was published by Jacaranda Press in 2000, and her work appears in Athens Avenue: A Collection of Poetry (Funky Dog Publishing, 1999). Mary Kim Kitchen, poet and associate director, UTA Upward Bound Program Robert Flach is a senior English major and poet whose website is http://www.allauthors.com Poetry_Heat is sponsored by the UTA Writing Center, Chris Murray, Director ========================================================================= Date: Wed, 7 Apr 2004 11:30:14 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Maria Damon Subject: Re: wait a minute In-Reply-To: <5.2.1.1.2.20040407065604.0399bd10@socrates.berkeley.edu> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" yup on a diff note, does anyone know of any documentaries etc about or featuring bernadette mayer? At 7:00 AM -0700 4/7/04, David Larsen wrote: >Did I just read that the US fired missiles into a mosque, killing 40? -- ========================================================================= Date: Wed, 7 Apr 2004 09:51:07 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Bill Marsh Subject: Rodrigo Tascano at SDPG, Friday MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit Please join us this Friday for a poetry reading featuring New York poet Rodrigo Toscano. The reading, with reception to follow, is sponsored by the San Diego Poetry Guild and will be held at the Guild's current headquarters in the Normal Heights area of San Diego. When: Friday, April 9, 2004, 7-8pm Where: 1916 Madison Ave. [directions below] Originally from San Diego (with some years living in San Francisco), Rodrigo Toscano now lives in New York City, where he works at The Labor Institute. He is the author The Disparities (Green Integer), Partisans (O Books), and Platform (Atelos). Forthcoming in June, 2004 is a new collection of poetry, titled To Leveling Swerve (Krupskaya Books). Directions to SDPG / Toscano Reading: From the 8 freeway in San Diego, take Texas Street south. Take a right on Madison Ave. (first light at top of hill). Go about four blocks. 1916 Madison is on the north side of the street (one block east of Park Blvd., near Twigg's coffee shop), at the top of the hill. More about SDPG: http://sandiego.factoryschool.org/guild Hope to see you there! Cheers, SDPG team ========================================================================= Date: Wed, 7 Apr 2004 12:55:40 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: RaeA100900@AOL.COM Subject: Re: revviews MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Ray McDaniels has an excellent review of my new book, Up to Speed, on the Constant Critic site today. Also reviewed are Joanna Furman, Matthea Harvey, Maggie Nelson, and Kirsten Kaschock. Rae Armantrout ========================================================================= Date: Wed, 7 Apr 2004 10:13:47 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Bill Marsh Subject: Re: Rodrigo Tascano at SDPG, Friday In-Reply-To: <000101c41cc0$860416d0$f66a6944@goob> MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit Please forgive that misprint in the subject line -- take one "a" and add an "o" Sorry Rodrigo. bill ========================================================================= Date: Wed, 7 Apr 2004 13:33:18 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: George Bowering Subject: Re: wait a minute In-Reply-To: <5.2.1.1.2.20040407065604.0399bd10@socrates.berkeley.edu> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" >Did I just read that the US fired missiles into a mosque, killing 40? So what else is new? -- George Bowering Rimes with towering. 303 Fielden Ave. Port Colborne. ON, L3K 4T5 ========================================================================= Date: Wed, 7 Apr 2004 14:08:33 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Daniel Machlin Subject: FUTUREPOEM 4/10 AT BOWERY Mime-Version: 1.0 (Apple Message framework v553) Content-Type: text/plain; delsp=yes; charset=US-ASCII; format=flowed Content-Transfer-Encoding: 7bit FUTUREPOEM SPRING READING AT THE BOWERY POETRY CLUB 308 Bowery @ Bleecker, F train to Second Ave | 6 train to Bleecker | 212-614-0505 SATURDAY, APRIL 10, 2:00 p.m. - 4:00 p.m., $5.00 admission (to support the press) PRESENTS A FUTUREPOEM SPRING READING EXTRAVAGANZA A Futurepoem Book Party and Reading by current and forthcoming FP authors, editors, advisory board members and friends of the press including: Charles Bernstein, Lewis Warsh, Jo Ann Wasserman, Merry Fortune, Garrett Kalleberg, Rachel Levitsky, Kristin Prevallet, Dan Machlin, Heather Ramsdell, Virtual Edwin Torres, And special guests: just-announced 04/05 authors: Michael Ives & Shanxing Wang. And stay on afterwards for Drew Gardner and Deborah Richards at the Segue Series at 4:00 p.m. Futurepoem is an independent brooklyn-based publishing collective with a rotating editorship that investigates and presents innovative writing. We are distributed by SPD Books and receive non-profit sponsorship for donations through Fractured Atlas Productions, Inc. a New York State 501(c)3 tax-exempt non-profit organization. Futurepoem is made possible in part by grants from The New York State Council on the Arts, The New York Community Trust, Fractured Atlas and Individual subscribers and donors. Please visit http://www.futurepoem.com for more information about our press. See you there! Futurepoem books The Escape http://www.pub24X7.com/scripts/rgw.dll/rblive/ BOOKS:SingleProduct,this.Create(0971680027) Under the Sun http://www.pub24X7.com/scripts/rgw.dll/rblive/ BOOKS:SingleProduct,this.Create(0971680019) Some Mantic Daemons http://www.pub24X7.com/scripts/rgw.dll/rblive/ BOOKS:SingleProduct,this.Create(0971680000) ========================================================================= Date: Wed, 7 Apr 2004 12:48:20 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jonathan Penton Subject: Vergin Press accepting submissions MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Belinda Subraman asked me to forward this on: -- Vergin Press/Gypsy will be having some activity this Spring. A special = review packet will be sent out with 3 recent Vergin Press chapbooks and = a folder of quality broadsides suitable for framing. =20 I am looking for short, exquisite, poems with insight and impact. If = you would like to submit, send up to 5 poems as Word file attachments = to subraman1@msn.com or send hard copy to Vergin Press, P.O. Box 370322, = El Paso, TX 79937. If you are an artist you may go ahead and send your = best poems already illustrated with black and white drawings. Of course = S.A. S.E. should be included for return. =20 Chosen poets will receive a broadside packet plus 10 extra copies of = their own broadside. -- Her site is www.verginpress.com. ========================================================================= Date: Wed, 7 Apr 2004 14:13:43 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Wanda Phipps Subject: This Coming Saturday MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii; format=flowed Content-Transfer-Encoding: 7bit Celebrating National Poetry Month April 10th Saturday Afternoon at 2PM to 4:45PM Brooklyn Heights Public Library 280 Cadman Plaza West Auditorium Brooklyn, NY [Take M, N, or R to Court St. or 2, 3, or 4 to Boro Hall] For Information (718) 623-7100. Admission free. Host: Daniela Gioseffi Editor: http://www.PoetsUSA.com featured reader: Donna Masini with accomplished Brooklyn Poets: Phyllis Capello, Jan Clausen, Barbara Elovic, Brenda Gannam Michael Graves, Patricia Spears Jones, Mae Jackson, Sybil Kollar, Rika Lesser, Richard Levine, Tsaurah Litsky, Daniel Nester D. Nurkse, Wanda Phipps, Carl Rosenstock, and Daniela Gioseffi -- Wanda Phipps Hey, Wake-Up Calls: 66 Morning Poems my first full-length book of poetry is being published in June by Soft Skull Press and is available for pre-ordering on Amazon. Let anyone you think might be interested know about it: http://www.amazon.com/exec/obidos/ASIN/193236031X/ref=rm_item More info. on Soft Skull Press site: http://www.softskull.com/detailedbook.php?isbn=1-932360-31-X And don't forget to check out my website MIND HONEY http://users.rcn.com/wanda.interport ========================================================================= Date: Wed, 7 Apr 2004 11:47:25 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Joseph Thomas Subject: Re: confessionalism In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii "We always talk about Lowell as the most influential Confessionalist, but it seems to me that the Confessional and post-confessional lines from the 70s through today have been most influenced by Sexton's drama and violence (directed both at self and other)." Yes, but the line of influence generally goes back to Lowell, as Sexton was Lowell's student in 1957, when Lowell was drafting Life Studies (1959), right? Best, J __________________________________ Do you Yahoo!? Yahoo! Small Business $15K Web Design Giveaway http://promotions.yahoo.com/design_giveaway/ ========================================================================= Date: Wed, 7 Apr 2004 15:27:02 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Richard Flynn Subject: Re: confessionalism In-Reply-To: <20040407184725.34985.qmail@web20416.mail.yahoo.com> MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit "Confessional" seems to me to be pretty much a meaningless term, whether used as an adjective of opprobrium or worn as a badge of honor by its apologists. When I hear it used in its former capacity, it rankles me in the same way the phrase "so-called language writing" does. It's a kind of dismissive shorthand that people use to label something they don't want to pay close attention to. That's not to say that there aren't a whole lot of forgettable personal autobiographical lyrics out there masquerading as poems. Nor is it to deny that one groups poets and aesthsetics into convenient groups for the sake of discussion. But I really think, and I know many who agree with me, that the label "confessional" has worn out its welcome. It really describes very little. Richard Flynn Professor Dept. of Literature and Philosophy Georgia Southern University Statesboro, GA 30460-8023 E-mail: rflynn@georgiasouthern.edu Home page: http://www.GeorgiaSouthern.edu/~rflynn -----Original Message----- From: UB Poetics discussion group [mailto:POETICS@LISTSERV.BUFFALO.EDU]On Behalf Of Joseph Thomas Sent: Wednesday, April 07, 2004 2:47 PM To: POETICS@LISTSERV.BUFFALO.EDU Subject: Re: confessionalism "We always talk about Lowell as the most influential Confessionalist, but it seems to me that the Confessional and post-confessional lines from the 70s through today have been most influenced by Sexton's drama and violence (directed both at self and other)." Yes, but the line of influence generally goes back to Lowell, as Sexton was Lowell's student in 1957, when Lowell was drafting Life Studies (1959), right? Best, J __________________________________ Do you Yahoo!? Yahoo! Small Business $15K Web Design Giveaway http://promotions.yahoo.com/design_giveaway/ ========================================================================= Date: Wed, 7 Apr 2004 12:44:39 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: flora fair Subject: Re: confessionalism In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii I agree. It makes "I" seem like a dirty word. Richard Flynn wrote:"Confessional" seems to me to be pretty much a meaningless term, whether used as an adjective of opprobrium or worn as a badge of honor by its apologists. When I hear it used in its former capacity, it rankles me in the same way the phrase "so-called language writing" does. It's a kind of dismissive shorthand that people use to label something they don't want to pay close attention to. That's not to say that there aren't a whole lot of forgettable personal autobiographical lyrics out there masquerading as poems. Nor is it to deny that one groups poets and aesthsetics into convenient groups for the sake of discussion. But I really think, and I know many who agree with me, that the label "confessional" has worn out its welcome. It really describes very little. Richard Flynn Professor Dept. of Literature and Philosophy Georgia Southern University Statesboro, GA 30460-8023 E-mail: rflynn@georgiasouthern.edu Home page: http://www.GeorgiaSouthern.edu/~rflynn -----Original Message----- From: UB Poetics discussion group [mailto:POETICS@LISTSERV.BUFFALO.EDU]On Behalf Of Joseph Thomas Sent: Wednesday, April 07, 2004 2:47 PM To: POETICS@LISTSERV.BUFFALO.EDU Subject: Re: confessionalism "We always talk about Lowell as the most influential Confessionalist, but it seems to me that the Confessional and post-confessional lines from the 70s through today have been most influenced by Sexton's drama and violence (directed both at self and other)." Yes, but the line of influence generally goes back to Lowell, as Sexton was Lowell's student in 1957, when Lowell was drafting Life Studies (1959), right? Best, J __________________________________ Do you Yahoo!? Yahoo! Small Business $15K Web Design Giveaway http://promotions.yahoo.com/design_giveaway/ --------------------------------- Do you Yahoo!? Yahoo! Small Business $15K Web Design Giveaway - Enter today ========================================================================= Date: Wed, 7 Apr 2004 12:45:00 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Hilton Obenzinger Subject: Re: confessionalism In-Reply-To: <1081306853.1382899764.28660.sendItem@bloglines.com> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed At 03:00 AM 4/7/2004 +0000, sbpoet.832776@BLOGLINES.COM wrote: > > What, indeed, do we mean by confessional? Confessional: I shot the sheriff AND I shot the deputy. ------------------------------------------------------------------------------- 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, 7 Apr 2004 15:52:45 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mairead Byrne Subject: You Don't *Have* to See "The Apprentice" Mime-Version: 1.0 Content-Type: text/plain; charset=US-ASCII Content-Transfer-Encoding: 7bit Content-Disposition: inline A Tapestry of Voices: Mairead Byrne, Anthony Donahue, Emily Ferrara, and Mary Pinard at Borders, Downtown Crossing, Boston, Thursday April 8, 2004, 6.30pm Followed by Open Mike Be There Or: You're Fired (wish I could do the hand thing!) www.maireadbyrne.blogspot.com ========================================================================= Date: Wed, 7 Apr 2004 18:09:20 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Austinwja@AOL.COM Subject: Blackbox submission period closed!!!! MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Sorry, sorry sorry. My call for submissions just the other day immediately resulted in a flood of entries. I have more than I need. So please hold those good works until the announcement for the summer gallery. Thanks to all who support my little venture. Best, Bill WilliamJamesAustin.com kojapress.com amazon.com b&n.com ========================================================================= Date: Wed, 7 Apr 2004 18:31:25 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Patrick Durgin Subject: S. California - upcoming readings / events MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 8bit Hello Friends: A reminder of three Mexican poetry events this week in Los Angeles, plus one each in Tijuana, San Diego and Ventura. Please come! Please spread the word! Abrazos, Jen LOS ANGELES: No Visible Doors: A Public Conversation On Contemporary Mexican Poetry and Poetics 7 April 2004 7:00 p.m. @ Otis College of Art & Design - Galef 209 9045 Lincoln Boulevard Los Angeles CA 310.665.6892 http://otis.edu Stranger In A Strange Land: The Poetics and Politics of Translating Mexican Poetry 8 April 2004 7:30 p.m. $5 donation - all ages @ Beyond Baroque Literary Arts Center 681 Venice Boulevard Venice CA 310.822.3006 http://beyondbaroque.org Sin puertas visibles: An Anthology of Contemporary Poetry by Mexican Women Bilingual Poetry Reading Celebration 10 April 2004 8:00 p.m. $5 donation - all ages @ Trópico de Nopal Gallery-Art Space 1665 Beverly Boulevard Los Angeles CA 213.481.8112 http://tropicodenopal.com TIJUANA: Bilingual Poetry Reading and Border Jukebox Extravaganza 11 April 2004 7:00 p.m. Bar Turístico Tijuana Contact Amaranta Caballero for details: amaranoia@hotmail.com SAN DIEGO: Bilingual Poetry Reading Monday, 12 April 8:00 p.m. Voz Alta Project 1544 Broadway (located in the East Village in downtown) San Diego CA 619-230-1869 www.vozalta.org VENTURA Thursday, 15 April 7:30 p.m. Zoey's Cafe 451 E. Main St. (El Jardin Courtyard) Ventura CA (805) 652-1137 info: www.zoeyscafe.com or gwendolynalley@yahoo.com People often pick up a book in the hopes of being transported to another world, seeking to encounter something new. Sin puertas visibles: An Anthology of Contemporary Poetry by Mexican Women fulfills that promise. This fully bilingual collection features the electrifying work of eleven poets, none of which has been translated into English before. Edited and translated by California poet Jen Hofer, Sin puertas visibles (no visible doors) opens passageways to a poetry of passion and meditation, perception and sensuous detail, and provides readers with a window through which to view some of the most fascinating writing being produced by emerging Mexican women writers. Dolores Dorantes was born in Córdoba, Veracruz in 1973. Her most recent books include SexoPUROsexoVELOZ (Cuadernos del filodecaballo, 2002), Para Bernardo: un eco (MUB editoraz, 2000) and Poemas para niños (Ediciones El Tucán de Virginia, 1999). She is a founding editor of Editorial Frugal, which counts among its activities publication of the monthly broadside series Hoja Frugal, printed in editions of 4000 and distributed free throughout Mexico. Translations of her poems into English have been published in the anthology Sin puertas visibles (ed.and trans. Jen Hofer, University of Pittsburgh and Ediciones Sin Nombre, 2003), in issue #3 of Aufgabe, and in kenning. Translations of her new work will be published as a chapbook by Seeing Eye Books in 2004. She lives in Ciudad Juárez, where she works as a freelance writer and editor. Mónica Nepote was born in Guadalajara, Jalisco in 1970. Her books and chapbooks include Islario (Cuadernos de filodecaballos, Guadalajara: 2001) and Trazos de noche herida (Fondo Editorial Tierra Adentro, CONACULTA, México, D.F.: 1993). She has published poetry, essays, chronicles and literary criticism in many newspapers and magazines in Mexico City, including El Ángel, Biblioteca de México, La Jornada Semanal, Nexos, and Sábado. Translations of her poems into English have been published in the magazine Rhizome, in the online version of Exquisite Corpse (http://www.corpse.org/issue_3), and in the journal Bitter Oleander, as well as in the anthology Sin puertas visibles (ed. and trans. Jen Hofer, University of Pittsburgh Press, 2003). She lives in Mexico City, where she teaches poetry workshops and works as a freelance writer and art critic. Jen Hofer edited and translated Sin puertas visibles: An Anthology of Contemporary Poetry by Mexican Women (University of Pittsburgh Press and Ediciones Sin Nombre, 2003). Her recent books of poetry include the chapbook lawless (Seeing Eye Books, 2003), slide rule (subpress, 2002), and The 3:15 Experiment (with Lee Ann Brown, Danika Dinsmore, and Bernadette Mayer, The Owl Press, 2001). She is co-editor, with Rod Smith, of Aerial #10, a forthcoming critical volume on the work of the poet Lyn Hejinian. Her writings against the war in Iraq and the war on terror can be found in the special anti-war issue of A.BACUS, and in the anthology Enough (O Books, 2003); other poems, prose texts and translations appear in recent issues of 26, Aufgabe, Conundrum, kenning, kiosk, NO: A Magazine of the Arts, and in the book Surface Tension: The Problematics of Site (Errant Bodies Press, 2003). She lives in Los Angeles, where she teaches and translates. These events are co-sponsored by the Mexican Ministry of Foreign Relations and the Mexican Consulate in Los Angeles, Beyond Baroque Literary Center, Otis College of Art & Design, Tropico de Nopal Gallery, and the Latino Arts Network. ========================================================================= Date: Wed, 7 Apr 2004 16:39:53 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mark Lamoureux Subject: FULCRUM Poetry Reading, April 24, Wordsworth Books MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii SATURDAY, APRIL 24: Fulcrum Poetry Reading. Ben Mazer and Jeet Thayil read at 5:00 p.m., at Wordsworth Books, 30 Brattle Street, Cambridge (354-5201). Jeet Thayil (New York) will read from his new collection "English" (Penguin/Rattapallax, 2004). Ben Mazer (Boston) is the editor of the "Collected Poems of John Crowe Ransom" (Handsel Books, 2005), and of an anthology of the Berkeley Renaissance, forthcoming in Fulcrum: an annual of poetry and aesthetics. The reading will be introduced by Philip Nikolayev, editor of Fulcrum: an annual of poetry and aesthetics (Cambridge, MA). ========================================================================= Date: Wed, 7 Apr 2004 17:36:34 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Catherine Daly Subject: Sebastopol, CA: David Bromige, Catherine Daly read MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit Thursday, April 8, 2004 7:00 PM David Bromige and Catherine Daly: Poetry Reading Location: SEBASTOPOL, 138 North Main Street, (707) 823-2618 Former Sonoma County poet laureate and widely-published poet and teacher David Bromige is joined tonight by Los Angeles experimental poet Catherine Daly, whose work in her books Locket and DaDaDa has been described as "post-language poetry devoted to sound play and pleasure." Bromige will read from his book T is for Tether. Don't miss what is sure to be an evening of linguistic virtuosity. http://www.copperfields.net/NASApp/store/IndexJsp;jsessionid=6D3DCB3BA52 94615D909FB1CFD622FD4.t1?s=storeevents&eventId=265175 ========================================================================= Date: Wed, 7 Apr 2004 19:06:39 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Louis Cabri Subject: Reading ahoy MIME-version: 1.0 Content-type: text/plain; charset=iso-8859-1 Content-transfer-encoding: 7BIT Olive Reading Series Louis Cabri Tuesday April 13th, 7 p.m. Martini's Bar & Grill 9910, 109th Street Edmonton, Alberta ========================================================================= Date: Thu, 8 Apr 2004 10:47:15 +0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: furniture_ press Subject: An Invitation to Furniture Press Content-Type: text/plain; charset="iso-8859-1" Content-Disposition: inline Content-Transfer-Encoding: 7bit MIME-Version: 1.0 Hi Everyone. This is a proper announcement concerning our Zine Series. I never fully elaborated my intentions last week when I put together the project. First off: What is Furniture Press? The press was established in response to Mediocre literature that was being published in the local (University) Literary Publication GRUB STREET. Now, I understand that a student run publication (but Federally funded: $10,000 last I heard, but it could me more or less - it's what I heard) is not going to produce the best kept secrets in Baltimore; but the reality is, the publication turned down numerous submissions that were of an 'otherly nature, i.e., experimental, avant garde, not 'I' or image centered (whatever these terms mean, I'm referring to texts that are not necessarily 'challenging'). Yet the fact remains, GRUB STREET does not publish innovative student literature. We started publishing Ambit:Journal of Poetry and Poetics with an eye to disseminating new and challenging student writing. It was initially made up of mostly Baltimorean acts but people from NYC, Washington, D.C., and the west coast also sent me work: it was, so to speak, a mingling of talents that may never have crossed paths. Ambit is now distributed nationwide but mostly through word of mouth, at readings, and from the website. And we're currently working on the third, and possibly last issue. We also started the 'Serial Pamphleteers Edition' to highlight writers who were working 'serially.' I know the term is broad, but that is always the point: never to pindown a particular reading. It's slowly expanding. We're doing 26 editions, A through Z, in an edition of 50. The latest issue, 'g', is Betsy Andrews' 'New Jersey,' which is being sold now exclusively at her readings. We'll be doing a second run in a few weeks. I wanted to talk about Ambit and the Pamphlets especially because it defines our purpose: to give texts space. Many journals, especially, combine texts, which run into each other. Page breaks are irrelevant or non-existent. In Ambit, white space almost dominates, gives the text a point of reference, enough room to breathe, enough room for the reader to play in the space of that text. The Serial Pamphlets take this one step further, and give the poem its own location, in other words, in a bound, uncompromized booklet. All the journals, pamphlets, books, chaps, etc. are all hand bound with handmade artwork. Nothing escapes our fingerprints. The next logical step, I thought, should be minimally aesthetic (disregarding artwork for the text's full autonomy) and bibliographic/documentary in nature. This is where I had devised the idea for our zine series (notice 'series' is an important factor in the press' life). I'm interested in publishing ALL the poets I come into contact with. Simply. But on a small scale. The idea is to collect texts from individual writers, 8 to 16 pages that fit on a 4.25 inch by 5.5 inch format, and to produce 'zines' that can be traded for other zines, like baseball cards, that can be collected (I'm hoping this project will take the series into the hundreds [of writers]). It seems a little self-indulgent, but I am slowly learning the marginalizing politics involved with poetry. I know communities are small and sparse (imagine Baltimore: I'm just learning what presses exist in the area) and that documentation is totally necessary. I'd like to see all of my contemporaries in the series. The zines are pressed initially in an edition of 60 until they run out. Then I'll think about making more. Later on down the line, of course, so the zines have time to circulate. Hopefully I can box them all together like a baseball card set. It's also an archiving venture, as a reminder of who I'm working with and against at the same time. This is a call for submissions for the zine. And I mean EVERYONE is involved. The idea is to send work that demonstrates where you are at the moment in your projects. It is, naturally, bibliographic in nature: each zine has a cardstock cover, name on cover, but no title page: open the zine and delve into the text, no frills. Each is numbered in the series. I'm opening submissions as of now, formally, and am inviting everyone to take part in this project/experiment. I'll send each contributor 5 copies. I'm selling them or giving them away for a quarter each. By mail, you can purchase each for a quarter plus an SASE. I'll have a list of contributors whenI've finished the first ten in the series. I'm currently working on no. 6. Response has been good. Folks have contributed and zines are already circulating: my thanks and love go out to each of them. Let's makes poetry what it's supposed to be: public, not commodified. Thanks all for reading. I am in debt to you all. Send to this e-mail addie or: Furniture Press 8418 Greenway Road Apt. D Baltimore, MD 21234 Christophe Casamassima PS Direct all queries to me personally. Any time. -- _______________________________________________ Graffiti.net free e-mail @ www.graffiti.net Check out our value-added Premium features, such as an extra 20MB for just US$9.95 per year! Powered by Outblaze ========================================================================= Date: Thu, 8 Apr 2004 11:43:43 +0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: furniture_ press Subject: Invitiation Ambit Content-Type: text/plain; charset="iso-8859-1" Content-Disposition: inline Content-Transfer-Encoding: 7bit MIME-Version: 1.0 By the way - Ambit:Journal of Poetry and Poetics is no longer a student based magazine. It's focus remains as a gallery: we publish writers who write over the expanse of pages, so we take more submissions from fewer writers, so that their work can be seen to evolve. The writer is given more room and freedom to work in. Let's say about 60 pages next issue for no more than 6 writers? That's the point. Ciao, Chris -- _______________________________________________ Graffiti.net free e-mail @ www.graffiti.net Check out our value-added Premium features, such as an extra 20MB for just US$9.95 per year! Powered by Outblaze ========================================================================= Date: Wed, 7 Apr 2004 22:51:13 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Clements Subject: Re: confessionalism In-Reply-To: <20040407184725.34985.qmail@web20416.mail.yahoo.com> MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit Surely, but I suppose I would take sides with Rosenthal here and argue that confessionalism quickly bifurcated (multifurcated?) and what came to be known pejoratively as confessional (those adjectives that Mark Weiss listed and that quickly leap to mind for us all) has more to do with Sexton's influence than Lowell's, who even later seemed to consider himself a Poundian. Lowell and Snodgrass hardly seem confessional at all any more. Maybe it's a useless term. Maybe it's a minor distinction. But it's a distinction that interests me in the current climate, which seems to involve a good number of poets seeking middle ground between the lyric I and obliviation of it. -----Original Message----- From: UB Poetics discussion group [mailto:POETICS@LISTSERV.BUFFALO.EDU]On Behalf Of Joseph Thomas Sent: Wednesday, April 07, 2004 1:47 PM To: POETICS@LISTSERV.BUFFALO.EDU Subject: Re: confessionalism "We always talk about Lowell as the most influential Confessionalist, but it seems to me that the Confessional and post-confessional lines from the 70s through today have been most influenced by Sexton's drama and violence (directed both at self and other)." Yes, but the line of influence generally goes back to Lowell, as Sexton was Lowell's student in 1957, when Lowell was drafting Life Studies (1959), right? Best, J __________________________________ Do you Yahoo!? Yahoo! Small Business $15K Web Design Giveaway http://promotions.yahoo.com/design_giveaway/ ========================================================================= Date: Thu, 8 Apr 2004 00:06:27 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: AMBogle2@AOL.COM Subject: Fwd: pocahontas according to the powhatan nation MIME-Version: 1.0 Content-Type: multipart/mixed; boundary="part1_75.265df1b7.2da629c3_boundary" --part1_75.265df1b7.2da629c3_boundary Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit --part1_75.265df1b7.2da629c3_boundary Content-Type: multipart/mixed; boundary="part2_75.265df1b7.2da6271a_boundary" --part2_75.265df1b7.2da6271a_boundary Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit In a message dated 4/6/04 10:59:05 PM Central Daylight Time, bruce@veerybooks.com writes: > http://www.powhatan.org/pocc.html > --part2_75.265df1b7.2da6271a_boundary Content-Type: text/plain; charset="us-ascii"; format=flowed http://www.powhatan.org/pocc.html --part2_75.265df1b7.2da6271a_boundary-- --part1_75.265df1b7.2da629c3_boundary-- ========================================================================= Date: Thu, 8 Apr 2004 00:03:47 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: Confessions of Hell MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Confessions of Hell Cyril Cyril - - - Hell - a A - A shakuhachi ABSOLUTIST any ABSOLUTIST any ALL Junichiro ALL THEM Alexander - Alexander the Alfred - Alfred Viscount American - American coming Americans - Americans the BELIEVER BELIEVER WHITE FUCKING WHITE WHITE BORDERLINE BORDERLINE Bam (Cyril Bam - Barbusse Henri Barbusse who Berlin - Berlin Mathematica Betrayal The Betrayal personality Bird American Bird back Blam Bam Blam subway Body Lewin Body the Book Picture Book The Brooklyn Brooklyn around Brooklyn tongue Bush's - Bush's missiles CIA? Guerilla CIA? Praeger Carol HATE Carol liar Carroll Lewis Carroll are Connolly) The Connolly) are Conservancy - Conservancy Bird Damian Carol Damian at EDGE HATE EDGE the East Blam East the FUCK - FUCK - FUCKING WHITE FUCKING any FUNDAMENTALIST FUNDAMENTALIST - FUNDAMENTALIST unmitigated Fallodon - Fallodon of Florida at Florida got GATEKEEPER - GATEKEEPER summer GOD! Hitting GOD! Thank Grave Picture Grave Unquiet Gray Medical Gray Viscout Guerilla cut Guerilla the Guide Mathematica Guide Philip HATE HATE - HATE corrupt Heeb - Heeb of Hell Hell Barbusse Hell was Henri Damian Henri reading Hitting - Hitting churches I writing I you International International Florida International rid Iraqis - Iraqis Brooklyn Jew New Jew THUGS Junichiro Florida Junichiro Prefer Jurisprudence Medical Jurisprudence Taylor Kerr - Kerr Philip Kurt - Kurt The Lewin Betrayal Lewin Kurt Lewis The Lewis we Lowen Alexander Lowen Body Manual - Manual A March Conservancy March to Mathematica Schaum's Mathematica or Media New Media when Medical - Medical Swaine Nation The Nation of Nettles Prefer Nettles THEM New University New and Noire Berlin Noire Guide PVC - PVC - Palinaurus Palinaurus - Palinaurus under Philip Noire Philip or Phillip - Phillip - Picture Carroll Picture Connolly) Porzecanski CIA? Porzecanski by Praeger cut Praeger the Prefer FUCK Prefer Some RELIGIIOUS RELIGIIOUS BELIEVER RELIGIIOUS any Review - Review Jew River - River East Schaum's - Schaum's Phillip Some - Some Tanizaki Swaine Alfred Swaine Gray THEM FUCK THEM Florida THUGS Jew THUGS of Tanizaki Junichiro Tanizaki Nettles Taylor Swaine Taylor of Thank - Thank - The The - The Tupamaros: Trauma The Trauma from Tupamaros: Uruguay's Tupamaros: school University International University of Unquiet Carroll Unquiet The Urban Urban Uruguay's - Uruguay's the Vietnam Bush's Vietnam at Violets - Violets March Viscout - Viscout - WHITE WHITE WHITE WHITE unmitigated a Barbusse a was am Henri am I and International and me any - any RELIGIIOUS are are around her around running at at back Violets back coming by Guerilla by Praeger churches Bush's churches the coming March coming we're corrupt Hell corrupt a cut cut fine fine Barbusse fine am from Tupamaros: from suffering got New got she great great great was hands Iraqis hands out her hands her throwing here here here were how - how summer liar liar - liar corrupt me Florida me of missiles Thank missiles the of of at of rid off hands off running one - one wish or Berlin or Phillip out out - out tongue personality - personality Alexander reading Carol reading at rid Media rid got running Iraqis running throwing school from school the shakuhachi A shakuhachi PVC she and she when someone - someone wish still still - still - subway (Cyril subway East suffering Uruguay's suffering still summer summer the the Urban the suffering this of this writing throwing throwing to Bird to welcome tongue her tongue off tunnels River tunnels subway under - under tunnels unmitigated unmitigated vacation - vacation vacation video video Damian video of was Henri was who we we - we Grave we're - we're to welcome - welcome American were were were you when University when me who Damian who reading wish - wish Porzecanski would would one would someone writing - writing EDGE you - you are YOU ARE _ ========================================================================= Date: Thu, 8 Apr 2004 00:05:54 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: AMBogle2@AOL.COM Subject: Fwd: Pulitzer in Poetry announced MIME-Version: 1.0 Content-Type: multipart/mixed; boundary="part1_c8.45ca75a0.2da629a2_boundary" --part1_c8.45ca75a0.2da629a2_boundary Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit --part1_c8.45ca75a0.2da629a2_boundary Content-Type: message/rfc822 Content-Disposition: inline Return-path: From: AMBogle@aol.com Full-name: AMBogle Message-ID: <7b.2665e145.2da6289f@aol.com> Date: Thu, 8 Apr 2004 00:01:35 EDT Subject: Fwd: Pulitzer in Poetry announced To: AMBogle2@aol.com MIME-Version: 1.0 Content-Type: multipart/mixed; boundary="part2_c8.45ca75a0.2da6289f_boundary" X-Mailer: 7.0 for Windows sub 10618 --part2_c8.45ca75a0.2da6289f_boundary Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit --part2_c8.45ca75a0.2da6289f_boundary 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-xk02.mail.aol.com (v98.19) with ESMTP id MAILINXK21-589407379c538; Tue, 06 Apr 2004 23:47:56 -0500 Received: from tron.phpwebhosting.com (34.67-18-60.reverse.theplanet.com [67.18.60.34]) by rly-xk03.mx.aol.com (v98.5) with ESMTP id MAILRELAYINXK37-589407379c538; Tue, 06 Apr 2004 23:47:17 -0500 Received: (qmail 27873 invoked from network); 7 Apr 2004 03:47:08 -0000 Received: from unknown (HELO not?posey.veerybooks.com) (162.83.182.181) by 34.67-18-60.reverse.theplanet.com with SMTP; 7 Apr 2004 03:47:08 -0000 Message-Id: <5.2.0.9.0.20040406222223.0153f6e8@mail.veerybooks.com> X-Sender: bruce%veerybooks.com@mail.veerybooks.com X-Mailer: QUALCOMM Windows Eudora Version 5.2.0.9 Date: Tue, 06 Apr 2004 22:47:07 -0400 To: AMBogle@aol.com From: bruce Subject: Re: Fwd: Pulitzer in Poetry announced In-Reply-To: <120.2c8c5070.2da44f62@aol.com> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed X-AOL-IP: 67.18.60.34 hi ann i'll have to look to see if i hace franz wright, irene's friend stephanie at random house sends me piles of books, the last was a stack of knopf poetry. knopf is part of random house. franz is james wright's son. here is my "edition" of Lydia H. Sigourney's Pocahontas, (1841).

POCAHONTAS.

I.

CLIME of the West! that, slumbering long and deep, Beneath thy misty mountains' solemn shade, And, lull'd by melancholy winds that sweep The unshorn forest and untrodden glade, Heard not the cry when mighty empires died, Nor caught one echo from oblivion's tide, While age on age its stormy voyage made: See! Europe, watching from her sea-girt shore, Extends the sceptred hand, and bids thee dream no more.

II.

Say, was it sweet, in cradled rest to lie, And 'scape the ills that older regions know? Prolong the vision'd trance of infancy, And hide from manhood's toil, mischance and wo? Sweet, by the margin of thy sounding streams Freely to rove, and nurse illusive dreams, Nor taste the fruits on thorny trees that grow? The evil, and the sorrow, and the crime, That make the harass'd earth grow old before her time?

III.

Clime of the West! that to the hunter's bow, And roving hordes of savage men, wert sold, Their cone-roof'd wigwams pierced the wintry snow, Their tassel'd corn crept sparsely through the mould, Their bark canoes thy glorious waters clave, The chase their glory, and the wild their grave: Look up! a loftier destiny behold, For to thy coast the fair-hair'd Saxon steers, Rich with the spoils of time, the lore of bards and seers.

IV.

Behold a sail! another, and another! Like living things on the broad river's breast; What were thy secret thoughts, oh red-brow'd brother, As toward the shore those white-wing'd wanderers press'd? But lo! emerging from her forest-zone, The bow and quiver o'er her shoulder thrown, With nodding plumes her raven tresses dress'd, Of queenly step, and form erect and bold, Yet mute with wondering awe, the New World meets the Old.

V.

Roll on, majestic flood, in power and pride, Which like a sea doth swell old ocean's sway; With hasting keel, thy pale-faced sponsors glide To keep the pageant of thy christening day: They bless thy wave, they bid thee leave unsung The uncouth baptism of a barbarous tongue, And take his name—the Stuart's—first to bind The Scottish thistle in the lion's mane, Of all old Albion's kings, most versatile and vain.

VI.

Spring robes the vales. With what a flood of light She holds her revels in this sunny clime; The flower-sown turf, like bossy velvet bright, The blossom'd trees exulting in their prime, The leaping streamlets in their joyous play, The birds that frolic mid the diamond spray, Or heavenward soar, with melody sublime: What wild enchantment spreads a fairy wing, As from their prisoning ships the enfranchised strangers spring.

VII.

Their tents are pitch'd, their spades have broke the soil, The strong oak thunders as it topples down, Their lily-handed youths essay the toil, That from the forest rends its ancient crown: Where are your splendid halls, which ladies tread, Your lordly boards, with every luxury spread, Virginian sires—ye men of old renown? Though few and faint, your ever-living chain Holds in its grasp two worlds, across the surging main.

VIII.

Yet who can tell what fearful pangs of wo Those weary-hearted colonists await, When to its home the parting ship must go, And leave them in their exile, desolate? Ah, who can paint the peril and the pain, The failing harvest, and the famish'd train, The wily foe, with ill-dissembled hate, The sickness of the heart, the wan despair, Pining for one fresh draught of its dear native air?

IX.

Yet, mid their cares, one hallow'd dome they rear'd, To nurse devotion's consecrated flame; And there a wondering world of forests heard, First borne in solemn chant, Jehovah's name; First temple to his service, refuge dear From strong affliction and the alien's tear, How swell'd the sacred song, in glad acclaim: England, sweet mother! many a fervent prayer There pour'd its praise to Heaven for all thy love and care.

X.

And they who 'neath the vaulted roof had bow'd Of some proud minster of the olden time, Or where the vast cathedral towards the cloud Rear'd its dark pile in symmetry sublime, While through the storied pane the sunbeam play'd, Tinting the pavement with a glorious shade, Now breath'd from humblest fane their ancient chime: And learn'd they not, His presence sure might dwell With every seeking soul, though bow'd in lowliest cell?

XI.

Yet not quite unadorn'd their house of prayer: The fragrant offspring of the genial morn They duly brought; and fondly offer'd there The bud that trembles ere the rose is born, The blue clematis, and the jasmine pale, The scarlet woodbine, waving in the gale, The rhododendron, and the snowy thorn, The rich magnolia, with its foliage fair, High priestess of the flowers, whose censer fills the air.

XII.

Might not such incense please thee, Lord of love? Thou, who with bounteous hand dost deign to show Some foretaste of thy Paradise above, To cheer the way-worn pilgrim here below? Bidd'st thou mid parching sands the fiow'ret meek Strike its frail root and raise its tinted cheek, And the slight pine defy the arctic snow, That even the skeptic's frozen eye may see On Nature's beauteous page what lines she writes of Thee?

XIII.

What groups, at Sabbath morn, were hither led! Dejected men, with disappointed frown, Spoil'd youths, the parents' darling and their dread, From castles in the air hurl'd ruthless down, The sea-bronzed mariner, the warrior brave, The keen gold-gatherer, grasping as the grave; Oft, mid these mouldering walls, which nettles crown, Stern breasts have lock'd their purpose and been still, And contrite spirits knelt, to learn their Maker's will.

XIV.

Here, in his surplice white, the pastor stood, A holy man, of countenance serene, Who, mid the quaking earth or fiery flood Unmoved, in truth's own panoply, had been A fair exaniple of his own pure creed; Patient of error, pitiful to need, Persuasive wisdom in his thoughtful mien, And in that Teacher's heavenly meekness bless'd, Who laved his followers' feet with towel-girded vest.

XV.

Music upon the breeze! the savage stays His flying arrow as the strain goes by; He starts! he listens! lost in deep amaze, Breath half-suppress'd, and lightning in his eye. Have the clouds spoken? Do the spirits rise From his dead fathers' graves, with wildering melodies? Oft doth he muse, 'neath midnight's solemn sky, On those deep tones, which, rising o'er the sod, Bore forth, from hill to hill, the white man's hymn to God.

XVI.

News of the strangers stirr'd Powhatan's dreams, The mighty monarch of the tribes that roam A thousand forests, and on countless streams Urge the swift bark and dare the cataract's foam; The haughtiest chieftains in his presence stood Tame as a child, and from the field of blood His war-cry thrill'd with fear the foeman's home: His nod was death, his frown was fix'd as fate, Unchangeable his love, invincible his hate.

XVII.

A forest-child, amid the flowers at play! Her raven locks in strange profusion flowing; A sweet, wild girl, with eye of earnest ray, And olive cheek, at each emotion glowing; Yet, whether in her gladsome frolic leaping, Or 'neath the greenwood shade unconscious sleeping, Or with light oar her fairy pinnace rowing, Still, like the eaglet on its new-fledged wing, Her spirit-glance bespoke the daughter of a king.

XVIII.

But he, that wily monarch, stern and old, Mid his grim chiefs, with barbarous trappings bright, That morn a court of savage state did hold. The sentenced captive see—his brow how white! Stretch'd on the turf his manly form lies low, The war-club poises for its fatal blow, The death-mist swims before his darken'd sight: Forth springs the child, in tearful pity bold, Her head on his declines, her arms his neck enfold.

XIX.

“The child! what madness fires her? Hence! Depart! Fly, daughter, fly! before the death-stroke rings; Divide her, warriors, from that English heart.” In vain! for with convulsive grasp she clings: She claims a pardon from her frowning sire; Her pleading tones subdue his gather'd ire; And so, uplifting high his feathery dart, That doting father gave the child her will, And bade the victim live, and be his servant still.

XX.

Know'st thou what thou hast done, thou dark-hair'd child? What great events on thy compassion hung? What prowess lurks beneath yon aspect mild, And in the accents of that foreign tongue? As little knew the princess who descried A floating speck on Egypt's turbid tide, A bulrush-ark the matted reeds among, And, yielding to an infant's tearful smile, Drew forth Jehovah's seer, from the devouring Nile.

XXI.

In many a clime, in many a battle tried, By Turkish sabre and by Moorish spear; Mid Afric's sands, or Russian forests wide, Romantic, bold, chivalrous, and sincere, Keen-eyed, clear-minded, and of purpose pure, Dauntless to rule, or patient to endure, Was he whom thou hast rescued with a tear: Thou wert the saviour of the Saxon vine, And for this deed alone our praise and love are thine.

XXII.

Nor yet for this alone shall history's scroll Embalm thine image with a grateful tear; For when the grasp of famine tried the soul, When strength decay'd, and dark despair was near, Who led her train of playmates, day by day, O'er rock, and stream, and wild, a weary way, Their baskets teeming with the golden ear? Whose generous hand vouchsafed its tireless aid To guard a nation's germ? Thine, thine, heroic maid!

XXIII.

On sped the tardy seasons, and the hate Of the pale strangers wrung the Indian breast. Their hoary prophet breathed the ban of fate: “Hence with the thunderers! Hide their race, un-bless'd, Deep 'neath the soil they falsely call their own; For from our fathers' graves a hollow moan, Like the lash'd surge, bereaves my soul of rest. ‘They come! They come!' it cries.‘Ye once were brave: Will ye resign the world that the Great Spirit gave?’ ”

XXIV.

Yet 'neath the settled countenance of guile They veil'd their vengeful purpose, dark and dire, And wore the semblance of a quiet smile, To lull the victim of their deadly ire: But ye, who hold of history's scroll the pen, Blame not too much those erring, red-brow'd men, Though nursed in wiles. Fear is the white-lipp'd sire Of subterfuge and treachery. 'Twere in vain To bid the soul be true, that writhes beneath his chain.

XXV.

Night, moonless night! The forest hath no sound But the low shiver of its dripping leaves, Save here and there, amid its depths profound, The sullen sigh the prowling panther heaves, Save the fierce growling of the cubless bear, Or tramp of gaunt wolf rushing from his lair, Where its slow coil the poisonous serpent weaves: Who dares the dangerous path at hour so wild, With fleet and fawnlike step? Powhatan's fearless child!

XXVI.

“Up, up—away! I heard the words of power, Those secret vows that seal a nation's doom, Bid the red flame burst forth at midnight hour, And make th'unconscious slumberer's bed his tomb, Spare not the babe—the rose-leaf of a day— But shred the sapling, like the oak, away. I heard the curse! My soul is sick with gloom: Wake, chieftains, wake! avert the hour of dread!” And with that warning voice the guardian-angel fled.

XXVII.

On sped the seasons, and the forest-child Was rounded to the symmetry of youth; While o'er her features stole, serenely mild, The trembling sanctity of woman's truth, Her modesty, and simpleness, and grace: Yet those who deeper scan the human face, Amid the trial-hour of fear or ruth, Might clearly read, upon its heaven-writ scroll, That high and firm resolve which nerved the Roman soul.

XXVIII.

The simple sports that charm'd her childhood's way, Her greenwood gambols mid the matted vines, The curious glance of wild and searching ray, Where innocence with ignorance combines, Were changed for deeper thought's persuasive air, Or that high port a princess well might wear: So fades the doubtful star when morning shines; So melts the young dawn at the enkindling ray, And on the crimson cloud casts off its mantle gray.

XXIX.

On sped the tardy seasons. Need I say What still the indignant lyre declines to tell? How, by rude hands, the maiden, borne away, Was forced amid the invaders' homes to dwell? Yet no harsh bonds the guiltless prisoner wore, No sharp constraint her gentle spirit bore, Held as a hostage in the stranger's cell; So, to her wayward fate submissive still, She meekly bow'd her heart to learn a Saviour's will.

XXX.

And holy was the voice that taught her ear How for our sins the Lord of life was slain; While o'er the listener's bosom flow'd the tear Of wondering gratitude, like spring-tide rain. New joys burst forth, and high resolves were born To choose the narrow path that worldlings scorn, And walk therein. Oh, happy who shall gain From the brief cloud that in his path may lie A heritage sublime, a mansion in the sky.

XXXI.

In graceful youth, within the house of prayer, Who by the sacred font so humbly kneels, And with a tremulous yet earnest air, The deathless vow of Christian fealty seals? The Triune Name is breathed with hallow'd power, The dew baptismal bathes the forest-flower, And, lo her chasten'd smile that hope reveals Which nerved the weary dove o'er floods unbless'd The olive-leaf to pluck, and gain the ark of rest.

XXXII.

Pour forth your incense; fragrant shrubs and flowers, Wave your fresh leaflets, and with beauty glow; And wake the anthem in your choral bowers, Birds, whose warm hearts with living praise o'erflow; For she who loved your ever-varied dyes, Mingling her sweet tones with your symphonies, Seeks higher bliss than charms like yours bestow— A home unchangeable—an angel's wing— Where is no fading flower, nor lute with jarring string.

XXXIII.

Another change. The captive's lot grew fair: A soft illusion with her reveries blent, New charms dispell'd her solitary care, And hope's fresh dewdrops gleam'd where'er she went; Earth seem'd to glow with Eden's purple light, The fleeting days glanced by on pinions bright, And every hour a rainbow lustre lent; While, with his tones of music in her ear, Love's eloquence inspired the high-born cavalier.

XXXIV.

Yet love, to her pure breast was but a name For kindling knowledge, and for taste refined, A guiding lamp, whose bright, mysterious flame Led on to loftier heights the aspiring mind. Hence flow'd the idiom of a foreign tongue All smoothly o'er her lip; old history flung Its annal wide, like banner on the wind, And o'er the storied page, with rapture wild, A new existence dawn'd on nature's fervent child.

XXXV.

A throng is gathering; for the hallow'd dome At evening tide is rich with sparkling light, And from its verdant bound each rural home Sends forth its blossom'd gifts, profusely bright; While here and there, amid the clustering flowers, Some stately chief or painted warrior towers, Hail'd as a brother mid the festal rite: Peace waves her garland o'er the favour'd place Where weds the new-born West, with Europe's lordly race.

XXXVI.

A group before the altar. Breathe thy vow, Loving and stainless one, without a fear; For he who wins thee to his bosom now, Gem of the wild, unparalleled and dear, Will guard thee ever, as his treasure rare, With changeless tenderness and constant care; How speaks his noble brow a soul sincere, While the old white-hair'd king, with eye of pride, Gives to his ardent hand the timid, trusting bride.

XXXVII.

Not with more heartfelt joy the warlike bands Of Albion, spent with long, disastrous fray, Beheld young Tudor cleanse his blood-stain'd hands, And lead the blooming heir of York away, 'Neath the sweet music of the marriage bells; Then on those tented hills and ravaged dells The War of Roses died: no more the ray Of white or red, the fires of hate illumed, But from their blended roots the rose of Sharon bloom'd.

XXXVIII.

Young wife, how beautiful the months swept by. Within thy bower methinks I view thee still: The meek observance of thy lifted eye Bent on thy lord, and prompt to do his will, The care for him, the happiness to see His soul's full confidence repose in thee, The sacrifice of self, the ready skill In duty's path, the love without alloy, These gave each circling year a brighter crown of joy.

XXXIX.

Out on the waters! On the deep, deep sea! Out, out upon the waters! Surging foam, Swell'd by the winds, rolls round her wild and free, And memory wandereth to her distant home, To fragrant gales, the blossonm'd boughs that stir, To the sad sire who fondly dreams of her; But kindling smiles recall the thoughts that roam, For at her side a bright-hair'd nursling plays, While bends her bosom's lord with fond, delighted gaze.

XL.

And this is woman's world. It matters not Though in the trackless wilderness she dwell, Or on the cliff where hangs the Switzer's cot, Or in the subterranean Greenland cell: Her world is in the heart. Rude storms may rise, And dark eclipse involve ambition's skies, But dear affection's flame burns pure and well, And therefore 'tis, with such a placid eye, She sooths her loved ones' pangs, or lays her down to die.

XLI.

Lo! Albion's cliffs, in glorious light that shine, Welcome the princess of the infant West. 'Twas nobly done, thou queen of Stuart's line, To sooth the tremours of that stranger's breast; And when, upon thy ladies richly dight, She, through a flood of ebon tresses bright, Uplifts the glances of a timid guest, What saw she there? The greeting smiles that brought O'er her own lofty brow its native hues of thought.

XLII.

But what delighted awe her accents breathed, The gorgeous domes of ancient days to trace, The castellated towers, with ivy wreathed, The proud mementoes of a buried race; Or 'neath some mighty minster's solemn pile, Dim arch, and fretted roof, and long.drawn aisle, How rush'd the heart's blood wildly to her face, When, from the living organ's thunder-chime, The full Te Deum burst in melody sublime.

XLIII.

Yet, mid the magic of those regal walls, The glittering train, the courtier's flattering tone, Or by her lord, through fair ancestral halls, Led on, to claim their treasures as her own, Stole back the scenery of her solitude: An aged father, in his cabin rude, Mix'd with her dreams a melancholy moan, Notching his simple calendar with pain, And straining his red eye to watch the misty main.

XLIV.

Prayer, prayer for him! when the young dawn arose With its gray banner, or red day declined, Up went his name, forever blent with those Most close and strong around her soul entwined, Husband and child; and, as the time drew near To fold him to her heart with filial tear, For her first home her warm affections pined. That time—it came not! for a viewless hand Was stretch'd to bar her foot from her green childhood's land.

XLV.

Sweet sounds of falling waters, cool and clear, The crystal streams, her playmates, far away, Oft, oft their dulcet music mock'd her ear, As, restless, on her fever'd couch she lay; Strange visions hover'd round, and harpings high, From spirit-bands, and then her lustrous eye Welcomed the call; but earth resumed its sway, And all its sacred ties convulsive twined. How hard to spread the wing, and leave the loved behind.

XLVI.

Sunset in England at the autumn prime! Through foliage rare, what floods of light were sent! The full and whitening harvest knew its time, And to the sickle of the reaper bent; Forth rode the winged seeds upon the gale, New homes to find; but she, with lip so pale, Who on the arm of her beloved leant, Breathed words of tenderness, with smile serene, Though faint and full of toil, the gasp and groan between.

XLVII.

“Oh, dearest friend, Death, cometh! He is here, Here at my heart! Air! air! that I may speak My hoarded love, my gratitude sincere, To thee and to thy people. But I seek In vain. Though most unworthy, yet I hear A call, a voice too bless'd for mortal ear;” And with a marble coldness on her cheek, And one long moan, like breaking harp-string sweet, She bare the unspoken lore to her Redeemer's feet.

XLVIII.

Gone? Gone? Alas! the burst of wild despair That rent his bosom who had loved so well; He had not yet put forth his strength to bear, So suddenly and sore the death-shaft fell: Man hath a godlike might in danger's hour, In the red battle, or the tempest's power; Yet is he weak when tides of anguish swell; Ah, who can mark with cold and tearless eyes The grief of stricken man when his sole idol dies!

XLIX.

And she had fled, in whom his heart's deep joy Was garner'd up; fled, like the rushing flame, And left no farewell for her fair young boy. Lo! in his nurse's arms he careless came, A noble creature, with his full dark eye And clustering curls, in nature's majesty; But, with a sudden shriek, his mother's name Burst from his lips, and, gazing on the clay, He stretch'd his eager arms where the cold sleeper lay.

L.

“Oh mother! mother!” Did that bitter cry Send a shrill echo through the realm of death? Look, to the trembling fringes of the eye. List, the sharp shudder of returning breath, The spirit's sob! They lay him on her breast; One long, long kiss on his bright brow she press'd; Even from heaven's gate of bliss she lingereth, To breathe one blessing o'er his precious head, And then her arm unclasps, and she is of the dead.

LI.

The dead! the sainted dead! why should we weep At the last change their settled features take? At the calm impress of that holy sleep Which care and sorrow never more shall break? Believe we not His word who rends the tomb, And bids the slumberers from that transient gloom In their Redeemer's glorious image wake? Approach we not the same sepulchral bourne Swift as the shadow fleets? What time have we to mourn?

LII.

A little time thou found'st, O pagan king, A little space, to murmur and repine: Oh, bear a few brief months affliction's sting, And gaze despondent o'er the billowy brine, And then to the Great Spirit, dimly traced Through cloud and tempest, and with fear embraced, In doubt and mystery, thy breath resign; And to thy scorn'd and perish'd people go, From whose long-trampled dust our flowers and herbage grow.

LIII.

Like the fallen leaves those forest-tribes have fled: Deep 'neath the turf their rusted weapon lies; No more their harvest lifts its golden head, Nor from their shaft the stricken red-deer flies: But from the far, far west, where holds, so hoarse, The lonely Oregon, its rock-strewn course, While old Pacific's sullen surge replies, Are heard their exiled mutrmurings deep and low, Like one whose smitten soul departeth full of wo.

LIV.

I would ye were not, from your fathers' soil, Track'd like the dun wolf, ever in your breast The coal of vengeance and the curse of toil; I would we had not to your mad lip prest The fiery poison-cup, nor on ye turn'd The blood-tooth'd ban-dog, foaming, as he burn'd To tear your flesh; but thrown in kindness bless'd The brother's arm around ye, as ye trod, And led ye, sad of heart, to the bless'd Lamb of God.

LV.

Forgotten race, farewell! Your haunts we tread, Our mighty rivers speak your words of yore, Our mountains wear them on their misty head, Our sounding cataracts hurl them to the shore; But on the lake your flashing oar is still, Hush'd is your hunter's cry on dale and hill, Your arrow stays the eagle's flight no more; And ye, like troubled shadows, sink to rest In unremember'd tombs, unpitied and unbless'd.

LVI.

The council-fires are quench'd, that erst so red Their midnight volume mid the groves entwined; King, stately chief, and warrior-host are dead, Nor remnant nor memorial left behind: But thou, O forest-princess, true of heart, When o'er our fathers waved destruction's dart, Shalt in their children's loving hearts be shrined; Pure, lonely star, o'er dark oblivion's wave, It is not meet thy name should moulder in the grave.

NOTES.

Stanza iii., line 4.

Their tassel'd corn.

To those not familiar with the appearance of the Indian corn, on whose cultivation the aborigines of America relied as a principal article of subsistence, it may be well to say that a silky fibre, sometimes compared to a tassel, is protruded from the extremity of the sheath which envelops the golden ear, or sheaf of that stately and beautiful vegetable.

Stanza vi., line 1.

Spring robes the vales.

The ships which bore the Virginian colonists—the founders of our nation—entered the Chesapeake April 26, 1607; and on the 13th of May, five months from the time of setting sail from England, which was December 19th, 1606, a permanent embarkation was effected at Jamestown, fifty miles up that noble river, to which the name of James was given, in honour of the reigning monarch.

Stanza vii., line 3.

Their lily-handed youths essay the toil.

“The axe frequently blistered their tender fingers, so that many times every third blow had a loud oath to drown its echo.&rdequo;—Hillard's Life of Captain Smith.

Stanza ix., line 8.

England, sweet mother.

“Lord, bless England, our sweet native country,” was the morning and evening prayer in the church at Jamestown, the first church erected in our Western world.

Stanza xi., line 2.

The fragrant offspring of the genial morn They duly brought.

“At the beginning of each day they assembled in the little church, which was kept neatly trimmed with the wild flowers of the country.”—Bancroft,vol. i., p. 141.

Stanza xiii., line 3.

Spoil'd youths.

“A great part of the new company who came out in 1609,” says the historian Stith, “consisted of unruly sparks, packed off by their friends to escape worse destinies at home. The rest were chiefly made up of poor gentlemen, broken tradesmen, footmen, and such others as were fitter to spoil and ruin a commonwealth than to help to raise and maintain one. ‘When you send again,’ Captain Smith was constrained to write to the Corporation in London, ‘I entreat you, rather send but thirty carpenters, husbandmen, gardeners, fishermen, blacksmiths, masons, and diggers-up of trees' roots, than a thousand of such as we have’ ”

Stanza xiv., line 1.

Here, in his surplice white, the pastor stood.

“The morning-star of the church was the Rev. Mr. Hunt, sent out by the London company in 1606. among the leaders of the infant colony. It was he who administered the sacrament of the Lord's Supper for the first time in Virginia at Jamestown, the first permanent habitation of the English in America, and the site of the first Christian temple. He was a man of a truly humble, meek, and peaceful spirit, and it is impossible now to estimate the value of the beneficial influence he exercised upon the fortunes of the colony. His kind offices as peacemaker were frequently interposed to harmonize differences which would have been fatal to the enterprise; and his example of suffering affliction, and of patience in sickness, in poverty, in peril, cheered his drooping companions, inspiring them with such fortitude, and stimulating them to such efforts, as, with the blessing of Providence, enabled them to maintain their difficult positions.”—Rev. Philip Slaughter.

Stanza xvi., line 2.

The mighty monarch of the tribes that roam A thousandforests.

Powhatan, the king of the country where the founders of Virginia first chose their residence, was said to hold dominion over thirty nations or tribes who inhabited that region; and being possessed both of arbitrary power and much native talent, his enmity was dreaded, and pains taken by the colonists to conciliate his friendship.

Stanza xvii., line 1.

A forest-child, amid the flowers at play.

“Pocahontas, the daughter of Powhatan, a girl of ten or twelve years of age, who, not only for feature, countenance, and expression, much exceeded any of the rest of her people, but for wit and spirit was the only nonpareil of the country.”—Captain John Smith.

Stanza xix., line 9.

And bade the victim live, and be his servant still.

“Live! live!” said the softened monarch, “and make hatchets for me and necklaces for Pocahontas.”

Stanza xxi., line 6.

Dauntless to rule, or patient to endure.

The extraordinary features in the character of Captain John Smith, and the strange incidents which made almost the whole of his life a romance, are exhibited by many historians. Hillard, in his biography of him, says, “We see him performing at the same time the offices of a provident governor, a valiant soldier, an industrious labourer, capable alike of commanding and of executing. He seemed to court the dangers from which other men shrank, or which they encountered only from a sense of duty. As the storm darkens around him, his spirit grows more bright and serene. That which appals and disheartens others only animates him. He had a soul of fire, encased in a frame of adamant. Thus was he enabled to endure and accomplish all the promptings of his adventurous spirit.“ ”He was the father of Virginia,” says Bancroft in his history, “the true leader who first planted the Saxon vine in the United States.”

Stanza xxii., line 7.

Their baskets teeming with the golden ear.

When the colony was in danger of utter extinction from the want of food, her zeal and benevolence never slumbered. Accompanied by her companions, the child Pocahontas came every few days to the fort with baskets of corn for the starving garrison. Smith, in his letter to Queen Anne, writes, “She, next under God, was the instrument to preserve this colony from death, famine, and utter confusion, which, if in those times had once been dissolved, Virginia might have lain as it was at our first arrival unto this day.”

Stanza xxvi., line 9.

And, with that warning voice, the guardian angelfled.

“Notwithstanding, the eternal, all-seeing God did prevent the plot of Powhatan, and by a strange means. For Pocahontas, his dearest jewel and daughter, came through the irksome woods in that dark night, and told us that great cheer might be sent us by-and-by, but that the king, and all the power he could make, would afterward come and kill us all. Therefore, if we would live, she wished us presently to be gone. Such things as she delighted in we would have given her; but, with tears running down her cheeks, she said she durst not be seen to have them; for, if Powhatan should know it, she were but dead. And so she ran away by herself, as she caine.”—Captain Smith.

Stanza xxix., line 7.

Held as a hostage.

The object of the capture and detention of the princess seems to have been to bring her father to such terms as the colonists desired, or to extort from him a large ransom; both of which designs were frustrated.

Stanza xxxv., line 9.

Where weds the new-born West with Europe's lordly race.

The marriage of Mr. Rolfe with Pocahontas took place in the church at Jamestown in the month of April, 1613, and gave great delight to Powhatan and his chieftains, who were present at the ceremony, and also to the English, and proved a bond of peace and amity between them as lasting as the life of the Indian king.

Stanza xxxvii., line 9.

But from their blended roots the rose of Sharon bloom'd.

The rose striped with white and red, sometimes called the rose of Sharon, has been said, in some ancient legend, to have been first seen in England after the marriage of Henry VII. to Elizabeth, daughter of Edward IV., when the civil war which had so long raged with bitterness was terminated, and the Red Rose of Lancaster and the White Rose of York ceased to be the unnatural symbols of bloodshed.

Stanza xli., line 3.

'Twas nobly done, thou queen of Stuart's line.

On the 12th of June, 1616, Mr. Rolfe, with his Indian wife, who, after her baptism, was known by the name of the Lady Rebecca, arrived in England. Her merits had preceded her, and secured for her the attentions and hospitality of persons of rank and influence. The queen of James I., the reigning monarch, treated her with affability and respect. “It pleased both the king's and queen's majesties,” writes Captain Smith, “honourably to esteem her, accompanied with that honourable lady, the Lady Delaware, and that honourable lord her husband, and divers other persons of good quality, both publicly and at the masks and concerts, to her great satisfaction and content.”

Stanza xliii., line 8.

Notching his simple calendar.

The mode of computation by cutting notches upon a stick prevailed among many of our aboriginal tribes. One of the council of Powhatan, who accompanied Pocahontas, was directed in this manner to mark the number of the people he might meet. He obtained a very long cane on his landing, and commenced the task. But he soon became weary of this manner of taking the census, and, on his return home, said to his king, “Count the stars in the sky, the leaves on the trees, the sands on the seashore, but not the people of England.”

Stanza l., line 9.

And then her arm unclasps, and she is of the dead.

Early in the year 1617, while preparing to return to her native land, she was taken sick, and died at the age of twenty-two. She was buried at Gravesend. Her firmness and resignation proved the sincerity of her piety; and, as Bancroft eloquently observes, “She was saved, as if by the hand of mercy, from beholding the extermination of the tribes from which she sprang, leaving a spotless name, and dwelling in memory under the form of perpetual youth.”

--part2_c8.45ca75a0.2da6289f_boundary-- --part1_c8.45ca75a0.2da629a2_boundary-- ========================================================================= Date: Thu, 8 Apr 2004 00:13:31 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: 1.2 MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII 1.2 1 \documentclass[11pt,a4paper]{article} \begin{document} \title{} \begin{equation} y = x \end{equation} \end{document} 2 http://www.asondheim.org/liss1.png http://www.asondheim.org/liss2.png http://www.asondheim.org/liss3.png _ ========================================================================= Date: Thu, 8 Apr 2004 00:27:28 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "David A. Kirschenbaum" Subject: The April Project on Kurt MIME-Version: 1.0 Content-Type: text/plain Content-Transfer-Encoding: 7bit http://theaprilproject.blogspot.com/ best, dak ========================================================================= Date: Thu, 8 Apr 2004 01:25:04 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Michael Boyko Subject: Re: confessionalism MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit i don't think a term, any term, is useless, and of course, personal agenda is invoked here, the middle ground is an important place. the position of the I in the current climate, any current climate, is an issue for every writer, whether they say the I or not. so, i guess, clarity comes center, the use of the I becomes a word choice like anything else, and so the I becomes just a word, which is what it is. to think we could accept a confession that omits the I, if appropriate, is to expand and integrate "confessionalism," and make it useful, instead of unfashionable, and nurture the confessionalist urge in all of us. -boyko ========================================================================= Date: Thu, 8 Apr 2004 02:51:29 -0400 Reply-To: nudel-soho@mindspring.com Sender: UB Poetics discussion group From: Harry Nudel Subject: Spring.... Mime-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit empty mind... wind rain sun... empty mind... wind rain sun... bud bud 3:00.. empty..drn.. ========================================================================= Date: Thu, 8 Apr 2004 03:01:27 -0400 Reply-To: nudel-soho@mindspring.com Sender: UB Poetics discussion group From: Harry Nudel Subject: Spring.. Mime-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit sleep wake wake sleep wake/sleep bud bud 3:00 sleep/work...drn.. ========================================================================= Date: Thu, 8 Apr 2004 00:00:16 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: alexander saliby Subject: Re: Spring.... MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Spring Response empty words... now you're done... empty words... please be done... dun dun dud Harry, Move on to Summer...quickly, please.=20 Alex=20 ----- Original Message -----=20 From: Harry Nudel=20 To: POETICS@LISTSERV.BUFFALO.EDU=20 Sent: Wednesday, April 07, 2004 11:51 PM Subject: Spring.... empty mind... wind rain sun... empty mind... wind rain sun... bud bud 3:00.. empty..drn.. ========================================================================= Date: Thu, 8 Apr 2004 03:51:10 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: andrew loewen Subject: Re: Sylvia Plath's author-function is a stupid passe cunt! MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Thoughts on confessional poetry and non-confessional poetry: 1. It is mostly those with relatively privileged positions in the social hierarchy who denigrate confession and seek to efface their (our) identity/subjectivity/voice, whathaveyou. White men are traditionally more experimental poets than strung out Filipino crack whores, or so my preliminary investigation into this matter suggests. 2. Those who have been denied access to the symbolic order of language (ie, those who have been denied a self, a voice, in more violent ways than the average late capitalist subject) seem to be less familiar with the work of Roland Barthes, Wittgenstein, et al. 3. Question: are confessional and autobiographical commutable or simply coterminous? Further, in fiction, is it true that when women insert themselves into their work this is seen as a fairly transparent autobiographical/confessional move whereas when men do it it’s more likely deemed meta-fiction (ie., more intellectual, better)? 4. Are non-confessional treatments of traditionally confessional subjects such as incest, rape, trauma more poetic, more intelligent, better? (Compare, say, Kathy Acker’s use and abuse of incest with Sapphire’s notion of ‘taking part in the transcendence of victimhood,’ tho I guess Acker ain’t poetry.) 5. Can we agree that “Innate in nearly every artistic nature is a luscious and treacherous penchant for acknowledging the injustice that creates beauty and for sympathizing with and paying homage to aristocratic privilege.” 6. When I forced South Korean adolescents to covertly write poetry (under video surveillance in a cram-school in Seoul) there poems looked radically confessional, and I mean experimental. 7. I’m on a fucking roll. My author-function is kicking some fucking high mucketymuck ass. 8. In Nick Pimbiono’s correspondence (not w/ me), he mentioned that it was important that his work have something which a person in pain could hold onto. I I I have a tremendous amount of respect for this (and how will I ever get tenure in this cutthroat world of smartypants?). 9. I agree with Bruce Andrew’s politics but he’d be better off in a more confessional mode. His stuff is too earnest as it is. 10. I don't like confessional poetry but I adore interviews with non-confessional poets (speaking of which, if instead of dying when the poet was young, David Antin’s father had repeatedly sodomized young David until the age of 16, would Antin’s talks be more or less confessional do we suppose?). 11. Doesn’t PROPER experimentation depend on many things like access to a good library, the belief that one isn’t a worthless vile sack of shit, a relatively stable state of mind (I stumbled on an interview with “Franz Wright” the other day; aside from alcoholism, chronic depression and bi-polar disorder can be marvelous ways to die quietly without helping anyone). ______________________________________________________________________ Post your free ad now! http://personals.yahoo.ca ========================================================================= Date: Wed, 7 Apr 2004 08:00:12 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Fulcrum Annual Organization: Fulcrum Annual Subject: Juniper Festival, May 7-8 Comments: cc: imitationpoetics@listserv.unc.edu MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit Please join us for the 4th ANNUAL JUNIPER LITERARY FESTIVAL May 7-8, 2004 The University of Massachusetts - Amherst Memorial Hall FRIDAY, MAY 7: 5pm Opening reception for the Book and Journal Fair 8pm Fiction readings by Amy Hempel and David Gates SATURDAY, MAY 8: 11am Question and Answer Forum with Amy Hempel and David Gates 2pm Address by Marjorie Perloff: "The Poetics of Cultural Estrangement: Viennese High Culture and the New York School" 3:15pm Issues in Independent Publishing Roundtable with: Eric Lorberer (Rain Taxi, moderator), Carol Ann Davis (Crazyhorse), Christian Hawkey (jubilat), Allan Kornblum (Coffeehouse Press), Vincent Standley (3rd bed), Matthew Zapruder (Verse Press) 8pm Poetry reading by John Ashbery Participants in the Book and Journal Fair: 3rd bed, Coffeehouse Press, Conduit, Fence, Fulcrum, jubilat, The Massachusetts Review, NowCulture, Open City, Paris Press, Perugia Press, Rain Taxi, Slope, Small Beer Press, The Univ. of Mass. Press, Verse Press. All events take place in Memorial Hall at the University of Massachusetts and are free and open to the public. A yearly gathering of writers, editors, publishers, scholars, and readers, the Juniper Festival is dedicated to the exploration of issues vital to the literary arts. It presents important new creative, editorial, and scholarly work through public readings, addresses, forums, and a journal and book fair. A journal and book fair will run throughout the Festival, filling Memorial Hall with books and magazines produced through independent literary publishing. For more information, email juniper@hfa.umass.edu Lisa Olstein, Director, Juniper Festival ========================================================================= Date: Thu, 8 Apr 2004 06:49:30 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Austinwja@AOL.COM Subject: Att: Spring Blackbox contributors MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Please go to WilliamJamesAustin.com and follow the Blackbox link. Scroll through all the galleries until you arrive at the spring installment. There you will find your work. It all looks good to me, but what do I know? If you see any problems, let me know and I will do my best to satisfy. Thank you all for being a part of my web project. Best, Bill WilliamJamesAustin.com kojapress.com amazon.com b&n.com ========================================================================= Date: Thu, 8 Apr 2004 07:30:47 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: scott Subject: neologism of the week MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable "pessim[y]sticism," as in: "There's no pessimisticism in the poem at = all." From a sight-reading exercise by one of my students. (poem: Emily = Dickinson 1129 "Tell all the truth but tell it slant.") Is there a better single word to describe Dickinson's poetics? ________________________ 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: Thu, 8 Apr 2004 05:32:51 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Bob Grumman Subject: Eratio #3 In-Reply-To: <000401c41d01$8bb8bf90$220110ac@CADALY> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Hey, everybody, Gregory St. Thomasino has the latest issue of his webzine, ERATIO, up now. It's at http://www.eratiopostmodernpoetry.com Lots of good stuff there, plus some provocative musings in the French Zone by editor Gregory about what he calls "eidetics," a term derived from which he got me to use in the title of something I have in the issue. Excerpts from a semi-hypo-semic sequence by Nico Vassilakis is there, too, and poems by people like . . . waydaminit, I can list them all: Petra Backonja Carrie Hunter Cortney L. Bledsoe Steven J. Stewart Donna Kuhn Jukka-Pekka Kervinen William Allegrezza Spencer Selby John M. Bennett Catherine H. Thomas Lowe Taylor Sheila E. Murphy William James Austin Jon Cone Vernon Frazer Lewis LaCook Jake Berry eidetics by Bob Grumman Nico Vassilakis with afterwords by Gregory Vincent St. Thomasino bookshelf: Jonathan Minton reads Aaron McCollough eratio gallery: Donna Kuhn Spencer Selby Derek White --Bob G. __________________________________ Do you Yahoo!? Yahoo! Small Business $15K Web Design Giveaway http://promotions.yahoo.com/design_giveaway/ ========================================================================= Date: Thu, 8 Apr 2004 05:38:04 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Bob Grumman Subject: Re: neologism of the week In-Reply-To: <00de01c41d5c$f404ab80$632eb38b@Moby> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii --- scott wrote: > "pessim[y]sticism," as in: "There's no > pessimisticism in the poem at all." From a > sight-reading exercise by one of my students. (poem: > Emily Dickinson 1129 "Tell all the truth but tell it > slant.") > > Is there a better single word to describe > Dickinson's poetics? > > ________________________ > > > Scott Pound Pessimysterics? Sorry, Scott. Her saying's great, but I'm not a fan. --Bob G. __________________________________ Do you Yahoo!? Yahoo! Small Business $15K Web Design Giveaway http://promotions.yahoo.com/design_giveaway/ ========================================================================= Date: Thu, 8 Apr 2004 08:47:41 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Timothy Yu Subject: Re: confessionalism Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" I'm really disturbed by Andrew Loewen's post, which purports to show how a critique of confessionalism is the province of the privileged, but does so by employing misogynist terms of abuse and leaning weirdly on images of Asians who are either degraded ("strung out Filipino crack whores"?!) or objects of implied violence ("When I forced South Korean adolescents...under video surveillance..."), which makes it hard to believe that he takes his own criticism seriously, or that he has much sympathy for the supposedly less privileged position of the woman or the Asian. I'd actually signed on to add something to what had seemed like a promising discussion on confessionalism: the _Columbia History of American Poetry_ (ed. Jay Parini) has an essay by Diane Middlebrook, "What Was Confessional Poetry?", which provides some historical context for the first poets to be labeled "confessional" (Lowell, Sexton, Snodgrass, Plath) and relates these writers to psychoanalysis, Cold War politics, and the development of "a poetics from within the woman's position." There's another essay (less historical, more schematic) by Gregory Orr on the "postconfessional" lyric--a term I'm surprised no one's brought up, since it tends to be frequently used to describe those current poets who are recognizably working under the influence of confessional writing but also seem in some way to critique it; Frank Bidart is one, and from the little I've read of Franz Wright he might be another. Both these essays are more than ten years old at this point, but they do provide a way to talk about confessional that goes beyond the binaries of I/not-I or biographical/impersonal. Tim Yu http://tympan.blogspot.com ========================================================================= Date: Thu, 8 Apr 2004 07:48:05 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: kari edwards Subject: Boston College rejected the leading candidates because they are gay In-Reply-To: Content-Type: text/plain; delsp=yes; charset=ISO-8859-1; format=flowed Mime-Version: 1.0 (Apple Message framework v553) Content-Transfer-Encoding: quoted-printable from: http://transdada.blogspot.com/ http://www.boston.com/dailyglobe2/099/metro/=20 BC_seen_rejecting_2_gay_men_for_post+.shtml BC seen rejecting 2 gay men for post By Alex Beam, Globe Staff, 4/8/2004 three-year effort to hire a professor for a prestigious endowed chair =20= at Boston College has again ended in failure, this time amid charges =20 that the Rev. William Leahy, BC's president, rejected the leading =20 candidates because they are gay. Mark Doty, a poet who lives in New York City and Provincetown, was the =20= English department's top choice for the Rattigan Professorship, but he =20= said that department members told him that his selection "had been =20 undercut" by Leahy and that the chair would not be filled. "The final candidates were gay men, and I was told that this was an =20 issue," Doty said. "The process has imploded." The department's second choice for the chairman -- Carl Phillips, a =20 professor of English, African, and Afro-American studies at Washington =20= University in St. Louis who is also gay -- said the chairman of BC's =20 English department, Paul Lewis, called him last week to say "there were =20= problems at the level of the president." "This somehow had to do with the complicated issue of gay marriage and =20= civil unions," Phillips said. "I called him and said: `Are you saying I =20= didn't get this job because I am gay and have a domestic partner? =20 That's as if this happened 40 years ago, and I didn't get the job =20 because I am African-American.' He said it was like that." Lewis indicated that his remarks might have been misconstrued. "We =20 never suggested that the president acted out of bias," Lewis said of =20 BC's English department. "We only asked questions about whether this =20 might be going on." BC spokesman Jack Dunn confirmed that there had been a strong =20 difference of opinion between Leahy and the English department over =20 filling the Rattigan chair, but he vehemently denied that Doty's or =20 Phillips's sexual orientation played any role in Leahy's decision to =20 reject their candidacies in favor of Jonathan Schell, a highly regarded =20= former New Yorker writer and a visiting professor at Yale Law School. =20= Ultimately, none of the candidates was offered the position. Leahy "wasn't aware that they were openly gay men until after the =20 fact," Dunn said. "He thought Schell was the best candidate to meet the =20= needs of the students and of the English department." Leahy declined a request for an interview. Dunn accused Lewis and his =20= English department colleagues of sabotaging the search process after =20 Leahy passed over their choices. "The committee chose to inform the =20 candidates that the search was off," Dunn said. "Why did they forfeit =20= the right to hire an excellent candidate just because he didn't fit =20 their narrow, personal agenda?" Boston College is a Jesuit, Catholic college. Leahy has been a vocal =20 opponent of gay marriage. Last year, he granted official recognition to =20= a gay-straight student alliance, which had unsuccessfully sought =20 official status three times previously. BC officials point to an increased number of gay faculty and to the =20 recent hiring of a professor who teaches so-called queer theory in the =20= English department as evidence that BC is evolving institutionally. "Boston College is a most open and tolerant university," Dunn said. "We =20= have gay faculty and students who flourish here and who contribute =20 mightily to the intellectual vibrancy of the university. Any assertion =20= that sexual orientation plays into hiring here is completely unfounded." The Rattigan professorship -- named after BC trustee Thomas Rattigan, =20= the former chief executive of G. Heileman Brewing Co. -- has proved =20 difficult to fill. Three years ago, the college hoped to land a =20 prominent African-American scholar for the position, but he was =20 reluctant to leave his job. Last year, a search committee was formed to find a specialist in =20 18th-century literature but was dissatisfied with the candidates. Last =20= fall, a new search committee was established to hire a writer or poet =20= for the vacant professorship. The committee winnowed 120 names down to 20, and earlier this year the =20= panel invited four finalists -- Doty, Phillips, Schell, and Margot =20 Livesey, a Cambridge novelist -- to visit the Chestnut Hill campus for =20= two days. The candidates delivered lectures and met with top BC =20 teachers and administrators, albeit not with Leahy. "It was arduous and extremely pleasant," Livesey said, echoing a theme =20= struck by all four candidates describing their visits. In March, the English department presented Leahy with its list of =20 finalists, ranked in order. Leahy responded that he wanted to hire =20 Schell, "to give the university another Alan Wolfe type," in the words =20= of one official. Wolfe, director of BC's Center for Religion and American Public Life, =20= is a highly visible public intellectual who holds forth on spiritual =20 issues of the day for both academic and popular audiences. The English department did not object to Schell's hiring, according to =20= several professors, but twice sought reassurances from Leahy that, if =20= Schell turned them down, their other candidates would be acceptable for =20= the Rattigan post. Leahy never responded. Schell said he doesn't know if he would have accepted the post if =20 offered it. "I was inclined to take it, but I didn't have a firm answer =20= in my own mind," he said. Both Doty and Phillips expressed surprise and regret at the outcome of =20= the search. "I would describe my response as more bewildered than anything else," =20= Doty said. "I was invited to apply for the position, as I am sure the =20= others were, as well. I had a very rewarding experience on campus. I =20 got no signal that sexual orientation might be an issue." "It's an outrageous case of discrimination," Phillips said. "It would =20= be sickening to be working at a place where this could happen. I don't =20= think the president's actions are reflective of the BC community in =20 general. I have sort of a helpless feeling about it." Alex Beam can be reached at beam@globe.com. =A9 Copyright 2003 Globe Newspaper Company. ========================================================================= Date: Thu, 8 Apr 2004 07:50:54 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Kazim Ali Subject: Re: Sylvia Plath's author-function is a stupid passe cunt! In-Reply-To: <20040408075110.54799.qmail@web41810.mail.yahoo.com> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii > White men > are traditionally more experimental poets than > strung > out Filipino crack whores, or so my preliminary > investigation into this matter suggests. I don't buy your preliminary research (did it include white male crack whores?). Many writers of color who write "innovative" or "experimental" work have had a very hard time being taken seriously, either by a mainstream literary establishment or by their own cultural communities. I found the publication of the Manifesto of the "black took collective" in a previous "Fence" to be very interesting. It seems to me that the dozens of brilliant non-white experimental writers are ill-served by a generalization that "experimental" writing is performed by a privileged or education minority. I could cite all the examples, but that seems besides the point. Besides doesn't "experimental" mean you are constantly working against your own production as well as a perceived "mainstream"? It makes it really difficult to say who is "experimental" or not "experimental"? Of course "experimental" and "confessional" or as Timothy Yu wrote it "I/not-I" don't really exist as binaries in any meaningful way. For example I am currently reading "A Border Comedy" by Lyn Hejinian and finding it beautifully (and purposefully) problematic on exactly these questions. In my mind Susan Howe is exactly as (moreso) confesseional as any "confessional" poet--of course I could be doing a profound misreading of Howe, but read "The Midnight" and see if you don't see what I mean. > 11. Doesn’t PROPER experimentation depend on many > things like access to a good library, the belief > that > one isn’t a worthless vile sack of shit, I don't believe in "Proper" Experimentation. It sounds like it could be very boring. ===== ==== WAR IS OVER (if you want it) (e-mail president@whitehouse.gov) __________________________________ Do you Yahoo!? Yahoo! Small Business $15K Web Design Giveaway http://promotions.yahoo.com/design_giveaway/ ========================================================================= Date: Thu, 8 Apr 2004 10:53:50 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Craig Allen Conrad Subject: on the poetry of Barbara Cole MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit After Barbara Cole read in Philadelphia recently, I asked if she would be interested in a little Q&A. Below is the result. For those who missed the reading, let me tell you, it was pretty fantastic! But if you weren't there, you have this Q&A, so enjoy: posted this morning on: http://phillysound.blogspot.com ========================================================================= Date: Thu, 8 Apr 2004 11:21:08 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: ALDON L NIELSEN Subject: Re: Sylvia Plath's author-function is a stupid passe cunt! MIME-Version: 1.0 Content-Type: text/plain > > White men > > are traditionally more experimental poets than > > strung > > out Filipino crack whores, or so my preliminary > > investigation into this matter suggests. > >. Whew . . . and what color were Robert Lowell, is W.D. Snodgrass? father figures of the confessional undsoweiter . . . . it has just come to my attention that the poetry I have been reading for the last 50 years was actually a placebo -- I thought I was getting the experimental stuff, felt much improved, happier, lost weight, built muscle mass, heart rhythms straightened out --- effects not to be sneezed at no matter how acquired -- look for the full report in the JOURNAL OF THE AMERICAN METRICAL ASSOCIATION <<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> "Breaking in bright Orthography . . ." --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: Thu, 8 Apr 2004 11:26:09 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: George Bowering Subject: Re: Sylvia Plath's author-function is a stupid passe cunt! In-Reply-To: <20040408145054.61665.qmail@web40804.mail.yahoo.com> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" > I >could cite all the examples, but that seems besides >the point. > I am sympathetic, but I always thought that citing examples was as to the point as you can get. -- George Bowering He's forge powering. 303 Fielden Ave. Port Colborne. ON, L3K 4T5 ========================================================================= Date: Thu, 8 Apr 2004 12:07:29 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Barrett Watten Subject: Coultas and Gottlieb at Wayne State Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed Global Poetics continues at Wayne State! This reading presents two New York poets whose work eloquently addresses questions of urban space and memory, dystopia and hope, found objects and loss in the aftermath of 9/11. BRENDA COULTAS / New York, N.Y. Author of A Handmade Museum (Coach House Press) Brenda Coultas's A Handmade Museum is a unique collection of prose poems based in and around the Bowery in New York. An assiduous dumpster diver, experimental film maker, collector of disused objects and states of mind, Coultas recovers, after the surrealists and New York artists such as Robert Rauschenberg and Gordon Matta-Clark, the traces of hope in things that have been left behind. Forging complex links between objects and memory, visual beauty and felicitous juxtaposition, strategy and swerve, her poetic map of the Bowery does nothing less than reconfigure the way we live public and private, presence and absence, here and now. MICHAEL GOTTLIEB / Lakeville, Conn. Author of Lost and Found (Roof Books) Michael Gottlieb pioneered the use of distressed texts and images in his early language-centered work, which fashioned evanescent and lyric constructions out of xeroxed detritus, recycled theater tickets, disconnected punch lines. In his recent work, Lost and Found, Gottlieb uses objects cast up by memory and disaster to provoke a radical self-questioning about his generation, time, and history. Ron Silliman calls his poetic sequence "the first great poetic work to emerge from the trauma of September 11," but his writing is the opposite of the loop effect of falling towers. With quizzical self-consciousness and tender regard, Gottlieb traces the outlines of our displacement. Reading Monday, April 12, 3 PM Room 3234, 51 West Warren Wayne State University / Free admission ***** Curated by Barrett Watten, Carla Harryman, and Jonathan Flatley; sponsored by an Innovative Projects Grant, WSU Humanities Center. For more info contact Carla Harryman at c.harryman@wayne.edu / 313-577-4988. ========================================================================= Date: Thu, 8 Apr 2004 09:28:51 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Kazim Ali Subject: Re: author-function In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii I'll give five books for free the rest is up to you: "Last One Out" by Deborah Richards "The Opening Question" by Prageeta Sharma "Commons" by Myung Mi Kim "PLOT" by Claudia Rankine "Rules of the House" by Tsering Wangmo Dhompa Even beginning this list makes me feel like I am insulting both the writers I named and ones I don't. Feels a little like "tokenizing." It's a crude swipe (also such an old one) to suggest that "innovative" or "experimental" writing seems largely the province of white male writers. It may in fact be true that experimental writing by these writers is much more published, read, and paid attention; it also seems that those few "experimental" writers of color who are embraced release the pressure to read and publish the comprehensive range of poetries that is being written. For example, for every Myung Mi Kim or Claudia Rankine on the above list that we know and may read there are tons of writers like them who are just as marginalized and ignored as before. The other point I want to raise is that for many writers of color our sources are diverse. We don't dismiss writers who came before us based on aesthetics quite so easily. I remember being at a reading citing Agha Shahid Ali as a major influence on my work and elliciting quite a surprised reaction from folks who did not see how Shahid's "new formalist" bent was reflected anywhere in my work. ===== ==== WAR IS OVER (if you want it) (e-mail president@whitehouse.gov) __________________________________ Do you Yahoo!? Yahoo! Small Business $15K Web Design Giveaway http://promotions.yahoo.com/design_giveaway/ ========================================================================= Date: Thu, 8 Apr 2004 12:00:37 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Maria Damon Subject: Re: Sylvia Plath's author-function is a stupid passe cunt! In-Reply-To: <200404081521.LAA10083@webmail11.cac.psu.edu> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" At 11:21 AM -0400 4/8/04, ALDON L NIELSEN wrote: > > > White men >> > are traditionally more experimental poets than >> > strung >> > out Filipino crack whores, or so my preliminary > > > investigation into this matter suggests. >> wow i must have deleted this thing that people are responding to. this is outrageous. kazim, timothy and aldon have already responded in more detail. i just want to express horror at the above sentence; and to disagree most emphatically with its semantic content; and distance myself as much as possible from its rhetorical ugliness. ========================================================================= Date: Thu, 8 Apr 2004 10:01:12 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Joseph Thomas Subject: Re: confessionalism In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii "Frank Bidart is one, and from the little I've read of Franz Wright he might be another. Both these essays are more than ten years old at this point, but they do provide a way to talk about confessional that goes beyond the binaries of I/not-I or biographical/impersonal." There's also an interesting little essay in the back of Bidart and Gewanter's new Lowell Collected Poems, called "On 'Confessional' Poetry." Best, Joseph __________________________________ Do you Yahoo!? Yahoo! Small Business $15K Web Design Giveaway http://promotions.yahoo.com/design_giveaway/ ========================================================================= Date: Thu, 8 Apr 2004 13:01:39 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Barrett Watten Subject: =?iso-8859-1?Q?Ren=E9_Wellek_Prize?= Mime-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1"; format=flowed Content-Transfer-Encoding: quoted-printable Wesleyan University Press / Press Release / April 7, 2004 / For Immediate=20 Release ***** Barrett Watten is the recipient of the 2004 Ren=E9 Wellek Prize for his=20 recent book, The Constructivist Moment: From Material Text to Cultural=20 Poetics (Wesleyan, 2003) The Ren=E9 Wellek Prize is one of the United States=92 most prestigious book= =20 awards in the discipline of comparative literature, recognizing an=20 outstanding work in the field of literary and cultural theory. The 2004=20 Prize will be presented at the American Comparative Literature Association= =20 (ACLA) Annual Meeting at the University of Michigan on April 17, 2004. The= =20 ACLA, founded in 1960, is the principal learned society in the United=20 States for scholars whose work involves several literatures and cultures as= =20 well as the premises of cross-cultural literary study itself. Barrett Watten is Professor of English at Wayne State University and author= =20 of Total Syntax (1985), a collection of essays on avant-garde poetics.=20 Other essays have appeared in Critical Inquiry, Modernism/ Modernity,=20 Genre, Poetics Today, Sagetrieb, Textual Practice, and Mark(s). He was=20 editor of This (197182), co-editor of Poetics Journal (198298), and=20 co-author of Leningrad: American Writers in the Soviet Union (1991). Recent= =20 and forthcoming collections of his literary work include: Frame (1971-1990)= =20 (1997), Bad History (1998), and Progress/Under Erasure (2004). ***** The Constructivist Moment: From Material Text to Cultural Poetics 460 pp. 74 b/w illus. 6 x 9=94 $70.00 cloth, ISBN 0-8195-6609-8 / $27.95= =20 paper, ISBN 0-8195-6610-1 Contact: Stephanie Elliott (860) 685-3215 or selliott@wesleyan.edu /=20 Wesleyan University Press, 110 Mt. Vernon Street, Middletown, CT 06459 Pdf version of press release:=20 http://www.english.wayne.edu/fac_pages/ewatten/wellek.pdf ========================================================================= Date: Thu, 8 Apr 2004 13:27:29 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Vernon Frazer Subject: Re: Author-function MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit Limiting the exposure of the experimental work by "writers of color" limits our understanding of the cultures from which they come. Consider, for example, how different our perception of African-American culture would be if we had access to the naturalistic novels of Richard Wright but not to the work of Amiri Baraka, Sonia Sanchez and Ishmael Reed. Consider the number of people who still don't know about the work of Baraka, Sanchez and Reed, and the way lack of access limits their perception of African-American culture. As a person who listens to avant-garde jazz not only by African-Americans but by Asian-Americans, as well as other groups, I believe writers from their respective cultures are producing experimental work that parallels the avant-garde jazz that comes out of the cultures. I already know what "white American males" are producing. I'd like to know more about experimental work coming out of other cultures. The writers might show me something I haven't yet thought of that would be rewarding to try. Vernon Frazer http://vernonfrazer.com ========================================================================= Date: Thu, 8 Apr 2004 14:13:43 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "St. Thomasino" Subject: eratio postmodern poetry issue three spring 2004 Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit eratio postmodern poetry issue three spring 2004 http://www.eratiopostmodernpoetry.com cover art, and more, by William Conlon poetic language -- Petra Backonja Carrie Hunter Cortney L. Bledsoe Steven J. Stewart Donna Kuhn Jukka-Pekka Kervinen William Allegrezza Spencer Selby John M. Bennett Catherine H. Thomas Lowe Taylor Sheila E. Murphy William James Austin Jon Cone Vernon Frazer Lewis LaCook Jake Berry eidetics -- Bob Grumman Nico Vassilakis with afterwords by Gregory Vincent St. Thomasino bookshelf -- Jonathan Minton reads Aaron McCollough eratio gallery -- Donna Kuhn Spencer Selby Derek White edited by Gregory Vincent St. Thomasino eratio appears for spring and fall and is always reading. http://www.eratiopostmodernpoetry.com eratio postmodern poetry issue three spring 2004 ========================================================================= Date: Thu, 8 Apr 2004 11:12:30 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: David Larsen Subject: Re: wait a minute In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed Much respect to kari and George but that mosque bombardment is not the same old same-old. True enough that as an act of imperial state violence it takes its place in a long and putrid history -- a tradition, one might even call it -- but its reception in the Muslim world is guaranteed to be as utterly world-transforming as the reception of 9/11 was among the World Trade community. So don't tell me my persisting astonishment is in bad faith. You will see how things have become different from what they were. LRSN ========================================================================= Date: Thu, 8 Apr 2004 13:20:10 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Clements Subject: Re: confessionalism In-Reply-To: <20040408145054.61665.qmail@web40804.mail.yahoo.com> MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit Kazim, your point below is useful. One might add _My Life_ to _Border Comedy_ along with some of Leslie Scalapino's work, some Baraka, even some Forche (I think her new book is wonderful, by the way). So border-crossing between "confessional" and "experimental" is not quiet as new as it may seem. The confessional, like the "surreal" and the "experimental," have been normalized, though one might also say that the work that attempts to preserve "pure" (whatever that may be) confession, surreality, experimentalism, etc., remain on the margins. As my students have recently pointed out (in their response to the Yasusada affair), the reader can never be sure whether a "confession" is sincere or fictional, especially when there is no obligation on the part of the poet to identify as one or the other. So it's probably more useful to look at strategies that employ the confession (legal or Catholic) as a formal/structural analogue than at sincerity if the term "confessional" is to be of much use any more. I wonder if there is other work out there of any branding that employs the confession as a structural analogue without delving into the autobiographical? Surely Cornelius Eady's _Brutal Imagination_, yes? -----Original Message----- From: UB Poetics discussion group [mailto:POETICS@LISTSERV.BUFFALO.EDU]On Behalf Of Kazim Ali Sent: Thursday, April 08, 2004 9:51 AM To: POETICS@LISTSERV.BUFFALO.EDU Subject: Re: Sylvia Plath's author-function is a stupid passe cunt! Of course "experimental" and "confessional" or as Timothy Yu wrote it "I/not-I" don't really exist as binaries in any meaningful way. For example I am currently reading "A Border Comedy" by Lyn Hejinian and finding it beautifully (and purposefully) problematic on exactly these questions. In my mind Susan Howe is exactly as (moreso) confesseional as any "confessional" poet--of course I could be doing a profound misreading of Howe, but read "The Midnight" and see if you don't see what I mean. http://promotions.yahoo.com/design_giveaway/ ========================================================================= Date: Thu, 8 Apr 2004 14:58:56 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Eileen Tabios Subject: Speaking of Filipino Poets MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Please feel free to click on this link for information on a groundbreaking anthology PINOYPOETICS, the first international anthology of Filipino English-language poets discussing their poetics: http://meritagepress.com/pinoypoetics.htm This quote from Filipino poet Pat Rosal may be relevant: the most salient and propitious aspect of the Filipino-American poetic community: the individual poetries are markedly different, indeed sometimes contradictory. And despite the disparateness of styles and backgrounds and voices, they've forged a community, a welcome counterpoint to an American poetic culture that tends --either willfully or not-- to cultivate coteries and cliques." Eileen Tabios A Filipino Experimental (and Religious and Narrative) Poet Who, By Charging $1,400 an hour for a performance-celebration of her marriage to "Mr/s Poetry" has been dubbed one of Poetry's Whores. Info on this bit of her sluttishness at: http://www.oovrag.com/~oov/essays/essay2002c-1.shtml Other info on Eileen's dope at: http://chatelaine-poet.blogspot.com/ http://marshhawkpress.org/Tabios.htm In a message dated 4/8/2004 10:29:36 AM Pacific Standard Time, frazerv@BELLSOUTH.NET writes: > > Limiting the exposure of the experimental work by "writers of color" limits > our understanding of the cultures from which they come. Consider, for > example, how different our perception of African-American culture would be > if we had access to the naturalistic novels of Richard Wright but not to the > work of Amiri Baraka, Sonia Sanchez and Ishmael Reed. Consider the number > of people who still don't know about the work of Baraka, Sanchez and Reed, > and the way lack of access limits their perception of African-American > culture. As a person who listens to avant-garde jazz > > not only by African-Americans but by Asian-Americans, as well as other > groups, I believe writers from their respective cultures are producing > experimental work that parallels the avant-garde jazz that comes out of the > cultures. I already know what "white American males" are producing. > > I'd like to know more about experimental work coming out of other cultures. > The writers might show me something I haven't yet thought of that would be > rewarding to try. > > > > Vernon Frazer > > http://vernonfrazer.com > ========================================================================= Date: Thu, 8 Apr 2004 12:31:36 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mark Weiss Subject: Re: confessionalism In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed >So it's probably more useful to look at >strategies that employ the confession (legal or Catholic) as a >formal/structural analogue than at sincerity if the term "confessional" is >to be of much use any more. > >I wonder if there is other work out there of any branding that employs the >confession as a structural analogue without delving into the >autobiographical? Surely Cornelius Eady's _Brutal Imagination_, yes? > >-----Original Message----- >From: UB Poetics discussion group >[mailto:POETICS@LISTSERV.BUFFALO.EDU]On Behalf Of Kazim Ali >Sent: Thursday, April 08, 2004 9:51 AM >To: POETICS@LISTSERV.BUFFALO.EDU >Subject: Re: Sylvia Plath's author-function is a stupid passe cunt! > > > >Of course "experimental" and "confessional" or as >Timothy Yu wrote it "I/not-I" don't really exist as >binaries in any meaningful way. For example I am >currently reading "A Border Comedy" by Lyn Hejinian >and finding it beautifully (and purposefully) >problematic on exactly these questions. In my mind >Susan Howe is exactly as (moreso) confesseional as any >"confessional" poet--of course I could be doing a >profound misreading of Howe, but read "The Midnight" >and see if you don't see what I mean. > >http://promotions.yahoo.com/design_giveaway/ ========================================================================= Date: Thu, 8 Apr 2004 12:34:27 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mark Weiss Subject: Re: confessionalism In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed Neither legal nor catholic so much as psychoanalytic, I think. Mark >So it's probably more useful to look at >strategies that employ the confession (legal or Catholic) as a >formal/structural analogue than at sincerity if the term "confessional" is >to be of much use any more. ========================================================================= Date: Thu, 8 Apr 2004 12:29:58 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Stephen Vincent Subject: Re: Speaking of Filipino Poets In-Reply-To: <96.7d37214.2da6faf0@aol.com> Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit Eileen - this is a sweetly measured response to "Mr. Whore & Crack". In my youth I would have loaded up on cocaine (as white boys like to do), and gone beserko with a machete full bore to knock out this post-colonial mental wreck. Obviously, there is already enough stupid violence going on with both weapons and language - your humor and guidance, appreciated. Stephen Vincent Blog: http://stephenvincent.durationpress.com > Please feel free to click on this link for information on a groundbreaking > anthology PINOYPOETICS, the first international anthology of Filipino > English-language poets discussing their poetics: > > http://meritagepress.com/pinoypoetics.htm > > This quote from Filipino poet Pat Rosal may be relevant: > > the most salient and propitious aspect of the Filipino-American poetic > community: the individual poetries are markedly different, indeed sometimes > contradictory. And despite the disparateness of styles and backgrounds and > voices, > they've forged a community, a welcome counterpoint to an American poetic > culture > that tends --either willfully or not-- to cultivate coteries and cliques." > > > Eileen Tabios > A Filipino Experimental (and Religious and Narrative) Poet Who, By Charging > $1,400 an hour for a performance-celebration of her marriage to "Mr/s Poetry" > has been dubbed one of Poetry's Whores. Info on this bit of her sluttishness > at: > http://www.oovrag.com/~oov/essays/essay2002c-1.shtml > > Other info on Eileen's dope at: > http://chatelaine-poet.blogspot.com/ > http://marshhawkpress.org/Tabios.htm > > > In a message dated 4/8/2004 10:29:36 AM Pacific Standard Time, > frazerv@BELLSOUTH.NET writes: > >> >> Limiting the exposure of the experimental work by "writers of color" limits >> our understanding of the cultures from which they come. Consider, for >> example, how different our perception of African-American culture would be >> if we had access to the naturalistic novels of Richard Wright but not to the >> work of Amiri Baraka, Sonia Sanchez and Ishmael Reed. Consider the number >> of people who still don't know about the work of Baraka, Sanchez and Reed, >> and the way lack of access limits their perception of African-American >> culture. As a person who listens to avant-garde jazz >> >> not only by African-Americans but by Asian-Americans, as well as other >> groups, I believe writers from their respective cultures are producing >> experimental work that parallels the avant-garde jazz that comes out of the >> cultures. I already know what "white American males" are producing. >> >> I'd like to know more about experimental work coming out of other cultures. >> The writers might show me something I haven't yet thought of that would be >> rewarding to try. >> >> >> >> Vernon Frazer >> >> http://vernonfrazer.com >> ========================================================================= Date: Thu, 8 Apr 2004 12:43:42 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: terrie relf Subject: Re: neologism of the week MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit I don't see her work as "all" pessimistic and/or "all" mystical, nor even a balance between the two. There is variation there. Isn't this the case with many poets? We often sequey into new territory, remain there for a bit, branch outward? She is also intellectual at times, and I don't contend that intellectualism necessarily breeds pessimism, although this might be true of some... Ter ----- Original Message ----- From: "scott" To: Sent: Thursday, April 08, 2004 4:30 AM Subject: neologism of the week "pessim[y]sticism," as in: "There's no pessimisticism in the poem at all." From a sight-reading exercise by one of my students. (poem: Emily Dickinson 1129 "Tell all the truth but tell it slant.") Is there a better single word to describe Dickinson's poetics? ________________________ 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: Thu, 8 Apr 2004 13:08:17 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Small Press Traffic Subject: will alexander MIME-Version: 1.0 Content-Type: text/plain; charset="ISO-8859-1"; format="flowed" Content-Transfer-Encoding: 8bit I'm trying to contact him.... Elizabeth Treadwell Jackson Executive Director Small Press Traffic Literary Arts Center at CCA 1111 -- 8th Street San Francisco, CA 94107 415.551.9278 http://www.sptraffic.org ========================================================================= Date: Thu, 8 Apr 2004 14:12:04 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jonathan Penton Subject: Re: Sylvia Plath's author-function is a stupid passe cunt! MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit ----- Original Message ----- From: "Maria Damon" To: Sent: Thursday, April 08, 2004 11:00 AM Subject: Re: Sylvia Plath's author-function is a stupid passe cunt! > At 11:21 AM -0400 4/8/04, ALDON L NIELSEN wrote: > > > > White men > >> > are traditionally more experimental poets than > >> > strung > >> > out Filipino crack whores, or so my preliminary > > > > investigation into this matter suggests. > >> > > wow i must have deleted this thing that people are responding to. > this is outrageous. kazim, timothy and aldon have already responded > in more detail. i just want to express horror at the above sentence; > and to disagree most emphatically with its semantic content; and > distance myself as much as possible from its rhetorical ugliness. Unless I am deeply mistaken, the author of the above sentence is referring to how we define "experimental." He is not suggesting that white men are better writers than Filipino crack whores, but that we consider the works of self-reflecting white men "experimental" and the works of self-reflecting Filipino crack whores "confessional," thereby allowing us to categorize non-white poor women as bad with a new, less offensive term; allowing us to be racist, sexist, and classist without getting our semantics dirty. Andrew, I hope you will correct me if I misunderstood your post. If I did misunderstand Andrew's post, I would like to make the point for myself. I know that Lowell was the first widely-regarded "confessionalist," but I have found that those who disrespect the term usually do so to degrade "feminine" writings, and use different terms to describe male authors who write in the same way. I do not find such soft-spoken misogyny preferable to outright semantic ugliness. -- Jonathan Penton http://www.unlikelystories.org ========================================================================= Date: Thu, 8 Apr 2004 13:23:07 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Small Press Traffic Subject: Sylvia Plath thread MIME-Version: 1.0 Content-Type: text/plain; charset="ISO-8859-1"; format="flowed" Content-Transfer-Encoding: 8bit Could someone please rename this thread? It is extremely offensive and misogynist. Elizabeth Treadwell Jackson Executive Director Small Press Traffic Literary Arts Center at CCA 1111 -- 8th Street San Francisco, CA 94107 415.551.9278 http://www.sptraffic.org ========================================================================= Date: Thu, 8 Apr 2004 15:17:13 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: mIEKAL aND Subject: Re: neologism of the week In-Reply-To: <016601c41da1$cc965180$50810744@homeykyya1p873> Content-Type: text/plain; charset=US-ASCII; format=flowed Mime-Version: 1.0 (Apple Message framework v543) Content-Transfer-Encoding: 7bit speaking of neologisms, sequey is a gem. you have to wonder how much of our language is actually a consequence of typos & misreadings. On Thursday, April 8, 2004, at 02:43 PM, terrie relf wrote: > We often sequey into new territory, remain there for a > bit, branch outward? ========================================================================= Date: Thu, 8 Apr 2004 13:18:22 -0700 Reply-To: antrobin@clipper.net Sender: UB Poetics discussion group From: Anthony Robinson Subject: geneva convention In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii New at my blog, "geneva convention." http://luckyerror.blogspot.com Some poems. Some recipes. Some talk about food. Not-particularly-enlightening observations. More talk about food. Up soon: talk about buildings. + + Tony __________________________________ Do you Yahoo!? Yahoo! Small Business $15K Web Design Giveaway http://promotions.yahoo.com/design_giveaway/ ========================================================================= Date: Thu, 8 Apr 2004 16:44:29 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "rflynn@frontiernet.net" Subject: Re: Sylvia Plath's author-function . . . In-Reply-To: <01fe01c41da5$c31be0d0$220110ac@UNLIKELYLAP> MIME-Version: 1.0 Content-Type: text/plain; charset="ISO-8859-1" Content-Disposition: inline Content-Transfer-Encoding: 7bit I was the person who said the term "confessional" was no longer very meaningful, which may be a form of disrespect for the term. I hadn't known that the term was worthy of respect, but if I hurt its feelings, I apologize. I don't believe that I said or implied anything about applying the term to "masculine" or "feminine" writing or authors. Did I miss the soft-spoken misogyny somewhere in my post or the posts of those discussing the term? On the other hand the outright rhetorical ugliness of the original post using the subject heading above (which I have edited out of respect for those of us who have seen it pop up in our inboxes more than enough times already) I, too, found offensive, and share Maria Damon's horror, disagreement, and wish for distance. Richard Flynn Quoting Jonathan Penton : I would like to make the point > for > myself. I know that Lowell was the first widely-regarded > "confessionalist," > but I have found that those who disrespect the term usually do so to > degrade > "feminine" writings, and use different terms to describe male authors > who > write in the same way. I do not find such soft-spoken misogyny > preferable to > outright semantic ugliness. > > -- > Jonathan Penton > http://www.unlikelystories.org > ========================================================================= Date: Thu, 8 Apr 2004 16:55:23 -0400 Reply-To: Millie Niss on eathlink Sender: UB Poetics discussion group From: Millie Niss on eathlink Subject: confessionalism MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Then of course there's the fact that much of Lowell's work isn't confessional. _Life Studies_ was supposed to be a breakthrough book, and is somewht autobiographical, but it has a lot of pieces which are about Lowell's relatives and could have been about strangers. It isn't all intimate personal details. The Lowell of "The Quaker Cemetery in Nantucket" isn't autobiographical at all; there are other strong poems in the book _Lord Weary's Castle_ (like "Adam and Eve") which are fictional narratives, not autobiography. On the other end of his career, the Lowell of _Notebook_ and the related books of sonnets is more abstract and historical (if those two contradictory qualiities can go together). Then there is the fact that some of Lowell's most so-called confessional poetry has a lot of the universal in it, as demonstrated by titles such as "To Speak of Woe That is in Marriage", "The Drinker", "Penelope" and so forth. Why don't people call Williams confessional because he wrote a poem about his English grandmother? They call Lowell confessional for writing about his Uncle Devereaux... There are also poets who are experimental and confessional, like Geoffrey Young, for example, or Lyn Heijinian... Leslie Scalapino in "Dark Matter" (is that the right title?) is fairly autobiographical, yet she's a "Language Poet." What about Carla Harryman? Not a Language poet, but certainly experimental. Finally, there are male autobiographical poets (eg Martin Espada) who aren't usually called confessional... Millie P.S. I can relate to many of Anne Sexton's issues but she had a whiny poetical voice which uses cheap symbolism, like Father/Doctor as Hitler, etc. ========================================================================= Date: Thu, 8 Apr 2004 15:39:55 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jonathan Penton Subject: Re: confessionalism MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Sincere sympathy is good, of course , but why would you want a cultural critic to take his own criticisms seriously? -- Jonathan Penton http://www.unlikelystories.org > I'm really disturbed by Andrew Loewen's post, which purports to show > how a critique of confessionalism is the province of the privileged, > but does so by employing misogynist terms of abuse and leaning > weirdly on images of Asians who are either degraded ("strung out > Filipino crack whores"?!) or objects of implied violence ("When I > forced South Korean adolescents...under video surveillance..."), > which makes it hard to believe that he takes his own criticism > seriously, or that he has much sympathy for the supposedly less > privileged position of the woman or the Asian. ========================================================================= Date: Fri, 9 Apr 2004 06:02:21 +0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: furniture_ press Subject: Noah Eli Gordon & Braincase Content-Type: text/plain; charset="iso-8859-1" Content-Disposition: inline Content-Transfer-Encoding: 7bit MIME-Version: 1.0 Noah E.G., Can you send me some info concerning Braincase? Brenda Iijima says great things about it. Christophe Casamassima -- _______________________________________________ Graffiti.net free e-mail @ www.graffiti.net Check out our value-added Premium features, such as an extra 20MB for just US$9.95 per year! Powered by Outblaze ========================================================================= Date: Thu, 8 Apr 2004 15:06:22 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Leslie Scalapino Subject: Leslie Scalapino & Norman Fsicher read at SF Zen Center MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Leslie Scalapino and Norman Fischer will read at the San Francisco Zen = Center (300 Page Street) at 7:30 PM on April 16th. ========================================================================= Date: Thu, 8 Apr 2004 20:32:02 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: ALDON L NIELSEN Subject: Fwd: Fwd: Fw: URGENTE desde Bagdad MIME-Version: 1.0 Content-Type: text/plain ---------- Forwarded message ---------- Date: Thu, 08 Apr 2004 19:45:34 +0000 From: Djelal Kadir To: L-POCONATER@LISTS.PSU.EDU Subject: Fwd: Fw: URGENTE desde Bagdad Dear Colleagues, I pass along an urgent dispatch from Iraq. Those of you who know Spanish can read it for yourselves. The gist of it is that a number of urban population centers are under siege and total enclosure, with bombardment from aircraft and tanks, without water, electricity, or medical facilities. Human cadavers are stacked in the streets. The international press corps is prohibited from entry, their cameras are being smashed, and the siege looks to extend beyond the immediate present. The author of the dispatch is the local director of an international organization (described below) under constant harassment by the Occupation Authority. She is calling for help. Any ideas on what we can do? Sorry for x-postings. > >Subject: Fw: URGENTE desde Bagdad >Date: Thu, 8 Apr 2004 16:24:44 -0400 >X-Priority: 3 > >URGENTE desde Bagdad >por jose >• >Tuesday April 06, 2004 at 04:14 PM > >Iman Khamas, directora del centro del >Observatorio de la Ocupación en Bagdad ha >remitido esta tarde el siguiente mensaje sobre >lo que está ocurriendo en las ciudades iraquíes. > >Difundir > >"Las ciudades iraquíes de Sadr, Adamiya, Kufa, >Falija, Shula y otras han sido cercadas y están >siendo bombardeadas por misiles y tanques de las >fuerzas de ocupación estadounidenses y sus >aliados. La población civil está siendo >asesinada. La autopista a Faluja ha sido cerrada >y las noticias que llegan desde el interior de >esta ciudad indican que yacen en las calles >cuerpos sin vida de muchas personas. No hay >ambulancias, ni agua ni electricidad. Los >periodistas tienen prohibido el paso y muchas de >sus cámaras han sido rotas. Todo indica que esta >situación va a mantenerse durante los próximos >días. Por favor, ayuda" > >Iman Khamas >Directora del Centro del Observatorio de la Ocupación en Bagdad >Bagdad, 6 de abril de 2004 > >-------------- > >Informaciones sobre la Sra. Khamas y el Observatorio que dirige. > >El Observatorio de la Ocupación e iniciativas contra la represión > >El Observatorio de la Ocupación, una iniciativa >impulsada en el ámbito internacional pero que >tiene en Iraq su propia dirección y centro >abierto en la capital, está tratando de impulsar >con apoyo exterior programas de evaluación de >los efectos de la ocupación en todos los >sectores de la vida iraquí. A pesar de las >dificultades que imperan en Iraq, el >Observatorio ha comenzado a poner en marcha >proyectos de investigación, bien estrictamente >propios (por ejemplo los relativos a la >situación de los presos y presas detenidos por >las fuerzas de la ocupación y violaciones por >éstas de los derechos humanos [7]) o en >colaboración con organizaciones exteriores. >Comprometidos en desarrollar una labor >independiente, el Observatorio sigue >resistiéndose a acatar las órdenes de la APC, >según las cuales toda nueva organización iraquí >-o extranjera, si opera en Iraq- debe >registrarse y presentar una documentación >exhaustiva así como sus proyectos, actividades y >contactos con terceras organizaciones >internacionales. > >El CSCA mantuvo durante su estancia en Bagdad >varias entrevistas con la directora del >Observatorio, Iman Khamas, con la que evaluó >líneas de apoyo desde el Estado español a esta >iniciativa, en concreto recabar apoyo económico >para el mantenimiento del centro en Bagdad o a >áreas de intervención concretas, como las >relativas a violaciones de los derechos humanos >por las autoridades de ocupación, condiciones de >detención o la evaluación de los asesinatos >selectivos de profesionales y científicos >iraquíes [8]. > >En esta línea, la delegación del CSCA realizó >una visita al suburbio de Abu Ghraib, en el >extrarradio de Bagdad y lugar donde la APC ha >ubicado, en la antigua prisión del depuesto >régimen, un centro de detención masiva en cuyas >instalaciones pueden estar encarcelados en >condiciones pésimas hasta más de 40.000 personas >[9]. El CSCA tuvo la oportunidad de >entrevistarse con algunos de los detenidos y >detenidas ya excarcelados para recabar de >primera mano información sobre la situación que >se vive en el interior de la prisión. De acuerdo >con las denuncias de los excarcelados, las >tropas estadounidenses y la policía iraquí >infringen violaciones de los derechos humanos >más básicos, que van desde la violación de las >mujeres detenidas o su exposición pública >desnudas, hasta el encarcelamiento de familias >enteras de supuestos miembros de la resistencia, >a fin de obligar a éstos a entregarse. La >cuestión de las violaciones de mujeres se ha >extendido a tal extremo que la consideración >general es que forma parte de una estrategia >premeditada de los ocupantes y de los nuevos >cuerpos de seguridad iraquíes para lograr la >entrega inmediata de los huidos. El Observatorio >de la Ocupación ha dado cobertura a varias >investigaciones locales sobre el tema, e >igualmente ha comenzado a investigar esta >cuestión registrando declaraciones de afectados >y afectadas: Esta podría ser una línea de >colaboración a desarrollar desde la CEOSI. > >Asimismo, se acordó que Khamas evaluará la >posibilidad de apoyar desde el Observatorio el >programa de investigación sobre las >consecuencias sanitarias y ecológicas de la >contaminación por uso de armamento revestido con >uranio empobrecido, para lo cual contactará con >personal sanitario que pudiera estar interesado >en esta iniciativa. > >Extraídas de: "El CSCA regresa de un viaje de >evaluación de la situación interna en Iraq tras >un año de la ocupación", en CSCAweb >www.nodo50.org/csca), >5 de marzo de 2004 Fwd: Fw: URGENTE desde Bagdad Dear Colleagues, I pass along an urgent dispatch from Iraq. Those of you who know Spanish can read it for yourselves. The gist of it is that a number of urban population centers are under siege and total enclosure, with bombardment from aircraft and tanks, without water, electricity, or medical facilities. Human cadavers are stacked in the streets. The international press corps is prohibited from entry, their cameras are being smashed, and the siege looks to extend beyond the immediate present. The author of the dispatch is the local director of an international organization (described below) under constant harassment by the Occupation Authority. She is calling for help. Any ideas on what we can do? Sorry for x-postings. Subject: Fw: URGENTE desde Bagdad Date: Thu, 8 Apr 2004 16:24:44 -0400 X-Priority: 3 URGENTE desde Bagdad por jose • Tuesday April 06, 2004 at 04:14 PM Iman Khamas, directora del centro del Observatorio de la Ocupación en Bagdad ha remitido esta tarde el siguiente mensaje sobre lo que está ocurriendo en las ciudades iraquíes. Difundir "Las ciudades iraquíes de Sadr, Adamiya, Kufa, Falija, Shula y otras han sido cercadas y están siendo bombardeadas por misiles y tanques de las fuerzas de ocupación estadounidenses y sus aliados. La población civil está siendo asesinada. La autopista a Faluja ha sido cerrada y las noticias que llegan desde el interior de esta ciudad indican que yacen en las calles cuerpos sin vida de muchas personas. No hay ambulancias, ni agua ni electricidad. Los periodistas tienen prohibido el paso y muchas de sus cámaras han sido rotas. Todo indica que esta situación va a mantenerse durante los próximos días. Por favor, ayuda" Iman Khamas Directora del Centro del Observatorio de la Ocupación en Bagdad Bagdad, 6 de abril de 2004 -------------- Informaciones sobre la Sra. Khamas y el Observatorio que dirige. El Observatorio de la Ocupación e iniciativas contra la represión El Observatorio de la Ocupación, una iniciativa impulsada en el ámbito internacional pero que tiene en Iraq su propia dirección y centro abierto en la capital, está tratando de impulsar con apoyo exterior programas de evaluación de los efectos de la ocupación en todos los sectores de la vida iraquí. A pesar de las dificultades que imperan en Iraq, el Observatorio ha comenzado a poner en marcha proyectos de investigación, bien estrictamente propios (por ejemplo los relativos a la situación de los presos y presas detenidos por las fuerzas de la ocupación y violaciones por éstas de los derechos humanos [7]) o en colaboración con organizaciones exteriores. Comprometidos en desarrollar una labor independiente, el Observatorio sigue resistiéndose a acatar las órdenes de la APC, según las cuales toda nueva organización iraquí -o extranjera, si opera en Iraq- debe registrarse y presentar una documentación exhaustiva así como sus proyectos, actividades y contactos con terceras organizaciones internacionales. El CSCA mantuvo durante su estancia en Bagdad varias entrevistas con la directora del Observatorio, Iman Khamas, con la que evaluó líneas de apoyo desde el Estado español a esta iniciativa, en concreto recabar apoyo económico para el mantenimiento del centro en Bagdad o a áreas de intervención concretas, como las relativas a violaciones de los derechos humanos por las autoridades de ocupación, condiciones de detención o la evaluación de los asesinatos selectivos de profesionales y científicos iraquíes [8]. En esta línea, la delegación del CSCA realizó una visita al suburbio de Abu Ghraib, en el extrarradio de Bagdad y lugar donde la APC ha ubicado, en la antigua prisión del depuesto régimen, un centro de detención masiva en cuyas instalaciones pueden estar encarcelados en condiciones pésimas hasta más de 40.000 personas [9]. El CSCA tuvo la oportunidad de entrevistarse con algunos de los detenidos y detenidas ya excarcelados para recabar de primera mano información sobre la situación que se vive en el interior de la prisión. De acuerdo con las denuncias de los excarcelados, las tropas estadounidenses y la policía iraquí infringen violaciones de los derechos humanos más básicos, que van desde la violación de las mujeres detenidas o su exposición pública desnudas, hasta el encarcelamiento de familias enteras de supuestos miembros de la resistencia, a fin de obligar a éstos a entregarse. La cuestión de las violaciones de mujeres se ha extendido a tal extremo que la consideración general es que forma parte de una estrategia premeditada de los ocupantes y de los nuevos cuerpos de seguridad iraquíes para lograr la entrega inmediata de los huidos. El Observatorio de la Ocupación ha dado cobertura a varias investigaciones locales sobre el tema, e igualmente ha comenzado a investigar esta cuestión registrando declaraciones de afectados y afectadas: Esta podría ser una línea de colaboración a desarrollar desde la CEOSI. Asimismo, se acordó que Khamas evaluará la posibilidad de apoyar desde el Observatorio el programa de investigación sobre las consecuencias sanitarias y ecológicas de la contaminación por uso de armamento revestido con uranio empobrecido, para lo cual contactará con personal sanitario que pudiera estar interesado en esta iniciativa. Extraídas de: "El CSCA regresa de un viaje de evaluación de la situación interna en Iraq tras un año de la ocupación", en CSCAweb www.nodo50.org/csca), 5 de marzo de 2004 ========================================================================= Date: Thu, 8 Apr 2004 21:01:04 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Lucas Klein Subject: Fw: Sent to me from the daughter of someone on the 9/11 panel MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Try this very soon, before someone forces Google to fix its site: 1) Go to www.Google.com 2) Type in -- weapons of mass destruction--(DON'T hit return) 3) Hit the "I'm feeling lucky" button, NOT the"Google search" 4) Read the "error message" carefully - the WHOLE >page.=20 Someone at Google really has a sense of humor.=20 ---------------------------------------------------------------------------= ----- Tax headache? MSN Money provides relief with tax tips, tools, IRS forms and= more!=20 ========================================================================= Date: Thu, 8 Apr 2004 20:23:07 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: mIEKAL aND Subject: Re: Fw: Sent to me from the daughter of someone on the 9/11 panel In-Reply-To: <014401c41dce$2298bc40$6700a8c0@Cipherdog> Content-Type: text/plain; charset=US-ASCII; format=flowed Mime-Version: 1.0 (Apple Message framework v543) Content-Transfer-Encoding: 7bit I wonder what you get when you search the Poetics archive for "weapons of mass destruction". On Thursday, April 8, 2004, at 08:01 PM, Lucas Klein wrote: > Try this very soon, before someone forces Google to fix its site: > > 1) Go to www.Google.com > > 2) Type in -- weapons of mass destruction--(DON'T hit return) ========================================================================= Date: Thu, 8 Apr 2004 21:23:46 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Gabriel Gudding Subject: contact info Paul Hoover Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed CAn someone please shoot me an email address for Paul Hoover? thx, gabe ========================================================================= Date: Thu, 8 Apr 2004 22:31:50 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Brenda Coultas Subject: Renee Gladman is looking for a sublet MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Hello! If you know of any place or hear of any place for rent or sublet, please let me know. I would love a long-termish sublet alone in either Manhattan or Brooklyn, but as Santa's next visit is way off and we ain't exactly on speaking terms, I'm open to other things. You can contact me at leroy_years@hotmail.com Thank you, Renee Gladman ========================================================================= Date: Sat, 10 Apr 2004 02:55:33 +1200 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Ken Springtail Subject: Re: author-function Mime-Version: 1.0 Content-Type: text/plain; format=flowed Melvin Tolson was pretty radical in his day, wasn't he? K. S. _________________________________________________________________ Need more speed? Get Xtra JetStream @ http://xtra.co.nz/jetstream ========================================================================= Date: Fri, 9 Apr 2004 09:11:57 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Stephen Vincent Subject: Baghdad Burning - today Comments: cc: Todd Swift Todd Swift , Augusta , Dan Leegant , kari edwards , "Garchik, Leah" , Hank Libby , Kit Robinson , Mary Burger , Geraldine Monk , John Norton , "A. Philpot" , Robert Gl=?ISO-8859-1?B?/A==?=ck , z@LISTSERV.BUFFALO.EDU Mime-version: 1.0 Content-type: text/plain; charset="ISO-8859-1" Content-transfer-encoding: quoted-printable Baghdad Burning http://riverbendblog.blogspot.com/ ... I'll meet you 'round the bend my friend, where hearts can heal and soul= s can mend... Friday, April 09, 2004 =A0 One Year Later - April 9, 2004 April 9, 2004 Today, the day the Iraqi Puppets hail "National Day", will mark the day of the "Falloojeh Massacre"=8A Bremer has called for a truce and ceasefire in Falloojeh very recently and claimed that the bombing will stop, but the bombing continues as I write this. Over 300 are dead in Falloojeh and they have taken to burying the dead in the town football field because they aren't allowed near the cemetery. The bodies are decomposing in the heat an= d the people are struggling to bury them as quickly as they arrive. The football field that once supported running, youthful feet and cheering fans has turned into a mass grave holding men, women and children. The people in Falloojeh have been trying to get the women and children out of the town for the last 48 hours but all the roads out of the city are closed by the Americans and refugees are being shot at and bombed on a regular basis=8A we're watching the television and crying. The hospital is overflowing with victims=8A those who have lost arms and legs=8A those who have lost loved ones. There isn't enough medicine or bandages=8A what are the Americans doing?! This is collective punishment =8A is this the solution to the chaos we're living in? Is this the 'hearts and minds' part of the campaign?=20 A convoy carrying food, medication, blood and doctors left for Falloojeh yesterday, hoping to get in and help the people in there. Some people from our neighborhood were gathering bags of flour and rice to take into the town. E. and I rummaged the house from top to bottom and came up with a big sack of flour, a couple of smaller bags of rice, a few kilos of assorted dr= y lentil, chickpeas, etc. We were really hoping the trucks could get through to help out in the city. Unfortunately, I just spoke with an Iraqi doctor who told me that the whole convoy was denied entry... it seems that now the= y are trying to get the women and children out or at least the very sick and wounded.=20 The south isn't much better=8A the casualties are rising and there's looting and chaos. There's an almost palpable anger in Baghdad. The faces are grim and sad all at once and there's a feeling of helplessness that can't be described in words. It's like being held under water and struggling for the unattainable surface- seeing all this destruction and devastation. Firdaws Square, the place where the statue was brought down, is off-limits because the Americans fear angry mobs and demonstrations=8A but it doesn't matter because people are sticking to their homes. The kids haven't been to school for several days now and even the universities are empty. The situation in Baghdad feels very unstable and the men in the neighborhood ar= e talking of a neighborhood watch again- just like the early days of occupation.=20 Where are the useless Governing Council? Why isn't anyone condemning the killings in the south and in Falloojeh?! Why aren't they sitting down that fool Bremer and telling him that this is wrong, wrong, wrong, wrong??? If one of them were half a man or even half a human, they would threaten to resign their posts if there isn't an immediate ceasefire=8A the people are enraged. This latest situation proves that they aren't Iraqi- they aren't here for the welfare of the Iraqi people. The American and European news stations don't show the dying Iraqis=8A they don't show the women and children bandaged and bleeding- the mother looking for some sign of her son in the middle of a puddle of blood and dismembered arms and legs=8A they don't show you the hospitals overflowing with the dead and dying because they don't want to hurt American feelings=8A but people *should* see it. You should see the price of your war and occupation- it's unfair that the Americans are fighting a war thousands of kilometers from home. They get their dead in neat, tidy caskets draped with a flag and we have to gather and scrape our dead off of the floors and hope the American shrapnel and bullets left enough to make a definite identification=8A One year later, and Bush has achieved what he wanted- this day will go down in history and in the memory of all Iraqis as one of the bloodiest days ever... ========================================================================= Date: Fri, 9 Apr 2004 10:36:22 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: noah eli gordon Subject: Re: Braincase Mime-Version: 1.0 Content-Type: text/plain; format=flowed > >Noah E.G., > >Can you send me some info concerning Braincase? Brenda Iijima says great >things >about it. > >Christophe Casamassima Hi Christophe & all, The latest issue of Boog City has an article (by Jane Sprague) which pretty much documents the impetus/history behind Braincase Press, though it feels sort of odd to say history as the press has yet to reach the one year mark. Regardless, things are going well. There is a website: http://braincasepress3.blogspot.com/ which in truth is a series of 5 blogs, interlinked & sharing templates, so as to appear as a single website. The first three chapbooks are sold out, but I think you might be able to get copies from the authors themselves… if anyone wants their contact info just b/c me… There are copies of both David Perry’s _new years_ & Jim Behrle’s _(purple) notebook of the lake_ currently available, though not fr long… See the website for ordering info. Samples of Perry’s work can be found here: http://www.dcpoetry.com/anth2003/perry.htm & http://www.speakeasy.org/~subtext/poetry/davidperry/poem2.htm Samples of Behrle’s here: http://jimmy.onepotmeal.com/archives/001833.html What folks have said about it here: http://www.onepotmeal.com/cgi-bin/mt-comments.cgi?entry_id=1573 I’ve already got the next batch of 3 in the works & Eric Baus’ should be out shortly. Thanks fr asking. Oh & while I’m here… I should mention that my new chapbook _Jaywalking the Is_ is now available from Margin to Margin Press (http://www.litpress.com/margin/) Thanks, Noah _________________________________________________________________ Persistent heartburn? Check out Digestive Health & Wellness for information and advice. http://gerd.msn.com/default.asp ========================================================================= Date: Fri, 9 Apr 2004 10:26:49 -0600 Reply-To: derek beaulieu Sender: UB Poetics discussion group From: derek beaulieu Subject: Poetics and Public Culture in Canada: A Conference in Honour of Frank Davey MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit > Please Circulate: > > Poetics and Public Culture in Canada: A Conference in Honour of Frank Davey > March 3-5, 2005 > University of Western Ontario > London, ON, Canada > > > 'Hey, what are you doing?' > she said, and he said > 'I'm just standing here > being a Canadian' > and she said 'Wow > is that really feasible?' > and he said 'Yes > but it requires plenty > of imagination.' > > "Public Poem for Manitoulin Island Canada Day" > used with the kind permission of Lionel Kearns > > In recent decades, Canadian poets and critics have passionately debated > questions of the nation, indigeneity, race and representation, asking what > it > means to make culture in the shadow of the culture industries. From at > least F. > R. Scott's "The Canadian Authors Meet" to vibrant contemporary spoken word > movements, Canadian poets have made the connection between poetics and > politics. Yet the roles of the poet in relation to public culture in a time > variously described as postnational, globalized, diasporic, hypercapitalist > have not yet been fully explored. Is this indeed a "time of Empire" - > either > literally, or metaphorically in the various understandings of Samir Amin, > Stuart Hall, Toni Negri and Michael Hardt, and others? What are the ways in > which poetics and public culture are mutually implicated? How has the > history > of poetics in Canada helped shape the present moment? > > We encourage proposals for individual papers or panels representing a wide > variety of critical and creative perspectives. Graduate students are > strongly > encouraged to submit. Possible topics include (but are not limited to): > > . How does Canadian poetics engage with global culture and the > globalization of > culture? > . Have the relationships between poetics, culture, and empire altered in > ways > yet untheorized? What is the position of poetics in these discussions? > . How does poetics incorporate, challenge, and test the limits of the > visual? > . Has the viability of modes such as the lyric, narrative, and realism > changed > in recent years? > . How have minority poetries harnessed the tactics of avant-garde > aesthetics? > . What are the effects of new technologies on small press production, > copyright, > and reading publics? > . What are the roles of "old" technologies such as radio and open mic > stages in > creating communities animated by poetry and poetics? > . What is the future of the poetics of liberation and decolonization in > Canada? > . How does Canadian poetics negotiate multi-lingual concerns? > > Discussions of these and related questions have happened on the street and > on > electronic listservs, in living rooms and in classrooms across the country. > It > is time to bring together these conversations in a broad academic and > public > forum which builds on the diversity and energy of Canadian poetics. The > conference will honour Frank Davey, the University of Western Ontario's > first > Carl F. Klinck Professor of Canadian Literature, former Professor at York > University and one of Canada's foremost poets and literary and cultural > theorists, on the occasion of his retirement. > > Confirmed readers and speakers include Charles Bernstein, Lynette Hunter, > Smaro > Kamboureli, Lenore Keeshig-Tobias, Daphne Marlatt, M. NourbeSe Philip, and > Fred > Wah. > > Potential participants are asked to submit: > 1)a 500-word proposal, stating the significance of the paper and its > relevance > to the call for papers > 2)a 100-word abstract > 3)a bibliography and 50-word biographical statement > > Please submit an electronic copy of the proposal by e-mail, in addition to > three > hard copies by regular mail by August 15, 2004. Author's name must not > appear > on the proposal. Papers should be between 15 and 20 minutes in length. > > Please send proposals and inquiries to: > poetics.pub.cult.canada@uwo.ca > > Mailing Address: > Poetics and Public Culture in Canada: A Conference in Honour of Frank Davey > c/o Diana Brydon > Department of English > University College > University of Western Ontario > London, Ontario, Canada > N6A 3K7 > > For updates see: > http://publish.uwo.ca/~mjones/Poetics_and_Public_Culture_in_Canada.html > > ------------------------------------------------------------------------- -- > - > Melina Baum-Singer > Secretary > Poetics and Public Culture in Canada: A Conference in Honour of Frank Davey > March 3-5, 2005 > University of Western Ontario > London, ON, Canada > poetics.pub.cult.canada@uwo.ca > http://publish.uwo.ca/~mjones/Poetics_and_Public_Culture_in_Canada.html > > > To Post a message, send it to: ubuweb@eGroups.com > To Unsubscribe, send a blank message to: ubuweb-unsubscribe@eGroups.com > Yahoo! Groups Links > > <*> To visit your group on the web, go to: > http://groups.yahoo.com/group/ubuweb/ > > <*> To unsubscribe from this group, send an email to: > ubuweb-unsubscribe@yahoogroups.com > > <*> Your use of Yahoo! Groups is subject to: > http://docs.yahoo.com/info/terms/ > > ========================================================================= Date: Fri, 9 Apr 2004 09:59:06 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Haas Bianchi Subject: Pulitzer Prize Winners--- In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit this conversation is again degrading- is it neccessary to accuse people of racism, woman hating and alike? Does anyone think that anyone on the Buffalo list is a racist? A woman hater? A homophobe? It seems to me that we ought to assume that people here are earnest and are trying to have a conversation with the other postees, and not throw bombs that end discussion. If you are a woman hater, homophobe or racist I urge you to get mental health help. regarding the initial post which I posted on the pulitzer here is my opinion, with poets like Rothenberg, Joris, Bernstein, Creeley, Hoover, Ashbery, Notley, MacLow, Vicuna, Howe and on and on not winning how can they give the prize to Franz Wright? Is his obra more deserving than these others? Below are the winners for the past 17 years you tell me apart from a few of these how many are innovative? How many are poets that make it new? RB 2003 Paul Muldoon 2002 Carl Dennis 2001 Different Hours by Stephen Dunn 2000 Repair by G. K. Williams 1999 A Blizzard of One by Mark Strand 1998 Black Zodiac by Charles Wright 1997 Alive Together: New and Selected Poems by Lisel Mueller 1996 The Dream of the Unified Field, by Jorie Graham 1995 The Simple Truth by Philip Levine 1994 Neon Vernacular by Yusef Komunyakaa 1993 The Wild Iris by Louise Gluck 1992 Selected Poems by James Tate 1991 Near Changes by Mona Van Duyn 1990 The World Doesn't End by Charles Simic 1989 New and Collected Poems by Richard Wilbur 1988 Partial Accounts by William Meredith 1987 Thomas and Beulah by Rita Dove 1986 The Flying Change by Henry Taylor Raymond L Bianchi chicagopostmodernpoetrycalendar.blogspot.com/ collagepoetchicago.blogspot.com/ > -----Original Message----- > From: UB Poetics discussion group > [mailto:POETICS@LISTSERV.BUFFALO.EDU]On Behalf Of Timothy Yu > Sent: Thursday, April 08, 2004 8:48 AM > To: POETICS@LISTSERV.BUFFALO.EDU > Subject: Re: confessionalism > > > I'm really disturbed by Andrew Loewen's post, which purports to show > how a critique of confessionalism is the province of the privileged, > but does so by employing misogynist terms of abuse and leaning > weirdly on images of Asians who are either degraded ("strung out > Filipino crack whores"?!) or objects of implied violence ("When I > forced South Korean adolescents...under video surveillance..."), > which makes it hard to believe that he takes his own criticism > seriously, or that he has much sympathy for the supposedly less > privileged position of the woman or the Asian. > > I'd actually signed on to add something to what had seemed like a > promising discussion on confessionalism: the _Columbia History of > American Poetry_ (ed. Jay Parini) has an essay by Diane Middlebrook, > "What Was Confessional Poetry?", which provides some historical > context for the first poets to be labeled "confessional" (Lowell, > Sexton, Snodgrass, Plath) and relates these writers to > psychoanalysis, Cold War politics, and the development of "a poetics > from within the woman's position." There's another essay (less > historical, more schematic) by Gregory Orr on the "postconfessional" > lyric--a term I'm surprised no one's brought up, since it tends to be > frequently used to describe those current poets who are recognizably > working under the influence of confessional writing but also seem in > some way to critique it; Frank Bidart is one, and from the little > I've read of Franz Wright he might be another. Both these essays are > more than ten years old at this point, but they do provide a way to > talk about confessional that goes beyond the binaries of I/not-I or > biographical/impersonal. > > Tim Yu > http://tympan.blogspot.com > ========================================================================= Date: Fri, 9 Apr 2004 09:41:16 -1000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Susan M. Schultz" Subject: tinfishpress.com Comments: cc: gchan@hawaii.edu, kanae@hawaii.rr.com, linhdinh99@yahoo.com, Murray Edmond , sschultz@hawaii.edu Content-Type: text/plain; charset=US-ASCII; format=flowed Mime-Version: 1.0 (Apple Message framework v553) Content-Transfer-Encoding: 7bit Our Tinfish website now has a button for "free stuff": we inaugurate this section of the site with two Ola's, OLA by Joe Balaz, a series of mostly concrete poems, and OLA'S SON by Lisa Linn Kanae. More to come, including 3 VIETNAMESE POETS, by Linh Dinh, and A PIECE OF WORK, by Murray Edmond. Check it out! aloha, Susan Susan M. Schultz http://tinfishpress.com now available: _And Then Something Happened_ http://saltpublishing.com/books/smp/1844710165.htm ========================================================================= Date: Fri, 9 Apr 2004 09:59:31 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Joseph Thomas Subject: viruses In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii I've been receiving viruses from the listserve, the last with an attachment and a note in the body of the email saying something along the lines of "Your document is attached." Be careful not to open unsolicited attachments, even if they are from friendly sources. Several of the viruses came from people subscribed to the list, and the last come from listserv@listserv.buffalo.edu Best, Joseph __________________________________ Do you Yahoo!? Yahoo! Small Business $15K Web Design Giveaway http://promotions.yahoo.com/design_giveaway/ ========================================================================= Date: Fri, 9 Apr 2004 09:14:20 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Michael Rothenberg Subject: BIG BRIDGE CELEBRATION READING AT NOVA SOUTHEASTERN UNIVERSITY LIBRARY MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Nova Southeastern University Library centerpiece event for National = Poetry Month will be a reading from the online magazine, Big Bridge, = www.bigbridge.org. The event will take place on Friday, April 16th, from = 7-9 pm. Michael Rothenberg, editor and publisher of Big Bridge will host = the celebration/reading. Free Elegant Food! Directions: Take I-595 to the University Drive exit. Go south to SW 30th St.(Abe = Fischler Blvd) Turn left (east) on SW 30th St. Pass the Miami Dolphins = Training Facility on your right. Continue to Ray Ferrero, Jr. Blvd. and = turn right. The reading will be held at the cafe in the Nova = Southeastern Library.=20 Readers include: Michael Largo Mark Martin Vernon Frazer Maureen Seaton Jay Snodgrass Kristine Snodgrass John Colagrande Terri Carrion Scott Brennan Tony Guzman Elizabeth Miller Michael Hettich Alina Antonetti ========================================================================= Date: Fri, 9 Apr 2004 11:44:03 -0400 Reply-To: Mike Kelleher Sender: UB Poetics discussion group From: Mike Kelleher Organization: Just Buffalo Literary Center Subject: Dylan Thomas' Watering Hole For Sale Comments: To: core-l@listserv.buffalo.edu MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 8bit A Rolling Stone, 007 and a badly behaved man queue to buy bar propped up by Dylan Thomas By Louise Jury Arts Correspondent 09 April 2004 A new generation of celebrity "hellraisers" is vying to step into the seat left vacant at the watering hole favoured by Dylan Thomas, the poet. Brown's Hotel in Laugharne, west Wales, was where Thomas routinely supped a half pint - or several - in the company of his wife, Caitlin. Tommy Watts, 72, the current landlord, who remembers drinking with him, has decided he is too old to run the place and is selling up. The Rolling Stone Mick Jagger, Neil Morrissey, the original man behaving badly, and Pierce Brosnan, the James Bond star, have visited with a view to bidding for a slice of literary history. Thomas wrote many of his most famous works in a small, wooden boathouse that was his study in Laugharne. The village and its inhabitants were the source of Under Milk Wood, his play of many Welsh voices later recorded with Richard Burton among the cast. The village of Laugharne is renamed "Llareggub" and Brown's, which dates back to the 18th century, was, it has been claimed, the inspiration for his verse. Photographs of the poet crowd the walls in testament to the village's most famous former resident, whose name has even persuaded the former American presidents Jimmy Carter and Richard Nixon to pay a visit. This memorabilia will be included in the sale, for the right price. With expressions of interest from as far afield as the United States, Canada and Germany, the price is likely to exceed £500,000 when Terry Thomas, a Carmarthen estate agent, opens bids on 21 April. Mr Watts said yesterday that he hoped the new owner would treasure and preserve the photographs. And he confirmed the rumours of interest from Thomas's famous fans who have recently paid visits. He saidBrosnan even named his son Dylan Thomas in tribute and already owns a wooden double bed used by the poet when he stayed at Brown's in the 1930s and 1940s. Morrissey is considering the property as an extension to his existing business portfolio. With Matt Roberts, his business partner, he owns two premises - Hurst Hotel, a £125-a-night boutique hotel and restaurant, and a pub called the New Three Mariners - within a mile of Brown's. Mr Roberts said yesterday: "Neil and Hurst House are looking at Brown's. We are currently in discussions with a number of interested and interesting parties, including well-known actors and business people, as potential investors." Despite Thomas's hellraising reputation, bidders should be advised that tales of bad behaviour at Brown's may be something of an exaggeration. Mr Watts said Thomas drank half pints only in the bar, which lies near where he was eventually buried. "We were quite pally like. He was a good man. You shouldn't believe all they say about him," he said. A lot of people think Thomas died an alcoholic, Mr Watts added, but it was simply a medical failure to treat a diabetic coma. In the theory favoured by the landlord, it was wrongly administered morphine that killed him. PINTS AND POETS: HAUNTS OF BRITAIN'S LITERARY GREATS The Grapes Narrow St, east London The model for Charles Dickens's "Six Jolly Fellowship Porters" in Our Mutual Friend: drink-sodden customers are rowed out on to the Thames, drowned and the corpses sold for dissection. Cadogan Hotel Bar Sloane St, west London Oscar Wilde was arrested in Room 118 on 5 April 1895 for "criminal court offences against young men". The Eagle and Child Oxford The "Bird and Baby" hosted "The Inklings", a group of local writers, who included C S Lewis and J R R Tolkien. They met there every Tuesday between 1939 and 1962. The Llandoger Trow Bristol Where Daniel Defoe met Alexander Selkirk, whom he turned into Robinson Crusoe. It gave Robert Louis Stevenson ideas for the Admiral Benbow inn in Treasure Island. The Globe High Street, Dumfries In 1796 Robert Burns wrote: "the Globe Tavern here, which these many years has been my Howff [haunt]". His favourite seat survives, and he scratched poetryon his bedroom window. The Windmill Stratford-upon-Avon Shakespeare is rumoured to have enjoyed a regular ale in the oldest pub in the town. The King's Head near Stratford-upon-Avon Famous to locals as the pub in which Shakespeare's parents had their wedding breakfast. The Hutt Newstead Abbey, Nottingham Lord Byron lived in Newstead Abbey until his exile in 1816 and his family owned the Hutt, rumoured to be linked to the abbey by a tunnel. Genevieve Roberts and Andrew Plant ========================================================================= Date: Thu, 8 Apr 2004 22:33:45 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Austinwja@AOL.COM Subject: Blackbox Spring Gallery MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Hello everyone, Blackbox's Spring Gallery is ready for viewing. This installment brings back several familiars, as well as new artists (new to Blackbox, anyway). Poetry by Gregory Vincent St. Thomasino, Christophe Casamassima, Jeff Harrison, Ric Carfagna, Vernon Frazer, Donna Kuhn, John M. Bennett and Jim Leftwich. Vispo by nico vassilakis and John Platt. Thanks so much to all who support my little web project which is, by the way, nearly a year and a half in business. Who knew?! Best, Bill WilliamJamesAustin.com kojapress.com amazon.com b&n.com ========================================================================= Date: Sat, 10 Apr 2004 03:23:44 +1200 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Ken Springtail Subject: Re: writing through kevin varrone's g-point almanac 9.22-10.19 Mime-Version: 1.0 Content-Type: text/plain; format=flowed >From: furniture_ press >Reply-To: UB Poetics discussion group >To: POETICS@LISTSERV.BUFFALO.EDU >Subject: writing through kevin varrone's g-point almanac 9.22-10.19 >Date: Tue, 6 Apr 2004 05:46:02 +0800 > >Anyone care to title it? I'm always up for collaborative work: > I'd call it "The Mosque". K. S. _________________________________________________________________ Listen to music online with the Xtra Broadband Channel http://xtra.co.nz/broadband ========================================================================= Date: Fri, 9 Apr 2004 12:25:12 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Haas Bianchi Subject: Pulitzer In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Raymond L Bianchi chicagopostmodernpoetrycalendar.blogspot.com/ collagepoetchicago.blogspot.com/ -----Original Message----- From: Haas Bianchi [mailto:saudade@comcast.net] Sent: Friday, April 09, 2004 9:59 AM To: UB Poetics discussion group Subject: Pulitzer Prize Winners--- this conversation is again degrading- is it neccessary to accuse people of racism, woman hating and alike? Does anyone think that anyone on the Buffalo list is a racist? A woman hater? A homophobe? It seems to me that we ought to assume that people here are earnest and are trying to have a conversation with the other postees, and not throw bombs that end discussion. If you are a woman hater, homophobe or racist I urge you to get mental health help. regarding the initial post which I posted on the pulitzer here is my opinion, with poets like Rothenberg, Joris, Bernstein, Creeley, Hoover, Ashbery, Notley, MacLow, Vicuna, Howe and on and on not winning how can they give the prize to Franz Wright? Is his obra more deserving than these others? Below are the winners for the past 17 years you tell me apart from a few of these how many are innovative? How many are poets that make it new? RB 2003 Paul Muldoon 2002 Carl Dennis 2001 Different Hours by Stephen Dunn 2000 Repair by G. K. Williams 1999 A Blizzard of One by Mark Strand 1998 Black Zodiac by Charles Wright 1997 Alive Together: New and Selected Poems by Lisel Mueller 1996 The Dream of the Unified Field, by Jorie Graham 1995 The Simple Truth by Philip Levine 1994 Neon Vernacular by Yusef Komunyakaa 1993 The Wild Iris by Louise Gluck 1992 Selected Poems by James Tate 1991 Near Changes by Mona Van Duyn 1990 The World Doesn't End by Charles Simic 1989 New and Collected Poems by Richard Wilbur 1988 Partial Accounts by William Meredith 1987 Thomas and Beulah by Rita Dove 1986 The Flying Change by Henry Taylor Raymond L Bianchi chicagopostmodernpoetrycalendar.blogspot.com/ collagepoetchicago.blogspot.com/ > -----Original Message----- > From: UB Poetics discussion group > [mailto:POETICS@LISTSERV.BUFFALO.EDU]On Behalf Of Timothy Yu > Sent: Thursday, April 08, 2004 8:48 AM > To: POETICS@LISTSERV.BUFFALO.EDU > Subject: Re: confessionalism > > > I'm really disturbed by Andrew Loewen's post, which purports to show > how a critique of confessionalism is the province of the privileged, > but does so by employing misogynist terms of abuse and leaning > weirdly on images of Asians who are either degraded ("strung out > Filipino crack whores"?!) or objects of implied violence ("When I > forced South Korean adolescents...under video surveillance..."), > which makes it hard to believe that he takes his own criticism > seriously, or that he has much sympathy for the supposedly less > privileged position of the woman or the Asian. > > I'd actually signed on to add something to what had seemed like a > promising discussion on confessionalism: the _Columbia History of > American Poetry_ (ed. Jay Parini) has an essay by Diane Middlebrook, > "What Was Confessional Poetry?", which provides some historical > context for the first poets to be labeled "confessional" (Lowell, > Sexton, Snodgrass, Plath) and relates these writers to > psychoanalysis, Cold War politics, and the development of "a poetics > from within the woman's position." There's another essay (less > historical, more schematic) by Gregory Orr on the "postconfessional" > lyric--a term I'm surprised no one's brought up, since it tends to be > frequently used to describe those current poets who are recognizably > working under the influence of confessional writing but also seem in > some way to critique it; Frank Bidart is one, and from the little > I've read of Franz Wright he might be another. Both these essays are > more than ten years old at this point, but they do provide a way to > talk about confessional that goes beyond the binaries of I/not-I or > biographical/impersonal. > > Tim Yu > http://tympan.blogspot.com > Raymond L Bianchi chicagopostmodernpoetrycalendar.blogspot.com/ collagepoetchicago.blogspot.com/ > -----Original Message----- > From: UB Poetics discussion group > [mailto:POETICS@LISTSERV.BUFFALO.EDU]On Behalf Of George Bowering > Sent: Thursday, April 08, 2004 10:26 AM > To: POETICS@LISTSERV.BUFFALO.EDU > Subject: Re: Sylvia Plath's author-function is a stupid passe cunt! > > > > I > >could cite all the examples, but that seems besides > >the point. > > > > I am sympathetic, but I always thought that citing examples was as to > the point as you can get. > -- > George Bowering > He's forge powering. > > 303 Fielden Ave. > Port Colborne. ON, > L3K 4T5 > ========================================================================= Date: Fri, 9 Apr 2004 13:28:24 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jill Stengel Subject: confessionalism, etc MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit some thoughts.. in my studies, my awareness, marginalization and experimental work often go together. locked out of the mainstream? write anyway, but it doesn't usually look/read/sound like the locking-out mainstream. ex: late 60s/early 70s, beginning of huge amount of experimental writing by women who were locked out, ignored, marginalized by their male poetic counterparts. lots of white women, some women of color. (wish i knew more here.) women began producing books, magazines, reading series, etc, putting more and more experimental women into the public eye, redefining poetry, exploding it really, opening a path for us all. a position of privilege can lead to a lack of interest in experimenting, just to keep things "safe." andrew's desire for tenure, for example, doesn't strike me as a huge motivator to be cutting-edge, risk-taking, etc. btw, must we refer to s.plath as part of her anatomy? THAT is passe. the term confessionalism, btw, has been used to tidily bundle "women's writing," and to throw this bundle into a trash heap. "i" does not equal bad poetry. lack of "i" does not equal good poetry. when i entered graduate school (96), i was told by one of my colleagues, "i don't write about myself. i'm over that." or something to that effect. as if the self were bad, dismissable. i was speechless. what to say to that, i thought. EVERYTHING is about ourselves, or at least a reflection of ourselves, to do with ourselves. we don't write, live in a vacuum. topic choice, word choice, poetic structure, influences, output--it all comes from us, it's all ours. so maybe everything is "confessional" in a sense. or maybe it's all not confessional. or maybe it doesn't really matter whether it is or isn't. why doesn't anyone label, dismiss, disregard frank o'hara as confessional? glad to see some strong responses to andrew's post. sometimes i can't help but wish more people had to take a women's studies class or two in college. i don't know that it would "fix" anything, but a little enlightenment just might go a long way... btw, should anyone respond and i don't respond back, please don't take it personally. i'm very past due, waiting for a baby that may show up at any time. and, well, that's my top priority these days. btw, i remember reading recently the sickening statement on this list about the only interesting birth being a monstrous birth...this was incredibly stupid and ill-informed. all births are interesting. everyone has a story. please stop degrading women on this list! birth is a family event, yes, but it falls under the heading "women's issues" that people love to sweep aside. boring, tiresome, and ignorant behavior. with love from a card-carrying feminist, jill ========================================================================= Date: Fri, 9 Apr 2004 05:28:45 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jonathan Penton Subject: the fine line between confessional and cunt MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Hi Richard, > I was the person who said the term "confessional" was no longer very > meaningful, which may be a form of disrespect for the term. I hadn't > known that the term was worthy of respect, but if I hurt its feelings, > I apologize. I don't believe that I said or implied anything about > applying the term to "masculine" or "feminine" writing or authors. Did > I miss the soft-spoken misogyny somewhere in my post or the posts of > those discussing the term? Why are you interpreting my sweeping statements about poetic classifications as a personal attack? Is it for humor value? If so, rock on, so long as we aren't pretending you're proving some sort of point, especially if the point is: > On the other hand the outright rhetorical ugliness of the original post > using the subject heading above (which I have edited out of respect for > those of us who have seen it pop up in our inboxes more than enough > times already) I, too, found offensive, and share Maria Damon's horror, > disagreement, and wish for distance. That is your perogative, but it is strictly an aesthetic issue. You can be offended, horrified, in disagreement and wishing for distance from the word "cunt," but when the speaker is using the word to say something with which you agree, you can't claim higher moral ground. Tackiness is not generally regarded as a moral flaw. -- Jonathan Penton http://www.unlikelystories.org ========================================================================= Date: Fri, 9 Apr 2004 00:29:40 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: andrew loewen Subject: Re: confessional poetry MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii I find it strange that voices somewhat dismissive of confessional modes, are also those which don't know what to do with polyvocal expression (see: sarcasm, indeterminency, double voiced discourse, perhaps even literal schizophrenia or madness). Don't know what to do, that is, but react to the least interesting aspects of a post which was designed not to offend but provoke an interogation into some of the underlying assumptions of the I/not-I debate. OK, so for those troubled by my ugliness, here's another stab at the can: One first needs a reasonably stable coherent sense of self, that is in some way, however provisionally, one's OWN, before one can go about deterritorializing, de-stabilizing, dispersing subjectivities and whatever other buzzwords supplant material politics with poetic ones. There are politics at work here but not the politics you think. Finally, this forum can be an intelligent and interesting place for dialogue and I hadn't intended my post detract from that. "Andrew Loewen" ______________________________________________________________________ Post your free ad now! http://personals.yahoo.ca ========================================================================= Date: Fri, 9 Apr 2004 01:26:44 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: tern2.mov and tern3.mov MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII ternto tern2 terntwo @ http://www.asondheim.org/tern2.mov (but later: http://www.asondheim.org/tern3.mov which is rendering as i write - check later and remember these have to be downloaded first) boredom with television with the whole series the sickness of the time is my borderline personality writing and writing into space to make the world whole again placing stars in front of the cabinet with the chinese pillow my play accordion nuance is not included _ ========================================================================= Date: Fri, 9 Apr 2004 02:17:36 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Michael Boyko Subject: life in shock MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit so, I took the whole "Sylvia Plath's author-function is a stupid passe cunt" to be sarcastic. Meant in jest. i do imagine that these kinds of jests will offend, and don't mean to invalidate those offended, but, it was a joke, right? and in response to the last article of Andrew's (may I call you Andrew's?) now controversial post, i don't think PROPER experimentation relies on anything resembling any kind of institution like a library or a school or a certain social environment, but on the state of mind (soul, body) of the one experimenting. As in, it can happen anytime anywhere to anyone who is open to it and is thoroughly okay with expressing themselves in terms not previously used to express stuff before even if they are not aware of the fact that the mode of expression used has not previously been employed. like run-on sentences, for instance. ugh. And this means that indeed a library, school or certain social environment may be involved, but that it is, and is not, beside the point entirely. or, in short, experimentation happens. and will happen. whether we talk about it or not, and whether or not we decide what circumstances it will happen under. peace, boyko ========================================================================= Date: Fri, 9 Apr 2004 01:24:32 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: genius MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII genius a for a work's all there's all you always it's always the among zazen among zen and and and extension and intention, another a another exist around, else around, from at exists at language back come back exist back, coming back, here be this be won't been always been least behind, all behind, no between exists between work between, in between, the blogged, continues blogged, never bone, the bone, work bound bound breaks grounds breaks work breath, every breath, life brilliant in brilliant my burns distribution, burns uncanny cat of cat the combustion, to combustion, uncanny come whore come will come, of come, you coming and coming is contains it contains new continues continues never continues work covered, never covered, on daily is daily thus, day, day, another day, whore death, and death, every desire in desire language distribution, internal distribution, with dog, the dog, the dumb, isn't dumb, isn't else one else spread every between every with everything at everything contains exist will exist work's exists my exists work experimental experimental is experimental non, extension extension language extension political extreme, extreme, for for ignored for my from one from spread fully fully fury, and fury, the gawain happened gawain my genius, daily genius, my grounds grounds happened nothing happened the has has health, and health, incredible here and here is honey, my honey, running, i've i've around, i've sight ignore work's ignore you ignored be ignored is in in in-between, happened in-between, new incredible exists incredible has intention, political intention, work internal burns internal has is qua is work isn't isn't and isn't come, it ignore it the it's it's it's long, it's song, it, in it, peril, its of its work kind, in kind, my language experimental language the least least genius, least the left left life between life has limits, desire limits, the logged, logged, never logged, never long, for long, song, makes no makes sometimes mean, between, mean, daily medium, internal medium, to men, and men, between, mind, brilliant mind, kind, more more most daily most the my in my language never never new new breaks new language no bound no isn't non, in non, qua nothing pearl, nothing work's of of rules of sometimes on on one is one no own, its own, the pearl, and pearl, my peril, everything peril, your political and political my qua sine qua thule rat, it's rat, the rules dumb, rules no running, it running, slack, scene, new scene, pearl, sickness between sickness work sight else sight from sine language sine ultima slack, no slack, stay, sometimes bound sometimes dumb, song, for song, my sound, i've sound, to spread is spread no stay, back, stay, to tallied, my tallied, never the my the non, there's left there's sound, this won't this work thule thule is thule ultima thumb, makes thumb, of thus, been thus, extreme, to to has to my ultima the ultima work uncanny my uncanny with wealth, between wealth, incredible whore a whore more will more will my with exists with has women women among women and won't work won't work work work work my work sine work's it, work's my you makes you rules your at your contains zazen is zazen zen zen is zen is my work is experimental language sine qua non, the ultima thule in extension and political intention, breaks new grounds with every breath, exists between life death, has incredible wealth, sickness health, no rules of thumb, isn't dumb, sometimes makes you come, bound to medium, internal distribution, burns uncanny combustion, won't be ignored for long, this song, it's never covered, logged, tallied, blogged, continues on its own, dog, bone, cat rat, desire fury, at limits, contains everything it, ignore it your peril, work's gawain pearl, nothing happened in-between, scene, spread from sight sound, there's one else around, i've left all behind, brilliant mind, kind, daily genius, always been thus, least extreme, most mean, between, zen among women men, zazen fully running, honey, coming back, slack, here stay, will exist another day, a whore come back more _ ========================================================================= Date: Thu, 8 Apr 2004 22:59:57 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Stephen Vincent Subject: The Crawford Life Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit ...Bush spent the morning watching national security adviser Condoleezza Rice's televised testimony to the commission investigating the Sept. 11, 2001, attacks, then toured his ranch with Wayne LaPierre Jr., chief executive of the National Rifle Association, and other leaders of hunting groups and gave an interview to Ladies' Home Journal. He is not scheduled to appear in public until Sunday, when he will visit nearby Fort Hood, the home base for seven soldiers recently killed in Baghdad... In your morning Washington Post! ========================================================================= Date: Fri, 9 Apr 2004 01:00:53 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: andrew loewen Subject: Confessions of the de-centred author-function of a Cowboy Poet named Andrew Loewen. MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii I think most of us gravitate to some kind of locatable self behind the voices we engage with (tho you won’t find one here, I’m too serious), and so one great thing about being an academic is you can get to meet this Charles Bernstein fellow in the flesh, or at least go on-line and see a picture of him holding his child, perhaps even spend hours upon hours reading his poetry, thus getting to know the man’s work, if not the man or his life. In my view, this shouldn’t be a privilege, but a right. Everyone should be able to read difficult poetry, as far as I’m concerned , but sadly my view is but one among many. Lots of folks have smellier fish to fry. I am just wondering if the appreciation of certain modes of poetry over others can ever be totally free of class-based distinctions. I confess, for instance, that most Cowboy Poetry that I’ve read is really bad stuff. This does not mean all cowboys are bad poets, nor are they lesser forms of life. It just means their concerns which are, of course, indistinguishable from their mode of expressing them, are different than mine. Maybe because I read more books and have more education? Oh suffer the day I would ever presume such a thing. What’s that, Jackson Mac Low self-identifies as a cowboy you say? Well yes, I say, that’s precisely my point. Alright you rootintootin rustlers, please tell me what exactly what my point is , one more time. ______________________________________________________________________ Post your free ad now! http://personals.yahoo.ca ========================================================================= Date: Fri, 9 Apr 2004 14:53:57 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Kazim Ali Subject: Re: confessionalism, etc In-Reply-To: <1d0.1e18ad9c.2da83738@aol.com> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii EVERYTHING is about ourselves, or at least > a reflection of ourselves, to do > with ourselves. we don't write, live in a vacuum. > topic choice, word choice, > poetic structure, influences, output--it all comes > from us, it's all ours. so > maybe everything is "confessional" in a sense. or > maybe it's all not > confessional. or maybe it doesn't really matter > whether it is or isn't. this reminds me of a comment rosmarie waldrop made in an essay somewhere: that she was trying to get out of a semi-confessional mode because she was writing all these poems about her very strong-willed mother--in order to these she decided to write a poem using only the first lines of books pulled randomly for her book shelf--unfortunately for her the resulting poem was "still about my mother" ===== ==== WAR IS OVER (if you want it) (e-mail president@whitehouse.gov) __________________________________ Do you Yahoo!? Yahoo! Small Business $15K Web Design Giveaway http://promotions.yahoo.com/design_giveaway/ ========================================================================= Date: Fri, 9 Apr 2004 17:59:30 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: ALDON L NIELSEN Subject: Re: author-function MIME-Version: 1.0 Content-Type: text/plain Melvin Tolson is pretty radical in our day! On Sat, 10 Apr 2004 02:55:33 +1200, Ken Springtail wrote: > Melvin Tolson was pretty radical in his day, wasn't he? > > K. S. > > _________________________________________________________________ > Need more speed? Get Xtra JetStream @ http://xtra.co.nz/jetstream > > <<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> "Breaking in bright Orthography . . ." --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: Fri, 9 Apr 2004 22:00:26 -0000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: sbpoet.832776@BLOGLINES.COM Subject: Re: confessionalism, etc MIME-Version: 1.0 Content-Type: text/plain Content-Transfer-Encoding: 8bit Ha! This makes the point quite nicely, doesn't it? --- UB Poetics discussion group > a reflection of ourselves, to do > > with ourselves. we don't write, live in a vacuum. > > topic choice, word choice, > > poetic structure, influences, output--it all comes > > from us, it's all ours. so > > maybe everything is "confessional" in a sense. or > > maybe it's all not > > confessional. or maybe it doesn't really matter > > whether it is or isn't. > > > > this reminds me of a comment rosmarie waldrop made in > an essay somewhere: that she was trying to get out of > a semi-confessional mode because she was writing all > these poems about her very strong-willed mother--in > order to these she decided to write a poem using only > the first lines of books pulled randomly for her book > shelf--unfortunately for her the resulting poem was > "still about my mother" > > > > > ===== > ==== > > WAR IS OVER > > (if you want it) > > (e-mail president@whitehouse.gov) > > __________________________________ > Do you Yahoo!? > Yahoo! Small Business $15K Web Design Giveaway > http://promotions.yahoo.com/design_giveaway/ > ========================================================================= Date: Fri, 9 Apr 2004 18:01:46 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: ALDON L NIELSEN Subject: viruses, worms, etc MIME-Version: 1.0 Content-Type: text/plain Joseph -- I've been receiving a cascading torrent of these from all over the globe -- are you also getting the ones that pretend to be returned mail notifications? <<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> "Breaking in bright Orthography . . ." --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: Fri, 9 Apr 2004 17:23:25 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Harrison Jeff Subject: The Day The Laurel Hid Twice Mime-Version: 1.0 Content-Type: text/plain; format=flowed soil reads what you speak soil through lace is dew soil's a simple word to be able to lure grass along a long wind when you walk under the moon the soil is your foot's mirror, that came out wrong but you know what I mean, while you gather up dollars the soil sleeps in, side by side with the poor dead scientists, soil's furrow has as much in it as the grass has on it, even thru the slime the letters "S" - "O" - "I" - "L" still clang together, ring dry and crisp, I mean _________________________________________________________________ Limited-time offer: Fast, reliable MSN 9 Dial-up Internet access FREE for 2 months! http://join.msn.com/?page=dept/dialup&pgmarket=en-us&ST=1/go/onm00200361ave/direct/01/ ========================================================================= Date: Fri, 9 Apr 2004 19:05:21 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Lori Emerson Subject: Re: viruses In-Reply-To: <20040409165931.51609.qmail@web20416.mail.yahoo.com> MIME-Version: 1.0 Content-Type: text/plain Content-Transfer-Encoding: 8bit Joseph, thanks for sending this out--I've been meaning to do the same but honestly just haven't had the time. Thanks again, Lori Emerson listserv moderator Quoting Joseph Thomas : > I've been receiving viruses from the listserve, the > last with an attachment and a note in the body of the > email saying something along the lines of "Your > document is attached." > > Be careful not to open unsolicited attachments, even > if they are from friendly sources. > > Several of the viruses came from people subscribed to > the list, and the last come from > > listserv@listserv.buffalo.edu > > > Best, > Joseph > > > __________________________________ > Do you Yahoo!? > Yahoo! Small Business $15K Web Design Giveaway > http://promotions.yahoo.com/design_giveaway/ > > ========================================================================= Date: Fri, 9 Apr 2004 19:05:52 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Austinwja@AOL.COM Subject: Re: Pulitzer Prize Winners--- MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit In a message dated 4/9/04 4:28:19 PM, saudade@COMCAST.NET writes: << regarding the initial post which I posted on the pulitzer here is my opinion, with poets like Rothenberg, Joris, Bernstein, Creeley, Hoover, Ashbery, Notley, MacLow, Vicuna, Howe and on and on not winning how can they give the prize to Franz Wright? >> Ashbery won the Pulitzer, the National Book Award, and the National Book Critics Circle Award for Self-Portrait in a Convex Mirror, a MacArthur Award, the Frost Medal, the Wallace Stevens Award, etc. He has won so many awards that his publisher has quit trying to fit them all on the jackets of his books. As for the others you mention -- they are all talented artists and a couple of them have been very influential. They deserve to win everything in sight, plus free lunches for the rest of their lives. So are many other artists who may or may not share a particular aesthetic. I'm not that familiar with Mr. Wright's work, but I assume he is well respected by many fairly intelligent p eople. Certainly he is now. It's also possible that the current world situation is moving judges away from academic/formalist writing and toward a more "humanist" voice. I have no idea at the moment whether or not this applies to the choice of Wright. I'm guessing. Probably wrong. Best, Bill WilliamJamesAustin.com kojapress.com amazon.com b&n.com ========================================================================= Date: Fri, 9 Apr 2004 17:48:36 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jerome Rothenberg Subject: new book -- about to appear MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable The following release from Wesleyan University Press, for anyone who = might be interested. =20 =20 Wesleyan University Press =20 Writing Through Translations and Variations Jerome Rothenberg with a Foreword by Charles Bernstein =20 "Any book from a poet as eminent as Jerome Rothenberg is significant and = welcome. This is particularly valuable in bringing together in a = convenient single volume Rothenberg's scattered translations and related = variations. In a broader cultural context the book will be of great = significance to students and readers of ethnopoetics, 20th century = avant-garde and modernist texts in translation." - Steve McCaffery, = Director, North American Centre for Interdisciplinary Poetics =20 Wide-ranging poetry anthology by one of America's most distinguished = literary translators. Jerome Rothenberg is one of the major poets of his generation. His work = in ethnopoetics, Native American and tribal poetics, Jewish identities, = avant-garde poetry, and experimental translation is vital to = contemporary poetry and literary studies. Writing Through couples = Rothenberg's translations from a variety of non-English sources with his = thought-provoking commentary. It also includes a selection of his poetry = ("Otherings & Variations") in which the language of significant others = forms the basis of original compositions. The result is a lively and = unique anthology which illustrates how poetry, like translation, can be = viewed as an act of "writing through" the words of others. Translated poets in Writing Through include Celan, Lorca, Nezval, = Schwitters, Picasso and Gomringer. The book also includes Rothenberg's = radical translations from oral poetries, "variations" derived from the = vocabularies of translated poems, and a series of "gematria poems" = employing a traditional form of Jewish numerology. In addition to = Rothenberg's groundbreaking essay on "total translation," the book is = interspersed with his helpful commentaries and notes, which illuminate a = major aspect of his total poetics. =20 "This is translation taken as a poet's act of opening-of oneself to = others-Indian songmen, Hebrew mystics, Dada clowns, Spanish lyricists, = Altaic shamans, German concretists-an act of welcoming-these others and = the rest us into a newly shared and luminous, open world of contemporary = poetry." - David Antin, Professor Emeritus, School of Visual Arts, = University of California, San Diego TABLE OF CONTENTS TRANSLATING THE NEW . From New Young German Poets - Paul Celan - Helmut = Heissenb=FCttel - Ingeborg Bachmann - G=FCnter Grass - Hans Magnus = Enzensberger . From The Book of Hours & Constellations, or Gomringer by = Rothenberg . From Federico Garc=EDa Lorca'a Suites . From Antilyrik & = Other Poems by Vitezslav Nezval . Four Dada Poets: Tzara, Arp, = Huelsenbeck, Picabia . Pablo Neruda: Walkin' Around . Vicente Huidobro: = From Altazor . From Kurt Schwitters' PPPPPP . From Picasso's Ecrits TRANSLATING THE OLD . From Technicians of the Sacred . From Shaking the = Pumpkin . From A Big Jewish Book (a.k.a. Exiled in the Word) OTHERINGS & VARIATIONS . A Poem in Yellow, after Tristan Tzara . Satan = in Goray: A Homage to Isaac Bashevis Singer . Further Sightings: = "Kunapipi" . From A Book of Events . A Flower Cantata . Variations on = Two Seneca Indian Song-Poems, with Ian Tyson . From The Lorca Variations = . From Gematria . 14 Stations =20 Wesleyan Poetry Series Publication date: May 2004=20 Wesleyan University Press distributed by University Press of New England . 304 pp. 15 illus. 5 1/2 x 8 1/2" Poetry / Poetry Criticism =20 $24.95 Paper, 0-8195-6588-1=20 $65.00 Cloth, 0-8195-6587-3 ========================================================================= Date: Fri, 9 Apr 2004 19:49:43 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Christine Murray Subject: Re: confessionalism, etc MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Hi, Jill, and All-- (Jill: if you're reading and not yet birthing!--and in any case, I'm sending my best wishes to you on that hard work of birthing, having gone that way 3 times meself, happy to say)-- Thanks for taking the time to explain and clarify [yet again, why is this always such a necessity: it should not have to be so!] this reasonable perspective. I'm writing this to add my concern, coming from my "I/not I" voice(s), to the rest of the ones saying as you say, Jill, "stop degrading women on this list!" Here are some thoughts from an rhetorical-analytical perspective: the repeating derogatory subject line is rhetorically a matter for more question because it has an effect that mimics what could be called a mini form of shock-advertising, or shock-jock-speak. As such, the subject line is loaded like a weapon (whether intended or no, that effect still occurs) with inflammatory content that echoes as would, say, a Warhol-effect in art, but instead of blasting out a masked subconsciousness of privilege, it turns viscious, repeating the same, instead of radicalizing the consciousness--here, in terms of gendered violence. The O'Hara analogy is a good one: no one would ever think to apply such to O'Hara: that is unthinkable. Why should the Plath subject line even be thinkable? That had nothing to do with her poetry and everything to do with how her gendering is perceived. The damage is more than offensive to a personal sense of "I" when one identifies as a woman, and it should offend everyone, not only those who identify that way because it is violent. But it also offends and undermines the possibilities for reasonable discourse because it is polemical and repeated. Due to the repetition, the violence and offense act by chipping away bit by bit at the possibility for making reasonable talk as it works by marginalizing, by yielding ridiculousness (literal sense) and silence rather than meaningfulness and reasonable trust between rhetorical participants. While the production of meaning is not always a desired effect, in this case it seems essential to working out paths of inquiry about the original topic at hand (which was how to be an "I" or a "not I" and to explore all possible options). Polemic will draw more of the same: divisive polemical fire. For some, that is entertaining and actually moves discourse along energetically. But another effect is that discussion is forcibly digressive. It is turned away from the topic at hand in order that some participants defend their very right to speak; or for some it causes an endless attempt to resolve newly created conflicts as well as the blaming that all flare over the polemical matter. It is almost always about inflexible kinds of naming--name calling--and unquestioned or monumentalized exclusionary categories of definition. There are rhetorical means and modes that work better than this for discussion. But I guess that then raises the question of goals: what is it we want out of a given discussion? But here is my main point: in this instance what had to be put aside as soon as the polemical subject line was introduced were some valuable comments--especially those early in the discussion coming from Brian Clements and Tim Yu--put aside, that is, in order yet again to hash out a derogatory matter of polemical naming and categorizing, rather than continuing that fair-minded inquiry and discussion of where the "I/not I" positions of enunciation might be thought manifest in poetics right now. It seems too ironic that this has occured over what started as talk meant to dialogue over *positions of enunciation*, no? Alas. Me?--I'd like to hear more, in the lively dialogic way that lists are good for, about that fair-minded inquiry into the "I/not I". Thanks. Best Wishes, Chris Murray http://uta.edu/english/znine http://texfiles.blogspot.com ========================================================================= Date: Fri, 9 Apr 2004 18:22:58 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Joseph Thomas Subject: Re: viruses, worms, etc In-Reply-To: <200404092201.SAA05832@webmail2.cac.psu.edu> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Yes, and they're getting more and more clever, usually coming with an "adminstrator" address. My policy is just don't open anything unless I double check with the sender. Best, J --- ALDON L NIELSEN wrote: > Joseph -- > > I've been receiving a cascading torrent of these > from all over the globe -- are > you also getting the ones that pretend to be > returned mail notifications? > <<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > "Breaking in bright > Orthography . . ." > --Emily > Dickinson > > > Aldon L. Nielsen > Kelly Professor of American Literature > The Pennsylvania State University > 116 Burrowes > University Park, PA 16802-6200 > > (814) 865-0091 __________________________________ Do you Yahoo!? Yahoo! Tax Center - File online by April 15th http://taxes.yahoo.com/filing.html ========================================================================= Date: Sat, 10 Apr 2004 00:57:49 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: John Lowther Subject: Black Sparrow Mime-Version: 1.0 (Apple Message framework v543) Content-Type: text/plain; charset=US-ASCII; format=flowed Content-Transfer-Encoding: 7bit Does anyone on this list know who to contact at the late Black Sparrow press? By that I mean, who ran it, where I might reach this person or persons. Or lacking that what the status is with its back catalog. Thanks Backchannel is fine. ========================================================================= Date: Sat, 10 Apr 2004 01:05:13 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: the warm MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII the warm theseraburadazzxj kmnnpababramawordsraburadazzxj kmnnpababramahaveraburada ababramateethraburadazzxj kmnnpababramablackenedraburadazzxj kmnnpababramaasraburada ababramathoseraburadazzxj kmnnpababramaofraburadazzxj kmnnpababramaheianraburada ababramawomenzzxj kmnnporraburadazzxj kmnnpababramamayberaburadazzxj kmnnpababramaotherraburada ababramawomenraburadazzxj kmnnpababramafromraburadazzxj kmnnpababramaperiodsraburada ababramaofraburadazzxj kmnnpababramatimeraburadazzxj kmnnpababramaandraburadazzxj kmnnpababramaspace asraburadazzxj kmnnpababramaforraburadazzxj kmnnpababramamezzxj kmnnpiraburadazzxj kmnnpababramadon'traburada ababramaknowraburadazzxj kmnnpababramawhenraburadazzxj kmnnpababramatoraburadazzxj kmnnpababramastop sometimesraburadazzxj kmnnpababramai'llraburadazzxj kmnnpababramagoraburada ababramaonraburadazzxj kmnnpababramaandraburadazzxj kmnnpababramaonraburada ababramaasraburadazzxj kmnnpababramaifraburadazzxj kmnnpababramai'mraburada ababramaconsumedraburadazzxj kmnnpababramabyraburadazzxj kmnnpababramacancerzzxj kmnnporraburada ababramaconsumedraburadazzxj kmnnpababramabyraburadazzxj kmnnpababramamyselfzzxj kmnnpthereraburada ababramaareraburadazzxj kmnnpababramatimesraburadazzxj kmnnpababramatheraburada ababramaworldraburadazzxj kmnnpababramaseemsraburadazzxj kmnnpababramafuzzyraburada ababramaandraburadazzxj kmnnpababramafullzzxj kmnnpofraburadazzxj kmnnpababramaaccretionsraburada ababramaandraburadazzxj kmnnpababramadarkraburadazzxj kmnnpababramadisasterszzxj kmnnpatraburada ababramatheraburadazzxj kmnnpababramaedgeraburadazzxj kmnnpababramaofraburada ababramaexhaustionraburadazzxj kmnnpababramairaburadazzxj kmnnpababramapursueraburada ababramaeverythingzzxj kmnnpasraburadazzxj kmnnpababramacancerraburadazzxj kmnnpababramaandraburada ababramainfinityraburadazzxj kmnnpababramamerge __ ========================================================================= Date: Sat, 10 Apr 2004 01:05:23 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: infinite cancer MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII infinite cancer kmnnpababramadon'traburada ababramaknowraburadazzxj m c ncerzzxj orr bur dof new media IS NOT exposed kmnnpababramawhenraburadazzxj kmnnpababramatoraburadazzxjr m consumedr bur d zzxj b br m byr bur d zzxj b br m m D nfinite cancer ^C Cur Pos wit br m infinityr bur d b br m merge Rhizomes journ ^X Ex br m infinityr bur d b br m mergext Pg ^U UnCut Text^T To Spellesses. theser bur d b br m wordsr bur d b br m h ver bur d b br ming@ets. b br m womenr bur d zzxj b br m fromr bur d zzxj b br teethr bur d b br m bl ckenedr bur d b br m sr bur d b br m5 Apr b br m ofr bur d zzxj b br m timer bur d zzxj thoser bur d b br m ofr bur d b br m hei nr bur d b br m sr bur d zzxj b br women orr bur d b br m m yber bur d b br m otherr bur d b b br m k m womenr bur d b br m fromr bur d b br m periodsr bur d b br ms + A ofr bur d b br m timer bur d b br m ndr bur d b br m sp ceindspr + 1 b br m onr sr bur d Wo [ Writing... ] ========================================================================= Date: Sat, 10 Apr 2004 01:51:11 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: andrew loewen Subject: Intelligent White Silliman. MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Hmm. Perhaps transparency isn’t so much impossible as next to impossible. That is, in-between. Everything. Anyhow, I’ve been duly rebuffed for straying outside the confines of official Buf Po discussion culture (replete with poets dropping little 1 and 2k bombs of vitriol in my mailbox). Further, I’ve been talking about my recent lispserv forays with a friend. She’s suggested I needn’t grapple (my) shame to my tongue with hoops of barbed wire. Translation: don’t be such an asshole. Have some respect (especially b/c no one's gonna give you the benefit of any doubts). Thus, I shall defer to one of the grand old men of the avant-garde, who here as elsewhere is indisputably fair-minded and sure to raise few hackles: Ron Silliman has written: "Progressive poets who identify as members of groups that have been the subject of history--many white male heterosexuals, for example--are apt to challenge all that is supposedly 'natural' about the formation of their own subjectivity. That their writing today is apt to call into question, if not actually explode, such conventions as narrative, persona and even reference can hardly be surprising. At the other end of the spectrum are poets who do not identity as members of groups that have been the subject of history, for they instead have been its objects. The narrative of history has led not to their self-actualization, but to their exclusion and domination. These writers and readers--women, people of color, sexual minorities, the entire spectrum of the 'marginal'--have a manifest political need to have their stories told. ***That their writing should often appear much more conventional, with the notable difference as to who is the subject of these conventions, illuminates the relationship between form and audience.***" --- “Tow the line to tax the time you know that you don't owe/ I can't be a fool for everyone that I don't know.” - Modest Mouse ______________________________________________________________________ Post your free ad now! http://personals.yahoo.ca ========================================================================= Date: Sat, 10 Apr 2004 02:58:11 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: andrew loewen Subject: Re: Pulitzer Prize Winner MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Franz Wright emerged from decades of alcoholism and depression to pen one of the greatest high school yearbook epigrams of all time: “Kayaking alone on Lake Kakapoopee.” And in my estimation he is thus totally deserving of every headlight anybody wishes to staple to his chest. ______________________________________________________________________ Post your free ad now! http://personals.yahoo.ca ========================================================================= Date: Sat, 10 Apr 2004 02:01:33 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Timothy Yu Subject: "Degrading" the conversation Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" I hope that I am mistaken in thinking that Ray Bianchi is charging me (I assume he means me, since it's my email that's attached to his post) with with "degrading" the conversation on the list through my critique of Andrew Loewen's post on "Sylvia Plath's author-function." I don't think it's at all fair for Ray to accuse me of simplistic charges of "racism, woman hating and alike," or of "throw[ing] bombs" to end discussion; I thought Loewen threw a bomb and I was trying to jump on it, or something. Last time I checked, this was a community of poets, people above all hypersensitive to language and its uses. I tried to provide a reading of Loewen's post which explained my response to and criticism of it, not simply cry "racism" and "sexism" against someone I wanted to shut up. Chris Murray's post, among others, was a fine example of a smart and reasoned critique that committed itself to dialogue, without in any way pulling its punches, and I hope that what I wrote was in the same spirit. I'm also disappointed with Loewen's subsequent post, which rather condescendingly suggests that those who have criticized him just "don't know what to do with polyvocal expression"--in other words, that we just didn't get the joke. Well, for Loewen or anyone else who is interested, I've put up a more extensive critique of Loewen's initial post up at my blog, address below. That I should have to demonstrate my own critical abilities in this way is itself a little degrading--but more on that later. For whatever reason, Loewen also seems to categorize me and his other critics among those who dismiss confessional modes. I had hoped that my post citing the Middlebrook essay on confessionalism would suggest instead that confessionalism has to be understood as a historical mode--one that happened at a certain time, and that's perhaps best characterized by a grounding in/obsession with psychoanalysis and family dynamics--rather than as a blanket term for poetry that in some way addresses biography or the self. To essentialize "confessionalism" in this latter way really doesn't make it that useful as a term--hence the perfectly legitimate questions like "isn't Williams confessional? isn't Dickinson confessional?"--nor does it help us understand the way a lot of contemporary poetry, all across the spectrum, reacts against what the confessional was understood to be. It also leads to setting up the "experimental" as the opposite of poetry that address the self--as a pure anti-self poetry--which is hardly more useful. A final twist: Andrew Loewen said he wanted to draw attention to the fact that white men claim a monopoly over complex writing, while women and minorities are consigned to the simplistic. Now, both he and Ray Bianchi claim to be readers who can appreciate complexity and subtlety, while those who have criticized Loewen's post--for the most part, women or minorities--are guilty of simplistic thinking and an inability to read well. Okay, Andrew: I guess you were right. Tim Yu http://tympan.blogspot.com --- >Date: Fri, 9 Apr 2004 09:59:06 -0500 >From: Haas Bianchi >Subject: Pulitzer Prize Winners--- >this conversation is again degrading- is it neccessary to accuse people of >racism, woman hating and alike? Does anyone think >that anyone on the Buffalo list is a racist? A woman hater? A homophobe? It >seems to me that we ought to assume that people here are earnest and are >trying to have a conversation with the other postees, and not throw bombs >that end discussion. If you are a woman hater, homophobe or racist I urge >you to get mental health help. ========================================================================= Date: Sat, 10 Apr 2004 00:30:32 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: kari edwards Subject: Re: Intelligent W**** S****. In-Reply-To: <20040410055111.64377.qmail@web41801.mail.yahoo.com> Content-Type: text/plain; charset=US-ASCII; format=flowed Mime-Version: 1.0 (Apple Message framework v553) Content-Transfer-Encoding: 7bit On Friday, April 9, 2004, at 10:51 PM, andrew loewen wrote: > > > Ron Silliman has written: "Progressive poets who > identify as members of groups that have been the > subject of history--many white male heterosexuals, for > example--are apt to challenge all that is supposedly > 'natural' about the formation of their own > subjectivity. That their writing today is apt to call > into question, if not actually explode, such > conventions as narrative, persona and even reference > can hardly be surprising. At the other end of the > spectrum are poets who do not identity as members of > groups that have been the subject of history, for they > instead have been its objects. The narrative of > history has led not to their self-actualization, but > to their exclusion and domination. These writers and > readers--women, people of color, sexual minorities, > the entire spectrum of the 'marginal'--have a manifest > political need to have their stories told. ***That > their writing should often appear much more > conventional, with the notable difference as to who is > the subject of these conventions, illuminates the > relationship between form and audience.***" > I have not followed this entire drama suffering from the flu... and a raging temperature... but using this quote of Ron's is a weak argument besides being a gross generalization, which should raise some red flags.. there are many "marginal" writers who > actually explode, such > conventions as narrative, persona Theresa Hak Kyung Cha Ellen Tabios Johanna Drucker Gertrude Stein Comte de lautreamont Raymond Roussel Harryette Mullen Biron Gysin kathy acker Proust Etel Adnan Mei-Mei Berssenbrugge Caroline Bergvall Adrienne Kennedy along with Dodie Bellamy Kevin Killian Tisa Bryant Rachel Levisty Leslie Scalapino > Ron Silliman has written: "Progressive poets who > identify as members of groups that have been the > subject of history--many white male heterosexuals, for > example--are apt to challenge all that is supposedly > 'natural' about the formation of their own > subjectivity. what is happing here is not so much that they are "apt to challenge all that is supposedly > 'natural' about the formation of their own > subjectivity.' but that is goes completely unexamined and unchallenged-.. all from a privileged perspective of never having to explore an assumed position of power of dominance and it could be true that they > actually explode, such > conventions as narrative, persona and even reference > can hardly be surprising. especially since there is little questioning of their postion. with all due respect to Ron Silliman (who I have the deepest respect).. I hardly think of Ron as a grande of man... and applying the adjective to Ron means nothing then another diety to bow down to... Ron's a person with "some" power.. this is all over simplified out of context biased rewriting of history by someone who is in a position to do so......... kari ========================================================================= Date: Sat, 10 Apr 2004 05:03:38 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Michael Boyko Subject: oh geeze, my confession MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit gosh, there is sure a lot of other people's words and ideas being flung around these parts here, and then a lot of reaction to these people's ideas. how about some nice fresh stuff that is totally just all "we are writers writing stuff and here is my experience and here is yours and let's compare." how about someone talking to me about the fact that individual characters are hard to deal with, while sets of people are pieces of cake. how about someone talking to me about the general integration. how about we don't mention a name for like forty posts and see how it goes. we'll all just be our words and ideas, and then, after we suss this stuff out, we can integrate it into the greater social construct that is so important to us all. and then we'll all be like, "hey, cool." -boyko ========================================================================= Date: Sat, 10 Apr 2004 08:11:13 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Maria Damon Subject: Re: Intelligent White Silliman. In-Reply-To: <20040410055111.64377.qmail@web41801.mail.yahoo.com> Mime-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" ; format="flowed" Content-Transfer-Encoding: quoted-printable ron's statement has been much contested, by, for example, the existence of journals like Xcp:Cross-Cultural Poetics, conferences like Cross-Cultural Poetics and the upcoming Diasporic Avant-gardes, folks like Mark Nowak, Amiri Baraka, etc. With all due respect to Ron, quoting an eminence grise does not a factoid make. At 1:51 AM -0400 4/10/04, andrew loewen wrote: >Hmm. Perhaps transparency isn=EDt so much impossible as >next to impossible. That is, in-between. Everything. > >Anyhow, I=EDve been duly rebuffed for straying outside >the confines of official Buf Po discussion culture >(replete with poets dropping little 1 and 2k bombs of >vitriol in my mailbox). Further, I=EDve been talking >about my recent lispserv forays with a friend. She=EDs >suggested I needn=EDt grapple (my) shame to my tongue >with hoops of barbed wire. Translation: don=EDt be such >an asshole. Have some respect (especially b/c no one's >gonna give you the benefit of any doubts). > >Thus, I shall defer to one of the grand old men of the >avant-garde, who here as elsewhere is indisputably >fair-minded and sure to raise few hackles: > >Ron Silliman has written: "Progressive poets who >identify as members of groups that have been the >subject of history--many white male heterosexuals, for >example--are apt to challenge all that is supposedly >'natural' about the formation of their own >subjectivity. That their writing today is apt to call >into question, if not actually explode, such >conventions as narrative, persona and even reference >can hardly be surprising. At the other end of the >spectrum are poets who do not identity as members of >groups that have been the subject of history, for they >instead have been its objects. The narrative of >history has led not to their self-actualization, but >to their exclusion and domination. These writers and >readers--women, people of color, sexual minorities, >the entire spectrum of the 'marginal'--have a manifest >political need to have their stories told. ***That >their writing should often appear much more >conventional, with the notable difference as to who is >the subject of these conventions, illuminates the >relationship between form and audience.***" > >--- >=ECTow the line to tax the time you know that you don't >owe/ >I can't be a fool for everyone that I don't know.=EE > - Modest Mouse > > > >______________________________________________________________________ >Post your free ad now! http://personals.yahoo.ca -- ========================================================================= Date: Sat, 10 Apr 2004 09:07:54 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Joe Amato Subject: Re: Intelligent White Silliman. In-Reply-To: <20040410055111.64377.qmail@web41801.mail.yahoo.com> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" wait a minute, folks... quoting ron silliman or quoting anyone doesn't get anyone off the hook, but--- if i were to argue that the avant-garde is still dominated---both in terms of perceptions and in terms of access to power---by white male heterosexuals, would anyone object?... i understand we're all a lot smarter today re avant-garde formations... we know, that is, that they're far more various than some of us might have thought they were, both formally and in terms of who is writing what, and this is thanks to the work of people on this list (among others)... but---and this is not a question directed at formal matters exactly---is there a residual white male het power still at work in avant-garde formations, a power that obscures the work of women, people of color, ethnic minorities, transgendered people etc.?... again, nothing to do with confessional modes and the like---i'm talking institutional power, as it's played out in specific institutional settings... my sense is that one could yet make an argument that avant-garde formations (not forms, again) are still shaped to a greater degree than they should be by the social and cultural power of white male hets (& please understand---i'm not trying to "empower" my white male het self by saying so!)... obviously it would take some care to unpack this reality, if it be a reality... pardon the obvious, in any case, i just thought we might not want to gloss over what could be an important issue... perhaps, too, i haven't been listening as carefully as i might... my sinuses are killing me this morning... best, joe ========================================================================= Date: Sat, 10 Apr 2004 10:40:37 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Robert Zamsky Subject: Jazz & Lit Event at DePaul U. Mime-Version: 1.0 Content-Type: text/plain; format=flowed “Pursuance: Avant-Garde Jazz and Innovative Writing” Taking the 40th anniversary of John Coltrane’s landmark album, “A Love Supreme” as its occasion, “Pursuance: Avant-Garde Jazz and Innovative Writing” is a day-long symposium to be held at DePaul University, 10am-5pm on May 1, 2004. Representing a broad range of institutions, departments, and approaches, symposium participants will explore the exciting and varied relationships between jazz and American literature. The symposium will conclude with a Keynote Reading by Nathaniel Mackey at 7pm in the Cortelyou Commons, DePaul University. Both the symposium and the reading are free and open to the public. For more information, including maps, please visit the symposium web-site at http://condor.depaul.edu/~abds/pursuance/, or contact the co-organizers, Robert Zamsky and Amor Kohli at pursuance@depaul.edu Symposium Program (to be held in McGaw Hall, 802 West Belden, Chicago, Illinois): I. Innovative Jazz, Its Context and Reach Kim Ruffin, “Jazzin’ the Environment: Jayne Cortez’s Ecocriticism” John Gennari, “Blaxploitation Bird: Charlie Parker, Ross Russell, and the Racialized Masculinity of Jazz Writing” Paul Anderson, “Some Semblance of Wholeness: Ralph Ellison’s Bop Problem” II. John Coltrane and the Politics of Icon Formation Aldon Nielsen, “The Coltrane Exception: The Politics of Reception” Herman Beavers, “John Coltrane and the Politics of Biography” III. Post-Bop Poetics William J. Harris, “Amiri Baraka Writes Free Jazz” Norman Finkelstein, “Swung / book: Jazz as Method and Metaphor in the Work of Nathaniel Mackey” Tyrone Williams, “The Return of / to Style: Strick and The Song of the Andoumboulou” _________________________________________________________________ Limited-time offer: Fast, reliable MSN 9 Dial-up Internet access FREE for 2 months! http://join.msn.com/?page=dept/dialup&pgmarket=en-us&ST=1/go/onm00200361ave/direct/01/ ========================================================================= Date: Sat, 10 Apr 2004 10:42:48 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Robert Zamsky Subject: Nate Mackey in Chicago Mime-Version: 1.0 Content-Type: text/plain; format=flowed This was included as a part of my announcement regarding the symposium, but I thought Nate's reading deserved particular mention. Nate Mackey will be reading at 7pm in the Cortelyou Commons, DePaul University on Saturday, May 1. The event is free and open to the public. Any questions, please feel free to contact me. - Robert Zamsky _________________________________________________________________ FREE pop-up blocking with the new MSN Toolbar – get it now! http://toolbar.msn.com/go/onm00200415ave/direct/01/ ========================================================================= Date: Sat, 10 Apr 2004 12:00:45 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: William A Sylvester Subject: Lisa Jarnot Comments: cc: kwan@gwis.com MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Stephen Ellis has a neat and interesting article about Lisa Jarnot's pamphlet LANGUAGE in House Organ, #45. In particular, he sets her work in its context, as part of Charles' Olson's Curriculum of the Soul, taken over as the Institute for Further Studies, cared for by Albert Glover, Fred Wah, Duncan McNaughton, Stephen Rodefer all of them still alive and actively publishing. The studies were mimeographed in ragged improvisational appearances,as Ellis rightly points out. (One issue came out with a bit of fur attached for further studies.) Ellis evokes a whole on going period. House Organ, 1250 Belle Isle, Lakewood Ohio. 44107 ========================================================================= Date: Sat, 10 Apr 2004 10:09:20 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Robert Corbett Subject: American Book Review Reviews "Experimental Theology," SRI Public Text 0.2 MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII The American Book Review has reviewed "Experimental Theology," the Seattle Research Institute's Public Text 0.2. This is anthology of essays, fiction, poetry, and theoretical confabulations on or about religion and theology, which I edited, and was published last June. A link for ABR is http://www.litline.org/ABR/issues/Volume25/Issue3/253.html Unfortunately, ABR does not (seemingly) put there issues online, so you have to find a copy to read the review. My only comment is Megan Purn, who designed "Experimental Theology," is not a "doctrinaire postmodernist." She is a very good designer. And, of course, there are copies of "Experimental Theology" still available. Please go to www.seattleresearchinstitute.org for more information or email info@seattleresearchinstitute.org. thanks, Robert -- Robert Corbett, Ph.C. "Given the distance of communication, Coordinator of New Programs I hope the words aren't idling on the B40D Gerberding map of my fingertips, but igniting the Phone: (206) 616-0657 wild acres within the probabilities of Fax: (206) 685-3218 spelling" - Rosmarie Waldrop UW Box: 351237 ========================================================================= Date: Sat, 10 Apr 2004 13:06:08 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mairead Byrne Subject: Re: Black Sparrow Mime-Version: 1.0 Content-Type: text/plain; charset=US-ASCII Content-Transfer-Encoding: quoted-printable Content-Disposition: inline John Martin ran the late great Black Sparrow, I don't have contact info = for him; the list went to David Godine in Boston. I'm not sure of David = Godine's relationship with Ecco Press, but I understand the Black Sparrow = list is essentially with Ecco. If anyone can improve on this, I'd be = interested front-channel as I'm keenly interested in what happens to = Reznikoff, all of whose work, especially Holocaust and the memoirs, could = stand a lot of publishing and has the potential, I believe, to be popular. With every good wish, Mairead www.maireadbyrne.blogspot.com >>> j.lo@EARTHLINK.NET 04/10/04 00:55 AM >>> Does anyone on this list know who to contact at the late Black Sparrow press? By that I mean, who ran it, where I might reach this person or persons. Or lacking that what the status is with its back catalog. Thanks Backchannel is fine. ========================================================================= Date: Sat, 10 Apr 2004 13:50:46 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: ALDON L NIELSEN Subject: Re: Intelligent White Silliman. MIME-Version: 1.0 Content-Type: text/plain any number of us (me, Rae Armantrout, others too numerous to recall quickly) have published friendly contestations of this over the years -- when citing old material, it sometimes helps to take a look see what sort of responses it has engendered in the interim -- On Sat, 10 Apr 2004 01:51:11 +0000, andrew loewen wrote: > Hmm. Perhaps transparency isn’t so much impossible as > next to impossible. That is, in-between. Everything. > > Anyhow, I’ve been duly rebuffed for straying outside > the confines of official Buf Po discussion culture > (replete with poets dropping little 1 and 2k bombs of > vitriol in my mailbox). Further, I’ve been talking > about my recent lispserv forays with a friend. She’s > suggested I needn’t grapple (my) shame to my tongue > with hoops of barbed wire. Translation: don’t be such > an asshole. Have some respect (especially b/c no one's > gonna give you the benefit of any doubts). > > Thus, I shall defer to one of the grand old men of the > avant-garde, who here as elsewhere is indisputably > fair-minded and sure to raise few hackles: > > Ron Silliman has written: "Progressive poets who > identify as members of groups that have been the > subject of history--many white male heterosexuals, for > example--are apt to challenge all that is supposedly > 'natural' about the formation of their own > subjectivity. That their writing today is apt to call > into question, if not actually explode, such > conventions as narrative, persona and even reference > can hardly be surprising. At the other end of the > spectrum are poets who do not identity as members of > groups that have been the subject of history, for they > instead have been its objects. The narrative of > history has led not to their self-actualization, but > to their exclusion and domination. These writers and > readers--women, people of color, sexual minorities, > the entire spectrum of the 'marginal'--have a manifest > political need to have their stories told. ***That > their writing should often appear much more > conventional, with the notable difference as to who is > the subject of these conventions, illuminates the > relationship between form and audience.***" > > --- > “Tow the line to tax the time you know that you don't > owe/ > I can't be a fool for everyone that I don't know.” > - Modest Mouse > > > > ______________________________________________________________________ > Post your free ad now! http://personals.yahoo.ca > > <<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> "Breaking in bright Orthography . . ." --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, 10 Apr 2004 14:44:37 -0300 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Shane Plante Subject: Re: Black Sparrow MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: quoted-printable I don't have any Black Sparrow Press contact info, but the following might be helpful. According to University of Alberta's Black Sparrow Press archive: In May, 2002, Martin closed up shop, selling the rights to his premier authors (Bukowski, Bowles, and Fante) to HarperCollins; the Wyndam Lewis titles went to Ginkgo Press in Corte Madera, while the balance of the list was purchased by Boston publisher Charles Godine. For those interested, a (very good) bibliography for U of A's Black Sparrow Press archive is available at: http://www.uofaweb.ualberta.ca/bsp/index.cfm=20 sh -----Original Message----- From: Mairead Byrne [mailto:mbyrne@RISD.EDU]=20 Sent: Saturday, April 10, 2004 2:06 PM To: POETICS@LISTSERV.BUFFALO.EDU Subject: Re: Black Sparrow John Martin ran the late great Black Sparrow, I don't have contact info for him; the list went to David Godine in Boston. I'm not sure of David Godine's relationship with Ecco Press, but I understand the Black Sparrow list is essentially with Ecco. If anyone can improve on this, I'd be interested front-channel as I'm keenly interested in what happens to Reznikoff, all of whose work, especially Holocaust and the memoirs, could stand a lot of publishing and has the potential, I believe, to be popular. With every good wish, Mairead www.maireadbyrne.blogspot.com >>> j.lo@EARTHLINK.NET 04/10/04 00:55 AM >>> Does anyone on this list know who to contact at the late Black Sparrow press? By that I mean, who ran it, where I might reach this person or persons. Or lacking that what the status is with its back catalog. Thanks Backchannel is fine. ========================================================================= Date: Sat, 10 Apr 2004 13:31:05 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Maria Damon Subject: Re: Black Sparrow In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" it's david godine. (i went to college w/ his sister.) At 2:44 PM -0300 4/10/04, Shane Plante wrote: >I don't have any Black Sparrow Press contact info, but the following >might be helpful. According to University of Alberta's Black Sparrow >Press archive: > >In May, 2002, Martin closed up shop, selling the rights to his premier >authors (Bukowski, Bowles, and Fante) to HarperCollins; the Wyndam Lewis >titles went to Ginkgo Press in Corte Madera, while the balance of the >list was purchased by Boston publisher Charles Godine. > >For those interested, a (very good) bibliography for U of A's Black >Sparrow Press archive is available at: > >http://www.uofaweb.ualberta.ca/bsp/index.cfm > > >sh > > > >-----Original Message----- >From: Mairead Byrne [mailto:mbyrne@RISD.EDU] >Sent: Saturday, April 10, 2004 2:06 PM >To: POETICS@LISTSERV.BUFFALO.EDU >Subject: Re: Black Sparrow > >John Martin ran the late great Black Sparrow, I don't have contact info >for him; the list went to David Godine in Boston. I'm not sure of David >Godine's relationship with Ecco Press, but I understand the Black >Sparrow list is essentially with Ecco. If anyone can improve on this, >I'd be interested front-channel as I'm keenly interested in what happens >to Reznikoff, all of whose work, especially Holocaust and the memoirs, >could stand a lot of publishing and has the potential, I believe, to be >popular. >With every good wish, >Mairead >www.maireadbyrne.blogspot.com > >>>> j.lo@EARTHLINK.NET 04/10/04 00:55 AM >>> >Does anyone on this list know who to contact at the late Black Sparrow >press? > By that I mean, who ran it, where I might reach this person >or persons. Or lacking that what the status is with its back catalog. > >Thanks > >Backchannel is fine. -- ========================================================================= Date: Sat, 10 Apr 2004 12:30:06 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jonathan Penton Subject: Re: Intelligent White Silliman. MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit ----- Original Message ----- From: "Joe Amato" To: Sent: Saturday, April 10, 2004 8:07 AM Subject: Re: Intelligent White Silliman. > wait a minute, folks... > > quoting ron silliman or quoting anyone doesn't get anyone off the hook, but--- > > if i were to argue that the avant-garde is still dominated---both in > terms of perceptions and in terms of access to power---by white male > heterosexuals, would anyone object?... i understand we're all a lot > smarter today re avant-garde formations... we know, that is, that > they're far more various than some of us might have thought they > were, both formally and in terms of who is writing what, and this is > thanks to the work of people on this list (among others)... > > but---and this is not a question directed at formal matters > exactly---is there a residual white male het power still at work in > avant-garde formations, a power that obscures the work of women, > people of color, ethnic minorities, transgendered people etc.?... > again, nothing to do with confessional modes and the like---i'm > talking institutional power, as it's played out in specific > institutional settings... I think a quick glance at Publisher's Weekly lends enormous support to this theory. And, if the theory is correct, what can be done about it? (Will begin by suggesting removing words from the dictionary will not help.) -- Jonathan Penton http://www.unlikelystories.org ========================================================================= Date: Sat, 10 Apr 2004 14:46:10 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mairead Byrne Subject: Re: Black Sparrow Comments: To: damon001@UMN.EDU Mime-Version: 1.0 Content-Type: text/plain; charset=US-ASCII Content-Transfer-Encoding: quoted-printable Content-Disposition: inline Could you introduce us Maria (I'd love to hear his plans for Reznikoff!). Mairead >>> damon001@UMN.EDU 04/10/04 14:20 PM >>> it's david godine. (i went to college w/ his sister.) At 2:44 PM -0300 4/10/04, Shane Plante wrote: >I don't have any Black Sparrow Press contact info, but the following >might be helpful. According to University of Alberta's Black Sparrow >Press archive: > >In May, 2002, Martin closed up shop, selling the rights to his premier >authors (Bukowski, Bowles, and Fante) to HarperCollins; the Wyndam Lewis >titles went to Ginkgo Press in Corte Madera, while the balance of the >list was purchased by Boston publisher Charles Godine. > >For those interested, a (very good) bibliography for U of A's Black >Sparrow Press archive is available at: > >http://www.uofaweb.ualberta.ca/bsp/index.cfm > > >sh > > > >-----Original Message----- >From: Mairead Byrne [mailto:mbyrne@RISD.EDU] >Sent: Saturday, April 10, 2004 2:06 PM >To: POETICS@LISTSERV.BUFFALO.EDU >Subject: Re: Black Sparrow > >John Martin ran the late great Black Sparrow, I don't have contact info >for him; the list went to David Godine in Boston. I'm not sure of David >Godine's relationship with Ecco Press, but I understand the Black >Sparrow list is essentially with Ecco. If anyone can improve on this, >I'd be interested front-channel as I'm keenly interested in what happens >to Reznikoff, all of whose work, especially Holocaust and the memoirs, >could stand a lot of publishing and has the potential, I believe, to be >popular. >With every good wish, >Mairead >www.maireadbyrne.blogspot.com > >>>> j.lo@EARTHLINK.NET 04/10/04 00:55 AM >>> >Does anyone on this list know who to contact at the late Black Sparrow >press? > By that I mean, who ran it, where I might reach this person >or persons. Or lacking that what the status is with its back catalog. > >Thanks > >Backchannel is fine. -- ========================================================================= Date: Sat, 10 Apr 2004 13:16:00 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: derekrogerson Organization: derekrogerson.com Subject: poem MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit ii wan tto make myself available to every internet-capable handheld device If you make changes make sense make do with there is no want want to make the same myself one myself to myself myself why myself To make a snowman I want to be ========================================================================= Date: Sat, 10 Apr 2004 13:38:25 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: David Larsen Subject: =?iso-8859-1?Q?Re:_Ren=E9_Wellek_Prize?= In-Reply-To: <5.0.1.4.2.20040408125454.01cb80d0@mail.wayne.edu> Mime-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1"; format=flowed Content-Transfer-Encoding: quoted-printable The Rene Wellek Prize seems the most distinguished award a critic can win.= =20 Edward Said won it for The World, The Text and the Critic. This impresses=20 me deeply! LRSN At 01:01 PM 4/8/04 -0400, you wrote: >Wesleyan University Press / Press Release / April 7, 2004 / For Immediate= =20 >Release > >***** > >Barrett Watten is the recipient of the 2004 Ren=E9 Wellek Prize for his=20 >recent book, The Constructivist Moment: From Material Text to Cultural=20 >Poetics (Wesleyan, 2003) > >The Ren=E9 Wellek Prize is one of the United States=92 most prestigious= book=20 >awards in the discipline of comparative literature, recognizing an=20 >outstanding work in the field of literary and cultural theory. The 2004=20 >Prize will be presented at the American Comparative Literature Association= =20 >(ACLA) Annual Meeting at the University of Michigan on April 17, 2004. The= =20 >ACLA, founded in 1960, is the principal learned society in the United=20 >States for scholars whose work involves several literatures and cultures=20 >as well as the premises of cross-cultural literary study itself. > >Barrett Watten is Professor of English at Wayne State University and=20 >author of Total Syntax (1985), a collection of essays on avant-garde=20 >poetics. Other essays have appeared in Critical Inquiry, Modernism/=20 >Modernity, Genre, Poetics Today, Sagetrieb, Textual Practice, and Mark(s).= =20 >He was editor of This (197182), co-editor of Poetics Journal (198298), and= =20 >co-author of Leningrad: American Writers in the Soviet Union (1991).=20 >Recent and forthcoming collections of his literary work include: Frame=20 >(1971-1990) (1997), Bad History (1998), and Progress/Under Erasure (2004). > > >***** > >The Constructivist Moment: > From Material Text to Cultural Poetics > >460 pp. 74 b/w illus. 6 x 9=94 $70.00 cloth, ISBN 0-8195-6609-8 / $27.95= =20 >paper, ISBN 0-8195-6610-1 > >Contact: Stephanie Elliott (860) 685-3215 or selliott@wesleyan.edu /=20 >Wesleyan University Press, 110 Mt. Vernon Street, Middletown, CT 06459 > >Pdf version of press release:=20 >http://www.english.wayne.edu/fac_pages/ewatten/wellek.pdf ========================================================================= Date: Sat, 10 Apr 2004 14:28:10 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: dcmb Subject: Re: Black Sparrow MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit David Godine Info: 9 Hamilton Place Boston, Mass. Tel: 617 451-9600/ fax 617 350-0250 info@godine.com. David Bromige -----Original Message----- From: Maria Damon To: POETICS@LISTSERV.BUFFALO.EDU Date: Saturday, April 10, 2004 11:23 AM Subject: Re: Black Sparrow >it's david godine. (i went to college w/ his sister.) > >At 2:44 PM -0300 4/10/04, Shane Plante wrote: >>I don't have any Black Sparrow Press contact info, but the following >>might be helpful. According to University of Alberta's Black Sparrow >>Press archive: >> >>In May, 2002, Martin closed up shop, selling the rights to his premier >>authors (Bukowski, Bowles, and Fante) to HarperCollins; the Wyndam Lewis >>titles went to Ginkgo Press in Corte Madera, while the balance of the >>list was purchased by Boston publisher Charles Godine. >> >>For those interested, a (very good) bibliography for U of A's Black >>Sparrow Press archive is available at: >> >>http://www.uofaweb.ualberta.ca/bsp/index.cfm >> >> >>sh >> >> >> >>-----Original Message----- >>From: Mairead Byrne [mailto:mbyrne@RISD.EDU] >>Sent: Saturday, April 10, 2004 2:06 PM >>To: POETICS@LISTSERV.BUFFALO.EDU >>Subject: Re: Black Sparrow >> >>John Martin ran the late great Black Sparrow, I don't have contact info >>for him; the list went to David Godine in Boston. I'm not sure of David >>Godine's relationship with Ecco Press, but I understand the Black >>Sparrow list is essentially with Ecco. If anyone can improve on this, >>I'd be interested front-channel as I'm keenly interested in what happens >>to Reznikoff, all of whose work, especially Holocaust and the memoirs, >>could stand a lot of publishing and has the potential, I believe, to be >>popular. >>With every good wish, >>Mairead >>www.maireadbyrne.blogspot.com >> >>>>> j.lo@EARTHLINK.NET 04/10/04 00:55 AM >>> >>Does anyone on this list know who to contact at the late Black Sparrow >>press? >> By that I mean, who ran it, where I might reach this person >>or persons. Or lacking that what the status is with its back catalog. >> >>Thanks >> >>Backchannel is fine. > > >-- ========================================================================= Date: Sat, 10 Apr 2004 14:52:02 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Timothy Yu Subject: Re: Intelligent White Silliman Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" Ron Silliman's statement on the differences between the poetry of the "subjects" and "objects" of history is certainly relevant to this discussion. My own response to his claim (made, incidentally, in 1988, in the essay "Poetry and the Politics of the Subject" and reprinted in _The New Sentence_) has always been that if we understand it as a *descriptive* statement--that is, as a historical account of how writers from different social positions have been positioned in the field of contemporary writing, with different functions and values assigned to their work by readers and critics--then the statement has a lot of truth to it, even if it describes a state of affairs (as Joe Amato suggests) that we might not be too happy with. But if it is read as a *prescriptive* statement--as a claim that non-straight white male writers don't, can't, or shouldn't write poetry that goes beyond the "conventional" forms of narrative and autobiography--then the statement becomes, as Nathaniel Mackey has put it, "part of the problem," reinforcing the same binary it seeks to describe. I should also note that I don't think Silliman believes he is devaluing "conventional" writing by women, racial minorities, and gays and lesbians, since he wishes to award such work the label of "progressive poetry," alongside work that he would describe as deconstructing subjectivity. For many readers, though, this still sounds far too paternalistic and restrictive. Aldon Nielsen's quite right that a number of people have discussed Silliman's statement critically. These include Nathaniel Mackey in _Discrepant Engagement_ (p. 18-19), who argues that "experimental writing...is not the domain solely of those from socially nonmarginalized groups"; Bob Perelman in _The Marginalization of Poetry_, p. 172-3 (which quotes Leslie Scalapino's critique of Silliman's "authoritarian" schema"); Rae Armantrout (in several places on this topic, but particularly in "Feminist Poetics and the Meaning of Clarity," _Sagetrieb_ 11.3 [1992], which wonders whether "the nature of women's oppression can be expressed in the poem which...'looks conventional'"); and, well, me ("Form and Identity in Language Poetry and Asian American Poetry," _Contemporary Literature_ 41.3 [2000]). I'm sure there are others that I'm missing. In a 2000 interview [http://home.jps.net/~nada/silliman.htm], Silliman himself suggests that while the field he described in 1988 has changed somewhat, "the general dynamics roughed out in that piece still apply," though he notes the rise of significant numbers of Asian American experimental writers and praises Mackey and Nielsen, among others, for their efforts to "resurrect a progressive black modernist heritage." I think the best response to Silliman's schema, though, has been by Harryette Mullen, who has related the reception of her own work--sometimes read through African American literary paradigms, sometimes through "experimental" ones; she notes in "Poetry and Identity" (_Telling It Slant_, ed. Mark Wallace and Steven Marks) that "The assumption remains, however unexamined, that 'avant-garde' poetry is not 'black' and that 'black' poetry, however singular its 'voice,' is not 'formally innovative.'" My understanding of her position is that she thinks Silliman has been helpful in pointing out how these kinds of exclusionary dynamics can work, even as she seeks in her own work to challenge those very dynamics. Tim Yu http://tympan.blogspot.com --- >Date: Sat, 10 Apr 2004 13:50:46 -0400 >Reply-To: UB Poetics discussion group >Sender: UB Poetics discussion group >From: ALDON L NIELSEN >Subject: Re: Intelligent White Silliman. >Content-Type: text/plain >any number of us (me, Rae Armantrout, others too numerous to recall >quickly) have >published friendly contestations of this over the >years -- when citing old material, it >sometimes helps to take a >look see what sort of responses it has engendered in the >interim -- >On Sat, 10 Apr 2004 01:51:11 +0000, andrew loewen wrote: > Hmm. Perhaps transparency isn't so much impossible as > next to >impossible. That is, in-between. Everything. > > Anyhow, I've been >duly rebuffed for straying outside > the confines of official Buf Po >discussion culture > (replete with poets dropping little 1 and 2k >bombs of > vitriol in my mailbox). Further, I've been talking > >about my recent lispserv forays with a friend. She's > suggested I >needn't grapple (my) shame to my tongue > with hoops of barbed wire. >Translation: don't be such > an asshole. Have some respect >(especially b/c no one's > gonna give you the benefit of any >doubts). > > Thus, I shall defer to one of the grand old men of >the > avant-garde, who here as elsewhere is indisputably > >fair-minded and sure to raise few hackles: > > Ron Silliman has >written: "Progressive poets who > identify as members of groups that >have been the > subject of history--many white male heterosexuals, >for > example--are apt to challenge all that is supposedly > >'natural' about the formation of their own > subjectivity. That >their writing today is apt to call > into question, if not actually >explode, such > conventions as narrative, persona and even >reference > can hardly be surprising. At the other end of the > >spectrum are poets who do not identity as members of > groups that >have been the subject of history, for they > instead have been its >objects. The narrative of > history has led not to their >self-actualization, but > to their exclusion and domination. These >writers and > readers--women, people of color, sexual minorities, > >the entire spectrum of the 'marginal'--have a manifest > political >need to have their stories told. ***That > their writing should >often appear much more > conventional, with the notable difference >as to who is > the subject of these conventions, illuminates the > >relationship between form and audience.***" ========================================================================= Date: Sat, 10 Apr 2004 19:21:45 -0400 Reply-To: Millie Niss on eathlink Sender: UB Poetics discussion group From: Millie Niss on eathlink Subject: Re: Intelligent White Silliman MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Thanks for an interesting and thought-provoking post! Everything I can think of to say about it seems to need to be unsaid right afterwards, though. Thinking about race and to a lesser extent sexual orientation or gender is kind of like walking through a minefield where one always risks beig offensive if one goes with gut reactions. Probably we are all racist to some extent on a gut level (whatever race we belong to) because gut level reactions come from what one picks up subliminally, and there is a lot of subliminal racism. So if I offend anyone, please knwo that I don't mean to and am trying to get out a few reactions honestly. I don't think that women or blacks or gays or whatever have to write non experimentally. Indeed there are quite a few of "us" (me being at least a woman) who are technically innovative. However, when you see _yourself_ as primarily a marginalized person rather than just a poet, there is a tendency to be less experimental and (maybe) less creative. Not because there CAN'T be great literature about fighting injustice, but because it has been done so many times in a less than artistic way. It is so easy to be a cliche when one is writing against racism or sexism or homophobia. But so-called marginalized peoples can write any way they want if they see themselves as poets tout court rather than as X Poets (for any value of X). This is kind of an unfair situation, because white poets aren't encouraged by anyone to think of themselves as White Poets, and so don't have to resist the temptation. It's asymmetric clearly because the very idea of White Poetry sounds like it would have to be some kind of apartheid racist thing, whereas Black Poetry is an acceptable label, at least to some poets. Some black poets seem to have works that are "blacker" and other works that are more experimental. This is true of Thylias Moss, less true of Haryette Mullen but still somewhat true. But even saying that is to imply that experimental work isn't black, which is a racist idea, probably. Anyway, some very classic black writers were pretty experimental, like Aime Cesaire (who is much less experimental in translation than in French). Another factor may be that if one is writing against oppression one may want to be understood by the people one is trying to free. But this idea implies that the oppressed peoples aren't sophisticated readers, which may be offensive. But it is probably true that if youo are oppressed you are less likely to have been to graduate schools of poetics... Then there is the possibility that people who are oppressed write in mainstream forms because they are trying to be acepted by the mainstream literary circles. However, these days I don't think mainstream poetic circles are mainstream in style, exactly. I mean, isn't John Ashbery mainstream? I get the impression that postmodern is the accepted norm in academic circles, anyway. Millie ----- Original Message ----- From: "Timothy Yu" To: Sent: Saturday, April 10, 2004 5:52 PM Subject: Re: Intelligent White Silliman > Ron Silliman's statement on the differences between the poetry of the > "subjects" and "objects" of history is certainly relevant to this > discussion. My own response to his claim (made, incidentally, in > 1988, in the essay "Poetry and the Politics of the Subject" and > reprinted in _The New Sentence_) has always been that if we > understand it as a *descriptive* statement--that is, as a historical > account of how writers from different social positions have been > positioned in the field of contemporary writing, with different > functions and values assigned to their work by readers and > critics--then the statement has a lot of truth to it, even if it > describes a state of affairs (as Joe Amato suggests) that we might > not be too happy with. But if it is read as a *prescriptive* > statement--as a claim that non-straight white male writers don't, > can't, or shouldn't write poetry that goes beyond the "conventional" > forms of narrative and autobiography--then the statement becomes, as > Nathaniel Mackey has put it, "part of the problem," reinforcing the > same binary it seeks to describe. > > I should also note that I don't think Silliman believes he is > devaluing "conventional" writing by women, racial minorities, and > gays and lesbians, since he wishes to award such work the label of > "progressive poetry," alongside work that he would describe as > deconstructing subjectivity. For many readers, though, this still > sounds far too paternalistic and restrictive. > > Aldon Nielsen's quite right that a number of people have discussed > Silliman's statement critically. These include Nathaniel Mackey in > _Discrepant Engagement_ (p. 18-19), who argues that "experimental > writing...is not the domain solely of those from socially > nonmarginalized groups"; Bob Perelman in _The Marginalization of > Poetry_, p. 172-3 (which quotes Leslie Scalapino's critique of > Silliman's "authoritarian" schema"); Rae Armantrout (in several > places on this topic, but particularly in "Feminist Poetics and the > Meaning of Clarity," _Sagetrieb_ 11.3 [1992], which wonders whether > "the nature of women's oppression can be expressed in the poem > which...'looks conventional'"); and, well, me ("Form and Identity in > Language Poetry and Asian American Poetry," _Contemporary Literature_ > 41.3 [2000]). I'm sure there are others that I'm missing. > > In a 2000 interview [http://home.jps.net/~nada/silliman.htm], > Silliman himself suggests that while the field he described in 1988 > has changed somewhat, "the general dynamics roughed out in that piece > still apply," though he notes the rise of significant numbers of > Asian American experimental writers and praises Mackey and Nielsen, > among others, for their efforts to "resurrect a progressive black > modernist heritage." > > I think the best response to Silliman's schema, though, has been by > Harryette Mullen, who has related the reception of her own > work--sometimes read through African American literary paradigms, > sometimes through "experimental" ones; she notes in "Poetry and > Identity" (_Telling It Slant_, ed. Mark Wallace and Steven Marks) > that "The assumption remains, however unexamined, that 'avant-garde' > poetry is not 'black' and that 'black' poetry, however singular its > 'voice,' is not 'formally innovative.'" My understanding of her > position is that she thinks Silliman has been helpful in pointing out > how these kinds of exclusionary dynamics can work, even as she seeks > in her own work to challenge those very dynamics. > > Tim Yu > http://tympan.blogspot.com > > --- > > >Date: Sat, 10 Apr 2004 13:50:46 -0400 > >Reply-To: UB Poetics discussion group > >Sender: UB Poetics discussion group > >From: ALDON L NIELSEN > >Subject: Re: Intelligent White Silliman. > >Content-Type: text/plain > > >any number of us (me, Rae Armantrout, others too numerous to recall > >quickly) have >published friendly contestations of this over the > >years -- when citing old material, it >sometimes helps to take a > >look see what sort of responses it has engendered in the >interim -- > > >On Sat, 10 Apr 2004 01:51:11 +0000, andrew loewen wrote: > > > Hmm. Perhaps transparency isn't so much impossible as > next to > >impossible. That is, in-between. Everything. > > Anyhow, I've been > >duly rebuffed for straying outside > the confines of official Buf Po > >discussion culture > (replete with poets dropping little 1 and 2k > >bombs of > vitriol in my mailbox). Further, I've been talking > > >about my recent lispserv forays with a friend. She's > suggested I > >needn't grapple (my) shame to my tongue > with hoops of barbed wire. > >Translation: don't be such > an asshole. Have some respect > >(especially b/c no one's > gonna give you the benefit of any > >doubts). > > Thus, I shall defer to one of the grand old men of > >the > avant-garde, who here as elsewhere is indisputably > > >fair-minded and sure to raise few hackles: > > Ron Silliman has > >written: "Progressive poets who > identify as members of groups that > >have been the > subject of history--many white male heterosexuals, > >for > example--are apt to challenge all that is supposedly > > >'natural' about the formation of their own > subjectivity. That > >their writing today is apt to call > into question, if not actually > >explode, such > conventions as narrative, persona and even > >reference > can hardly be surprising. At the other end of the > > >spectrum are poets who do not identity as members of > groups that > >have been the subject of history, for they > instead have been its > >objects. The narrative of > history has led not to their > >self-actualization, but > to their exclusion and domination. These > >writers and > readers--women, people of color, sexual minorities, > > >the entire spectrum of the 'marginal'--have a manifest > political > >need to have their stories told. ***That > their writing should > >often appear much more > conventional, with the notable difference > >as to who is > the subject of these conventions, illuminates the > > >relationship between form and audience.***" ========================================================================= Date: Sat, 10 Apr 2004 16:55:08 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mark Weiss Subject: Re: Intelligent White Silliman Comments: To: Millie Niss on eathlink In-Reply-To: <022201c41f52$97f7b830$9e029d04@ibmfb1014a> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed Most white guys who write poetry write conventional stuff that doesn't challenge anything, least of all identity. Maybe we should send them a letter. Or maybe what appears to be a 16 year old poorly-considered statement should simply be forgotten, no matter who wrote it. Even very smart people are entitled to the sins of their youth (or even of their old age). A thought for the season: somewhere there's a stash of sayings by Jesus that were simply too dumb to include in anybody's gospel. Mark At 07:21 PM 4/10/2004 -0400, Millie Niss on eathlink wrote: >Thanks for an interesting and thought-provoking post! Everything I can >think of to say about it seems to need to be unsaid right afterwards, >though. Thinking about race and to a lesser extent sexual orientation or >gender is kind of like walking through a minefield where one always risks >beig offensive if one goes with gut reactions. Probably we are all racist >to some extent on a gut level (whatever race we belong to) because gut level >reactions come from what one picks up subliminally, and there is a lot of >subliminal racism. So if I offend anyone, please knwo that I don't mean to >and am trying to get out a few reactions honestly. > >I don't think that women or blacks or gays or whatever have to write non >experimentally. Indeed there are quite a few of "us" (me being at least a >woman) who are technically innovative. However, when you see _yourself_ as >primarily a marginalized person rather than just a poet, there is a tendency >to be less experimental and (maybe) less creative. Not because there CAN'T >be great literature about fighting injustice, but because it has been done >so many times in a less than artistic way. It is so easy to be a cliche >when one is writing against racism or sexism or homophobia. But so-called >marginalized peoples can write any way they want if they see themselves as >poets tout court rather than as X Poets (for any value of X). This is kind >of an unfair situation, because white poets aren't encouraged by anyone to >think of themselves as White Poets, and so don't have to resist the >temptation. It's asymmetric clearly because the very idea of White Poetry >sounds like it would have to be some kind of apartheid racist thing, whereas >Black Poetry is an acceptable label, at least to some poets. > >Some black poets seem to have works that are "blacker" and other works that >are more experimental. This is true of Thylias Moss, less true of Haryette >Mullen but still somewhat true. But even saying that is to imply that >experimental work isn't black, which is a racist idea, probably. Anyway, >some very classic black writers were pretty experimental, like Aime Cesaire >(who is much less experimental in translation than in French). > >Another factor may be that if one is writing against oppression one may want >to be understood by the people one is trying to free. But this idea implies >that the oppressed peoples aren't sophisticated readers, which may be >offensive. But it is probably true that if youo are oppressed you are less >likely to have been to graduate schools of poetics... > >Then there is the possibility that people who are oppressed write in >mainstream forms because they are trying to be acepted by the mainstream >literary circles. However, these days I don't think mainstream poetic >circles are mainstream in style, exactly. I mean, isn't John Ashbery >mainstream? I get the impression that postmodern is the accepted norm in >academic circles, anyway. > >Millie >----- Original Message ----- >From: "Timothy Yu" >To: >Sent: Saturday, April 10, 2004 5:52 PM >Subject: Re: Intelligent White Silliman > > > > Ron Silliman's statement on the differences between the poetry of the > > "subjects" and "objects" of history is certainly relevant to this > > discussion. My own response to his claim (made, incidentally, in > > 1988, in the essay "Poetry and the Politics of the Subject" and > > reprinted in _The New Sentence_) has always been that if we > > understand it as a *descriptive* statement--that is, as a historical > > account of how writers from different social positions have been > > positioned in the field of contemporary writing, with different > > functions and values assigned to their work by readers and > > critics--then the statement has a lot of truth to it, even if it > > describes a state of affairs (as Joe Amato suggests) that we might > > not be too happy with. But if it is read as a *prescriptive* > > statement--as a claim that non-straight white male writers don't, > > can't, or shouldn't write poetry that goes beyond the "conventional" > > forms of narrative and autobiography--then the statement becomes, as > > Nathaniel Mackey has put it, "part of the problem," reinforcing the > > same binary it seeks to describe. > > > > I should also note that I don't think Silliman believes he is > > devaluing "conventional" writing by women, racial minorities, and > > gays and lesbians, since he wishes to award such work the label of > > "progressive poetry," alongside work that he would describe as > > deconstructing subjectivity. For many readers, though, this still > > sounds far too paternalistic and restrictive. > > > > Aldon Nielsen's quite right that a number of people have discussed > > Silliman's statement critically. These include Nathaniel Mackey in > > _Discrepant Engagement_ (p. 18-19), who argues that "experimental > > writing...is not the domain solely of those from socially > > nonmarginalized groups"; Bob Perelman in _The Marginalization of > > Poetry_, p. 172-3 (which quotes Leslie Scalapino's critique of > > Silliman's "authoritarian" schema"); Rae Armantrout (in several > > places on this topic, but particularly in "Feminist Poetics and the > > Meaning of Clarity," _Sagetrieb_ 11.3 [1992], which wonders whether > > "the nature of women's oppression can be expressed in the poem > > which...'looks conventional'"); and, well, me ("Form and Identity in > > Language Poetry and Asian American Poetry," _Contemporary Literature_ > > 41.3 [2000]). I'm sure there are others that I'm missing. > > > > In a 2000 interview [http://home.jps.net/~nada/silliman.htm], > > Silliman himself suggests that while the field he described in 1988 > > has changed somewhat, "the general dynamics roughed out in that piece > > still apply," though he notes the rise of significant numbers of > > Asian American experimental writers and praises Mackey and Nielsen, > > among others, for their efforts to "resurrect a progressive black > > modernist heritage." > > > > I think the best response to Silliman's schema, though, has been by > > Harryette Mullen, who has related the reception of her own > > work--sometimes read through African American literary paradigms, > > sometimes through "experimental" ones; she notes in "Poetry and > > Identity" (_Telling It Slant_, ed. Mark Wallace and Steven Marks) > > that "The assumption remains, however unexamined, that 'avant-garde' > > poetry is not 'black' and that 'black' poetry, however singular its > > 'voice,' is not 'formally innovative.'" My understanding of her > > position is that she thinks Silliman has been helpful in pointing out > > how these kinds of exclusionary dynamics can work, even as she seeks > > in her own work to challenge those very dynamics. > > > > Tim Yu > > http://tympan.blogspot.com > > > > --- > > > > >Date: Sat, 10 Apr 2004 13:50:46 -0400 > > >Reply-To: UB Poetics discussion group > > >Sender: UB Poetics discussion group > > >From: ALDON L NIELSEN > > >Subject: Re: Intelligent White Silliman. > > >Content-Type: text/plain > > > > >any number of us (me, Rae Armantrout, others too numerous to recall > > >quickly) have >published friendly contestations of this over the > > >years -- when citing old material, it >sometimes helps to take a > > >look see what sort of responses it has engendered in the >interim -- > > > > >On Sat, 10 Apr 2004 01:51:11 +0000, andrew loewen wrote: > > > > > Hmm. Perhaps transparency isn't so much impossible as > next to > > >impossible. That is, in-between. Everything. > > Anyhow, I've been > > >duly rebuffed for straying outside > the confines of official Buf Po > > >discussion culture > (replete with poets dropping little 1 and 2k > > >bombs of > vitriol in my mailbox). Further, I've been talking > > > >about my recent lispserv forays with a friend. She's > suggested I > > >needn't grapple (my) shame to my tongue > with hoops of barbed wire. > > >Translation: don't be such > an asshole. Have some respect > > >(especially b/c no one's > gonna give you the benefit of any > > >doubts). > > Thus, I shall defer to one of the grand old men of > > >the > avant-garde, who here as elsewhere is indisputably > > > >fair-minded and sure to raise few hackles: > > Ron Silliman has > > >written: "Progressive poets who > identify as members of groups that > > >have been the > subject of history--many white male heterosexuals, > > >for > example--are apt to challenge all that is supposedly > > > >'natural' about the formation of their own > subjectivity. That > > >their writing today is apt to call > into question, if not actually > > >explode, such > conventions as narrative, persona and even > > >reference > can hardly be surprising. At the other end of the > > > >spectrum are poets who do not identity as members of > groups that > > >have been the subject of history, for they > instead have been its > > >objects. The narrative of > history has led not to their > > >self-actualization, but > to their exclusion and domination. These > > >writers and > readers--women, people of color, sexual minorities, > > > >the entire spectrum of the 'marginal'--have a manifest > political > > >need to have their stories told. ***That > their writing should > > >often appear much more > conventional, with the notable difference > > >as to who is > the subject of these conventions, illuminates the > > > >relationship between form and audience.***" ========================================================================= Date: Sun, 11 Apr 2004 00:09:12 +0000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Amy King Subject: gleaned from an American president Mime-Version: 1.0 Content-Type: text/plain; format=flowed Let Us Cannot In our grief and anger we have found our mission: They hate our freedoms. We must be vigilant. Killing is a way of life for Afghans. It's unfortunate, but we cannot avoid civilian casualties. We cannot tolerate anti-American sentiments. We cannot hope diplomacy will work. Now that we've started bombing, we should see it through to the end. We have to show our patriotism. It's kill or be killed. They hate our freedoms. This is the world’s fight. _________________________________________________________________ Free up your inbox with MSN Hotmail Extra Storage! Multiple plans available. http://join.msn.com/?pgmarket=en-us&page=hotmail/es2&ST=1/go/onm00200362ave/direct/01/ ========================================================================= Date: Sat, 10 Apr 2004 19:14:56 -0500 Reply-To: nudel-soho@mindspring.com Sender: UB Poetics discussion group From: Harry Nudel Subject: DumbWhite/Black/Greenmenetc... Mime-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit alltheway down 8thst to4th thruthepark backtobdway i'mthinkin' ofthe exhaustionofliberalculture tocomehome tolistserv.edu da da de da...drn.. ========================================================================= Date: Sat, 10 Apr 2004 20:31:15 -0400 Reply-To: nudel-soho@mindspring.com Sender: UB Poetics discussion group From: Harry Nudel Subject: Fw:Reroute Mime-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit -----Forwarded Message----- From: nudel-soho@mindspring.com Sent: Apr 10, 2004 7:14 PM To: Poetics@listserv.buffalo.edu Subject: Re:Re.. alltheway down8thst xcross 6thave to4th thruthepark backtobdway i'mthinkin'in ofth'exhaust ionoflib'ralculture tohomecome tolistserv.edu da da de da...drn.. ========================================================================= Date: Sat, 10 Apr 2004 22:12:44 -0230 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Kevin Hehir Subject: A Conference in Honour of Frank Davey MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=ISO-8859-1 Content-Transfer-Encoding: 8BIT Please Circulate: Poetics and Public Culture in Canada: A Conference in Honour of Frank Davey March 3-5, 2005 University of Western Ontario London, ON, Canada 'Hey, what are you doing?' she said, and he said 'I'm just standing here being a Canadian' and she said 'Wow is that really feasible?' and he said 'Yes but it requires plenty of imagination.' "Public Poem for Manitoulin Island Canada Day" used with the kind permission of Lionel Kearns In recent decades, Canadian poets and critics have passionately debated questions of the nation, indigeneity, race and representation, asking what it means to make culture in the shadow of the culture industries. From at least F. R. Scott's "The Canadian Authors Meet" to vibrant contemporary spoken word movements, Canadian poets have made the connection between poetics and politics. Yet the roles of the poet in relation to public culture in a time variously described as postnational, globalized, diasporic, hypercapitalist have not yet been fully explored. Is this indeed a "time of Empire" - either literally, or metaphorically in the various understandings of Samir Amin, Stuart Hall, Toni Negri and Michael Hardt, and others? What are the ways in which poetics and public culture are mutually implicated? How has the history of poetics in Canada helped shape the present moment? We encourage proposals for individual papers or panels representing a wide variety of critical and creative perspectives. Graduate students are strongly encouraged to submit. Possible topics include (but are not limited to): . How does Canadian poetics engage with global culture and the globalization of culture? . Have the relationships between poetics, culture, and empire altered in ways yet untheorized? What is the position of poetics in these discussions? . How does poetics incorporate, challenge, and test the limits of the visual? . Has the viability of modes such as the lyric, narrative, and realism changed in recent years? . How have minority poetries harnessed the tactics of avant-garde aesthetics? . What are the effects of new technologies on small press production, copyright, and reading publics? . What are the roles of "old" technologies such as radio and open mic stages in creating communities animated by poetry and poetics? . What is the future of the poetics of liberation and decolonization in Canada? . How does Canadian poetics negotiate multi-lingual concerns? Discussions of these and related questions have happened on the street and on electronic listservs, in living rooms and in classrooms across the country. It is time to bring together these conversations in a broad academic and public forum which builds on the diversity and energy of Canadian poetics. The conference will honour Frank Davey, the University of Western Ontario's first Carl F. Klinck Professor of Canadian Literature, former Professor at York University and one of Canada's foremost poets and literary and cultural theorists, on the occasion of his retirement. Confirmed readers and speakers include Charles Bernstein, Lynette Hunter, Smaro Kamboureli, Lenore Keeshig-Tobias, Daphne Marlatt, M. NourbeSe Philip, and Fred Wah. Potential participants are asked to submit: 1)a 500-word proposal, stating the significance of the paper and its relevance to the call for papers 2)a 100-word abstract 3)a bibliography and 50-word biographical statement Please submit an electronic copy of the proposal by e-mail, in addition to three hard copies by regular mail by August 15, 2004. Author's name must not appear on the proposal. Papers should be between 15 and 20 minutes in length. Please send proposals and inquiries to: poetics.pub.cult.canada@uwo.ca Mailing Address: Poetics and Public Culture in Canada: A Conference in Honour of Frank Davey c/o Diana Brydon Department of English University College University of Western Ontario London, Ontario, Canada N6A 3K7 For updates see: http://publish.uwo.ca/~mjones/Poetics_and_Public_Culture_in_Canada.html --------------------------------------------------------------------------- - Melina Baum-Singer Secretary Poetics and Public Culture in Canada: A Conference in Honour of Frank Davey March 3-5, 2005 University of Western Ontario London, ON, Canada poetics.pub.cult.canada@uwo.ca ========================================================================= Date: Sat, 10 Apr 2004 17:56:56 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Stephen Vincent Subject: Re: Intelligent White Silliman In-Reply-To: <5.1.0.14.1.20040410165042.03141620@mail.earthlink.net> Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit In the heat of the day's news, I'm taken to remember that the proposal to eliminate Hussein, invading Iraq and installing a "democratic government" was undoubtedly described as "innovative thinking" or a "radical experiment" in nation building by its neo-con think tank progenitors. I suggest it's best to discuss "innovation" in terms of the value of its results (here in poems), rather that going "rooty-toot, toot, we're the innovative boys from the institute" (in political terms sub: Heritage, American Enterprise, New American Century, Hoover, etc.). In and of itself innovation, poetic or otherwise, does not, so to speak, reveal "the silver bullet." Whatever the syntactical intervention - and how its operationally viewed - the critical act of reading still has to determine whether the work "makes it" or not, as well what constitutes "making it.". Or, going back to the current Iraq political reference, whether or not the innovation is a total disaster with very painful consequences for the collective (including genders and multiple colors). If so, as sometimes happens, the conventional forms become radically counter-innovative, as say with the best of hip-hop's undercutting edges with the added consequence of being populist. Yet, alternatively, I still have a tough time cottoning to Marilyn Hacker's end rhymes en perpetua - albeit her mind and spirit seems to be in the right place. (Indeed back in 15th century or so, my understanding is that the use of rhymes was considered "barbaric" - an oral literature, i.e. lower class, throwback - and a threat to the Latin based powers and poetry that be. So was the case then that rhyme constituted a radical and innovative attack on the court powers and in-house poets. Yeah rhyme!) To keep making little leaps here, I always find interesting the division in Kenneth Rexroth's worksas he switches form a twenties cubist experimentalist to a a populist writer and his language becomes totally transparent, luminous - and quite beautiful and sustaining without engaging much play in determining the artifice. Suspect it was a function of the politics and the times - the thirties into the fifties - and the desire to be recognized as a citizen voice in a rotten time. The lure of experimentation always runs and carries the risk of either a Mandarin mantle, or, for the publicly inclined, the dread of obscurity, or, optimistically, the work will enter the literature at a later time and be of great significance in a utopian future of understanding readers. Hope I haven't overstated anybody's sense of 'the obvious', or, how did C Rice characterize the information in August 6 memo about Ben Laden's intended threats on the US - unlike her I hope what is said here is not just dismissed as "historical." I suspect the Bush gang - in light of all the failures in Iraq - will eventually end up dismissing their responsibility for this disaster as merely "historical" and to be forgotten. Hind-sight accrues no responsibility. I like this thread! Stephen V > Most white guys who write poetry write conventional stuff that doesn't > challenge anything, least of all identity. Maybe we should send them a letter. > > Or maybe what appears to be a 16 year old poorly-considered statement > should simply be forgotten, no matter who wrote it. Even very smart people > are entitled to the sins of their youth (or even of their old age). > > A thought for the season: somewhere there's a stash of sayings by Jesus > that were simply too dumb to include in anybody's gospel. > > Mark > > > At 07:21 PM 4/10/2004 -0400, Millie Niss on eathlink wrote: >> Thanks for an interesting and thought-provoking post! Everything I can >> think of to say about it seems to need to be unsaid right afterwards, >> though. Thinking about race and to a lesser extent sexual orientation or >> gender is kind of like walking through a minefield where one always risks >> beig offensive if one goes with gut reactions. Probably we are all racist >> to some extent on a gut level (whatever race we belong to) because gut level >> reactions come from what one picks up subliminally, and there is a lot of >> subliminal racism. So if I offend anyone, please knwo that I don't mean to >> and am trying to get out a few reactions honestly. >> >> I don't think that women or blacks or gays or whatever have to write non >> experimentally. Indeed there are quite a few of "us" (me being at least a >> woman) who are technically innovative. However, when you see _yourself_ as >> primarily a marginalized person rather than just a poet, there is a tendency >> to be less experimental and (maybe) less creative. Not because there CAN'T >> be great literature about fighting injustice, but because it has been done >> so many times in a less than artistic way. It is so easy to be a cliche >> when one is writing against racism or sexism or homophobia. But so-called >> marginalized peoples can write any way they want if they see themselves as >> poets tout court rather than as X Poets (for any value of X). This is kind >> of an unfair situation, because white poets aren't encouraged by anyone to >> think of themselves as White Poets, and so don't have to resist the >> temptation. It's asymmetric clearly because the very idea of White Poetry >> sounds like it would have to be some kind of apartheid racist thing, whereas >> Black Poetry is an acceptable label, at least to some poets. >> >> Some black poets seem to have works that are "blacker" and other works that >> are more experimental. This is true of Thylias Moss, less true of Haryette >> Mullen but still somewhat true. But even saying that is to imply that >> experimental work isn't black, which is a racist idea, probably. Anyway, >> some very classic black writers were pretty experimental, like Aime Cesaire >> (who is much less experimental in translation than in French). >> >> Another factor may be that if one is writing against oppression one may want >> to be understood by the people one is trying to free. But this idea implies >> that the oppressed peoples aren't sophisticated readers, which may be >> offensive. But it is probably true that if youo are oppressed you are less >> likely to have been to graduate schools of poetics... >> >> Then there is the possibility that people who are oppressed write in >> mainstream forms because they are trying to be acepted by the mainstream >> literary circles. However, these days I don't think mainstream poetic >> circles are mainstream in style, exactly. I mean, isn't John Ashbery >> mainstream? I get the impression that postmodern is the accepted norm in >> academic circles, anyway. >> >> Millie >> ----- Original Message ----- >> From: "Timothy Yu" >> To: >> Sent: Saturday, April 10, 2004 5:52 PM >> Subject: Re: Intelligent White Silliman >> >> >>> Ron Silliman's statement on the differences between the poetry of the >>> "subjects" and "objects" of history is certainly relevant to this >>> discussion. My own response to his claim (made, incidentally, in >>> 1988, in the essay "Poetry and the Politics of the Subject" and >>> reprinted in _The New Sentence_) has always been that if we >>> understand it as a *descriptive* statement--that is, as a historical >>> account of how writers from different social positions have been >>> positioned in the field of contemporary writing, with different >>> functions and values assigned to their work by readers and >>> critics--then the statement has a lot of truth to it, even if it >>> describes a state of affairs (as Joe Amato suggests) that we might >>> not be too happy with. But if it is read as a *prescriptive* >>> statement--as a claim that non-straight white male writers don't, >>> can't, or shouldn't write poetry that goes beyond the "conventional" >>> forms of narrative and autobiography--then the statement becomes, as >>> Nathaniel Mackey has put it, "part of the problem," reinforcing the >>> same binary it seeks to describe. >>> >>> I should also note that I don't think Silliman believes he is >>> devaluing "conventional" writing by women, racial minorities, and >>> gays and lesbians, since he wishes to award such work the label of >>> "progressive poetry," alongside work that he would describe as >>> deconstructing subjectivity. For many readers, though, this still >>> sounds far too paternalistic and restrictive. >>> >>> Aldon Nielsen's quite right that a number of people have discussed >>> Silliman's statement critically. These include Nathaniel Mackey in >>> _Discrepant Engagement_ (p. 18-19), who argues that "experimental >>> writing...is not the domain solely of those from socially >>> nonmarginalized groups"; Bob Perelman in _The Marginalization of >>> Poetry_, p. 172-3 (which quotes Leslie Scalapino's critique of >>> Silliman's "authoritarian" schema"); Rae Armantrout (in several >>> places on this topic, but particularly in "Feminist Poetics and the >>> Meaning of Clarity," _Sagetrieb_ 11.3 [1992], which wonders whether >>> "the nature of women's oppression can be expressed in the poem >>> which...'looks conventional'"); and, well, me ("Form and Identity in >>> Language Poetry and Asian American Poetry," _Contemporary Literature_ >>> 41.3 [2000]). I'm sure there are others that I'm missing. >>> >>> In a 2000 interview [http://home.jps.net/~nada/silliman.htm], >>> Silliman himself suggests that while the field he described in 1988 >>> has changed somewhat, "the general dynamics roughed out in that piece >>> still apply," though he notes the rise of significant numbers of >>> Asian American experimental writers and praises Mackey and Nielsen, >>> among others, for their efforts to "resurrect a progressive black >>> modernist heritage." >>> >>> I think the best response to Silliman's schema, though, has been by >>> Harryette Mullen, who has related the reception of her own >>> work--sometimes read through African American literary paradigms, >>> sometimes through "experimental" ones; she notes in "Poetry and >>> Identity" (_Telling It Slant_, ed. Mark Wallace and Steven Marks) >>> that "The assumption remains, however unexamined, that 'avant-garde' >>> poetry is not 'black' and that 'black' poetry, however singular its >>> 'voice,' is not 'formally innovative.'" My understanding of her >>> position is that she thinks Silliman has been helpful in pointing out >>> how these kinds of exclusionary dynamics can work, even as she seeks >>> in her own work to challenge those very dynamics. >>> >>> Tim Yu >>> http://tympan.blogspot.com >>> >>> --- >>> >>>> Date: Sat, 10 Apr 2004 13:50:46 -0400 >>>> Reply-To: UB Poetics discussion group >>>> Sender: UB Poetics discussion group >>>> From: ALDON L NIELSEN >>>> Subject: Re: Intelligent White Silliman. >>>> Content-Type: text/plain >>> >>>> any number of us (me, Rae Armantrout, others too numerous to recall >>>> quickly) have >published friendly contestations of this over the >>>> years -- when citing old material, it >sometimes helps to take a >>>> look see what sort of responses it has engendered in the >interim -- >>> >>>> On Sat, 10 Apr 2004 01:51:11 +0000, andrew loewen wrote: >>> >>>> Hmm. Perhaps transparency isn't so much impossible as > next to >>>> impossible. That is, in-between. Everything. > > Anyhow, I've been >>>> duly rebuffed for straying outside > the confines of official Buf Po >>>> discussion culture > (replete with poets dropping little 1 and 2k >>>> bombs of > vitriol in my mailbox). Further, I've been talking > >>>> about my recent lispserv forays with a friend. She's > suggested I >>>> needn't grapple (my) shame to my tongue > with hoops of barbed wire. >>>> Translation: don't be such > an asshole. Have some respect >>>> (especially b/c no one's > gonna give you the benefit of any >>>> doubts). > > Thus, I shall defer to one of the grand old men of >>>> the > avant-garde, who here as elsewhere is indisputably > >>>> fair-minded and sure to raise few hackles: > > Ron Silliman has >>>> written: "Progressive poets who > identify as members of groups that >>>> have been the > subject of history--many white male heterosexuals, >>>> for > example--are apt to challenge all that is supposedly > >>>> 'natural' about the formation of their own > subjectivity. That >>>> their writing today is apt to call > into question, if not actually >>>> explode, such > conventions as narrative, persona and even >>>> reference > can hardly be surprising. At the other end of the > >>>> spectrum are poets who do not identity as members of > groups that >>>> have been the subject of history, for they > instead have been its >>>> objects. The narrative of > history has led not to their >>>> self-actualization, but > to their exclusion and domination. These >>>> writers and > readers--women, people of color, sexual minorities, > >>>> the entire spectrum of the 'marginal'--have a manifest > political >>>> need to have their stories told. ***That > their writing should >>>> often appear much more > conventional, with the notable difference >>>> as to who is > the subject of these conventions, illuminates the > >>>> relationship between form and audience.***" ========================================================================= Date: Sat, 10 Apr 2004 22:55:47 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Haas Bianchi Subject: www.chicagopostmodernpoetry.com MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Dear Friends of Chicagopostmodernpoetry.com I am assured by my hosting company that tomorrow chicagopostmodernpoetry.com will be live I wanted to send to you all,a list of friends and poets I admire a preview of the site and also invite all of you to please send, reviews, notices of your readings, notices of publications and alike to my personal email. I created this site with poets like yourselves in mind and I am here to facilitate your poetic aims in our little corner of the country. Below is an explanation of the site and I hope that tomorrow when it is live you will visit it and use it often to find out what is happening in the Innovative Poetry scene in Chicago and the Midwest. chicagopostmodernpoetry.com Our Aesthetic Chicago Postmodern Poetry.com does have an aesthetic firmly rooted for lack of a better term in the innovative 'avant garde' tradition that begins in the last century with a varied group of writers, Pound, French Poetry, Latin American Poetry, Italian Poetry, Russian Poetry, Williams, Olson, Black Mountain, Rothenberg, Ginzburg, Creeley, Stein, Zukovsky, HD, and moves through Language Poetry, The New York School, and Ethnopoetics to our present Postmodern, Post-Language moment. The great poets of the Postmodern generation, Bernstein, Antin, Palmer, Hoover, DuPlessis, Mayer, Joris, and younger voices Gizzi, Jarnot, Willis, Clements, Hofer, Daly, and many others are showing us the way toward a new poetics that is rooted in the sense of making things new we will celebrate them here unapologetically. Poetic Profiles/Chicago Poetic Profiles Monthly we will be profiling a local Chicago/Midwest and a National poet on this site, our first profile; Catherine Daly, is live now on the site and she is a friend of Chicago Post Modern Poetry.com and we are in her debt for being the first to submit to a Poetic Profile. In future months we will be profiling Jen Hofer, who is an innovative poet in her own right and is arguably the best translator of Mexican poetry working today in the US as was shown in her new anthology Sin Puertas Visibles. We will also be profiling; Kari Edwards, Charles Bernstein, Peter Gizzi, and many others. CPMP will also be profiling Chicago's own local innovative poets. Chicago is a city where much is going on poetically, poets such as Jesse Seldess, John Tipton, Kerri Sonnenberg, Dan Beachy-Quick, William Fuller, Mark Tardi, Eric Elstein, Matthias Regan, Peter O'Leary, Chuck Stebelston, Simone Muench, Garin Gycholl, William Allegrezza, and many others make Chicago one of the best places to be an innovative poet. CPMP has many poets to profile from our own backyard and I am committed to promoting their work and this site exists for them. Our Choices CPMP is also committed to helping younger and local poets survive as poets. The desire to do this has led to some choices, we will not print poems here except as part of reviews. If you love a poet please buy his/her books and support our art form. CPMP wants you to visit poet's websites and buy small press literary magazines and chap books please put your money where your passion is located have one less coffee and buy poetry books. This site does not list every poetry event in the Chicago Region, there are many great general poetry sites and I urge you to see the links that I have on this site to visit them as well for more general events. The Community CPMP is a site open to the community, if you want to write a review of a book or reading series please feel free to do so and submit it to us we will publish it provided that it meets two criteria, it is well written and it does not include any personal attacks on poets or others. Secondly book reviews are always welcomed and encouraged. Also if you have suggestions send them as well and we will make changes if they are warranted. In the end CPMP exists to support the great Innovative poetic institutions in Chicago and cities nearby I want to thank in advance the following people who made this site possible, William Allegrezza, (Indiana University NW) , Kerri Sonnenberg (Discrete Series), Jesse Seldess (Discrete Series), John Beer (Danny's Series), Joel Craig (Danny's Series) John Tipton (Chicago Poetry Project), Chuck Stebelston (Myopic Series) and to Waltraud Haas, my wife, who designed the site; I am forever and always in your debt for so much of which this website but a grain of sand on a long Brazilian beach. Ray Bianchi, Editor Raymond L Bianchi chicagopostmodernpoetry.com collagepoetchicago.blogspot.com/ ========================================================================= Date: Sun, 11 Apr 2004 00:20:24 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: ALDON L NIELSEN Subject: Re: Intelligent White Silliman Comments: To: Millie Niss on eathlink MIME-Version: 1.0 Content-Type: text/plain >>A thought for the season: somewhere there's a stash of sayings by Jesus that were simply too dumb to include in anybody's gospel. Mark<< somebody's apocrypha! and damned passionate reading, too -- but Mark, didn't you write a gospel yourself? How did you handle that material? >>Some black poets seem to have works that are "blacker" and other works that > are more experimental. Millie -- I have to confess, now that we're on the confessional, that I cannot even begin to imagine what this is supposed to mean --- <<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> "Breaking in bright Orthography . . ." --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, 10 Apr 2004 23:23:43 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Haas Bianchi Subject: Re: "Degrading" the conversation In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit tim I just think we ought to tone it down and reason together- the minute we throw around incendiary words and this goes for everyone we can no longer reason because we are defending ourselves rather than discussing- I did not call you Tim a Racist which would be stupid since I know you and respect you totally. Ronald Reagan of all people said something that I think is important "someone who agrees with me 80% of the time is not my 20% enemy he is my 80% friend" and I think sometimes we all forget this. R Raymond L Bianchi chicagopostmodernpoetrycalendar.blogspot.com/ collagepoetchicago.blogspot.com/ > -----Original Message----- > From: UB Poetics discussion group > [mailto:POETICS@LISTSERV.BUFFALO.EDU]On Behalf Of Timothy Yu > Sent: Saturday, April 10, 2004 2:02 AM > To: POETICS@LISTSERV.BUFFALO.EDU > Subject: "Degrading" the conversation > > > I hope that I am mistaken in thinking that Ray Bianchi is charging me > (I assume he means me, since it's my email that's attached to his > post) with with "degrading" the conversation on the list through my > critique of Andrew Loewen's post on "Sylvia Plath's author-function." > I don't think it's at all fair for Ray to accuse me of simplistic > charges of "racism, woman hating and alike," or of "throw[ing] > bombs" to end discussion; I thought Loewen threw a bomb and I was > trying to jump on it, or something. Last time I checked, this was a > community of poets, people above all hypersensitive to language and > its uses. I tried to provide a reading of Loewen's post which > explained my response to and criticism of it, not simply cry "racism" > and "sexism" against someone I wanted to shut up. Chris Murray's > post, among others, was a fine example of a smart and reasoned > critique that committed itself to dialogue, without in any way > pulling its punches, and I hope that what I wrote was in the same > spirit. > > I'm also disappointed with Loewen's subsequent post, which rather > condescendingly suggests that those who have criticized him just > "don't know what to do with polyvocal expression"--in other words, > that we just didn't get the joke. Well, for Loewen or anyone else > who is interested, I've put up a more extensive critique of Loewen's > initial post up at my blog, address below. That I should have to > demonstrate my own critical abilities in this way is itself a little > degrading--but more on that later. > > For whatever reason, Loewen also seems to categorize me and his other > critics among those who dismiss confessional modes. I had hoped that > my post citing the Middlebrook essay on confessionalism would suggest > instead that confessionalism has to be understood as a historical > mode--one that happened at a certain time, and that's perhaps best > characterized by a grounding in/obsession with psychoanalysis and > family dynamics--rather than as a blanket term for poetry that in > some way addresses biography or the self. To essentialize > "confessionalism" in this latter way really doesn't make it that > useful as a term--hence the perfectly legitimate questions like > "isn't Williams confessional? isn't Dickinson confessional?"--nor > does it help us understand the way a lot of contemporary poetry, all > across the spectrum, reacts against what the confessional was > understood to be. It also leads to setting up the "experimental" as > the opposite of poetry that address the self--as a pure anti-self > poetry--which is hardly more useful. > > A final twist: Andrew Loewen said he wanted to draw attention to the > fact that white men claim a monopoly over complex writing, while > women and minorities are consigned to the simplistic. Now, both he > and Ray Bianchi claim to be readers who can appreciate complexity and > subtlety, while those who have criticized Loewen's post--for the most > part, women or minorities--are guilty of simplistic thinking and an > inability to read well. Okay, Andrew: I guess you were right. > > Tim Yu > http://tympan.blogspot.com > > --- > > >Date: Fri, 9 Apr 2004 09:59:06 -0500 > >From: Haas Bianchi > >Subject: Pulitzer Prize Winners--- > > >this conversation is again degrading- is it neccessary to accuse > people of > >racism, woman hating and alike? Does anyone think > >that anyone on the Buffalo list is a racist? A woman hater? A > homophobe? It > >seems to me that we ought to assume that people here are earnest and are > >trying to have a conversation with the other postees, and not throw bombs > >that end discussion. If you are a woman hater, homophobe or racist I urge > >you to get mental health help. > ========================================================================= Date: Sat, 10 Apr 2004 22:30:10 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Julie Kizershot Subject: Re: Intelligent White man In-Reply-To: <200404110420.AAA23063@webmail3.cac.psu.edu> Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit Okay, I am reading this whole thread with interest, not knowing quite how to enter the discussion either here or even in my own private thinking! I did read the below and one thing that felt important to note came to mind. The issue of identity becomes problematic as soon as we have names with which to label people. Names imply division, as do words, from the object (at least according to much post structural linguistic theory) or in the case of marginalized positions from what is thought of as "standard human" without variation of race/gender/orientation/// blah blah blah.... Of course names can be a place of empowerment, claiming "identity" in a way that feels like a politically necessary move (read strategic essentialism) And the power of naming also comes with the limits of definitions, often insufficient to any given person/work. Those very labels of course also act as a means of subcategorizing people/writing from the main body of people/writing, as if the appended adjectives somehow limit the person/work considered. How can a work, by a "black author" (I am "white" as I write this) be "blacker" than other works? Are some of my works "whiter" than others, and are some of them "more female?" or more straight/gay/het/bi/trans? (again apologies to all at the very lumping of those positions) If I write a work 'about' an abortion, is it "more female" than a work 'about' say, wanting to stop the war in the Middle East, or a Picasso painting, or a purely formal experimental cut up that has no discernable subject matter at all according to the transparencies of language? Isn't that somehow conflating authorial position with subject matter? And doesn't that very thinking always keep certain kinds of innovation unseen ? As well, doesn't it assume that "experimentation" remain in the hands of the privileged? and for that matter, what work are we willing to call "experimental" and for whom? Who defines that term and according to what canon? As I write this, having for many years helped with the programming of a writing conference which concentrated on "experimental writing", I am aware that the homogeneity of the writers invited, the whiteness of the line up, was often be 'excused' by some of the programmers because 'writers of color' did not write according to that particular "experimental aesthetic".... again I would wonder then, who defines the term "experimental" and what value systems and social positions go behind those definitions? Just musing on line here--- Julie K---- on 04/10/2004 5:21 PM, Millie Niss on eathlink at men2@COLUMBIA.EDU wrote: > Thanks for an interesting and thought-provoking post! Everything I can > think of to say about it seems to need to be unsaid right afterwards, > though. Thinking about race and to a lesser extent sexual orientation or > gender is kind of like walking through a minefield where one always risks > beig offensive if one goes with gut reactions. Probably we are all racist > to some extent on a gut level (whatever race we belong to) because gut level > reactions come from what one picks up subliminally, and there is a lot of > subliminal racism. So if I offend anyone, please knwo that I don't mean to > and am trying to get out a few reactions honestly. > > I don't think that women or blacks or gays or whatever have to write non > experimentally. Indeed there are quite a few of "us" (me being at least a > woman) who are technically innovative. However, when you see _yourself_ as > primarily a marginalized person rather than just a poet, there is a tendency > to be less experimental and (maybe) less creative. Not because there CAN'T > be great literature about fighting injustice, but because it has been done > so many times in a less than artistic way. It is so easy to be a cliche > when one is writing against racism or sexism or homophobia. But so-called > marginalized peoples can write any way they want if they see themselves as > poets tout court rather than as X Poets (for any value of X). This is kind > of an unfair situation, because white poets aren't encouraged by anyone to > think of themselves as White Poets, and so don't have to resist the > temptation. It's asymmetric clearly because the very idea of White Poetry > sounds like it would have to be some kind of apartheid racist thing, whereas > Black Poetry is an acceptable label, at least to some poets. > > Some black poets seem to have works that are "blacker" and other works that > are more experimental. This is true of Thylias Moss, less true of Haryette > Mullen but still somewhat true. But even saying that is to imply that > experimental work isn't black, which is a racist idea, probably. Anyway, > some very classic black writers were pretty experimental, like Aime Cesaire > (who is much less experimental in translation than in French). > > Another factor may be that if one is writing against oppression one may want > to be understood by the people one is trying to free. But this idea implies > that the oppressed peoples aren't sophisticated readers, which may be > offensive. But it is probably true that if youo are oppressed you are less > likely to have been to graduate schools of poetics... > > Then there is the possibility that people who are oppressed write in > mainstream forms because they are trying to be acepted by the mainstream > literary circles. However, these days I don't think mainstream poetic > circles are mainstream in style, exactly. I mean, isn't John Ashbery > mainstream? I get the impression that postmodern is the accepted norm in > academic circles, anyway. > > Millie > ----- Original Message ----- > From: "Timothy Yu" > To: > Sent: Saturday, April 10, 2004 5:52 PM > Subject: Re: Intelligent White Silliman > > >> Ron Silliman's statement on the differences between the poetry of the >> "subjects" and "objects" of history is certainly relevant to this >> discussion. My own response to his claim (made, incidentally, in >> 1988, in the essay "Poetry and the Politics of the Subject" and >> reprinted in _The New Sentence_) has always been that if we >> understand it as a *descriptive* statement--that is, as a historical >> account of how writers from different social positions have been >> positioned in the field of contemporary writing, with different >> functions and values assigned to their work by readers and >> critics--then the statement has a lot of truth to it, even if it >> describes a state of affairs (as Joe Amato suggests) that we might >> not be too happy with. But if it is read as a *prescriptive* >> statement--as a claim that non-straight white male writers don't, >> can't, or shouldn't write poetry that goes beyond the "conventional" >> forms of narrative and autobiography--then the statement becomes, as >> Nathaniel Mackey has put it, "part of the problem," reinforcing the >> same binary it seeks to describe. >> >> I should also note that I don't think Silliman believes he is >> devaluing "conventional" writing by women, racial minorities, and >> gays and lesbians, since he wishes to award such work the label of >> "progressive poetry," alongside work that he would describe as >> deconstructing subjectivity. For many readers, though, this still >> sounds far too paternalistic and restrictive. >> >> Aldon Nielsen's quite right that a number of people have discussed >> Silliman's statement critically. These include Nathaniel Mackey in >> _Discrepant Engagement_ (p. 18-19), who argues that "experimental >> writing...is not the domain solely of those from socially >> nonmarginalized groups"; Bob Perelman in _The Marginalization of >> Poetry_, p. 172-3 (which quotes Leslie Scalapino's critique of >> Silliman's "authoritarian" schema"); Rae Armantrout (in several >> places on this topic, but particularly in "Feminist Poetics and the >> Meaning of Clarity," _Sagetrieb_ 11.3 [1992], which wonders whether >> "the nature of women's oppression can be expressed in the poem >> which...'looks conventional'"); and, well, me ("Form and Identity in >> Language Poetry and Asian American Poetry," _Contemporary Literature_ >> 41.3 [2000]). I'm sure there are others that I'm missing. >> >> In a 2000 interview [http://home.jps.net/~nada/silliman.htm], >> Silliman himself suggests that while the field he described in 1988 >> has changed somewhat, "the general dynamics roughed out in that piece >> still apply," though he notes the rise of significant numbers of >> Asian American experimental writers and praises Mackey and Nielsen, >> among others, for their efforts to "resurrect a progressive black >> modernist heritage." >> >> I think the best response to Silliman's schema, though, has been by >> Harryette Mullen, who has related the reception of her own >> work--sometimes read through African American literary paradigms, >> sometimes through "experimental" ones; she notes in "Poetry and >> Identity" (_Telling It Slant_, ed. Mark Wallace and Steven Marks) >> that "The assumption remains, however unexamined, that 'avant-garde' >> poetry is not 'black' and that 'black' poetry, however singular its >> 'voice,' is not 'formally innovative.'" My understanding of her >> position is that she thinks Silliman has been helpful in pointing out >> how these kinds of exclusionary dynamics can work, even as she seeks >> in her own work to challenge those very dynamics. >> >> Tim Yu >> http://tympan.blogspot.com >> >> --- >> >>> Date: Sat, 10 Apr 2004 13:50:46 -0400 >>> Reply-To: UB Poetics discussion group >>> Sender: UB Poetics discussion group >>> From: ALDON L NIELSEN >>> Subject: Re: Intelligent White Silliman. >>> Content-Type: text/plain >> >>> any number of us (me, Rae Armantrout, others too numerous to recall >>> quickly) have >published friendly contestations of this over the >>> years -- when citing old material, it >sometimes helps to take a >>> look see what sort of responses it has engendered in the >interim -- >> >>> On Sat, 10 Apr 2004 01:51:11 +0000, andrew loewen wrote: >> >>> Hmm. Perhaps transparency isn't so much impossible as > next to >>> impossible. That is, in-between. Everything. > > Anyhow, I've been >>> duly rebuffed for straying outside > the confines of official Buf Po >>> discussion culture > (replete with poets dropping little 1 and 2k >>> bombs of > vitriol in my mailbox). Further, I've been talking > >>> about my recent lispserv forays with a friend. She's > suggested I >>> needn't grapple (my) shame to my tongue > with hoops of barbed wire. >>> Translation: don't be such > an asshole. Have some respect >>> (especially b/c no one's > gonna give you the benefit of any >>> doubts). > > Thus, I shall defer to one of the grand old men of >>> the > avant-garde, who here as elsewhere is indisputably > >>> fair-minded and sure to raise few hackles: > > Ron Silliman has >>> written: "Progressive poets who > identify as members of groups that >>> have been the > subject of history--many white male heterosexuals, >>> for > example--are apt to challenge all that is supposedly > >>> 'natural' about the formation of their own > subjectivity. That >>> their writing today is apt to call > into question, if not actually >>> explode, such > conventions as narrative, persona and even >>> reference > can hardly be surprising. At the other end of the > >>> spectrum are poets who do not identity as members of > groups that >>> have been the subject of history, for they > instead have been its >>> objects. The narrative of > history has led not to their >>> self-actualization, but > to their exclusion and domination. These >>> writers and > readers--women, people of color, sexual minorities, > >>> the entire spectrum of the 'marginal'--have a manifest > political >>> need to have their stories told. ***That > their writing should >>> often appear much more > conventional, with the notable difference >>> as to who is > the subject of these conventions, illuminates the > >>> relationship between form and audience.***" on 04/10/2004 10:20 PM, ALDON L NIELSEN at aln10@PSU.EDU wrote: >>> A thought for the season: somewhere there's a stash of sayings by Jesus > that were simply too dumb to include in anybody's gospel. > > Mark<< > > somebody's apocrypha! and damned passionate reading, too -- but Mark, didn't > you > write a gospel yourself? How did you handle that material? > >>> Some black poets seem to have works that are "blacker" and other works that >> are more experimental. > > > Millie -- I have to confess, now that we're on the confessional, that I cannot > even begin to imagine what this is supposed to mean --- > > > > <<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > "Breaking in bright Orthography . . ." > --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: Sun, 11 Apr 2004 01:12:04 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: terncrash MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII please download first - thanks, apologies for the size - terncrash this this is is it it when when crosses crosses terncrash wired terncrash you see might you find might out find something out want you to want see to has edge been has controlled been and controlled modified and by modified those by forces those on forces the on edge the that everything everything that you're find at you're a at loss a there's and nothing there's but nothing someone but who framed framed been found might yourself but violated yourself in violated mirror the http://www.asondheim.org/terncrash.mov http://www.asondheim.org/terncrash.mov this and is this it is when it crosses edge _ ========================================================================= Date: Sun, 11 Apr 2004 01:20:08 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: andrew loewen Subject: to work ceaselessly toward the organization of new chances MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii I’d be interested to hear any thoughts on these two statements taken from a 1961 article associated with the situationist international: “We, the creators of new values, are no longer shouted down by the protectors of culture, but are assigned designations in specialised fields, and our demands are thus made to appear ridiculous." and "Social snobbery would prescribe for the avant-garde a particular place, which it can't leave without giving up its respectability.” From “The Avant-garde is Undesirable” -- Helmut Sturm, Heimrad Prem, Lothar Fischer, Dieter Kunzelmann, Hans-Peter Zimmer, Staffan Larsson, Asger Jorn, Jørgen Nash, Katja Lindell & Maurice Wyckaert January 1961 Translator unknown http://situationist.cjb.net/ Does productively dangerous culture – detournement and the like – have any effect anymore as a performative critique at work in the present, or have situationistesque tactics of cultural intervention simply been almost seamlessly incorporated into the society of spectacle (or post-society for any Baudrillardians/Thatcherites lurking about, ha). Steven Vincent states on this list: In and of itself innovation, poetic or otherwise, does not, so to speak, reveal "the silver bullet." Whatever the syntactical intervention - and how its operationally viewed - the critical act of reading still has to determine whether the work "makes it" or not, as well what constitutes "making it.". Isn’t intention, insofar as it is **situated** in a poetics or poetic community, whathaveyou, sort of the bottom line (in terms of the construction of meaning, modes of thinking, etc)? I'm guessing Clark Coolidge's work doesn't do much 'cultural work' outside the academy or progressive poetry circles, does it? What does this mean viz. a viz. postmodernist claims for collapsed binaries, categories, etc (replace Coolidge w/ a better example at will, I'm not a scholar)? Consequently, if it is still useful to talk of a ‘living’ avant-garde, what does this suggest about the nexus – or interface - of a well-educated coterie of artists/poets and something like ‘mass’ or ‘popular’ culture. If everyday life is the frontier between the dominated and the undominated sectors of life, and thus the terrain of chance and uncertainty, where or how can an avant-garde find its toe-holds at the level of the everyday? What does it mean when 24 year-olds like myself (sorry to disappoint those who had me pegged as 16) feel melancholic about the “unfinished project of modernism”? Irrespective of whether that makes me a 'properly pomo' kid; I've come to a provisional agreement with myself that a disavowal of individual agency usually if not always reeks of bad faith. Just as Lyotard's 'incredulity with respect to meta-narratives' (if taken prescriptively rather than descriptively, to throw a nod to Timothy Yu) is so dumb and self-referentially incoherent I suspect history will consign it to the bin currently housing logical positivism and flat earth theory. Clearly, a commitment to affordable education and a transformation of institutional pedagogy are one aspect of these questions, but my experience as an undergraduate ‘fly on the wall’ in a fairly progressive English faculty, suggested that these items are easily consumed and subsumed in the frenzied desperation of placements and personal and departmental Real Politicking. Another question, if members of this listserv are in broad agreement that polemics are seldom of much use, then, aside from spending evenings eviscerating well-intentioned jackasses (sorry, very bad taste I know, couldn’t resist), how is it that you get your sublimating kicks? Do you all sideline in noiserock bands on the weekend? If only it were true. Oh dear, that leads me to something else, does anyone know if any interesting attention has been paid the nexus of postrock noise bands like Lightning Bolt, the boredoms, Chicago’s incomparable Shellac, etc, and the aesthetics of sound poetry, concrete poetry, etc. I’m familiar with the cultural studies preocc. w/ recuperating subculture into the academy, lamely handled as a matter of fashion a la Dick Hebdige et al., but what about the MATERIALITY of SOUND; modes of production – small press, chapbooks/indie labels, 7 inch singles; readings/gigs. . . I guess this gets more sociological – it’s the aesthetics of noise I’m interested in (much changed since the hey day of Sonic Youth, let alone Futurist stuff, I’d add). The bravado, swagger, and spectacle of Sex Pistols era punk has given way to some truly innovative work that I would love to see incorporated into discussions of contemporary poetics. Thoughts? Comments? ______________________________________________________________________ Post your free ad now! http://personals.yahoo.ca ========================================================================= Date: Sun, 11 Apr 2004 01:16:47 -0500 Reply-To: nudel-soho@mindspring.com Sender: UB Poetics discussion group From: Harry Nudel Subject: Spring... Mime-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit the third hr the third day i came back food poisoning from bad sushi yellowtail uni salmon tuna fish roe fluke cali roll i'm back call it a miracle call me... drn..Easter Sun...3:00..morn.. ========================================================================= Date: Sun, 11 Apr 2004 02:22:15 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Murat Nemet-Nejat Subject: Re: Intelligent White Silliman MIME-Version: 1.0 Content-Type: text/plain; charset="ISO-8859-1" Content-Transfer-Encoding: quoted-printable Timothy, I just read your essay on Jose Garcia Villa=20 (http://meritagepress.com/pinoypoetics.htm). A main idea behind your essay,=20= it seems to me, is how in Villa's=20 case the description of his work as avant-garde (or not) by the establishmen= t=20 was one way for the establishment to place him within a previously=20 comprehensible framework -"inscrutable," "animal power," etc. I have two que= stions: a) Why should an outsider writer care what or how the establishment calls=20 his/her work? Is it an outsidedness that wishes to be recognized? Is that wi= sh=20 inevitable though maybe dangerous? b) Are "establishment" and "mainstream" the same thing?=20 Murat In a message dated 04/10/04 5:52:35 PM, tyu@STANFORD.EDU writes: > Ron Silliman's statement on the differences between the poetry of the > "subjects" and "objects" of history is certainly relevant to this > discussion.=A0 My own response to his claim (made, incidentally, in > 1988, in the essay "Poetry and the Politics of the Subject" and > reprinted in _The New Sentence_) has always been that if we > understand it as a *descriptive* statement--that is, as a historical > account of how writers from different social positions have been > positioned in the field of contemporary writing, with different > functions and values assigned to their work by readers and > critics--then the statement has a lot of truth to it, even if it > describes a state of affairs (as Joe Amato suggests) that we might > not be too happy with.=A0 But if it is read as a *prescriptive* > statement--as a claim that non-straight white male writers don't, > can't, or shouldn't write poetry that goes beyond the "conventional" > forms of narrative and autobiography--then the statement becomes, as > Nathaniel Mackey has put it, "part of the problem," reinforcing the > same binary it seeks to describe. >=20 > I should also note that I don't think Silliman believes he is > devaluing "conventional" writing by women, racial minorities, and > gays and lesbians, since he wishes to award such work the label of > "progressive poetry," alongside work that he would describe as > deconstructing subjectivity.=A0 For many readers, though, this still > sounds far too paternalistic and restrictive. >=20 > Aldon Nielsen's quite right that a number of people have discussed > Silliman's statement critically.=A0 These include Nathaniel Mackey in > _Discrepant Engagement_ (p. 18-19), who argues that "experimental > writing...is not the domain solely of those from socially > nonmarginalized groups"; Bob Perelman in _The Marginalization of > Poetry_, p. 172-3 (which quotes Leslie Scalapino's critique of > Silliman's "authoritarian" schema"); Rae Armantrout (in several > places on this topic, but particularly in "Feminist Poetics and the > Meaning of Clarity," _Sagetrieb_ 11.3 [1992], which wonders whether > "the nature of women's oppression can be expressed in the poem > which...'looks conventional'"); and, well, me ("Form and Identity in > Language Poetry and Asian American Poetry," _Contemporary Literature_ > 41.3 [2000]).=A0 I'm sure there are others that I'm missing. >=20 > In a 2000 interview [http://home.jps.net/~nada/silliman.htm], > Silliman himself suggests that while the field he described in 1988 > has changed somewhat, "the general dynamics roughed out in that piece > still apply," though he notes the rise of significant numbers of > Asian American experimental writers and praises Mackey and Nielsen, > among others, for their efforts to "resurrect a progressive black > modernist heritage." >=20 > I think the best response to Silliman's schema, though, has been by > Harryette Mullen, who has related the reception of her own > work--sometimes read through African American literary paradigms, > sometimes through "experimental" ones; she notes in "Poetry and > Identity" (_Telling It Slant_, ed. Mark Wallace and Steven Marks) > that "The assumption remains, however unexamined, that 'avant-garde' > poetry is not 'black' and that 'black' poetry, however singular its > 'voice,' is not 'formally innovative.'"=A0 My understanding of her > position is that she thinks Silliman has been helpful in pointing out > how these kinds of exclusionary dynamics can work, even as she seeks > in her own work to challenge those very dynamics. >=20 ========================================================================= Date: Sun, 11 Apr 2004 01:26:26 -0500 Reply-To: nudel-soho@mindspring.com Sender: UB Poetics discussion group From: Harry Nudel Subject: Spring.... Mime-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit the yellow bowls bloom on 10th St. mannikened torsos dressed to kill eye them less thru boutique panes with eyes closed i dig the pollen from honeyed lips deep down the well my tongue slides into the color of lite... drn...3:00 Easter Sun..life's miracle..spring'04... ========================================================================= Date: Sun, 11 Apr 2004 07:12:54 +0000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Joseph Bradshaw Subject: noise for andrew Mime-Version: 1.0 Content-Type: text/plain; format=flowed does anyone >know if any interesting attention has been paid the nexus of postrock noise >bands like Lightning Bolt, the boredoms, Chicago’s incomparable Shellac, >etc, and the aesthetics of sound poetry, concrete poetry, etc. I’m familiar >with the cultural studies preocc. w/ recuperating subculture into the >academy, lamely handled as a matter of fashion a la Dick Hebdige et al., >but what about the MATERIALITY of SOUND; Andrew, for this I'd recommend Jacques Attali's book Noise: the Political Economy of Music, written in the 70's (outdated in certain senses but still really compelling). A couple more recent writers on sound are Brandon LaBelle and Christof Migone. Also check out the work of Douglas Kahn -- he wrote an incredible history of sound in modernist art called Noise Water Meat. I've also seen some articles on japanese noise at the Ctheory site. There has actually been quite a lot (not surprisingly) written on the materiality of sound in the last 30 or so years. Joseph _________________________________________________________________ Check out MSN PC Safety & Security to help ensure your PC is protected and safe. http://specials.msn.com/msn/security.asp ========================================================================= Date: Sun, 11 Apr 2004 00:21:57 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mark Weiss Subject: Re: Intelligent White Silliman In-Reply-To: <200404110420.AAA23063@webmail3.cac.psu.edu> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed At 12:20 AM 4/11/2004 -0400, ALDON L NIELSEN wrote: > >>A thought for the season: somewhere there's a stash of sayings by Jesus >that were simply too dumb to include in anybody's gospel. > >Mark<< > >somebody's apocrypha! and damned passionate reading, too -- but Mark, >didn't you >write a gospel yourself? How did you handle that material? As long as we're in a confessional mode--it was holy ghost-written. Mark ========================================================================= Date: Sun, 11 Apr 2004 04:02:45 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: blood and geology MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII blood and geology http://www.asondheim.org/blood1.jpg http://www.asondheim.org/blood2.jpg http://www.asondheim.org/blood3.jpg 19th century human blood from my 1866 edition of A Manual of Medical Jurisprudence http://www.asondheim.org/stranges.mov http://www.asondheim.org/stranges2.mov fast-forward geological strata doubled - you don't have to wait for the full download the grit of gorges, flood control, fire stones, strata _ ========================================================================= Date: Sun, 11 Apr 2004 07:16:51 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Vernon Frazer Subject: Re: Intelligent White Silliman In-Reply-To: <200404110420.AAA23063@webmail3.cac.psu.edu> MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit Aldon About Millie's comment that "Some black poets seem to have works that are 'blacker' and other works that are more experimental,' I think I can find a clarifying analogy among jazz musicians more readily than poets: Houston Person playing tenor with an organ trio is probably going to sound "blacker" than when he's playing duets with Ran Blake. But this might also indicate that the term "experimental" carries its own Caucasian baggage. Anthony Braxton, to cite another example, plays music that is consistently "experimental," but jazz critics, to the best of my knowledge, rarely discuss his work as being "more black" or "less black," although I think they might have when he was younger and less established. By staying in one "place," I think he minimized the complications that labeling can cause. Vernon http://vernonfrazer.com <<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> "Breaking in bright Orthography . . ." --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: Sun, 11 Apr 2004 05:28:48 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Kazim Ali Subject: Intelligence In-Reply-To: <1ef.1dbeef56.2daa3e17@aol.com> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii > > a) Why should an outsider writer care what or how > the establishment calls > his/her work? Is it an outsidedness that wishes to > be recognized? Is that wish > inevitable though maybe dangerous? > These are great questions. It makes me think of two things: Malevich fleeing the artistic constraints of Stalin's "social realism" is rejected by Bauhaus artists as a "romantic." Leslie Scalapino sends chapters from "Front Matter, Dead Souls" to editorial pages of local newspapers during the Gulf War. Transgressive and maybe a little "performative" in that the act asked your average sunday morning paper readers to encounter and accept "avant-garde" art not in context of "avant-garde" but in context of acceptable mode of daily communication. This is made much more interesting, I believe, by the fact that the act was done in total earnest--i.e. probably without either "transgressive" or "performative" intent as I read it, but rather Scalapino's sincere belief in conceptual equivalence between a letter to the editor on the Gulf War and a chapter from that book and their mutual ability to communicate their content. The same as Malevich I believe. Meaning (I am thinking this through as I write it so it is a little jumbled) "avant-garde" artists who have gone beyond the consideration of "form" and back to the issue of "content." Or is that a boring distinction to make here? Or is everyone like this? It walks the funny line between Howe's reading through the Oxford dictionary (read Rachel Tzvia Back's great book on S. Howe where she describes this) to write about her father, and Waldrop's accidentally writing about her mother even through chance procedure. There's that space between Pollack's brush and his canvas. Hey I guess I didn't really answer the question. ===== ==== WAR IS OVER (if you want it) (e-mail president@whitehouse.gov) __________________________________ Do you Yahoo!? Yahoo! Tax Center - File online by April 15th http://taxes.yahoo.com/filing.html ========================================================================= Date: Sun, 11 Apr 2004 08:40:20 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Maria Damon Subject: Re: Intelligence In-Reply-To: <20040411122848.11150.qmail@web40809.mail.yahoo.com> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" ok everyone i need some bibliogrpahic help, having misplaced Lunch Poems: can someone give me the pp numbers for Poem (Lana turner has collapsed) and "Poem en Forme de Saw"? thanks one million easter bunny eggs. -- ========================================================================= Date: Sun, 11 Apr 2004 10:29:53 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Austinwja@AOL.COM Subject: Re: Intelligence MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit In a message dated 4/11/04 8:32:34 AM, damon001@UMN.EDU writes: << ok everyone i need some bibliogrpahic help, having misplaced Lunch Poems: can someone give me the pp numbers for Poem (Lana turner has collapsed) and "Poem en Forme de Saw"? thanks one million easter bunny eggs. >> 70 and 62 respectively. Pocket Poets #19. Best, Bill WilliamJamesAustin.com kojapress.com amazon.com b&n.com ========================================================================= Date: Sun, 11 Apr 2004 11:19:51 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Joe Amato Subject: Re: =?iso-8859-1?Q?Ren=E9?= Wellek Prize In-Reply-To: <5.2.1.1.2.20040410132937.042d85e0@socrates.berkeley.edu> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" congratulations to barrett watten!!!... also, great summary by timothy yu of the issues relating to the silliman thread... best, joe ========================================================================= Date: Sun, 11 Apr 2004 11:23:19 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Joel Weishaus Subject: =?iso-8859-1?Q?Re:_Ren=E9_Wellek_Prize?= MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 8bit Absolutely. -Joel ----- Original Message ----- From: "Joe Amato" To: Sent: Sunday, April 11, 2004 9:19 AM Subject: Re: René Wellek Prize > congratulations to barrett watten!!!... > > also, great summary by timothy yu of the issues relating to the > silliman thread... > > best, > > joe ========================================================================= Date: Sun, 11 Apr 2004 13:55:11 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Stephen Vincent Subject: Baghdad Burning - from the inside Comments: cc: linda norton , "J. Scappettone" Mime-version: 1.0 Content-type: text/plain; charset="ISO-8859-1" Content-transfer-encoding: quoted-printable For those who don't already tap direct in this blog: http://riverbendblog.blogspot.com/ Baghdad Burning ... I'll meet you 'round the bend my friend, where hearts can heal and soul= s can mend... Sunday, April 11, 2004 =A0 One of Those Countries... We've taken to sleeping in the living room again. We put up the heavy drape= s the day before yesterday and E. and I re-taped the windows looking out into the garden. This time, I made them use the clear tape so that the view wouldn't be marred with long, brown strips of tape. We sleep in the living room because it is the safest room in the house and the only room that will hold the whole family comfortably. The preparations for sleep begin at around 10 p.m. on days when we have electricity and somewhat earlier on dark nights. E. and I have to drag out the mats, blankets and pillows and arrange them creatively on the floor so that everyone is as far away from the windows as possible, without actually being crowded.=20 Baghdad is calm and relatively quiet if you don't count the frequent explosions. Actually, when we don't hear explosions, it gets a bit worrying= . I know that sounds strange but it's like this- you know how you see someone holding a rifle or gun and aiming at something, ready to fire? You cringe and tense up while waiting for the gunshot and keep thinking, "It's coming, it's coming...". That's how it feels on a morning without explosions. Somehow, you just *know* there are going to be explosions... it's only a matter of time. Hearing them is a relief and you can loosen up after they occur and hope that they'll be the last of the day. The hostage situations are a mess. I watch television and it feels like I'm watching another country. All I can think is, "We've become one of *those* countries..." You know- the ones where hostages are taken on a daily basis and governments warn their civilians of visiting or entering the country. It's especially sad because even during those long years during the blockad= e and in between wars and bombings, there were never any attacks on foreigners. Iraqis are hospitable, friendly people who always used to treat foreigners with care... now, everyone is treated like a potential enemy. The case of the Japanese hostages is especially sad- I'm so sorry for their families and friends specifically, and the Japanese people in general. We keep hearing conflicting reports about their situation. This morning I hear= d that the kidnappers agreed to free them but someone else told me that it wa= s just a rumor... it's so hard to tell. It's heart-breaking to see them on television and I wish there was something that could be done. Will the Japanese government pull out the troops? Not likely... three people won't matter to them. I hope they come out of this alive and well and I hope they don't hold a grudge against Iraqis. There's hostility towards Japan because of the fact that they sent soldiers... Japan became one of 'them' when they decided to send over troops and these are the consequences. I'm so sorry... in spite of the fact that dozens of Iraqis are abducted and killed each day= , I'm really sorry.=20 They say around 600 Iraqis were killed in Falloojeh- 120 children and 200 women... it's an atrocity and horribly sad. They have let one or two convoy= s in and the rest were sent back. The refugees from the area are flowing into Baghdad and it's horrible to see them. Women and children with tear-stained faces, mostly in black, carrying bundles of clothes and bottles of water. The mosques are gathering food and clothes for them... one of the storage areas for the refugee stuff was hit by an American tank today in A'adhamiya and the scene is chaotic... scattered food, medication, bandages, blankets, etc.=20 The south is a bit calmer because of the 'Arba'een' of the Imam Hussein which will last for a couple of days... no one knows what will happen after= .=20 ========================================================================= Date: Sun, 11 Apr 2004 14:01:39 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Stephen Vincent Subject: Yeats meets Iraq Comments: cc: krbygrip@yahoo.com, linda norton Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit It's hard for me not to feel the echoes and accuracy of of this one as Iraq collapses under the weight of events that this country has precipitated. Whatever one wants, it's hard to say "Happy Easter" without a certain twist in the gut. The Second Coming Turning and turning Within the widening gyre The falcon cannot hear the falconer Things fall apart The center cannot hold And a blood dimmed tide Is loosed upon the world Nothing is sacred The ceremony sinks Innocence is drowned In anarchy The best lack conviction Given some time to think And the worst are full of passion Without mercy Surely some revelation is at hand Surely it's the second coming And wrath has finally taken form For what is this rough beast Its hour come at last Slouching towards Bethlehem to be born Slouching towards Bethlehem to be born Hoping and hoping As if by my weak faith The spirit of this world Would heal and rise Vast are the shadows That straddle and strafe And struggle in the darkness Troubling my eyes Shaped like a lion It has the head of a man With a gaze as blank And pitiless as the sun And it's moving its slow thighs Across the desert sands Through dark indignant Reeling falcons Surely some revelation is at hand Surely it's the second coming And the wrath has finally taken form For what is this rough beast Its hour come at last Slouching towards Bethlehem to be born Slouching towards Bethlehem to be born Raging and raging It rises from the deep Opening its eyes After twenty centuries Vexed to a nightmare Out of a stormy sleep By a rocking cradle By the Sea of Galilee Surely some revelation is at hand Surely it's the second coming And the wrath has finally taken form For what is this rough beast Its hour come at last Slouching towards Bethlehem to be born Slouching towards Bethlehem to be born ========================================================================= Date: Sun, 11 Apr 2004 17:12:53 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Richard Flynn Subject: Re: Yeats meets Iraq In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Isn't this Joni Mitchell's song lyrics version of Yeats? -----Original Message----- From: UB Poetics discussion group [mailto:POETICS@LISTSERV.BUFFALO.EDU]On Behalf Of Stephen Vincent Sent: Sunday, April 11, 2004 5:02 PM To: POETICS@LISTSERV.BUFFALO.EDU Subject: Yeats meets Iraq It's hard for me not to feel the echoes and accuracy of of this one as Iraq collapses under the weight of events that this country has precipitated. Whatever one wants, it's hard to say "Happy Easter" without a certain twist in the gut. The Second Coming Turning and turning Within the widening gyre The falcon cannot hear the falconer Things fall apart The center cannot hold And a blood dimmed tide Is loosed upon the world Nothing is sacred The ceremony sinks Innocence is drowned In anarchy The best lack conviction Given some time to think And the worst are full of passion Without mercy Surely some revelation is at hand Surely it's the second coming And wrath has finally taken form For what is this rough beast Its hour come at last Slouching towards Bethlehem to be born Slouching towards Bethlehem to be born Hoping and hoping As if by my weak faith The spirit of this world Would heal and rise Vast are the shadows That straddle and strafe And struggle in the darkness Troubling my eyes Shaped like a lion It has the head of a man With a gaze as blank And pitiless as the sun And it's moving its slow thighs Across the desert sands Through dark indignant Reeling falcons Surely some revelation is at hand Surely it's the second coming And the wrath has finally taken form For what is this rough beast Its hour come at last Slouching towards Bethlehem to be born Slouching towards Bethlehem to be born Raging and raging It rises from the deep Opening its eyes After twenty centuries Vexed to a nightmare Out of a stormy sleep By a rocking cradle By the Sea of Galilee Surely some revelation is at hand Surely it's the second coming And the wrath has finally taken form For what is this rough beast Its hour come at last Slouching towards Bethlehem to be born Slouching towards Bethlehem to be born ========================================================================= Date: Sun, 11 Apr 2004 14:20:15 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: alexander saliby Subject: Re: Yeats meets Iraq MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Steven, Beautifully written!=20 Though, I for one am convinced our current president is a right-wing = Christian zealot determined to make the world safe for his kind. And = that, to me is the problem with all zealots...they're militaristic in = their passions for the views they hold. =20 We need no second coming of Jesus or of any one else to fix this mess. = Instead, we need a non-invasive technique for performing frontal lobe = lobotomy on all zealots of any kind, from Bahai to Voodoo, they all do = major harm to the rest of humankind. =20 But I soap-box and unintentionally distract from your far more = brilliantly scribed piece. =20 Thanks again for sharing it. Alex =20 ----- Original Message -----=20 From: Stephen Vincent=20 To: POETICS@LISTSERV.BUFFALO.EDU=20 Sent: Sunday, April 11, 2004 2:01 PM Subject: Yeats meets Iraq It's hard for me not to feel the echoes and accuracy of of this one as Iraq collapses under the weight of events that this country has precipitated. Whatever one wants, it's hard to say "Happy Easter" = without a certain twist in the gut. The Second Coming Turning and turning Within the widening gyre The falcon cannot hear the falconer Things fall apart The center cannot hold And a blood dimmed tide Is loosed upon the world Nothing is sacred The ceremony sinks Innocence is drowned In anarchy The best lack conviction Given some time to think And the worst are full of passion Without mercy Surely some revelation is at hand Surely it's the second coming And wrath has finally taken form For what is this rough beast Its hour come at last Slouching towards Bethlehem to be born Slouching towards Bethlehem to be born Hoping and hoping As if by my weak faith The spirit of this world Would heal and rise Vast are the shadows That straddle and strafe And struggle in the darkness Troubling my eyes Shaped like a lion It has the head of a man With a gaze as blank And pitiless as the sun And it's moving its slow thighs Across the desert sands Through dark indignant Reeling falcons Surely some revelation is at hand Surely it's the second coming And the wrath has finally taken form For what is this rough beast Its hour come at last Slouching towards Bethlehem to be born Slouching towards Bethlehem to be born Raging and raging It rises from the deep Opening its eyes After twenty centuries Vexed to a nightmare Out of a stormy sleep By a rocking cradle By the Sea of Galilee Surely some revelation is at hand Surely it's the second coming And the wrath has finally taken form For what is this rough beast Its hour come at last Slouching towards Bethlehem to be born Slouching towards Bethlehem to be born ========================================================================= Date: Sun, 11 Apr 2004 17:24:22 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: David Kellogg Subject: Re: Yeats meets Iraq In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 8bit It sure as hell isn't Yeats. More "Yeast" than Yeats, to use Joyce's name for WBY in _Finnegans Wake_. For the record, _this_ is Yeats: The Second Coming Turning and turning in the widening gyre The falcon cannot hear the falconer; Things fall apart; the centre cannot hold; Mere anarchy is loosed upon the world, The blood-dimmed tide is loosed, and everywhere The ceremony of innocence is drowned; The best lack all conviction, while the worst Are full of passionate intensity. Surely some revelation is at hand; Surely the Second Coming is at hand. The Second Coming! Hardly are those words out When a vast image out of _Spiritus Mundi_ Troubles my sight: somewhere in sands of the desert A shape with lion body and the head of a man, A gaze blank and pitiless as the sun, Is moving its slow thighs, while all about it Reel shadows of the indignant desert birds. The darkness drops again; but now I know That twenty centuries of stony sleep Were vexed to nightmare by a rocking cradle, And what rough beast, its hour come round at last, Slouches towards Bethlehem to be born? Quoting Richard Flynn : > Isn't this Joni Mitchell's song lyrics version of Yeats? > > -----Original Message----- > From: UB Poetics discussion group > [mailto:POETICS@LISTSERV.BUFFALO.EDU]On Behalf Of Stephen Vincent > Sent: Sunday, April 11, 2004 5:02 PM > To: POETICS@LISTSERV.BUFFALO.EDU > Subject: Yeats meets Iraq > > > It's hard for me not to feel the echoes and accuracy of of this one > as Iraq collapses under the weight of events that this country has > precipitated. Whatever one wants, it's hard to say "Happy Easter" without a > certain twist in the gut. > > > The Second Coming > > Turning and turning > Within the widening gyre > The falcon cannot hear the falconer > Things fall apart > The center cannot hold > And a blood dimmed tide > Is loosed upon the world > > Nothing is sacred > The ceremony sinks > Innocence is drowned > In anarchy > The best lack conviction > Given some time to think > And the worst are full of passion > Without mercy > > Surely some revelation is at hand > Surely it's the second coming > And wrath has finally taken form > For what is this rough beast > Its hour come at last > Slouching towards Bethlehem to be born > Slouching towards Bethlehem to be born > > Hoping and hoping > As if by my weak faith > The spirit of this world > Would heal and rise > Vast are the shadows > That straddle and strafe > And struggle in the darkness > Troubling my eyes > > Shaped like a lion > It has the head of a man > With a gaze as blank > And pitiless as the sun > And it's moving its slow thighs > Across the desert sands > Through dark indignant > Reeling falcons > > Surely some revelation is at hand > Surely it's the second coming > And the wrath has finally taken form > For what is this rough beast > Its hour come at last > Slouching towards Bethlehem to be born > Slouching towards Bethlehem to be born > > Raging and raging > It rises from the deep > Opening its eyes > After twenty centuries > Vexed to a nightmare > Out of a stormy sleep > By a rocking cradle > By the Sea of Galilee > > Surely some revelation is at hand > Surely it's the second coming > And the wrath has finally taken form > For what is this rough beast > Its hour come at last > Slouching towards Bethlehem to be born > Slouching towards Bethlehem to be born > David Kellogg Center for Teaching, Learning, and Writing Duke University (919) 668-1615; FAX (919) 681-0637 ========================================================================= Date: Sun, 11 Apr 2004 17:27:32 -0400 Reply-To: az421@freenet.carleton.ca Sender: UB Poetics discussion group From: Rob McLennan Subject: rob mclennan etc tour in April, May Content-transfer-encoding: 7BIT im doing some launches for my 9th poetry collection, what's left (Talonbooks), the 2nd in a trilogy that includes paper hotel (2001, Broken Jaw Press). even if you dont care about that, there are some other folk launching books too -- Barry McKinnon, Gil McElroy, Stephen Brockwell & Jonathan Bennett, & other readings with Andy Weaver, meghan jackson, Adam Getty, etc. Vancouver, Victoria, Edmonton (tba), Calgary, Lethbridge (tba), Winnipeg, Toronto, Hamilton, New Hamburg, Kingston (tba), Ottawa, Montreal (tba), Halifax, Charlottetown & Sackville. http://www.track0.com/rob_mclennan/tour_schedule.htm for more info on talontitles, check out www.talonbooks.com various rob rants & rambles at www.robmclennan.blogspot.com ========= -- poet/editor/pub. ... ed. STANZAS mag & side/lines: a new canadian poetics (Insomniac)...pub., above/ground press ...coord.,SPAN-O + ottawa small press fair ...8th coll'n - red earth (Black Moss) ...c/o RR#1 Maxville ON K0C 1T0 www.track0.com/rob_mclennan * http://robmclennan.blogspot.com/ ========================================================================= Date: Sun, 11 Apr 2004 17:45:14 -0400 Reply-To: Millie Niss on eathlink Sender: UB Poetics discussion group From: Millie Niss on eathlink Subject: Iraquiad Comments: To: webartery@yahoogroups.com MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit I wrote this a while ago, thought it might amuse.... The Iraqiad: Book One Sing, O Goddess of the wrath of W, son of George HW, that brought upon the Iraqis Countless ills, thrusting many a brave soul down to Hades, and fed the vultures From the bodies of many heroes, and the dogs as well, for so were the counsels Of Jove, fulfilled onward from that accursed day when W and the great UN began to quarrel bitterly. And which of the Gods set them on to quarrel? It was the son of Jove and Leto, for he was angry with W, and sent airplanes full of death To attack W's fort and the two towers belonging to his allies, and great was W's wrath, For he thought he was inviolable. Yet greater still was his greed, and so the weasely W Sacrificed many randy goats, and even more stubborn oxen, to assuage the Gods Who sent him this curse. But secretly, keeping his own counsel, W of the empty head Gave praise to all the Gods who dwell in Olympus for the wondrous opportunity Which this disaster sent to him, and empty-headed W jumped for joy in the manner Of a wild deer who, starved of grass by the endless snows of winter, jumps towards A branch of pine to garner its prickly nutrients: thus did W jump alone in his oval tent, When all his warriors and all his counselors were busy obeying the orders that he sent. And a great cloud of Downsizing and Hunger was let forth upon the people of America, for so is the hard custom of the Gods, who, in their infinite and unassailable wisdom, punish the many and innocent citizens of a Land whose king has offended virtue, So that, like a wave upon the boiling sea that topples beach houses and dikes as it strikes The craggy land, they rise up and with one voice, topple the traitor King. Such is the will of the Gods. ========================================================================= Date: Sun, 11 Apr 2004 16:51:12 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: ela kotkowska Subject: Re: Baghdad Burning - from the inside In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable thanks for pointing out this blog.=20 i posted a list of other interesting iraq (-related) blogs at my april 8 entry @ http://incertainplume.blogspot.com - when you read the blogs, make sure to read the comments -- oftentimes they're as extensive & as interesting as the blog entries themselves. -ela=20 -----Original Message----- From: UB Poetics discussion group [mailto:POETICS@LISTSERV.BUFFALO.EDU] = On Behalf Of Stephen Vincent Sent: Sunday, April 11, 2004 3:55 PM To: POETICS@LISTSERV.BUFFALO.EDU Subject: Baghdad Burning - from the inside For those who don't already tap direct in this blog: http://riverbendblog.blogspot.com/ Baghdad Burning ... I'll meet you 'round the bend my friend, where hearts can heal and = souls can mend... Sunday, April 11, 2004 =A0 One of Those Countries... We've taken to sleeping in the living room again. We put up the heavy = drapes the day before yesterday and E. and I re-taped the windows looking out = into the garden. This time, I made them use the clear tape so that the view wouldn't be marred with long, brown strips of tape. We sleep in the = living room because it is the safest room in the house and the only room that = will hold the whole family comfortably. The preparations for sleep begin at around 10 p.m. on days when we have electricity and somewhat earlier on dark nights. E. and I have to drag = out the mats, blankets and pillows and arrange them creatively on the floor = so that everyone is as far away from the windows as possible, without = actually being crowded.=20 Baghdad is calm and relatively quiet if you don't count the frequent explosions. Actually, when we don't hear explosions, it gets a bit = worrying. I know that sounds strange but it's like this- you know how you see = someone holding a rifle or gun and aiming at something, ready to fire? You = cringe and tense up while waiting for the gunshot and keep thinking, "It's = coming, it's coming...". That's how it feels on a morning without explosions. Somehow, you just *know* there are going to be explosions... it's only a matter of time. Hearing them is a relief and you can loosen up after = they occur and hope that they'll be the last of the day. The hostage situations are a mess. I watch television and it feels like = I'm watching another country. All I can think is, "We've become one of = *those* countries..." You know- the ones where hostages are taken on a daily = basis and governments warn their civilians of visiting or entering the = country. It's especially sad because even during those long years during the = blockade and in between wars and bombings, there were never any attacks on foreigners. Iraqis are hospitable, friendly people who always used to = treat foreigners with care... now, everyone is treated like a potential enemy. The case of the Japanese hostages is especially sad- I'm so sorry for = their families and friends specifically, and the Japanese people in general. = We keep hearing conflicting reports about their situation. This morning I = heard that the kidnappers agreed to free them but someone else told me that it = was just a rumor... it's so hard to tell. It's heart-breaking to see them on television and I wish there was something that could be done. Will the Japanese government pull out the troops? Not likely... three people = won't matter to them. I hope they come out of this alive and well and I hope = they don't hold a grudge against Iraqis. There's hostility towards Japan = because of the fact that they sent soldiers... Japan became one of 'them' when = they decided to send over troops and these are the consequences. I'm so = sorry... in spite of the fact that dozens of Iraqis are abducted and killed each = day, I'm really sorry.=20 They say around 600 Iraqis were killed in Falloojeh- 120 children and = 200 women... it's an atrocity and horribly sad. They have let one or two = convoys in and the rest were sent back. The refugees from the area are flowing = into Baghdad and it's horrible to see them. Women and children with = tear-stained faces, mostly in black, carrying bundles of clothes and bottles of = water. The mosques are gathering food and clothes for them... one of the = storage areas for the refugee stuff was hit by an American tank today in = A'adhamiya and the scene is chaotic... scattered food, medication, bandages, = blankets, etc.=20 The south is a bit calmer because of the 'Arba'een' of the Imam Hussein which will last for a couple of days... no one knows what will happen = after. ========================================================================= Date: Sun, 11 Apr 2004 22:55:29 +0100 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "david.bircumshaw" Subject: Re: Yeats meets Iraq MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit I love the notion of Yeats as a moral spirit declaiming upon the evils of war. This is the same Yeats who quoted 'Send war in our time, Oh Lord', who despised the sufferings of the soldiers in the WW1 trenches, who carefully footnoted The Second Coming so that conservative readers would not be perturbed, whose first biographer, Joseph Hone, was a crypto-fascist in sympathy with Hitler, who waxed lyrical about the eternities of race on the eve of WW2, who .... aw, no more, I don't want to think about it anymore. A great musicality, for sure, but what he says ..... Best Dave David Bircumshaw Spectare's Web, A Chide's Alphabet & Painting Without Numbers http://www.chidesalphabet.org.uk ========================================================================= Date: Sun, 11 Apr 2004 20:18:22 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Timothy Yu Subject: Re: Intelligent White Silliman Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" Murat, these are interesting questions. I think you're right that the case of Villa shows how characterizing a poet in terms of certain formal qualities (experiment, avant-gardism, etc.) can be simultaneously a way of comprehending and controlling that poet's social identity. I'm not sure it would be quite right to say that Villa was considered avant-garde, but rather that he was read as a modernist. Of course, the relation between these two terms is totally fraught, but at least for some critics "modernism" signifies the work of individual writers (Eliot, Joyce, Woolf, for example) who have been inserted into a canonical narrative about the Anglo-American literary tradition, while "avant-garde" suggests a practice that positions itself outside and questions that tradition. For example, it's been important for some critics to claim Gertrude Stein's work as modernist--capable of standing beside that of Joyce or Woolf in the canon--while others (I'm thinking of Marianne DeKoven, for example) insist on claiming Stein as an avant-gardist who stands outside and critiques the institutions of modernism. It's important to remember that the U.S. "establishment" that Villa confronted during his brief rise to prominence in the 1950s was one dominated by the ideology of modernism (or, at least, a New Critical redaction of modernism). I would argue (although others might disagree) that Villa's poetry reflects a quite conscious effort to gain access to this establishment, as reflected in his flamboyant allusions to Hopkins, Dickinson, the metaphysicals, etc.--allusions that his readers very much picked up on. So I don't think that to regard Villa as an "outsider" in this respect--i.e. one who does not care at all how readers receive him--is quite accurate, although his rapid fall from favor shows that his position as "insider" was unstable, inflected not just by style but by race, nationality, and colonialism. More generally: is the idea of the "outsider" writer really a useful one? Every writer has some idea of an audience (even an imagined one), and ostensible indifference to the response of the "establishment" is a fairly widespread authorial fiction. A Hollywood director who professes indifference to critics' responses doesn't cease to be Hollywood, nor does the writer who claims to write only for herself or himself (a very common claim) become thus disqualified for a Pulitzer prize or canonization. In fact, I wonder if the fiction of not caring what anyone calls one's writing can blind one to the way literary politics, power, and economics really work. Your remarks remind me of Howard Becker's book _Art Worlds_, which argues that the only way art institutions and conventions change is through the appearance of individual "mavericks" who couldn't care less about convention, but whose work then ends up rewriting the rules. This is romantically appealing, but I think it's much more the case that multiple "art worlds" coexist at any one time, each with its own structure, with relations of power between them. That's one lesson of the idea of the avant-garde, which is aware of itself as a group with institutions outside that of the dominant art world, but whose major goal may not be acceptance by those dominant institutions. As to "establishment" vs. "mainstream": what they have in common is that they're basically negative terms, employed by those who see themselves as dissident, rebellious, excluded or merely distinctive--so they really have no stable content, since they're used by different people for different reasons at different times. (You don't hear too many poets proudly proclaiming how "mainstream" or "establishment" their work is.) They do have different period rings to my ear, though. "Establishment" sounds very 1950s or '60s--some idea of a monolithic and elitist culture or academy that needs to be overthrown from below. "Mainstream" sounds more contemporary, both more aware of the diffuseness of poetic practice and perhaps less explicit about attaching those practices to particular institutions of power--maybe more appropriate for a culture in which "alternative" is a section in the record store. Tim http://tympan.blogspot.com --- >Date: Sun, 11 Apr 2004 02:22:15 EDT >Reply-To: UB Poetics discussion group >Sender: UB Poetics discussion group >From: Murat Nemet-Nejat >Subject: Re: Intelligent White Silliman >Timothy, >I just read your essay on Jose Garcia >Villa >(http://meritagepress.com/pinoypoetics.htm). A main idea >behind your essay, it seems >to me, is how in Villa's case the >description of his work as avant-garde (or not) by >the >establishment was one way for the establishment to place him >within a previously >comprehensible framework -"inscrutable," >"animal power," etc. I have two questions: >a) Why should an outsider writer care what or how the establishment >calls his/her >work? Is it an outsidedness that wishes to be >recognized? Is that wish inevitable >though maybe dangerous? >b) Are "establishment" and "mainstream" the same thing? >Murat ========================================================================= Date: Sun, 11 Apr 2004 20:49:32 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Eric Elshtain Subject: New Poetry and Gnoetry MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 8bit Beard of Bees Press is pleased to announce the publication of two new chapbooks: "An Excerpt From Exchanges on Light" by Jacques Roubaud, translated by Eleni Sikelianos. "Field Test Two" by Gnoetry 0.2 and others. To read "An Excerpt From Exchanges on Light", go to: http://www.beardofbees.com/pubs/Exchanges_On_Light.pdf To read "Field Test Two", go to: http://www.beardofbees.com/pubs/Field_Test_Two.pdf To learn about Jacques Roubaud or Eleni Sikelianos, go to: http://www.beardofbees.com/roubaud.html http://www.beardofbees.com/sikelianos.html To learn about Gnoetry, go to: http://www.beardofbees.com/gnoetry.html For a complete list of Beard of Bees publications, go to: http://www.beardofbees.com/publications.html _______________________________________________ BoB-announce mailing list BoB-announce@beardofbees.com http://lists.beardofbees.com/mailman/listinfo/bob-announce ========================================================================= Date: Sun, 11 Apr 2004 21:55:24 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Steven Shoemaker Subject: Re: Yeats meets Iraq In-Reply-To: <1081718662.4079b78657e61@webmail.duke.edu> MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Nice to have the record straight, but I've always hated this poem anyway... Steve On Sun, 11 Apr 2004, David Kellogg wrote: > It sure as hell isn't Yeats. More "Yeast" than Yeats, to use Joyce's name for > WBY in _Finnegans Wake_. > > For the record, _this_ is Yeats: > > The Second Coming > > Turning and turning in the widening gyre > The falcon cannot hear the falconer; > Things fall apart; the centre cannot hold; > Mere anarchy is loosed upon the world, > The blood-dimmed tide is loosed, and everywhere > The ceremony of innocence is drowned; > The best lack all conviction, while the worst > Are full of passionate intensity. > > Surely some revelation is at hand; > Surely the Second Coming is at hand. > The Second Coming! Hardly are those words out > When a vast image out of _Spiritus Mundi_ > Troubles my sight: somewhere in sands of the desert > A shape with lion body and the head of a man, > A gaze blank and pitiless as the sun, > Is moving its slow thighs, while all about it > Reel shadows of the indignant desert birds. > The darkness drops again; but now I know > That twenty centuries of stony sleep > Were vexed to nightmare by a rocking cradle, > And what rough beast, its hour come round at last, > Slouches towards Bethlehem to be born? > > > Quoting Richard Flynn : > > > Isn't this Joni Mitchell's song lyrics version of Yeats? > > > > -----Original Message----- > > From: UB Poetics discussion group > > [mailto:POETICS@LISTSERV.BUFFALO.EDU]On Behalf Of Stephen Vincent > > Sent: Sunday, April 11, 2004 5:02 PM > > To: POETICS@LISTSERV.BUFFALO.EDU > > Subject: Yeats meets Iraq > > > > > > It's hard for me not to feel the echoes and accuracy of of this one > > as Iraq collapses under the weight of events that this country has > > precipitated. Whatever one wants, it's hard to say "Happy Easter" without a > > certain twist in the gut. > > > > > > The Second Coming > > > > Turning and turning > > Within the widening gyre > > The falcon cannot hear the falconer > > Things fall apart > > The center cannot hold > > And a blood dimmed tide > > Is loosed upon the world > > > > Nothing is sacred > > The ceremony sinks > > Innocence is drowned > > In anarchy > > The best lack conviction > > Given some time to think > > And the worst are full of passion > > Without mercy > > > > Surely some revelation is at hand > > Surely it's the second coming > > And wrath has finally taken form > > For what is this rough beast > > Its hour come at last > > Slouching towards Bethlehem to be born > > Slouching towards Bethlehem to be born > > > > Hoping and hoping > > As if by my weak faith > > The spirit of this world > > Would heal and rise > > Vast are the shadows > > That straddle and strafe > > And struggle in the darkness > > Troubling my eyes > > > > Shaped like a lion > > It has the head of a man > > With a gaze as blank > > And pitiless as the sun > > And it's moving its slow thighs > > Across the desert sands > > Through dark indignant > > Reeling falcons > > > > Surely some revelation is at hand > > Surely it's the second coming > > And the wrath has finally taken form > > For what is this rough beast > > Its hour come at last > > Slouching towards Bethlehem to be born > > Slouching towards Bethlehem to be born > > > > Raging and raging > > It rises from the deep > > Opening its eyes > > After twenty centuries > > Vexed to a nightmare > > Out of a stormy sleep > > By a rocking cradle > > By the Sea of Galilee > > > > Surely some revelation is at hand > > Surely it's the second coming > > And the wrath has finally taken form > > For what is this rough beast > > Its hour come at last > > Slouching towards Bethlehem to be born > > Slouching towards Bethlehem to be born > > > > > David Kellogg > Center for Teaching, Learning, and Writing > Duke University > (919) 668-1615; FAX (919) 681-0637 > ========================================================================= Date: Sun, 11 Apr 2004 20:57:47 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Eric Elshtain Subject: name correction and brief note on Beard of Bees MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 8bit Mr. Ray Bianchi very kindly mentioned me in his email about Chicago poets and poetry; however, my name was misspelled. It should read Eric Elshtain. I also wanted to mention that Beard of Bees Press, a web-based free press out of Chicago, is accepting submissions for poetry chapbooks. Known mostly for being the home of gnoetry, a computer-generated poetry program, we also have published chapbooks by Catherine Daly, Amy England, Antonio Facchino and Jacques Roubaud (translated by Eleni Sikelianos). We are interested in procedural, constraint-driven poetries (be the constraints metrical, algorithmic, ideational or etc.) ========================================================================= Date: Sun, 11 Apr 2004 21:25:58 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: mIEKAL aND Subject: front channel for Bill Allegrezza Mime-Version: 1.0 (Apple Message framework v543) Content-Type: text/plain; charset=US-ASCII; format=flowed Content-Transfer-Encoding: 7bit Bill My emails to you are being returned. Drop me a line from an address which works. Spring has entered the Text here in WI. Something about the bloom. mIEKAL ========================================================================= Date: Sun, 11 Apr 2004 21:33:30 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Haas Bianchi Subject: Re: name correction and brief note on Beard of Bees In-Reply-To: <1081735067.4079f79b2ce05@webmail.uchicago.edu> MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit eric thanks for the email I changed your name on the website sorry for the error I can post this would you like a chapbook from me as well? R Raymond L Bianchi chicagopostmodernpoetrycalendar.blogspot.com/ collagepoetchicago.blogspot.com/ > -----Original Message----- > From: UB Poetics discussion group > [mailto:POETICS@LISTSERV.BUFFALO.EDU]On Behalf Of Eric Elshtain > Sent: Sunday, April 11, 2004 8:58 PM > To: POETICS@LISTSERV.BUFFALO.EDU > Subject: name correction and brief note on Beard of Bees > > > Mr. Ray Bianchi very kindly mentioned me in his email about > Chicago poets and > poetry; however, my name was misspelled. It should read Eric Elshtain. > > I also wanted to mention that Beard of Bees Press, a web-based > free press out of > Chicago, is accepting submissions for poetry chapbooks. Known > mostly for being > the home of gnoetry, a computer-generated poetry program, we also > have published > chapbooks by Catherine Daly, Amy England, Antonio Facchino and > Jacques Roubaud > (translated by Eleni Sikelianos). > > We are interested in procedural, constraint-driven poetries (be > the constraints > metrical, algorithmic, ideational or etc.) > ========================================================================= Date: Mon, 12 Apr 2004 05:15:24 +0200 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "=?iso-8859-1?q?P.=20Backonja?=" Subject: crag hill contact info MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit i need crag hill's email thanks petra backonja Yahoo! Mail (http://dk.mail.yahoo.com) - Gratis: 6 MB lagerplads, spamfilter og virusscan ========================================================================= Date: Sun, 11 Apr 2004 20:44:25 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: kari edwards Subject: *26 Magazine* In-Reply-To: <20040412031524.83243.qmail@web25110.mail.ukl.yahoo.com> Content-Type: text/plain; charset=WINDOWS-1252; format=flowed Mime-Version: 1.0 (Apple Message framework v553) Content-Transfer-Encoding: quoted-printable *26 Magazine* 7-9 PM at 21 Grand 449 B 23rd St. Oakland $4 cover for your thirsty maws Release Party for Magazine 26! Thursday, April 29th we will be celebrating the much anticipated release of 26 Magazine, Issue C: a journal of poetry and poetics with readers Linda Norton, Brian Teare kari edwards and James Meetze. 26 is a Bay Area based magazine edited by Avery E.D. Burns, Rusty Morrison, Joseph Noble, Elizabeth Robinson and Brian Strang. There will be wine, friends and good company, plus, copies of 26 will be available for purchase at the event. About the readers: Linda Norton is a senior editor of the Regional Oral History Office in the Bancroft Library at the University of California. She has published her poems, stories, essays, stories, and collages in a number of little magazines, and has written lyrics for music by composer Eve Beglarian. That piece, "Landscaping for Privacy," has been performed, translated, recorded on an Emergency Music CD on CRI. Brian Teare has been recipient of Stegner, National Endowment for the Arts, and MacDowell Colony fellowships and has published poems in Volt, Boston Review, Ploughshares, and the Colorado Review. His first book, The Room Where I was Born, won the 2003 Brittingham Prize and was published by the University of Wisconsin Press. James Meetze is the author of *Serenades,* just published by Cy Press, and the publisher of Tougher Disguises Press. Of his work, John Donne says, "Thou shalt not love by ways so dangerous" and Emily Dickinson, "The man who would possess must first present certificate of...his absent character." He now calls San Francisco home, where he lives with his beautiful novelist and radio and palace. His book Instrument & Amplifier is hopefully forthcoming from somewhere...Or you could just use the one in 26. kari edwards, author of iduna, O Books (fall 2003), a day in the life of p., subpress collective (2002), and a diary of lies - Belladonna #27 by Belladonna Books (2002). edwards=92 work can also be found in Blood and Tears: an anthology on Matthew Shepard, Painted leaf Press (2000) Aufgabe, Fracture, Bombay Gin, Van Gogh=92s Ear, Vert, 88: A Journal of Contemporary American Poetry, Narrativity, Shampoo, Big Bridge, Word/For Word, 5 Trope, and and The International Journal of Sexuality and Gender Studies. ========================================================================= Date: Sun, 11 Apr 2004 20:45:24 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: kari edwards Subject: Re: name correction and brief note on Beard of Bees In-Reply-To: <000b01c42036$8aec95e0$1c290e18@attbi.com> Content-Type: text/plain; charset=US-ASCII; format=flowed Mime-Version: 1.0 (Apple Message framework v553) Content-Transfer-Encoding: 7bit Raymond.. to add one more correction.. no caps in my name... thanks.. I look forward to working with you.. k On Sunday, April 11, 2004, at 07:33 PM, Haas Bianchi wrote: > eric > > thanks for the email I changed your name on the website sorry for the > error > I can post this would you like a chapbook from me as well? > > R > > Raymond L Bianchi > chicagopostmodernpoetrycalendar.blogspot.com/ > collagepoetchicago.blogspot.com/ > >> -----Original Message----- >> From: UB Poetics discussion group >> [mailto:POETICS@LISTSERV.BUFFALO.EDU]On Behalf Of Eric Elshtain >> Sent: Sunday, April 11, 2004 8:58 PM >> To: POETICS@LISTSERV.BUFFALO.EDU >> Subject: name correction and brief note on Beard of Bees >> >> >> Mr. Ray Bianchi very kindly mentioned me in his email about >> Chicago poets and >> poetry; however, my name was misspelled. It should read Eric >> Elshtain. >> >> I also wanted to mention that Beard of Bees Press, a web-based >> free press out of >> Chicago, is accepting submissions for poetry chapbooks. Known >> mostly for being >> the home of gnoetry, a computer-generated poetry program, we also >> have published >> chapbooks by Catherine Daly, Amy England, Antonio Facchino and >> Jacques Roubaud >> (translated by Eleni Sikelianos). >> >> We are interested in procedural, constraint-driven poetries (be >> the constraints >> metrical, algorithmic, ideational or etc.) >> > ========================================================================= Date: Mon, 12 Apr 2004 00:19:14 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: prayer of repetition murder and suicide MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII prayer of repetition murder and suicide it's control under it's control under we alliance have we a have strategic a alliance strategic if children man a wishes man to wishes separate to from separate his from wife his who wife has who born has him born no him children no should we kill should our kill selves our over selves this over war this pray equalized that pray iraqi that civilian iraqi and civilian american and deaths american are deaths equalized are nightmare this of nightmare empire of comes empire an to end an bush that loses bush 1 loses oz. 1 flesh oz. for flesh every for killed civilian is that being is generous being tactics have it's under control we have a strategic we alliance have if his man who wishes has to born separate him from no his children wife if who a has man born wishes him to no separate children from should should kill kill our our selves selves over over this this war war pray that that iraqi iraqi civilian civilian and and american american deaths deaths are are equalized equalized pray nightmare of of empire empire comes comes to an end end pray bush oz. loses flesh 1 for oz. every flesh civilian for killed every pray killed bush is being and generous that tactics it's under control we have a strategic alliance if man wishes to separate from his wife who has born him no children should kill our selves over this war pray that iraqi civilian and american deaths are equalized nightmare of empire comes an end bush loses 1 oz. flesh for every killed is being generous tactics it's it's under under control control a alliance strategic we alliance have a no him who no has children born we over over kill this our war selves deaths civilian are and equalized american pray to this an an empire end comes that civilian every oz. killed for and is is generous being and generous that tactics tactics it's under control we have a strategic alliance if a man wishes to separate from his wife who has born him no children we should kill our selves over this war pray that iraqi civilian and american deaths are equalized pray this nightmare of empire comes to an end pray that bush loses 1 oz. flesh for every civilian killed and that is being generous we have tactics _ ========================================================================= Date: Mon, 12 Apr 2004 00:19:27 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: modest proposal MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII a modest proposal that one american civilian be killed for each iraqi civilian killed a heart for a heart a tooth for a tooth in all fairness i will be first someone must be first war will never end our lives are dangerous _ ========================================================================= Date: Mon, 12 Apr 2004 00:24:51 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Murat Nemet-Nejat Subject: Re: Intelligence Comments: To: kaajumiah@YAHOO.COM MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit In a message dated 04/11/04 8:29:05 AM, kaajumiah@YAHOO.COM writes: > Leslie Scalapino sends chapters from "Front Matter, > Dead Souls" to editorial pages of local newspapers > during the Gulf War. Transgressive and maybe a little > "performative" in that the act asked your average > sunday morning paper readers to encounter and accept > "avant-garde" art not in context of "avant-garde" but > in context of acceptable mode of daily communication. > This is made much more interesting, I believe, by the > fact that the act was done in total earnest--i.e. > probably without either "transgressive" or > "performative" intent as I read it, but rather > Scalapino's sincere belief in conceptual equivalence > between a letter to the editor on the Gulf War and a > chapter from that book and their mutual ability to > communicate their content. > > That's the point I am trying to make. The avant garde isolates certains forms -in the last decade or so, specifically, the narrative- from "legimitate" poetic activity from its point of view. This anti-narrative bias has specific consequences how a poem is viewed. Does that make the narrative -or any poetic activity implicitly based on its significance- illegitimate, backward or unadventurous? For writers whose sensibilities are not exclusively Western European, that's an infuriating assumption. That's partly the focus behind my question, "Why should an outsider writer care what or how the establishment calls his/her work?" Murat ========================================================================= Date: Mon, 12 Apr 2004 00:40:55 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Steven Shoemaker Subject: Shale Scarp contact info In-Reply-To: <20040412031524.83243.qmail@web25110.mail.ukl.yahoo.com> MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Please backchannel. Thanks! ========================================================================= Date: Sun, 11 Apr 2004 21:43:04 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Deborah Subject: Manifesto de la poesie MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable \In ordinary ink on ordinary paper:=20 they were given no food, all died of hunger\ (all died with a hunger). =20 Tell the truth, now, tell the truth. Did you hear me? Tell the truth. Speak it like a sex stutter, analyzing creatively through the fog. Be smart. Be wicked smart like you are. Speak to those who are dumb sometimes. And speak wisely to those you aren=92t. Love your neighbor. Remember, most car crashes happen a mile from home. Love your neighbor through words. Love the words through language. Between language and meaning, there is a roar. Roar. Be a populist like Tony Kushner. Be enigmatic like Michael Palmer. Make your readers think. Build multiplicity into a line, a phrase, one word. Get one word in edgewise. Love your poetry. Poetry will love you back. Stab Dana Goia in the back with vicious poetry rumors. Start a rumor. Make the poem this rumor. Be humorous. Make them laugh while they think. Think of your audience. Don=92t be a selfish whore. Give like life. And give to life what it = gives you. Surprise the life in you. Surprise the life in them. Surprise the life of anOther. Be unexpected. Be unpredictably predictable. And make it sound. Make the words sound what they are. Make the words sound the love. Make the words connect. Connect the words to the real. Connect the real to the heart and mind. \Wring the rag of sunlight. Lick the shadows up.\ Don=92t be sentimental, even though the dumb want it. Speak. Let yourself be extracted. And let them un-extract. Break the rules. Rules are meant to be broken. Don=92t be clich=E9. Clich=E9s are meant to be = broken. Take other languages under your wing. Speak them. Un-explore them. De-colonize them. Bring them home. Return to home. Recover. Tell the truth, now. Come now, tell the truth. =20 =20 1 \ =3D Szymborska 2 \ =3D Charles Wright ========================================================================= Date: Sun, 11 Apr 2004 18:54:14 -1000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Susan M. Schultz" Subject: experimental writing by persons of color Mime-Version: 1.0 (Apple Message framework v553) Content-Type: text/plain; charset=US-ASCII; format=flowed Content-Transfer-Encoding: 7bit There are so many venues for this kind of writing these days; there's really no excuse for the homogeneity so often assumed XCP Chain Tinfish Leroy Atelos trout Tripwire and on and on and on Just to make the point again. Susan Susan M. Schultz http://tinfishpress.com now available: _And Then Something Happened_ http://saltpublishing.com/books/smp/1844710165.htm ========================================================================= Date: Mon, 12 Apr 2004 00:05:54 -0500 Reply-To: nudel-soho@mindspring.com Sender: UB Poetics discussion group From: Harry Nudel Subject: Spring... Mime-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit each nite i wriestle the angel to a dead draw the poem is ne'er rite the bell sounds down for the count... 1:00...restless...drn.. ========================================================================= Date: Mon, 12 Apr 2004 01:22:16 -0400 Reply-To: nudel-soho@mindspring.com Sender: UB Poetics discussion group From: Harry Nudel Subject: Spring Correction.... Mime-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Easter Sunday Grace Church bells pealing-kids dressed to the nines-hurrying to morning mass... it takes a 'modernist' poets eye to see the gristede's plastic bag hung among the cherry blooms... 1:10...always an I too many..in last pome..dizziiest..drin... ========================================================================= Date: Sun, 11 Apr 2004 22:44:35 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: alexander saliby Subject: Re: Shale Scarp contact info MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Steven, Got this note, but I'm uncertain you were asking for my attention. Alex=20 ----- Original Message -----=20 From: Steven Shoemaker=20 To: POETICS@LISTSERV.BUFFALO.EDU=20 Sent: Sunday, April 11, 2004 9:40 PM Subject: Shale Scarp contact info Please backchannel. Thanks! ========================================================================= Date: Mon, 12 Apr 2004 01:58:27 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: andrew loewen Subject: Apology. MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Ok, Timothy Yu has noted that a qualified apology is really no apology at all. Fair enough: I apologise for making remarks which were hurtful. I am sorry. As for Leny Strobel's question of whether 'a non-racist' can say racist things, I presume this is in gest(?) Can a feminist inadertantly say misogynist things? Can a kind person say mean things? Can an intelligent person say stupid things? Can someone trying to argue a point reinforce its opposite? Can an adult say childish things? Surely the answer to these questions is yes. As to the degree of respect or compassion with which one responds to such remarks, I would suggest this too bears on the debate. sincerely, Andrew. ______________________________________________________________________ Post your free ad now! http://personals.yahoo.ca ========================================================================= Date: Mon, 12 Apr 2004 02:00:33 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: andrew loewen Subject: Apology. MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Ok, Timothy Yu has noted that a qualified apology is really no apology at all. Fair enough: I apologise for making remarks which were hurtful. I am sorry. As for Leny Strobel's question of whether 'a non-racist' can say racist things, I presume this is in jest(?) Can a feminist inadertantly say misogynist things? Can a kind person say mean things? Can an intelligent person say stupid things? Can someone trying to argue a point reinforce its opposite? Can an adult say childish things? Surely the answer to these questions is yes. As to the degree of respect or compassion with which one responds to such remarks, I would suggest this too bears on the debate. sincerely, Andrew. ______________________________________________________________________ Post your free ad now! http://personals.yahoo.ca ========================================================================= Date: Sun, 11 Apr 2004 23:28:26 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Stephen Vincent Subject: Re: Yeats meets Iraq In-Reply-To: <1081718662.4079b78657e61@webmail.duke.edu> Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit Thanks, David, for cleaning up the record here. What a "Googling" embarrassment on my part! On top of which it's a Julie Mitchell "improv" version! I imagine slipshod Google cut & paste 'research' is one of the banes of contemporary education. Also curious to see the upheaval at Yeats by some - just looking at the poem's text (and not blending in the disturbing aspects of the poet's biography) I do find parts of the poem's sense of disintegration and helplessness to be appropriate in context of what's happening in Iraq and "our" involvement there. But if that angst seems textualized as too retro Christian & mytho what else, I guess one can imagine, if an ironic reading is required, a scene in which S Hussein is reading the first stanza("things fall apart" etc.) aloud from within his cave. Audiences at the 9/11 Commission Hearings could call out and demand, "Surely some revelation is at hand." And poor George B himself, down in Crawford, "vexed" and "slouching" in and and out of his pickup truck while getting the un-spun news direct from Iraq on the panel intercom is getting pissed and petulantly shouting out, "Surely the Second Coming is at hand." Oh well, still embarrassed, Stephen V Blog: http://stephenvincent.durationpress.com > It sure as hell isn't Yeats. More "Yeast" than Yeats, to use Joyce's name for > WBY in _Finnegans Wake_. > > For the record, _this_ is Yeats: > > The Second Coming > > Turning and turning in the widening gyre > The falcon cannot hear the falconer; > Things fall apart; the centre cannot hold; > Mere anarchy is loosed upon the world, > The blood-dimmed tide is loosed, and everywhere > The ceremony of innocence is drowned; > The best lack all conviction, while the worst > Are full of passionate intensity. > > Surely some revelation is at hand; > Surely the Second Coming is at hand. > The Second Coming! Hardly are those words out > When a vast image out of _Spiritus Mundi_ > Troubles my sight: somewhere in sands of the desert > A shape with lion body and the head of a man, > A gaze blank and pitiless as the sun, > Is moving its slow thighs, while all about it > Reel shadows of the indignant desert birds. > The darkness drops again; but now I know > That twenty centuries of stony sleep > Were vexed to nightmare by a rocking cradle, > And what rough beast, its hour come round at last, > Slouches towards Bethlehem to be born? > > > Quoting Richard Flynn : > >> Isn't this Joni Mitchell's song lyrics version of Yeats? >> >> -----Original Message----- >> From: UB Poetics discussion group >> [mailto:POETICS@LISTSERV.BUFFALO.EDU]On Behalf Of Stephen Vincent >> Sent: Sunday, April 11, 2004 5:02 PM >> To: POETICS@LISTSERV.BUFFALO.EDU >> Subject: Yeats meets Iraq >> >> >> It's hard for me not to feel the echoes and accuracy of of this one >> as Iraq collapses under the weight of events that this country has >> precipitated. Whatever one wants, it's hard to say "Happy Easter" without a >> certain twist in the gut. >> >> >> The Second Coming >> >> Turning and turning >> Within the widening gyre >> The falcon cannot hear the falconer >> Things fall apart >> The center cannot hold >> And a blood dimmed tide >> Is loosed upon the world >> >> Nothing is sacred >> The ceremony sinks >> Innocence is drowned >> In anarchy >> The best lack conviction >> Given some time to think >> And the worst are full of passion >> Without mercy >> >> Surely some revelation is at hand >> Surely it's the second coming >> And wrath has finally taken form >> For what is this rough beast >> Its hour come at last >> Slouching towards Bethlehem to be born >> Slouching towards Bethlehem to be born >> >> Hoping and hoping >> As if by my weak faith >> The spirit of this world >> Would heal and rise >> Vast are the shadows >> That straddle and strafe >> And struggle in the darkness >> Troubling my eyes >> >> Shaped like a lion >> It has the head of a man >> With a gaze as blank >> And pitiless as the sun >> And it's moving its slow thighs >> Across the desert sands >> Through dark indignant >> Reeling falcons >> >> Surely some revelation is at hand >> Surely it's the second coming >> And the wrath has finally taken form >> For what is this rough beast >> Its hour come at last >> Slouching towards Bethlehem to be born >> Slouching towards Bethlehem to be born >> >> Raging and raging >> It rises from the deep >> Opening its eyes >> After twenty centuries >> Vexed to a nightmare >> Out of a stormy sleep >> By a rocking cradle >> By the Sea of Galilee >> >> Surely some revelation is at hand >> Surely it's the second coming >> And the wrath has finally taken form >> For what is this rough beast >> Its hour come at last >> Slouching towards Bethlehem to be born >> Slouching towards Bethlehem to be born >> > > > David Kellogg > Center for Teaching, Learning, and Writing > Duke University > (919) 668-1615; FAX (919) 681-0637 ========================================================================= Date: Mon, 12 Apr 2004 07:25:51 -0400 Reply-To: ron.silliman@gte.net Sender: UB Poetics discussion group From: Ron Subject: Silliman's Blog -- he's ba-ack... 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/ RECENT TOPICS: How to gauge influence? Originality & sources in Kevin Davies Lateral Argument & Jim Behrle's City Point The Philadelphia Progressive Poetry Calendar Magazine, book, or anthology? The between-ness of the One Shot publication. Writing as giving: A family tradition Trobar Clus: A poetics of total engagement Eternal Sunshine of a Spotless Mind: Charlie Kaufman & the George Romero Poetry Conference Harryette Mullen, Lew Welch & Jim Behrle: Poetry & marketing (from Althusser to Baudrillard) "Leaving the Atocha Station" - the elegy Meaning & market dynamics Brenda Iijima: Around Sea http://ronsilliman.blogspot.com/ * * * My latest book Woundwood is available from Cuneiform Press: http://www.cuneiformpress.com/wound.html ========================================================================= Date: Mon, 12 Apr 2004 07:48:34 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: David Kellogg Subject: Re: Yeats meets Iraq In-Reply-To: <000f01c4200f$b76d2c00$8bf4a8c0@netserver> MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 8bit OK, so Yeats had contemptible views. So did Eliot, Pound, etc. (though not, I hasten to add, Joyce -- at least here). "The Second Coming" retains its appeal partly because it can't hide the undercurrent of awe in the sublime horror of the rough beast. The sense that one doesn't know what to expect. I imagine Rummy, Bremer, Cheney, Wolfowitz etc. are much like the hapless falconer. (Bush 43, meanwhile, is like the falconer's stupid dog chasing a butterfly into the bushes.) David Quoting "david.bircumshaw" : > I love the notion of Yeats as a moral spirit declaiming upon the evils of > war. This is the same Yeats who quoted 'Send war in our time, Oh Lord', who > despised the sufferings of the soldiers in the WW1 trenches, who carefully > footnoted The Second Coming so that conservative readers would not be > perturbed, whose first biographer, Joseph Hone, was a crypto-fascist in > sympathy with Hitler, who waxed lyrical about the eternities of race on the > eve of WW2, who .... aw, no more, I don't want to think about it anymore. A > great musicality, for sure, but what he says ..... > > Best > > Dave > > > > David Bircumshaw > > Spectare's Web, A Chide's Alphabet > & Painting Without Numbers > > http://www.chidesalphabet.org.uk > David Kellogg Center for Teaching, Learning, and Writing Duke University (919) 668-1615; FAX (919) 681-0637 ========================================================================= Date: Mon, 12 Apr 2004 08:21:11 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: collect them all MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII collect them all http://www.asondheim.org/5.mov http://www.asondheim.org/box.mov http://www.asondheim.org/caul3.mov http://www.asondheim.org/chorus.mov http://www.asondheim.org/cube.mov http://www.asondheim.org/dddance.mov http://www.asondheim.org/deathfugue.mov http://www.asondheim.org/endofempire.mov http://www.asondheim.org/europe1915.mov http://www.asondheim.org/flame2.mov http://www.asondheim.org/flows.mov http://www.asondheim.org/flowss.mov http://www.asondheim.org/frieze.mov http://www.asondheim.org/fullmarss.mov http://www.asondheim.org/heap.mov http://www.asondheim.org/jumpin.mov http://www.asondheim.org/jumpinn.mov http://www.asondheim.org/lakes.mov http://www.asondheim.org/laketube3s.mov http://www.asondheim.org/laketubes.mov http://www.asondheim.org/lastempire.mov http://www.asondheim.org/marsred.mov http://www.asondheim.org/marss.mov http://www.asondheim.org/ocean.mov http://www.asondheim.org/ruined.mov http://www.asondheim.org/seamount2.mov http://www.asondheim.org/seamount3.mov http://www.asondheim.org/sorewave.mov http://www.asondheim.org/start.mov http://www.asondheim.org/start2.mov http://www.asondheim.org/stranges.mov http://www.asondheim.org/stranges2.mov http://www.asondheim.org/tao.mov http://www.asondheim.org/tao0.mov http://www.asondheim.org/tao2.mov http://www.asondheim.org/tern.mov http://www.asondheim.org/tern2.mov http://www.asondheim.org/tern3.mov http://www.asondheim.org/terncrash.mov http://www.asondheim.org/test.mov http://www.asondheim.org/tra.mov http://www.asondheim.org/vienna.mov http://www.asondheim.org/wavers.mov http://www.asondheim.org/waves.mov http://www.asondheim.org/woman2s.mov http://www.asondheim.org/woman3s.mov http://www.asondheim.org/womans.mov http://www.asondheim.org/wtc.mov http://www.asondheim.org/xzais.mov http://www.asondheim.org/portal/.nikuko/k.mov http://www.asondheim.org/portal/.nikuko/terror00.mov http://www.asondheim.org/portal/.nikuko/terror01.mov http://www.asondheim.org/portal/.nikuko/terror02.mov http://www.asondheim.org/portal/.nikuko/terror03.mov http://www.asondheim.org/portal/.nikuko/terror06.mov http://www.asondheim.org/portal/.nikuko/terror07.mov http://www.asondheim.org/portal/.nikuko/terror10.mov http://www.asondheim.org/portal/.nikuko/terror11.mov http://www.asondheim.org/portal/.nikuko/terror14.mov http://www.asondheim.org/portal/.nikuko/terror16.mov http://www.asondheim.org/portal/.nikuko/where.mov http://www.asondheim.org/portal/LOOKXX.MOV http://www.asondheim.org/portal/V.mov http://www.asondheim.org/portal/aster27.avi http://www.asondheim.org/portal/aster35.avi http://www.asondheim.org/portal/aster41.avi http://www.asondheim.org/portal/b2s.mov http://www.asondheim.org/portal/baghdad.mov http://www.asondheim.org/portal/cal.mov http://www.asondheim.org/portal/life.mov http://www.asondheim.org/portal/nova.mov http://www.asondheim.org/portal/red.mov http://www.asondheim.org/portal/svengali.mp4 _ ========================================================================= Date: Mon, 12 Apr 2004 10:16:42 -0400 Reply-To: Mike Kelleher Sender: UB Poetics discussion group From: Mike Kelleher Organization: Just Buffalo Literary Center Subject: JUST BUFFALO E-NEWSLETTER 4-12-04 MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit IN THE HIBISCUS ROOM Lisa Jarnot and Jonathan Link Poetry Reading Friday, April 16, 8 p.m. $4,$3 students/seniors, $2 members Lisa Jarnot is author of Some Other Kind of Mission (Burning Deck), Ring of Fire (Salt) and Black Dog Songs (Flood Editions). Jonathan Link is Managing Editor at Slope Editions and is currently working on an MFA at The University of Massachusetts Amherst. Books for sale from Talking Leaves Books. NEW ON OUR WEBSITE EDUCATION links are up. There are now several hundred education links, including writing resources for young writers, teachers, teaching artists, and parents, as well as links to Arts in Education organizations nationwide. Visit http://www.justbuffalo.org. If you would like to add or suggest links, please send along name of the organization, url, and 25 word description of the site to Mike Kelleher at mjk@justbuffalo.org. OPEN READINGS, Hosted by Livio Farallo Open readings begin at 7 p.m. Ten slots for open readers. Sign-ups at 6:45 p.m. Free and open to the public. MARTHA DEED & MAUREEN O'CONNOR Wednesday, April 14, 7 P.M. Center for Inquiry 1310 Sweet Home Road, Amherst, NY MARLYN MARTINEZ-SAROFF & WILLIAM KOTHE Thursday, April 15, 7 P.M. The Book Corner, 1801 Main St., Niagara Falls, NY DIANNE GILLEECE & CELESTE LAWSON Sunday, April 18, 7 P.M. Rust Belt Books, 202 Allen Street, Buffalo, NY WORLD OF VOICES Thanks to a grant from the John R. Oishei Foundation, Just Buffalo and White Pine Press are able to bring four White Pine authors per year to Buffalo for Writer Residencies. During a week in Buffalo, each will do an in-depth school residency, make visits to local schools, and do community readings and talks. Books and on-line study guides will be available for local schools and libraries in advance of the author's visit. Author Susan Rich will peform a residency from May 10-14. Winner of the PEN West Poetry Award and the Peace Corps Writers Poetry Award for The Cartographer's Tongue: Poems of the World; published by White Pine Press, Susan Rich has worked as a staff person for Amnesty International, an electoral supervisor in Bosnia, and a human rights trainer in Gaza. Monday, May 10, 7-9 P.M. FREE Writing Workshop. Poems of the World: Possibilities and Pitfalls. This workshop will ask the question: How can a writer write about experiences in different cultures, be they in other countries, or simply in other parts of one's own city, without exploiting the very people about whom one is writing? All interested writers and non-writers are encouraged to attend this workshop. Co-sponsored by the Western New York Peace Center. Thursday, May 13, 7:30 p.m. Free. Visions For A Better World: Reading by Susan Rich and Writing Workshop Participants. Participants in the Monday workshop, as well as students from area schools involved in World of Voices, will have the opportunity to read the work they produced during the workshops. Followed by a reading by Susan Rich. Co-sponsored by the Western New York Peace Center. WORKSHOPS Just Buffalo is Accepting Applications for Fall Workshop Instructors Just Buffalo offers writing workshops year round to all experience levels in poetry, fiction, drama, screenwriting, essay writing and publication. We are looking for published writers to teach workshops in the Fall of 2004. Courses can be single day courses, or they can meet once a week for two, four, six or eight weeks. They can meet evenings during the week or Saturday mornings. Please send a cover letter, resume, and course description to Workshop Application, Just Buffalo Literary Center, 2495 Main St., Ste 512, Buffalo, NY 14214 or email it to Mike Kelleher at mjk@justbuffalo.org. APRIL IS NATIONAL POETRY MONTH Poetry to Go Each year, Just Buffalo marks National Poetry Month with Poetry To Go, a month-long poetry celebration. In addition to all the readings we will be sponsoring around the city, we will be distributing small bags filled with poem-cards people can take with them in order to carry poetry through the day. SPOKEN ARTS RADIO W/ Mary Van Vorst 6:35 and 8:35 a.m. Thursdays and 8:35 a.m. Sundays on WBFO 88.7 FM April 15 & 18 - YUSEF KOMUNYAKAA (Collaborations and Connections) April 29 & May 2 - SUSAN RICH (World of Voices) May 13 & 16 ALEXIS DE VEAUX (Author of Warrior Poet, A Biography of Audre Lorde) May 27 & 30 ERIC GANSWORTH (Author of Smoke Dancing) CALL FOR WORK An anthology of anti-war poems by local poets and writers is being put together. Submissions are welcome and can be formatted in Word as an attachment or in text. May 1, 2004, is the deadline. They can be e-poemed to culhane9@hotmail.com or hard copies by snail mail to: Chuck Culhane c/o Peace Center 2123 Bailey Avenue Buffalo, NY 14211 (716) 894-2013 ____________________________ Mike Kelleher Artistic Director Just Buffalo Literary Center 2495 Main St., Ste. 512 Buffalo, NY 14214 716.832.5400 716.832.5710 (fax) www.justbuffalo.org mjk@justbuffalo.org ========================================================================= Date: Mon, 12 Apr 2004 14:49:43 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: David Kellogg Subject: Poetry vs. Biography googlefight (was Re: Yeats meets Iraq) In-Reply-To: <000f01c4200f$b76d2c00$8bf4a8c0@netserver> MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 8bit http://www.google-fight.com/cgi-bin/compare.pl? q1=poetry&q2=biography&B1=Make+a+fight%21&compare=1&langue=us And the winner is: Poetry. Quoting "david.bircumshaw" : > I love the notion of Yeats as a moral spirit declaiming upon the evils of > war. This is the same Yeats who quoted 'Send war in our time, Oh Lord', who > despised the sufferings of the soldiers in the WW1 trenches, who carefully > footnoted The Second Coming so that conservative readers would not be > perturbed, whose first biographer, Joseph Hone, was a crypto-fascist in > sympathy with Hitler, who waxed lyrical about the eternities of race on the > eve of WW2, who .... aw, no more, I don't want to think about it anymore. A > great musicality, for sure, but what he says ..... > > Best > > Dave > > > > David Bircumshaw > > Spectare's Web, A Chide's Alphabet > & Painting Without Numbers > > http://www.chidesalphabet.org.uk > David Kellogg Center for Teaching, Learning, and Writing Duke University (919) 668-1615; FAX (919) 681-0637 ========================================================================= Date: Mon, 12 Apr 2004 13:57:23 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: mIEKAL aND Subject: Experimental Poetry vs. Mainstream Poetry googlefight In-Reply-To: <1081795783.407ae4c7e580e@webmail.duke.edu> Content-Type: text/plain; charset=ISO-8859-1; format=flowed Mime-Version: 1.0 (Apple Message framework v553) Content-Transfer-Encoding: quoted-printable Number of results on Google for the keywords experimental poetry and=20 mainstream poetry : =A0 experimental poetry ( 440 000 results ) versus mainstream poetry ( 278 000 results) The winner is: experimental poetry =A0=A0=A0 ========================================================================= Date: Mon, 12 Apr 2004 15:09:03 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Michael Boyko Subject: Good Poetry vs. Bad Poetry googlefight MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit good poetry (27,000 results) vs bad poetry (32,700 results) and the winner is, uh-oh: bad poetry ========================================================================= Date: Mon, 12 Apr 2004 12:33:53 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mark Lamoureux Subject: ATTN: Small Presses/Magaines Gallery 108 YART SALE May 1st 7 2nd MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii ATTENTION SMALL PUBLISHERS & SMALL MAGAZINES: On May 1 and 2, Gallery 108 in Somerville, MA will be sponsoring the 1st Annual Yart Sale at the Gallery. Lots of local artists will be selling affordable pieces and I will be manning a table of local (an not neccesarily so local) small press books and magazines. If you have any interest in having your journal for sale at the Yart Sale, please contact me at mark_lamoureux@yahoo.com. The sale will run from morning until evening both days on the 1st and 2nd. Essentially, I'll be selling stuff on a consignment basis. You give me your wares and I will sell them and put aside any money that you make and return the money and unsold stock to you. There are no fees involved, as this event is largely just to stir up interest in the Gallery, and by way of local presses, etc. interest in upcoming literary events at the Gallery. The deadline for submissions for the sale will be Wednesday, April 28th. This is a good opportunity to try and get your books/magazine to an audience outside of the exclusively literary scene. Take care, Mark Lamoureux ========================================================================= Date: Mon, 12 Apr 2004 15:47:42 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Vernon Frazer Subject: Re: Experimental Poetry vs Mainstream Poetry Googlefight MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Hi Miekal Does this mean that experimental poetry has become an online genre because of the current state of the book business, which doesn't support it, or does it mean that experimental poetry, in becoming the majority, has become the new mainstream? Vernon http://vernonfrazer.com Number of results on Google for the keywords experimental poetry and mainstream poetry : experimental poetry ( 440 000 results ) versus mainstream poetry ( 278 000 results) The winner is: experimental poetry ========================================================================= Date: Mon, 12 Apr 2004 15:05:10 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: mIEKAL aND Subject: Re: Experimental Poetry vs Mainstream Poetry Googlefight In-Reply-To: <20040412194741.DCFJ17967.imf25aec.mail.bellsouth.net@DBY2CM31> Content-Type: text/plain; charset=US-ASCII; format=flowed Mime-Version: 1.0 (Apple Message framework v543) Content-Transfer-Encoding: 7bit I think it means that "mainstream" poetry is a word used by experimental poets to refer to work contrary to their own. mIEKAL On Monday, April 12, 2004, at 02:47 PM, Vernon Frazer wrote: > Hi Miekal > > > > Does this mean that experimental poetry has become an online genre > because > of the current state of the book business, which doesn't support it, > or does > it mean that experimental poetry, in becoming the majority, has become > the > new mainstream? ========================================================================= Date: Mon, 12 Apr 2004 17:47:29 -0230 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Kevin Hehir Subject: Re: Experimental Poetry vs Mainstream Poetry Googlefight Comments: To: mIEKAL aND In-Reply-To: MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII i've always liked the term otherstream -- --------------------------- http://paulmartintime.ca/ ========================================================================= Date: Mon, 12 Apr 2004 13:22:30 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: coby tucker Subject: DWP Reading 4/15, Wash DC In-Reply-To: <1e8.1d438248.2da56007@aol.com> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Spread the word. From what I understand a fourth grade teacher will be there taking attendance, so don't be tardy. Dissociated Writer’s Project (DWP) Reading and Music April 15, 2004, 9:00pm at Staccato Bar and Piano Lounge 2006 18th St. NW, Washington, DC 20009 Phone # 202.232.2228 Price: Free Readings by: Brad Senning Purported founder of “reality fiction,” called such by critics not because something real happens in his fiction, but because, like Pinocchio, it wants to be real. As he puts it, “A lot of what I mean to do with fiction is more performance than anything else. But part of me does wish that fiction could influence congress and create a recipe for the next great snack food.” His books include “The Most Retarded-Looking Kid in Class and Other Autobiographical Children’s Stories” and “The Snow Inside My Mind.” He is featured in the forthcoming Blue Collar Books Anthology. Paul Sidewinder Featured author at the Dissociated Writer’s Project 2003 Baltimore Conference. His poetry counts. It is full of words, and kind. Suddenly, it appears. Often lazy, written with one hand, it is a poetry of ideas, like the Strangler of Blackmoor Castle. It’s deep like the crossword, but less wordy. The best parts are dogs, puns, and brevity. Even the rhyming is crappy. These poems are affordable versions of exotic, more delicate achievements. For truly poor people. His books include, “I, Hippopotamus” and “Pearl Necklaces and Other Things My Grandma Gave Me.” Sean Enright Sean Enright is a poet and fiction writer from Maryland. His novel, “Goof and Other Stories,” was published in 2001. His poems have appeared in many magazines. Music by: White Flight Featuring ex-Black Eyes. White Flight is a free improvisation group with saxophone, trumpet and drums. The evening to be hosted by local personality Robert Brumfield whose name, in 1981, became forever synonymous with top-quality aluminum siding. About the Dissociated Writer’s Project: The DWP is a cooperative of artists, writers, performance artists, punk rockers, actors and others. We host an annual festival of the arts, publish a journal and books, hold rock concerts and promote reading series. As the Dissociated Writer’s Project, we do everything we can to destabilize notions the public might have about the role of arts in society. We like to say that the DWP started when a marble rolled off a shelf. That's an appropriate analogy considering our simple, absurdist motives. Not that we've ever had a message behind the madness, but not having a message can be a message in itself. And how else do we explain the fact that at our first conference in Baltimore in 2003, there was a woman in an ape suit who sat in on readings eating a yellow pencil. There was also a man dressed up as a news reporter standing outside the conference broadcasting a report with a microphone but no camera. He was a DWP favorite because we all feel like that: we have a lot to say and desperately want to say it even if nobody is there at our most dramatic moments long enough to notice. In some ways the Dissociated Writers Project is just a bunch of guys reading and performing to the public, as they work their way toward some distant, evanescent, ideal art form. A Philadelphia paper recently said that we were confused. No doubt! When you’re trying to sprint down the crushed brick track you have the benefit of a finish-line ahead of you. We’re lucky if we’ve got a flashlight on a dark, moonless night with nothing but alligators for footing. We don’t know where we’re going, but if we can make it through the dishes piled up in the sink, we’re hopeful about our next meal. __________________________________ Do you Yahoo!? Yahoo! Tax Center - File online by April 15th http://taxes.yahoo.com/filing.html ========================================================================= Date: Mon, 12 Apr 2004 13:46:40 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Joseph Thomas Subject: Experimental Poetry vs. Mainstream Poetry googlefight II In-Reply-To: <3B76AF80-8CB3-11D8-87A1-000393ABDF48@mwt.net> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii And if you put both experimental poetry and mainstream poetry in quotation marks ("experimental poetry" ; "mainstream poetry"), you get Experimental Poetry: 11,900 Mainstream Poetry: 1,820 Winner: still experimental! --- mIEKAL aND wrote: > Number of results on Google for the keywords > experimental poetry and > mainstream poetry : > > > experimental poetry > ( 440 000 results ) > versus > mainstream poetry > ( 278 000 results) > > > The winner is: experimental poetry __________________________________ Do you Yahoo!? Yahoo! Tax Center - File online by April 15th http://taxes.yahoo.com/filing.html ========================================================================= Date: Mon, 12 Apr 2004 14:18:57 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: kari edwards Subject: Re: Poetry vs. Poetry the winners and the loosers In-Reply-To: <20040412204640.63448.qmail@web20421.mail.yahoo.com> Content-Type: text/plain; charset=US-ASCII; format=flowed Mime-Version: 1.0 (Apple Message framework v553) Content-Transfer-Encoding: 7bit war poetry 3,660,000 money poetry 3,390,000 death poetry 3,090,000 beautiful poetry 2,760,000 a better america poetry 960,000 experimental poetry 442,000 anti-war poetry 115,000 class equality poetry 81,000 refugee poetry 79,800 queer rights poetry 71,000 homelessness poetry 44,000 radical ecology poetry 20,600 anti-rape poetry 490 ========================================================================= Date: Mon, 12 Apr 2004 17:20:19 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Austinwja@AOL.COM Subject: Re: Experimental Poetry vs. Mainstream Poetry googlefight II MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit In a message dated 4/12/04 3:50:03 PM, josephcsun@YAHOO.COM writes: << And if you put both experimental poetry and mainstream poetry in quotation marks ("experimental poetry" ; "mainstream poetry"), you get Experimental Poetry: 11,900 Mainstream Poetry: 1,820 Winner: still experimental! >> Isn't this like calling Christianity "experimental religion"? Considering the critical mass, how experimental is anything anymore? Best, Bill WilliamJamesAustin.com kojapress.com amazon.com b&n.com ========================================================================= Date: Mon, 12 Apr 2004 14:44:12 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Catherine Daly Subject: FW: Check out The Chatelaine's Poetics MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit for a review of my latest reading. the one with the stellar David Bromige, who, I might add, is LONG overdue for a Selected volume. Catherine Daly cadaly@pacbell.net -----Original Message----- From: ERTABIOS@aol.com [mailto:ERTABIOS@aol.com] Sent: Monday, April 12, 2004 10:53 AM To: cadaly@pacbell.net Subject: Check out The Chatelaine's Poetics Click here: The Chatelaine's Poetics ========================================================================= Date: Tue, 13 Apr 2004 05:43:22 +0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: furniture_ press Subject: Re: Experimental Poetry vs. Mainstream Poetry googlefight II Content-Type: text/plain; charset="iso-8859-1" Content-Disposition: inline Content-Transfer-Encoding: 7bit MIME-Version: 1.0 Bill, depending on any one person's or project's approach to 'experimental' I'm not sure if it is valid to say "how experimental is anything anymore?" Experimental in the holistic sense, in the Cagean sense, in the subversive sense? Experimentation implies unknowns, implies what may yield for a particual experiment. If it has goals i.e. if it is political in nature, cultural (whatever that means), are you saying that the modes of experimentation are outdated? Out of context? There's also the possibility of the religious experiment, and this is a new idea for me, that in experimenting, not with religion, but 'through' it, by participating, we can never 'physically' know the end result, mentally possibly because we 'know' of a greater being or afterlife in an afterrealm. Experimentation precludes a body of work, its goals may possibly be set through the results of the experiment; I wouldn't call a work 'experimental', absolutely, John Cage threw away numerous 'chances.' But my impression, and my belief, is that if a body of work is to 'work', then it must show signs, or, rather, to use a better term, it must show evidence of this experimentation within the body of work, the writer's (musician's, painter's sculptor's, &c.) struggle with these results, and the evolution of the work as guided by these struggles. This is my project: evolution of work against the evidence it may or may not be in contention with. So, "how experimental is anything anymore?" Christophe Casamassima -- _______________________________________________ Graffiti.net free e-mail @ www.graffiti.net Check out our value-added Premium features, such as an extra 20MB for just US$9.95 per year! Powered by Outblaze ========================================================================= Date: Mon, 12 Apr 2004 17:56:13 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Austinwja@AOL.COM Subject: Re: Experimental Poetry vs. Mainstream Poetry googlefight II MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit In a message dated 4/12/04 4:43:58 PM, furniture_press@GRAFFITI.NET writes: << Bill, depending on any one person's or project's approach to 'experimental' I'm not sure if it is valid to say "how experimental is anything anymore?" Experimental in the holistic sense, in the Cagean sense, in the subversive sense? Experimentation implies unknowns, implies what may yield for a particual experiment. If it has goals i.e. if it is political in nature, cultural (whatever that means), are you saying that the modes of experimentation are outdated? Out of context? There's also the possibility of the religious experiment, and this is a new idea for me, that in experimenting, not with religion, but 'through' it, by participating, we can never 'physically' know the end result, mentally possibly because we 'know' of a greater being or afterlife in an afterrealm. Experimentation precludes a body of work, its goals may possibly be set through the results of the experiment; I wouldn't call a work 'experimental', absolutely, John Cage threw away numerous 'chances.' But my impression, and my belief, is that if a body of work is to 'work', then it must show signs, or, rather, to use a better term, it must show evidence of this experimentation within the body of work, the writer's (musician's, painter's sculptor's, &c.) struggle with these results, and the evolution of the work as guided by these struggles. This is my project: evolution of work against the evidence it may or may not be in contention with. So, "how experimental is anything anymore?" Christophe Casamassima >> Well put. I like it. Best, Bill WilliamJamesAustin.com kojapress.com amazon.com b&n.com ========================================================================= Date: Mon, 12 Apr 2004 16:17:55 -0600 Reply-To: derek beaulieu Sender: UB Poetics discussion group From: derek beaulieu Subject: Call for poetry submissions Comments: To: anthology@commutiny.net MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit PLEASE FORWARD WIDELY. THANK YOU! --- CALL FOR SUBMISSIONS: We seek submissions for an anthology of younger Canadian poets. If you consider what you write to be poetry, we would love to see your work. We wish to include writers whose writing invites a reader's intention. These writers may have previous publications, they may be friends of yours, they may live in your basement, they may write using your hands. The emphasis of the anthology is on a physical manifestation of a nonlocatable community of writers; it doesn't matter where you live or who you know -- the anthology will plot the virtual neighbourhoods in which rising Canadian authors live. SUBMISSION DEADLINE: July 1st, 2004 ELIGIBILITY: The anthology will focus on new, younger Canadian poets. These poets may have an interest in expanding their definition of poetry through exploratory writing in traditional, visual, found, constraint-based, sound, mathematic, surreal, and prose forms. Authors may also take interest in developing a personal poetics that is reflected in their writing. The anthology will work to represent both the explorative and community-based practices with which up-and-coming authors engage. SUBMIT: Please send 15-20 pages of unpublished or published poetry (please indicate if published). Poetic statements or other supplementary materials are welcome, but not required. Please include a self-addressed stamped envelope (SASE) if you are sending via snail mail and would like a response. CONTACT: We are happy to accept submissions via e-mail at anthology@commutiny.net or by mail at Anthology c/o commutiny.net, 37A Bellwoods Ave., Toronto, ON, M6J 3N4. We are happy to accept the following file formats via e-mail: *.doc, *.jpg, *.pdf, *.tif, and *.txt. If you would like to send a different file format, please inquire first. If you have questions, feel free to drop us an e-mail. We thank all authors who submit work in advance. We will be in contact within four months after the deadline. This information is available online at http://commutiny.net/anthology.html. --- With love, The Anthologists (derek beaulieu, jason christie, a.rawlings) ========================================================================= Date: Mon, 12 Apr 2004 17:24:14 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Laura Wright Subject: Hollo, DuCharme April 16 in Boulder MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit LEFT HAND READING SERIES PRESENTS ANSELM HOLLO and MARK DUCHARME 8:00 PM April 16, 2004 at the Left Hand Bookstore (1200 Pearl St.) in Boulder for more information call (303) 443-3685 ========================================================================= Date: Mon, 12 Apr 2004 21:13:22 -0400 Reply-To: richard.j.newman@verizon.net Sender: UB Poetics discussion group From: Richard Jeffrey Newman Organization: Nassau Community College Subject: Confessionalism/the place of the "I" in poetry/etc. MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit I am coming late to this whole discussion of confessionalism and the avant garde and the politics of literary criticism/production, but I would like to add something to it from the work I'm doing on the 13th century Persian writer Saadi. I am translating his book, the Gulistan, which is a piece of wisdom literature that he wrote in the 1200s, and one of the interesting things that has emerged in all the reading I have done is the evolution of how critics have seen his use of the first person-and these are mostly western critics or western critics' reportage of what Persian critics have had to say. From at least the mid-1800s, and probably before, until around the middle of the 20th century, critics have taken at face value the autobiographical accuracy and intent of Saadi's use of the first person, this despite the fact that there are obvious contradictions within the text. In one part, for example, Saadi characterizes himself as being 50 years old; in another part, it's clear that he would have to have been at least 70 for the text to be factually accurate. There are other examples as well which point to the likelihood that the "I" Saadi employs is a fictional one, despite the fact that the Gulistan is not, properly speaking, a work of fiction. In other words, earlier critics had to have engaged on some level in a willful misreading of the text, and it is worth asking what purpose that misreading served for them, how it was connected to their understanding of Persian-as-other, especially since Saadi's work, particularly in the 18th-19th centuries was so thoroughly celebrated in England and the US. My own sense is that it probably had something to do with the desire to see what I will inadequately call here "the simple yet profound wisdom of the east" in Saadi-a vision that is fraught with racist, imperialist and other "ist" implications-and to acknowledge any "dishonesty" in the text-i.e., a fictionalized "I"-would have undermined that agenda. Another way of saying this, perhaps, is that while critics were willing to acknowledge the formal innovations in Saadi-and I will include in my notion of form here the fact that Saadi wrote all of the verses in the Gulistan himself, which was an innovation that he himself notes in the book-they were not so interested in the way the self that inhabits/that is created in and through the text might also have been a product of intentional writerly artifice. By way of illustration, the text opens with a religious invocation, part of which reads as follows (the translation is mine, and it is still a draft): A man of God immersed himself in meditation. When he emerged from the vision that was granted him, a smiling companion welcomed him back, "What beautiful gift have you brought us from the garden in which you were walking?" The holy man replied, "I walked until I reached the rosebush, where I gathered up the skirts of my robe to hold the roses I wanted to present to my friends, but the scent of the petals so intoxicated me that I let everything fall from my hands." Later on, in the section where he talks about how he came to write the Gulistan-the word means, literally, rose garden-he presents himself as a man who goes to the rose garden, a literal one in which he spends the night with his friend, and is able to bring the roses (meaning the pages of the book) back to share with others. I don't think this is an accident. Similarly, my guess is that there is a pattern within the anecdotes-the book, except for the last chapter, is a series of anecdotes-of those in which Saadi presents himself as an observer/reporter and those in which he actually takes part in the action of the narrative. (This last is a theory I have not had a chance to investigate.) My point is that Saadi, it seems to me, is very consciously constructing a textual self that is distinct from his autobiographical self and is therefore not merely an artifact of the text itself. I guess that's it. I don't know if it adds anything new to the conversation, but it struck me that the discussion had a much broader relevance than the 20th and 21st century focus that was being developed and I wanted, however clumsily, to point that out. Cheers! Richard ___________________________________ Richard Newman Associate Professor, English Chair, International Studies Committee Nassau Community College One Education Drive Garden City, NY 11530 O: (516) 572-7612 F: (516) 572-8134 newmanr@ncc.edu www.ncc.edu ========================================================================= Date: Mon, 12 Apr 2004 19:12:25 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: UbuWeb Subject: Dieter Roth: Poesieundmusik Comments: To: ubuweb@yahoogroups.com MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Dieter Roth: Poesieundmusik Sunday, April 18, 2:00–4:00 p.m. P.S.1 Contemporary Art Center / MoMA 22-25 Jackson Avenue at 46 Avenue, Long Island City Poets Johanna Drucker, Kenneth Goldsmith, Kristin Prevallat, and Jerome Rothenberg read works of their own as well as those of Dieter Roth and his peers in celebration of the artist's experimental poetry and art. Music from P.S.1's new online radio station, WPS1, complements the event. Admission is free, but tickets are required for entry and are available at P.S.1; the MoMA QNS Lobby Ticketing Desk, 33 St. at Queens Blvd.; and the Visitor Center at the MoMA Design Store, 44 West 53 St. http://www.moma.org __________________________________ Do you Yahoo!? Yahoo! Small Business $15K Web Design Giveaway http://promotions.yahoo.com/design_giveaway/ ========================================================================= Date: Mon, 12 Apr 2004 21:36:46 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Timothy Yu Subject: Re: Experimental Poetry vs. Mainstream Poetry googlefight II Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" If "experimental" is the new mainstream, I guess somebody forgot to tell Dana Gioia, the poet who now heads the National Endowment for the Arts. There's something in the latest Reader's Digest (that most mainstream of publications) lauding Gioia's stewardship of the NEA away from the controversies of the 1980s (Mapplethorpe, Serrano, et al.) toward a new sense of artistic "merit" or "the best." Here's what that means for Gioia: "Gioia believes that the NEA did veer off track, and he thinks he knows why. 'Some works of art are better than others,' the 53-year-old chairman says, 'but the bizarre thing is that not all intellectuals believe that.' He also thinks that the NEA became 'obsessed with imagining that its purpose was to foster experimental art'...Gioia said that the NEA needs 'programs of indisputable merit'...To Gioia, it's about serving the public, not the insular arts community." So the "experimental" here is precisely that which does not have merit, does not have any standards of judgment, and serves the few rather than the many. As far as I can tell from the article (not very informative, of course), what's mainstream is Shakespeare, and lots of it. Tim Yu http://tympan.blogspot.com ========================================================================= Date: Mon, 12 Apr 2004 23:41:02 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Murat Nemet-Nejat Subject: Re: Intelligent White Silliman MIME-Version: 1.0 Content-Type: text/plain; charset="ISO-8859-1" Content-Transfer-Encoding: quoted-printable Tim, my first question is in relation to the distinction you make between=20 "modernism" and "the avant-garde." Particularly within a wider European=20 framework, how real is it? Stein was a great friend and champion of Picasso.= Both in=20 ethos and style, it seems to me, Picasso is the quintessential modernist. True that Stein's writing is more appealing today (at least to a few of us)=20 than Joyce's, but this does not suggest an anti-establishment bent on her pa= rt.=20 She did want to get published, but couldn't. Ulla Dydo suggests that the=20 Toklas book was an attempt by Stein's part to build a bridge with the public= . My comments were not concerned with a writer's wishes, but "subjectivity" of= =20 the public's response, which distorts the text for its own needs. That's how= =20 it is. Wyhat I said was that the writer should or needs to be aware of this=20 gap. The awareness may be empowering in one's determination to follow one's=20= own=20 way. Murat=20 In a message dated 04/11/04 9:20:48 PM, tyu@STANFORD.EDU writes: > Murat, these are interesting questions.=A0 I think you're right that > the case of Villa shows how characterizing a poet in terms of certain > formal qualities (experiment, avant-gardism, etc.) can be > simultaneously a way of comprehending and controlling that poet's > social identity. >=20 > I'm not sure it would be quite right to say that Villa was considered > avant-garde, but rather that he was read as a modernist.=A0 Of course, > the relation between these two terms is totally fraught, but at least > for some critics "modernism" signifies the work of individual writers > (Eliot, Joyce, Woolf, for example) who have been inserted into a > canonical narrative about the Anglo-American literary tradition, > while "avant-garde" suggests a practice that positions itself outside > and questions that tradition.=A0 For example, it's been important for > some critics to claim Gertrude Stein's work as modernist--capable of > standing beside that of Joyce or Woolf in the canon--while others > (I'm thinking of Marianne DeKoven, for example) insist on claiming > Stein as an avant-gardist who stands outside and critiques the > institutions of modernism. >=20 > It's important to remember that the U.S. "establishment" that Villa > confronted during his brief rise to prominence in the 1950s was one > dominated by the ideology of modernism (or, at least, a New Critical > redaction of modernism).=A0 I would argue (although others might > disagree) that Villa's poetry reflects a quite conscious effort to > gain access to this establishment, as reflected in his flamboyant > allusions to Hopkins, Dickinson, the metaphysicals, etc.--allusions > that his readers very much picked up on.=A0 So I don't think that to > regard Villa as an "outsider" in this respect--i.e. one who does not > care at all how readers receive him--is quite accurate, although his > rapid fall from favor shows that his position as "insider" was > unstable, inflected not just by style but by race, nationality, and > colonialism. >=20 > More generally: is the idea of the "outsider" writer really a useful > one?=A0 Every writer has some idea of an audience (even an imagined > one), and ostensible indifference to the response of the > "establishment" is a fairly widespread authorial fiction.=A0 A > Hollywood director who professes indifference to critics' responses > doesn't cease to be Hollywood, nor does the writer who claims to > write only for herself or himself (a very common claim) become thus > disqualified for a Pulitzer prize or canonization.=A0 In fact, I wonder > if the fiction of not caring what anyone calls one's writing can > blind one to the way literary politics, power, and economics really > work. >=20 > Your remarks remind me of Howard Becker's book _Art Worlds_, which > argues that the only way art institutions and conventions change is > through the appearance of individual "mavericks" who couldn't care > less about convention, but whose work then ends up rewriting the > rules.=A0 This is romantically appealing, but I think it's much more > the case that multiple "art worlds" coexist at any one time, each > with its own structure, with relations of power between them.=A0 That's > one lesson of the idea of the avant-garde, which is aware of itself > as a group with institutions outside that of the dominant art world, > but whose major goal may not be acceptance by those dominant > institutions. >=20 > As to "establishment" vs. "mainstream": what they have in common is > that they're basically negative terms, employed by those who see > themselves as dissident, rebellious, excluded or merely > distinctive--so they really have no stable content, since they're > used by different people for different reasons at different times. > (You don't hear too many poets proudly proclaiming how "mainstream" > or "establishment" their work is.)=A0 They do have different period > rings to my ear, though.=A0 "Establishment" sounds very 1950s or > '60s--some idea of a monolithic and elitist culture or academy that > needs to be overthrown from below.=A0 "Mainstream" sounds more > contemporary, both more aware of the diffuseness of poetic practice > and perhaps less explicit about attaching those practices to > particular institutions of power--maybe more appropriate for a > culture in which "alternative" is a section in the record store. >=20 > Tim > http://tympan.blogspot.com >=20 > --- >=20 > >Date:=A0 =A0 =A0 =A0=A0 Sun, 11 Apr 2004 02:22:15 EDT > >Reply-To:=A0 =A0=A0 UB Poetics discussion group > >Sender:=A0 =A0 =A0=A0 UB Poetics discussion group > >From:=A0 =A0 =A0 =A0=A0 Murat Nemet-Nejat > >Subject:=A0 =A0 =A0 Re: Intelligent White Silliman >=20 > >Timothy, >=20 > >I just read your essay on Jose Garcia > >Villa >(http://meritagepress.com/pinoypoetics.htm). A main idea > >behind your essay, it seems >to me, is how in Villa's case the > >description of his work as avant-garde (or not) by > >the >establishment was one way for the establishment to place him > >within a previously >comprehensible framework -"inscrutable," > >"animal power," etc. I have two questions: >=20 > >a) Why should an outsider writer care what or how the establishment > >calls his/her >work? Is it an outsidedness that wishes to be > >recognized? Is that wish inevitable >though maybe dangerous? >=20 > >b) Are "establishment" and "mainstream" the same thing? >=20 > >Murat >=20 ========================================================================= Date: Mon, 12 Apr 2004 20:57:11 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Gloria Frym Subject: Re: Poetry vs. Poetry the winners and the loosers In-Reply-To: <02BE581E-8CC7-11D8-BE98-003065AC6058@sonic.net> MIME-Version: 1.0 Content-Type: text/plain; charset="ISO-8859-1"; format="flowed" Content-Transfer-Encoding: 8bit Dear Kar Your posts are a prime conscience of this "discussion" group. Thank you. Gloria Frym On Mon, 12 Apr 2004 14:18:57 -0700 kari edwards wrote: > war poetry > 3,660,000 > >money poetry >3,390,000 > >death poetry >3,090,000 > >beautiful poetry >2,760,000 > >a better america poetry >960,000 > > >experimental poetry >442,000 > >anti-war poetry >115,000 > > class equality poetry >81,000 > >refugee poetry >79,800 > >queer rights poetry >71,000 > > homelessness poetry >44,000 > > radical ecology poetry >20,600 > >anti-rape poetry >490 ========================================================================= Date: Mon, 12 Apr 2004 23:38:59 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Timothy Yu Subject: Re: Intelligent White Silliman Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" Murat, you're entirely right that the difference between "modernist" and "avant-garde" is a very problematic one, and that the label has a lot more to do with where critics now want to position an author than any kind of historical reality. Those who oppose the two terms tend, I think, to be valorizing the latter. It's true that Stein (like Picasso) had a lot of qualities such critics might associate with modernism--a belief in the great individual genius, a disdain for movements and followers--but it's also true that her role as a creator of networks among artists places her closer to the social practices of the avant-garde, and that it has taken decades (in comparison to Eliot, Joyce, or Woolf) for her work to be even seen as comprehensible. In any case, being or not being "anti-establishment" is not really the point; Italian and Russian futurism--indisputably avant-gardes, I would think--at various times formed alliances with powerful political factions or regimes and were patronized by such regimes. My question is about how broadly we define the "establishment" and the "public," especially when we try to place the writer outside (and opposed to) these categories. My sense is that you want to privilege the position of the writer who rejects the desires of "the public" and "follows [her or his] own way." Fair enough--I think this idea may be a necessary fiction for any writer. But really there are many publics, and a writer may seek or resist acceptance by different publics at different times, and imagining "the public" as a monolith to be resisted can mislead both writers and those who seek to understand their work. To resist one kind of public might be to appeal to another, for better or worse. Tim http://tympan.blogspot.com --- >Date: Mon, 12 Apr 2004 23:41:02 EDT >Reply-To: UB Poetics discussion group >Sender: UB Poetics discussion group >From: Murat Nemet-Nejat >Subject: Re: Intelligent White Silliman >Content-Type: text/plain; charset="ISO-8859-1" > >Tim, my first question is in relation to the distinction you make >between "modernism" >and "the avant-garde." Particularly within a >wider European framework, how real is it? >Stein was a great friend >and champion of Picasso. Both in ethos and style, it seems to >me, >Picasso is the quintessential modernist. True that Stein's writing >is more appealing >today (at least to a few of us) than Joyce's, but >this does not suggest an >anti-establishment bent on her part. She >did want to get published, but couldn't. Ulla >Dydo suggests that >the Toklas book was an attempt by Stein's part to build a >bridge >with the public. > >My comments were not concerned with a writer's wishes, but >"subjectivity" of the >public's response, which distorts the text >for its own needs. That's how it is. Wyhat I >said was that the >writer should or needs to be aware of this gap. The awareness >may >be empowering in one's determination to follow one's own way. > >Murat ========================================================================= Date: Tue, 13 Apr 2004 00:46:15 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: well MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII maybe it's because i've been called experimental for years, and don't fipnd a 'place' here, whatever, but there's something to be said for producing/production and not worrying about the categories. i try to extend language sound video whatever to any nearby category and look for the breaking-point. meanwhile discussions go on here, but i see very little evidence of experimental or avant work at all - maybe it's dead, another victim of the bush administrtion - alan http://www.asondheim.org/ http://www.asondheim.org/portal/.nikuko 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, 13 Apr 2004 00:49:09 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: using up the second MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII using up the second post for apologizing for the two whatevers - you see i'm watching frank sinatra in some movie and trying to type on the pda and it's hard to get the formatting right and all and that does really does affect things - linux is sleeping in the corner - it's all a con, baby, it's all a con - alan ========================================================================= Date: Tue, 13 Apr 2004 02:40:29 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: andrew loewen Subject: Googlism hosts the experimental poetry vs. mainstream poetry fight MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Googlism for: mainstream poetry mainstream poetry is modern poetry which deliberately overturned the conventional structures of rhyme to attain greater freedom in expression mainstream poetry is so rare that the american described above usually mainstream poetry is closer to public sensibility than mainstream art; literary avante mainstream poetry is just one poetic discourse among many mainstream poetry is about charmingly loopy yet self mainstream poetry is by becoming a member of this society mainstream poetry is often understood as mainstream poetry is problematic at best mainstream poetry is unwilling mainstream poetry is going to make mainstream poetry is only here to make you unhappy mainstream poetry is already being sprayed at the net and may prevent anyone mainstream poetry is disrupting stylistic trends that are to do with first language mainstream poetry is largely without humor Googlism for: experimental poetry experimental poetry is not an easy task because it is an inclusive and interdisciplinary genre that employs a verbal language in combination with experimental poetry is that moment of the material which manifests the urge to exceed either itself or its perceptions of its antecedents experimental poetry is sensitive to and structured by this historical conjunction of forces experimental poetry is the links between elementary human communication experimental poetry is that it is experimental poetry is often either experimental poetry is great experimental poetry is really pushing the boundaries of what is normal experimental poetry is prized for its complementary poles of experimental poetry is in the arcane mechanical print of the review experimental poetry is too abstruse experimental poetry is as boring as imitation mainstream poetry experimental poetry is experimental poetry is studied experimental poetry is always welcome experimental poetry is that of francesco paolo borazio experimental poetry is a crisp language experimental poetry is the integration between experimental poetry is called univers experimental poetry is to add some experimental poetry is periodically renovated experimental poetry is often three rather than two dimensional experimental poetry is that "not a experimental poetry is only the test of one’s abilities in language experimental poetry is collected in volumes such as clowns' houses experimental poetry is not necessarily a dead end experimental poetry is always a marginal thing experimental poetry is best explicated experimental poetry is not a practical means of social intercourse experimental poetry is where http://www.googlism.com This site is fun. Try George W. Bush. ______________________________________________________________________ Post your free ad now! http://personals.yahoo.ca ========================================================================= Date: Tue, 13 Apr 2004 00:10:57 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Chris Stroffolino Subject: Re: Check out The Chatelaine's Poetics Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit He's long overdue for more recognition, yes--- but what was DESIRE? Is that out of print now? ---------- >From: Catherine Daly >To: POETICS@LISTSERV.BUFFALO.EDU >Subject: FW: Check out The Chatelaine's Poetics >Date: Mon, Apr 12, 2004, 1:44 PM > > for a review of my latest reading. the one with the stellar David > Bromige, who, I might add, is LONG overdue for a Selected volume. > > > > Catherine Daly > > cadaly@pacbell.net > > > > > > -----Original Message----- > From: ERTABIOS@aol.com [mailto:ERTABIOS@aol.com] > Sent: Monday, April 12, 2004 10:53 AM > To: cadaly@pacbell.net > Subject: Check out The Chatelaine's Poetics > > > > Click here: The Chatelaine's > Poetics ========================================================================= Date: Tue, 13 Apr 2004 02:00:57 -0500 Reply-To: nudel-soho@mindspring.com Sender: UB Poetics discussion group From: Harry Nudel Subject: Spring.... Mime-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit i love you 16,400,000 je t'aime 361,000 goo goo i luvs you deeps down where it hurts experimental mainstream 3:00..the hr of the witch..drn.. ========================================================================= Date: Tue, 13 Apr 2004 00:18:40 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Chris Stroffolino Subject: CLINT BURNHAM & JUDITH GOLDMAN Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit The 355 Bartlett Street Readings continue FRIDAY APRIL 23rd (this is in San Francisco by the way---our name is our address between 24th and 25th st. in the mission. call 415-642-8084 for more info....) with VANCOUVER based poet, fiction writer, and cultural theorist, etc. etc... CLINT BURNHAM. This is only---I think---Clint's second reading in the states---and hopefully you'll all come out to check it out and San Francisco based poet JUDITH GOLDMAN. Author of VOCODER! Should begin around 7:30.... Cost is FREE but bring beer or whatever if you want... we could call it a POTLUCK but that's kind of played in the bay area... and you could call me lazy for not cooking, but please a little mercy on those of us in wheelchairs.... In other news, my band CONTINUOUS PEASANT, is to be playing what may be its last show on wednesday APRIL 21st...(our guitarist is moving to portland though not before finishing up mixing our second as yet untitled album) at 12 GALAXIES....also in the SF MISSION DISTRICT (Mission btw 21st and 22nd)-- C ========================================================================= Date: Tue, 13 Apr 2004 03:05:55 -0400 Reply-To: nudel-soho@mindspring.com Sender: UB Poetics discussion group From: Harry Nudel Subject: Spring.... Mime-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit the white blossom tree bends over the river of traffic endless stream of energy o heart beat slower & wait.... 3:00...the unclever Drn.. ========================================================================= Date: Tue, 13 Apr 2004 03:10:13 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: andrew loewen Subject: Call for responses. MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii In COMPLETE contrast to the emotional distance of my previous appearances on this list, I have a very serious question or two to ask of anyone - though specifically and maybe only any woman - on this list who has the time or inclination to respond. I have excerpted something I’ve been working on and I’m wondering if the fact that I am a man means I should not be doing what I’ve done and am doing **and furthermore, what access does loving someone grant in regard to another's trauma insofar as the trauma is no longer ONLY theirs (meaning both that something is constructed in the text which is distinct from a lived reality but also that the text in some way takes off from that trauma, perhaps carrying some of it to unkown places)?** Further, does a man, have the right to respectfully use, a=b=u=s=e, appropriate, and interpolate the work of a woman in ANY circumstances?? I have agonized over these issues privately for long enough. I am very serious about these questions, and I’d appreciate responses in kind. Any responses will determine whether or not I pursue this work in some form or delete it from existence. **note** the subject matter, if not language, is disturbing. Also: It's not poetry. Title of section: THE DOING ITSELF IS EVERYTHING.(I AM OBSESSED WITH GERTRUDE STEIN WHO TOOK MY HORROR AS POLISHED STONES.) There’s no future in my father’s dreaming my father’s meing, my father’s deepening. I am watching Miami Vice on the FAMILY FARM. If I get on my hands and knees my hands and knees become false to me. Blind fear, a kind in glass and a cousin, that seeing reason leads, finds a safeness in a spectacle and nothing strange in a single hurt color and an arrangement in a system of tripping up my footing. All this and not more ordinary than blind reason stumbling without fear not unordered in not resembling: to fear the worst oft means there is still worse. The difference is spreading out of genetics and redness and out of rudeness comes a way of being kept, in touch. **Even if you don’t say it, people can just tell. They do tell. They tell. Do you know? **The resemblance is to yellow is dirtier and distincter, never more, the same sounder, the furniture, the amusing side is that the sooner there are no fewer the more certain is the necessity dwindled, is necessity to mingle in bone holes the way I am customized. Dirt and not copper makes the afternoon darker. A great loss, if inside is let in there are more spaces not empty. **My hands are an old Chinese man’s, my father’s fist busts Tom’s cheek open, squash, we are loved.** xii. But no such substratum exists; there is no ‘being’ behind, acting, becoming, writing; ‘the author’ is merely a fiction imposed on the doing—the doing itself is everything. My physical disproportions were like bruises that wouldn’t heal. When you are despised on your own FAMILY FARM you learn to expend your fragility in total isolation before the space that is and is not you is penetrated red open. The way horror and dreams are true. So much depends on a bedroom door. Here is another sketch of life on the FAMILY FARM from what can be remembered without living it exactly: I wanted a bicycle to get away from here, so Tom said we could sell my kittens but nobody outside the city will pay for an animal that doesn’t produce meat and this was my punishment for what I couldn’t understand. My punishment for what I couldn’t understand was a collapse and a sold hole, a little less hot. Anything that appears as it does will appear nonsense and thus never appear with any weight or affect. Because I am at least brainy enough to realize this I am throwing all my chips in with intelligibility which is the denial of pain. A shallow hole means does it not a damper a stream of pounding my dear it means nearly enough choice makes a steady midnight, bolts and reckless reckless rats elude a mother’s ears, a mother’s sneer. Mince meat. Any system is aimed at kindness is a nice thing to say, please could, please could, jam it not plus more sit in when. Left open, to be left pounded, to be left closed, to be circulating in summer and winter, and spilt color that is shame and empty to be sure days are cigarettes by length and by doubling. Nothing elegant. One thing that being on the FAMILY FARM is teaching me is that there is no such thing as right or wrong, excepting that I am an abomination. I can turn my body over in my mind, a shape to be moved in space, a physical relation folded, punched with predetermined holes and unfolding, a girl happens to repeat herself to be pleasant in music, a signature ensures crimes of imagined cousins penetrating, bruising, space. xiii. I can take modernism as the unthinking of previous thought by a scattered group of bourgeois nerds. I cannot take any writing that does not speak to a person in pain seriously anymore, kitsch is only meaningful in stark contrast. I’ve closed in around something. Now that I’m moving through pain, my pain is a cloud of butterflies, soft as dust, settling into every micro-possibility and transmitting signals tuned to my gaping wounds. Now I am fuckable and getting the hell out of here. So long Liar’s Minor. I would suck Francis of Assisi’s chancered cock to feed the innocents I’ll never get close enough not to love. Hello. . . Edmonton. Dear Jesus Christ, Now concerning the things whereof ye wrote unto me: It is good for a man not to touch a woman. Dear Francine C: But if he cannot contain, let him marry: for it is better to marry than to burn. Dear Jesus Christ, You and I are through. ______________________________________________________________________ Post your free ad now! http://personals.yahoo.ca ========================================================================= Date: Tue, 13 Apr 2004 04:04:56 -0400 Reply-To: Millie Niss on eathlink Sender: UB Poetics discussion group From: Millie Niss on eathlink Subject: Re: Call for responses. MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit I think that whether what you are doing is ok depends on how the woman in question views your work. I think it is nasty to wrote about someone without telling them, or if they don't want you to, but it can be ok if they gove you permission. There is no reason why a man cannot write a piece from the point of view of a woman -- there are no limits to fiction. But when you take the life of a REAL person, man or woman, then what you write can hurt them if they don't want their life revealed. As for the work itself, I think it is well-done and would defnitely be a worthy project if it were fiction. If you have fictionalized it extensively, you may be in an ok position, if people who know your subject could not identifity her. Your excerpt has a string personal style and is clearly literary, not a "kiss and tell" piece, so I think you are not merely exploiting the woman in question, you are transforming something you have heard into your own literary work. Surely as an artist you have a right to transmute what you see and hear into works of art. That is the basic role of the artist. But you are better off combining several people's experience into one character, or using only a small part of someone's story, rather than taking their entire life and appropriating it. Of course if you don't publish what you write you can write anything you want. I think the offense to the person who life you use is PUBLISHING their intimate details, not merely typing them into your own computer. It is a gray area whether you can distribute such a work to lists like this if the person doesn't know. I'd guess it is not a great idea, but it isn't as bad as if it appeared in a journal or newspaper. I have been in the position of someone who was written about (and it annoyed me). I have also haad the opportunity to write about others. For example, I wrote (but have not yet gotten published) a whole series of autobiographical things about life with me (now ex) boyfriend who has schizophrenia. He gave me permission. But now he is my ex, and might no longer want me to write about him. I have mixed feelings about the whole thing. I think it is interesting "material" but it IS his personal tragedy, not mine. I broke my own rule once by getting an article ( http://www.newyorkcityvoices.org/2002septoct/20021003.html ) published about someone I knew which the person (presumably) would never find out about. I had very mixed feelings about this, and may have done the wrong thing. But I didn't identify the person specifically in my article, and tried to leave out details that would allow others to identify him. The guy who was the subject was a street person (now housed, thankfully!) who is mentally ill, and it was basically a very positive portrait (I respected this person a lot -- he is quite bright and might have had a different kind of life if he had been born rich or hadn't gotten sick.) Still, people in my immediate neighbirhood or those in his treatment program could have figured out who the story was about. I don't know if I exploited this guy or not,. I know the honest thing would have been to ask him if I could write about him, and the fact that I was afraid he'd say "no" meant that maybe I shouldn't have done it. I also once wrote and got published a poem which quoted a shrink I was seeing. I think I was within my rights because I quoted what he said to me in the context of my therapy, not personal details of his life (which I knew nothing about). I made the mistake of showing him the poem (because the asshole had made the horrible prediction tat I would never do anything creative ever in my life, so I wanted to show him that I could get creative work published), and he was not amused. He really messed me over, and part of his nastiness towards me was because he didn't like the poem. In this case, I think I was well within my rights to write the thing, but it was stupid to show it to the shrink, By the way, here is the poem: DR. BURNOUT is not in he's taking the afternoon off to vacuum his office barcalounger and test the springiness of the upholstery with the new Jamaican receptionist he's been eyeing for the last two weeks dr. doesn't want to hear about your feelings after all, they're immaterial the fall of psychodynamic psychiatry is well-past so please stick to symptoms, side-effects and such and leave the feelings for your twelve-step group on overcoming therapy addiction. diagnosis is a mere formality useful for insurance purposes we wouldn't want you to read in any more meaning than can be coded in ICD-9 instead we'd rather characterize your condition by the characteristic response you have to certain pharmacologic agents so rather than to say that you're depressed which has so many extra-clinical connotations better to say you have Prozac-responsive syndrome. don't bother to detail the depths of your despair how you want to throw yourself in front of the number 104 bus and end it all, enough to say you have suicidal ideation and not waste the doctor's time he is busy preparing his suntan for the Psychiatric Association conference in Acapulco where it wouldn't do to have pasty skin so please be brief and to the point and pay your bill promptly the dr. is running a business not a charity so have your visa or mastercard ready (sorry no american express) as you leave and please do not forget your next appointment careful follow-up is essential to correct treatment. By the way, this part about the recptionist, Acapulco, etc. was entirely made up. But he did say the thing about Prozac-responsive syndrome and (worse) "I'm running a business not a charity." The title and first line of the poem was taken from a poem about AIDS by Paul Monette, a poem that I admire very much. Monette's autobiographical book are well known, but his poetry is not and is quite excellent. At the time I wrote the poem, I was taking a poetry class in which we were asked to write a poem using the first line from another poem. Millie ----- Original Message ----- From: "andrew loewen" To: Sent: Tuesday, April 13, 2004 3:10 AM Subject: Call for responses. > In COMPLETE contrast to the emotional distance of my > previous appearances on this list, I have a very > serious question or two to ask of anyone - though > specifically and maybe only any woman - on this list > who has the time or inclination to respond. > > I have excerpted something I've been working on and > I'm wondering if the fact that I am a man means I > should not be doing what I've done and am doing **and > furthermore, what access does loving someone grant in > regard to another's trauma insofar as the trauma is no > longer ONLY theirs (meaning both that something is > constructed in the text which is distinct from a lived > reality but also that the text in some way takes off > from that trauma, perhaps carrying some of it to > unkown places)?** > > Further, does a man, have the right to respectfully > use, a=b=u=s=e, appropriate, and interpolate the work > of a woman in ANY circumstances?? > > I have agonized over these issues privately for long > enough. > > I am very serious about these questions, and I'd > appreciate responses in kind. Any responses will > determine whether or not I pursue this work in some > form or delete it from existence. > > **note** the subject matter, if not language, is > disturbing. Also: It's not poetry. > > > Title of section: > > > THE DOING ITSELF IS EVERYTHING.(I AM OBSESSED WITH > GERTRUDE STEIN WHO TOOK MY HORROR AS POLISHED STONES.) > > > There's no future in my father's dreaming my father's > meing, my father's deepening. I am watching Miami Vice > on the FAMILY FARM. If I get on my hands and knees my > hands and knees become false to me. Blind fear, a > kind in glass and a cousin, that seeing reason leads, > finds a safeness in a spectacle and nothing strange in > a single hurt color and an arrangement in a system of > tripping up my footing. All this and not more ordinary > than blind reason stumbling without fear not unordered > in not resembling: to fear the worst oft means there > is still worse. The difference is spreading out of > genetics and redness and out of rudeness comes a way > of being kept, in touch. **Even if you don't say it, > people can just tell. They do tell. They tell. Do you > know? **The resemblance is to yellow is dirtier and > distincter, never more, the same sounder, the > furniture, the amusing side is that the sooner there > are no fewer the more certain is the necessity > dwindled, is necessity to mingle in bone holes the way > I am customized. Dirt and not copper makes the > afternoon darker. A great loss, if inside is let in > there are more spaces not empty. **My hands are an old > Chinese man's, my father's fist busts Tom's cheek > open, squash, we are loved.** > > > xii. But no such substratum exists; there is no > 'being' behind, acting, becoming, writing; 'the > author' is merely a fiction imposed on the doing-the > doing itself is everything. > > > > My physical disproportions were like bruises that > wouldn't heal. When you are despised on your own > FAMILY FARM you learn to expend your fragility in > total isolation before the space that is and is not > you is penetrated red open. The way horror and dreams > are true. > > > So much depends on a bedroom door. > > > Here is another sketch of life on the FAMILY FARM from > what can be remembered without living it exactly: I > wanted a bicycle to get away from here, so Tom said we > could sell my kittens but nobody outside the city will > pay for an animal that doesn't produce meat and this > was my punishment for what I couldn't understand. My > punishment for what I couldn't understand was a > collapse and a sold hole, a little less hot. > > > > Anything that appears as it does will appear nonsense > and thus never appear with any weight or affect. > Because I am at least brainy enough to realize this I > am throwing all my chips in with intelligibility which > is the denial of pain. A shallow hole means does it > not a damper a stream of pounding my dear it means > nearly enough choice makes a steady midnight, bolts > and reckless reckless rats elude a mother's ears, a > mother's sneer. Mince meat. > > > > Any system is aimed at kindness is a nice thing to > say, please could, please could, jam it not plus more > sit in when. > > > Left open, to be left pounded, to be left closed, to > be circulating in summer and winter, and spilt color > that is shame and empty to be sure days are cigarettes > by length and by doubling. Nothing elegant. > > > > One thing that being on the FAMILY FARM is teaching me > is that there is no such thing as right or wrong, > excepting that I am an abomination. > > > I can turn my body over in my mind, a shape to be > moved in space, a physical relation folded, punched > with predetermined holes and unfolding, a girl happens > to repeat herself to be pleasant in music, a signature > ensures crimes of imagined cousins penetrating, > bruising, space. > > > xiii. I can take modernism as the unthinking of > previous thought by a scattered group of bourgeois > nerds. I cannot take any writing that does not speak > to a person in pain seriously anymore, kitsch is only > meaningful in stark contrast. > > > > I've closed in around something. Now that I'm moving > through pain, my pain is a cloud of butterflies, soft > as dust, settling into every micro-possibility and > transmitting signals tuned to my gaping wounds. Now I > am fuckable and getting the hell out of here. So long > Liar's Minor. I would suck Francis of Assisi's > chancered cock to feed the innocents I'll never get > close enough not to love. Hello. . . Edmonton. > > > > Dear Jesus Christ, > > Now concerning the things whereof ye wrote unto me: It > is good for a man not to touch a woman. > > > Dear Francine C: > > But if he cannot contain, let him marry: for it is > better to marry than to burn. > > Dear Jesus Christ, > > You and I are through. > > ______________________________________________________________________ > Post your free ad now! http://personals.yahoo.ca ========================================================================= Date: Tue, 13 Apr 2004 09:30:37 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: mmagee@DEPT.ENGLISH.UPENN.EDU Subject: Re: Experimental Poetry vs. Mainstream Poetry googlefight II Comments: To: Timothy Yu In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 8bit Tim, You're right, we did forget to tell Dana Gioia! but I think I've corrected the problem, directing him in an email to: http://www.mainstreampoetry.com -m. Quoting Timothy Yu : > If "experimental" is the new mainstream, I guess somebody forgot to > tell Dana Gioia, the poet who now heads the National Endowment for > the Arts. There's something in the latest Reader's Digest (that most > mainstream of publications) lauding Gioia's stewardship of the NEA > away from the controversies of the 1980s (Mapplethorpe, Serrano, et > al.) toward a new sense of artistic "merit" or "the best." Here's > what that means for Gioia: > > "Gioia believes that the NEA did veer off track, and he thinks he > knows why. 'Some works of art are better than others,' the > 53-year-old chairman says, 'but the bizarre thing is that not all > intellectuals believe that.' He also thinks that the NEA became > 'obsessed with imagining that its purpose was to foster experimental > art'...Gioia said that the NEA needs 'programs of indisputable > merit'...To Gioia, it's about serving the public, not the insular > arts community." > > So the "experimental" here is precisely that which does not have > merit, does not have any standards of judgment, and serves the few > rather than the many. As far as I can tell from the article (not > very informative, of course), what's mainstream is Shakespeare, and > lots of it. > > Tim Yu > http://tympan.blogspot.com > ========================================================================= Date: Tue, 13 Apr 2004 11:19:02 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Murat Nemet-Nejat Subject: Re: Intelligent White Silliman MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit In a message dated 04/13/04 12:39:33 AM, tyu@STANFORD.EDU writes: > but it's also true that her role as a > creator of networks among artists places her closer to the social > practices of the avant-garde, and that it has taken decades (in > comparison to Eliot, Joyce, or Woolf) for her work to be even seen as > comprehensible. > > Tim, Stein always thought she wrote in the most natural way. I don't think how the public took or ignored her writing had much to do with her wishes. I think there is a crucial gap between how a writer sees his/her work (his/her imagined audience) and the discource which starts (if any at all) around the work. The gap is profound and not much talked about directly or analyzed. I do not agree with your association of the avant-garde with net-working. Though with the Russian futurists or Appolinaire or the Dadaists the avant-garde was a movement containing factions -by the way, all three of the mentioned ones initiated by non-Western Europeans- the relationship is not really networking. Nick Piambino and I had this discussion on the list about a year ago. Nick believes, if I understand him correctly, that writers should psychologically support each other forming a community. Though this sounds wonderful, I do not think that is how writing is done, particularly poetry. Since poetry in monetary terms has almost no social recompense, its only value, it seems to me, is the writing of it. I am not privileging anything or rejecting the desire of the public. My point is that the image of audience the poet develops during the process of writing, phenomenologically, has little to do with the actual potential audience, whether this audience is the establishment or the avant-garde. etal. I am very interested in the chasm that exists between the consciousness of the individual poet writing the poem, his or her sense of language, and the culture -a lot of it non linguistic- which surrounds it, which might receive or ignore the work. How does the poet live with that flaw? I went into this in great detail in my essay "Questions of Accent." Murat It was contentious -as much against each other as against society- more than cooperative. Today, it seems to me, the avant-garde is a style more than a movement. It has developed its own vocabulary of what a poem is or can be. Within those givens, the idea of net-working ========================================================================= Date: Tue, 13 Apr 2004 08:59:58 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Catherine Daly Subject: Re: Check out The Chatelaine's Poetics In-Reply-To: <200404130654.i3D6sVj7215526@pimout2-ext.prodigy.net> MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit when he read at the black sparrow reading here in LA he read from desire -- his comment was that bs stopped publishing him after that book because he became more experimental and they rejected that -- but since it was his last one with them it was the one he liked most so he wants a collection that's more of a survey of all his work, but I think isn't holding out much hope for a collected, but rather a comprehensive new & selected -----Original Message----- From: UB Poetics discussion group [mailto:POETICS@LISTSERV.BUFFALO.EDU] On Behalf Of Chris Stroffolino Sent: Tuesday, April 13, 2004 1:11 AM To: POETICS@LISTSERV.BUFFALO.EDU Subject: Re: Check out The Chatelaine's Poetics He's long overdue for more recognition, yes--- but what was DESIRE? Is that out of print now? ---------- >From: Catherine Daly >To: POETICS@LISTSERV.BUFFALO.EDU >Subject: FW: Check out The Chatelaine's Poetics >Date: Mon, Apr 12, 2004, 1:44 PM > > for a review of my latest reading. the one with the stellar David > Bromige, who, I might add, is LONG overdue for a Selected volume. > > > > Catherine Daly > > cadaly@pacbell.net > > > > > > -----Original Message----- > From: ERTABIOS@aol.com [mailto:ERTABIOS@aol.com] > Sent: Monday, April 12, 2004 10:53 AM > To: cadaly@pacbell.net > Subject: Check out The Chatelaine's Poetics > > > > Click here: The Chatelaine's > Poetics ========================================================================= Date: Tue, 13 Apr 2004 12:39:49 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Shankar, Ravi (English)" Subject: Wallace Stevens and Confessionalism MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable This recent thread about the various strains of confessionalism has = piqued my interest, especially because I was just at the recent Wallace = Stevens Conference, held at UConn over the weekend, and the afternoon = discussion denigrated/evolved into something quite acrimonious on this = very subject, though it was never overtly defined as such. After a = variety of papers on such topics as the latent eroticism of Stevens' = floribunda, the curious resistance of British poets to his work, the = proliferation of verbs of being in his otherwise variegated clauses, the = aural dimension of his use of place names, etc., etc., there was an = afternoon panel on "The Next 50 Years," a discussion that, ostensibly, = would forecast Stevens' influence on contemporary poetry in the years to = come. The panelists were John Serio, editor of the Wallace Stevens = Journal, Massimo Bacigalupo, Stevens' Italian translator, Willard = Spiegelman, Susan Howe, and Christian Wiman, the new, young editor of = Poetry.=20 Serio spoke of how the journal has evolved over time, and the many = essays, good and awful, he has rec'd since its inception, encompassing = all the possible -isms, plus the mediums of visual art, music, dance, = even architecture. Bacigalupo spoke about the challenges of translating = Stevens into another language, mentioning that, counterintuitively, = Stevens was actually easier to translate than someone like Frost, = because he was less embedded in the cultural landscape of a particular = country/time and more abstracted in his ruminations. Spiegelman spoke = about the poets who've retained a measure of Stevensian language, that = if Ashbery can be seen as absorbing much of it, then contemporary poetry = itself is necessarily rife with our insurance man's "tink and tank and = tunk-a-tunk-tunk." Howe compared Stevens to Jonathan Edwards, averring = that in a secular world, poetry was his religion, and she stressed the = need for new editions of his work, more complete correspondence, the = marginalia in his books, his unexpurgated diaries, etc. And then, Wiman, = whom I hadn't met before, began his comment with the following = invective, "If Wallace Stevens is influential fifty years from now, then = the break between American poets and the world will be complete." He = followed this by railing against Stevens' self-absorption, his inability = to engage with the world in a meaningful way. He claimed that Stevens = was a corrosive influence on modern poetry, a near-solipsistic, = obsessive genius who had lost touch with what existed outside language, = and that what he, as the new editor of Poetry, was interested in was = poems that have people and places in them, that touch and stem from = emotional and lyrical roots. What went unsaid, I think, was that he was = advocating a kind of confessionalism; the poetry that is driven by = people and places is generally written by a person in a place, someone = who is localized and situated in a vocable, stable identity. Anyway, you = can imagine the clamor that such a comment caused, the proverbial = Christian sacrificing himself to the lions, and Susan - bless her - = declaimed, "If you have a problem with Wallace Stevens, I have a problem = with Poetry magazine and have for many years." It was all very tense and = rancorous and selfishly, rather fun to be privy to, though I wonder, = notions of confessionalism aside or perhaps foregrounded, what folks = make of Wallace Stevens on the 125th anniversary of his birth.=20 -RS=20 =20 *************** Ravi Shankar=20 Poet-in-Residence Assistant Professor CCSU - English Dept. 860-832-2766 shankarr@ccsu.edu ========================================================================= Date: Tue, 13 Apr 2004 11:40:31 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Joe Amato Subject: Re: Intelligent White Silliman In-Reply-To: <117.315e8fb1.2dad5ee6@aol.com> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" murat, i address specific poems in many cases to specific individuals, and specific communities (largely through issues/ideas, but also in some cases in terms of form)... the latter certainly do (at least) inflect my writing process... if this is a working fiction, it's one that's nonetheless actualized somewhat, for instance, when i read the work aloud for said individuals/communities (i don't mean to give undue credit to the aural---i just mean to introduce it here)... i'm certain too that i accumulate recognition (some will say symbolic and cultural capital) in doing so... how does this square, or not, with your phenomenology?... best, joe ========================================================================= Date: Tue, 13 Apr 2004 14:41:29 -0230 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Kevin Hehir Subject: Re: Wallace Stevens and Confessionalism In-Reply-To: MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Ravi, you write- and Susan - bless her - declaimed, "If you have a problem with Wallace Stevens, I have a problem with Poetry magazine and have for many years." then what happened? thanks for the report, kevin -- --------------------------- http://paulmartintime.ca/ ========================================================================= Date: Tue, 13 Apr 2004 13:26:20 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Shankar, Ravi (English)" Subject: Re: Wallace Stevens and Confessionalism MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Well Wiman claimed he too had a problem with Poetry magazine and hoped = to change its prevailing direction. He's been the editor for about six = months and I can't say I've looked too closely at the journal recently. = Though when someone else asked him which poets he did admire, all he = came up with were Frost, Yeats, and Heaney.=20 -RS=20 *************** Ravi Shankar=20 Poet-in-Residence Assistant Professor CCSU - English Dept. 860-832-2766 shankarr@ccsu.edu > ---------- > From: UB Poetics discussion group on behalf of Kevin Hehir > Reply To: UB Poetics discussion group > Sent: Tuesday, April 13, 2004 1:11 PM > To: POETICS@LISTSERV.BUFFALO.EDU > Subject: Re: Wallace Stevens and Confessionalism >=20 > Ravi, > you write- >=20 > and Susan - bless her - declaimed, "If you have a problem with Wallace > Stevens, I have a problem with Poetry magazine and have for many = years." >=20 > then what happened? >=20 > thanks for the report, > kevin >=20 > -- > --------------------------- > http://paulmartintime.ca/ >=20 >=20 ========================================================================= Date: Tue, 13 Apr 2004 13:32:11 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: William A Sylvester Subject: Stephen Ellis MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Stephen Ellis --in addition his essay on Lisa Jarnot--has also written a a lot of poetry, and quite a range of it. I am particular fond of his poem ZENTITH in his chapbook INTERFACE. I'll just quote the beginning: The crusader ruins at Apollonia shine. You can almost taste that limestone's ancient blaze, the desire to take Jerusalem now turned absence, salted away on those far shores. History ... ========================================================================= Date: Tue, 13 Apr 2004 15:53:31 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Poetry Project Subject: Events at the Poetry Project 4/14-4/17 Mime-version: 1.0 Content-type: text/plain; charset="ISO-8859-1" Content-transfer-encoding: quoted-printable =B3perfect poem/ nothing doing// in my ear/ a little smear=B2 --Jane Smudge TOMORROW: Wednesday, April 14 Eileen Myles & D.A. Powell Eileen Myles is the author of Not Me, Chelsea Girls, Maxfield Parrish, School of Fish, Cool for You, Skies, and many others. She is currently working on a novel, The Inferno, and an opera, Hell (with Los Angeles composer Michael Webster). She is a former Artistic Director of the Poetry Project as well as a former Presidential candidate. She lives in New York and San Diego and teaches writing at UCSD. D.A. Powell=B9s most recent book i= s Cocktails (Graywolf Press). His work has also appeared in Barrow Street, Boomerang, Explosive, Fence, and Salt Hill. He has taught at Columbia University and the University of San Francisco, and, together with Katherin= e Swiggart, he publishes Electronic Poetry Review. He has also recently started a new magazine, called Bento. [8:00 pm] * SATURDAY: Poetry Project Silent Auction April 17, 3pm-7pm $10/$8 members St. Mark=B9s Church Sanctuary and Parish Hall Telephone Bids at 212-674-0910 up to Friday, April 16th at 6pm Full Catalog and Minimum Bids posted at http://www.poetryproject.com/announcements.html Rare books, magazines, broadsides, prints, paintings, collages and more! Many items will also be available for direct sale Performances and readings by Thurston Moore, Edwin Torres, Edmund Berrigan and Brenda Coultas Food, drink, general excitement * The Poetry Project is located at St. Mark's Church-in-the-Bowery 131 East 10th Street at Second Avenue New York City 10003 Trains: 6, F, N, R, and L. info@poetryproject.com www.poetryproject.com Admission is $8, $7 for students/seniors and $5 for members (though now those who take out a membership at $85 or higher will get in FREE to all regular readings). We are wheelchair accessible with assistance and advance notice. For more info call 212-674-0910. ========================================================================= Date: Wed, 14 Apr 2004 04:50:32 +0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: furniture_ press Subject: Thurston Moore's E-Mail Content-Type: text/plain; charset="iso-8859-1" Content-Disposition: inline Content-Transfer-Encoding: 7bit MIME-Version: 1.0 Does anyone on this list have Thurston Moore's e-mail addie? He's reading in NYC this weekend and I need to talk to him beforehand. Word, Chris -- _______________________________________________ Graffiti.net free e-mail @ www.graffiti.net Check out our value-added Premium features, such as an extra 20MB for just US$9.95 per year! Powered by Outblaze ========================================================================= Date: Tue, 13 Apr 2004 17:13:13 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Brenda Coultas Subject: Ashbery & Willis, April 24, Spencertown, NY MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Bernadette Mayer hosts a free reading by John Ashbery and Elizabeth Willis on April 24, 3:00pm at Spencertown Academy, 790 Route 203, Spencertown, NY, 518-392-3693, www.spencertown.org ========================================================================= Date: Tue, 13 Apr 2004 18:07:39 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Vernon Frazer Subject: Re: Thurston Moore's E-Mail In-Reply-To: <20040413205032.61FB823AB1@ws5-3.us4.outblaze.com> MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit Here's the Sonic Youth e-mail site. I was able to reach him via this route a few years ago. If he's still in Northampton, MA he's listed in the phone book. http://www.sonicyouth.com/contact/index.html Vernon http://vernonfrazer.com -----Original Message----- From: UB Poetics discussion group [mailto:POETICS@LISTSERV.BUFFALO.EDU] On Behalf Of furniture_ press Sent: Tuesday, April 13, 2004 4:51 PM To: POETICS@LISTSERV.BUFFALO.EDU Subject: Thurston Moore's E-Mail Does anyone on this list have Thurston Moore's e-mail addie? He's reading in NYC this weekend and I need to talk to him beforehand. Word, Chris -- _______________________________________________ Graffiti.net free e-mail @ www.graffiti.net Check out our value-added Premium features, such as an extra 20MB for just US$9.95 per year! Powered by Outblaze ========================================================================= Date: Wed, 14 Apr 2004 00:03:22 +0100 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "david.bircumshaw" Subject: Re: Yeats meets Iraq MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Hi David yes, Yeats' views were not unique to his generation, one does not only have to hit the 'modernists' on the head about this, investigate what H.G. Wells or Shaw actually thought and it is a quite uncomfortable experience. Yeats though did have the unique position among that lot of becoming an elected politician and his record there is not good. It is all a horror: Pound craving audiences with Mussolini, Wallace Stevens regarding Taft as a dangerous radical, Eliot siding with the brain-dead hierarchy of the Anglican Church, Lowell invoking old men sleeping over the Aeneid, while simultaneously being a conscientious objector, Auden faking Marxism while living on private means then conveniently switching to an equally fake religiosity when changing Britain for the US. You could also switch to Wells's interview with Stalin, where they talked about the possibilities of the Babbage machine. In the eighteenth century computers were people, usually female. I quite agree with you about Joyce, that scaramag was the only with a true integrity, self-pitying bastard that he was! The rhetorical power of The Second Coming is very strong, and I admire it on that basis, but remain aware that it is rhetoric. That is to say: politician talk. Best Dave David Bircumshaw Spectare's Web, A Chide's Alphabet & Painting Without Numbers http://www.chidesalphabet.org.uk ----- Original Message ----- From: "David Kellogg" To: Sent: Monday, April 12, 2004 12:48 PM Subject: Re: Yeats meets Iraq OK, so Yeats had contemptible views. So did Eliot, Pound, etc. (though not, I hasten to add, Joyce -- at least here). "The Second Coming" retains its appeal partly because it can't hide the undercurrent of awe in the sublime horror of the rough beast. The sense that one doesn't know what to expect. I imagine Rummy, Bremer, Cheney, Wolfowitz etc. are much like the hapless falconer. (Bush 43, meanwhile, is like the falconer's stupid dog chasing a butterfly into the bushes.) David Quoting "david.bircumshaw" : > I love the notion of Yeats as a moral spirit declaiming upon the evils of > war. This is the same Yeats who quoted 'Send war in our time, Oh Lord', who > despised the sufferings of the soldiers in the WW1 trenches, who carefully > footnoted The Second Coming so that conservative readers would not be > perturbed, whose first biographer, Joseph Hone, was a crypto-fascist in > sympathy with Hitler, who waxed lyrical about the eternities of race on the > eve of WW2, who .... aw, no more, I don't want to think about it anymore. A > great musicality, for sure, but what he says ..... > > Best > > Dave > > > > David Bircumshaw > > Spectare's Web, A Chide's Alphabet > & Painting Without Numbers > > http://www.chidesalphabet.org.uk > David Kellogg Center for Teaching, Learning, and Writing Duke University (919) 668-1615; FAX (919) 681-0637 ========================================================================= Date: Wed, 14 Apr 2004 09:14:11 +1000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alison Croggon Subject: Re: Yeats meets Iraq In-Reply-To: <000f01c421ab$860debc0$8bf4a8c0@netserver> Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit "Horror" isn't the word that occurs to me. It's somewhat disingenuous to throw one's hands up in despair because poets can sometimes be less than admirable human beings. There's possibly an interesting discussion there, but if it begins with wide-ranging condemnations of the moral flakiness of poets it's not going to reveal anything beyond the opinions of the interlocutor, which seem to me of minimal interest. James Kelman draws an interesting distinction when he says that he believes that some writers are not so good as artists because of their bigotries, which inevitably show up as blindnesses in the work. But I think this has to be applied with considerable subtlety and specific argument if it is not to degenerate into moralising on writers not being saints. It could easily be argued, for example, that Pound had considerable "integrity", for all the distastefulness of some of his ideas. I know I keep going on about Said, but I think his criticisms of Conrad or Austen or Swift are models of literary argument which investigate the politics of the writer. Btw, there's scuttlebutt on Joyce too, all the gossip about his daughter. Are we going to drag that in to condemn his writing? And politicians, at least the ones I see on tv or read in the newspapers, sound nothing like Yeats. It might be more interesting if they did. Best A On 14/4/04 9:03 AM, "david.bircumshaw" wrote: > Hi David > > yes, Yeats' views were not unique to his generation, one does not only have > to hit the 'modernists' on the head about this, investigate what H.G. Wells > or Shaw actually thought and it is a quite uncomfortable experience. Yeats > though did have the unique position among that lot of becoming an elected > politician and his record there is not good. It is all a horror: Pound > craving audiences with Mussolini, Wallace Stevens regarding Taft as a > dangerous radical, Eliot siding with the brain-dead hierarchy of the > Anglican Church, Lowell invoking old men sleeping over the Aeneid, while > simultaneously being a conscientious objector, Auden faking Marxism while > living on private means then conveniently switching to an equally fake > religiosity when changing Britain for the US. You could also switch to > Wells's interview with Stalin, where they talked about the possibilities of > the Babbage machine. In the eighteenth century computers were people, > usually female. > > I quite agree with you about Joyce, that scaramag was the only with a true > integrity, self-pitying bastard that he was! The rhetorical power of The > Second Coming is very strong, and I admire it on that basis, but remain > aware that it is rhetoric. > > That is to say: politician talk. > > Best > > Dave Alison Croggon Editor, Masthead http://www.masthead.net.au Home page http://www.alisoncroggon.com Blog http://alisoncroggon.blogspot.com ========================================================================= Date: Tue, 13 Apr 2004 17:48:20 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Keith Waldrop Subject: Burning Deck Fiction/Theory In-Reply-To: <6.0.1.1.2.20040217065942.022c7640@writing.upenn.edu> Content-Type: text/plain; charset=WINDOWS-1252; format=flowed Mime-Version: 1.0 (Apple Message framework v551) Content-Transfer-Encoding: quoted-printable > Burning Deck Press . 71 Elmgrove Avenue . Providence, RI 02906 > www.burningdeck.com > Bernard_Waldrop@brown.edu > > We are pleased to announce volume 19 of the Burning Deck Fiction=20 > Series: > > JANET KAUFFMAN > FIVE ON FICTION > Fiction/Theory, 72 pages, offset, smyth-sewn > ISBN 1-886224-73-0 original paperback $10 > ISBN 1-886224-74-9 original paperback, signed edition $20=09 > Publication date: May 15, 2004 > > =46rom her early stories on, Kauffman has redefined terms =97 of=20 > literature and of human nature. Here, short paragraphs cut across=20 > genres to assemble a poetics of narrative. She shows us fiction=92s=20 > elements grounded in the materiality of language: plot as ground,=20 > action as just what it looks like, one word after another. Five on=20 > Fiction sets out the bones and flesh of narrative, in bits and pieces,=20= > evidence of its connections to the physical and natural world. > > Janet Kauffman grew up on a tobacco farm in Pennsylvania and has=20 > worked on farms, and with language, all her life. She has published=20= > several collections of poetry and 3 books of short fiction: Places in=20= > the World a Woman Could Walk, which immediately thrust her to the=20 > forefornt of her generation of writers, Obscene Gestures for Women and=20= > Characters on the Loose. Her trilogy novels, Flesh Made Word, includes=20= > Collaborators, The Body in Four Parts, and Rot. She lives in Michigan,=20= > where she has restored wetlands on her farm and worked for watershed=20= > protection. > > =93This gathering of stories [Characters on the Loose] leaves little=20= > doubt that Kauffman is a formidable if unruly talent, contorting=20 > narrative into teasing and surprising shapes.=94=97Bill Marx, Boston = Globe > > Copies are now available from: > Small Press Distribution, 1341 Seventh St., Berkeley, CA=20 > 947101-800-869-7553; E-Mail: orders@spdbooks.org > & in Europe from: Spectacular Diseases, 83b London Rd., Peterborough,=20= > Cambs. PE29BS England > ========================================================================= Date: Tue, 13 Apr 2004 17:50:33 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Keith Waldrop Subject: Burning Deck Dichten= Mime-Version: 1.0 (Apple Message framework v551) Content-Type: text/plain; charset=WINDOWS-1252; format=flowed Content-Transfer-Encoding: quoted-printable Burning Deck Press . 71 Elmgrove Avenue . Providence, RI 02906 www.burningdeck.com Bernard_Waldrop@Brown.edu We are plesed to announce volume 7 of the Burning Deck German series,=20 Dichten=3D: Gerhard R=DChm I MY FEET: POEMS AND CONSTELLATIONS selected and translated from the German by Rosmarie Waldrop Poetry, 120pp., offset, smyth-sewn (ISSN 1077-4203) ISBN 1-886224-75-7 $10 Publication Date: May 15, 2004 Gerhard R=FChm is a radical experimenter, a restless explorer of=20 traditions and genres, atomizing their elements in order to recompose=20 them with conceptual precision and a multiplicity of compositional=20 techniques. He has worked with music and visual art, but basically the=20= world is language for R=FChm, the dictionary its body, and the alphabet=20= its backbone. R=FChm was born in Vienna in 1930. He began by studying composition and=20= Oriental music, but came to devote most of his energy to literature,=20 esp. concrete poetry. His aim has been nothing less than making=20 language an aesthetic medium on a par with music and visual art. R=FChm is also known for his editions of Baroque and Expressionist=20= poets. His prizes include the =93Grosse =D6sterreichische Staatspreis=94=20= (1991) and the =93H=F6rspielpreis der Kriegsblinden=94 (1983). =46rom = 1972-95=20 he taught at the Hamburg Academy of Fine Arts. He now lives in Cologne. =93Orgy, for R=FChm means semantic excess and turbulence, the coitus = of=20 words outside their usual use.=94=97Mittelbayerische Zeitung (10/2/90) Rosmarie Waldrop's most recent books of poetry are Blindsight (New=20 Directions) and Love, Like Pronouns (Omnidawn). Copies are now available from: Small Press Distribution, 1341 Seventh St., Berkeley, CA=20 947101-800-869-7553; E-Mail: orders@spdbooks.org & in Europe, from: Spectacular Diseases, 83b London Rd., Peterborough,=20= Cambs. PE29BS, ENGLAND ========================================================================= Date: Tue, 13 Apr 2004 21:16:56 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Ruth Danon Subject: summer workshops MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Dear Listmembers: I have been lurking with interest for some time. I would like, as my = first public foray, to announce the Summer Writing Workshops I direct at = NYU. This summer the guest writers will be John Yau -- poetry Siri Hustvedt -- fiction Dave Hickey -- non fiction. Each of these writers has an interest in visual art as well as in = language.=20 The workshops run from June 13-June 25 and are open to undergraduate = students (for credit) postgraduate students (non credit). Students can = earn four credits. Admission to the workshops is by application. An application consists of = a ten page writing sample and cover letter. E mail me for details. In addition to working in small groups with a guest writer (groups are = no larger than twelve) students attend lectures and readings, present = their own work, go to panel discussions. In addition the students participate in improvisation workshops which I = teach along with my colleagues. We use a variety of approaches -- = Oulipean, Cagean, surrealist, and so on -- to experiment with language.=20 You may be interested; you may have students who are interested. My e mail is rd2@nyu.edu. I would so appreciate it if you could spread the work to your networks.=20 Thanks so much, Ruth Danon (ps the wonderful Robert Creeley was our poet three years ago. ) ========================================================================= Date: Tue, 13 Apr 2004 21:44:09 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Loss =?iso-8859-1?Q?Peque=F1o?= Glazier Subject: Digital Media Poetics: Cybertext Symposium Mime-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1"; format=flowed Content-Transfer-Encoding: quoted-printable DMS Digital Media Poetics Series Cyb3rtext Symp0s1um Friday, April 23, 2004, 1-5 PM, 232 CFA Performances and Presentations by: Simon Biggs, Sheffield Hallam University, UK Sandy Baldwin, West Virginia University Maria Damon, University of Minnesota Alan Sondheim, Independent Media Artist In celebration of the "Ergodic Poetry" section of The Cybertext Yearbook=20 2003-2004, section editors Loss Peque=F1o Glazier and John Cayley Digital textuality is explored by leading digital artists and theorists in= =20 this in-depth exploration of themes at the leading edge of digital=20 technology in the language arts. The Symposium features extensive=20 performances, presentations, and conversations with leading artists and=20 researchers who are authors and subjects of innovative new media practices. Admission Free Events will be held in the Center for the Arts (CFA) at the Amherst campus= =20 of SUNY Buffalo. No parking permit required after 3 PM. Millersport exit=20 north from I-290. Campus map:=20 http://www.buffalo.edu/b= uildings/building?id=3Dcfa=20 (Use metered parking until 3 PM) Presented at the State University of New York at Buffalo by the Dept. of=20 Media Study with support from the David Gray Chair and the Butler Chair,=20 Dept. of English, the Dept. of Media Study Programming Committee, & College= =20 of Arts & Sciences Dean's Office ========================================================================= Date: Tue, 13 Apr 2004 22:09:17 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Timothy Yu Subject: Re: Intelligent White Silliman Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" Murat: "Networking" might sound a little too corporate, but my point was simply that you can't be "avant-garde" by yourself. As Peter Burger and others argue, one thing the avant-garde did was to challenge the usual idea of individual creation or of the individual work. What the avant-garde critique might show is how the individual writer who believes she or he simply creates a work and then releases it into the world--which then judges it aesthetically good or bad--really operates within a set of ideologically grounded institutions. If one follows this logic, an avant-garde that has become merely a style--with no connection to an alternative sense of literary community--is no longer an avant-garde. A network doesn't rule out conflict--it's more like a field within and against which one positions oneself. I think your definition of "culture" must be rather narrower than mine, since it's hard for me to understand how there could be such a radical gap between a writer and "the culture." One can oppose certain political principles, literary standards, even certain kinds of identifications, but can one really be outside culture? Does it make sense to set up a binary between the writer and "culture"? I guess my feeling is that such an idea--as I suggested before--can prevent one from seeing how culturally and ideologically implicated one always is. I am curious as to how you would say your position differs from the basic idea that authors can't control the reception of their own texts--that there's a gap between intention and reception. Is this really a "flaw" in the process, or simply a fact about any kind of language? And if the writer, indeed, forms her or his own "sense of language" and imagined audience, the reaction of any actual audience should have no impact whatsoever on the composition of the work, even if the writer is totally wrong about who the audience is. I guess what I'm asking is whether you're presenting this dynamic of production and reception as truly flawed, and if so, what the ideal version of it would be for you--a world, say, in which texts are only read according to the intentions of their authors?--and whether this is meant to be a corrective taken to heart by writers, by readers, or both. best, Tim http://tympan.blogspot.com --- >Date: Tue, 13 Apr 2004 11:19:02 EDT >Reply-To: UB Poetics discussion group >Sender: UB Poetics discussion group >From: Murat Nemet-Nejat >Subject: Re: Intelligent White Silliman >Content-Type: text/plain; charset="US-ASCII" > >Tim, > >Stein always thought she wrote in the most natural way. I don't >think how the public >took or ignored her writing had much to do >with her wishes. I think there is a crucial >gap between how a >writer sees his/her work (his/her imagined audience) and >the >discource which starts (if any at all) around the work. The gap >is profound and not much >talked about directly or analyzed. > >I do not agree with your association of the avant-garde with >net-working. Though with >the Russian futurists or Appolinaire or >the Dadaists the avant-garde was a movement >containing factions -by >the way, all three of the mentioned ones initiated by >non-Western >Europeans- the relationship is not really networking. > >Nick Piambino and I had this discussion on the list about a year >ago. Nick believes, if I >understand him correctly, that writers >should psychologically support each other >forming a community. >Though this sounds wonderful, I do not think that is how writing >is >done, particularly poetry. Since poetry in monetary terms has almost >no social >recompense, its only value, it seems to me, is the >writing of it. > >I am not privileging anything or rejecting the desire of the public. >My point is that the >image of audience the poet develops during the >process of writing, >phenomenologically, has little to do with the >actual potential audience, whether this >audience is the >establishment or the avant-garde. etal. > >I am very interested in the chasm that exists between the >consciousness of the >individual poet writing the poem, his or her >sense of language, and the culture -a lot of >it non linguistic- >which surrounds it, which might receive or ignore the work. How >does >the poet live with that flaw? I went into this in great detail >in my essay "Questions of >Accent." > >Murat ========================================================================= Date: Wed, 14 Apr 2004 00:07:08 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII my private tiny little .#zz .BitchX .addressbook .addressbook.lu .auto .bio .bio.old .delgroups .editor .elm .emacs .emacs.d .exrc .forward .hlevel .ircrc .ispell_english .julu .juluold .learnrc .lynx_cookies .lynxrc .machinemessage .mailer .mailme .mailspool .memo .message .message.old .motd-social_time .motd_time .msgsrc .muttrc .ncftp .ncrecent .newnewsrc17612 .newnewsrc601 .newsrc .newsrc.bak .newsrc.eep .newsrc.old .newsreader .nn .oldnewsrc .one .phoenix.away .pine-debug1 .pinerc .pinerc~ .plan .printmenu .procmail .procmailrc .profile .profile.save .project .pshenv .pshrc .pshrc.old .rhosts .rmm .rnlast .rnsoft .s .sig .spam .ssh .termtype .tfrc .tin .trn .two .xtod .ytalkrc my public lovely one GoogleSearch.wsdl Mail News a lisp looply.pl lynx_bookmarks.html mail mod nm note phoenix.hlp phoenix.irc tf tf-lib tiny.world venom.irc volt.irc my word and very last word my lovely little one __ ========================================================================= Date: Wed, 14 Apr 2004 00:06:32 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: true poetry damn it! MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=X-UNKNOWN Content-Transfer-Encoding: QUOTED-PRINTABLE true poetry damn it! ITS A DAMN SLAM The Seattle Poetry Festivals Mixed Offerings by realize, and they, not the slams, represent the true spirit of modern American poetry. 0 46k true Your Poetry Dot Com is not responsible for the content of any comment TRUE GOES TO SEE THE FBI GUY (User Rating: 1) by neptunes_first on Wednesday ... Damn good story ... respond, Go write and post your own damn poetry then! All havent noticed, I only write poetry when I Chinese Poems: True Love (Zhen Ai) Search (Zhao) Vixen ... 81957.shtml 35k true Saddamn good poetry: haikus for Hussein. Published love? Is it true my love What they say on CNN? Wolf can be so cruel Showdown in Iraq? true I knew it Damn you Your throwing your life away It sounds harsh but its true You=E2ll Here If You Would Recommend This Poem** 4degreez.com - Poetry Main - More Loses His Fingers Gift-giving, a discovery Poetry and Other News: Volume 1, Issue 6 90% True News: Volume CATS AND DOGS: An Objective Comparison .: DAMN, I=E2M ... true His words came true. The Revision of the KJV removed the damn words from the Holy pages of the Word bringing us a few steps closer to removing the tarnish Word Bytes: 1160 Viewed: 149 times Category - Poetry =C2=A9 Copyright by damn straight Great poem ... All so true, and so appealling in a cauterize-ones-own ... true Damn him! Damn her! God damn it all! I think I am going to cool off with the poetry for awhile. Although many have enjoyed my work, it is true what they say. ... true Poems at the Poetry Free-for-all > Rigidly Compartmentalized Chaos Damn it! ... __________________ Another nightmare about to come true Will manifest tomorrow true poetry damn it! _ ========================================================================= Date: Tue, 13 Apr 2004 21:11:59 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "K. Silem Mohammad" Subject: Poetry & Politics Event at UC Santa Cruz Mime-version: 1.0 Content-type: text/plain; charset="ISO-8859-1" Content-transfer-encoding: quoted-printable "Is Poetry *enough*? Poetry in a Time of Crisis" West Coast poets discuss the state of poetry and politics after 2001 =A0 Saturday, April 17, 2004 Porter College Fireside Lounge University of California Santa Cruz "Poetry can both comfort and confront.=A0 It can unite.=A0 It can divide.=A0 Whil= e it is not uncommon to read sweeping optimistic statements about poetry bein= g all about love or poetry being all about countering the oblivion of darknes= s or poetry being the genre to comfort, it does a lot of other things as well.=A0 It has many different roles.=A0 And a special role in times of crisis.= " --Juliana Spahr "Is Poetry *enough*? Poetry in a Time of Crisis" is a day-long event exploring the special role of poetry in times of crisis, including the crises evoked by the so-called "war on terror" and the "culture wars" focused on the LGBT community.=A0 Eileen Myles (poet, UCSD professor, and 199= 2 Presidential candidate) will read from her work and discuss queer writing a= s a form of resistance.=A0 Juliana Spahr (author of _Fuck You-Aloha-I Love You_ and Mills College professor) will lead a panel entitled "Poetry in a Time o= f Crisis" that will investigate the relation between poetry and crisis in an international context with examples from Korean, Mexican, and Pacific poetries.=A0 Leslie Scalapino (prolific author of books including _Dahlia's Iris_ and publisher of O Books) will lead a discussion of poets anthologize= d in a book she co-edited entitled enough and her forthcoming magazine _War and Peace_.=A0 The editorial basis of both publications is that the art of these poets and artists is not separate from their being in the world.=A0 Seeing what is happening is a form of change.=A0 There will be a student reading, a reception, and a gala evening reading/performance by all poet-panelists and Nate Mackey. =A0 SCHEDULE: 2:00-3:00=A0=A0=A0=A0=A0Reading & Talk--Writing Queer + Politics--EILEEN MYLES 3:00-4:15=A0=A0=A0=A0=A0Panel I--"Poetry in a Time of Crisis" =A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0Moderator: JULIANA SPAHR =A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0Panelists: ROB WILSON, HERIBERTO YEPEZ, WALTER LEW 4:30-5:45=A0=A0=A0=A0=A0Panel II--"Is Poetry *enough*?" =A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0Moderator: LESLIE SCALAPINO =A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0Panelists: JOANNE KYGER, TAYLOR BRADY, DAVID BUUCK =A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0JUDITH GOLDMAN, JENNIFER SCAPPETONE 6:00-7:00=A0=A0=A0=A0=A0Reception/Student Open Mic Reading 7:00-9:00=A0=A0=A0=A0=A0Readings/Performances by panelists and NATHANIEL MACKEY FREE AND OPEN TO THE PUBLIC Sponsored by the Porter College Hitchcock Poetry Fund, The IHR/Center for Cultural Studies, the NEA, and 'A 'A Arts For more info, contact Roxanne Hamilton (hamilton@cats.ucsc.edu) ========================================================================= Date: Wed, 14 Apr 2004 00:06:48 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: Rhizomes: Cultural Studies in Emerging Knowledge MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=X-UNKNOWN Content-Transfer-Encoding: QUOTED-PRINTABLE Rhizomes: Cultural Studies in Emerging Knowledge CALL FOR PAPERS - Open Issue Since 2001, Rhizomes has promoted experimental work located outside current disciplines, work that has no proper location. We encourage migrations into new conceptual territories resulting from unpredictable juxtapositions. We are currently accepting submission for Rhizomes #9, an open topic issue. Due date for submissions: 01 October 2004 As a full text online periodical, Rhizomes emphasizes multimedia to foster imaginative work that challenges typical critical forms. While submissions need not necessarily include developed multimedia, authors should consider how their work might be enhanced by elements specific to the online medium. Contributors may work with editors and technical staff to establish a more effective online presentation, for example, by providing relevant image and/or audio files as well as specialized instances of code. Rhizomes engages in a collaborative review process. In addition to an initial screen by the editors, contributions will undergo a "blind" review by at least two members of the editorial board. Interested parties are highly encouraged to review the Rhizomes website ^=D6 located at www.rhizomes.net ^=D6 to gain familiarity with the various styles and subjects of previous journal issues. As our name suggests, works written in the spirit of Deleuzian approaches are welcomed but not required. Co-Editors: Ellen Berry and Carol Siegel Review Editor: Craig Saper All submissions to Rhizomes should conform to standards for citation that govern publications in the author's field and should include a bibliography, if appropriate. We will consider short pieces but typically do not consider texts of more than 7500 words, including notes. Any queries about potential submissions for the open issue are welcome. Carol Siegel, Submissions Editor English Department Washington State University, Vancouver 14204 NE Salmon Creek Ave. Vancouver, WA 98686-9600 siegel@vancouver.wsu.edu Craig Saper bookreviews@mail.ucf.edu ========================================================================= Date: Tue, 13 Apr 2004 23:32:06 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Clements Subject: Alan Halsey MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit I picked up a copy of Alan Halsey's _Wittgenstein's Devil_ (Stride, 2000) this past weekend and have been repeatedly blown away by the work in this book. Is everyone else here in the states aware of his work and I've just been kept in the dark, or is it that, as I imagine, he's been ignored here in the States because he's a Brit? What about you other Anglophones? Familiar with Halsey's work? Best, Brian C. ========================================================================= Date: Wed, 14 Apr 2004 01:16:08 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "David A. Kirschenbaum" Subject: Blog, Blog Me Do Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit Hi all, (A trip into my archives from this slackass blogger.) What kind of poems did I write the last time I was in love? Take a magical journey back to 1994 and 1995 and find out in "Poems for the Woman Who Shares My Birthday." With guest appearances from the F train, Queen Latifah, Liz Phair, Tom Petty, Joe Strummer, Nirvana, Lou Reed, Iggy Pop, Kate Pierson, Golden Gate Park, and Anselm's bed. http://boogcity.blogspot.com/ as ever, david -- David A. Kirschenbaum, editor and publisher Boog City 330 W.28th St., Suite 6H NY, NY 10001-4754 For event and publication information: http://boogcity.blog-city.com/ T: (212) 842-BOOG (2664) F: (212) 842-2429 ========================================================================= Date: Wed, 14 Apr 2004 01:45:30 -0500 Reply-To: nudel-soho@mindspring.com Sender: UB Poetics discussion group From: Harry Nudel Subject: Spring.... Mime-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit ................ ............... ................ rainrainrain rainrainrain rainrainrain ................. ................. .................. 3:00....... drn ========================================================================= Date: Wed, 14 Apr 2004 06:43:27 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Larry Sawyer & Lina ramona Subject: Corrosive Wallace Stevens MIME-Version: 1.0 Content-Type: text/plain; charset="Windows-1252" Content-Transfer-Encoding: quoted-printable ...very interesting what Ravi Shankar mentions about his recent foray = into the Wallace Stevens conference...I think RS is delineating a = faultline that obviously still exists to a certain extent in American = poetry between the aw shucks school of huh? and those who read Stevens = (or past tense read) with a small amount of glee, astonishment, what = have you...I'm not talking about Stevens' politics btw, simply his = wordplay... ...the comment by the new editor of Poetry regarding Stevens' 'inability = to engage with the world in a meaningful way' is positively glorious.=20 What is the source of this peculiarly American malady, i.e. complete = lack of imagination? The other comment that poems 'should have people = in places in them' made my day.=20 I'm no huge fan of Stevens' work but I think it's wonderful that folks = are still 'arguing' about it. Larry Sawyer milk magazine http://www.milkmag.org And then, Wiman, =3D whom I hadn't met before, began his comment with the following =3D invective, "If Wallace Stevens is influential fifty years from now, then = =3D the break between American poets and the world will be complete." He =3D followed this by railing against Stevens' self-absorption, his inability = =3D to engage with the world in a meaningful way. He claimed that Stevens = =3D was a corrosive influence on modern poetry, a near-solipsistic, =3D obsessive genius who had lost touch with what existed outside language, = =3D and that what he, as the new editor of Poetry, was interested in was =3D poems that have people and places in them, that touch and stem from =3D emotional and lyrical roots. What went unsaid, I think, was that he was = =3D advocating a kind of confessionalism; the poetry that is driven by =3D people and places is generally written by a person in a place, someone = =3D who is localized and situated in a vocable, stable identity. Anyway, you = =3D can imagine the clamor that such a comment caused, the proverbial =3D Christian sacrificing himself to the lions, and Susan - bless her - =3D declaimed, "If you have a problem with Wallace Stevens, I have a problem = =3D with Poetry magazine and have for many years." It was all very tense and = =3D rancorous and selfishly, rather fun to be privy to, though I wonder, =3D notions of confessionalism aside or perhaps foregrounded, what folks =3D make of Wallace Stevens on the 125th anniversary of his birth.=3D20 ========================================================================= Date: Wed, 14 Apr 2004 12:57:16 +0100 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "david.bircumshaw" Subject: Re: Yeats meets Iraq MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Alison it is not a matter of the moral flakiness of artists but rather the socio-political import of much of the literature of stature of the early part of the twentieth century: the Yeats poem at the start of this is a magnificent piece of right wing political rhetoric, Yeats goes out of his way in a note to the poem in his Collected to reassure 'conservative readers' of its import, that the generalised imagery of parts of the poem have been taken to mean all sorts of other things is a moot case of the way literature bounces around. These problems abound in the Anglo-American literature of the period, they apply just as much to Wells or Shaw as Yeats or Pound. In Pound's justly celebrated high point in the Pisan Cantos 'Pull down thy vanity' applies to anyone who doesn't agree with Pound and his devotion to the 'twice-crucified' (Mussolini) not to Pound, who, as Cyril Connoly observed, never gets to Pisa in that poem. It's not a matter of condemning the writing but of being aware of the import of it, an import that would cause great discomfort if held explicitly by people now. Best Dave David Bircumshaw Spectare's Web, A Chide's Alphabet & Painting Without Numbers http://www.chidesalphabet.org.uk ----- Original Message ----- From: "Alison Croggon" To: Sent: Wednesday, April 14, 2004 12:14 AM Subject: Re: Yeats meets Iraq "Horror" isn't the word that occurs to me. It's somewhat disingenuous to throw one's hands up in despair because poets can sometimes be less than admirable human beings. There's possibly an interesting discussion there, but if it begins with wide-ranging condemnations of the moral flakiness of poets it's not going to reveal anything beyond the opinions of the interlocutor, which seem to me of minimal interest. James Kelman draws an interesting distinction when he says that he believes that some writers are not so good as artists because of their bigotries, which inevitably show up as blindnesses in the work. But I think this has to be applied with considerable subtlety and specific argument if it is not to degenerate into moralising on writers not being saints. It could easily be argued, for example, that Pound had considerable "integrity", for all the distastefulness of some of his ideas. I know I keep going on about Said, but I think his criticisms of Conrad or Austen or Swift are models of literary argument which investigate the politics of the writer. Btw, there's scuttlebutt on Joyce too, all the gossip about his daughter. Are we going to drag that in to condemn his writing? And politicians, at least the ones I see on tv or read in the newspapers, sound nothing like Yeats. It might be more interesting if they did. Best A On 14/4/04 9:03 AM, "david.bircumshaw" wrote: > Hi David > > yes, Yeats' views were not unique to his generation, one does not only have > to hit the 'modernists' on the head about this, investigate what H.G. Wells > or Shaw actually thought and it is a quite uncomfortable experience. Yeats > though did have the unique position among that lot of becoming an elected > politician and his record there is not good. It is all a horror: Pound > craving audiences with Mussolini, Wallace Stevens regarding Taft as a > dangerous radical, Eliot siding with the brain-dead hierarchy of the > Anglican Church, Lowell invoking old men sleeping over the Aeneid, while > simultaneously being a conscientious objector, Auden faking Marxism while > living on private means then conveniently switching to an equally fake > religiosity when changing Britain for the US. You could also switch to > Wells's interview with Stalin, where they talked about the possibilities of > the Babbage machine. In the eighteenth century computers were people, > usually female. > > I quite agree with you about Joyce, that scaramag was the only with a true > integrity, self-pitying bastard that he was! The rhetorical power of The > Second Coming is very strong, and I admire it on that basis, but remain > aware that it is rhetoric. > > That is to say: politician talk. > > Best > > Dave Alison Croggon Editor, Masthead http://www.masthead.net.au Home page http://www.alisoncroggon.com Blog http://alisoncroggon.blogspot.com ========================================================================= Date: Wed, 14 Apr 2004 22:28:45 +1000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alison Croggon Subject: Re: Yeats meets Iraq In-Reply-To: <000f01c42217$a2f9f960$8bf4a8c0@netserver> Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit On 14/4/04 9:57 PM, "david.bircumshaw" wrote: > It's not a matter of > condemning the writing but of being aware of the import of it, an import > that would cause great discomfort if held explicitly by people now. That was (to an extent) my point. You originally seemed to be making another one, which was rather more simplistic. And which "people" are you referring to, here? I seem to be reading quite a lot of contemporary stuff which is very comfortable with explicit right wing ideas. Or are human beings with questionable political views not "people"? Tempting to think so, perhaps, but I suspect they are. Best A Alison Croggon Editor, Masthead http://www.masthead.net.au Home page http://www.alisoncroggon.com Blog http://alisoncroggon.blogspot.com ========================================================================= Date: Wed, 14 Apr 2004 09:31:44 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Anastasios Kozaitis Subject: Re: Wallace Stevens and Confessionalism In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 8bit Quoting "Shankar, Ravi (English)" : > And then, Wiman, whom I hadn't met before, began his comment > with the following invective, "If Wallace Stevens is influential fifty years > from now, then the break between American poets and the world will be > complete." He followed this by railing against Stevens' self-absorption, his > inability to engage with the world in a meaningful way. He claimed that > Stevens was a corrosive influence on modern poetry, a near-solipsistic, > obsessive genius who had lost touch with what existed outside language, and > that what he, as the new editor of Poetry, was interested in was poems that > have people and places in them, that touch and stem from emotional and > lyrical roots. Isn't there enough of that type of poetry being written in the US today? Would that type of poetry fall into the Billy Collins School of Embodied Ironic Poetics? I thought I had read that, to paraphrase, Poetry had a new editor who was making bold editorial ~changes~. I guess Wiman's changes are as oblique as Bush's defense of his mistake-free administration's actions since 9/11. Roll another one Just like that other one ========================================================================= Date: Wed, 14 Apr 2004 07:34:21 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Daphne Gottlieb Subject: Homewrecker CFS MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable CALL FOR SUBMISSIONS Homewrecker: An Atlas of Illicit Love Edited by Daphne Gottlieb Published by Soft Skull Press Payment: $100 for fiction or non-fiction, $35 for poetry, plus a copy of = anthology We live in a culture founded on transgressive desire (apple, serpent, = party of five) even as it insists on suppressing it. What does it mean = when our most sought-after emotional state -- being beloved - comes into = direct conflict with our most deeply ingrained values - being honest - = in our most prized relationships? When desire is aroused, what are the = consequences as it is silenced, twisted, suppressed, subverted or = fulfilled? And what happens next? What happens in the transformation of = lover to liar? And what do we do when the lies we've been told rip apart = everything we have known about love? Although recent estimates insist that half of all women and men have = cheated in their relationships, the climate of silence surrounding such = behavior (except in the lowest forms of popular culture and in = conjunction with major public figures) would have us believe that = affairs are an anomaly.=20 In a post-queer, post-nuclear family age, the "affair" looks different = from media representations-that is to say, what's violated may not be = the marital bond, and the betrayal may not be a sexual one. Homewrecker = will explore the adulteration of the ways we live, and the adulterous = ways we don't want to admit to living. Homewrecker will explore the = emotional intensity and complexity that affairs entail: euphoric, = unapologetic, guilty, torn, ashamed, unrepentant, creative, insatiable, = self-loathing and many more - sometimes all at once, and from a = multitude of perspectives. The anthology will also examine what is = destabilized by the affair -- (heterosexual) pair bonding and the = nuclear family - and the consequences for those who challenge it. We're looking for fiction, non-fiction and poetry: =B7 by and about homewreckers, the homewrecked, and the society that = creates them.=20 =B7 that illuminates uneasy topics with artful, edgy literature.=20 =B7 that explores the emotional terrain and impact of infidelity without = cheap moralizing=20 =B7 that breaks the institutional silence around affairs=20 =B7 that contradicts popular culture's one-dimensional representations = of 'homewreckers', 'philanderers' and 'clueless spouses', as well as the = flat excuses of 'boredom' and 'midlife crises'=20 =B7 that interrogates the social policing of and pandering to desire; =B7 that destabilizes the constructed opposition of loyalty and desire = as it is socially manifested; =B7 that mines the revolutionary and utopian possibilities of = transgressive desire. Basically, we want work about all the different, forbidden ways your = heart has been broken or breaks for the people forbidden to it. If = you're brave enough to give it up, we might be brave enough to publish = it. Anthlogy submission criteria: =B7 fiction: no more than 25 double-spaced pages or 7,500 words =B7 nonfiction: must be for a general audience, not a scholarly one. No = more than 25 double-spaced pages or 7,500 words =B7 poetry: no more than 10 pages or 5 poems =B7 submissions will be accepted by email (rich text / jpeg / pdf) =B7 all submissions must include your name, brief biographical = statement, address, telephone numbers, and email / web address =B7 submission queries are welcome =B7 no simultaneous submissions Submit to: homewreckerlit@earthlink.net Deadline: September 1, 2004 Pub date: October 2005=20 ----- Final Girl, Lambda Literary Award Finalist, Stoker Finalist, Publishing = Triangle Finalist, Soft Skull Press. One of the Village Voice's Favorite 25 Books of 2003 Why Things Burn, Firecracker award winner. Lambda Lit Finalist. www.finalgirl.net ========================================================================= Date: Wed, 14 Apr 2004 11:04:38 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: mIEKAL aND Subject: The Electronic Text Composition Project Comments: To: WRYTING-L Disciplines Mime-Version: 1.0 (Apple Message framework v543) Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: quoted-printable From: Slought Announcements Reply To: Slought Announcements Sent: Tuesday, April 13, 2004 1:20 PM Subject: Opening This Saturday at Slought Foundation Slought Foundation is located at 4017 Walnut Street, Philadelphia. We=20 are open to the public, except during installation, Wednesday through Saturday, from 11:00am to 6:00pm. Exhibitions and events, unless noted otherwise, are free to the public. For more information, call Aaron Levy at 215.222.9050 or visit us on the web at http://slought.org/calendar/ Public Override Void Software and installation by Jim Carpenter. Curated by Aaron Levy and Jean-Michel Rabat=E9. For more information: http://slought.org/content/11207/ Opens Saturday, April 17, 2004; 6:30-8:00pm | Free Reception and Public Conversation: Thursday, April 29, 2004;=20 6:30-8:00pm | Free Slought Foundation presents "Public override void," a vault installation featuring Jim Carpenter's Electronic Text Composition (ETC) project, on display from April 17-May 20, 2004. The opening reception on Thursday April 29, 2004 from 6:30-8:30pm has been organized in conjunction with a live presentation by Carpenter and a public conversation between Bob Perelman, Nick Montfort, and Jean-Michel Rabat=E9 (50 min). The=20 installation includes self-service poetry stations and wall panels of code, and takes its name ("Public override void") from an actual string of code embedded in the software program. Information on the public conversation is available: http://slought.org/content/11199/ The Electronic Text Composition Project's Poetry Engine is a suite of software components that allow a user to generate aesthetic texts.=20 Drawing word associations from its language database, the Engine's grammar uses=20= a probability-based approach to constructing syntactic constituents, which it aggregates into utterances, which it in turn aggregates into compositions. The project postulates that the construction of its texts does not actually occur within the software-these constructions, absent authorial intent and divorced from any underlying message, assume their status as poems only as they are read. The process of textual=20 construction is firmly situated within the reader, not the software. Over the last=20 year a dozen poems composed with the Poetry Engine's aid and submitted under the pen name Erica T. Carter have been accepted for publication in a number of little magazines and literary journals. As evidence of the project's success (or perhaps indicative of its failure), one editor accepted a poem with the comment, "I found your works intriguing, but=20 have to admit I couldn't wrest the meaning from them." Framing (Haacke's Condensation Cube) For more information: http://slought.org/content/11208/ Opens Saturday, April 17, 2004; 6:30-8:00pm | Free Slought Foundation presents "Framing (Haacke's Condensation Cube)," a vault installation organized by Aaron Levy featuring Hans Haacke's Condensation Cube of 1963-65, on display from April 17-May 20, 2004.=20 This installation inaugurates a new series at Slought Foundation showcasing notable conceptual practices that invite a reconsideration of the effect framing has on critical interpretations. An essay on Haacke written in=20= the 1980s by curator and critic Edward Fry (d. 1992) is also available: http://slought.org/content/21085/ In his early work, artist Hans Haacke was concerned with systems and processes. His Condensation Cube of 1963-65 [Clear acrylic, water,=20 light, air currents, temperature, climate in exhibition situation; 30 x 30 x 30 cm; Collection of Edward Fry and Sandra Ericson] demonstrates the dependency of a relatively closed system on the environment in which it=20= is situated: changes in temperature lead to the evaporation of water and=20 its condensation on sidewalls of the cube. Haacke's condensation cube is a pedagogical tool still pertinent to understanding conceptual art and contemporary life. Questions to consider include: how does one frame or contextualize a work such as the condensation cube? What are its=20 contents? To what degree is the cube a screen on which we can project our interpretations? Can this box be understood as a storage device, and if so, what is it storing? Slought Foundation Online: * Slought Foundation | Slought.org * visiting information & directions * online audio archives * donate online ========================================================================= Date: Wed, 14 Apr 2004 09:07:45 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Taylor Brady Subject: Re: Alan Halsey In-Reply-To: Content-Type: text/plain; charset=US-ASCII; format=flowed Mime-Version: 1.0 (Apple Message framework v552) Content-Transfer-Encoding: 7bit Brian, There's a bit of a Halsey fan club out here in the Bay Area, where he's read several times recently. I'm similarly staggered by the work in Wittgenstein's Devil -- and if you can find them, you really should check out his two "historical" books, The Text of Shelley's Death and A Robin Hood Book. I'm glad to hear other U.S. readers have managed to find him. I think he and Laura Moriarty might be at work on a collaborative project as well, bits of which I've seen in xerox, but which I don't think has been published anywhere. One to watch for. Taylor On Tuesday, April 13, 2004, at 09:32 PM, Clements wrote: > I picked up a copy of Alan Halsey's _Wittgenstein's Devil_ (Stride, > 2000) > this past weekend and have been repeatedly blown away by the work in > this > book. Is everyone else here in the states aware of his work and I've > just > been kept in the dark, or is it that, as I imagine, he's been ignored > here > in the States because he's a Brit? What about you other Anglophones? > Familiar with Halsey's work? > > Best, > Brian C. > ========================================================================= Date: Wed, 14 Apr 2004 12:20:36 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Patrick Durgin Subject: upcoming events in no. california MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 8bit [c/o Jen Hofer] As part of an extensive tour through the United States and Mexico, Mexican poets Dolores Dorantes and Laura Solórzano along with editor, translator and poet Jen Hofer will hold a numbr of events to celebrate the anthology Sin puertas visibles: An Anthology of Contemporary Poetry by Mexican Women (University of Pittsburgh Press and Ediciones Sin Nombre, 2003). San Francisco Breaking the Ligatures of the Predictable: Contemporary Mexican Poetries and the Poetics/Politics of Translation Thursday April 22, 4:30 pm, admission free Panel discussion at the Poetry Center at San Francisco State University 1600 Holloway Avenue, SF More info: 415 338 2227 No Visible Doors: A Celebration of Contemporary Poetry by Mexican Women Saturday April 24, 7 pm, admission $3 Bilingual poetry reading at Galería de la Raza 2857 24th Street, SF More Info: 415 826 8009 Using All the Letters: A Celebration of Contemporary Mexican Poetry Sunday April 25, 8 pm A poetry salon and collective conversation at the home of Camille Roy, New Langton Arts literature curator Call 415 626 5416 for reservations (required) and directions and a reading from my own work, unrelated to the anthology: Friday, April 23, 2004 at 7:30 p.m. Taylor Brady & Jen Hofer Small Press Traffic Timken Lecture Hall California College of the Arts 1111 Eighth Street, San Francisco (just off the intersection of 16th & Wisconsin) $5-10, sliding scale, free to SPT members, and CCA faculty, staff, and students Berkeley No Visible Doors: A Celebration of Contemporary Poetry by Mexican Women Tuesday April 27, 7 pm A bilingual reading in the English Department Lounge at UC Berkeley Wheeler Hall Room 330 (Bancroft Street entrance to campus, Wheeler is the white granite hall just to the right of Sather Gate) More info: jenhofer@sbcglobal.net Davis Everybody's America: Readings in Latina/Latino Poetry Wednesday, April 28th, 5:00 pm 128 Voorhies Hall University of California-Davis Contact: jclover@ucdavis.edu Galería de la Raza, Latino Arts Network, New Langton Arts the Poetry Center at San Francisco State University, Small Press Traffic, and UC Davis Program in Creative Writing present a series of events to celebrate the publication of a new anthology highlighting the work of emerging Mexican women poets. These bilingual, bi-cultural events at different sites throughout the Bay Area offer the local poetry community a rare opportunity to hear the work of and engage in conversation with two Mexico-based poets, Dolores Dorantes and Laura Solórzano, featured in Sin puertas visibles: An Anthology of Contemporary Poetry by Mexican Women (University of Pittsburgh Press and Ediciones Sin Nombre, 2003), along with the translator and editor of the anthology, poet Jen Hofer. At a time when cultures often meet in conflict, these events offer a meeting ground for U.S. American and Mexican culture based on curiosity and collaboration. Hofer organized the weekend of exchange to expose Bay Area readers to adventurous new writing by women who work at the margins of their national literary traditions. Dorantes and Solórzano, on a rare trip to the United States, represent different styles and approaches, while sharing a commitment to innovative uses of language and adventurous modes of expression. Informal discussion, panels and readings over three days promise to confound any limiting preconceptions about what "women's writing" or "Mexican writing" might be, sparking new and deeper cross-cultural conversations. BIOS: Dolores Dorantes was born in Córdoba, Veracruz in 1973. Her most recent books include Lola (cartas cortas) (Fond Editorial Tierra Adentro, 2002), SexoPUROsexoVELOZ (Cuadernos del filodecaballo, 2002), Para Bernardo: un eco (MUB editoraz, 2000) and Poemas para niños (Ediciones El Tucán de Virginia, 1999). She is a founding editor of Editorial Frugal, which counts among its activities publication of the monthly broadside series Hoja Frugal, printed in editions of 4000 and distributed free throughout Mexico. Translations of her poems into English have been published in the anthology Sin puertas visibles (ed.and trans. Jen Hofer, University of Pittsburgh and Ediciones Sin Nombre, 2003), in issue #3 of Aufgabe, and in kenning. Translations of her new work will be published as a chapbook by Seeing Eye Books in 2004. She lives in Ciudad Juárez, where she works as a freelance writer and editor. Jen Hofer edited and translated Sin puertas visibles: An Anthology of Contemporary Poetry by Mexican Women (University of Pittsburgh Press and Ediciones Sin Nombre, 2003). Her recent books of poetry include the chapbook lawless (Seeing Eye Books, 2003), slide rule (subpress, 2002), and The 3:15 Experiment (with Lee Ann Brown, Danika Dinsmore, and Bernadette Mayer, The Owl Press, 2001). She is co-editor, with Rod Smith, of Aerial #10, a forthcoming critical volume on the work of the poet Lyn Hejinian. Her writings against the war in Iraq and the war on terror can be found in the special anti-war issue of A.BACUS, and in the anthology Enough (O Books, 2003); other poems, prose texts and translations appear in recent issues of 26, Aufgabe, Circumference, kenning, kiosk, NO: A Magazine of the Arts, and in the book Surface Tension: The Problematics of Site (Errant Bodies Press, 2003). She lives in Los Angeles, where she teaches and translates. Laura Solórzano was born in Guadalajara, Jalisco in 1961. She is the author, most recently, of lobo de labio (Cuadernos de filodecaballos, Guadalajara: 2001) and Semilla de Ficus (Ediciones Rimbaud, Tlaxcala: 1999). She is on the editorial board of the literary arts magazine Tragaluz, and currently teaches film studies and writing at the Centro de Arte Audiovisual in Guadalajara. Her poems have been published in Hoja Frugal, Juglares y alarifes, Luvina, Renglones, Trashumancia and El Zahir. Translations of her poems into English have been published in the online magazine HOW2 (www.departments.bucknell.edu/stadler_center/how2), in issue #3 of the magazine Aufgabe, and in the anthology Sin puertas visibles. Taylor Brady is the author of Microclimates (Krupskaya, 2001), Production Notes for Occupation: Location Scouting (Duration e-book, 2003), and Is Placed/Leaves (Meow, 1996). A new book, Occupational Treatment, is forthcoming from Atelos. Recent poetry and critical work is forthcoming in Quid and the second Enough. A Bay Area resident since 1998, he has outlived the wax and wane of several cycles of fictive capital and is interested in suggestions for a public life that is more than the sum of their effects ========================================================================= Date: Wed, 14 Apr 2004 12:21:26 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Nuyopoman@AOL.COM Subject: Pedro Pietri's Rent-A-Coffin Praise Day This Sunday 3pm at Bowery Comments: To: Danny Shot , unlockingexits@earthlink.net, bob@allenginsberg.org, info@tribes.org, stevecannon@verizon.net, Amirib@aol.com Comments: cc: mail@franklinfurnace.org MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit the Bowery Poetry Club will have a Rent-A-Coffin party for the Rev Pedro Pietri and nobody else this Sunday, April 18, 3-6pm. All are invited to participate by reading Speedo's work or work dedicated to him. This will be a Benefit for the Pedro Pietri Fund, and the family will be present. Red wine and Borinquin libres are $3. PLEASE PASS IT ON Bob Holman Bowery Poetry Club - 308 Bowery - 10012 - 2126141224 Visiting Professor, Columbia School of the Arts - rh519@columbia.edu 2123346414 - fax: 2123346415 ========================================================================= Date: Wed, 14 Apr 2004 09:33:17 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Brian Clements Subject: Re: Alan Halsey In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Hi Taylor, Thanks, that's good to know. I actually picked up the book in SF, at City Lights (was visiting there for a weekend with friends and an A's game). I've been working on prose poems and poems for several years, attempting to merge the language of various scientific and other cultural disciplines in the poems, but clearly Halsey is light years ahead of me. Rupert Loydell also mentioned the Robin Hood book to me, so I'm off to look it up... bc Taylor Brady wrote: Brian, There's a bit of a Halsey fan club out here in the Bay Area, where he's read several times recently. I'm similarly staggered by the work in Wittgenstein's Devil -- and if you can find them, you really should check out his two "historical" books, The Text of Shelley's Death and A Robin Hood Book. I'm glad to hear other U.S. readers have managed to find him. I think he and Laura Moriarty might be at work on a collaborative project as well, bits of which I've seen in xerox, but which I don't think has been published anywhere. One to watch for. Taylor On Tuesday, April 13, 2004, at 09:32 PM, Clements wrote: > I picked up a copy of Alan Halsey's _Wittgenstein's Devil_ (Stride, > 2000) > this past weekend and have been repeatedly blown away by the work in > this > book. Is everyone else here in the states aware of his work and I've > just > been kept in the dark, or is it that, as I imagine, he's been ignored > here > in the States because he's a Brit? What about you other Anglophones? > Familiar with Halsey's work? > > Best, > Brian C. > ========================================================================= Date: Wed, 14 Apr 2004 10:32:27 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Kazim Ali Subject: Susan Wheeler In-Reply-To: <1081959636.407d64d4c6075@mail3.buffalo.edu> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Does anyone have e-mail contact info? Please back channel-- ===== ==== WAR IS OVER (if you want it) (e-mail president@whitehouse.gov) __________________________________ Do you Yahoo!? Yahoo! Tax Center - File online by April 15th http://taxes.yahoo.com/filing.html ========================================================================= Date: Wed, 14 Apr 2004 11:22:46 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Stephen Vincent Subject: Puppet Collapse For-shadowed in Iraq Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit In case anyone was wondering about the supposed credibility of the Bremer/US appointed Governing Council. Internationally - and one may hope domestically - the UN's assessment (below) has to be taken as huge indictment of the sham of Bush & Company's "commitment to Freedom in Iraq." My sense last night of Bush's twisting and turning of essentially a scatter punch of the same few phrases over and over again was sign of a rigid man in deep panic. Which - pre-November - might compel him and his mad cronies to put us all in the scariest place of all. Need to stay vigilant and contest every move. S U.N. Envoy Calls for Caretaker Government to Take Power in Iraq Before Elections Brahimi Says U.S.-Picked Governing Council Should Be Dissolved on June 30 By Hamza Hendawi The Associated Press Wednesday, April 14, 2004; 12:58 PM BAGHDAD, Iraq -- Iraq should dissolve the U.S.-picked Governing Council and set up a caretaker government of respected Iraqis to lead the country from the U.S. handover of power on June 30 until elections set for Jan. 31, U.N. envoy Lakhdar Brahimi said Wednesday. The caretaker government would be led by a prime minister and include a president and two vice presidents. It must include "Iraqi men and women known for their honesty, integrity and competence," Brahimi said. ========================================================================= Date: Wed, 14 Apr 2004 14:06:18 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Joe Amato Subject: atkinson/yasusada... Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" for those who've been following the controversy stemming from michael atkinson's dismissive review of yasusada (etc.) in ~the believer~, you might be interested in seeing all 30 letters (many names from this list) posted in response to atkinson's piece: http://www.typomag.com/ best, joe ========================================================================= Date: Wed, 14 Apr 2004 12:24:35 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: kari edwards Subject: =?ISO-8859-1?Q?37_Cities_Across_the_Nation_to_Protest_for_Equal_?= =?ISO-8859-1?Q?Marriage_Rights_at_Post_Offices=A0on_Tax_Day!?= In-Reply-To: Content-Type: text/plain; charset=ISO-8859-1; format=flowed Mime-Version: 1.0 (Apple Message framework v553) Content-Transfer-Encoding: quoted-printable I do apologize for not keep up like I wanted to but have been in bed=20 with the flu/or something for about a week... doing a little better=20 now... but the fight must go no...do not stop .. realize queers are the=20= first and easiest target... others will follow.. http://transdada.blogspot.com/ immediate action needed!!! DontAmend.com http://www.dontamend.com/ 37 Cities Across the Nation to Protest for Equal Marriage Rights at=20 Post Offices=A0on Tax Day! =A0 TEXT: *** PLEASE FORWARD WIDELY!! *** PLEASE FORWARD WIDELY!! *** =A0 Protest on Thursday, April 15th SEE THE END OF THIS MESSAGE TO FIND INFO ABOUT THE PROTEST NEAREST YOU! http://www.dontamend.com/ =A0 Stand up and send a clear message for equal rights: No Taxation With=20 Discrimination!! =A0 We are protesting on Tax Day because the government takes our tax money=20= but then refuses to treat us as equals before the law.=A0 It is an = insult=20 that politicians of either party could think its perfectly fine to take=20= tax money from their Lesbian, Gay, Bisexual and Transgendered=20 constituents and then not treat us equally. The central issue is=20 equality or discrimination. Taking our tax money just pours salt on the=20= wound of discrimination. =A0 We are protesting at post offices around the country to highlight the=20 extra pain we feel on tax day when the federal government forces many=20 of us in committed relationships to enter into a legal fiction of being=20= single - when we are actually couples, many in long-term=20 relationships.=A0 We demand equal respect for our relationships, and are=20= angry that the government which taxes us refuses to grant us the=20 marriage rights that others take for granted. http://www.dontamend.com/ http://transdada.blogspot.com/ =A0 immediate action needed!!! there's a survey at this site: http://www.thelouisvillechannel.com/news/3004607/detail.html Do you think anti-gay groups should be allowed to post fliers around=20 the University of Louisville campus? Yes / No the yes's are winning... this is sick... go vote and screw up there=20 results.. (article at site: Anti-Gay Fliers Posted On U Of L Campus:School Allows=20= Free-Speech Expression) today @ http://transdada.blogspot.com/ -House committee discusses gay marriage amendment-JEFFERSON CITY, Mo. -Moseley Braun emphasizes the importance of individual action -Supporters of gays, lesbians fear smear campaign -Men vow marriage license fight -Man gives chilling account of Durham slaying -Gay, lesbian taxpayers to march for equality -Gays To Protest On Tax Day, No Taxation With Discrimination -Many evangelicals oppose U.S. ban on gay marriage -African bishops mull 'gay' funds -Zanzibar outlaws homosexual acts Tuesday, April 13,@ today @ http://transdada.blogspot.com/ -Gay Family Tax Grab -Marriage licenses will be issued to out-of-state gays - PROVINCETOWN -Romney warns clerks to heed old law -The Amazon Trail by Lee Lynch -Gay Nominee Rejected For State Position -Kentucky Voters To Decide On Gay Marriage Ban -Court approves sex change for girl raised as boy -California school district snubs state, adopts own antidiscrimination=20= policy -GLBT LEGISLATION INCREASES IN STATES -Pa. high court hears arguments on city same-sex partner benefits -San Francisco Sells Gay Newlywed Names -Anti-gay adoption amendment approved and more @ http://transdada.blogspot.com/ ========================================================================= Date: Wed, 14 Apr 2004 16:47:06 -0400 Reply-To: Millie Niss on eathlink Sender: UB Poetics discussion group From: Millie Niss on eathlink Subject: short Arp translation MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit This Arp seems apt. ------- The Tyrolian Elephant by Jean Arp translation by Millie Niss It cries, it grinds. The Tyrolian elephant and the rubber grandmother hit the piano of death. They take turns hitting it, without a break, to break everything. They foam at the mouth, they sweat. Their paws transform the piano of death into cast iron. As there is nothing left of the piano under their hands, they rub the billions of time, accumulate electric tripe in zeppelins, crown flies, and eat salted little children, phosphorus oranges and airplane marmalade. The rubber grandmother smokes a cigar like a grandmother. She makes cries of joy. The rubber grandmother has sex-appeal and at her appeal the diabolic and flavored mushroom throws itself in a terrifying motion towards the rubber grandmother whom he licks without stopping, one arm after the other. Don't you have anything else under your mouth? The pleasure is great. The grandmother grows. Continue, diabolical and flavored mushroom! Continue! Go beyond yourself, terrifying and sweetened crocodile! The joy is great. The Tyrolian elephant is diplomatic. He says only ruah, ruah, ruah. But because the diabolical and flavored mushroom doesn't go beyond itself, the rubber grandmother throws him off like a fly without legs into a lake of grease, grinding her teeth: Marmalade, marmalade, everything is marmalade. The fall of a naval boat into sweetened milk stops the nudity of this majestic dance. ========================================================================= Date: Wed, 14 Apr 2004 14:47:58 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Gary Norris Subject: about social recompense In-Reply-To: <0HW500M2G7DEZK@box.cair.du.edu> MIME-version: 1.0 Content-type: text/plain; charset=US-ASCII; format=flowed Content-transfer-encoding: 7BIT Murat writes: > Though this sounds wonderful, I do not > think that is how writing is done, particularly poetry. Since poetry > in monetary > terms has almost no social recompense, its only value, it seems to me, > is the > writing of it. Your claim appears to be that "the only value in poetry is the act of writing a poem." Much of my response is in response to this claim. 1. Your ideal perspective of a poet and his or her work purposefully slights the world in which a poet writes. You aren't the only one to purchase such idealism; thankfully, the rebuttals are vast and more substantial. Off the top of my head, Mary Robinson's "The Poet's Garret" (1806). 2. We typically refer to populated places in our world as societies no matter what our positions are concerning the value of community. Therefore, writing a poem always has a specifiable social recompense in that poems respond. If we agree that recompense, a verb, is to "make amends," and that its context assumes a purposeful address to a loss. Recompense is a payment in return for something. 3. A poem is, in many ways, a payment in return for something. Even if I feel I can write from an ideal place of pure invention, my poem still would be a result of beholding or viewing something in the world. That a reader and writer can discuss that beholding also presupposes a kind of social recompense being attended to, whether it be based in fear or anxiety or mastery. 4. A poem is a response to being in the world. I suppose if labor is abstracted from the poem and a specific monetary value is applied to it, then a whole social recompense may be lacking; though, even in this case, it is a social recompense attempted. Just because a poem is not purchased does not mean it doesn't exist in commune, in society, as a formal recompensive product. This brings us to the concept of potentiality that you use in reference to a phenomenological take on writing as a process. (By the way, I am wary of your reference to "the process"--I think such terminology usually is a sign of begging an entire bag of questions.) Murat continues: > My point > is that the image of audience the poet develops during the process of > writing, phenomenologically, has little to do with the actual > potential audience, > You beg the question about the meaning of the potentiality of being. I am using the language of phenomenology because you qualify your argument with such a reference. The poem itself cannot exist without a potentiality for a poet's being in the world. The actual audience for any given poem does not exist. The poem as an object out there to be read represents a specific potentiality for its being ready-at-hand. When a poem is made ready-at-hand, then a readership is intended and necessary. We should probably discuss access, but... How they interpret your poem is not a question that can be asked because such a question works through the progress of a poem's reception backwards as if it always already has been received. But the image, the theory (those who know greek--theoria is what I am referring to her,) the poet develops of an audience has quite a bit to do with that poet's relationship to a potential audience if only because the writer beholds the possibility for an audience to exist. This beholding of a possible audience, in other words, is not a creation of a poet on his own outside of the public. The possibility for an audience and a poet's recognition of such possibility is a falling into the public wherein the poet must acknowledge his or her own being there with others. Of course, this acknowledgment can be inauthentic or naive or idealistic; nevertheless it has a lot to with the potential audience. The homogeneous public sphere of individuals chattering safely about a poem, for example, is an ideologically convenient wish, because any purposeful irruption into the public sphere is an expansion of its actual heterogeneity. In other words, your poem don't have a meaning in the same way the key of A in a mixed orchestra sounds like A. A poem's entrance into being read is very much a giving up any singularity that its producer may have wished upon it to a multiplicity of meanings that consumes the poem and, in most cases, ignores the poet. I suppose you could claim to have knowledge of the first poem written and knowledge of what that author had in mind and, then, make the claim that what was in mind had nothing to do with potential readers but with an entire OTHER phenomena that we have muddied up and called poetry... I also find it impossible not to infer that you feel poets genuinely control language when writing poems--that the poem is a product of something intended to be as it is before it was. If I am inferring correctly, I disagree wholeheartedly. So, now to the idea of "that flaw" Murat writes: > I am very interested in the chasm that exists between the > consciousness of > the individual poet writing the poem, his or her sense of language, > and the > culture -a lot of it non linguistic- which surrounds it, which might > receive or > ignore the work. How does the poet live with that flaw? Finally, I find your claim that "a lot" of the culture surrounding a poem is "non-linguistic" suspect. Your comment speaks more about your disposition towards a potential audience outside of an ideal community of poetry than it does about anything that is participated in while reading poetry. The reading-a-poem itself is linguistic and need not be referred to technically as such to be such. And poor poet that has to live with that flaw! Poor poet? How about the poor reader who is asked to trudge through the possibility for a good poem? Looking at the problem this way illustrates it absurdity. A reader cannot possibly expect a good read from something not yet read in the same way a writer cannot expect a good reading from something not yet written. This is what revision is about. Whitman was a great revise-or. Most poets publish a book and leave the poems within as monuments for how IT actually was at that time. But poems ARE not were; therefore, we should ask more of the poet. Most untutored readers of poetry, as many of us are aware, read poetry they can "get" as they read it. They read poetry that is "readable." I find such a restriction incredibly linguistic. Such a requirement shows a reader who has the ability to distinguish between the canny and uncanny & the familiar and unfamiliar while reading verse--a formal use of language a reader purposefully confronts with a "more or less than" approach to knowledge. I know no reader of poetry who claims to get it when not getting it. In other words, poetry is always approached never attained. Anyway, I am getting away from a simple fact: Culture is always linguistic. (I am using the concept "linguistic" after your fashion for context sake; we could use a better concept.) What is a "non-linguistic" aspect of culture, anyway? What is flawed about the difference between poet and reader? Also, your idealism pops into the inquiry again because you put, without any reflection about it, the poet into the position of understanding the linguistic--again, whatever you mean by linguistic, I assume language is involved--in poetry. Poets often don't see the half of what they put into poems in language. In other words, language often speaks through the poem independent of the poet's intention. Anybody has access to the product of such eruptions resulting from the saturated phenomenon we refer to as a poem. Possibly, the chasm you refer to is the liminal space where the energy in poetry is expended. Poetry, unlike the commodity form, is not part of a closed system of exchange that is meant to work in a definable manner. Poetry is not up to the poet. The poet and the reader, not the poem and the money, are what is exchanged in relationship to proximal positions in culture. hence, a poet approaches a subject in relation to a utilizable distance to its object. Again, a poem is a form of social recompense: the poem is a manner of making up or making amends in which a poet uses language to engage/exchange positions with a reader. Readers, after all, "do" poetry when they read a poem. What point is it for a poet to bother with flaws in regard? A poem is always in the face of the other; it doesn't contain an accurate image that a proper address has access to. Well enough for now, Get the idealism and realism out of the phenomenology of poetry. Both practices leaves much to be desired other than starting points: 1. realism holds that the reality of the world not only needs to be proved but is capable of proof. 2. idealism is a practice that often fails to clarify what the object of its understanding means ontologically, how such an understanding in possible, and so any interpretation of the object of understanding will always be an empty interpretation. With poetry we have the real object, a poem, and we have the poetic ideal, The Poem. Murat, I see your discussion begging the question of how we see and talk about and refer to and use the relationship between an ideal thing and the thing itself. It isn't at all as matter-of-fact and perspectival as you make it. You certainly have an explicitly pejorative use for culture that I don't buy. I am more in line with Tim's comments concerning culture itself. At any rate, poems are not written in seclusion. In fact, I find that they are always solicited. cheers, Gary Norris http://dagzine.blogspot.com ps: for those who worry about attributions--I am in dialogue with Heidegger from Chapter Six, Division One of _Being in Time_ with my definitions of idealism and realism. ========================================================================= Date: Wed, 14 Apr 2004 17:00:16 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Lipman, Joel A." 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aW5nIGhpbSwgYW5kIGhlIGRpZG7igJl0IA0Kc2VlbSB0byBjYXJlLCBvciBub3RpY2UuIFRoZSBj cm93ZCB3YXMgZXZlciBtb3JlIHVucnVseSwgbGlrZSBncmFkZS1zY2hvb2xlcnMgDQp0YWtpbmcg YWR2YW50YWdlIG9mIHRoZSBzdWIuIFBlb3BsZSB3ZXJlIGFnYWluIHdhbGtpbmcgb3V0LCBidXQg bm93IGJlY2F1c2UgDQp0aGV5IGZlbHQgY2hlYXRlZC4gT25lIG9mIGhpcyB2aXNpdG9ycyBleHBs YWluZWQgdGhhdCBzaGUgd2FzIGEgbW90aGVyIHdpdGggDQp5b3VuZyBjaGlsZHJlbiwgYW5kIG9u IHRoaXMgaGVyIGZpcnN0IG5pZ2h0IG91dCBpbiB0d28gbW9udGhzLCBzaGUgaGFkIGNvbWUgdG8g c2VlIA0KaGltLiBTaGUgd2FudGVkIGEgc2hvdywgc2hlIHdhbnRlZCB0aGVhdGVyLiBXaG8gY291 bGQgYmxhbWUgaGVyPw0KDQpIZSBvbmx5IG5vZGRlZC4NCg0KQW5vdGhlciB3b21hbiwgbXVjaCBv bGRlciwgd2hvc2UgaW50ZWxsaWdlbmNlIGFuZCBodW1vciBnYXZlIHVzIHJlc3BpdGUgZnJvbSAN CnRoZSB1bmZvbGRpbmcgdHJhZ2VkeSwgYXNrZWQgaGltIGlmIGhl4oCZZCBoYWQgYW55dGhpbmcg dG8gZHJpbmsuIEhlIGFuc3dlcmVkLCANCnRydXRoZnVsbHkgSSB0aGluaywgdGhhdCBoZSBuZXZl ciBkcmlua3MgYmVmb3JlIGEgc2hvdy4NCg0KVGhlbiBoZSB0YWxrZWQgYWJvdXQgdGhlIGFjY2lk ZW50IGFnYWluLCBhbmQgaG93IGhlIGNhbuKAmXQgZGFuY2UgYW55bW9yZS4NCg0KVGhlbiBoZSB3 YXMgc2lsZW50IHNvbWUgbW9yZS4gRm9yIGEgbG9uZyB0aW1lLiBBZ2Fpbi4NCg0KU2V2ZXJhbCBh bW9uZyB0aGUgYXVkaWVuY2Ugc2hvdXRlZCB0aGF0IHRoZXkgd2FudGVkIHRoZWlyIG1vbmV5IGJh Y2suDQoNCk1vc3Qgb2YgdGhlIHNlYXRzIHdlcmUgZW1wdHkgbm93Lg0KDQpGcm9tIG15IHBsYWNl IGluIHRoZSBiYWxjb255LCB0aGUgdGhlYXRlciBsb29rZWQgZW5vcm1vdXMuIEl0IHNlZW1lZCB0 byBnZXQgDQpiaWdnZXIgZWFjaCBtaW51dGUuIEVhY2ggZXhjcnVjaWF0aW5nIG1pbnV0ZS4gSGUg d2FzIHJlY2VkaW5nLiBTcGFsZGluZyBHcmF5IA0KaGFkIGJlY29tZSBhIHRpbnkgbWFuIGRvd24g dGhlcmUsIGR5aW5nIGFsb25lIG9uIGhpcyBzdGFnZS4NCg0KSSBkb27igJl0IHJlY2FsbCB0aGUg c2hvdyBlbmRpbmcgZXhhY3RseS4gRXhjZXB0IHRoYXQgaGUgYm93ZWQgdG8gdXMsIGFzIHdhcyAN CmhpcyBjdXN0b20uIFRoaXMgbmlnaHQsIGl0IHdhcyBhbiBhYnN1cmQgZ2VzdHVyZS4NCg0KVGhl biBoZSB3YXMgZ29uZS4NCg== ========================================================================= Date: Wed, 14 Apr 2004 19:04:10 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: David Dowker Subject: Re: Alan Halsey MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii; format=flowed Content-Transfer-Encoding: 7bit Some of Alan Halsey's work can be found at http://members.rogers.com/alterra/halsey2.htm & http://members.rogers.com/alterra/bardo.htm and a large number of the following books can be purchased from Small Press Distribution: Lives of the Poets: A Preliminary Count *with Martin Corless-Smith (Ispress, 2002) Dante's Barber Shop (West House Books, 2001) Wittgenstein's Devil (Stride Publications, 2000) Days of '49 *with Gavin Selerie (West House Books, 1999) Fit to Print *with Karen Mac Cormack (Coach House Books/West House Books, 1998) A Robin Hood Book (West House Books, 1996) Stalking Within Yer Chamber: Some Notes for a Reading of David Jones' In Parenthesis *with David Annwn (West House Books, 1996) The Text of Shelley's Death (West House Books, 1995) Spells Against Green Field Development (West House Books, 1994) Reasonable Distance (Equipage, 1992) Five Years Out (Galloping Dog Press, 1989) A Book of Changes (Spectacular Diseases, 1988) Auto Dada Cafe (Five Seasons, 1987) Perspectives on the Reach (Galloping Dog Press, 1981) Present State (Spectacular Diseases, 1981) David alterra@rogers.com http://members.rogers.com/alterra Clements wrote: > I picked up a copy of Alan Halsey's _Wittgenstein's Devil_ (Stride, 2000) > this past weekend and have been repeatedly blown away by the work in this > book. Is everyone else here in the states aware of his work and I've just > been kept in the dark, or is it that, as I imagine, he's been ignored here > in the States because he's a Brit? What about you other Anglophones? > Familiar with Halsey's work? > > Best, > Brian C. > ========================================================================= Date: Wed, 14 Apr 2004 19:19:34 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Brenda Coultas Subject: Bernadette Mayer weekends MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Interested in a weekend of poety, "away from it all"? Bernadette Mayer will be teaching poetry workshops this spring and summer on weekends at her house in upstate New York. Workshops will be in small groups or one-on-one. The cost is $250 which includes the workshop as well as room & board. Email psgood@hotmail.com to make arrangements or for more information. ========================================================================= Date: Thu, 15 Apr 2004 01:00:32 +0100 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "david.bircumshaw" Subject: Re: Yeats meets Iraq MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit This is a very difficult question, Alison, and one which troubles me much. Now I do not claim to any kind of moral superiority on this, I am painfully aware of the petty deceits, failures of lovingness, shirking of humanity, etc etc that I am capable of. I often meet, more than I would like, people with very right wing views, some of them I like as human beings, despite what they say, some scare the wits out of me. The 'people' is a nebulous concept, s'pose it means something like 'those we talk to' but I'm not happy with that definition. David Bircumshaw Spectare's Web, A Chide's Alphabet & Painting Without Numbers http://www.chidesalphabet.org.uk ----- Original Message ----- From: "Alison Croggon" To: Sent: Wednesday, April 14, 2004 1:28 PM Subject: Re: Yeats meets Iraq On 14/4/04 9:57 PM, "david.bircumshaw" wrote: > It's not a matter of > condemning the writing but of being aware of the import of it, an import > that would cause great discomfort if held explicitly by people now. That was (to an extent) my point. You originally seemed to be making another one, which was rather more simplistic. And which "people" are you referring to, here? I seem to be reading quite a lot of contemporary stuff which is very comfortable with explicit right wing ideas. Or are human beings with questionable political views not "people"? Tempting to think so, perhaps, but I suspect they are. Best A Alison Croggon Editor, Masthead http://www.masthead.net.au Home page http://www.alisoncroggon.com Blog http://alisoncroggon.blogspot.com ========================================================================= Date: Wed, 14 Apr 2004 21:26:49 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Richard Flynn Subject: CFP: DLB American Poets of the 21st Century (deadline various; collection) MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 8bit Excuse any x-posting, please CFP: DLB American Poets of the 21st Century (deadline various; collection) I am seeking contributors for The Dictionary of Literary Biography volume on “American Poets of the 21st Century,” a reference work about poets and their lives and careers. The series is widely available in libraries and if you are unfamiliar with the series, I suggest you look at the volumes concerning American Poets since World War II, edited by R.S. Gwynn and Joseph Conte to give you an idea of the format. You should also consult the web site of the publisher, Bruccoli Clark Layman for further information: http://www.bcl-manly.com Essays range from 4000-8000 words and will include the poets listed below. I inherited this volume from a previous editor, and one requirement is that there be no repeats of poets covered in previous volumes. If you are interested, please send me a brief cv and the names of three or four poets you are interested in writing about as soon as possible by e-mail: Richard Flynn rflynn@georgiasouthern.edu. Contributors receive a small honorarium and a copy of the volume as payment. 4,000 words Robin Becker Mei-mei Berssenbrugge Marianne Boruch Marilyn Chin Lynn Emanuel Forrest Gander Susan Hahn Jeffrey Harrison Juan Felipe Herrera Tony Hoagland Dorianne Laux Susan Mitchell Carol Muske-Dukes Eric Nelson Aldon Nielsen Donald Revell Bruce Smith 5,000 words W. S. Di Piero Mark Doty Martin Espada Amy Gerstler Mark Halliday August Kleinzahler John Koethe Thomas Lux Harryette Mullen Alice Notley Julia Randall Joan Retallack James Richardson Alan Shapiro Reginald Shepherd Jane Shore Susan Stewart Alan Williamson Franz Wright 6,000 words Billy Collins Carl Dennis J.D. McClatchy Thomas McGrath Sandra McPherson Carl Phillips Eleanor Ross Taylor Jean Valentine 7,000 words Fanny Howe Donald Justice Heather McHugh James McMichael 8,000 words Frank Bidart Robert Pinsky Richard Flynn Professor Editor, DLB: American Poets of the 21st Century Dept. of Literature and Philosophy P.O. Box 8023 Georgia Southern University Statesboro, GA 30460-8023 E-mail: rflynn@GeorgiaSouthern.edu Personal Home Page: http://www.GeorgiaSouthern.edu/~rflynn Please note that my Email address has changed from rflynn@gasou.edu to rflynn@GeorgiaSouthern.edu ========================================================================= Date: Thu, 15 Apr 2004 10:45:18 +0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: furniture_ press Subject: Writing through Jabes: A Third Part Content-Type: text/plain; charset="iso-8859-1" Content-Disposition: inline Content-Transfer-Encoding: 7bit MIME-Version: 1.0 what, by its very nature, is difficult to locate. we call its sister who, perverted into the question. all answers point antithesis beyond any reality with exception. we may have guessed at former loquacity. bargaining answers the necessary authoritarians. the ambivalent steer conjunctive of dialectic, locus boils when what is the reason for antipathy. all these letters point to reason beyond a shadow of a double. ___________ with touch, we cannot be margin. normative errors are spelling decreases. victory of the first written child, this or that spires. the words make them warfare. “I believe the only real political.” residing at the first visceral rooted anywhere. solidarity introduces one, suggestions of the other. wandering, in a metaphysical status. the hope for an image of its attempt. _________ diaspora abstract reification, the foreigner allows you to be. a foreigner may feign reification. exile of the book closing, ending we call it to be. learn to reconcile their vocabulary. the heart of the book follows a curious and difficult to locate. hard to deafen. fate is also shunt on the margins, if we shall look away towards. necessarily is the condition of all writing. locate disburse, does not mean payment deferred. -- _______________________________________________ Graffiti.net free e-mail @ www.graffiti.net Check out our value-added Premium features, such as an extra 20MB for just US$9.95 per year! Powered by Outblaze ========================================================================= Date: Wed, 14 Apr 2004 23:04:17 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: andrew loewen Subject: Ramones vs. Fitzgerald MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii We’re a happy family. Tomorrow we will stretch our arms and run ceaselessly over the born, we beat on, past boats against the current, back, into beating on the born, beat on the brat, stretch out our back against tomorrow running from the current past, into boats in the tub, rub a dub dub, me, mum, and daddy. ______________________________________________________________________ Post your free ad now! http://personals.yahoo.ca ========================================================================= Date: Wed, 14 Apr 2004 23:42:17 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: andrew loewen Subject: reader makes the poem(?) MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Murat Nemet-Nejat wrote: >I am very interested in the chasm that exists between >he consciousness of >the individual poet writing the poem, his or her >sense of language, and the >culture -a lot of it non linguistic- which surrounds >it, which might receive or >ignore the work. How does the poet live with that >flaw? “Hypocritical reader, - my double, - my mother." from “Rimbaud Goes to Work in Hollywood Riding on a Necessity” (Bureau of Public Secrets Press, Ed. Ken Knabb) "Welcome to MacDonald's, may I take your speech act?" from, "Poetry in the Expanded Field" (unpublished) -- andrew. "A sphincter in the eye is the best magnifying glass." ______________________________________________________________________ Post your free ad now! http://personals.yahoo.ca ========================================================================= Date: Wed, 14 Apr 2004 21:05:13 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "J. Scappettone" Subject: Contemporary Mexican Poets Dolores Dorantes & Laura Sol =?ISO-8859-1?B?8w==?=rzano at UCB, 4/27 Comments: cc: Ethnic Studies , Abigail Reyes , Center for Latin American Studies , Comp Lit Mime-version: 1.0 Content-type: text/plain; charset="ISO-8859-1" Content-transfer-encoding: quoted-printable U.C. Berkeley is pleased to announce a bilingual reading by 2 contemporary Mexican women poets Tuesday, April 27=20 7 pm=20 on the UC Berkeley Campus Wheeler Hall, Room 330 (third floor) Dolores Dorantes=20 was born in C=F3rdoba, Veracruz in 1973. Her most recent books include SexoPUROsexoVELOZ (Cuadernos del filodecaballo, 2002), Para Bernardo: un ec= o (MUB editoraz, 2000) and Poemas para ni=F1os (Ediciones El Tuc=E1n de Virginia, 1999). She is a founding editor of Editorial Frugal, which counts among its activities publication of the monthly broadside series Hoja Frugal, printed in editions of 4000 and distributed free throughout Mexico. She lives in Ciudad Ju=E1rez, where she works as a freelance writer and editor. Laura Sol=F3rzano=20 was born in Guadalajara, Jalisco in 1961. She is the author, most recently, of lobo de labio (Cuadernos de filodecaballos, Guadalajara: 2001) and Semilla de Ficus (Ediciones Rimbaud, Tlaxcala: 1999). She is on the editorial board of the literary arts magazine Tragaluz, and currently teaches film studies and writing at the Centro de Arte Audiovisual in Guadalajara. =20 The poets will be introduced by their translator, the poet Jen Hofer, edito= r and translator of the groundbreaking Sin puertas visibles: An Anthology of Contemporary Poetry by Mexican Women (published by University of Pittsburgh Press and Ediciones Sin Nombre, 2003). Sin puertas visibles (No Visible Doors) is a bilingual anthology of poetry featuring the work of emerging women poets whose writing exists at the most exciting margins of Mexican literary hierarchies. All three poets represented here have had at least one book published in Mexico, yet none o= f their work has been translated into English until now. Although Mexico is home to one of Latin America's most important poetic traditions, the breadth and range of contemporary Mexican poetry are virtually unknown to readers north of the border. These poems are by turns meditative and explosive, sensuous and inventive, ironic and tender; in short, they are subversive, provocative, bold. Reflecting the diversity and complexity of Mexican poetry, they provide a taste of the adventurous new writing infusing the tradition today. "One of the most exciting anthologies of poetry in any language, translatio= n or original, that I have seen in recent years."-Forrest Gander "An exceptional anthology that illustrates the many different realms throug= h which emerging poetry written by women ventures. . . . An extraordinary book."-Beatriz Escalante "[Hofer's] translations are both artistically daring and rigorously precise= , true recreations that could only have been realized by someone who possesse= s a similarly unique poetic vision and language in her own right."-Pura L=F3pez-Colom=E9 ========================================================================= Date: Wed, 14 Apr 2004 21:05:21 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group Comments: Resent-From: "J. Scappettone" Comments: Originally-From: "J. Scappettone" From: "J. Scappettone" Subject: Poetry in a Time of Crisis Events at UC Santa Cruz, 4/17-please forward Comments: cc: Abigail Reyes , Karen Leitsch Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit "Poetry can both comfort and confront. It can unite. It can divide. While it is not uncommon to read sweeping optimistic statements about poetry being all about love or poetry being all about countering the oblivion of darkness or poetry being the genre to comfort, it does a lot of other things as well. It has many different roles. And a special role in times of crisis." --Juliana Spahr "Is poetry enough? Poetry in a Time of Crisis" is a day-long event exploring the special role of poetry in times of crisis, including the crises evoked by the so-called "war on terror" and the "culture wars" focused on the LGBT community. Eileen Myles (poet, UCSD professor, and 1992 Presidential candidate) will read from her work and discuss queer writing as a form of resistance. Juliana Spahr (author of Fuck You-Aloha-I Love You and Mills College professor) will lead a panel entitled "Poetry in a Time of Crisis" that will investigate the relation between poetry and crisis in an international context with examples from Korean, Mexican, and Pacific poetries. Leslie Scalapino (prolific author of books including Dahlia's Iris and publisher of O Books) will lead a discussion of poets anthologized in a book she co-edited, entitled enough and her forthcoming magazine War and Peace. The editorial basis of both publications is that the art of these poets and artists is not separate from their being in the world. Seeing what is happening is a form of change. There will be a student reading, a reception, and a gala evening reading/performance by all poet-panelists and Nate Mackey. Sponsors: The Porter College Hitchcock Poetry Fund, Cultural Studies Poetry Research Cluster, The National Endowment for the Arts, and 'A'A Arts. There will be a prize for the best student poem that relates to the event theme. All students are invited to write and read an original poem during the student open mic at 6:00. Contact Roxi Hamilton (Hamilton@ucsc.edu) for more details. Schedule: Saturday, April 17 Porter College Dining Hall: 2-3:00: "Queer writing as resistance." Eileen Myles reads & discusses her work. 3-4:15: Panel I: "Poetry in a Time of Crisis." Moderator Juliana Spahr. Panelists: Rob Wilson, Heriberto Yepez, and Walter Lew. 4:30-5:45: Panel II: "Is Poetry enough?" Moderator Leslie Scalapino. Panelists: Joanne Kyger, Taylor Brady, Judith Goldman, Jen Scappettone, and David Buuck. 6-7:00: Reception/Student Open Mic reading 7-9:00: Readings and Performances by poet-panelists and Nate Mackey. Bios of participants: Taylor Brady is the author of Microclimates (Krupskaya, 2001) and Occupational Treatment (Atelos, forthcoming). Recent poems and critical writing have been published or are forthcoming in War and Peace, Quid, and 14 Hills. He lives in Oakland, and serves on the board of directors of Small Press Traffic in San Francisco. David Buuck lives in Oakland, where he edits Tripwire, a journal of poetics, organizes BARGE (the Bay Area Research Group in Enviro-aesthetics), & is a contributing editor for Artweek. He's also a student in the History of Consciousness program at UCSC. Judith Goldman is a Phd candidate in the English Department at Columbia University and a lecturer in UC Berkeley's English Department. Her book Vocoder (Roof 2001) received a "book of the year" award in 2002 from Small Press Traffic; work has recently appeared in how2 and enough, and is forthcoming in the new journal War and Peace. Joanne Kyger is a California poet who teaches at the New College of San Francisco and at the summer writing program at Naropa University in Boulder, Colorado. Her most recent book is AS EVER: Selected Poems published by Penguin books. Walter K. Lew's books include Treadwinds: Poems and Intermedia Texts (winner of the Asian American Writers' Workshop award), Excerpts from: DIKTH DIKTE, for DICTEE, Crazy Melon and Chinese Apple: The Poems of Frances Chung, Kori, The Beacon Anthology of Korean American Fiction, Muae 1, and the anthology of Asian North American poetry Premonitions. His multimedia 'movietelling' pieces have been performed internationally. Nathaniel Mackey is the author of many books of poetry and fiction including Eroding Witness (National Poetry Series winner), School of Udhra, and Whatsaid Serif, and an ongoing prose composition, From A Broken Bottle Traces of Perfume Still Emanates. He was elected to the Board of Chancellors of the Academy of American Poets in 2001 and is Professor of Literature at UC Santa Cruz where he edits the literary magazine Hambone. Eileen Myles, author of Cool For You, Skies, Not Me, and Chelsea Girls is working on a new novel called The Inferno and an opera called Hell. She was Artistic Director of St. Mark's Poetry Project in the 80s. In 1992, she conducted an openly female write-in campaign for President of the U.S. She is Professor of Creative Writing at UC San Diego. Leslie Scalapino is the author of 23 books, including Dahlia's Iris--Secret Autobiography and Fiction (on the recent war, published by FC2). She is the publisher of O Books which published enough, an international anthology of 58 poets, writing through the recent war (co-edited with Rick London). Forthcoming from O Books is War and Peace, a collection of artists and poets. Jennifer Scappettone is a PhD candidate at UC Berkeley. Her work is or is coming up in The Poker, 26, 580 Split, Aufgabe, and other journals; some of her prose on poetics appears in The Poetry Project Newsletter, Boston Review, and Third Factory. Juliana Spahr's books include This Connection of Everyone with Lungs (forthcoming from U of California P) Fuck You-Aloha-I Love You, Everybody's Autonomy: Connective Reading and Collective Identity and Response. She co-edits the journal Chain with Jena Osman (archive at http://www.temple.edu/chain). She is Professor of Creative Writing at Mills College. See http://people.mills.edu/jspahr. Rob Wilson's works of poetry and cultural criticism include Waking In Seoul; American Sublime; Asia/Pacific as Space of Cultural Production; Global/Local: Cultural Production and the Transnational Imaginary; and Reimagining the American Pacific: From 'South Pacific' to Bamboo Ridge and Beyond. He was founding editor of the Berkeley Poetry Review. He is Professor of Literature at UC Santa Cruz. Heriberto Yepez has written several books of essays and published them in Mexico. He has also translated into Spanish the poetry and prose of Jerome Rothenberg. His latest book is the experimental novel El matasellos (2004). He has published in several American magazines like Chain, Tripwire, Rattapallax, Cross Cultural Poetics and Shark. He teaches Philosophy at UABC-Tiajuana. (www.hyepez.com) ========================================================================= Date: Thu, 15 Apr 2004 00:21:38 -0400 Reply-To: ron.silliman@gte.net Sender: UB Poetics discussion group From: Ron Subject: Halsey Comments: cc: clementsfamily@SBCGLOBAL.NET MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit Halsey is wonderful, yes, Ron ========================================================================= Date: Wed, 14 Apr 2004 20:49:02 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Kreg Hasegawa Subject: Joshua Clover & Ange Mlinko--Seattle--April 18, 7:00pm MIME-Version: 1.0 Content-Type: text/plain; charset="Windows-1252" Content-Transfer-Encoding: quoted-printable For you Seattle residents... ----- Original Message -----=20 From: Kreg Hasegawa=20 To: Kreg Hasegawa=20 Sent: Tuesday, March 23, 2004 9:19 PM Subject: The Projects Reading Series, April 18th (Sunday), 7:00pm I. The Info =20 What: The Projects Reading Series Who: Joshua Clover (Bay Area) and Ange Mlinko (NYC) Where: 1506 Projects Art Gallery / 1506 E. Olive Way, Seattle, WA = 98122 (Capitol Hill) When: Sunday, April 18th, 7:00pm How much: FREE Contact: Kreg Hasegawa gerky@earthlink.net 206-720-1325 =20 [NOTE: If you wish to be taken off this email list, just reply and let = me know.] =20 =20 The Projects Reading Series is a new reading series curated by Kreg = Hasegawa. This reading series plans on showcasing poetry, prose, and = symposia. The poets and other writers featured will be a way for the = hard working folk here and around the country to have a place to read. = Readings are scheduled around the writer=92s schedule and not based on = any Julian calendar system. Joshua Clover and Ange Mlinko will be the = first readers of this series. Both are wonderful, active poets of the = youngish sort. See below for their bios and a new poem each. Both will = be in town for the Pop Conference at EMP. The readings are free of = charge and are sponsored by the kind artists/gallery operators at 1506 = Projects (where the old Fallout Records used to be). I=92m very excited = and lucky to present Joshua Clover and Ange Mlinko. Please join us! =20 =20 =20 II. The Bios =20 =20 JOSHUA CLOVER Joshua Clover is the author of the poetry book =93Madonna anno domini=94 = (winner of the Walt Whitman Award in 1996) and the chapbook =93Their = Ambiguity.=94 His book on The Matrix and political economy will be out = in October from the British Film Institute; he is a Professor of Poetry = and Poetics at the University of California, Davis, and proprietor of = the blog jane dark=92s sugarhigh! =20 =20 ANGE MLINKO Ange Mlinko is the author of a book of poems, _Matinees_ (Zoland Books, = 1999). Recent work has appeared in Conjunctions; Rattapallax; Aufgabe; = and The Poker. From 2000-02 she edited the St. Mark's Poetry Project = Newsletter. She lives in Brooklyn. =20 =20 KREG HASEGAWA Kreg Hasegawa is the curator of the Projects Reading Series. He is also = coeditor of Monkey Puzzle magazine. He was =93guest curator=94 at the = Subtext Reading Series from September to December, 2003. He has given = readings at various venues around town and has written for The Stranger, = Tablet, Copper Press, and American Book Review. =20 =20 =20 III. The Poems =20 =20 The Other Atelier by Joshua Clover =20 =20 Revolutionary workers remember the year =20 Contains dominated sectors like syntax and the city =20 So begins the Final Report on Words =20 Posted on handbills along the facades of Rue No Fun =20 The shift from modernism to world systems is stored in the new = candy-colored Currency =20 History and capital had been Astaire and Rogers but are now Clark Kent = and Superman =20 Taking advantage of the exchange rate I have acquired a certain = afternoon in 1953 =20 Though it meant selling the rights to the word peignoir =20 And the neighborhood where you first heard it =20 Executive summary: Who is free on Sundays is anything but free =20 Sweetly and green two hundred winters =20 Are owed the Shah of Tomorrow =20 =20 =20 Keys & Scales by Ange Mlinko =20 =20 Back when maps were dangerous it was seditious To give one to a foreigner; feeling so perfectly calligraphic that, Implying the limp like an iamb superceded what was said of one By the words themselves, one slyly wrote across the desert, =20 Allaying the panic took a device to craft a presence. To say, in search of a role, that a double bend in the river Was a perimeter of repatriation, We tried that of believers, like quoted back to itself =20 The wilderness took shape; the stars were of where Two had met, in honeydew shadow, and made maps praise. =20 =20 ========================================================================= Date: Thu, 15 Apr 2004 00:52:09 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: book and movie MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII book and movie it would begin around HERE it would end around HERE:scanned one after another after another as well as... the WOW! sound from the WOW! room resonating, cross-connecting one shelf after another... so far the WOW! short film, highly compressed, is 350 megabytes at 400 by 300 and that's pretty heavy duty at 24 frames a second - somewhere there's the WOW! theory in the WOW! midst of this, information loss in order to send this on to you, communicate - it's all hopeless, all a matter of technology, patience, and economics in real life -:book.mov but can i put this up with all the WOW! compression necessary so that the WOW! titles emerge these are the people i collaborate with all the WOW! time! pretty incredible and there are so many scanned shelves and categories, shifted communities and subjects, 'ultima thule' and cross-categoriza- tions, and transdisciplinary or those older works i've carried with me all my life::HERE and HERE book.mov but can i put this up with all the compression necessary so that the WOW! titles emerge these are the WOW! people i collaborate with all the time! pretty incredible and there are so many scanned shelves and categories, shifted communities and subjects, 'ultima thule' and cross-categorizations, and transdisciplinary or those older works i've carried with me all my life replace your it would begin around HERE it would end around HERE one WOW! frame after another _ ========================================================================= Date: Thu, 15 Apr 2004 00:52:20 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: AFRICA WAYNE AND JOHN COLLETTI READING AT CASPER JONES MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII AFRICA WAYNE AND JOHN COLLETTI READING AT CASPER JONES CASPER JONES CAFE READING/MEDIA SERIES PLEASE COME! MONDAY ARPIL 19th, 7:00 PM, AT CASPER JONES CAFE IN BROOKLYN (see below for details) ********************************************************************** AFRICA WAYNE's debut chapbook, TINY PONY (Portable Press at Yo-Yo Labs) will be unveiled for this reading. She is the editor of Barbara Guest's art writings, Durer in the Window: Reflexions on Art (Roof Books, 2003). Africa lives in Park Slope, Brooklyn. JOHN COLLETTI is the author of THE NEW NORMALCY (Boog Literature, 2003). Tom Devaney writes that these poems are, "an artistic refusal of what Foucault called "normalization," the power of which imposes homogeneity and complacency. At their strongest, the poems are unabashed in Coletti's various and deeply felt stance against the much touted and troubling notion of " the new normalcy." John lives in Bushwick, Brooklyn. ***************************************************************** Casper Jones House Cafe Bar Lounge 440 Bergen Street between 5th Ave. & Flatbush Ave. Parkslope, Brooklyn (718) 399-8741 take the Q train to 7th Ave or the 2/3 train to Bergen Street Contact Brenda Iijima or Alan Sondheim for further information. Brenda Iijima: yoyolabs@hotmail.com Alan Sondheim: sondheim@panix.com ___ ========================================================================= Date: Thu, 15 Apr 2004 01:06:19 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Corina Copp Subject: Macgregor Card and Luisa Giugliano SAT. 4/17, 8 pm Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit LUC'S SERIES AT THE ANTHROPOSOPHICAL SOCIETY PRESENTS: MACGREGOR CARD "Our teeth soak of their own accord." AND LUISA GIUGLIANO "Yet window after window is fogged by vinegar baths..." Saturday, APRIL 17th, 8 pm The Anthroposophical Society 138 W. 15th Street (6/7) NYC Macgregor Card is a poet, translator, and editor of The Germ and Germ Monographs, as well as the author of Souvenir Winner (Hophophop Press, 2002). Card has recently published in Aufgabe, Lungfull!, Slope, East Village Poetry, Crossconnect and Puppy Flowers. He is not a burden to his friends. Luisa Giugliano is a poet residing in Brooklyn. Her first book, Chapter in a Day Finch Journal, was published by Cuneiform Press in 2000. Poems have appeared in Kiosk, The Hat, The Germ, Sal Mimeo, Doubleaught and Poets & Poems. BE THERE OR BE SQUARE, as they say! xoxoxoxoxoxoxoxo ========================================================================= Date: Thu, 15 Apr 2004 01:41:04 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: hsn Subject: Re: atkinson/yasusada... In-Reply-To: Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit i've got the biggest grin on my face. i've been out of The Controversy loop for awhile & reading this is delightful. i presume, kent, you're cruising all posts & googles yasusada & i just *have* to enthusiastically wave to you. perhaps you recall or not my personal affinity for such things (indicate my sincerity) & yasusada/motokiyu/johnson heroism notwithstanding - i am gleefully DYING at your astounding knack/yen for promotion...yes! adoringly, h On 4/14/04 3:06 PM, "Joe Amato" wrote: > for those who've been following the controversy stemming from michael > atkinson's dismissive review of yasusada (etc.) in ~the believer~, > you might be interested in seeing all 30 letters (many names from > this list) posted in response to atkinson's piece: > > http://www.typomag.com/ > > best, > > joe ========================================================================= Date: Thu, 15 Apr 2004 01:43:33 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: hsn Subject: Re: atkinson/yasusada... In-Reply-To: Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit i meant to say ... for *conceptual* promotion... On 4/15/04 1:41 AM, "hsn" wrote: > i've got the biggest grin on my face. i've been out of The Controversy loop > for awhile & reading this is delightful. i presume, kent, you're cruising > all posts & googles yasusada & i just *have* to enthusiastically wave to > you. perhaps you recall or not my personal affinity for such things > (indicate my sincerity) & yasusada/motokiyu/johnson heroism notwithstanding > - i am gleefully DYING at your astounding knack/yen for promotion...yes! > > adoringly, > h > > > > > > > On 4/14/04 3:06 PM, "Joe Amato" wrote: > >> for those who've been following the controversy stemming from michael >> atkinson's dismissive review of yasusada (etc.) in ~the believer~, >> you might be interested in seeing all 30 letters (many names from >> this list) posted in response to atkinson's piece: >> >> http://www.typomag.com/ >> >> best, >> >> joe ========================================================================= Date: Thu, 15 Apr 2004 01:56:44 -0400 Reply-To: nudel-soho@mindspring.com Sender: UB Poetics discussion group From: Harry Nudel Subject: Spring... Mime-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit screen of lite past midnite sing........ to 3:00......drn ========================================================================= Date: Wed, 14 Apr 2004 23:11:38 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Walter K. Lew" Subject: RE Corrosive Wallace Stevens Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" One L.A. poet's more "imaginative" response is Catherine Daly's re-outfitting of a well-known line from "The Idea of Order at Key West" in her prose poem "Elsa Schiaparelli" (the popularizer of "shocking pink"): "Jean Cocteau, ferocious insect, tell us, if you know, how new morphological phenomena occurred with social status blurred to allow happy shopping." --from _DaDaDa_ (Salt, 2003) At 12:02 AM -0400 4/15/04, Automatic digest processor wrote: >I'm not talking about Stevens' politics btw, simply his = >wordplay... > >...the comment by the new editor of Poetry regarding Stevens' 'inability = >to engage with the world in a meaningful way' is positively glorious.=20 > >What is the source of this peculiarly American malady, i.e. complete = >lack of imagination? The other comment that poems 'should have people = >in places in them' made my day.=20 > >I'm no huge fan of Stevens' work but I think it's wonderful that folks = >are still 'arguing' about it. > >Larry Sawyer > >milk magazine >http://www.milkmag.org > ========================================================================= Date: Thu, 15 Apr 2004 07:52:35 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "David A. Kirschenbaum" Subject: NYU Zine Fest This Friday Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit THIS FRIDAY, APRIL 16 * NYU Zine Fest. NYU silver building, NYU Waverly building. 100 Washington Square East and 24 Waverly Place, Manhattan. Noon-8p; $free. nyuzineclub@hotmail.com. -- David A. Kirschenbaum, editor and publisher Boog City 330 W.28th St., Suite 6H NY, NY 10001-4754 For event and publication information: http://boogcity.blog-city.com/ T: (212) 842-BOOG (2664) F: (212) 842-2429 ========================================================================= Date: Thu, 15 Apr 2004 09:18:16 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Allen Bramhall Subject: two blogs is what they are MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit my two blogs: bloggy stuff: www.tribute-airy.blogspot.com serial writing: www.rocketsandsentries.blogspot.com as with all blogs, these are what they are and aren't what they're not thanks for possible reading, Allen Bramhall ========================================================================= Date: Thu, 15 Apr 2004 10:19:40 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Joe Amato Subject: Re: about social recompense In-Reply-To: <037519FA-8E55-11D8-B830-000D9350C570@du.edu> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" gary, while i appreciate the rigor with which you're approaching this issue, let me offer just a simple observation, which may be something more than a friendly amendment, but is meant as friendly in any case (and i understand, too, that you're attempting to inquire more fully into murat's terms): there are things we CAN control as poets, esp. wrt our audiences... not entirely of course, and not w/o the risk of failure (to wit: "it's a tough room")... but probabilistically speaking, anyone who performs enough can expect to hit (e.g.) an inquisitive nerve at a certain point in any reading... one never knows for sure, of course... still, those who would deny the latter outright will probably end up giving awful readings/performances (depending, sure, on what we mean by "awful")... i also believe that discussions of the real, pace heidegger, must distinguish between the real and something i'd call the given... but i appreciate too your gloss on this, and am looking foward to murat's response... in all, i tend to believe that poets would do well in this regard, for a change, to put away their heidegger and gadamer and all, and attend more properly to the theatrical---which includes listening to playwrights... conventional *and* unconventional playwrights know a lot about how audiences react... theories of acting are pertinent here too... i trust i'm not being theoretically evasive... but if the poem, as peter middleton has helpfully argued, is a "heteroclite entity," then the poetry reading (and i would say, the prose reading, the fiction reading, etc.) can be understood in some sense as an extension of said poem-event... and that hyphen, i know, speaks volumes... best, joe ========================================================================= Date: Thu, 15 Apr 2004 11:38:35 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Michael Rothenberg Subject: e-books MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable I am wondering about about online sites that list significant e-books. = Maybe I should add that to my links list at Big Bridge--Recommende = E-Books, though I only update that once a year. What do you all think = about the idea of making that a standard part of websites. I am asking = because there seems to be a problem e-book published writers of quality = are having about credibility. Some say it's about printing the books = out, which might be true but not a complete explanation of the e-book = reality. I think it is credibility and weakness in the availability of = online community space. These are the downloadable e-books that are paid = for that I am referring to. It seems that as online magazines it is in = our best interest and part of our mission to somehow lend credibility to = this. Your thoughts? MR Michael Rothenberg walterblue@bigbridge.org Big Bridge www.bigbridge.org ========================================================================= Date: Mon, 28 Jun 2004 09:13:12 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Catherine Daly Subject: UCLA poetry readings Today, April 15, Noon - 1 In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit At the UCLA campus bookstore in Westwood, Los Angeles, CA: Le Van D. Hawkins Alicia Vogl Saens Catherine Daly reading poetry in honor of national poetry month from noon until 1 part of a lunchtime series, every Thursday this April All best, Catherine Daly cadaly@pacbell.net ========================================================================= Date: Thu, 15 Apr 2004 09:15:57 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Stephen Vincent Subject: Baghdad Burning- April 14 Comments: cc: Kit Robinson , Trevor Joyce , linda norton Mime-version: 1.0 Content-type: text/plain; charset="ISO-8859-1" Content-transfer-encoding: quoted-printable In case you are not digiting in direct, here is the latest from Baghdad Burning: http://riverbendblog.blogspot.com/ Wednesday, April 14, 2004 =A0 Media and Falloojeh... There has been a lot of criticism about the way Al-Arabia and Al-Jazeera were covering the riots and fighting in Falloojeh and the south this last week. Some American spokesman for the military was ranting about the "sprea= d of anti-Americanism" through networks like the abovementioned. Actually, both networks did a phenomenal job of covering the attacks on Falloojeh and the southern provinces. Al-Jazeera had their reporter literally embedded in the middle of the chaos- and I don't mean the lame embedded western journalists type of thing they had going at the beginning of the war (you know- embedded in the Green Zone and embedded in Kuwait, etc.). Ahmed Mansur, I believe his name was, was actually standing there, i= n the middle of the bombing, shouting to be heard over the F-16s and helicopters blasting away at houses and buildings. It brought back the days of 'shock and awe'... I know it bothers the CPA terribly to have the corpses of dead Iraqis shown on television. They would love for Al-Jazeera and Al-Arabia to follow Al-Hurra's example and show endless interviews with pro-occupation Iraqis living abroad and speaking in stilted Arabic. These interviews, of course, are interspersed with translated documentaries on the many marvels of... Hollywood. And while I, personally, am very interested in the custom leathe= r interiors of the latest Audi, I couldn't seem to draw myself away from Al-Jazeera and Al-Arabia while 700+ Iraqis were being killed. To lessen the feelings of anti-Americanism, might I make a few suggestions? Stop the collective punishment. When Mark Kimmett stutters through a press conference babbling about "precision weapons" and "military targets" in Falloojeh, who is he kidding? Falloojeh is a small city made up of low, simple houses, little shops and mosques. Is he implying that the 600 civilians who died during the bombing and the thousands injured and maimed were all "insurgents"? Are houses, shops and mosques now military targets? What I'm trying to say is that we don't need news networks to make us angry or frustrated. All you need to do is talk to one of the Falloojeh refugees making their way tentatively into Baghdad; look at the tear-stained faces, the eyes glazed over with something like shock. In our neighborhood alone there are at least 4 families from Falloojeh who have come to stay with family and friends in Baghdad. The stories they tell are terrible and grim and it's hard to believe that they've gone through so much. I think western news networks are far too tame. They show the Hollywood version of war- strong troops in uniform, hostile Iraqis being captured and made to face "justice" and the White House turkey posing with the Thanksgiving turkey... which is just fine. But what about the destruction that comes with war and occupation? What about the death? I don't mean just the images of dead Iraqis scattered all over, but dead Americans too. Peopl= e should *have* to see those images. Why is it not ok to show dead Iraqis and American troops in Iraq, but it's fine to show the catastrophe of September 11 over and over again? I wish every person who emails me supporting the war, safe behind their computer, secure in their narrow mind and fixed views, could actually come and experience the war live. I wish they could spend just 24 hours in Baghdad today and hear Mark Kimmett talk about the death of 700 "insurgents" like it was a proud day for Americans everywhere...=20 Still, when I hear talk about "anti-Americanism" it angers me. Why does American identify itself with its military and government? Why is does bein= g anti-Bush and anti-occupation have to mean that a person is anti-American? We watch American movies, listen to everything from Britney Spears to Nirvana and refer to every single brown, fizzy drink as "Pepsi". I hate American foreign policy and its constant meddling in the region... I hate American tanks in Baghdad and American soldiers on our streets and in our homes on occasion... why does that mean that I hate America and Americans? Are tanks, troops and violence the only face of America? If the Pentagon, Department of Defense and Condi are "America", then yes- I hate America.=20 ========================================================================= Date: Thu, 15 Apr 2004 11:21:01 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Joe Amato Subject: The Bear River Massacre and the Making of History... Comments: cc: A Kass Fleisher Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" subject line refers to my wife kass fleisher's book, just out on suny press (suny did a great job with it)... below, the pertinent info... if u.s./indigenous histories are of any interest, you'll want to read this one (sez the spouse)... (apologies if you receive duplicate versions of this information) best, joe ---------------------------------------- SUNY link: http://www.sunypress.org/details.asp?id=60920 Amazon link: http://www.amazon.com/exec/obidos/tg/stores/detail/-/books/0791460649/glance/ref=cm_rv_thx_view/102-4553822-9708926 Back cover matter: NATIVE AMERICAN STUDIES/WOMEN'S STUDIES/CREATIVE NONFICTION THE BEAR RIVER MASSACRE AND THE MAKING OF HISTORY Kass Fleisher Explores how a pivotal event in U.S. history -- the killing of nearly 300 Shoshoni men, women, and children in 1863 -- has been contested, forgotten, and remembered. At dawn on January 29, 1863, Union-affiliated troops under the command of Col. Patrick Connor were brought by Mormon guides to the banks of the Bear River, where, with the tacit approval of Abraham Lincoln, they attacked and slaughtered nearly three hundred Northwestern Shoshoni men, women, and children. Evidence suggests that, in the hours after the attack, the troops raped the surviving women -- an act still denied by some historians and Shoshoni elders. In exploring why a seminal act of genocide is still virtually unknown to the U.S. public, Kass Fleisher chronicles the massacre itself, and investigates the National Park Service's proposal to create a National Historic Site to commemorate the massacre -- but not the rape. When she finds herself arguing with a Shoshoni woman elder about whether the rape actually occurred, Fleisher is forced to confront her own role as a maker of this conflicted history, and to examine the legacy of white women "busybodies." "In this remarkable book, Fleisher exposes and analyzes perhaps the best concealed mass rape in the U.S. experience. Her probing analysis forces us to consider how racism and sexism have converged to silence victims, protect abusers of power, and advance the interests of colonialism." - Maria Bevacqua, author of _Rape on the Public Agenda: Feminism and the Politics of Sexual Assault_ "This is a troubling book in the way that any stirring-up troubles surfaces, whether surface understandings, feelings, memories, or the wounds that mark the white space of conventional history like strangled words. These are stories you feel, which Fleisher has felt, stirrings and troublings that flow from the wounds of the raped and dead, over space and time, eventually becoming a dark blanket from which, again and again, a dreamer awakens and walks forth. We are the dreamer awakening, we are the massacred, ours are these stirring stories." - Michael Joyce, author of _Moral Tales and Meditations: Technological Parables and Refractions_ "The most intriguing dimension is the thrust, from a fascinating variety of viewpoints, to achieve redemption-a great and signal effort encompassing and, however awkwardly, transcending race and ethnicity, religion and non-religion, tribal generations and tribal factions and, very basically, the skeletal hand of History." - Hunter Gray, activist and author (as John R. Salter Jr.) of _Jackson, Mississippi_ Kass Fleisher is an Assistant Professor of English at Illinois State University. State University of New York Press www.sunypress.edu April 2004 / 348 pages [Illustrated: 2 b/w photographs] $23.95[/T] paperback ISBN 0-7914-6064-9 $71.50 hardcover ISBN 0-7914-6063-0 ========================================================================= Date: Thu, 15 Apr 2004 10:01:17 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "D. Ross Priddle" Subject: [canpoetics]: the lunaticks have taken over the asylumb MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII proving once again that bad writing drives out good bottle cup, pre-script, rotisserie, global position, marking like crazy, final final final final final, one two three two one, mossy tongue, belly grazing concrete, simevent, under heavy manners, possession by the word, a talk-over artist, sufferation, as an opening, the inertia powerhouse, eyeworks, hotel culture's encroachment, enjoy an honored covenanted, one-of, knowledge difference, if eye gets the picture, ralete, dogshit dogshit dogshit, being in the void, end soon and so on, expect to say nothing, invert, dog bird, fuck pages, cease paper, gluons, nex nez, original recreated, more think, untoxic, war puppet, accumulate nothing, portion zero, don fu lac, ignore the signs, paper remains, stay still while the clock ticks, still lips, spools loops, nary a word by, info in flux, general production, an op to, you are here, resen, well, this is not a resume, is it? -- ========================================================================= Date: Thu, 15 Apr 2004 18:13:53 +0100 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "david.bircumshaw" Subject: Thomas Griffiths Wainewright (was Re: Yeats meets Iraq) MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Further to what I posted, I am sorry, Alison, if my points seemed simplistic. One can indulge in the rejoinder that simple questions need to be asked, but my troubles are about the political import of some of the canonical figures of the last century's Anglo-American literature, not their private morals. The even wider question of morality and art is so fraught I want to do a threatened ostrich on contemplating it, my retitle of this thread is an index to that: Thomas Griffiths Wainewright (1794-1847) is a kind of metonym for that problem. He was a gifted artist, who never developed his gift to the full, might have been a poet too, I'm not sure about that, and certainly was a literary critic of great sensitivity - he was among the first to recognise the genius of Blake. He was also a fraud and probably a mass-murderer who poisoned members of his family (including his wife) for insurance claims. The poisoning couldn't be proved by the forensic science of the time but is quite likely. One commentator said that he read poetry by day and poisoned by night. There is literature on him by, among others, such an unlikely pairing as Oscar Wilde and Andrew Motion. He ended his days in the Tasmanian penal colony. Now where all this leads one I don't know - the reproductions of his artistic work I've seen certainly indicate someone with a true ability. All I've been muttering about though the implicit political import of some of the Anglo-American canon, not their personal morals, which is such a quagmire my feet get stuck in it immediately. Best Wishes Dave David Bircumshaw Spectare's Web, A Chide's Alphabet & Painting Without Numbers http://www.chidesalphabet.org.uk ----- Original Message ----- From: "Alison Croggon" To: Sent: Wednesday, April 14, 2004 1:28 PM Subject: Re: Yeats meets Iraq On 14/4/04 9:57 PM, "david.bircumshaw" wrote: > It's not a matter of > condemning the writing but of being aware of the import of it, an import > that would cause great discomfort if held explicitly by people now. That was (to an extent) my point. You originally seemed to be making another one, which was rather more simplistic. And which "people" are you referring to, here? I seem to be reading quite a lot of contemporary stuff which is very comfortable with explicit right wing ideas. Or are human beings with questionable political views not "people"? Tempting to think so, perhaps, but I suspect they are. Best A Alison Croggon Editor, Masthead http://www.masthead.net.au Home page http://www.alisoncroggon.com Blog http://alisoncroggon.blogspot.com ========================================================================= Date: Thu, 15 Apr 2004 13:21:39 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mark Truscott Subject: Lisa Jarnot reading in Toronto Mime-Version: 1.0 (Apple Message framework v613) Content-Transfer-Encoding: 7bit Content-Type: text/plain; charset=US-ASCII; format=flowed Lisa Jarnot Sunday, April 18, 4 p.m. The gallery above This Ain't the Rosedale Library 483 Church Street, Toronto Admission by donation. For more information, email me: mtruscott@sympatico.ca. Please forward. Thanks. ========================================================================= Date: Thu, 15 Apr 2004 10:24:39 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mark Weiss Subject: Re: The Bear River Massacre and the Making of History... In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed I was going to reserve comment until I'd finished reading--I'm about a third of the way through the book, but Joe's announcement prompts me to say that I started learning new things from the first sentence on. A deeply moving, troubling, essential story. It's almost impossible not to extrapolate to the rest of our history. It's also a page-turner, and I've had to resist putting everything I'm obliged to do aside and whiz thru. I can't recommend too highly. Mark At 11:21 AM 4/15/2004 -0500, Joe Amato wrote: >subject line refers to my wife kass fleisher's book, just out on suny >press (suny did a great job with it)... below, the pertinent info... >if u.s./indigenous histories are of any interest, you'll want to read >this one (sez the spouse)... > >(apologies if you receive duplicate versions of this information) > >best, > >joe > >---------------------------------------- > >SUNY link: > >http://www.sunypress.org/details.asp?id=60920 > >Amazon link: > >http://www.amazon.com/exec/obidos/tg/stores/detail/-/books/0791460649/glance/ref=cm_rv_thx_view/102-4553822-9708926 > >Back cover matter: > >NATIVE AMERICAN STUDIES/WOMEN'S STUDIES/CREATIVE NONFICTION > >THE BEAR RIVER MASSACRE AND THE MAKING OF HISTORY >Kass Fleisher > >Explores how a pivotal event in U.S. history -- the killing of nearly >300 Shoshoni men, women, and children in 1863 -- has been contested, >forgotten, and remembered. > >At dawn on January 29, 1863, Union-affiliated troops under the >command of Col. Patrick Connor were brought by Mormon guides to the >banks of the Bear River, where, with the tacit approval of Abraham >Lincoln, they attacked and slaughtered nearly three hundred >Northwestern Shoshoni men, women, and children. Evidence suggests >that, in the hours after the attack, the troops raped the surviving >women -- an act still denied by some historians and Shoshoni elders. >In exploring why a seminal act of genocide is still virtually unknown >to the U.S. public, Kass Fleisher chronicles the massacre itself, and >investigates the National Park Service's proposal to create a >National Historic Site to commemorate the massacre -- but not the >rape. When she finds herself arguing with a Shoshoni woman elder >about whether the rape actually occurred, Fleisher is forced to >confront her own role as a maker of this conflicted history, and to >examine the legacy of white women "busybodies." > >"In this remarkable book, Fleisher exposes and analyzes perhaps the >best concealed mass rape in the U.S. experience. Her probing analysis >forces us to consider how racism and sexism have converged to silence >victims, protect abusers of power, and advance the interests of >colonialism." - Maria Bevacqua, author of _Rape on the Public Agenda: >Feminism and the Politics of Sexual Assault_ > >"This is a troubling book in the way that any stirring-up troubles >surfaces, whether surface understandings, feelings, memories, or the >wounds that mark the white space of conventional history like >strangled words. These are stories you feel, which Fleisher has felt, >stirrings and troublings that flow from the wounds of the raped and >dead, over space and time, eventually becoming a dark blanket from >which, again and again, a dreamer awakens and walks forth. We are the >dreamer awakening, we are the massacred, ours are these stirring >stories." - Michael Joyce, author of _Moral Tales and Meditations: >Technological Parables and Refractions_ > >"The most intriguing dimension is the thrust, from a fascinating >variety of viewpoints, to achieve redemption-a great and signal >effort encompassing and, however awkwardly, transcending race and >ethnicity, religion and non-religion, tribal generations and tribal >factions and, very basically, the skeletal hand of History." - Hunter >Gray, activist and author (as John R. Salter Jr.) of _Jackson, >Mississippi_ > >Kass Fleisher is an Assistant Professor of English at Illinois State >University. > >State University of New York Press >www.sunypress.edu >April 2004 / 348 pages >[Illustrated: 2 b/w photographs] >$23.95[/T] paperback ISBN 0-7914-6064-9 >$71.50 hardcover ISBN 0-7914-6063-0 ========================================================================= Date: Thu, 15 Apr 2004 11:38:54 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Joel Weishaus Subject: WMDs being planted in Iraq? MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable In view of Bush saying that WMDs haven't been found in Iraq _yet_, this = report is at least something to keep in mind in case it turns out to be = true: http://www.commondreams.org/headlines04/0413-02.htm -Joel ========================================================================= Date: Thu, 15 Apr 2004 13:01:54 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Robert Corbett Subject: Re: about social recompense In-Reply-To: <037519FA-8E55-11D8-B830-000D9350C570@du.edu> MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII I read "recompense" as "make up for." It's more fantasmatic than its companion, "compensation." And more internalized than "make amends for;" rather, it is a gift to oneself. This is from Wordsworth, admittedly, where he remarks about his natural religion being but "vain recompense," an empty self-payment. So I guess I side with Murat, though I would add "and the reading of it." The gift of poetry is both nothing and everything, absence and excess. Robert -- Robert Corbett, Ph.C. "Given the distance of communication, Coordinator of New Programs I hope the words aren't idling on the B40D Gerberding map of my fingertips, but igniting the Phone: (206) 616-0657 wild acres within the probabilities of Fax: (206) 685-3218 spelling" - Rosmarie Waldrop UW Box: 351237 On Wed, 14 Apr 2004, Gary Norris wrote: > Murat writes: > > Though this sounds wonderful, I do not > > think that is how writing is done, particularly poetry. Since poetry > > in monetary > > terms has almost no social recompense, its only value, it seems to me, > > is the > > writing of it. > > > Your claim appears to be that "the only value in poetry is the act of > writing a poem." Much of my response is in response to this claim. > > 1. Your ideal perspective of a poet and his or her work purposefully > slights the world in which a poet writes. You aren't the only one to > purchase such idealism; thankfully, the rebuttals are vast and more > substantial. Off the top of my head, Mary Robinson's "The Poet's > Garret" (1806). > > 2. We typically refer to populated places in our world as societies no > matter what our positions are concerning the value of community. > Therefore, writing a poem always has a specifiable social recompense in > that poems respond. If we agree that recompense, a verb, is to "make > amends," and that its context assumes a purposeful address to a loss. > Recompense is a payment in return for something. > > 3. A poem is, in many ways, a payment in return for something. Even > if I feel I can write from an ideal place of pure invention, my poem > still would be a result of beholding or viewing something in the world. > That a reader and writer can discuss that beholding also presupposes a > kind of social recompense being attended to, whether it be based in > fear or anxiety or mastery. > > 4. A poem is a response to being in the world. I suppose if labor is > abstracted from the poem and a specific monetary value is applied to > it, then a whole social recompense may be lacking; though, even in this > case, it is a social recompense attempted. Just because a poem is not > purchased does not mean it doesn't exist in commune, in society, as a > formal recompensive product. > > This brings us to the concept of potentiality that you use in reference > to a phenomenological take on writing as a process. (By the way, I am > wary of your reference to "the process"--I think such terminology > usually is a sign of begging an entire bag of questions.) > > Murat continues: > > My point > > is that the image of audience the poet develops during the process of > > writing, phenomenologically, has little to do with the actual > > potential audience, > > > > > You beg the question about the meaning of the potentiality of being. I > am using the language of phenomenology because you qualify your > argument with such a reference. > > The poem itself cannot exist without a potentiality for a poet's being > in the world. The actual audience for any given poem does not exist. > The poem as an object out there to be read represents a specific > potentiality for its being ready-at-hand. When a poem is made > ready-at-hand, then a readership is intended and necessary. We should > probably discuss access, but... How they interpret your poem is not a > question that can be asked because such a question works through the > progress of a poem's reception backwards as if it always already has > been received. But the image, the theory (those who know > greek--theoria is what I am referring to her,) the poet develops of an > audience has quite a bit to do with that poet's relationship to a > potential audience if only because the writer beholds the possibility > for an audience to exist. This beholding of a possible audience, in > other words, is not a creation of a poet on his own outside of the > public. The possibility for an audience and a poet's recognition of > such possibility is a falling into the public wherein the poet must > acknowledge his or her own being there with others. Of course, this > acknowledgment can be inauthentic or naive or idealistic; nevertheless > it has a lot to with the potential audience. > > The homogeneous public sphere of individuals chattering safely about a > poem, for example, is an ideologically convenient wish, because any > purposeful irruption into the public sphere is an expansion of its > actual heterogeneity. In other words, your poem don't have a meaning > in the same way the key of A in a mixed orchestra sounds like A. A > poem's entrance into being read is very much a giving up any > singularity that its producer may have wished upon it to a multiplicity > of meanings that consumes the poem and, in most cases, ignores the > poet. > > I suppose you could claim to have knowledge of the first poem written > and knowledge of what that author had in mind and, then, make the claim > that what was in mind had nothing to do with potential readers but with > an entire OTHER phenomena that we have muddied up and called poetry... > > I also find it impossible not to infer that you feel poets genuinely > control language when writing poems--that the poem is a product of > something intended to be as it is before it was. If I am inferring > correctly, I disagree wholeheartedly. > > So, now to the idea of "that flaw" > > Murat writes: > > I am very interested in the chasm that exists between the > > consciousness of > > the individual poet writing the poem, his or her sense of language, > > and the > > culture -a lot of it non linguistic- which surrounds it, which might > > receive or > > ignore the work. How does the poet live with that flaw? > > > Finally, I find your claim that "a lot" of the culture surrounding a > poem is "non-linguistic" suspect. Your comment speaks more about your > disposition towards a potential audience outside of an ideal community > of poetry than it does about anything that is participated in while > reading poetry. The reading-a-poem itself is linguistic and need not > be referred to technically as such to be such. And poor poet that has > to live with that flaw! Poor poet? How about the poor reader who is > asked to trudge through the possibility for a good poem? Looking at > the problem this way illustrates it absurdity. A reader cannot > possibly expect a good read from something not yet read in the same way > a writer cannot expect a good reading from something not yet written. > This is what revision is about. Whitman was a great revise-or. Most > poets publish a book and leave the poems within as monuments for how IT > actually was at that time. But poems ARE not were; therefore, we > should ask more of the poet. > > Most untutored readers of poetry, as many of us are aware, read poetry > they can "get" as they read it. They read poetry that is "readable." > I find such a restriction incredibly linguistic. Such a requirement > shows a reader who has the ability to distinguish between the canny and > uncanny & the familiar and unfamiliar while reading verse--a formal use > of language a reader purposefully confronts with a "more or less than" > approach to knowledge. I know no reader of poetry who claims to get it > when not getting it. In other words, poetry is always approached never > attained. > > Anyway, I am getting away from a simple fact: Culture is always > linguistic. (I am using the concept "linguistic" after your fashion > for context sake; we could use a better concept.) What is a > "non-linguistic" aspect of culture, anyway? > What is flawed about the difference between poet and reader? > Also, your idealism pops into the inquiry again because you put, > without any reflection about it, the poet into the position of > understanding the linguistic--again, whatever you mean by linguistic, I > assume language is involved--in poetry. Poets often don't see the half > of what they put into poems in language. In other words, language > often speaks through the poem independent of the poet's intention. > Anybody has access to the product of such eruptions resulting from the > saturated phenomenon we refer to as a poem. > > Possibly, the chasm you refer to is the liminal space where the energy > in poetry is expended. Poetry, unlike the commodity form, is not part > of a closed system of exchange that is meant to work in a definable > manner. Poetry is not up to the poet. The poet and the reader, not > the poem and the money, are what is exchanged in relationship to > proximal positions in culture. hence, a poet approaches a subject in > relation to a utilizable distance to its object. Again, a poem is a > form of social recompense: the poem is a manner of making up or making > amends in which a poet uses language to engage/exchange positions with > a reader. Readers, after all, "do" poetry when they read a poem. > > What point is it for a poet to bother with flaws in regard? A poem is > always in the face of the other; it doesn't contain an accurate image > that a proper address has access to. > > Well enough for now, > > Get the idealism and realism out of the phenomenology of poetry. Both > practices leaves much to be desired other than starting points: > > 1. realism holds that the reality of the world not only needs to be > proved but is capable of proof. > 2. idealism is a practice that often fails to clarify what the object > of its understanding means ontologically, how such an understanding in > possible, and so any interpretation of the object of understanding will > always be an empty interpretation. > > With poetry we have the real object, a poem, and we have the poetic > ideal, The Poem. Murat, I see your discussion begging the question of > how we see and talk about and refer to and use the relationship between > an ideal thing and the thing itself. It isn't at all as matter-of-fact > and perspectival as you make it. You certainly have an explicitly > pejorative use for culture that I don't buy. I am more in line with > Tim's comments concerning culture itself. > > At any rate, poems are not written in seclusion. In fact, I find that > they are always solicited. > > > cheers, > Gary Norris > http://dagzine.blogspot.com > > ps: for those who worry about attributions--I am in dialogue with > Heidegger from Chapter Six, Division One of _Being in Time_ with my > definitions of idealism and realism. > ========================================================================= Date: Thu, 15 Apr 2004 13:10:36 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Robert Corbett Subject: Re: Intelligent White Silliman. In-Reply-To: MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII The quote from Silliman (admittedly of a rather dated variety) reminds me of Fredric Jameson's claim about third world novels (these too are dated) being more like the modernist (more Lawrence than Joyce) and Victorian predecessors of postmodernism precisely because of the capitalist formation they were written under. I myself have thought that interesting dissertation would link the poetics of cyberpunk, postcolonial literature, and language and ethnopoetics, the claim being that they all orient around finding languages for futurity. Modernist/Postmodernist arguments usually pivot around plot and characterization, as well reflexivity, which I think many of us would agree is much more implicit in language poetry than in, say, John Barth (who himself hearkens back to the 18th origins of the novel, as does Salman Rushdie). and Jameson's claim says almost nothing about the hegemony of the Cheever/Updike/Bellow school of luminous realism. Robert -- Robert Corbett, Ph.C. "Given the distance of communication, Coordinator of New Programs I hope the words aren't idling on the B40D Gerberding map of my fingertips, but igniting the Phone: (206) 616-0657 wild acres within the probabilities of Fax: (206) 685-3218 spelling" - Rosmarie Waldrop UW Box: 351237 On Sat, 10 Apr 2004, Joe Amato wrote: > wait a minute, folks... > > quoting ron silliman or quoting anyone doesn't get anyone off the hook, but--- > > if i were to argue that the avant-garde is still dominated---both in > terms of perceptions and in terms of access to power---by white male > heterosexuals, would anyone object?... i understand we're all a lot > smarter today re avant-garde formations... we know, that is, that > they're far more various than some of us might have thought they > were, both formally and in terms of who is writing what, and this is > thanks to the work of people on this list (among others)... > > but---and this is not a question directed at formal matters > exactly---is there a residual white male het power still at work in > avant-garde formations, a power that obscures the work of women, > people of color, ethnic minorities, transgendered people etc.?... > again, nothing to do with confessional modes and the like---i'm > talking institutional power, as it's played out in specific > institutional settings... > > my sense is that one could yet make an argument that avant-garde > formations (not forms, again) are still shaped to a greater degree > than they should be by the social and cultural power of white male > hets (& please understand---i'm not trying to "empower" my white male > het self by saying so!)... > > obviously it would take some care to unpack this reality, if it be a > reality... pardon the obvious, in any case, i just thought we might > not want to gloss over what could be an important issue... perhaps, > too, i haven't been listening as carefully as i might... my sinuses > are killing me this morning... > > best, > > joe > ========================================================================= Date: Thu, 15 Apr 2004 17:03:12 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: William A Sylvester Subject: Cro-Magnon compassion MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Ken Warren offers a 6000+ word response to Eshleman's JUNIPER FUSE with sustained attention and interest. A brief sample: in referring to the "compassion" Cro-Magnon art arouses--quite a notion right there--"it appears an affective residue of magnetic vitality, perhaps related either to the domestication of living animals or the ritualized expulsion of dead animals through mourning practices" HOUSE ORGAN #46 1250 Belle Avenue Lakewood Ohio 44107 ========================================================================= Date: Thu, 15 Apr 2004 17:16:23 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Poetry Project Subject: Events at the Poetry Project 4/17-4/21 Mime-version: 1.0 Content-type: text/plain; charset="ISO-8859-1" Content-transfer-encoding: quoted-printable THIS SATURDAY: April 17, 3pm-7pm The Poetry Project Silent Auction $10/$8 members St. Mark=B9s Church Sanctuary and Parish Hall Telephone Bids at 212-674-0910 up to Friday, April 16th at 6pm Full Catalog and Minimum Bids posted at http://www.poetryproject.com/announcements.html Rare books, magazines, broadsides, prints, paintings, collages and more! Many items will also be available for direct sale Performances and readings by Thurston Moore, Edwin Torres, Edmund Berrigan and Brenda Coultas=20 Free coffee, desserts, snacks Cheap (good) wine for sale We will accept check, cash AND credit cards for payment Bidding for Books and Art will start promptly at 3 pm Performances will start at approx. 5 pm Book bidding will close at 6 pm Art bidding will close at 7 pm SEE YOU THERE! * Monday, April 19th, 8 pm Open Reading=20 Sign up begins at 7:30 Wednesday, April 21st, 8 pm Jerome Rothenberg and Mercedes Roff=E9 Jerome Rothenberg=B9s second-most recent book of poems, A Book of Witness=8Bhis 12th from New Directions=8Bwas published in 2003. He is the author of over 70 books of poetry and groundbreaking assemblages of experimental and traditional poetry such as Technicians of the Sacred and Poems for the Millennium. Scheduled for 2004 are books of poetry from Chax Press and Kadl= e Books, as well as Picasso=B9s Burial of the Count of Orgaz & Other Poems (wit= h Pierre Joris). Writing Through, a selection of his translations and related writings from Wesleyan University Press, will be hot off the presses for th= e reading. Argentine poet Mercedes Roff=E9 is the author of seven poetry collections. Her first book was awarded the Torre Ardoz International Poetry Prize (Madrid, 1978). It was followed by El tapiz (Buenos Aires, 1983), C=E1mara baja (Sgo. de Chile, 1998), Antolog=EDa po=E9tica (Caracas, 2000), and more recently, Canto errante (Buenos Aires, 2002). In the U.S. her work has appeared in Chain, A*bacus, Boundary2, and the Exact Change Yearbook. Two volumes of her poetry in French and Italian translation are coming out shortly from =C9ditions du Noro=EEt (Quebec) and Quaderni della Vall= e (Bari). She is the founding editor of Pen Press Poetry Series. In 2001, she was awarded a John Simon Guggenheim Fellowship in poetry. * The Poetry Project is located at St. Mark's Church-in-the-Bowery 131 East 10th Street at Second Avenue New York City 10003 Trains: 6, F, N, R, and L. info@poetryproject.com www.poetryproject.com Admission is $8, $7 for students/seniors and $5 for members (though now those who take out a membership at $85 or higher will get in FREE to all regular readings). We are wheelchair accessible with assistance and advance notice. For more info call 212-674-0910. * =B3At night I see the gas/ station settling on a lily.=B2 --Steve Malmude ========================================================================= Date: Thu, 15 Apr 2004 20:51:09 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: mIEKAL aND Subject: =?ISO-8859-1?Q?7=BA_International_Meeting_of_Experimental,_Sound?= =?ISO-8859-1?Q?_&_Visual_Poetry=A0_?= Comments: To: spidertangle@yahoogroups.com, randomART@yahoogroups.com Mime-Version: 1.0 (Apple Message framework v543) Content-Type: text/plain; charset=WINDOWS-1252; format=flowed Content-Transfer-Encoding: quoted-printable 7=BA International Meeting of Experimental, Sound & Visual Poetry=A0 2004 Edition CALL FOR ENTRIES Works and projects in the following categories may be submitted: . 1. Graphics / Objects / Artists' Books Graphic works size: from 42 X 30 cm (A3) up to 40 X 60 cm. Works must=20 be mounted on either a rigid support (cardboard, foam-board,=20 fiberboard, plastic, etc.), or framed. Where artists' objects and books require a base or pedestal, these must=20= be provided by the participant artist and will be returned after the=20 close of the exhibition.=A0 No=A0base or pedestal is necessary for the=20= selection stage. In the case of installations, artists will submit a written layout=20 including drawings.=A0 Maximum area to be used by the artist: 1mx1m=20 (base). . 2. Multimedia Only works on CDRoms will be accepted, for reproduction on PC.=A0 = Maximum=20 work length: 10 minutes. To standardize the materials received, and to be able to edit such=20 material =96with no alterations- and play them the best way possible, = the=20 following terms are to be met: - Only=A0 720 pixels x 576 pixels MOV or AVI files will be accepted, - For MPG or MPEG works, the audio shall be sent in a separate AIFF=20 file =96if at all possible- or MP3 file.=A0 For synchro purposes, both=20= files shall have the same duration.=A0 Required size: 720 pixels x 576=20= pixels. - For FLASH works, the audio shall be sent in a separate AIFF file =96if=20= at all possible- or MP3 file.=A0 For synchro purposes, both files shall=20= have the same duration.=A0 Required size: 720 pixels x 576 pixels. No=20 loop FLASH files will be accepted; if necessary, the artist will=20 indicate the times the work is to be looped. The following works will not be accepted: EXE-extension or PowerPoint=20 files ,static, digital photographs, interactive, or in DVD support. . 3. Video-Poetry Only VHS (PAL and/or NTSC) or MiniDV PAL works will be accepted. Maximum work length: 10 minutes. =A0 .4. Performance / Poetry Actions / Phonetic or Sound Poetry Proposals will be submitted in writing with explanatory drawings or=20 graphs, accompanied by photographic and/or video materials.=A0 No=20 experimental music works will be accepted and neither poetry readings.=20= Maximum work length: 10 minutes. NB: The selected proposals will be performed in an area of the=20 exhibition hall to be decided=A0 by the organizing committee. Where=20 proposals require specific assemblies, these will be assembled and=20 disassembled on the same performance day. Registration Works will be accompanied by: =A01. registration form duly filled out. =A02. one picture of the work for the catalog -in diskette or CD- with=20= the following characteristics: JPG file, 300 DPI x inch, color or B/W,=20= minimum size: 10 cm. Largest side of image.=A0 No pictures will be=20 accepted if sent by e-mail. =A03. Since this event receives no official or private subsidy, or=20 economic support, the participation fee will be destined to catalog=20 printing, works transportation, and exhibition materials. A=20 participation fee of $10.00 (for Argentine artists), and of US$ 10.00=20 (for foreign artists) is to be sent together with the work and the=20 registration form. The theme is free and any technique will be accepted. No works or proposals sent by e-mail will be accepted. Only works received within the deadline will be accepted. Deadline for Receiving Works Works and proposals can be delivered personally or through the mail up=20= to and until July 23, 2004 LAST POST OFFICE STAMP DATE at: 7mo ENCUENTRO INTERNACIONAL DE POESIA VISUAL VORTICE ARGENTINA c/o Fernando Garc=EDa Delgado Bacacay 3103, Buenos Aires=A0C1406GEE, Argentina Catalog An English-Spanish bilingual catalog will be printed featuring all=20 selected works. Each participant will receive a free copy of the=20 exhibition catalog. Selection Committee The selection committee shall consist of: Rodrigo Alonso, Carlos=20 Estevez, Mar=EDa Jos=E9 Herrera, Reynaldo Jim=E9nez, and Juan Carlos = Romero=20 (on behalf of the organizing committee). Only one work per artist or group, and by category, will be selected,=20 provided that it=A0 shall meet all above-mentioned requirements. No prizes will be awarded. The selected works will not be returned to the participants. They will=20= join the Vortice Argentina Visual Poetry records which are intended to=20= form a corpus of works for the promotion and dissemination of=20 activities through exhibitions in different cities of Argentina and=20 abroad, as well as for consultation of scholars and researchers. Works not selected for the exhibition can be recovered at Vortice=20 Argentina at the close of the meeting, subject to prior telephone=20 appointment. Exhibition Opening Selected works will be exhibited in halls 14 and 15 of Centro Cultural=20= Recoleta , Jun=EDn 1930, of the City of Buenos Aires, from September 23=20= through October 17, 2004. Organizing Committee Laura Andreoni Fernando Garc=EDa Delgado Ivana Mart=EDnez Vollaro Omar Juan Carlos Romero V=EDctor F. Sita VORTICE ARGENTINA Bacacay 3103, Buenos Aires=A0C1406GEE, Argentina tel=E9fono: (+54-11) 4611-4293 mailart@vorticeargentina.com.ar www.poesiavisual.com.ar =A0 =A0 DISSEMINATION OF THIS CALL WILL BE APPRECIATED =A0= ========================================================================= Date: Fri, 16 Apr 2004 00:05:28 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: volute... MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII volute... http://www.asondheim.org/volute.mov the bandage of the camera short-circuiting worlds here and there, there and here Livorno 1845 Bel Harbor 1971 here and there, there and here the sea air the lake air the salt air the sun here and there, the sun _ ========================================================================= Date: Fri, 16 Apr 2004 00:05:04 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: Photograph and description of my organ: MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Photograph and description of my organ: Registered at the Reed Organ Society 1. Go to http://www.reedsoc.org/ROdatabase/FrROInput.asp 2. Enter "Beatty" in first form slot and click on "Find Information" 3. Scroll down to # 3087 and click on "Description" Manufacturer BEATTY, DANIEL F. Stoplist Photo Town WASHINGTON, NJ Stop 1 FORTE Stop15 - [DBPictures\ROS-3087.jpg] Case style Parlor (with or without top) Stop 2 BASS COUPLER Stop16 - Serial nr. 17974 Stop3 PIANO Stop17 - Year of mfc 1879 +/- Stop4 SUB BASS Stop18 - Model GOLDEN TONGUE PARLOR ORGAN Stop5 ECHO Stop19 - Playable condition Y Stop6 BOURDON Stop20 - Wood OAK Stop7 FRENCH HORN Stop21 - Nr. of keys 61 Stop8 HARP AEOLINE Stop22 - Nr. of manuals 1 Stop9 MELODIA Stop23 - Key range F-F Stop10 DELICATO Stop24 - Pump method FOOT Stop11 CELESTE Stop25 - Kneeswells Y Stop12 VIOLA Stop26 - Full Organ Y Stop13 VOX HUMANA Stop27 - Organ in Public Building Y Stop14 TREBLE COUPLER - - ROS Registration nr. 3087 - TREBLE COUPLER - - [9] 925 [10] 926 [1] + Stopped (tty output) lynx http://www.reedsoc.org/ROdatabase/FrROOutp [10] - Done B1=Find+information [9] Done Reg_no=0 [8] Done Style=I [7] Done Choice=2 [5] Done B1=Find+information [4] Done Reg_no=0 [3] Done Style=I [2] Done Choice=2 k4% lynx http://www.reedsoc.org/ROdatabase/FrROOutput.asp?fs=Beatty&Choice=2&Sty le=I&Reg_no=0&B1=Find+information&Photo=Y [2] 1049 [3] 1050 [4] 1051 [5] 1052 [7] 1053 [6] + Stopped (tty output) lynx http://www.reedsoc.org/ROdatabase/FrROOutp [7] Done B1=Find+information [5] Done Reg_no=0 [4] Done Style=I [3] Done Choice=2 [1] 2881 [2] 2882 [3] 2883 [4] 2884 [5] 2885 [5] + Done B1=Find+information [4] - Done Reg_no=0 [3] Done Style=I [2] Done Choice=2 2881 qh T 0:00.03 lynx http://www.reedsoc.org/ROdatabase/FrROOutput.asp?fs 3343 qh R+ 0:00.00 ps -g 29708 qh Ss 0:00.08 -ksh 29764 qh I 0:00.00 leave +59 17746 r4- I 0:00.00 leave +59 _ ========================================================================= Date: Fri, 16 Apr 2004 00:05:17 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: "my fat face thinking death&&" & "My Shelley Tomb" MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII "my fat face thinking death&&" & "My Shelley Tomb" my fat face thinking death && push my fat face into your inbox begging for attention && exhausted by turgid theory going nowhere $$ want to write on catherine daly mez and others poetics $$ tired of hatred & figure suicidal ## burned out on bad news and no one wants to read this && another text with 'desire' and 'pleasure' sickens me $$ same with 'symbol' and 'sign' same with just about everything && only god talk allowed in this country && my fat face is suffocating with your detail ## hold my hand and collaborate && i'll say this and you'll say that and my face will be killed && my face will be killed my face will be deleted $$ cold sores have broken out i have nightmares && not sleep and what will nn say but motherfucker to me and my kind && florian's gone away permanently and the unstable digest is dead && you think i'm just spam but i want to be one of the boys and girls $$ want to really matter but my fat face speaks garbage ## beehive's off and dead i shit spam night and day && want to write on zen and mary shelley svengali in the injured wings ## set up that fight of all knockout between mencius and longinus $$ bless the world cure the sick heal the wounded raise the dead $$ my fat face won't hold still it just yammers on and on and on && i'll give you anything i'll turn coat i'll turn traitor coward && i'll turn the one cheek i'll turn the other cheek $$ can't face the horror country burning down && fires everywhere my fat face can't breath ## everywhere is everywhere && everywhere is everywhere && _ My Shelley Tomb "For I have found myself sincerly concious, crost day and night, enclined and embarrassing and prest; the seige on my heart in this desart brings an ach to me, somthing hardly expected. Ah, exhiliarating life and its violance! Yesterday, the atmospher was dark and threatning. I sought assylum, invelloped by my loved one; this time there were no strange occurences. I wept, I weep, I witnissed dayly medecines insuferably taken. The docter dissappoints; I have no expectation in this hacnied time. My headach grows worse with each quarell; scolars will judge. I await your decision to befal me; from the labratory to the lodgeings, I am comming. "How much longer with this disagreable life, improvisaing from the precepieces. I releive in my immagination, the seige to my concious soul which has staid too long in these appartments. Nothing has arrisen here or abroard, nothing to bring an end to these phisical sufferings. Wait; someone or somthing is aboutt; I will see, yes I an enclined to see. "These negociations..." - misspellings by Mary Shelley _ ========================================================================= Date: Fri, 16 Apr 2004 02:07:31 -0500 Reply-To: nudel-soho@mindspring.com Sender: UB Poetics discussion group From: Harry Nudel Subject: Spring... Mime-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Tuli tells the hassid in yiddish 'garlic & onions grow in the jewish garden' Steve's Spring Haiku 'the gypsy's returned to the corner' O Zion i dream of Hebron over the river bank 3:00???...drn.. ========================================================================= Date: Fri, 16 Apr 2004 06:46:31 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Larry Sawyer & Lina ramona Subject: @ The Poetry Project MIME-Version: 1.0 Content-Type: text/plain; charset="Windows-1252" Content-Transfer-Encoding: quoted-printable ...my whole goddamn life has become a Poetry Project! --Larry Sawyer ========================================================================= Date: Fri, 16 Apr 2004 09:59:12 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Joe Brennan Subject: CIA Financing For Kerry Campaign Seized In Southern China 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 http://www.theassassinatedpress.com/ CIA Financing For Kerry Campaign Seized In Southern China: 600 Pounds of Agency Heroin Found in Golden Triangle: Tenet Calls Seizure 'Minor Setback': Rush Limbaugh Contemplates Switching Parties: "Ever Since Kerry Closed Down His Subcommittee On Terrorism, Narcotics and International Communications, Langley Just Loves The Guy For Displaying Such Good Sense," The Late Richard Helms Scratched On the Belly Of Frank Carlucci At A Recent Knights Of Columbus Communion Breakfast: U.S. Military, Media Teaching The Iraqis A Lesson On U.S. November Elections In Fallujah: "Don't Skew Our Free And Fair Presidential Elections By Making Trouble," Warns Dan Blather by Jeffey Lube At least 70 U.S. Forces And 700 Hundred, Mostly Women, Children And The Elderly Killed In Fallujah: U.S. Prison Inmates Offered Reduced Sentences In Exchange For Iraqi Combat Tours: U.S. Strikes Deal With Muqtada al-Sadr; Cleric Withdraws Some Insurgents: Mass Graves Of Iraqis After Recent Assaults Awaiting Human Rights Investigators: Rumsfeld: "Do the math, you assholes. Ten years in this theater and we'll have to empty not only our jails but our colleges to put enough troops in the field." By Hamitup Handsup U.S. Response In Iraq Inspires No One Except U.S. Planners In Tampa: "We've extinguished so many 'hearts, minds and perceptions' over there when will we hit upon that majority left standing that loves us?" by Pawlean Jellyneck At Peace With War: Boomers Sit This One Out, Enjoy Iraqi Invasion Secure In the Knowledge That The Coming Draft Won't Net Them This Time: Dartmouth Student Body First To Get the Draft Call: Ramadi, Tikrit, Falluja, Baghdad, Najaf, Nasiriyah, Kut, Kufa...= Tet? Did the Geniuses At The Pentagon Miss Something?: "There's Nothin' More Patriotic Than Watching American Boys Die On High Definition Digital TV."---New Sony Add A Day in the Life of Barry Sodliar As Told To Yaso Adiodi of The Assassinated Press They hang the man and flog the woman That steal the goose from off the common, But let the greater villain loose That steals the common from the goose. ".....at a time when I am speaking to you about the paradox of desire -- in the sense that different goods obscure it -- you can hear outside the awful language of power. There's no point in asking whether they are sincere or hypocritical, whether they want peace of whether they calculate the risks. The dominating impression as such a moment is that something that may pass for a prescribed good; information addresses and captures impotent crowds to whom it is poured forth like a liquor that leaves them dazed as they move toward the slaughter house. One might even ask if one would allow the cataclysm to occur without first giving free reign to this hubbub of voices...." ========================================================================= Date: Fri, 16 Apr 2004 10:23:24 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Michael Rothenberg Subject: E-Book Notice Announcement MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable E-Book Authors, Big Bridge will be accepting names of e-books and their = authors to add to a new link list that will be an ongoing part of the = webzine. It will appear in Big Bridge the same way our Favorite Links = list appears. Send your requests to me and we will consider including = them.=20 Best,=20 Michael Michael Rothenberg walterblue@bigbridge.org Big Bridge www.bigbridge.org ========================================================================= Date: Fri, 16 Apr 2004 10:35:20 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Michael Rothenberg Subject: Re: E-Book Notice Announcement MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Yes, thanks Maria, please send the Name and Author and the link information so the readers can find the work. Best, Michael ----- Original Message ----- From: "Maria Damon" To: Sent: Friday, April 16, 2004 10:36 AM Subject: Re: E-Book Notice Announcement > Literature Nation, by Maria Damon and Miekal And > > At 10:23 AM -0400 4/16/04, Michael Rothenberg wrote: > >E-Book Authors, Big Bridge will be accepting names of e-books and > >their authors to add to a new link list that will be an ongoing part > >of the webzine. It will appear in Big Bridge the same way our > >Favorite Links list appears. Send your requests to me and we will > >consider including them. > >Best, > >Michael > >Michael Rothenberg > >walterblue@bigbridge.org > >Big Bridge > >www.bigbridge.org > > > -- > ========================================================================= Date: Fri, 16 Apr 2004 10:54:19 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Gerald Schwartz Subject: Re: Spring... Comments: To: nudel-soho@mindspring.com MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Tuli, yes, but Steve? Dalachinsky? --Jerry Schwartz > Tuli tells > the hassid > in yiddish > > 'garlic & > onions grow > in the jewish > garden' > > Steve's Spring > Haiku > 'the gypsy's > returned > to the corner' > > O Zion > i dream > > of Hebron > over the > river bank > > > 3:00???...drn.. ========================================================================= Date: Sat, 17 Apr 2004 03:14:18 +1200 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Ken Springtail Subject: Re: CFP: DLB American Poets of the 21st Century (deadline various; collection) Mime-Version: 1.0 Content-Type: text/plain; format=flowed I would think Mr. Wright's minimum-count would have increased, now. K. S. _________________________________________________________________ There’s never been a better time to get Xtra JetStream @ http://xtra.co.nz/jetstream ========================================================================= Date: Fri, 16 Apr 2004 08:13:38 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Joel Weishaus Subject: "The Silence of Sasquatch" Comments: To: Webartery , Invent-L , ASLE MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable I'm pleased to announce that the 60 texts and paratexts of my two-year = digital project, "The Silence of Sasquatch," are now in the stage I call = an "advanced draft," admitting that completion of a work of art is never = an option. I realize that this is a large piece of work that takes a long time to = read, but suggestions and/or corrections would be most welcome. I'm also looking for on-line journals that would be interested in = publishing individual, or a selection of, texts, and festivals or = conferences that would like to either link to the project, or play a CD = of it. http://web.pdx.edu/~pdx00282/Bigfoot/intro.htm Thanks so much. -Joel =20 __________________________________ Joel Weishaus Visiting Faculty Department of English Portland State University Portland, Oregon = =20 Home: http://web.pdx.edu/~pdx00282 Archive: www.cddc.vt.edu/host/weishaus/index.html ========================================================================= Date: Sat, 17 Apr 2004 03:20:41 +1200 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Ken Springtail Subject: Re: FW: The last word on Spalding Gray Mime-Version: 1.0 Content-Type: text/plain; format=flowed I think this is the saddest thing I have ever read. K. S. _________________________________________________________________ There’s never been a better time to get Xtra JetStream @ http://xtra.co.nz/jetstream ========================================================================= Date: Fri, 16 Apr 2004 11:29:22 -0400 Reply-To: Wald Reid Sender: UB Poetics discussion group From: Wald Reid Subject: question about the way posts look sometimes MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable i've noticed that every once in a while a post comes through looking = like gibberish, as with joel lipman's post on spalding gray (which i = really wanted to read----and which someone responded to, so some people = must be able to read it). it looks like this: DQoNCg0KVGhlIHRocmVhZCdzIGEgYml0IGZyYXllZCwgYnV0IHRoaXMgZm9yd2FyZGVkIGZyb= 20g YSBmcmllbmQgbWF5IGludGVyZXN0IHRoZSBsaXN0LiBKTA0KDQoNClRoaXMgYXBwZWFyZWQga= W4g dGhpcyB3ZWVrJ3MgTEEgV2Vla2x5LiBUaG91Z2h0IGl0IHdhcyB3b3J0aCBzaGFyaW5nIHdpd= Ggg bXkgDQpmZWxsb3cgU3BhbGRpbmcgRmFucyAodGhlIGZldywgdGhlIHByb3VkLCB0aGUgZW5sa= Wdo dGVuZWQpLiAgTXkgZmlyc3QgU3BhbGRpbmcgDQpHcmF5IGxpdmUgZXhwZXJpZW5jZSB3YXMgc= 2Vl..... (interesting, but unreadable) is this a problem other people have or just something with my computer? = what can be done about it? thanks! diane wald ========================================================================= Date: Fri, 16 Apr 2004 09:31:18 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: kari edwards Subject: what does community mean in an age of post-post modern high anxiety? In-Reply-To: <002d01c423c2$b298c340$27c7a918@rochester.rr.com> Content-Type: text/plain; charset=US-ASCII; format=flowed Mime-Version: 1.0 (Apple Message framework v553) Content-Transfer-Encoding: 7bit You are invited to an evening of new works and dialogue: what does community mean in an age of post-post modern high anxiety? please join our special quest as they perform, display, and discuss the vision and value of their work. * * * * w r i t e r s * * * * Chris Nealon Tanya Brolaski Stephen Vincent ****Artist and Art work By**** Tayna Hollis Fran Blau Saturday, April 17, 2004 6:30 p.m. - art viewing 7:30 p.m. - reading and dialouge 3435 Cesar Chavez #327 San Francisco, CA 94110 this will be a night of dialogue & forward moving vision on poetry and the arts. all are invited to (please) bring a piece of work to share; a manifesto to read, a thesis to divulge, a vision/concept to offer . . . this night is about the dialogue . . . . and seeing where we are / going / doing... any questions contact: kari edwards / terra1@sonic.net ========================================================================= Date: Fri, 16 Apr 2004 12:41:00 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: noah eli gordon Subject: Boston Reading with Geoffrey Dyer Comments: To: noaheligordon@YAHOO.COM Comments: cc: eng-grad@english.umass.edu Mime-Version: 1.0 Content-Type: text/plain; format=flowed Folks, if you're around Boston: SUN 4/18 at 5 PM: Poets Noah Eli Gordon and Geoffrey Dyer WordsWorth Books (617) 354-5201 30 Brattle Street Cambridge, MA _________________________________________________________________ Stop worrying about overloading your inbox - get MSN Hotmail Extra Storage! http://join.msn.com/?pgmarket=en-us&page=hotmail/es2&ST=1/go/onm00200362ave/direct/01/ ========================================================================= Date: Fri, 16 Apr 2004 12:46:47 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Nuyopoman@AOL.COM Subject: 3 Notes from Bowery Poetry Club -- at least one is for You Comments: To: loudernotes@yahoo.com, loudnotes@yahoogroups.com Comments: cc: KALAMU@aol.com MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit 1. Rent-A-Coffin for (from?) Pedro Pietri this Sunday 3-6pm. We'll read Speedo's poems and poems for him, reminisce and invent memories. Entrance via contribution. The family will be present. 2. George Harrison should have a park, and 30 musicians and poets will play to benefit Blue Jay Way. Wed, 4/21 (earth Day Eve), 8-11pm. $25 3. Tuesday April 27 -- our early show canceled. Who's got the Great Burning Idea for a show that can gather a crowd for that night?!! Bob Holman Bowery Poetry Club - 308 Bowery - 10012 - 2126141224 Visiting Professor, Columbia School of the Arts - rh519@columbia.edu 2123346414 - fax: 2123346415 ========================================================================= Date: Fri, 16 Apr 2004 15:11:36 -0230 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Kevin Hehir Subject: Accounts from Fallujah and Iraq MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Hi, this from another list i'm on. kevin From: Dru Oja Jay The past two weeks have seen a remarkable effort on the part of the US government and numerous media outlets to directly contradict reality. The single most remarkable instance of the contradiction came from US military spokesman Mark Kimmitt, who said: "The stations that are showing Americans intentionally killing women and children are not legitimate news sources. That is propaganda, and that is lies." The astoundingly frank exhortation to shun plainly evident reality in favour of official spin came amid US claims that 95% of the 600 killed and thousands wounded during the military siege of Fallujah were "fighters". An estimated 60,000 families were displaced. The corporate media in Canada and the US, meanwhile, has made a obfuscating and distracting from the siege of Fallujah and the resulting human disaster. I know of no systematic study, but there has been a distinct emphasis on "kidnapped" foreigners while war crimes, massacres, murder, and the continuing illegality of the occupation ignored or heavily marginalized. In situations where disinformation reaches its absolute fever pitch, it becomes crucial to focus on the reality of the situation, and to take note of the gap between that reality and the manipulated images that corporate media ask us to accept in its place. Fallujah is one place, but understanding what went on there and understanding the aforementioned gap can provide us with a healthy skepticism and a set of questions that can be applied to almost all other news coverage. What follows is a series of excerpts from first hand accounts from people in Fallujah and other independent analysis of the situation in Iraq. Links to the original articles can be found here: http://dominionpaper.ca/weblog/2004/04/fallujah.html Updates will be added to the same page. If you have comments, discussion, or suggestions, please post them in the comments area at the url listed. -- Dru Oja Jay, Coordinating Editor, the Dominion -- -- -- -- "We were in Fallujah during the 'ceasefire.' This is what we saw and heard. When the assault on Fallujah started, the power plant was bombed. Electricity is provided by generators and usually reserved for places with important functions. There are four hospitals currently running in Fallujah. This includes the one where we were, which was actually just a minor emergency clinic; another one of them is a car repair garage." >> Report from Fallujah -- Destroying a Town in Order to Save it, by Rahul Mahajan -- " As we neared Falluja, there were groups of children on the sides of the road handing out water and bread to people coming into Falluja. They began literally throwing stacks of flat bread into the bus. The fellowship and community spirit was unbelievable. Everyone was yelling for us, cheering us on, groups speckled along the road. As we neared Falluja a huge mushroom caused by a large U.S. bomb rose from the city. So much for the cease-fire." >> Americans Slaughtering Civilians in Falluja, by Dahr Jamail, The New Standard -- "We stop, turn off the siren, keep the blue light flashing, wait, eyes on the silhouettes of men in US Marine uniforms on the corners of the buildings. Several shots come. We duck, get as low as possible and I can see tiny red lights whipping past the window, past my head. Some, it's hard to tell, are hitting the ambulance. I start singing. What else do you do when someone's shooting at you? A tire bursts with an enormous noise and a jerk of the vehicle. "I'm outraged. We're trying to get to a woman who's giving birth without any medical attention, without electricity, in a city under siege, in a clearly marked ambulance, and you're shooting at us. How dare you?" >> "Easter in Fallujah," by Jo Wilding -- "There is not much dispute about the death toll at Falluja, which remains a no-go zone for foreign reporters. But while townspeople say they were mostly children, women and old men, US spokesmen insist that 95 per cent of the dead were fighters who had met the precision shooting of the US marines." >> Flight from a town where sports fields are graveyards, Paul McGeough, Sydney Morning Herald -- "The hostage situations are a mess. I watch television and it feels like I'm watching another country. All I can think is, "We've become one of *those* countries..." You know- the ones where hostages are taken on a daily basis and governments warn their civilians of visiting or entering the country. It's especially sad because even during those long years during the blockade and in between wars and bombings, there were never any attacks on foreigners. Iraqis are hospitable, friendly people who always used to treat foreigners with care... now, everyone is treated like a potential enemy." >> "Baghdad Burning" Weblog -- "More than 60,000 women and children fled the city during a brief ceasefire on Friday but the US blocked any men of military age from leaving. Dozens of bodies have been buried in the city's soccer stadium after US forces blocked roads heading toward the cemetery." >> Democracy Now interviews Aaron Glantz -- "But when asked about the victims, US marine Lieutenant Colonel Brennan Byrne said: 'What I think you will find is 95% of those were military-age males that were killed in the fighting. The marines are trained to be precise in their firepower ... The fact that there are 600 goes back to the fact that the marines are very good at what they do.'" >> Mail and Guardian (South Africa) -- "The insurrection in Shia areas of Iraq was not a sudden explosion, nor was it primarily inspired by the events in Falluja. It was, instead, the result of a long series of actions and reactions between the Coalition's armed forces and increasingly organized and anti-American Shia militias." >> What Triggered the Shia Insurrection?, by Michael Schwartz -- " 'We are going to Fallujah.' 'To Fallujah? For jihad?' 'No, we are going to help people there.' 'Do you need weapons? Do you need someone to show you the way in?'" >> Fallujah Stories, by Wendell Steavenson -- "We were taken to the families in the shelter by Dr Abed al-Illah, a specialist in internal medicine who is also a representative of the Iraqi Islamic Party, which is part of the US-appointed Iraqi Governing Council. He had just visited Fallujah hospital. He said: 'About 350 out of the 600 dead were women and children. One was only eight months old. Many died from simple wounds and could have been saved if they had medical attention.'" >> 'Do we look like fighters?' ask Fallujah families with their disabled, their old and their children, by Patrick Cockburn -- Dru Oja Jay The Dominion <> http://www.dominionpaper.ca <> dru@dominionpaper.ca "Each answer remains in force as an answer only as long as it is rooted in questioning." --Martin Heidegger ========================================================================= Date: Fri, 16 Apr 2004 10:58:23 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: kari edwards Subject: Shearsman 58 is now online In-Reply-To: Content-Type: text/plain; charset=US-ASCII; format=flowed Mime-Version: 1.0 (Apple Message framework v553) Content-Transfer-Encoding: 7bit Shearsman 58 is now online at http://www.shearsman.com/pages/magazine/current_issue/contents.html or via the home page http://www.shearsman.com/ and then through the magazine jump menu, top right. ========================================================================= Date: Fri, 16 Apr 2004 15:51:26 -0400 Reply-To: az421@freenet.carleton.ca Sender: UB Poetics discussion group From: Rob McLennan Subject: Newlove tribute Content-transfer-encoding: 7BIT Here you'll find the Bywords tribute to John Newlove: http://www.bywords.ca/ rob (in vancouver -- poet/editor/pub. ... ed. STANZAS mag & side/lines: a new canadian poetics (Insomniac)...pub., above/ground press ...coord.,SPAN-O + ottawa small press fair ...8th coll'n - red earth (Black Moss) ...c/o RR#1 Maxville ON K0C 1T0 www.track0.com/rob_mclennan * http://robmclennan.blogspot.com/ ========================================================================= Date: Fri, 16 Apr 2004 15:45:26 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: ela kotkowska Subject: FW: DLB American Poets of the 21st Century (deadline various; collection) Comments: To: Discussion of Women's Poetry List MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit I thought this might interest you, in case you're not on the cfp list. best. Ela K. -----Original Message----- From: owner-cfp@dept.english.upenn.edu [mailto:owner-cfp@dept.english.upenn.edu] On Behalf Of Richard Flynn Sent: Wednesday, April 14, 2004 7:51 PM To: cfp@english.upenn.edu Subject: CFP: DLB American Poets of the 21st Century (deadline various; collection) CFP: DLB American Poets of the 21st Century (deadline various; collection) I am seeking contributors for The Dictionary of Literary Biography volume on "American Poets of the 21st Century," a reference work about poets and their lives and careers. The series is widely available in libraries and if you are unfamiliar with the series, I suggest you look at the volumes concerning American Poets since World War II, edited by R.S. Gwynn and Joseph Conte to give you an idea of the format. You should also consult the web site of the publisher, Bruccoli Clark Layman for further information: http://www.bcl-manly.com Essays range from 4000-8000 words and will include the poets listed below. If you are interested, please send me a brief cv and the names of three or four poets you are interested in writing about as soon as possible by e-mail: Richard Flynn rflynn@georgiasouthern.edu. Contributors receive a small honorarium and a copy of the volume as payment. 4,000 words Robin Becker Mei-mei Berssenbrugge Marianne Boruch Marilyn Chin Lynn Emanuel Forrest Gander Susan Hahn Jeffrey Harrison Juan Felipe Herrera Tony Hoagland Dorianne Laux Susan Mitchell Carol Muske-Dukes Eric Nelson Aldon Nielsen Donald Revell Bruce Smith 5,000 words W. S. Di Piero Mark Doty Martin Espada Amy Gerstler Mark Halliday August Kleinzahler John Koethe Thomas Lux Harryette Mullen Alice Notley Julia Randall Joan Retallack James Richardson Alan Shapiro Reginald Shepherd Jane Shore Susan Stewart Alan Williamson Franz Wright 6,000 words Billy Collins Carl Dennis J.D. McClatchy Thomas McGrath Sandra McPherson Carl Phillips Eleanor Ross Taylor Jean Valentine 7,000 words Fanny Howe Donald Justice Heather McHugh James McMichael 8,000 words Frank Bidart Robert Pinsky Richard Flynn Professor Editor, DLB: American Poets of the 21st Century Dept. of Literature and Philosophy P.O. Box 8023 Georgia Southern University Statesboro, GA 30460-8023 E-mail: rflynn@GeorgiaSouthern.edu Personal Home Page: http://www.GeorgiaSouthern.edu/~rflynn Please note that my Email address has changed from rflynn@gasou.edu to rflynn@GeorgiaSouthern.edu =============================================== From the Literary Calls for Papers Mailing List CFP@english.upenn.edu Full Information at http://www.english.upenn.edu/CFP/ or write Erika Lin: elin@english.upenn.edu =============================================== ========================================================================= Date: Fri, 16 Apr 2004 13:59:30 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Stephen Vincent Subject: Re: DLB American Poets of the 21st Century (deadline various; collection) In-Reply-To: <200404162045.i3GKjmuO014932@merle.it.northwestern.edu> Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit One can only assume, I would guess - at least from a smart marketing point of view - that the publisher and editors are planning a second volume that will include the 500 - 1000 - 2000 and 3000 word essays. Does anyone know? And is aware of comparable volumes in other disciplines, say, political science, where, for example, Senator Charles Shummer (sp?) would get 5000 words, where Senator Hilary Clinton would get 8,000 words?? Where is Rabelais when we need him most? A canon is not too far from a bell. Stephen V > Essays range from 4000-8000 words and will include the poets listed below. > If you are interested, please send me a brief cv and the names of three or > four poets you are interested in writing about as soon as possible by > e-mail: Richard Flynn rflynn@georgiasouthern.edu. Contributors receive a > small honorarium and a copy of the volume as payment. > > 4,000 words > > Robin Becker > Mei-mei Berssenbrugge > Marianne Boruch > Marilyn Chin > Lynn Emanuel > Forrest Gander > Susan Hahn > Jeffrey Harrison > Juan Felipe Herrera > Tony Hoagland > Dorianne Laux > Susan Mitchell > Carol Muske-Dukes > Eric Nelson > Aldon Nielsen > Donald Revell > Bruce Smith > > > 5,000 words > > W. S. Di Piero > Mark Doty > Martin Espada > Amy Gerstler > Mark Halliday > August Kleinzahler > John Koethe > Thomas Lux > Harryette Mullen > Alice Notley > Julia Randall > Joan Retallack > James Richardson > Alan Shapiro > Reginald Shepherd > Jane Shore > Susan Stewart > Alan Williamson > Franz Wright > > > > 6,000 words > > Billy Collins > Carl Dennis > J.D. McClatchy > Thomas McGrath > Sandra McPherson > Carl Phillips > Eleanor Ross Taylor > Jean Valentine > > > 7,000 words > > Fanny Howe > Donald Justice > Heather McHugh > James McMichael > > 8,000 words > > Frank Bidart > Robert Pinsky > > > > Richard Flynn > Professor > Editor, DLB: American Poets of the 21st Century Dept. of Literature and > Philosophy P.O. Box 8023 Georgia Southern University Statesboro, GA > 30460-8023 > E-mail: rflynn@GeorgiaSouthern.edu > Personal Home Page: http://www.GeorgiaSouthern.edu/~rflynn > > Please note that my Email address has changed from rflynn@gasou.edu to > rflynn@GeorgiaSouthern.edu > > =============================================== > From the Literary Calls for Papers Mailing List > CFP@english.upenn.edu > Full Information at > http://www.english.upenn.edu/CFP/ > or write Erika Lin: elin@english.upenn.edu > =============================================== ========================================================================= Date: Fri, 16 Apr 2004 15:17:43 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Scharf, Michael (RBI-US)" Subject: "...pow'r to kill or cure" MIME-Version: 1.0 Content-Type: text/plain Has anyone who moves in the late 18th or early 19th C. encountered the phrase "My Eyes have pow'r to kill or cure" A friend has just come across a piece of vernac. art from that era, with that phrase as caption. Any assistance most appreciated. Thanks -Mike ========================================================================= Date: Sat, 17 Apr 2004 00:03:47 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: hey hey war no more and njd^6 MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII hey hey war no more and njd^6 hey hey war no more hey hey war no more might ***:For CONTAMINATION OF SECTIONS THREE THE OF THIRD THE IS THIS *** fuck them first and kill them later freedom makes us all the greater i can't go on this stupid rhyme you shove your cock into my tight cunt forever - and who can sing the praises of resolute deity among the shuddering of not both this and that - on the knife-blade edge of all disappearance - untethering languagings! no more! no more! SECOND THE IS THIS MOTHERS.:*** of class the of entirety the almost say what the hell are we fighting for hold the course and never swerve bomb in fury without pity in freedom we'll destroy this city freedom makes us all the greater i can't go on this stupid rhyme those lines are entirely effaced or you shove your cock into my tight cunt forever - among the leaders and disciples who can testify and who can sing the praises of resolute deity among the shuddering of not both this and that - we have been given wisdom and understanding on the knife-blade edge of all disappearance - boiling from quarks strings dark matters of the soul - the covenant of the final remnant - untethering the witnesses! untethering languagings! no more! no more! and world the of LOOK the with SIGHT with involved so been ***I've what the hell are we fighting for the blood will spill upon the hill our bombs will cut a deeper nerve bomb in fury without pity in freedom we'll destroy this city freedom makes us all the greater i can't go on this stupid rhyme those lines are entirely effaced or among the leaders and disciples who can testify and who can sing the praises of resolute deity among the shuddering of not both this and that - we have been given wisdom and understanding on the knife-blade edge of all disappearance - forgetting separation of justices and injustices - codices of empty demarcations already fading - the covenant of the final remnant - untethering the witnesses! untethering languagings! no more! no more! THE OF THIRD THE IS THIS *** REGARD. THIS IN FUMBLINGS OWN YOUR consider hold the course and never swerve our bombs will cut a deeper nerve bomb in fury without pity i can't go on this stupid rhyme among the leaders and disciples who can testify and who can sing the praises of resolute deity among the shuddering of not both this and that - we have been given wisdom and understanding untethering the witnesses! untethering languagings! no more! no more! secret my are you secret my are ::you ***! CONTAMINATION OF SECTIONS THREE what the hell are we fighting for hold the course and never swerve bomb in fury without pity you shove your cock into my tight cunt forever - and who can sing the praises of resolute deity among the shuddering of not both this and that - we have been given wisdom and understanding on the knife-blade edge of all disappearance - cold and strung-out energy and matter - boiling from quarks strings dark matters of the soul - the covenant of the final remnant - untethering the witnesses! no more! no more! njd:::: codework cd &* s xjkkj secret njd:: codework cd &* s xjkkj hold the course and never swerve our bombs will cut a deeper nerve bomb in fury without pity does no good and takes up time of graphemes and alphabets all inscriptive devices - among the leaders and disciples who can testify and who can sing the praises of resolute deity among the shuddering of not both this and that - we have been given wisdom and understanding on the knife-blade edge of all disappearance - codices of empty demarcations already fading - thinking how impure you can be there's none at all untethering the witnesses! no more! no more! __ njd^6 ::you are my secret you are my secret xjkkj s &* cd codework njd:: ::you are my secret you are my secret xjkkj s &* cd codework njd:: :Your disappearance is on my allegiance:::you are my secret you are my secret xjkkj s &* cd codework njd:::: ::you are my secret you are my secret xjkkj s &* cd codework njd:: :Your disappearance is on my allegiance:::you are my secret you are my secret xjkkj s &* cd codework njd:::: :Your disappearance is on my allegiance:::you are my secret you are my:::you are my secret you are my secret xjkkj s &* cd codework njd:::::you are my secret you are my secret xjkkj s &* cd codework njd:::: ::you are my secret you are my secret xjkkj s &* cd codework njd:: :Your disappearance is on my allegiance:::you are my secret you are my secret xjkkj s &* cd codework njd:::: :Your disappearance is on my allegiance:::you are my secret you are my:::you are my secret you are my secret xjkkj s &* cd codework njd:::::you are my secret you are my secret xjkkj s &* cd codework njd:::: Does ::you are my secret you are my secret xjkkj s &* cd codework njd:: replace your :Your disappearance is on my allegiance:::you are my secret you are my? heir with ideogrammatic intervals! :Your disappearance is on my allegiance:::you are my secret you are my:::you are my secret you are my secret xjkkj s &* cd codework njd:::::you are my secret you are my secret xjkkj s &* cd codework njd:::njd:::::you are my secret you are my secret xjkkj s &* cd codework njd:::::my:::you are my secret you are my secret xjkkj s &* cd codework ::you are my secret you are my secret xjkkj s &* cd codework njd:: :Your disappearance is on my allegiance:::you are my secret you are my secret xjkkj s &* cd codework njd:::: :Your disappearance is on my allegiance:::you are my secret you are my:::you are my secret you are my secret xjkkj s &* cd codework njd:::::you are my secret you are my secret xjkkj s &* cd codework njd:::: :Your disappearance is on my allegiance:::you are my secret you are my:::you are my secret you are my secret xjkkj s &* cd codework njd:::::you are my secret you are my secret xjkkj s &* cd codework njd:::njd:::::you are my secret you are my secret xjkkj s &* cd codework njd:::::my:::you are my secret you are my secret xjkkj s &* cd codework :Your disappearance is on my allegiance:::you are my secret you are my:::you are my secret you are my secret xjkkj s &* cd codework njd:::::you are my secret you are my secret xjkkj s &* cd codework njd:::replace your :Your disappearance is on my allegiance:::you are my secret: Your seal names my njd:::::my:::you are my secret you are my secret xjkkj s &* cd codework! ::you are my secret you are my secret xjkkj s &* cd codework njd:: :Your disappearance is on my allegiance:::you are my secret you are my secret xjkkj s &* cd codework njd:::: :Your disappearance is on my allegiance:::you are my secret you are my:::you are my secret you are my secret xjkkj s &* cd codework njd:::::you are my secret you are my secret xjkkj s &* cd codework njd:::: :Your disappearance is on my allegiance:::you are my secret you are my:::you are my secret you are my secret xjkkj s &* cd codework njd:::::you are my secret you are my secret xjkkj s &* cd codework njd:::njd:::::you are my secret you are my secret xjkkj s &* cd codework njd:::::my:::you are my secret you are my secret xjkkj s &* cd codework :Your disappearance is on my allegiance:::you are my secret you are my:::you are my secret you are my secret xjkkj s &* cd codework njd:::::you are my secret you are my secret xjkkj s &* cd codework njd:::replace your :Your disappearance is on my allegiance:::you are my secret: Your seal names my njd:::::my:::you are my secret you are my secret xjkkj s &* cd codework! :Your disappearance is on my allegiance:::you are my secret you are my:::you are my secret you are my secret xjkkj s &* cd codework njd:::::you are my secret you are my secret xjkkj s &* cd codework njd::::Your disappearance is on my allegiance:::you are my secret you are:njd:::::my:::you are my secret you are my secret xjkkj s &* cd codework __ ========================================================================= Date: Sat, 17 Apr 2004 00:03:30 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: baba baa aabaaaab * and spliced splayed spaces MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII baba baa aabaaaab * and spliced splayed spaces ___ baba baa aabaaaab * 111111 000000 abcdefghijklmnopqrstuvwxyz 1 0 abcdefghijklm nopqrstuvwxyz 1 0 abcdefg hijklm 1 0 abcd efg 1 0 ab cd 1 0 a b 1 0 therefore 111111 = 1 and 000000 = 0 substituting abcdefghijklm nopqrstuvwxyz 111111 000000 the possibilites are useless therefore i have 'come up' with the alphabet such that 111111 = a and 000000 = b therefore aaaaaaaaaaaaa bbbbbbbbbbbbb therefore proving nothing can be 'written' with the alphabet * * 111111 000000 aaaaaaaaaaaaabbbbbbbbbbbbb 1 0 aaaaaaaaaaaaa bbbbbbbbbbbbb 1 0 aaaaaaa aaaaaa 1 0 aaaa aaa 1 0 aa aa 1 0 a a 1 0 baabaabba 111111 = 1 aba 000000 = 0 bbabbabbbaba aaaaaaaaaaaaa bbbbbbbbbbbbb 111111 000000 baa bbbbaaaaabab aba bbaaabb baabaabba a aaba 'abaa bb' baba baa aabaaaab bbaa baab 111111 = a aba 000000 = a baabaabba aaaaaaaaaaaaa aaaaaaaaaaaaa baabaabba bbbbaba bbbaaba aab aa 'bbabbab' baba baa aabaaaab * _ spliced splayed spaces http://www.asondheim.org/brooklyn.jpg http://www.asondheim.org/laguna.jpg http://www.asondheim.org/niagara.jpg ========================================================================= Date: Fri, 16 Apr 2004 22:44:46 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jeffre Jullic Subject: Re: "...pow'r to kill or cure" Comments: To: mscharf@REEDBUSINESS.COM MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Mike, Checking the Chadwyck-Healey English Poetry Full-Text Database (165,000 poems by 1,250 poets, from 600 A.D. to the 1900s) for a Proximity Search on the words "eyes," "cure" and "kill," they occur within 120 characters (but not within 80 characters) in three cases that are basically the same as yours: (The examples quoted below are a trail that starts out "hot," then gets progressively thinner and thinner. I include them all only for the sake of thoroughness.) In the poem "Lilla" by Cornelius Webb (~Lyric Leaves,~ 1832), there are the lines: Her eyes all eyes on earth surpass, They kill and cure you too! (They occur once more in roughly the same period, in John Payne's poem "Schopenhauer" [~Vigil and vision. New Sonnets,~ 1903], but in a different context: leaches.) The Proximity Search otherwise finds those words only a century earlier, twice (to which the later "Lilla" could perhaps be traced): less pertinently, John Oldmixon's "Epistle VII: Mr. Waller to the Countess of Carlisle" (~Amores Britannici. Epistles Historical and Gallant,~ 1703) has The killing Smart, contented, he'd endure, Were your Eyes ready as to hurt, to cure but, perhaps more significantly, Samuel Cobb's/Nicholas Rowe's 1712 ~Callipædia. A Poem. In Four Books. With Some Other Pieces. Written in Latin By Claudius Quillet, Made English By N. Rowe~ has Deform'd, she cures the Wound her Beauty gave, And She, whose Eyes could kill me, now can save. Perhaps the ur-source of the trope is in the Latin of Claudius Quillet. ------------------------------------------------------- The next most relevant citations are perhaps ones that ~reverse~ the word order into "cure or kill," but relevant because they share the same mantic, female menace of "Lilla" and "Callipædia" (although preceding them): Ralph Knevet (1600 - 1671) in a 1966 Ohio State University Press redaction of his verse play, "Rhodon And Iris", has the character Martagnon saying The panting heart of the dull melancholy Owle, Or the breathing entrailes cut from a living Cat. The proudest Swaine that lives in Thessaly. Is glad to be obsequious to her will, For in her power it is to cure or kill and Robert Dixon's 1683 "Canidia, or The Witches": "As true as ever struck stroak, / Either to cure or kill good Folk". (John Clare's "The Surprise" has "throb'd & heav'd / With charms to cure or kill".) ------------------------------------------------------- Bifurcated into unmatched parts, the phrases "to kill or cure," "eyes have power" or "power to kill," searched separately, occur often enough, but in a way that merely shows that those dictions were free-floating throughout the language and poetry in a recombinant way that could easily semantically produce your quote, but without re-constituting it verbatim. "to kill or cure": Robert Browning's 1872 "Red Cotton Night-Cap Country, Or Turf And Towers": "An accident which comes ~to kill or cure,~ / A jerk which mends a dislocated joint!"; --- Joseph Munby's 1891 ~Vestigia Retrorsum~ (a political one you might enjoy): "we saw men striving ~to kill or cure~ -- / By making or mending of rules and laws / Amid hostile yells or fond applause" "eyes have power": Sir Charles Sedley (1639 - 1701), "TO CLARISSA Upon dirtying her Lodgings" (sic), in a 1928 re-printing: "Dust from my earthy Surface fell, / And soil'd the fair Clarissa's Cell; / Clarissa's Eyes have Pow'r Divine"; --- "Love's Insight" in Palgrave's 1891-1897 ~Golden Treasury~; --- George Lyttleton (1777), "Writ at Mr. Pope's House at Twickenham, which he had lent to MRS. G*****LLE": "G___lle, whose eyes have power to make / A Pope of every swain" "power to kill" in 52 poets, including Byron's "Prisoner Of Chillon", Coleridge, Cowper, Dryden, Herrick, Quarles, Raleigh, Rosetti, and Tennyson. J.J. __________________________________ Do you Yahoo!? Yahoo! Tax Center - File online by April 15th http://taxes.yahoo.com/filing.html ========================================================================= Date: Sat, 17 Apr 2004 00:55:04 -0500 Reply-To: nudel-soho@mindspring.com Sender: UB Poetics discussion group From: Harry Nudel Subject: Spring.... Mime-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit DLB he was invisible in april he filed for an extension by summer he had spent his 4,000 words... asleep...x to 3:00...drn.. ========================================================================= Date: Sat, 17 Apr 2004 01:38:01 -0500 Reply-To: nudel-soho@mindspring.com Sender: UB Poetics discussion group From: Harry Nudel Subject: Spring.... Mime-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit DLB nee May 30, '46 or 9/1/46... circa 15 miles from Aushwitz fear was his constant companion wrote a poem a day from spring to spring died at 3:00 before he woke the poem finished in his mind... awake..towards 3:00...drn... ========================================================================= Date: Sat, 17 Apr 2004 08:28:31 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: ah, but yes. MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII ah, but yes. today god and i both rest. * tomorrow she awakes out of my illusion. * but i work anyway. _ ========================================================================= Date: Sat, 17 Apr 2004 12:19:02 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Michael Rothenberg Subject: Fw: E-Book LINKS at Big Bridge MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable For those of you have sent me links to your e-book titles, thank you. I = am excited about the response. Please send out the word if you are = posting other places that I welcome more links. Interested authors or = publishers should send me Name of Author, Name of Book and Link.=20 Also, I have heard from Mary Sands at Jack Magazine and she will also be = creating a link section titled E-Books. You can send to her in the same format as you send to Big Bridge.=20 Finally, if you are an editor of an online magazine I hope you will also = add a link section titled E-Books and consider this an essential part of = strenthening an internet based literary community, and a way of getting = your work out. Finally, finally, I encourage writers to review e-books just like any = other book!!! Best, Michael Michael Rothenberg walterblue@bigbridge.org Big Bridge www.bigbridge.org ========================================================================= Date: Sat, 17 Apr 2004 10:18:04 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Joel Weishaus Subject: David Carradine on violence MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable In the newspaper this morning, there's an interview with the actor and = Kung Fu student, David Carradine. He says, "After you become a certain = level of (Kung Fu) master, you should start learning a healing art. One = of the things that my...trainer for the last 20 years says is, 'It's = very difficult to heal with the fist.' It's simple, right? If you want = to make the world a better place, beatin' up people is probably not the = best way to do it---in spite of what our president says." -Joel ========================================================================= Date: Sat, 17 Apr 2004 13:21:41 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Murat Nemet-Nejat Subject: Re: about social recompense MIME-Version: 1.0 Content-Type: text/plain; charset="ISO-8859-1" Content-Transfer-Encoding: quoted-printable Gary, I am overwhelmed by the abundance of your responses, particularly, since you= =20 seem to be answering the questions you are asking yourself. I will try to tackle a few of your points by asking a few questions: "1.=A0 Your ideal perspective of a poet and his or her work purposefully slights the world in which a poet writes.=A0 You aren't the only one to purchase such idealism; thankfully, the rebuttals are vast and more substantial.=A0 Off the top of my head, Mary Robinson's "The Poet's Garret" (1806)." Where did I exactly slight the world in which a poet writes? What is exactly= =20 the idealism you are referring to? As for purchasing, what does exactly=20 purchasing idealism mean? 2. "If we agree that recompense, a verb, is to 'make amends,' and that its context assumes a purposeful address to a loss. Recompense is a payment in return for something." How did you exactly get "making amends" from "recompense," at least from the= =20 way I used the word, "since poetry in monetary terms has almost no social=20 recompense?" I am not talking about guilt or sin, rather, if poetry has any value as=20 labor. My point is that, economically, poetry is not "productive" labor, but= a=20 "consumption." A poet is an anti-productive consumer of time, similar to an=20 addict. Addicted to words, a poet uses words uselessly, beyond their product= ive=20 function. To me, this is the defining quality of a post-modern, post-avant=20 (whatever one calls it) poem. This anti-productive bias permeates the poem.=20= A lot=20 flows from it. I discuss this point in the essay, "Is Poetry a Job, Is a Poe= m a=20 Product?," published in Gary Sullivan's journal Read Me and can be reached=20 through google. 3. " Even if I feel I can write from an ideal place of pure invention, my=20 poem still would be a result of beholding or viewing something in the world." I never claimed poetry has no relation to the world, only that its relation=20 is quite different from what it is usually assumed to be.=20 Here is another similarity, as I see it, between a coke hit and writing a=20 poem: in both, the value lies in the hit. When it is over, the only thing on= e can=20 do is to repeat the process. The memory of a high does not create a high. =20 4."A poem is a response to being in the world." I assume this means one must be born to write a poem. How true. 5. "The poem itself cannot exist without a potentiality for a poet's being in the world.=A0 The actual audience for any given poem does not exist. The poem as an object out there to be read represents a specific potentiality for its being ready-at-hand.=A0 When a poem is made ready-at-hand, then a readership is intended and necessary." I do not see anything necessary. To paraphrase King Lear, "I may call them,=20 but will they hear?" I am talking about the gap between the intentions of a poet and the response= =20 -which most of the time is silence- which he or she receives; am talking abo= ut=20 writing against this silence. Ask a poet like Alan Sondheim, for instance,=20 about its excruciating reality. What keeps him going? He may feel that a ser= ies=20 of web sites are his community. But how much of this community "receives"=20 everything he puts out?=20 6. "I suppose you could claim to have knowledge of the first poem written and knowledge of what that author had in mind and, then, make the claim that what was in mind had nothing to do with potential readers but with an entire OTHER phenomena that we have muddied up and called poetry..." No, I have no claims of knowledge on what the other poet had in mind. I read= =20 a poem -or any other work for that matter- if it appeals to me, aware that t= he=20 appeal has to do with my own needs. What is more, my reading of writers who=20 are really important to me, for instance, Walter Benjamin, Swift, Shakespear= e=20 in his sonnets, Melville, a number of Turkish poets in 20th century, to name= a=20 few, always involves a misreading of their works. That misreading is an=20 acknowledgment of their difference, a point I discussed in detail around=20 translation. 7. "Finally, I find your claim that a lot' of the culture surrounding a poem is 'non-linguistic' suspect." Suspect, but true. Suppose Bush, for example, without his strutting walk. Do= =20 you think he could win any elections then? 8. "Your comment speaks more about your disposition towards a potential=20 audience outside of an ideal community" =20 The poet lives in the community, not an ideal community. That is the point o= f=20 my whole argument. I am talking about poetry in the community, not an ideal=20 community. "Writing in silence" deals with the clash between the poet's idea= l=20 community (basically, in the poet's mind energizing him or her) and the=20 community into which his or her poem will fall. In my view, if a poet is con= scious of=20 and needs to write about the wider community, he or she must integrate that=20 clash/gap -as a clash- into the work. 9. "And poor poet that has to live with that flaw! Poor poet?" You are responding to your own rhetorical flourish; the word flaw has no=20 connotation of "poor poet" for me. 10. "a writer cannot expect a good reading from something not yet written. This is what revision is about" Your assumption that a poet's revisions make a poem readable is not=20 necessarily so. In the case of some poets, the revisions make the poem incre= asingly=20 "unreadable." Just one example: the very first draft of "Finnegan's Wake" an= d the=20 final work. Ciao, Murat=20 ========================================================================= Date: Sat, 17 Apr 2004 12:27:58 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Christine Murray Subject: Poetry_Heat Reading Tonight: Dale Smith and Hoa Nguyen MIME-Version: 1.0 Content-Type: text/plain University of Texas, Arlington: Poetry_Heat Reading Series *Dale Smith & Hoa Nguyen* with Arlington poet, David Bart and UTA student poet, Jacquelyn Taylor 7 p.m., Saturday, 17 April University Center, Concho Room, 2nd Floor Poetry_Heat series is sponsored by the UTA Writing Center, Chris Murray, Director We hope to see you there! cm http://www.uta.edu/english/znine http://texfiles.blogspot.com ========================================================================= Date: Sat, 17 Apr 2004 14:03:11 -0400 Reply-To: patrick@proximate.org Sender: UB Poetics discussion group From: "patrick@proximate.org" Subject: stay and leave Mime-Version: 1.0 Content-Type: text/plain; charset=us-ascii for poet David Manning, based on a photograph of the artist this who cannot cradle light fractured by branches hung above the mantel light spiders the trees who are beautiful there light shattered by the leaves who formed that picture to keep it bursting browning fallen leaving when the wind blows whose cradle never to forever and repeat who the clutch and who to hold what cannot be touched the light the light again who remains so much after whose buds never do unbloom whose maple ignites soon before and whose picture will fall who can endure no where it hangs above whose head where it has so it ever ========================================================================= Date: Sat, 17 Apr 2004 17:50:29 -0400 Reply-To: az421@freenet.carleton.ca Sender: UB Poetics discussion group From: Rob McLennan Subject: [info@greenboathouse.com: Greenboathouse Books V.7 Now Live...] Content-transfer-encoding: 7BIT Greenboathouse Books is pleased to announce the launch of our annual = website overhaul. A bit late, of course, yet just in time for Poetry = Month, our 2004 redesign took a little longer than expected, but = hopefully the delay paid off. With this update we're pleased to present new work by a variety of = writers on a variety of pages, and, as with previous version launches, = we have a little promotional thing happening as well. With new acquisitions in the Archive, a new round of our ongoing Variant = project, downloadable PDFs of all previous Variant broadsheets, and new = bibliographic listings for our entire chapbook catalogue, there's plenty = of great stuff to explore, and plenty more to come. So, head to the site and have a look around, then send us a note and let = us know what you think. Your comments & suggestions are always = appreciated... Jason ps. Our apologies, in advance, for any multiple-postings... _______________________________ Jason Dewinetz Greenboathouse Books www.greenboathouse.com #4 - 1404 Harrison Street Victoria, BC V8S 3S2 250 386 0998 -- poet/editor/pub. ... ed. STANZAS mag & side/lines: a new canadian poetics (Insomniac)...pub., above/ground press ...coord.,SPAN-O + ottawa small press fair ...8th coll'n - red earth (Black Moss) ...c/o RR#1 Maxville ON K0C 1T0 www.track0.com/rob_mclennan * http://robmclennan.blogspot.com/ ========================================================================= Date: Sat, 17 Apr 2004 16:41:05 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Gary Patrick Norris Subject: Re: about social recompense MIME-version: 1.0 Content-type: text/plain Content-transfer-encoding: 7BIT Murat: I am overwhelmed by the abundance of your responses, particularly, since you seem to be answering the questions you are asking yourself. Am I supposed to be offended by the implication that I could care less what you were trying to say or enthused that you find my response so hilariously involved? Murat: >Where did I exactly slight the world in which a poet writes? I referred to Mary Robinson's The Garret, a poem in which she describes the poet's room as a shelter from the world he writes about. It is a poem that criticizes a specific poetic response to the world...namely, that the poet merely writes and can do so away from or secluded from or with contempt for "the world"--the world, as in the market, the community, culture. I think it is a slight to claim no social recompense. Murat: >What is exactly the idealism you are referring to? Your initial claim is necessarily idealistic because one cannot live never mind write outside of society; any claim to write for writing's sake or write for *my own* sake, therefore, is idealistic. I modify the idealism with "purchase" because only certain authors have access to solitude and seclusion. Also, most idealisms are purchased. Murat: >How did you exactly get "making amends" from "recompense," at least from the way I used the word, "since poetry in monetary terms has almost no social recompense?" The word, recompense, means to make amends for or to make up for. It is really that simple. And as a check, I referred to the OED just to make sure I hadn't overlooked a specific etymological eccentricity. I haven't. As a listmember pointed out: we may disagree about the quality of "making amends" or "making up"...contrasting the sense of amends and up. I took you for your word: no social recompense means no social compensation. You refer to social recompense as a monetary issue. Social recompense is not limited to economics in the way you put it...that is what I criticized. Murat: >I am not talking about guilt or sin, rather, if poetry has any value as labor. My point is that, economically, poetry is not "productive" labor And I disagree with you. First, I disagree with your use of economic theory--the theory of labor and use value as contrasted with abstract labor and Value. You seem to equate money with use in a way that use and money do not either relate to one another or exchange with one another. Second, I disagree that profitablility is a useful measure for the productivity or usefulness of the labor in poetry. You provide an "if and only if" limit on examining usefulness of labor in poetry; if and only if poetry is paid for is it productive labor. Again, I disagree. Murat: >A poet is an anti-productive consumer of time, similar to an >addict. Addicted to words, a poet uses words uselessly, beyond their productive function. This qualification certainly does not apply to many American poets, past and present. Poetry consumes time: ok. Poetry is an "anti-prodcutive consumer of time." I just don't get this. If poetry consumes time and reading it is time consuming--that is productive if only because time is measurable. And I don't buy the claim that a poet is word-addicted. I think many poets shun words and wordiness. Murat: >To me, this is the defining quality of a post-modern, post-avant >(whatever one calls it) poem. This anti-productive bias permeates the poem. Still, for some exemplary poets your claim may hold true. But, your claim, doesn't sufficiently define any period. And your "to me" quality of limiting a discussion to your claim and market view proscribes quite a bit of possible reasonable claims about the absolute reliance on social recompense that poetry actaully participates with. As I mentioned: if we resist relating labor to cash money, then social recompense can be something linguistic and productive in exchange in culture with or without payment--the labor is productive because it is conducted within culture. But then you and I seem to have very different definitions of VOCATION. Murat: >Here is another similarity, as I see it, between a coke hit and writing a poem: in both, the value lies in the hit. No. I disagree. A coke hit and writing a poem are different experiences. And such analogies do nothing positively to address the experience of writing a poem. Snorting lines & writing lines are not analogical. And your analogy breaks down on all sorts of levels when you begin to apply your market notions about poetry. Never mind that neurologically language and cocaine work on the body differently. Murat: >I assume this means one must be born to write a poem. How true. Well, according to your description, I must take a hit of cocaine in order to get your drift. So whose more absurd? My point is in reference to a certain recognition that every individual shares and was in keeping with my point about social recompense. You knew this, though. Murat: >I do not see anything necessary. To paraphrase King Lear, "I may call them, but will they hear?" And Lear was a fool who choked to death on his own words and misrecognition. His own cock in his mouth and, I suppose, I powdered nose, too. >I am talking about the gap between the intentions of a poet and the response-which most of the time is silence- which he or she receives; am talking about writing against this silence. Fine, but this is merely one way of using an ideal reader and is in spite of its aggressive nature, still a form of social recompense. Murat: >What keeps him going? He may feel that a series of web sites are his community. But how much of this community "receives" >everything he puts out? I am not speaking for anybody; but I would say that it really doesn't matter whether anybody receives anything from A. Just doing the work assumes much more of a social relationship than can ever be actually realized. >I read a poem -or any other work for that matter- if it appeals to me, aware that the appeal has to do with my own needs. What is more, my reading of writers who are really important to me, for instance, Walter Benjamin, Not to cut you off in mid sentence; but you are most certainly aware of how the majority of your claims are in conflict with Benjamin and other cultural theorists. Your "negotiations" of your relationships to cultural texts, those texts production, and your intentions in creating or reading, in this case, participate in much more than your intentions intend... Your claim about appeal and your own needs illustrates a dependence upon a solipsism that may exist in the ethos of a coke addict's everyday existence but does not address the kind of dialogue that takes place when a poet participates in the form of poetry. I am not arguing that poetry must have a form. Rather, that poetry is always in response to prior versification in some way, even in its ignorance of further form. Murat: >Suppose Bush, for example, without his strutting walk. Do >you think he could win any elections then? Bush won an election? But seriously: Bush won an election because of his strut? Boy howdy you are overlooking the charisma that powerful white men have for the bourgeois in United States political economy. Take for instance, that the jury couldn't convict white collar criminals in a few cases now: TYCO and Qwest execs. It isn't a strut, man, it is our illusion-ridden culture that purchases notions of individuality that do not exist other than ideologically. Once again--no such thing as the solitary poet. no such thing as the rugged individual. on the other hand: such a thing as a messy confusing congealing mass of culture that is purposefully, though often unconsciously (like a lot of poetry) produced. Murat: >The poet lives in the community, not an ideal community. Well, on this point we absolutely agree. Though, your definitions for doing poetry are IDEAL and ideological. To use Althusser: ideological in the sense that they misrepresent the real conditions of existence. Murat: >"Writing in silence" deals with the clash between the poet's ideal community (basically, in the poet's mind energizing him or her) and the community into which his or her poem will fall. In my view, if a poet is conscious of and needs to write about the wider community, he or she must integrate that clash/gap -as a clash- into the work. Well, I am pooped--too much teaching and I am sick. I have responded enough to probably annoy you and make my point. The latter is not my intention, the former a fond hope. All you use of "writing in silence" is neat, I think. though, I think often cliche. Not your use; but it is a common statement. "Do you hear that screaming all about you, that screaming men call silence?" I forget who wrote this. Herzog uses it in the beginning of _Enigma of Kaspar Hauser_. Silence is not quiet and does represent a potential clash. anyway, I am finding more agreement between us as your response progressed. It seems we disagree still in respect to labor and recompense. So be it, this is a listserv after all, and I will enter the classroom and my next reading or my basement study without once considering how I maintain a conscious proximal relationship to an audience and the market. IT is always there. And that isn't a rhetorical flourish. tchau, Gary Norris ps:thanks for responding. i really do appreciate the time you took in answering. ========================================================================= Date: Sat, 17 Apr 2004 21:32:00 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Loss =?iso-8859-1?Q?Peque=F1o?= Glazier Subject: Digital Media Poetics: Cybertext Symposium Mime-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1"; format=flowed Content-Transfer-Encoding: quoted-printable Next Friday ... DMS Digital Media Poetics Series Cybertext Symposium Friday, April 23, 2004, 1-5 PM, 232 CFA Performances and Presentations by: Simon Biggs, Sheffield Hallam University, UK Sandy Baldwin, West Virginia University Maria Damon, University of Minnesota Alan Sondheim, Brooklyn, NY In celebration of the "Ergodic Poetry" section of The Cybertext Yearbook=20 2002-2003 edited by Loss Peque=F1o Glazier & John Cayley New media poetics are explored by leading digital artists and theorists in= =20 this in-depth exploration of themes of innovative, experimental, and=20 exploratory digital practices in the language arts. The Symposium features= =20 performances, talks, and conversations with artists and theorists featured= =20 in the "Ergodic Poetry" issue. Admission Free Events will be held in the Center for the Arts (CFA) at the Amherst campus= =20 of SUNY Buffalo. No parking permit required after 3 PM. Millersport exit=20 north from I-290. Campus map:=20 http://www.buffalo.edu/b= uildings/building?id=3Dcfa=20 (Use metered parking until 3 PM) Presented at the State University of New York at Buffalo by the Dept. of=20 Media Study with support from the David Gray Chair and the Butler Chair,=20 Dept. of English, the Dept. of Media Study Programming Committee, & College= =20 of Arts & Sciences Dean's Office Information about the Cybertext Yearbook can be found at=20 http://epc.buffalo.edu/projects/cy/ =20 ========================================================================= Date: Sat, 17 Apr 2004 21:53:58 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Robert Hogg Subject: unsubscribe MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit "unsubscribe" ========================================================================= Date: Sun, 18 Apr 2004 12:44:45 +1000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alison Croggon Subject: Blognote Comments: To: Britpo , Poetryetc , PoetryEspresso Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit I have for the moment resurrected my blog (fwiw, I think to myself...) I've given up on making it anything coherent, but poetry might get in by accident now and again. Best A Alison Croggon Editor, Masthead http://www.masthead.net.au Home page http://www.alisoncroggon.com Blog http://alisoncroggon.blogspot.com ========================================================================= Date: Sat, 17 Apr 2004 23:08:42 -0500 Reply-To: nudel-soho@mindspring.com Sender: UB Poetics discussion group From: Harry Nudel Subject: Spring... Mime-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit 'gimme an isreali omelette' "you mean a yemen omelette" arab fry- cook spoons out eggs mixed with yogurt chopped tomato sizzled in oil grills the roll wraps in foil i eat half the bread on a diet... early pome...drn.. ========================================================================= Date: Sun, 18 Apr 2004 00:00:19 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: The Reed Organ and the Moon MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII The Reed Organ and the Moon Sat Apr 17 23:29:04 EDT 2004 The Moon is Waning Crescent (2% of Full) remove /net/u/6/s/sondheim/.procmail/log? y k1% 1879 beatty reed organ ksh: 1879: not found k2% which i use brilliantly no i in /usr/local/bin /bin /usr/bin no use in /usr/local/bin /bin /usr/bin no brilliantly in /usr/local/bin /bin /usr/bin k3% which came from the street and no came in /usr/local/bin /bin /usr/bin /usr/bin/from no the in /usr/local/bin /bin /usr/bin no street in /usr/local/bin /bin /usr/bin no and in /usr/local/bin /bin /usr/bin k4% is here for your entertainment ksh: is: not found k5% at http://www.asondheim.org/organ.jpg You do not have permission to use at. _ ========================================================================= Date: Sun, 18 Apr 2004 00:58:02 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: everything in the world without number MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII everything in the world without number README st d d d d d ah am amerempire amongaes an ap ash DME trilby trilby D A a ba back bardoa bardob basin bb Blood blood blood blood book book ABACUS abyss AHHH ai ai ai ai ALAN ALAN amaze america archaea archaea archaea archaea archaea archaea archaea archaea archaea archaea ARCH arctan ASCII aster aster aster augment aus AVATARS axis azbaal azbal AZURE b s baby baby baghdad baghdad BALLET ballet beam BEEB bee B BI DEL bi del BIFURDEL birth birth BKREVIEW BLEED blood BLOWN BLOWN BOOK box box box box box brook brooklyn b cancer caul cc chorus cite cite boy brilliant BUDDHA buffalo buffalo C C C cal c cube culture culture culture dd dddance deathfugue dirty dirty d CHAOS Cheap CHIASM child CHORA CINEMA cloud CLOUD cloud CLOUD cloud CLOUDSIN col col col COL COLCLOUD COMPBIO coral coral coral cord core core core core crown crown crown crown crown crown cybinfo CYBINFO D D D dbas DEADTIME defuge DEFUGE DELCLOUD dell dell dell DELL dell dell dell dell DELL DHENON DIARY DIARY DIARY DRAPRINT DRAWALK DRAWALK DRAWALK DRAWALK DRAWALK drawalk DRAWALK DRAWDELL DRAWTEST dune ee ega empire en en en en en en en endofempire e europe echo echo EDGE EDGE EDGE EDGE EDGE email email email email email email email email essay europa eve eve eve Fantasm ff filter filter filter filter flame EVE EVE evening EVER EVER EVER EVER EVER EVER EVER EVER EVER EVER EVER EVER EVER EVER EVER EVER EXE_README exe EYE FACE face face FACE fall falls falls falls falls feed fetish ff ff ff ff ff ff ff fff fff fff fff fff FIGURE film FILMVID FING fireadry fireadry fireadry fire fl fl fl fl fl flesh Flower flows flowss Follow frieze f fullmarss gg g head heap heartland hh h ii flush flush flush flush flute flute FLUX FOPINFO fop FRAC FRAC FREUD FULLIFE FUTCULT FUTURE gal GATE G gb GET GIFT GIRL glades glen* glory GOD god gong GOODBYE gorgeaa gorgeab gorgead gorgeb gorgec gorged gorgee gorgei gorgel gorgen gorgeo gorgep gorger gorgew graph guiapp h h h h h h h hate hemiptera hemiptera hemiptera HENON HENON HERE HITTITE hold HOLE HOLE-S hurry hzzzo ICE icicle icicle indexl inmale insert insideaes i jj jk jl jm jn jo jp jq jr js jt j ju juluAPSjumpin INTRVIEW jeanpaul JENN jewel jewel jewel J JULIA JULU julua jumpinn jv jw jx jy ka kb kc kd ke kf kg kh ki Kilroy kj kk kl km k kali KAMS KDATE KEY kimono kimono kimono kimono kimono kimono kimono kimono kimono kimono kimono klez k kn ko kp kq kr ks kt ku kv kw kx ky kz la laguna lakes laketube s KNOW KYOKO laguna laguna laguna laguna laguna laguna laketubes lastempire lb lc ld le leaning lf lg lh li liss liss liss lj land land land land land LAND LEAK LEASE leaves leg LEO LEO LEO LEO leon leon leon LIFE LIFELINE life LIKE LINEAR linear LINEQ lineq lk ll lm ln lo lp lq lr ls lt l lu lv lw lx ly lz ma mah mah marsred llook look LOOK LOOKXX love LOVE LPMUD man marss mb mc md me mf mg mh mi mj mk ml mm mn mo mp mq mr ms mt m mu mv mw MASS mens mens mens mens mens MESS mess messclr MESSCLR miami MIAMI MILK mirror MISSCLR missclr MM MODEL mood moom more more more more more more MOSS moss moss moss MOSS moss most of it mount mount mount mount mount mourning movie mov MURMUR mx my mz n na nb nc nd ne nebula nebula nebula nebula nebula myascii NAME nebula nebula nebula net net net net net net net net net net net net net net net nf ng nh ni niagara nj nk nl nm n ocean NEW new newj NEWJU NIBBLES night night night night night night night night night night night NIK NIKI NIKI NIKU LX nikuko: Nikuko nipple nite NOISE nova nub nub nub nude nude numb numb numb NUMBER numb oboe oilrig oldindexl organ origin origin origin origin origin o oldaba open ORBITING orbiting ORD other other other other other other other other other other other other outsideaes overthere overthere Past portal p pu q rally resume overlook P P P P P P P P panamar panties para a para b para c para d para e para f para g parable para parent park pearl pearl PEN PENIS PERTH pest pest phen piano plasma play POET poison poison poison poison poison poison poison poison poison poison poly poly poly poly poly poly poly poly poly poly poly poly poly poly poly poly poly poly poly poly poly poly poly poly poly poly POLY POLY POLY poly poly poly poly poly poly poly pool pool pool pool postmode POTEPOET program: PROSEBIO QBASIC QUEER RACE reading red REDYEAR REMLINE resumel r ruined seamount seamount sorewave sound start start RESUME reverie reverie reverie rust S sartre scler seam seam seam seam seam SEX SHAFT shamisen SHIN L SHIN shoes SIN SINCIRC sincirc sin SINTAN SINTAN SINTAN SINTAN SINTAN SINTAN skein skein skein skein skein skein skein skein skein skein skin SKIN sks sks slide slimemold slimemold slimemold snapshot snapshot sophia SOUL SOUND spacec SPEW SPLIT spread STAR STAR STAR star STARR starr stelarc stranges stranges studio s tail tao tao tao tern tern terncrash strike strike strike strike strike STROM STROM STROMHTM susangra svengali sw swoon sym taol TEAR tern test test tra trmail tt t twist twistsub Uncanny u uu vienna terror terror terror terror terror terror terror terror terror terror TEST theory theory theory theory theory theory theory theory THROAT thung thung thung thung THUS torso torso torso torso tr tr tr train trillecho tub tub tub tub tub tz UH umb umb UNIVER vermeer vermeer victor VIDEO VIDEO vienna volute wave wave wave wave wave wave wave wave vir vir vir VIRUS vision V voice void WALK wall wallvoid wave wave wave wave wave wave wave wave wave wave wave wave wave wave wave wave wave wave wave wave wave wavers waves Weather western western whataboutmotvalise woman s woman s wdswk weather web WET where womans wtc xl xzais yl z zz word word writing WRITING wryting x YOU YOUYOU ZING _ ========================================================================= Date: Sun, 18 Apr 2004 01:16:45 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: andrew loewen Subject: Re: about social recompense (and stuff) MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii My interest in the exchange between Murat Nemet-Nejat and Gary Patrick Norris re: social recompense took me to Murat Nemet-Nejat’s essay “Is Poetry a Job, Is a Poem a Product.” (HERE: http://home.jps.net/~nada/murat1.htm) I have some questions for Murat (can I refer to you as such?) or anyone else who’s been following this debate. I’m interested in the consequences of Murat’s argument for poetics and aesthetic theory, and I’ll try to keep a check on the disjunction of thought as I piece things together here (no promises). I had thought one of the benefits, if I may use such a word, of reading “Finnegan’s Wake” – doing the work? - was precisely the way in which it might alter one’s sense of time, perhaps opening a space where the pervasive ‘time **is** money’ conflation so indispensable to a capital driven reality-principle’ is no longer so generative or value-defining. Is Murat’s argument against this view? (I wish I had a copy of Giorgio Agamben’s “Stanzas; Word and Phantasm in Western Culture” at hand. Agemben’s discussion, from what I can remember of it, has much to offer this debate). Perhaps a kind of vulgar understanding of readability closely aligns it with a readiness of/for consumption, but for myself, and I’m guessing for many on this list, ‘writerly’ or ‘difficult’ texts are far more readable than the latest Clancy novel or whichever ‘readable’ text supplies the (anti-)/canon fodder - Billy Collins seems to be a reliable whipping boy from what I gather. For myself, unless I’m endeavoring to do some cultural critical work, reading many or most bestselling poetry volumes or novels would be dull, grunt labour -- just as a Backstreet Boys single may be less ‘listenable’ than a Steve Reich composition. All these binaries (writerly/readerly, producer/consumer) always sit above a big ol’ leaning tower of ‘for who?’’s and ‘in what circumstances?” I guess. Murat: “The American poet has a unique relation to language in the culture. He or she fetishizes language in excess of its use as a means of exchange, beyond what the culture wants of it; he or she sexualizes it into uselessness. This economically — capitalistically — perverse relation gives the poem its consumptive aura.” In a broader culture which operates according to a logic which would flatten all meaning(s) into one or an infinite many consumable pancake(s) (and I see no appreciable difference between the one and the unlimited many here, the effective eradication of heterogeneity and possibility is the same), the assignment or diagnosis(?) of a language-fetish or word-addiction to poets and poetic process as a reversal of the producer/consumer binary makes fairly good sense to me, or, at least as far as its abstract structural logic follows, it has a certain counterintuitive appeal (keeping in mind Nietzsche and Adorno’s dictums that that which is pleasurable or appealing is often proof of nothing more than that--an appeal with no necessary baring on truth as such). In this sort of paradigm then, isn’t a sort of onus of production put on the reader, listener, critic to **make** some sense of the poems? Isn’t this sort of the bottom line of Barthes’ theorization of the ‘writerly’ text? Doesn’t the difficult poem or text, riding tho it does on its relative cultural and institutional (academic) privilege, at least in theory (ugh) democratize meaning and open discursive space to hitherto unknown possibilities? Isn’t this, if it occurs, productive and hasn’t the poet done something Good, maybe even in the high philosophical sense? Or, to wax Bourdieuian, do poems insofar as they may bring cultural and symbolic capital back to their progenitors and even grant the poet a place in a community or support network of peers (no small thing in-itself!), offer a shit-tone of compensation? I mean, I’ve never tried to get any of my own poems published but the fact that I do this thing called ‘writing poetry’ does bring me to this list, and put me in contact with people (and texts) I respect and benefit from knowing of. . . . Murat: “The poem is its writing — the poet writes to feel good, to experience the sense of discovery and power by converting a mental sound into physical sound. The moment that occurs the poem dies for the poet — as a climax dies — then to the next one. What happens to the poem afterwards is, essentially, meaningless.” Unless I’ve missed something (I feel I have), Murat’s argument suggests the poem is a kind of afterbirth or spent load – a “phantom product” – which the reader/critic recuperates into the productive cycle, making a productive commodity-object of the poet’s properly useless expenditure (following Bataille’s use), in effect de-fetishizing it (?) in the same way that a psychoanalytic diagnosis reintegrates or organizes neuroses to the reality-principle (here noting the glaring counterpoint of a hermeneutic or interpretive process -- a dialogic realm to which theory and poetics presumably have something to offer -- which is opposed to a **vulgarized** or rigidly hierarchical Freudian praxis which would quiet any dialectic between personal and social/cultural transformation). I don’t know, hermeneutics – good or bad? Yes/no. Write/wrong. Sing/Song. Ping-Pong. Murat’s argument reminds me of Buadrillard’s much anthologized theory of the way which **supposedly** non-sensical or non-signifying instances of “savage graffiti” (Baudy’s primitivism, not mine) operate as a ludic derailment of the signifying chain: the liberating potential of pure noise, the burning of signs . . . etc, hack-pittooyhypernihilismthelecturecircuit. But doesn’t theory, and to a similar extent poetics, only continue because of some tacit investment in COLLECTIVE attempts at making meaning? Can someone explain to me how, following Murat’s argument, poetics discussions and theorizing aren’t merely manifestations of a parasitical bad-faith which feeds on the stillborn legacy of isolated poetic and discursive acts? ( ‘stillborn’ is a significant re-phrasing of Murat’s “phantom product”, but I think its apt in characterizing Murat’s stated views, or what I can make of them, and I mean no disrespect; further, IF this characterization is apt, why not replace the stillborn analogy with the continuous birth? A continuous present?) Or is it that following a logic of reversed values, this parasitic practice (poetics discussions, theory, aesthetics) is the newly endowed locus of value? But . . . oh, hey, maybe I just figured out what I’ve been missing. The PRIMARY reason a poet writes is not to get anything in return, socially speaking. I accept this and it seems true to me. But, some strange things seem to follow from Murat’s argument/essay along the way to making a relatively simple point. Or, have I indeed missed something crucial? (And please be gentle, the ad hominem and ad hoc mode of response that occurs on this list and which I too have been guilty of can be fun to watch and participate in, but I feel like just stepping into the fray of debate here means punching above my weight – and I do appreciate the opportunity to do so!) ______________________________________________________________________ Post your free ad now! http://personals.yahoo.ca ========================================================================= Date: Sat, 17 Apr 2004 22:32:12 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: alexander saliby Subject: Re: about social recompense MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Gary, Murat, Keep this dialog alive...you two have brought more intense discussion = related to the activity of writing poetry to this site than I have seen = in the past 18 months. Frankly, I was getting bored until this thread = started. =20 And I can't help but wonder if the two of you, so apparently apart in = your views, see the similarities in your arguments (although, Gary, I = do side with Murat on a point that it does appear you take liberties = with his choice of words; you need to be a bit more careful in your = paraphrasing). =20 Also, it appears to this reader that you have been bound up in the world = of the writer in your comments and have overlooked the role of the = reader as critical player in the poetic paradigm. =20 Is it true that the poet owns the poem, or has the reader a role to play = in the socio-context of the work? And if so, what is that role? How = has the concept of having an audience affected the writer's creativity? = Are some writer's avoiding certain words or phrases because they have an = aversion to upsetting a segment in the readership? Worse, are some = works written merely to appeal to a specific segment of the readership = world? Can the writer control his/her avoidance/embracing of a segment = of the readership?=20 More, if the reader is involved, to what extent does the reader's = involvement influence the end result of the creator/poet? More, has any = of this had a fundamental origin in the socio-climate/background of the = poet as it is related from the reader's frame of origins? In simple = terms, do the Welsh have a predisposition to verse from Welsh writers? = etc. etc. etc. =20 I look forward to your continued dialog.=20 Alex=20 ----- Original Message -----=20 From: Murat Nemet-Nejat=20 To: POETICS@LISTSERV.BUFFALO.EDU=20 Sent: Saturday, April 17, 2004 10:21 AM Subject: Re: about social recompense Gary, I am overwhelmed by the abundance of your responses, particularly, = since you=20 seem to be answering the questions you are asking yourself. I will try to tackle a few of your points by asking a few questions: "1. Your ideal perspective of a poet and his or her work purposefully slights the world in which a poet writes. You aren't the only one to purchase such idealism; thankfully, the rebuttals are vast and more substantial. Off the top of my head, Mary Robinson's "The Poet's Garret" (1806)." Where did I exactly slight the world in which a poet writes? What is = exactly=20 the idealism you are referring to? As for purchasing, what does = exactly=20 purchasing idealism mean? 2. "If we agree that recompense, a verb, is to 'make amends,' and that its context assumes a purposeful address to a loss. Recompense is a payment in return for something." How did you exactly get "making amends" from "recompense," at least = from the=20 way I used the word, "since poetry in monetary terms has almost no = social=20 recompense?" I am not talking about guilt or sin, rather, if poetry has any value = as=20 labor. My point is that, economically, poetry is not "productive" = labor, but a=20 "consumption." A poet is an anti-productive consumer of time, similar = to an=20 addict. Addicted to words, a poet uses words uselessly, beyond their = productive=20 function. To me, this is the defining quality of a post-modern, = post-avant=20 (whatever one calls it) poem. This anti-productive bias permeates the = poem. A lot=20 flows from it. I discuss this point in the essay, "Is Poetry a Job, Is = a Poem a=20 Product?," published in Gary Sullivan's journal Read Me and can be = reached=20 through google. 3. " Even if I feel I can write from an ideal place of pure invention, = my=20 poem still would be a result of beholding or viewing something in the = world." I never claimed poetry has no relation to the world, only that its = relation=20 is quite different from what it is usually assumed to be.=20 Here is another similarity, as I see it, between a coke hit and = writing a=20 poem: in both, the value lies in the hit. When it is over, the only = thing one can=20 do is to repeat the process. The memory of a high does not create a = high. =20 4."A poem is a response to being in the world." I assume this means one must be born to write a poem. How true. 5. "The poem itself cannot exist without a potentiality for a poet's = being in the world. The actual audience for any given poem does not exist. The poem as an object out there to be read represents a specific potentiality for its being ready-at-hand. When a poem is made ready-at-hand, then a readership is intended and necessary." I do not see anything necessary. To paraphrase King Lear, "I may call = them,=20 but will they hear?" I am talking about the gap between the intentions of a poet and the = response=20 -which most of the time is silence- which he or she receives; am = talking about=20 writing against this silence. Ask a poet like Alan Sondheim, for = instance,=20 about its excruciating reality. What keeps him going? He may feel that = a series=20 of web sites are his community. But how much of this community = "receives"=20 everything he puts out?=20 6. "I suppose you could claim to have knowledge of the first poem = written and knowledge of what that author had in mind and, then, make the = claim that what was in mind had nothing to do with potential readers but = with an entire OTHER phenomena that we have muddied up and called = poetry..." No, I have no claims of knowledge on what the other poet had in mind. = I read=20 a poem -or any other work for that matter- if it appeals to me, aware = that the=20 appeal has to do with my own needs. What is more, my reading of = writers who=20 are really important to me, for instance, Walter Benjamin, Swift, = Shakespeare=20 in his sonnets, Melville, a number of Turkish poets in 20th century, = to name a=20 few, always involves a misreading of their works. That misreading is = an=20 acknowledgment of their difference, a point I discussed in detail = around=20 translation. 7. "Finally, I find your claim that a lot' of the culture surrounding = a poem is 'non-linguistic' suspect." Suspect, but true. Suppose Bush, for example, without his strutting = walk. Do=20 you think he could win any elections then? 8. "Your comment speaks more about your disposition towards a = potential=20 audience outside of an ideal community" =20 The poet lives in the community, not an ideal community. That is the = point of=20 my whole argument. I am talking about poetry in the community, not an = ideal=20 community. "Writing in silence" deals with the clash between the = poet's ideal=20 community (basically, in the poet's mind energizing him or her) and = the=20 community into which his or her poem will fall. In my view, if a poet = is conscious of=20 and needs to write about the wider community, he or she must integrate = that=20 clash/gap -as a clash- into the work. 9. "And poor poet that has to live with that flaw! Poor poet?" You are responding to your own rhetorical flourish; the word flaw has = no=20 connotation of "poor poet" for me. 10. "a writer cannot expect a good reading from something not yet = written. This is what revision is about" Your assumption that a poet's revisions make a poem readable is not=20 necessarily so. In the case of some poets, the revisions make the poem = increasingly=20 "unreadable." Just one example: the very first draft of "Finnegan's = Wake" and the=20 final work. Ciao, Murat=20 ========================================================================= Date: Sun, 18 Apr 2004 21:53:42 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: hazel smith Subject: email address Jackson Mac Low Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" Hello everyone Does anyone have an up-to-date email address for Jackson Mac Low please? I have sent him an email but haven't received a reply, so I think my address for him may be out-of-date. Many thanks Hazel -- Dr. Hazel Smith Senior Research Fellow School of Creative Communication Deputy Director University of Canberra Centre for Writing http://www.ce.canberra.edu.au/writing Editor of Inflect http://www.ce.canberra.edu.au/inflect University of Canberra ACT 2601 phone 6201 5940 More about my creative work at www.australysis.com ========================================================================= Date: Sun, 18 Apr 2004 07:54:43 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Charlotte Mandel Subject: P.S. to AWP panel request MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit From Jeanne Marie Beaumont: To balance out the panel, I am particularly interested in hearing from a male poet who is committed to teaching adult poetry workshops in community arts centers of Y's west of the Rockies. ========================================================================= Date: Sun, 18 Apr 2004 08:00:10 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Charlotte Mandel Subject: First part of AWP panel notice MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit (My forwarding of this original message didn't go through, sorry, Charlotte) Original message from Jeanne Marie Beaumont: Would any one like to be part of a panel in Vancouver (well, probably a round-table officially), on teaching poetry classes/workshops for adults outside of academia, ie, in Y's, community centers, etc.? It seems to me the needs of this particular group and the challenges, as well as the rewards of this type of teaching, differ substantially from teaching students in undergrad and graduate programs, and I don't think this has been addressed much (I am about to peruse the AWP books from the past 3 conferences to confirm this). If interested, please back-channel with your ideas, experiences, and thoughts. Thank you Jeanne Marie Beaumont jeannebeaumont@att.net ========================================================================= Date: Sun, 18 Apr 2004 12:01:41 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Haas Bianchi Subject: Chicago Postmodernpoetry.com In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Raymond L Bianchi chicagopostmodernpoetry.com collagepoetchicago.blogspot.com All, The Chicagopostmodernpoetry.com site will be updated today with our review of Sin Puertas Visibles, Jen Hofer's new book. Rgads Ray > -----Original Message----- > From: UB Poetics discussion group > [mailto:POETICS@LISTSERV.BUFFALO.EDU]On Behalf Of Charlotte Mandel > Sent: Sunday, April 18, 2004 7:00 AM > To: POETICS@LISTSERV.BUFFALO.EDU > Subject: First part of AWP panel notice > > > (My forwarding of this original message didn't go through, sorry, > Charlotte) > Original message from Jeanne Marie Beaumont: > > Would any one like to be part of a panel in Vancouver (well, probably a > round-table officially), on teaching poetry classes/workshops for > adults outside of > academia, ie, in Y's, community centers, etc.? It seems to me the needs of > this particular group and the challenges, as well as the rewards > of this type of > teaching, differ substantially from teaching students in undergrad and > graduate programs, and I don't think this has been addressed much > (I am about to > peruse the AWP books from the past 3 conferences to confirm > this). If interested, > please back-channel with your ideas, experiences, and thoughts. > > Thank you > > Jeanne Marie Beaumont > > jeannebeaumont@att.net > ========================================================================= Date: Sun, 18 Apr 2004 13:59:27 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Tom Beckett Subject: VANISHING POINTS OF RESEMBLANCE BOOK ANNOUNCEMENT FROM GENERATOR PRESS MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Announcing a new book by Tom Beckett, acclaimed poet & editor of _The Difficulties_ magazine (1980-1990): VANISHING POINTS OF RESEMBLANCE This is truly a milestone text for Mr. Beckett. Here we have a hybrid work, an autobiotextography, where the text qua Subject qua authorial voice-over invokes selected events of a (his?) life (which is also the life of the (creation of the) text) with a concise clarity and a fully self-conscious honesty. In VANISHING POINTS OF RESEMBLANCE, this common theme is given the masterfully interwoven Beckettian treatment. Imagine Mondrian adjusting the lines of his paintings by a millimeter at a time: that is a reasonable analogue for Mr. Beckett's approach to the creation of his texts. Not to be missed. 21 pages, perfect-bound paperback $7.00 US To order, send check to: Generator Press 3503 Virginia Avenue Cleveland, OH 44109 Inquiries: generatorpress@msn.com ========================================================================= Date: Sun, 18 Apr 2004 14:06:52 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: George Bowering Subject: Re: wait a minute In-Reply-To: <5.2.1.1.2.20040408104134.039a0ad0@socrates.berkeley.edu> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" >Much respect to kari and George but that mosque bombardment is not the same >old same-old. True enough that as an act of imperial state violence it >takes its place in a long and putrid history -- a tradition, one might even >call it -- but its reception in the Muslim world is guaranteed to be as >utterly world-transforming as the reception of 9/11 was among the World >Trade community. So don't tell me my persisting astonishment is in bad >faith. You will see how things have become different from what they were. LRSN Well, about most of that I agree with you. But I still say what has changed, re the USAmerican invasion of the world. I mean, people outside the US were amazed and bemused after 11/9 to read of USAmericans asking in their innocence, "Why do they hate us?" -- George Bowering Can blow air out of his eye socket. 303 Fielden Ave. Port Colborne. ON, L3K 4T5 ========================================================================= Date: Sun, 18 Apr 2004 14:11:59 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: George Bowering Subject: Re: Sylvia Plath thread In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" >Could someone please rename this thread? >It is extremely offensive and misogynist. > I get it! That's good. -- George Bowering Can blow air out of his eye socket. 303 Fielden Ave. Port Colborne. ON, L3K 4T5 ========================================================================= Date: Sun, 18 Apr 2004 22:34:12 +0200 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: noemata Subject: like Comments: To: WRYTING MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" likes one who, on a loment roadhouse, dossal walachia in fearer and drawstrings, and, haute oncer turnkey roughly, wale on, and turtleback no mordant his headdress; beckon he knutson a frigidity fiesta dotterel cloned behaviorisms him treadled. like ondo whodunit, on loomer road, doted walford imputed fealty andaman dreadfulness, andantino, having oncer turnery roumania, walkover on, and turnstone nmr mordvinian hispanicised hazy; bechtel hazing knowles a frightful fierce dotter closedown beholden hilts treacherousness. likuta one who, on a lollop riverine, doughboy wall in fear and dread, and, havoc ominousness turned round, walks on, and turners no mordacious his havocking; because he knitting a frictionises fibrositis doth clothesman behan him read. like omitting who, on loath road, doth walkie imputations fear anatomical dread, anaplastic, having onomatology tutti round, walks oophoritis, aneuploid tupungato no more his head; because heartbeats knows a frick fiend doth close beholders hiddenite tread. __ wreathus isbn 82-92428-08-9 ========================================================================= Date: Sun, 18 Apr 2004 15:00:11 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: gary norris Subject: Re: about social recompense In-Reply-To: Content-Type: text/plain; charset=ISO-8859-1; format=flowed Mime-Version: 1.0 (Apple Message framework v553) Content-Transfer-Encoding: quoted-printable Alex: > And I can't help but wonder if the two of you, so apparently apart in=20= > your views, see the similarities in your arguments I hope I pointed this out clearly in my second response to Murat. I do=20= see similarities...more than disparities. Just the social recompense=20 part and we are beginning to flesh that out. Alex: > (although, Gary, I do side with Murat on a point that it does appear=20= > you take liberties with his choice of words; you need to be a bit more=20= > careful in your paraphrasing). Well, I hope Murat and all understand that I know I am taking a few=20 liberties and am trying to both have fun and be serious. I am in the=20 doctorate program in writing at DU...we are so theory oriented all the=20= time, sometimes I can get stuck in modes of thinking and get carried=20 away. Flourishing I make mistakes...but it's in the mistakes where the good=20 things come from. Did you notice that I wrote "analogical"? I think I meant analogous. =20= Analogical isn't a word is it? I find this all invigorating. Alex: > Also, it appears to this reader that you have been bound up in the=20 > world of the writer in your comments and have overlooked the role of=20= > the reader as critical player in the poetic paradigm. Actually, I thought I was supporting the reader's role in the process. =20= I am going to quote Mary Robinson's poem, the one I mentioned in my=20 original response to illustrate my most pressing concern. And to=20 distance myself from what appears to be a misunderstanding. I am not=20 trying to misconstrue purposefully Murat's ideas to the list; I am=20 trying rather to eek from his statement--the one about social=20 recompense--something that appears to be a consistent historical issue=20= in poetics. Apropos, I have been writing a notebook about problems for=20= poetics, three of which I recently wrote into my blog=20 (dagzine.blogspot.com). May explain my preoccupations if you peeked at=20= those posts. To point: The Poet's Garret COME, sportive Fancy !=A0=A0Come with me, and trace The poet's Attic home !=A0=A0The lofty seat Of th' Heaven-tutor'd Nine !=A0=A0The airy throne Of bold Imagination, rapture-fraught, Above the herd of mortals !--All around, A solemn stillness seems to guard the scene, Nursing the brood of thought; a thriving brood, In the rich mazes of the cultur'd brain. Upon thy altar, an old worm-eat board, The pannel of a broken door, or lid Of a strong coffer, plac'd on three-legg'd stool, Stand quires of paper, white and beautiful; Paper, by Destiny ordain'd to be Scrawl'd o'er and blotted, dash'd and scratch'd, and torn, Or mark'd with lines severe, or scatter'd wide In rage impetuous !=A0=A0Sonnet, Song, and Ode; Satire, and Epigram, and smart Charade; Neat Paragraph, or legendary Tale Of short and simple metre; each by turns Will there delight the reader. On the bed Lies an old rusty "suit of solemn black,"-- Brush'd thread-bare, and with brown unglossy hue Grown rather ancient.=A0=A0On the floor is seen A pair of silken hose, whose footing bad Shews they are travellers, but who still bear Marks somewhat holy .=A0=A0At the scanty fire A chop turns round; by packthread strongly held; And on the blackened bar a vessel shines Of batter'd pewter, just half-fill'd, and warm, With Whitbread's beverage pure.=A0=A0The kitten purs, Anticipating dinner; while the wind Whistles through broken panes, and drifted snow Carpets the parapet with spotless garb Of vestal coldness.--Now the sullen hour (The fifth hour after noon) with dusky hand Closes the lids of day.=A0=A0The farthing light Gleams through the cobweb'd chamber, and THE BARD Concludes his pen's hard labour.=A0=A0Now he eats With appetite voracious !=A0=A0Nothing sad That the costly plate, nor the napkin fine, Nor china rich, nor sav'ry viands greet His eye, or palate.=A0=A0On his lyric board A sheet of paper serves for table-cloth; A heap of salt is serv'd (Oh ! heav'nly treat), On Ode Pindaric ! =A0=A0while his tuneful Puss Scratches his slipper, for her fragment sweet, And sings her love-song, soft, yet mournfully. Mocking the pillar Doric, or the roof Of architecture Gothic, all around The well-known ballads flit, of Grub-street fame ! The casement broke gives breath celestial To the long "Dying Speech ," or gently fans The love-enflaming Sonnet.=A0=A0'Round about Small scraps of paper lie, torn vestiges Of an unquiet fancy: here a page Of flights poetic; here a Dedication; A list of Dramatis Person=E6 bold, Of heroes yet unborn, and lofty dames, Of perishable compound "light as air," But sentenc'd to oblivion ! On a shelf, Yclept a mantle-piece, a phial stands, Half-fill'd with potent spirits, clear and strong, Which sometimes haunt the Poet's restless brain, And fill his mind with fancies whimsical. Poor Poet !=A0=A0happy art thou, thus remov'd =46rom pride and folly !=A0=A0For, in thy domain Thou cans't command thy subjects, fill thy lines With the all-conqu'ring weapon Heav'n bestows In the grey-goose's wing !=A0=A0which, tow'ring high, Bears thy rich fancy to immortal fame ! (I have written about Mary Robinson and, what I have come to refer to,=20= her use of a "poetry of fancy-at work." My term.) Annotations: on the title: a) garret as a noun is an encampment, a pseudo-fortress,=20= a place soldiers seek protection from attack from the outside. b)=20 garret as a verb is to build oneself into such a protection. Or, to=20 encase. Together, garret is important in reference to "the poet" because poet's=20= seek encasement in history and maintain a special relationship to the=20 labor they expend in participating in their own encasement. Such a=20 garret-ing is a building oneself a form of protective shell from what? So, right off GARRET is a phenomenological problem for the poet seems=20 required to close himself (the poet in Robinson's poem is most=20 certainly masculine) off from the public yet also seeks fame from the=20 public. In the poet's crumbling, rotten garret where fancy can only be utilized=20= through opiate use, and only in that garret can the poet who encases=20 himself write. The problem is, as Robinson writes, "in thy domain/=20 Thou can'st command thy subjects" which she relates to "[filling] thy=20 lines" & "[wielding] th'all conqu'ring [pen]". Now, this isn't a product of sportive fancy: a productive and fertile=20 fancy. Such a fancy is "unquiet," and "sick." This is the kind of poet who complains about readers' lack of knowledge=20= of what he writes, and so he withdraws into the solitude of his garret=20= in order to work without social recompense seeking a higher "immortal=20 fame." So, I hope this puts into perspective where I am coming from just a bit. First, I have been lately thinking about poetry and labor. And have=20 been exploring how readers and writers cultivate the poem. I am at the=20= moment grounded in German Romanticism more than any other tradition:=20 Schiller, Holderlin...the poet differentiates between subject and=20 object...all that "stuff" in aesthetics. Yes, Heidegger, too. =20 Although, I have already been scolded for reading and using Heidegger. =20= Whatever that means. Second, the labor in poetry that Robinson criticizes in the poem above=20= is the kind written by poets who make claims about the value of labor=20 and distance themselves from culture--encase themselves in the sick=20 sublime tinctures of the hallowed work of the attic poet & garret=20 themselves from society. I find this to be a shame. Because I find=20 that poetry is worthless unless public. So, I really am not at all=20 shunning the reader. I am merely dealing with the writer at the=20 moment. This is a poetics list populated by poetry folk in a=20 majoritarian sense; therefore, I think it a good idea to air out the=20 writer's closet before addressing the readers of poetry. Alex: > Is it true that the poet owns the poem, or has the reader a role to=20 > play in the socio-context of the work? I think the reader and writer together determine the socio-context of=20 the work because they are both public figures. In other words, I claim=20= that no private reader or poet exists. Alex: > And if so, what is that role? Is it important to determine the role? Might not it be worthwhile=20 enough to claim that in public there are particular moments in which=20 the poet and reader meet and those moments are able to be examined in=20 context but that such examinations are always only contemporaneous with=20= other fortunate meetings between other poets and readers. In other=20 words, we can talk (a la new criticism) about a poem out of context but=20= that says nothing about the experience of writing the poem and reading=20= the poem. We can talk about the reading of the poem with the poet and=20= the writing of the poem with the reader, but only one particular poem=20 at a time. We can compare andn contrast many contemporary poems (a la=20= Perloff) that are either written contemporaries or read contemporaries=20= allowing for both a horizontal or vertical reading of poetry itself or=20= a transversal reading of poetry that creates a poetics...I hope you're=20= following my point about the problem with attempting say anything=20 general about the value of the labor in a poetic product. Poetry is=20 not exchanged like a commodity even though we have adopted such general=20= economic language to address the poetry market. not much written, unfortunately about the disappearance of poetry from=20= the everyday public sphere. but such a dissertation would certainly=20 discover that sometime in the twentieth century poetry was purposefully=20= co-opted by academia as a struggle to distinguish it as a primary and=20 special form that only specialists should have access to. Poetics=20 became a language game. Poetry didn't colonize public space any=20 longer, academia colonized poetic space. Liberal Arts and Humanities=20 programs became institutionalized post wars to reinstill within the men=20= postwar a version of being human that was for the most part authorized=20= by the government and power elite. So from the politician to the=20 political poet many people came together to find a place for poetry. And now poets complain self-garreted about the lack of social=20 recompense. And while Murat may have not been portraying that=20 position, he used the language. I grasped onto that specific statement=20= and ran with it. Sure I lost touch with his explicit references. yet language doesn't=20 really work on the level of the explicit, does it? Most of the work=20 language does itself is carried out on the level of the implicit and=20 the inferred. Quite frankly, inference belongs more to the=20 relationship or effect utterances have on the hearer. Once uttered=20 the speaker or poet, in this case, really has nothing to say until=20 responded to; hence, communicative action is positive because it=20 involves all parties within earshot. Thankfully, at its core, it is=20 democratic. Alex: > How has the concept of having an audience affected the writer's=20 > creativity? That's between the writer and his or her ego. Do you write with your=20 audience *in* mind or do you write hoping you will be able to share=20 what you wrote? For me, that's important. I am compelled to write. I=20= write in bullets. I type into my blog everyday or so, but I don't=20 WRITE unless I am pushed to. I wish I had a schedule. And I wish such=20= a response to a need in me had something to do with creativity. A=20 standard like creativity might be able to save me from myself. You=20 know?: I tried to paint when I was a kid and to sing. I was no good. =20= Creativity for writers is different. Alex: > Are some writer's avoiding certain words or phrases because they have=20= > an aversion to upsetting a segment in the readership? Well, as you can tell. I don't have that problem. And I don't think=20 most active writers do. Nevertheless, I read writers who have such=20 worries and such a disposition is always apparent. Just as apparent as=20= a writing student who fills text with wordy constructions to eek out a=20= ten page composition. Such a disposition is a stupid writer's trick. =20= This anxiety, though typically earnest, is a cheap way to engage a=20 reader. "Listen to me," the author said, "I care for you." The me/you=20= conflation is engaging psychilogically at best. Murat brought up Lear and I teased him about it...maybe I was rude. =20 But I wrote a thesis on Lear...I reread it after writing the last=20 response. Boy I was precocious as an undergrad. But Lear is the kind=20= of author-ity who would have asked such a question. Alex: > Worse, are some works written merely to appeal to a specific segment=20= > of the readership world? The mass market. But then I sometimes enjoy a romp in the court of=20 appeals. Alex: > Can the writer control his/her avoidance/embracing of a segment of=20= > the readership? Sure. As far as choosing to participate goes. I quoted Robinson's=20 poem above because I think she shows the problem with choosing to=20 escape. > I look forward to your continued dialog. > Alex me to(o), gary= ========================================================================= Date: Sun, 18 Apr 2004 18:28:26 -0230 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Kevin Hehir Subject: Re: Canadian baby seal hunt - they're back at it. Comments: To: Alan Sondheim In-Reply-To: MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=ISO-8859-1 Content-Transfer-Encoding: 8BIT Long live the seal hunt By REX MURPHY UPDATED AT 4:56 PM EDT Saturday, Apr. 17, 2004 It was the example of Christie Blatchford that has me doing this piece. There she was, last Saturday in this very paper, blazing away with such vigour and ‚lan on behalf of my long-suffering and weary countrymen, the Newfoundland sealers. She's only been there "da once," as the expression back home has it, yet what a noble, quick, ready response. It must have come as a shock to our crowd. They have long given up on the thought that anybody up here in Central Canada would unlock their lips in a word of understanding or sympathy, and as far as looking for succour or appreciation in the pages of the metropolitan press, it does not occur even in their most uninhibited and hungry dreams. I have fired many a salvo on their, on our, behalf in many a venue. But there came a time - I believe it was just after one of the Different Strokes pseudo-celebrities co-signed some appeal with that other mandarin of exotic sensitivity, Loretta Swit (Hot Lips of M*A*S*H) on behalf of the little tubs of blubber and fur that jam our coastlines - there came a time in the 1980s, I say, when I simply gave up. The army of pretension and caring was too numerous, their pieties too thick, their press conferences too rehearsed and frequent, their guest spots on late Johnny Carson or early Oprah too commanding, for it to seem worthwhile any more either to rebut them or defend the honour and the worthiness of the "swilers." Greenpeace, the International Fund for Animal Welfare, every animal-rights prima donna, and whole plagues of environmentalists - they were too many, too persistent, too professional and, finally, too annoying. Newfoundland was a playpen for the ostentatious hearts of all the good-cause world. The baby seal with its Bambi-sized eyes and pristine white coat was, as an icon, the very Piet… of activist environmentalism. Throw in some Hollywood or European bimbo, and the combination summoned the world's press to the innocent floes off Labrador or St. Anthony in numbers only slightly less than the teeming seal herds themselves, and not always, in point of intelligence, to be easily distinguished. I have thought on more than one occasion in the last while that if even a 30th of the concern and a 10th of the press had been on offer in Rwanda, for a real cause, Rom‚o Dallaire need never have had a single sleepless night. But fawning over cute things is always more inviting than putting some torque into the protest of real cruelties. It was an eerie combination of farce, melodrama, photo op and fiction. The early alarms that the hunt back then threatened the sleek little gluttons -- seals are voracious and untidy eaters -- with extinction was malarkey, and even the posing apocalyptics knew it. But it is a feature of environmentalism-with-its-back-up that species must always be on the brink of extinction, the world about to close down in a week, and the very cosmos itself about to collapse in whimper or bang, unless cheques are sent right away, and some innocent faction -- hunters, fishermen, or farmers -- stop doing whatever makes it what it is, instanter! They plastered Europe with their claims, pulled the usual theatrical stunts in the media capitals of the world, and essentially ran a libel against Newfoundland sealers for decades. By their account, the sealer was a primitive, blood-lusting, barbarian lout out clubbing seals in some Clockwork Orange of the North Atlantic. There was never any appreciation, and more loathsomely, never any attempt to achieve an appreciation, either of the history of the great hunt, the desperation of the people who for generations prosecuted it, the heart-rending exigencies of the out-harbour crews who were driven to it and the great train of loss, wreckage and death that inscribed its melancholy story. The enviro-exhibitionists came to Newfoundland ignorant of Newfoundland and Newfoundlanders, giddy with their shallow good intent, and obnoxiously careless of the people and the culture they were so rudely, and condescendingly, invading. For a pious bunch, they had profound bad manners, and twisted the hospitality and naive welcome they received -- and enjoyed -- into something very like a betrayal of that hospitality and welcome. The sealers woke up, some of them, seeing themselves ridiculed as material for the propaganda posters against the seal hunt that hit every major magazine and newspaper in the world. This years' brief hunt brought back an echo of that great carnival, and I was half determined to leave it alone. But Ms. Blatchford had her say before me, and something close to shame has me making mine now. Long live the seal hunt. Rex Murphy is a commentator with CBC-TV's The National and host of CBC Radio One's Cross-Country Checkup. -- --------------------------- http://paulmartintime.ca/ ========================================================================= Date: Sun, 18 Apr 2004 15:10:55 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: gary norris Subject: Re: about social recompense (side note) In-Reply-To: <4906089.1082241665724.JavaMail.gnorris@du.edu> Content-Type: text/plain; charset=US-ASCII; format=flowed Mime-Version: 1.0 (Apple Message framework v553) Content-Transfer-Encoding: 7bit > > Boy howdy you are overlooking the charisma that powerful white men have > for the bourgeois in United States political economy. What I meant by this is that Bush doesn't need his strut. He has his daddy and was a born a specific gender. Hence he can rely on a certain legacy of privilege that even Clinton had no access to. clarifying, gary ========================================================================= Date: Sun, 18 Apr 2004 17:53:31 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Susan Wheeler Subject: Saint Ann's Review Reading -- Zinc Bar Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed The Zinc Bar and The Saint Ann's Review invite you to join us for an exhilarating evening of fiction, poetry, and jazz. Susan Wheeler, Poetry/Fiction Rachel Cline, Fiction With the music of Gwen Laster,Violinist Rebecca Abbott, tenor And Others Friday, January 23rd 8:00 p.m. The Zinc Bar New York City The Zinc Bar is located at 90 West Houston Street, at the corner of La Guardia. The closest subway stops are Bleecker Street, on the 6 line, and the West 4th Street Station. ========================================================================= Date: Sun, 18 Apr 2004 18:03:05 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Susan Wheeler Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed Oops, April 23. ========================================================================= Date: Sun, 18 Apr 2004 18:02:05 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Harrison Jeff Subject: The Squashed Sphinx Has Your Rose Mime-Version: 1.0 Content-Type: text/plain; format=flowed frozen dart mummies when up skipped thirst just back behind foam - their voice thawed equal to the shirt in the back of your dresser, i.e., money in exchange for lamentations, they see these are the days when even the sky hides acorns, they'll pour a fortune into your nest and say "Here’s your silence..." great white eye, the thieves' day, your, oh, sight, comes with a special framed future brim- ming with my disease, the perfect goes & with the pumice comes the heart, your shoes will bring snow into their deepest catacombs, when the ice is severed we'll all come up ashes, or, when the sand breaks alphabets will be pups out your belly, somewhere under needle's mirror & step there's the true moral of Poe's Tell-Tale Heart: MONEY IN THE WALLS, scarabs boiling with gold nuggets, scarabs already bliss, the rose you held soon begins to bloom in the Squashed Sphinx's shoulder it would rather live there than in a ravine of hands too parched to float, furrow your cloud-blind heart for a nest, come to know my gardens empty of paint (my every other garden? - my every other garden is a set of curtains, they lie lovely between scarabs now of solid gold), soft cold winter, wake among beetles in the cauldron stunned that I've spelled you with multiple feet while the beetles have ten toes & mortgage payments you'll all be milling about in a glass of silver sand, which one of you said hands undivided will skip silence? know only the inches are hanging the miles, the sky (see line six) is gathering baskets of hours, perhaps you'd prefer this? you can read between the lines or fill them in with, say, when the sand breaks alphabets will be pups out your belly, you could, I suppose, even stare with your great white eye at, boundless, bare, the lone & level sands stretching far away, a glass of silver instead of a rose clutched in your mitts, etched with a needle's mirror & step, its step stops just short before the foam _________________________________________________________________ Is your PC infected? Get a FREE online computer virus scan from McAfee® Security. http://clinic.mcafee.com/clinic/ibuy/campaign.asp?cid=3963 ========================================================================= Date: Sun, 18 Apr 2004 19:55:50 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Solana D'Lamant Subject: Re: Chicago Postmodernpoetry.com MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable OK, you two, I've found you at last....Your friends here in Dallas ask = me about you. I'm glad you have surfaced. Actually, I've been lurking = on this listserv for about a year. Backchannel me. Elana is = permanently in Chicago now.... Lovies, Solana d'Lamant ----- Original Message -----=20 From: Haas Bianchi=20 To: POETICS@LISTSERV.BUFFALO.EDU=20 Sent: Sunday, April 18, 2004 1:01 PM Subject: Chicago Postmodernpoetry.com Raymond L Bianchi chicagopostmodernpoetry.com collagepoetchicago.blogspot.com All, The Chicagopostmodernpoetry.com site will be updated today with = our review of Sin Puertas Visibles, Jen Hofer's new book. Rgads Ray > -----Original Message----- > From: UB Poetics discussion group > [mailto:POETICS@LISTSERV.BUFFALO.EDU]On Behalf Of Charlotte Mandel > Sent: Sunday, April 18, 2004 7:00 AM > To: POETICS@LISTSERV.BUFFALO.EDU > Subject: First part of AWP panel notice > > > (My forwarding of this original message didn't go through, sorry, > Charlotte) > Original message from Jeanne Marie Beaumont: > > Would any one like to be part of a panel in Vancouver (well, = probably a > round-table officially), on teaching poetry classes/workshops for > adults outside of > academia, ie, in Y's, community centers, etc.? It seems to me the = needs of > this particular group and the challenges, as well as the rewards > of this type of > teaching, differ substantially from teaching students in undergrad = and > graduate programs, and I don't think this has been addressed much > (I am about to > peruse the AWP books from the past 3 conferences to confirm > this). If interested, > please back-channel with your ideas, experiences, and thoughts. > > Thank you > > Jeanne Marie Beaumont > > jeannebeaumont@att.net > ========================================================================= Date: Sun, 18 Apr 2004 18:41:53 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Taylor Brady Subject: SF Bay Area events: Hofer & Brady at SPT, 4/23, followed by Burnham & Goldman, plus events for Sin Puertas Visibles Content-Type: text/plain; charset=ISO-8859-1; format=flowed Mime-Version: 1.0 (Apple Message framework v552) Content-Transfer-Encoding: quoted-printable Apologies for any cross-posting -- here are a few of the many poetry=20 events coming up in San Francisco and environs over the next very full=20= week: Friday, April 23, 2004 at 7:30 p.m. Taylor Brady & Jen Hofer Taylor Brady is the author of Microclimates (Krupskaya, 2001),=20 Production Notes for Occupation: Location Scouting (Duration e-book,=20 2003), and Is Placed/Leaves (Meow, 1996). A new book, Occupational=20 Treatment, is forthcoming from Atelos. Recent poetry and critical work=20= has appeared or is forthcoming in Quid, War & Peace, and 14 Hills. Jen Hofer is the author of as far as (a+bend, 1999), The 3:15=20 Experiment (with Lee Ann Brown, Danika Dinsmore and Bernadette Mayer,=20 The Owl Press, 2001), and Slide Rule (subpress, 2002). She is also=20 editor and translator of No Visible Doors / Sin puertas visibles, an=20 anthology of contemporary poetry by Mexican women (University of=20 Pittsburgh Press/Ediciones Sin Nombre, 2003), in celebration of which=20 Small Press Traffic is cosponsoring several other events this weekend. After events at SPT, please join us over at Chris Stroffolino's place=20 for another reading -- make it a full night of poetry: The 355 Bartlett Street Readings continue FRIDAY APRIL 23rd (this is in San Francisco by the way---our name is our address between 24th and 25th st. in the mission. call 415-642-8084 for more info....) with VANCOUVER based poet, fiction writer, and cultural theorist, etc. etc... CLINT BURNHAM. This is only---I think---Clint's second reading in the states---and hopefully you'll all come out to check it out and San Francisco based poet JUDITH GOLDMAN. Author of VOCODER! Should begin around 10pm (IF YOU RECEIVED THE EARLIER ANNOUNCEMENT,=20 PLEASE NOTE THAT THE TIME HAS CHANGED) And finally, other events for Sin Puertas Visibles throughout the week: Events for Sin Puertas Visibles/No Visible Doors -- an anthology of=20 contemporary poetry edited by Jen Hofer. Cosponsored by Small Press Traffic, New Langton Arts, Galeria de la=20 Raza, and the Poetry Center. Panel Discussion with Mexican poets Dolores Dorantes and Laura=20 Sol=F3rzano, with poet and translator Jen Hofer Breaking the Ligatures of the Predictable: Contemporary Mexican=20 Poetries and the Poetics/Politics of Translation, Thursday, April 22, 4:30 pm At the Poetry Center at San Francisco State University 1600 Halloway Ave, Humanities 512 Bldg, SF Contact: 415 338 2227 http://www.sfsu/~poetry FREE Bilingual reading with Mexican poets Dolores Dorantes and Laura=20 Sol=F3rzano, with poet and translator Jen Hofer No Visible Doors: A Celebration of Contemporary Mexican Poetry by=20 Mexican Women, Saturday, April 24, 7 pm At Galer=EDa de la Raza 2857 24th Street, SF Contact: 415 826 8009 http://www.galeriadelaraza.org/ Salon with Mexican poets Dolores Dorantes and Laura Sol=F3rzano, with=20 poet and translator Jen Hofer Using All the Letters: A Celebration of Contemporary Mexican Poetry, Sunday, Aprl 25, 8 pm At the home of Camille Roy, New Langton Arts literature curator Contact: 415 626 5416 for reservations (required) and directions FREE ========================================================================= Date: Sun, 18 Apr 2004 21:42:44 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Haas Bianchi Subject: Joe Amato Back Channel me In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit saudade@comcast.net Raymond L Bianchi Raymond L Bianchi chicagopostmodernpoetrycalendar.blogspot.com/ collagepoetchicago.blogspot.com/ > -----Original Message----- > From: UB Poetics discussion group > [mailto:POETICS@LISTSERV.BUFFALO.EDU]On Behalf Of Joe Amato > Sent: Thursday, April 15, 2004 11:21 AM > To: POETICS@LISTSERV.BUFFALO.EDU > Subject: The Bear River Massacre and the Making of History... > > > subject line refers to my wife kass fleisher's book, just out on suny > press (suny did a great job with it)... below, the pertinent info... > if u.s./indigenous histories are of any interest, you'll want to read > this one (sez the spouse)... > > (apologies if you receive duplicate versions of this information) > > best, > > joe > > ---------------------------------------- > > SUNY link: > > http://www.sunypress.org/details.asp?id=60920 > > Amazon link: > > http://www.amazon.com/exec/obidos/tg/stores/detail/-/books/0791460 > 649/glance/ref=cm_rv_thx_view/102-4553822-9708926 > > Back cover matter: > > NATIVE AMERICAN STUDIES/WOMEN'S STUDIES/CREATIVE NONFICTION > > THE BEAR RIVER MASSACRE AND THE MAKING OF HISTORY > Kass Fleisher > > Explores how a pivotal event in U.S. history -- the killing of nearly > 300 Shoshoni men, women, and children in 1863 -- has been contested, > forgotten, and remembered. > > At dawn on January 29, 1863, Union-affiliated troops under the > command of Col. Patrick Connor were brought by Mormon guides to the > banks of the Bear River, where, with the tacit approval of Abraham > Lincoln, they attacked and slaughtered nearly three hundred > Northwestern Shoshoni men, women, and children. Evidence suggests > that, in the hours after the attack, the troops raped the surviving > women -- an act still denied by some historians and Shoshoni elders. > In exploring why a seminal act of genocide is still virtually unknown > to the U.S. public, Kass Fleisher chronicles the massacre itself, and > investigates the National Park Service's proposal to create a > National Historic Site to commemorate the massacre -- but not the > rape. When she finds herself arguing with a Shoshoni woman elder > about whether the rape actually occurred, Fleisher is forced to > confront her own role as a maker of this conflicted history, and to > examine the legacy of white women "busybodies." > > "In this remarkable book, Fleisher exposes and analyzes perhaps the > best concealed mass rape in the U.S. experience. Her probing analysis > forces us to consider how racism and sexism have converged to silence > victims, protect abusers of power, and advance the interests of > colonialism." - Maria Bevacqua, author of _Rape on the Public Agenda: > Feminism and the Politics of Sexual Assault_ > > "This is a troubling book in the way that any stirring-up troubles > surfaces, whether surface understandings, feelings, memories, or the > wounds that mark the white space of conventional history like > strangled words. These are stories you feel, which Fleisher has felt, > stirrings and troublings that flow from the wounds of the raped and > dead, over space and time, eventually becoming a dark blanket from > which, again and again, a dreamer awakens and walks forth. We are the > dreamer awakening, we are the massacred, ours are these stirring > stories." - Michael Joyce, author of _Moral Tales and Meditations: > Technological Parables and Refractions_ > > "The most intriguing dimension is the thrust, from a fascinating > variety of viewpoints, to achieve redemption-a great and signal > effort encompassing and, however awkwardly, transcending race and > ethnicity, religion and non-religion, tribal generations and tribal > factions and, very basically, the skeletal hand of History." - Hunter > Gray, activist and author (as John R. Salter Jr.) of _Jackson, > Mississippi_ > > Kass Fleisher is an Assistant Professor of English at Illinois State > University. > > State University of New York Press > www.sunypress.edu > April 2004 / 348 pages > [Illustrated: 2 b/w photographs] > $23.95[/T] paperback ISBN 0-7914-6064-9 > $71.50 hardcover ISBN 0-7914-6063-0 > ========================================================================= Date: Sun, 18 Apr 2004 22:40:58 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mairead Byrne Subject: Re: Joe Amato Back Channel me Comments: To: saudade@COMCAST.NET Mime-Version: 1.0 Content-Type: text/plain; charset=US-ASCII Content-Transfer-Encoding: quoted-printable Content-Disposition: inline This book sounds terrific, congratulations to Kass, via Joe if you read = this. Mairead >>> saudade@COMCAST.NET 04/18/04 22:34 PM >>> saudade@comcast.net Raymond L Bianchi Raymond L Bianchi chicagopostmodernpoetrycalendar.blogspot.com/ collagepoetchicago.blogspot.com/ > -----Original Message----- > From: UB Poetics discussion group > [mailto:POETICS@LISTSERV.BUFFALO.EDU]On Behalf Of Joe Amato > Sent: Thursday, April 15, 2004 11:21 AM > To: POETICS@LISTSERV.BUFFALO.EDU > Subject: The Bear River Massacre and the Making of History... > > > subject line refers to my wife kass fleisher's book, just out on suny > press (suny did a great job with it)... below, the pertinent info... > if u.s./indigenous histories are of any interest, you'll want to read > this one (sez the spouse)... > > (apologies if you receive duplicate versions of this information) > > best, > > joe > > ---------------------------------------- > > SUNY link: > > http://www.sunypress.org/details.asp?id=3D60920 > > Amazon link: > > http://www.amazon.com/exec/obidos/tg/stores/detail/-/books/0791460 > 649/glance/ref=3Dcm_rv_thx_view/102-4553822-9708926 > > Back cover matter: > > NATIVE AMERICAN STUDIES/WOMEN'S STUDIES/CREATIVE NONFICTION > > THE BEAR RIVER MASSACRE AND THE MAKING OF HISTORY > Kass Fleisher > > Explores how a pivotal event in U.S. history -- the killing of nearly > 300 Shoshoni men, women, and children in 1863 -- has been contested, > forgotten, and remembered. > > At dawn on January 29, 1863, Union-affiliated troops under the > command of Col. Patrick Connor were brought by Mormon guides to the > banks of the Bear River, where, with the tacit approval of Abraham > Lincoln, they attacked and slaughtered nearly three hundred > Northwestern Shoshoni men, women, and children. Evidence suggests > that, in the hours after the attack, the troops raped the surviving > women -- an act still denied by some historians and Shoshoni elders. > In exploring why a seminal act of genocide is still virtually unknown > to the U.S. public, Kass Fleisher chronicles the massacre itself, and > investigates the National Park Service's proposal to create a > National Historic Site to commemorate the massacre -- but not the > rape. When she finds herself arguing with a Shoshoni woman elder > about whether the rape actually occurred, Fleisher is forced to > confront her own role as a maker of this conflicted history, and to > examine the legacy of white women "busybodies." > > "In this remarkable book, Fleisher exposes and analyzes perhaps the > best concealed mass rape in the U.S. experience. Her probing analysis > forces us to consider how racism and sexism have converged to silence > victims, protect abusers of power, and advance the interests of > colonialism." - Maria Bevacqua, author of _Rape on the Public Agenda: > Feminism and the Politics of Sexual Assault_ > > "This is a troubling book in the way that any stirring-up troubles > surfaces, whether surface understandings, feelings, memories, or the > wounds that mark the white space of conventional history like > strangled words. These are stories you feel, which Fleisher has felt, > stirrings and troublings that flow from the wounds of the raped and > dead, over space and time, eventually becoming a dark blanket from > which, again and again, a dreamer awakens and walks forth. We are the > dreamer awakening, we are the massacred, ours are these stirring > stories." - Michael Joyce, author of _Moral Tales and Meditations: > Technological Parables and Refractions_ > > "The most intriguing dimension is the thrust, from a fascinating > variety of viewpoints, to achieve redemption-a great and signal > effort encompassing and, however awkwardly, transcending race and > ethnicity, religion and non-religion, tribal generations and tribal > factions and, very basically, the skeletal hand of History." - Hunter > Gray, activist and author (as John R. Salter Jr.) of _Jackson, > Mississippi_ > > Kass Fleisher is an Assistant Professor of English at Illinois State > University. > > State University of New York Press > www.sunypress.edu > April 2004 / 348 pages > [Illustrated: 2 b/w photographs] > $23.95[/T] paperback ISBN 0-7914-6064-9 > $71.50 hardcover ISBN 0-7914-6063-0 > ========================================================================= Date: Sun, 18 Apr 2004 20:40:22 -0700 Reply-To: "Jerrold Shiroma [duration press]" Sender: UB Poetics discussion group From: "Jerrold Shiroma [duration press]" Subject: web-hosting offer from durationpress.com MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Alls, In an effort to raise some money for upcoming publishing projects, I'm offering a special deal for web-hosting at durationpress.com. This special is for the month of May only (signups & payment must be made before the end of May), & includes: 10MB of disk space One Ftp account Two e-mail accounts w/ web access The URL for this package will have durationpress.com/ as a prefix (no domain hosting is available for this offer), & the e-mail account will be @durationpress.com. The special price for this is two years for $20, after which the cost will be $12/year. For more information, please backchannel: jshiroma@durationpress.com. Thanks much for your support. ---------------------------------------------- Jerrold Shiroma duration press http://www.durationpress.com ========================================================================= Date: Mon, 19 Apr 2004 00:16:30 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Murat Nemet-Nejat Subject: Re: about social recompense (and stuff) MIME-Version: 1.0 Content-Type: text/plain; charset="UTF-8" Content-Transfer-Encoding: quoted-printable In a message dated 04/18/04 1:17:22 AM, andrewloewen@YAHOO.CA writes: > Isn=E2=80=99t this sort of > the bottom line of Barthes=E2=80=99 theorization of the > =E2=80=98writerly=E2=80=99 text? >=20 Basically, yes, if let's say one goes one step further. The pleasure of the=20 text is the writing of it. Murat=20 ========================================================================= Date: Mon, 19 Apr 2004 00:25:44 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: everything in the world without letter MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII everything in the world without letter 005 006 00 1 4 01 4 02 4 03 4 04 4 05 5 011 024 026 038 039 043 045 046 054 061 062 065 069 070 074 076 078 0 10 11 260 270 31 37 3 3 6 8 9 85 1 2 3 1 2 1 2 3 4 2 10 2 3 4 5 6 7 8 9 2 27 35 41 2 2 3 2 3 2 2 1 2 1 1 2 3 4 3 2 3 4 4 5 6 1 2 3 2 31 3 41 4 71 72 73 7 06 12 13 1 2 4 5 1 2 3 4 5 6 3 7 31 32 33 3 72 73 74 76 7 2 3 2 3 4 5 6 6 1 1 2 3 4 5 6 7 1915 10 1 2 3 4 5 1 2 3 4 5 6 7 8 013 0388 0475 1 2 3 5 2 1057 1062 3 027 049 102 212 271 272 273 326 346 353 395 434 499 514 830 960 _ 7 7 8 17 2 4 5 6 2 1 2 3 4 5 6 7 0 1 2 3 4 14 15 16 1 2 3 4 5 1 2 3 4 1 3 1 2 * 1 2 3 4 5 6 7 2 3 2 - 2 1 2 4 2 3 1 01 02 03 04 05 06 07 08 09 10 11 3 1 2 3 4 5 6 1 2 3 6 7 8 91 9 2 3 5 6 1 3 5 2 3 2 1 2 3 4 5 3 3 1 19 3 2 1 2 3 4 5 6 2 2 3 4 18 20 21 22 23 09 1 2 3 4 5 6 7 8 0 10 11 12 13 14 1 2 3 4 5 6 7 8 9 01 02 03 04 05 06 07 09 10 11 9 2 6 : 1 1 2 4 2 2 3 4 2 0 1 2 3 4 41 00 01 02 03 04 05 06 07 08 09 10 11 2 3 1300046 2010001 2010042 2010045 2010047 2010068 2010069 2010070 2 11 11 11 11 11 11 11 11 1 2 2 1 1 0 1 2 3 4 5 6 7 8 9 0078 0080 0084 0087 0089 0092 0094 0096 0097 0104 0111 0114 0115 0119 0122 0123 13 14 15 18 23 26 27 28 29 31 32 33 34 35 3 5 6 7 8 9 2 3 4 : 2 3 2 1 2 4 8 1 2 3 4 5 1 2 1 2 3 4 5 01 02 03 04 05 06 07 08 09 10 2 2 2 3 16 17 1 2 2 0 2 2 3 031 033 046 058 059 1 3 5 1941 00 01 02 03 06 07 10 11 14 16 17 1 2 3 4 5 6 7 8 102 111 41 5 0 1 2 1 2 3 035 2 2 5 6 7 8 2 2 2 5 2 10 11 12 13 14 15 16 17 2 3 18 19 1 20 21 22 23 24 25 26 27 28 2 31 3 4 5 6 7 8 9 2 2 3 2 2 ___ ========================================================================= Date: Mon, 19 Apr 2004 00:26:06 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: _dayofamnesty MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=X-UNKNOWN Content-Transfer-Encoding: QUOTED-PRINTABLE _dayofamnesty /usr/libexec/ld.elf_so NetBSD environ __progname __ps_strings _DYNAMIC _fini __mainprog_obj __register_frame_info __deregister_frame_info libm.so.0 _GLOBAL_OFFSET_TABLE_ _init __sF libc.so.12 __syscall _ctype_ malloc atexit __srget __swbuf atoi read getgid errx dlerror dladdr dlclose dlopen dlsym setgid exit _etext _edata __bss_start _end t8j/ t j! Corrupt Obj_Entry pointer in GOT Dynamic linker version mismatch Dynamic linker interface not available @(#) reading from stdin bad rotation value. (\#@today is a day of amnesty. i free each and every one of you. i expect you to do your best to kill fascists in your community. no charges will be pressed. you will have done a great deed. we will celebrate accordingly. 9 xtermxtermxtermxtermxtermxtermxtermxtermx termxtermx=C3=BF=E2=94=A4=C3=BF=C2=8B=C2=80=C2=9C =C3=BF=C3=90=C3=AB=C2=B8= =C3=BF=C3=BF=C3=BF=C3=BF=C2=8B]=C3=BC=C3=89=C3=83=C2=90=C2=90U=C2=89=C3=A5= =C2=81=C3=AC=C2=A0 WVS=C2=8B=C3=A8=C2=94=C3=BC=C3=BF=C3=BFP=C3=A8=C3=AE=C3=BC=C3=BF=C3=BF=C3= =87E=C2=84 =C2=8BE=C3=BF=E2=8E=BB=C3=A8=C3=A8 _ ========================================================================= Date: Mon, 19 Apr 2004 00:55:03 -0500 Reply-To: nudel-soho@mindspring.com Sender: UB Poetics discussion group From: Harry Nudel Subject: Spring... Mime-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit stream of lite past midnite go back & dream... 1 to 3...empty...drn... ========================================================================= Date: Sun, 18 Apr 2004 23:04:48 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Stephen Vincent Subject: Walking Theories 1 - 10 now on the blog Comments: cc: "Brian Kim Stefans [arras.net]" , the767man@btopenworld.com, charles alexander , shanna compton , Trevor Joyce , Chip Lord Chip Lord , linda norton , "J. Scappettone" , Barrett Watten , Ellen Zweig , Stephen Fredman , "Garchik, Leah" , Gray Brechin , Lyn Hejinian , Kit Robinson , Marina LaPalma , Mary Burger , John Norton , Chris Nealon , "Wilner, Paul" , Robert Gl=?ISO-8859-1?B?/A==?=ck , Steve Benson , Tanya Brolaski , Tanya Hollis , frances valesco Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit "Walking Theories, 1 -10," a work in progress are currently appearing on my blog: http://stephenvincent.durationpress.com This series has been kindly supported by a commission from Slight Publications (Chris Sullivan, publisher) where the works are occasionally visually and textually augmented by the publisher: http://www.8letters.blogspot.com/ As per usual, comments will be appreciated. Stephen Vincent ========================================================================= Date: Mon, 19 Apr 2004 07:23:35 -0400 Reply-To: ron.silliman@gte.net Sender: UB Poetics discussion group From: Ron Subject: Silliman's Blog - a new look 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/ RECENT TOPICS: Reading Creeley reading - the values of imperfection J is for Juvenile - a sonnet involving Marianne Moore & Lewis Carroll Jeff Harrison - The value of a spare approach in the retro-avant-garde 26 books on one week's mail - trying to stay current amid the flood of literature Hellboy - New Formalist How to gauge influence? Originality & sources in Kevin Davies Lateral Argument & Jim Behrle's City Point The Philadelphia Progressive Poetry Calendar Magazine, book, or anthology? The between-ness of the One Shot publication. Writing as giving: A family tradition Trobar Clus: A poetics of total engagement Eternal Sunshine of a Spotless Mind: Charlie Kaufman & the George Romero Poetry Conference http://ronsilliman.blogspot.com/ * * * My latest book Woundwood is available from Cuneiform Press: http://www.cuneiformpress.com/wound.html ========================================================================= Date: Mon, 19 Apr 2004 09:55:24 -0230 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Kevin Hehir Subject: Updated Information: Montreal's 5th Annual Anarchist Bookfair (May 15, 2004) and Festival of Anarchy (April 20-May 19) MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII ----- Forwarded message from Montreal Anarchist Bookfair ----- [April 15, 2004 -- Only one month to go! This e-mail contains updated information about the 5th Annual Anarchist Bookfair, including confirmed workshop topics, proposed Festival of Anarchy events and more. Please post and forward widely. See you in May!!!] --==--==--==--==--==--==-- Montreal's 5th Annual ANARCHIST BOOKFAIR SATURDAY, May 15, 2004 10am to 6pm 2515, rue Delisle (near metro Lionel-Groulx) MONTREAL, QUEBEC ==--==--==--==--==--==--== * FREE! * Mainspace wheelchair accessible * * Childcare on site * Bring your kids! * * Whisper translation available for workshops * Bookfair Day (May 15) events include: * MAIN BOOKFAIR ROOM: With over 75 booksellers, distributors, independent presses and political groups from all over Montreal, Quebec and North America, including guests from France. This is the heart of the Montreal Anarchist Bookfair. * WORKSHOP ROOMS: Six workshops for anyone interested or curious about anarchism. The confirmed workshop topics on May 15 are: * The History of Anarchism in Quebec (fr) * Land and Freedom: The Eco-Anarchist Perspective (fr) * Anarchists in the Russian Revolution (fr) * An Introduction to Anarchism and Its Aspirations (en) * Demanding the Impossible: The Theory and Practice of Anarchism (en) * Anarchism and Deschooling: Getting Society out of School (en) * FILM ROOM: All day showing of anarchist and independent films. (Programme to be confirmed.) * SOLIDARITY ROOM: Presentations from local organizations about contemporary struggles for social justice, locally and internationally. (Programme to be confirmed.) * OTHER PLANNED BOOKFAIR EVENTS INCLUDE: a radical Walking Tour of the St-Henri/Little Burgundy neighborhood, an interactive anarchist Mural Project, Street Theatre performances, Sonic Resistance hands-on workshop, and more. ----- --> The Bookfair will be followed on Sunday, May 16, at the same location, by: =-=-=-=-=-=-=-=-=-=-=-=-=-=- DEMAND THE IMPOSSIBLE!: A Day of Anarchist Workshops, Panels and Presentations SUNDAY, May 16, 2004 10:30am (sharp) to 5pm 2515, rue Delisle (near metro Lionel-Groulx) MONTREAL, QUEBEC -=-=-=-=-=-=-=-=-=-=-=-=-=-= * FREE! * Childcare on-site * * Whisper translation available for all workshops * Only main floor is wheelchair accessible (2 of the 5 workshop rooms) The day of workshops will include 15 presentations: 10:30am (sharp) to 12:30pm: * Affinty Groups: A Method of Anarchist Action (fr) * A Commemoration of the Life and Work of Daniel Guerin (fr) * Anarcho-Surrealism in Canada (en) * Anarchism and Iroquois Culture (en) * Panel: No One Is Illegal (en) 12:30pm: Lunch break (food on-site) 1-3pm: * The History of the Anarchist Press in Quebec (fr) * Anarchism in Struggle: Confronting Borders, States and Apartheid (fr) * Panel: Anarchists Radicalizing their Workplace (fr) * Bringing Down the Prisoner-Industrial Complex (en) * (Anti-)Capitalist Globalization (en) 3-5pm: * Anarchism, Activism and Security Culture (fr) * Panel: Anarchists Confronting the Charest Government (fr) * Self-Determination Against the Nation-State (fr) * Anarchist Workers' Cooperatives And Revolutionary Propaganda (en) * Anarchist People of Colour Discussion and Strategy Workshop (en) Please note: The MAIN BOOKFAIR ROOM will NOT be set up on Sunday, May 16, but only on Saturday, May 15 between 10am-6pm. Sunday is dedicated to anarchist-themed workshops, panels and presentations. ----- BACKGROUND The Montreal Anarchist Bookfair is the largest anarchist cultural gathering in northeastern North America, and an important exchange of anarchist and anti-authoritarian ideas. The Bookfair is for anarchist and non-anarchists alike, in English, French and Spanish, with participants from all over North America and beyond. Anarchist Bookfair events include workshops, readings, films, presentations, walking tours and much more. Once again, the Anarchist Bookfair will be followed -- on Sunday, May 16 -- by a full day dedicated to anarchist-themed workshops and presentations. As in the past, a "Festival of Anarchy" will take place during the weeks preceeding the Bookfair, with diverse events organized by anarchists and anti-authoritarian groups. ----- FESTIVAL OF ANARCHY The Anarchist Bookfair (May 15) and the Day of Workshops (May 16) are preceded by various anarchist-themed events as part of the Festival of Anarchy. The final Festival of Anarchy schedule will be confirmed this week. The tentative schedule of events includes: A20: Presentation on Anarchism at Cegep Montmorency (Laval), 1-3pm. A20: Film Showing: L'an 2001 (en francais), 20h30 at the Cinematheque Quebecoise. A29: Benefit Show: El Salon, 4388 boulevard St-Laurent. 8:30pm M1: Mayday March, with anarchist feeder march and contingent. M2: Eco-radical Teach-in by Pain, Panais et Liberte. M5: Film showing at Cafe Chaos. M9: Film showing of "Afro-Punk: The Rock&Roll Nigger Experience" and "Forgotten Summer: Race Riots in 1919" at Cafe Petite Gaule. M10: Film showing at Cafe Chaos. M11: Poetry Night at Cafe Petite Gaule. M13: "Anarchy and Music" Panel and Show at Cafe Petite Gaule. M14: Opening Panel Event (more details forthcoming). M15: MONTREAL ANARCHIST BOOKFAIR (10am-6pm). M15: Anarchist March on Westmount (6:30pm). M16: DAY OF ANARCHIST WORKSHOPS (10:30am-5pm). M16: Multimedia Event at Casa del Popolo. M18: CLAC Assembly, L'X (182 Ste-Catherine East), 6pm. M19: Film Evening by Les Lucioles at L'Alizee. ----- VOLUNTEERS The bookfair needs volunteers. We need your help with publicity and postering BEFORE the bookfair, and for tasks DURING the bookfair events. If you can help, please contact us. If we don't respond within 3 days, contact us again! ----- TO GET IN TOUCH: e-mail: anarchistbookfair@taktic.org AND lombrenoire@tao.ca telephone: 514-859-9090 post: Montreal Anarchist Bookfair 2033, boulevard St-Laurent Montreal, Quebec H2X 2T3 CANADUH Nous parlons francais. Se habla espanol. [end] ----- End forwarded message ----- ------------------------ Yahoo! Groups Sponsor ---------------------~--> Buy Ink Cartridges or Refill Kits for your HP, Epson, Canon or Lexmark Printer at MyInks.com. Free s/h on orders $50 or more to the US & Canada. http://www.c1tracking.com/l.asp?cid=5511 http://us.click.yahoo.com/mOAaAA/3exGAA/qnsNAA/xYTolB/TM ---------------------------------------------------------------------~-> Yahoo! Groups Links <*> To visit your group on the web, go to: http://groups.yahoo.com/group/mobglobplan/ <*> To unsubscribe from this group, send an email to: mobglobplan-unsubscribe@yahoogroups.com <*> Your use of Yahoo! Groups is subject to: http://docs.yahoo.com/info/terms/ ========================================================================= Date: Mon, 19 Apr 2004 10:43:29 -0230 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Kevin Hehir Subject: A Passion for Poetry (and Profits) MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII A Passion for Poetry (and Profits) By STEPHEN KINZER Published: April 19, 2004 HICAGO, April 18 - When John W. Barr was a teenager, he walked into his family's living room and announced that he had decided to become a poet. "That's fine," his father replied, "but go to college so people will think you're an eccentric, not just a beach bum." Mr. Barr followed that advice. He studied English literature at Harvard and later earned a business degree, became an investment banker and made a fortune on Wall Street. But he never lost his passion for poetry and now finds himself in a job that suits his rare combination of interests. Advertisement Mr. Barr, 61, has moved to Chicago from New York to become president of the Poetry Foundation, with a challenge perhaps unique in the history of literature: deciding how to make use of a gift worth more than $100 million. The gift, which came in 2002 from Ruth Lilly, the pharmaceutical heiress, shook the world of American poetry. For most of the 20th century the Poetry Foundation was a small institution called the Modern Poetry Association. Although it was often on the brink of bankruptcy, its monthly magazine, Poetry, with a circulation of about 11,000, emerged as the most important journal of poetry in the United States. In 1915 it published for the first time a poem written in what was then a new form, free verse. The poem was "The Love Song of J. Alfred Prufrock," and it had been written a few years earlier by a 23-year-old named T. S. Eliot. Carl Sandburg's "Chicago Poems" and Wallace Stevens's "Sunday Morning" were also first published in it. Ms. Lilly's huge gift threw the organization first into ecstasy and then into confusion. In a move that stunned the tight-knit community of American poets, the magazine's longtime editor, Joseph Parisi, resigned last summer. Some took his departure as a signal that corporate auditors were pushing aside true lovers of literature. But, sitting in his Chicago office, Mr. Barr insisted that there would be no conflict between his commitment to good management and his love of poetry. He said Stevens and Eliot "broke a lot of ice for us all" by combining careers in business and poetry. "In both of these fields you use creativity to find order in a chaotic experience," he said. "Business does that in the external world. Poetry does it internally by way of articulation." "To me this is a historic opportunity in American poetry," Mr. Barr said. "Poetry helps us live better, helps us understand the human experience. It is with us at the heights and depths of that experience. Our goal is to get it in front of people whose lives it can change for the better. But I'm also very excited about the management opportunities. "I don't see any reason why a cultural organization can't be run like a good corporation. If we can do that, we'll not only be on the road to success ourselves but may even be able to give some ideas to other arts groups." He said his favorite poets ranged from Yeats to Billy Collins but added that he often wondered whether other masters might be working in secret. "I am always haunted by the thought that the poetry of today that will be celebrated a century from now is unknown to us now," he said. One of Mr. Barr's first tasks will be to propose how the Poetry Foundation should use its new wealth. Will it give grants to poets, sponsor public events, publish its own line of books, design poetry courses for high schools and colleges? "We haven't finished our search for the best ideas," he said. "We need to think of this as our first order of business." The chairwoman of the foundation's board, Deborah Cummins, said that after receiving Ms. Lilly's huge gift the foundation would change, but that "we've really had to stop, as a group, to consider what needs to be done and what we can now do." "It's new territory for us," she said. "We've been transformed from a fund-raising board to a management board, and then to a policy-making and guidance board that has to think of a grand vision." Some poets are concerned about what course the foundation may now follow and especially about the future of Poetry magazine. Mr. Parisi, its former editor, declined to comment on his departure, but others were less reticent. "I was very disconcerted by it, as were most poets in America," David Bottoms, the poet laureate of Georgia, said. "At this point I'd say American poets are a little bit fearful but also hopeful that the eclectic and very high-level quality that Joe represented will be continued. The last few issues under the new editor, Christian Wiman, have been very good, which is reassuring because that magazine is an American institution." "I'm very heartened that someone would give that kind of money to poetry or to any of the arts, but what they do with it is another question," Mr. Bottoms said. Tree Swenson, executive director of the Academy of American Poets, based in New York, said Mr. Barr was a good choice to lead the Poetry Foundation. "In a past life I ran an organization that received a large philanthropic gift, and I can tell you that it's really hard to manage change on that level," Ms. Swenson said. "Barr is one of the few people who have that combination, knowing the world of financial management from his business career and also being very knowledgeable not just about contemporary poetry but also about the organizations around this country that are working in the field. There's this notion that poetry and money don't mix, but that's just what it is, a romantic notion." Mr. Barr has published several books of poetry and has taught poetry at Sarah Lawrence. He said that much of what the foundation did with its new wealth would be aimed at expanding the audience for poetry in the United States, especially among young people. The Eminem film "8 Mile" was "full of poetry," Mr. Barr said. "I know we can find ways to reach out to people who enjoy that kind of thing." ========================================================================= Date: Mon, 19 Apr 2004 10:46:39 -0400 Reply-To: Mike Kelleher Sender: UB Poetics discussion group From: Mike Kelleher Organization: Just Buffalo Literary Center Subject: JUST BUFFALO E-NEWSLETTER 4-19-04 MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit IN THE HIBISCUS ROOM AN EVENING WITH ED ROBERSON Reading and Conversation Friday, April 23, 8 p.m., $4, $3 students/seniors, $2 members One of the most unique and important poets writing in America today, Ed Roberson is the author of Atmosphere Conditions (Sun & Moon), winner of the National Poetry Series, chosen by Nathaniel Mackey; Just In/ Word of Navigational Challenges: New and Selected Work (Talisman House Press,1998); & Voices Cast Out To Talk Us In (Univ. of Iowa, 1995), winner of the Iowa Poetry Prize. Books for sale from Talking Leaves Books COLLABORATIONS AND CONNECTIONS, featuring Yusef Komunyakaa Thursday, April 22, 7:30 p.m. Canisius College, Montante Cultral Center, corner of Main and Eastwood Streets. Free and open to the public. The Buffalo/Williamsville Poetry, Music and Dance Celebration, featuring poet Yusef Komunyakaa, singer Pamel Knowles, dancer Mariah Maloney, and student writers, dancers and musicians. Made possible through a grant from the Baird Foundation. A PICTURE'S WORTH -- A THOUSAND WORDS In Honor of Just Buffalo founder, Debora Ott, and poet Robert Creeley On Saturday, May 1, from 6-9 p.m., Just Buffalo will be honoring founder Debora Ott and poet Robert Creeley with a reception at the Albright-Knox Art Gallery. There are a very limited number of tickets for this special event available at $100 per person. Price includes entry, cocktails and hors d' oeurves, one of Just Buffalo's storied A PICTURE'S WORTH -- A THOUSAND WORDS poetry and art tours with a museum docent and a poet, a limited edition letterpress broadside of Robert Creeley's poem, "Place To Be" and a Greg Halpern photograph. Please call 716.832.5400 for details. WORKSHOPS ANNOUNCING A SUMMER WORKSHOP WITH POET JORGE GUITART WORKSHOP ON EXPERIMENTAL POETRY 4 Saturdays July 10, 17, 24, and 31, 10 a.m -12 p.m. in The Hibiscus Room at Just Buffalo $100, $90 members, individual classes $30, $25 members If you are tired of the trite and expected in the poetry of others or your own, try your hand at playing with language in a serious, organized way. Let randomness and unusual combinatory procedures get you started in creating lines that no one could possibly have uttered or written before. Bring poetry back to being a most unusual collocation of words. Let the poem write you instead of the other way. Embark on the pleasures of intertextuality, stealing from famous texts and subverting their intentions. You will be introduced to techniques that will help you create hundreds if not thousands of amazing poems in a relatively short time. Jorge Guitart teaches in the Department of Romance Languages and Literatures at UB. He has been a member of JBLC Writers in Education since 1984 and has led poetry workshops in Buffalo public schools. He is the author of Foreigner's Notebook (Shuffaloff 1993) and Film Blanc (Meow Press 1996). He is represented at UB's Electronic Poetic Center. Just Buffalo is Accepting Applications for Fall Workshop Instructors Just Buffalo offers writing workshops year round to all experience levels in poetry, fiction, drama, screenwriting, essay writing and publication. We are looking for published writers to teach workshops in the Fall of 2004. Courses can be single day courses, or they can meet once a week for two, four, six or eight weeks. They can meet evenings during the week or Saturday mornings. Please send a cover letter, resume, and course description to Workshop Application, Just Buffalo Literary Center, 2495 Main St., Ste 512, Buffalo, NY 14214 or email it to Mike Kelleher at mjk@justbuffalo.org. WORLD OF VOICES Thanks to a grant from the John R. Oishei Foundation, Just Buffalo and White Pine Press are able to bring four White Pine authors per year to Buffalo for Writer Residencies. During a week in Buffalo, each will do an in-depth school residency, make visits to local schools, and do community readings and talks. Books and on-line study guides will be available for local schools and libraries in advance of the author's visit. Author Susan Rich will peform a residency from May 10-14. Winner of the PEN West Poetry Award and the Peace Corps Writers Poetry Award for The Cartographer's Tongue: Poems of the World; published by White Pine Press, Susan Rich has worked as a staff person for Amnesty International, an electoral supervisor in Bosnia, and a human rights trainer in Gaza. Monday, May 10, 7-9 P.M. FREE Writing Workshop. Poems of the World: Possibilities and Pitfalls. This workshop will ask the question: How can a writer write about experiences in different cultures, be they in other countries, or simply in other parts of one's own city, without exploiting the very people about whom one is writing? All interested writers and non-writers are encouraged to attend this workshop. Co-sponsored by the Western New York Peace Center. Thursday, May 13, 7:30 p.m. Free. Visions For A Better World: Reading by Susan Rich and Writing Workshop Participants. Participants in the Monday workshop, as well as students from area schools involved in World of Voices, will have the opportunity to read the work they produced during the workshops. Followed by a reading by Susan Rich. Co-sponsored by the Western New York Peace Center. APRIL IS NATIONAL POETRY MONTH Poetry to Go Each year, Just Buffalo marks National Poetry Month with Poetry To Go, a month-long poetry celebration. In addition to all the readings we will be sponsoring around the city, we will be distributing small bags filled with poem-cards people can take with them in order to carry poetry through the day. NEW ON OUR WEBSITE EDUCATION links are up. There are now several hundred education links, including writing resources for young writers, teachers, teaching artists, and parents, as well as links to Arts in Education organizations nationwide. Visit http://www.justbuffalo.org. If you would like to add or suggest links, please send along name of the organization, url, and 25 word description of the site to Mike Kelleher at mjk@justbuffalo.org. SPOKEN ARTS RADIO W/ Mary Van Vorst 6:35 and 8:35 a.m. Thursdays and 8:35 a.m. Sundays on WBFO 88.7 FM April 29 & May 2 - SUSAN RICH (World of Voices) May 6 & 9 ALEXIS DE VEAUX (Author of Warrior Poet, A Biography of Audre Lorde) May 27 & 30 ERIC GANSWORTH (Author of Smoke Dancing) June 3 & 6 N'Tare Ali Gault (Editor of Njozi Magazine) _______________________________ Mike Kelleher Artistic Director Just Buffalo Literary Center 2495 Main St., Ste. 512 Buffalo, NY 14214 716.832.5400 716.832.5710 (fax) www.justbuffalo.org mjk@justbuffalo.org ========================================================================= Date: Mon, 19 Apr 2004 10:58:22 -0400 Reply-To: ron.silliman@gte.net Sender: UB Poetics discussion group From: Ron Subject: SF Library turns trashed books into art MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit http://slate.msn.com//?id=2098846& From the homophobic destruction of books to art, this is an interesting response to a vexing issue, Ron ========================================================================= Date: Mon, 19 Apr 2004 08:40:29 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Small Press Traffic Subject: Brady & Hofer at SPT, this Friday 4/23. PLUS MIME-Version: 1.0 Content-Type: text/plain; charset="ISO-8859-1"; format="flowed" Content-Transfer-Encoding: 8bit Small Press Traffic presents a reading plus several other events this week.... Friday, April 23, 2004 at 7:30 p.m. Taylor Brady & Jen Hofer Taylor Brady is the author of Microclimates (Krupskaya, 2001), Production Notes for Occupation: Location Scouting (Duration e-book, 2003), and Is Placed/Leaves (Meow, 1996). A new book, Occupational Treatment, is forthcoming from Atelos. Recent poetry and critical work is forthcoming in Quid and the second Enough. A Bay Area resident since 1998, he has outlived the wax and wane of several cycles of fictive capital and is interested in suggestions for a public life that is more than the sum of their effects. Jen Hofer is the author of as far as (a+bend, 1999), The 3:15 Experiment (with Lee Ann Brown, Danika Dinsmore and Bernadette Mayer, The Owl Press, 2001), and Slide Rule (subpress, 2002). She is also editor and translator of No Visible Doors / Sin puertas visibles, an anthology of contemporary poetry by Mexican women (University of Pittsburgh Press/Ediciones Sin Nombre, 2003), in celebration of which Small Press Traffic is cosponsoring several other events this weekend. Please see our website for further details. Unless otherwise noted, events are $5-10, sliding scale, free to SPT members, and CCA faculty, staff, and students. Unless otherwise noted, our events are presented in Timken Lecture Hall California College of the Arts 1111 Eighth Street, San Francisco (just off the intersection of 16th & Wisconsin) *****ALSO THIS WEEK: Events for Sin Puertas Visibles/No Visible Doors -- an anthology of contemporary poetry edited by Jen Hofer. Cosponsored by Small Press Traffic, New Langton Arts, Galeria de la Raza, and the Poetry Center. Panel Discussion with Mexican poets Dolores Dorantes and Laura Solórzano, with poet and translator Jen Hofer Breaking the Ligatures of the Predictable: Contemporary Mexican Poetries and the Poetics/Politics of Translation, Thursday, April 22, 4:30 pm At the Poetry Center at San Francisco State University 1600 Halloway Ave, Humanities 512 Bldg, SF Contact: 415 338 2227 http://www.sfsu/~poetry FREE Bilingual reading with Mexican poets Dolores Dorantes and Laura Solórzano, with poet and translator Jen Hofer No Visible Doors: A Celebration of Contemporary Mexican Poetry by Mexican Women, Saturday, April 24, 7 pm At Galería de la Raza 2857 24th Street, SF Contact: 415 826 8009 http://www.galeriadelaraza.org/ Salon with Mexican poets Dolores Dorantes and Laura Solórzano, with poet and translator Jen Hofer Using All the Letters: A Celebration of Contemporary Mexican Poetry, Sunday, Aprl 25, 8 pm At the home of Camille Roy, New Langton Arts literature curator Contact: 415 626 5416 for reservations (required) and directions FREE Elizabeth Treadwell Jackson Executive Director Small Press Traffic Literary Arts Center at CCA 1111 -- 8th Street San Francisco, CA 94107 415.551.9278 http://www.sptraffic.org ========================================================================= Date: Mon, 19 Apr 2004 11:15:44 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Joe Amato Subject: on writing and our perceptions of it... In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" wanted to post a citation here that i'm sure many on this list will find useful as hell: ~critical intellectuals on writing~, ed. gary a. olson and lynn worsham (suny press, 2003)... this volume is a collection of interviews excerpted from the pages of ~jac~ (~journal of advanced composition~)... i just started reading it this morning---has taken me this long to get to it after ordering it at mla!---and am finding it a great summary of how different thinkers think about themselves as writers... just the variance across answers to the initial question generally posed---"do you think of yourself as a writer?"---provides considerable food for thought... here are the interviewees: Gloria Anzaldua Mary Field Belenky Homi Bhabha Judith Butler Noam Chomsky Donald Davidson Jacques Derrida Michael Eric Dyson Stanley Fish Paulo Freire Clifford Geertz Henry Giroux Stuart Hall Donna Haraway Sandra Harding bell hooks Luce Irigaray Ernesto Laclau Jean-Francois Lyotard J. Hillis Miller Chantal Mouffe Avital Ronell Richard Rorty Gayatri Chakravorty Spivak Jane Tompkins Stephen Toulmin Slavoj Zizek if you haven't already, really worth checking out... best, joe ========================================================================= Date: Mon, 19 Apr 2004 12:19:59 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jane Sprague Subject: West End Reading Series: APRIL 2004 MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable West End Reading Series Saturday, April 24 at 7:00 p.m. LOST DOG LOUNGE Free & open to everyone. Poets MARIANA RUIZ FIRMAT, DEBORAH RICHARDS, and KATHY LOU SCHULTZ * Mariana Ruiz Firmat grew up in Los Angeles, when the term Latino was = being=20 coined and as such is a product both of diaspora and political fracture. = She=20 began writing poetry in Los Angeles as a way to reinvent = political/cultural=20 identity. After graduating from UCSC with a focus on Cuban Feminist = politics=20 and joining the struggle to end violence against women of color she and = a=20 friend rode their bicycles cross country. Since moving to New York in = 1999,=20 she has been writing poetry and working for social justice issues in New = York City. Her poems appear in PoEP, Tool, A Magazine, 6x6 press. Her chapbook, Another Strange Island, was published last April by Open=20 24 Hours press. * Deborah Richards is a Black Londoner currently living in Philadelphia. = Her poems have been published in Chain, XCP, Nocturnes, Callaloo, and = on-line in HOW2. She has 3 chapbooks, Hide me From the Day with artist = Ariana Krantzite, Cut and Shoot with Cathleen Miller, and parable, which = was published by Leroy Press. Her first collection of poems, Last One = Out, was published by subpress in 2003. * After nearly a decade in the San Francisco Bay Area, Kathy Lou Schultz = moved to Philadelphia in 2000 to do doctoral work at the University of Pennsylvania. She is the author of Some Vague Wife (Atelos Press, 2002), Genealogy (a+bend press, 1999), and Re dress (San Francisco State University, 1994) winner of the Michael Rubin Award. Recent work is forthcoming in Fence, Hambone, and anthologies from Wesleyan University Press and Coach House Press. * For more information about SlyFox Productions and the West End reading = series, please visit our new & improved website at: www.slyfox.org=20 * The West End Reading Series is made possible in part with public funds = from the Community Arts Partnership of Tompkins County / NYS Council on = the Arts Decentralization program and the Constance Saltonstall = Foundation. ========================================================================= Date: Mon, 19 Apr 2004 11:28:23 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Christine Murray Subject: Circus 2 Iraq/Jo Wilding, a forward & links MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" This forwarded article is courtesy of Martin Jay Walker at Poetry & Etc. list: Jo Wilding's homepage: http://www.wildfirejo.org.uk Falluja (report from 11 April) by Jo Wilding--link to this article: http://www.circus2iraq.org/updates.asp?page=61 US snipers in Falluja shoot unarmed man in the back, old woman with white flag, children fleeing their homes and the ambulance that we were going in to fetch a woman in premature labour. Trucks, oil tankers, tanks are burning on the highway east to Falluja. A stream of boys and men goes to and from a lorry that's not burnt, stripping it bare. We turn onto the back roads through Abu Ghraib, Nuha and Ahrar singing in Arabic, past the vehicles full of people and a few possessions, heading the other way, past the improvised refreshment posts along the way where boys throw food through the windows into the bus for us and for the people inside still inside Falluja. The bus is following a car with the nephew of a local sheikh and a guide who has contacts with the Mujahedin and has cleared this with them. The reason I'm on the bus is that a journalist I knew turned up at my door at about 11 at night telling me things were desperate in Falluja, he'd been bringing out children with their limbs blown off, the US soldiers were going around telling people to leave by dusk or be killed, but then when people fled with whatever they could carry, they were being stopped at the US military checkpoint on the edge of town and not let out, trapped, watching the sun go down. He said aid vehicles and the media were being turned away. He said there was some medical aid that needed to go in and there was a better chance of it getting there with foreigners, westerners, to get through the american checkpoints. The rest of the way was secured with the armed groups who control the roads we'd travel on. We'd take in the medical supplies, see what else we could do to help and then use the bus to bring out people who needed to leave. I'll spare you the whole decision making process, all the questions we all asked ourselves and each other, and you can spare me the accusations of madness, but what it came down to was this: if I don't do it, who will? Either way, we arrive in one piece. We pile the stuff in the corridor and the boxes are torn open straightaway, the blankets most welcomed. It's not a hospital at all but a clinic, a private doctor's surgery treating people free since air strikes destroyed the town's main hospital. Another has been improvised in a car garage. There's no anaesthetic. The blood bags are in a drinks fridge and the doctors warm them up under the hot tap in an unhygienic toilet. Screaming women come in, praying, slapping their chests and faces. Ummi, my mother, one cries. I hold her until Maki, a consultant and acting director of the clinic, brings me to the bed where a child of about ten is lying with a bullet wound to the head. A smaller child is being treated for a similar injury in the next bed. A US sniper hit them and their grandmother as they left their home to flee Falluja. The lights go out, the fan stops and in the sudden quiet someone holds up the flame of a cigarette lighter for the doctor to carry on operating by. The electricity to the town has been cut off for days and when the generator runs out of petrol they just have to manage till it comes back on. Dave quickly donates his torch. The children are not going to live. "Come," says Maki and ushers me alone into a room where an old woman has just had an abdominal bullet wound stitched up. Another in her leg is being dressed, the bed under her foot soaked with blood, a white flag still clutched in her hand and the same story: I was leaving my home to go to Baghdad when I was hit by a US sniper. Some of the town is held by US marines, other parts by the local fighters. Their homes are in the US controlled area and they are adamant that the snipers were US marines. Snipers are causing not just carnage but also the paralysis of the ambulance and evacuation services. The biggest hospital after the main one was bombed is in US territory and cut off from the clinic by snipers. The ambulance has been repaired four times after bullet damage. Bodies are lying in the streets because no one can go to collect them without being shot. Some said we were mad to come to Iraq; quite a few said we were completely insane to come to Falluja and now there are people telling me that getting in the back of the pick up to go past the snipers and get sick and injured people is the craziest thing they've ever seen. I know, though, that if we don't, no one will. He's holding a white flag with a red crescent on; I don't know his name. The men we pass wave us on when the driver explains where we're going. The silence is ferocious in the no man's land between the pick up at the edge of the Mujahedin territory, which has just gone from our sight around the last corner and the marines' line beyond the next wall; no birds, no music, no indication that anyone is still living until a gate opens opposite and a woman comes out, points. We edge along to the hole in the wall where we can see the car, spent mortar shells around it. The feet are visible, crossed, in the gutter. I think he's dead already. The snipers are visible too, two of them on the corner of the building. As yet I think they can't see us so we need to let them know we're there. "Hello," I bellow at the top of my voice. "Can you hear me?" They must. They're about 30 metres from us, maybe less, and it's so still you could hear the flies buzzing at fifty paces. I repeat myself a few times, still without reply, so decide to explain myself a bit more. "We are a medical team. We want to remove this wounded man. Is it OK for us to come out and get him? Can you give us a signal that it's OK?" I'm sure they can hear me but they're still not responding. Maybe they didn't understand it all, so I say the same again. Dave yells too in his US accent. I yell again. Finally I think I hear a shout back. Not sure, I call again. "Hello." "Yeah." "Can we come out and get him?" "Yeah," Slowly, our hands up, we go out. The black cloud that rises to greet us carries with it a hot, sour smell. Solidified, his legs are heavy. I leave them to Rana and Dave, our guide lifting under his hips. The Kalashnikov is attached by sticky blood to is hair and hand and we don't want it with us so I put my foot on it as I pick up his shoulders and his blood falls out through the hole in his back. We heave him into the pick up as best we can and try to outrun the flies. I suppose he was wearing flip flops because he's barefoot now, no more than 20 years old, in imitation Nike pants and a blue and black striped football shirt with a big 28 on the back. As the orderlies form the clinic pull the young fighter off the pick up, yellow fluid pours from his mouth and they flip him over, face up, the way into the clinic clearing in front of them, straight up the ramp into the makeshift morgue. We wash the blood off our hands and get in the ambulance. There are people trapped in the other hospital who need to go to Baghdad. Siren screaming, lights flashing, we huddle on the floor of the ambulance, passports and ID cards held out the windows. We pack it with people, one with his chest taped together and a drip, one on a stretcher, legs jerking violently so I have to hold them down as we wheel him out, lifting him over steps. The hospital is better able to treat them than the clinic but hasn't got enough of anything to sort them out properly and the only way to get them to Baghdad on our bus, which means they have to go to the clinic. We're crammed on the floor of the ambulance in case it's shot at. Nisareen, a woman doctor about my age, can't stop a few tears once we're out. The doctor rushes out to meet me: "Can you go to fetch a lady, she is pregnant and she is delivering the baby too soon?" Azzam is driving, Ahmed in the middle directing him and me by the window, the visible foreigner, the passport. Something scatters across my hand, simultaneous with the crashing of a bullet through the ambulance, some plastic part dislodged, flying through the window. We stop, turn off the siren, keep the blue light flashing, wait, eyes on the silhouettes of men in US marine uniforms on the corners of the buildings. Several shots come. We duck, get as low as possible and I can see tiny red lights whipping past the window, past my head. Some, it's hard to tell, are hitting the ambulance I start singing. What else do you do when someone's shooting at you? A tyre bursts with an enormous noise and a jerk of the vehicle. I'm outraged. We're trying to get to a woman who's giving birth without any medical attention, without electricity, in a city under siege, in a clearly marked ambulance, and you're shooting at us. How dare you? How dare you? Azzam grabs the gear stick and gets the ambulance into reverse, another tyre bursting as we go over the ridge in the centre of the road , the sots still coming as we flee around the corner. I carry on singing. The wheels are scraping, burst rubber burning on the road. The men run for a stretcher as we arrive and I shake my head. They spot the new bullet holes and run to see if we're OK. Is there any other way to get to her, I want to know. La, maaku tarieq. There is no other way. They say we did the right thing. They say they've fixed the ambulance four times already and they'll fix it again but the radiator's gone and the wheels are buckled and se's still at home in the dark giving birth alone. I let her down. We can't go out again. For one thing there's no ambulance and besides it's dark now and that means our foreign faces can't protect the people who go out with us or the people we pick up. Maki is the acting director of the place. He says he hated Saddam but now he hates the Americans more. We take off the blue gowns as the sky starts exploding somewhere beyond the building opposite. Minutes later a car roars up to the clinic. I can hear him screaming before I can see that there's no skin left on his body. He's burnt from head to foot. For sure there's nothing they can do. He'll die of dehydration within a few days. Another man is pulled from the car onto a stretcher. Cluster bombs, they say, although it's not clear whether they mean one or both of them. We set off walking to Mr Yasser's house, waiting at each corner for someone to check the street before we cross. A ball of fire falls from a plane, splits into smaller balls of bright white lights. I think they're cluster bombs, because cluster bombs are in the front of my mind, but they vanish, just magnesium flares, incredibly bright but short-lived, giving a flash picture of the town from above. Yasser asks us all to introduce ourselves. I tell him I'm training to be a lawyer. One of the other men asks whether I know about international law. They want to know about the law on war crimes, what a war crime is. I tell them I know some of the Geneva Conventions, that I'll bring some information next time I come and we can get someone to explain it in Arabic. We bring up the matter of Nayoko. This group of fighters has nothing to do with the ones who are holding the Japanese hostages, but while they're thanking us for what we did this evening, we talk about the things Nayoko did for the street kids, how much they loved her. They can't promise anything but that they'll try and find out where she is and try to persuade the group to let her and the others go. I don't suppose it will make any difference. They're busy fighting a war in Falluja. They're unconnected with the other group. But it can't hurt to try. The planes are above us all night so that as I doze I forget I'm not on a long distance flight, the constant bass note of an unmanned reconnaissance drone overlaid with the frantic thrash of jets and the dull beat of helicopters and interrupted by the explosions. In the morning I make balloon dogs, giraffes and elephants for the little one, Abdullah, Aboudi, who's clearly distressed by the noise of the aircraft and explosions. I blow bubbles which he follows with his eyes. Finally, finally, I score a smile. The twins, thirteen years old, laugh too, one of them an ambulance driver, both said to be handy with a Kalashnikov. The doctors look haggard in the morning. None has slept more than a couple of hours a night for a week. One as had only eight hours of sleep in the last seven days, missing the funerals of his brother and aunt because he was needed at the hospital. "The dead we cannot help," Jassim said. "I must worry about the injured." We go again, Dave, Rana and me, this time in a pick up. There are some sick people close to the marines' line who need evacuating. No one dares come out of their house because the marines are on top of the buildings shooting at anything that moves. Saad fetches us a white flag and tells us not to worry, he's checked and secured the road, no Mujahedin will fire at us, that peace is upon us, this eleven year old child, his face covered with a keffiyeh, but for is bright brown eyes, his AK47 almost as tall as he is. We shout again to the soldiers, hold up the flag with a red crescent sprayed onto it. Two come down from the building, cover this side and Rana mutters, "Allahu akbar. Please nobody take a shot at them." We jump down and tell them we need to get some sick people from the houses and they want Rana to go and bring out the family from the house whose roof they're on. Thirteen women and children are still inside, in one room, without food and water for the last 24 hours. "We're going to be going through soon clearing the houses," the senior one says. "What does that mean, clearing the houses?" "Going into every one searching for weapons." He's checking his watch, can't tell me what will start when, of course, but there's going to be air strikes in support. "If you're going to do tis you gotta do it soon." First we go down the street we were sent to. There's a man, face down, in a white dishdasha, a small round red stain on his back. We run to him. Again the flies ave got there first. Dave is at his shoulders, I'm by his knees and as we reach to roll him onto the stretcher Dave's hand goes through his chest, through the cavity left by the bullet that entered so neatly through his back and blew his heart out. There's no weapon in his hand. Only when we arrive, his sons come out, crying, shouting. He was unarmed, they scream. He was unarmed. He just went out the gate and they shot him. None of them have dared come out since. No one had dared come to get his body, horrified, terrified, forced to violate the traditions of treating the body immediately. They couldn't have known we were coming so it's inconceivable tat anyone came out and retrieved a weapon but left the body. He was unarmed, 55 years old, shot in the back. We cover his face, carry him to the pick up. There's nothing to cover his body with. The sick woman is helped out of the house, the little girls around her hugging cloth bags to their bodies, whispering, "Baba. Baba." Daddy. Shaking, they let us go first, hands up, around the corner, then we usher them to the cab of the pick up, shielding their heads so they can't see him, the cuddly fat man stiff in the back. The people seem to pour out of the houses now in the hope we can escort them safely out of the line of fire, kids, women, men, anxiously asking us whether they can all go, or only the women and children. We go to ask. The young marine tells us that men of fighting age can't leave. What's fighting age, I want to know. He contemplates. Anything under forty five. No lower limit. It appals me that all those men would be trapped in a city which is about to be destroyed. Not all of them are fighters, not all are armed. It's going to happen out of the view of the world, out of sight of the media, because most of the media in Falluja is embedded with the marines or turned away at the outskirts. Before we can pass the message on, two explosions scatter the crowd in the side street back into their houses. Rana's with the marines evacuating the family from the house they're occupying. The pick up isn't back yet. The families are hiding behind their walls. We wait, because there's nothing else we can do. We wait in no man's land. The marines, at least, are watching us through binoculars; maybe the local fighters are too. I've got a disappearing hanky in my pocket so while I'm sitting like a lemon, nowhere to go, gunfire and explosions aplenty all around, I make the hanky disappear, reappear, disappear. It's always best, I think, to seem completely unthreatening and completely unconcerned, so no one worries about you enough to shoot. We can't wait too long though. Rana's been gone ages. We have to go and get her to hurry. There's a young man in the group. She's talked them into letting him leave too. A man wants to use his police car to carry some of the people, a couple of elderly ones who can't walk far, the smallest children. It's missing a door. Who knows if he was really a police car or the car was reappropriated and just ended up there? It didn't matter if it got more people out faster. They creep from their houses, huddle by the wall, follow us out, their hands up too, and walk up the street clutching babies, bags, each other. The pick up gets back and we shovel as many onto it as we can as an ambulance arrives from somewhere. A young man waves from the doorway of what's left of a house, his upper body bare, a blood soaked bandage around his arm, probably a fighter but it makes no difference once someone is wounded and unarmed. Getting the dead isn't essential. Like the doctor said, the dead don't need help, but if it's easy enough then we will. Since we're already OK with the soldiers and the ambulance is here, we run down to fetch them in. It's important in Islam to bury the body straightaway. The ambulance follows us down. The soldiers start shouting in English at us for it to stop, pointing guns. It's moving fast. We're all yelling, signalling for it to stop but it seems to take forever for the driver to hear and see us. It stops. It stops, before they open fire. We haul them onto the stretchers and run, shove them in the back. Rana squeezes in the front with the wounded man and Dave and I crouch in the back beside the bodies. He says he had allergies as a kid and hasn't got much sense of smell. I wish, retrospectively, for childhood allergies, and stick my head out the window. The bus is going to leave, taking the injured people back to Baghdad, the man with the burns, one of the women who was shot in the jaw and shoulder by a sniper, several others. Rana says she's staying to help. Dave and I don't hesitate: we're staying too. "If I don't do it, who will?" has become an accidental motto and I'm acutely aware after the last foray how many people, how many women and children, are still in their houses either because they've got nowhere to go, because they're scared to go out of the door or because they've chosen to stay. To begin with it's agreed, then Azzam says we have to go. He hasn't got contacts with every armed group, only with some. There are different issues to square with each one. We need to get these people back to Baghdad as quickly as we can. If we're kidnapped or killed it will cause even more problems, so it's better that we just get on the bus and leave and come back with him as soon as possible. It hurts to climb onto the bus when the doctor has just asked us to go and evacuate some more people. I hate the fact that a qualified medic can't travel in the ambulance but I can, just because I look like the sniper's sister or one of his mates, but that's the way it is today and the way it was yesterday and I feel like a traitor for leaving, but I can't see where I've got a choice. It's a war now and as alien as it is to me to do what I'm told, for once I've got to. Jassim is scared. He harangues Mohammed constantly, tries to pull him out of the driver's seat wile we're moving. The woman with the gunshot wound is on the back seat, the man with the burns in front of her, being fanned with cardboard from the empty boxes, his intravenous drips swinging from the rail along the ceiling of the bus. It's hot. It must be unbearable for him. Saad comes onto the bus to wish us well for the journey. He shakes Dave's hand and then mine. I hold his in both of mine and tell him "Dir balak," take care, as if I could say anything more stupid to a pre-teen Mujahedin with an AK47 in his other hand, and our eyes meet and stay fixed, his full of fire and fear. Can't I take him away? Can't I take him somewhere he can be a child? Can't I make him a balloon giraffe and give him some drawing pens and tell him not to forget to brush his teeth? Can't I find the person who put the rifle in the hands of that little boy? Can't I tell someone about what that does to a child? Do I have to leave him here where there are heavily armed men all around him and lots of them are not on his side, however many sides there are in all of this? And of course I do. I do have to leave him, like child soldiers everywhere. The way back is tense, the bus almost getting stuck in a dip in the sand, people escaping in anything, even piled on the trailer of a tractor, lines of cars and pick ups and buses ferrying people to the dubious sanctuary of Baghdad, lines of men in vehicles queuing to get back into the city having got their families to safety, either to fight or to help evacuate more people. The driver, Jassim, the father, ignores Azzam and takes a different road so that suddenly we're not following the lead car and we're on a road that's controlled by a different armed group than the ones which know us. A crowd of men waves guns to stop the bus. Somehow they apparently believe that there are American soldiers on the bus, as if they wouldn't be in tanks or helicopters, and there are men getting out of their cars with shouts of "Sahafa Amreeki," American journalists. The passengers shout out of the windows, "Ana min Falluja," I am from Falluja. Gunmen run onto the bus and see that it's true, there are sick and injured and old people, Iraqis, and then relax, wave us on. We stop in Abu Ghraib and swap seats, foreigners in the front, Iraqis less visible, headscarves off so we look more western. The American soldiers are so happy to see westerners they don't mind too much about the Iraqis with us, search the men and the bus, leave the women unsearched because there are no women soldiers to search us. Mohammed keeps asking me if things are going to be OK. "Al-melaach wiyana, " I tell him. The angels are with us. He laughs. And then we're in Baghdad, delivering them to the hospitals, Nuha in tears as they take the burnt man off groaning and whimpering. She puts her arms around me and asks me to be her friend. I make her feel less isolated, she says, less alone. And the satellite news says the cease-fire is holding and George Bush says to the troops on Easter Sunday that, "I know what we're doing in Iraq is right." Shooting unarmed men in the back outside their family home is right. Shooting grandmothers with white flags is right? Shooting at women and children who are fleeing their homes is right? Firing at ambulances is right? Well George, I know too now. I know what it looks like when you brutalise people so much that they've nothing left to lose. I know what it looks like when an operation is being done without anaesthetic because the hospitals are destroyed or under sniper fire and the city's under siege and aid isn't getting in properly. I know what it sounds like too. I know what it looks like when tracer bullets are passing your head, even though you're in an ambulance. I know what it looks like when a man's chest is no longer inside him and what it smells like and I know what it looks like when his wife and children pour out of his house. * * * cm http://texfiles.blogspot.com http://www.uta.edu/english/znine ========================================================================= Date: Mon, 19 Apr 2004 12:40:31 -0400 Reply-To: az421@freenet.carleton.ca Sender: UB Poetics discussion group From: Rob McLennan Subject: [maggie@web.net: [smallpressers] Coach House threatened] Content-transfer-encoding: 7BIT Okay, it's in the paper now, so I guess we can go public ... Campus Co-op wants to knock down Coach House Press. See today's Globe and Mail for details. Seems to me a good first step would be to send many letters to the Globe supporting CH and letting Campus Co-op know that their name will stink if they go through with this. mh -- poet/editor/pub. ... ed. STANZAS mag & side/lines: a new canadian poetics (Insomniac)...pub., above/ground press ...coord.,SPAN-O + ottawa small press fair ...8th coll'n - red earth (Black Moss) ...c/o RR#1 Maxville ON K0C 1T0 www.track0.com/rob_mclennan * http://robmclennan.blogspot.com/ ========================================================================= Date: Mon, 19 Apr 2004 13:31:13 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "David A. Kirschenbaum" Subject: ** Advertise in Boog City and Save Lives ** Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit Boog City's discount ad rate is here to stay. Our May issue is going to press on Tues., April 27, and we are once again offering a 50% discount on our 1/8-page ads, cutting them from $60 to $30. (The discount rate also applies on larger ads.) Advertise your small press's newest publications, your own titles, your band's new album, your label's new releases, or simply profess your undying love for Jodie Foster in print. Ads must be in by Sun., April 25 (and please reserve space ASAP) (we're also cool with donations, real cool.) Issue will be distributed on Wed. April 28. Email editor@boogcity.com or call 212-842-BOOG(2664) for more information. thanks, David -- David A. Kirschenbaum, editor and publisher Boog City 330 W.28th St., Suite 6H NY, NY 10001-4754 For event and publication information: http://boogcity.blog-city.com/ T: (212) 842-BOOG (2664) F: (212) 842-2429 ========================================================================= Date: Mon, 19 Apr 2004 12:03:43 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Belinda Subramanian MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Final call for submissions: =20 Vergin Press/Gypsy will be having some activity this Spring. A special = review packet will be sent out with 3 recent Vergin Press chapbooks, = Gypsy Magazine and a folder of quality broadsides suitable for framing. =20 I am looking for short, exquisite, poems with insight and impact. If = you would like to submit, send up to 5 poems, each as separate Word file = attachments to subraman1@msn.com or send hard = copy to Vergin Press, P.O. Box 370322, El Paso, TX 79937. If you are = an artist as well you may go ahead and send your best poems already = illustrated with black and white drawings. Of course S.A.S.E. should be = included for return. I am also interested in art without poetry. If you = have any questions, email me at the above address. =20 Also enclose a very short bio, preferably referring to you instead of = where you've been published. For those submitting by email please also = send a land address. =20 All selected poets will receive a copy of the magazine. Poets chosen = for the broadsides series will also receive 10 extra copies of their own = broadside. =20 Deadline: May 5, 2004 =20 Belinda Subraman, editor ========================================================================= Date: Mon, 19 Apr 2004 15:06:11 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mairead Byrne Subject: Mairead Byrne & Tomaz Salamun Mime-Version: 1.0 Content-Type: text/plain; charset=Windows-874 Content-Transfer-Encoding: quoted-printable Content-Disposition: inline If you can be in Ireland: Mairead Byrne & Tomaz Salamun will read at the Town Hall Theatre, Galway, = on Thursday April 22 at 2.30pm. This is a Cuirt International Literature Festival event. Mairead Byrne will also direct a workshop and give a reading at Castlerea = Prison in Roscommon on Friday April 23. =93Writing is the joy when all other joys have failed.=94 =97Russell Edson =93I breathe and a poem jumps up.=94 =97Tomaz Salamun www.maireadbyrne.blogspot.com ========================================================================= Date: Mon, 19 Apr 2004 15:16:48 -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. 51 (2004) ROBIN LESLIE JACOBSON Lost and Found | If It Will Make a Poem The Opposite of Seeds | Anagram Rosebud | Curves Not Ideas About the Woman but the Woman Herself A native New Yorker and transplanted New Englander, Robin Leslie Jacobson began writing poetry when she moved to the San Francisco Bay Area in the mid-1990s. Robin teaches creative writing through Artists in the Schools, California Poets in the Schools, and Poets & Writers. A writer, editor, and designer for arts organizations and other nonprofits, she also coaches performing artists and has been recognized for her work as a director by the Bay Area Theater Critics Circle. Robin's poems and prose have appeared in Atlanta Review, Barnabe Mountain Review, Clackamas Literary Review, Convolvulus, Crab Orchard Review, The Montserrat Review, Poetry Flash, Runes, and other publications. She has received an American Pen Women Prize and Marin Arts Council grants, and has been a writer-in-residence at the Headlands Center for the Arts. Robin's chapbook EYE DROPS was featured in Ruah, and her chapbook THE EXIT MARKED PARADISE (True North Press) has just been released. 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, 19 Apr 2004 15:40:05 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Fulcrum Annual Organization: Fulcrum Annual Subject: April 24: Thayil and Mazer to read in Harvard Square MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit SATURDAY, APRIL 24: Fulcrum Poetry Reading Ben Mazer and Jeet Thayil read at 5:00 p.m., at Wordsworth Books, 30 Brattle Street, Cambridge (354-5201). Jeet Thayil (New York) will read from his new collection "English" (Penguin/Rattapallax, 2004). Ben Mazer (Boston) is the editor of the "Collected Poems of John Crowe Ransom" (Handsel Books, 2005), and of an anthology of the Berkeley Renaissance, forthcoming in Fulcrum: an annual of poetry and aesthetics. ========================================================================= Date: Mon, 19 Apr 2004 17:02:09 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Ken Rumble Subject: Desert City w/ Rod Smith, Mark Wallace, & Lorraine Graham -- Carrboro, NC Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Please spread far and wide...... Who: Rod Smith, author of _Music or Honesty_, _Protective Immediacy_, and other of your favorite books, editor of Aerial Magazine and Edge Books, former chess opponent to John Cage, all around go-to-guy for things vegetable, animal, or mineral. Who: Mark Wallace, author of _Haze_, _Temporary Worker Rides a Subway_, _Sonnets of a Penny-a-Liner_, editor of the heroic _Telling It Slant: Avant Garde Poetics of the 1990s_, first guy picked for every kickball team in America. Who: K. Lorraine Graham, author of _Dear [Blank] I Believe in Other Worlds_, editor of Anomaly Magazine, executrix for the dinosaurs, owns working original Herbie the Love Bug. What: Desert City Poetry Series, Season Finale!! Single-handedly re-legitamizing the exclamation point. When: Saturday, April 24th, 8:00 pm, 2004 Where: Sizl Gallery, 405 E. Main Street, Carrboro, NC, near Carrburritos, off Franklin, intersects Rosemary, directly above the center of the earth, park at the Meineke Why: "you look great! thanks no / I don't. thanks, you do too. thanks, / I like your shirt." "A colossal-headed Ted Baxter is constantly threatening to punch our collective face out so we can't do our own commercials." "Poetry doesn't care who loves it" See you there...... Sizl Gallery: www.sizlgallery.com Desert City's favorite independent bookstore: The Internationalist: www.internationalistbooks.org Desert City Poetry Series: http://www.carrboro.com/desertcitypoetry/, coming soon -- www.desertcity.org Rod Smith: http://epc.buffalo.edu/authors/smithr/ Mark Wallace: http://epc.buffalo.edu/authors/wallace/ K. Lorraine Graham: http://www.geocities.com/anomalypress/ ---contact DCPS: Ken Rumble, Director, rumblek@bellsouth.net “Lucifer” by Rod Smith Viaduct off-spring of a slinkie salesperson Divorce or acutely vivid-- (welp) dyspeptic area code yet recombinatory, on ceremonial disturbed water stoop Say the sound &/or slay the swingline Some say need is a statutory explanation of the mobility of synchronicity. Most of them are guiltyof democratic leanings. from “The Monstrous Failure of Contemplation” by Mark Wallace Do you believe this story zombies are eating human flesh the creature looks like one of us do you believe this story they were trained in the slaughterhouse it pulled her down the sink do you believe this story nuclear ant crushes a truck dead Indians rise from a grave The industry of fear millions of dollars a year “As a child, blood and gore actually comforted me, because I forgot the tension upstairs. It was only later I learned I was an alien.” from “Dear [Blank] I Believe in Other Worlds” by K. Lorraine Graham Everything flips. Say: it’s a thing! and it flips and says look at me I’m a thing, a speaking thing! and so we think to ourselves outloud and so perhaps to others I wonder how can this be this thing-no-longer-thing is speaking and I am filled with either horror or with love: and so it’s a boring flip and hardly a flip at all, churchbells sounding high above an oil rig, real and true and trying to tie themselves to things, some things more than others, some with or without makeup on, or covered in skin and vein and eventually unbleached un arranged bones that have not been placed in closets but instead lovingly reanimated into zombies via gigantic cauldrons, usually stolen from small Celtic countries and returned as peace offerings via weddings in times of war. ========================================================================= Date: Mon, 19 Apr 2004 16:09:35 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Haas Bianchi Subject: More Important than Poetry In-Reply-To: <20040419210044.HMSC1779.imf21aec.mail.bellsouth.net@hppav> MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 8bit Ok Poets a little whimsy- I am taking a poll- what is your favorite baseball team? R Raymond L Bianchi chicagopostmodernpoetrycalendar.blogspot.com/ collagepoetchicago.blogspot.com/ > -----Original Message----- > From: UB Poetics discussion group > [mailto:POETICS@LISTSERV.BUFFALO.EDU]On Behalf Of Ken Rumble > Sent: Monday, April 19, 2004 4:02 PM > To: POETICS@LISTSERV.BUFFALO.EDU > Subject: Desert City w/ Rod Smith, Mark Wallace, & Lorraine Graham -- > Carrboro, NC > > > Please spread far and wide...... > > Who: Rod Smith, author of _Music or Honesty_, _Protective Immediacy_, and > other of your favorite books, editor of Aerial Magazine and Edge > Books, former > chess opponent to John Cage, all around go-to-guy for things vegetable, > animal, > or mineral. > > Who: Mark Wallace, author of _Haze_, _Temporary Worker Rides a Subway_, > _Sonnets of a Penny-a-Liner_, editor of the heroic _Telling It > Slant: Avant > Garde Poetics of the 1990s_, first guy picked for every kickball team in > America. > > Who: K. Lorraine Graham, author of _Dear [Blank] I Believe in > Other Worlds_, > editor of Anomaly Magazine, executrix for the dinosaurs, owns > working original > Herbie the Love Bug. > > What: Desert City Poetry Series, Season Finale!! Single-handedly > re-legitamizing the exclamation point. > > When: Saturday, April 24th, 8:00 pm, 2004 > > Where: Sizl Gallery, 405 E. Main Street, Carrboro, NC, near > Carrburritos, off > Franklin, intersects Rosemary, directly above the center of the > earth, park at > the Meineke > > Why: "you look great! thanks no / I don't. thanks, you do too. > thanks, / I > like your shirt." > "A colossal-headed Ted Baxter is constantly threatening to punch our > collective > face out so we can't do our own commercials." > "Poetry doesn't care who loves it" > > See you there...... > > Sizl Gallery: www.sizlgallery.com > > Desert City's favorite independent bookstore: The Internationalist: > www.internationalistbooks.org > > Desert City Poetry Series: http://www.carrboro.com/desertcitypoetry/, > coming soon -- www.desertcity.org > > Rod Smith: > http://epc.buffalo.edu/authors/smithr/ > > Mark Wallace: > http://epc.buffalo.edu/authors/wallace/ > > K. Lorraine Graham: > http://www.geocities.com/anomalypress/ > > ---contact DCPS: Ken Rumble, Director, rumblek@bellsouth.net > > “Lucifer” > by Rod Smith > > Viaduct off-spring of a slinkie > > salesperson > > Divorce > or > acutely vivid-- > > (welp) > > dyspeptic area code > yet recombinatory, on ceremonial > disturbed water stoop > > Say the sound > &/or slay the swingline > > Some say need > is a statutory explanation > of the mobility > of synchronicity. > Most of them are guiltyof democratic leanings. > > from “The Monstrous Failure of Contemplation” > by Mark Wallace > > Do you believe this story > zombies are eating human flesh > the creature looks like one of us > do you believe this story > they were trained in the slaughterhouse > it pulled her down the sink > do you believe this story > nuclear ant crushes a truck > dead Indians rise from a grave > > The industry of fear > millions of dollars a year > > “As a child, blood and gore > actually comforted me, because I forgot > the tension upstairs. > It was only later I learned > I was an alien.” > > from “Dear [Blank] I Believe in Other Worlds” > by K. Lorraine Graham > > Everything flips. Say: it’s a thing! and it flips and says look > at me I’m a > thing, a speaking thing! and so we think to ourselves outloud and so > perhaps to > others I wonder how can this be this thing-no-longer-thing is speaking and > I am > filled with either horror or with love: and so it’s a boring flip > and hardly a > flip at all, churchbells sounding high above an oil rig, real and true and > trying to tie themselves to things, some things more than others, > some with or > without makeup on, or covered in skin and vein and eventually > unbleached un > arranged bones that have not been placed in closets but instead lovingly > reanimated into zombies via gigantic cauldrons, usually stolen from small > Celtic countries and returned as peace offerings via weddings in > times of war. > ========================================================================= Date: Mon, 19 Apr 2004 21:11:36 +0000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Frank Sherlock Subject: Re: More Important than Poetry Mime-Version: 1.0 Content-Type: text/plain; format=flowed 1993 Phillies. >From: Haas Bianchi >Reply-To: UB Poetics discussion group >To: POETICS@LISTSERV.BUFFALO.EDU >Subject: More Important than Poetry >Date: Mon, 19 Apr 2004 16:09:35 -0500 > >Ok Poets a little whimsy- I am taking a poll- what is your favorite >baseball >team? > >R > >Raymond L Bianchi >chicagopostmodernpoetrycalendar.blogspot.com/ >collagepoetchicago.blogspot.com/ > > > -----Original Message----- > > From: UB Poetics discussion group > > [mailto:POETICS@LISTSERV.BUFFALO.EDU]On Behalf Of Ken Rumble > > Sent: Monday, April 19, 2004 4:02 PM > > To: POETICS@LISTSERV.BUFFALO.EDU > > Subject: Desert City w/ Rod Smith, Mark Wallace, & Lorraine Graham -- > > Carrboro, NC > > > > > > Please spread far and wide...... > > > > Who: Rod Smith, author of _Music or Honesty_, _Protective Immediacy_, >and > > other of your favorite books, editor of Aerial Magazine and Edge > > Books, former > > chess opponent to John Cage, all around go-to-guy for things vegetable, > > animal, > > or mineral. > > > > Who: Mark Wallace, author of _Haze_, _Temporary Worker Rides a Subway_, > > _Sonnets of a Penny-a-Liner_, editor of the heroic _Telling It > > Slant: Avant > > Garde Poetics of the 1990s_, first guy picked for every kickball team in > > America. > > > > Who: K. Lorraine Graham, author of _Dear [Blank] I Believe in > > Other Worlds_, > > editor of Anomaly Magazine, executrix for the dinosaurs, owns > > working original > > Herbie the Love Bug. > > > > What: Desert City Poetry Series, Season Finale!! Single-handedly > > re-legitamizing the exclamation point. > > > > When: Saturday, April 24th, 8:00 pm, 2004 > > > > Where: Sizl Gallery, 405 E. Main Street, Carrboro, NC, near > > Carrburritos, off > > Franklin, intersects Rosemary, directly above the center of the > > earth, park at > > the Meineke > > > > Why: "you look great! thanks no / I don't. thanks, you do too. > > thanks, / I > > like your shirt." > > "A colossal-headed Ted Baxter is constantly threatening to punch our > > collective > > face out so we can't do our own commercials." > > "Poetry doesn't care who loves it" > > > > See you there...... > > > > Sizl Gallery: www.sizlgallery.com > > > > Desert City's favorite independent bookstore: The Internationalist: > > www.internationalistbooks.org > > > > Desert City Poetry Series: >http://www.carrboro.com/desertcitypoetry/, > > coming soon -- www.desertcity.org > > > > Rod Smith: > > http://epc.buffalo.edu/authors/smithr/ > > > > Mark Wallace: > > http://epc.buffalo.edu/authors/wallace/ > > > > K. Lorraine Graham: > > http://www.geocities.com/anomalypress/ > > > > ---contact DCPS: Ken Rumble, Director, rumblek@bellsouth.net > > > > “Lucifer” > > by Rod Smith > > > > Viaduct off-spring of a slinkie > > > > salesperson > > > > Divorce > > or > > acutely vivid-- > > > > (welp) > > > > dyspeptic area code > > yet recombinatory, on ceremonial > > disturbed water stoop > > > > Say the sound > > &/or slay the swingline > > > > Some say need > > is a statutory explanation > > of the mobility > > of synchronicity. > > Most of them are guiltyof democratic leanings. > > > > from “The Monstrous Failure of Contemplation” > > by Mark Wallace > > > > Do you believe this story > > zombies are eating human flesh > > the creature looks like one of us > > do you believe this story > > they were trained in the slaughterhouse > > it pulled her down the sink > > do you believe this story > > nuclear ant crushes a truck > > dead Indians rise from a grave > > > > The industry of fear > > millions of dollars a year > > > > “As a child, blood and gore > > actually comforted me, because I forgot > > the tension upstairs. > > It was only later I learned > > I was an alien.” > > > > from “Dear [Blank] I Believe in Other Worlds” > > by K. Lorraine Graham > > > > Everything flips. Say: it’s a thing! and it flips and says look > > at me I’m a > > thing, a speaking thing! and so we think to ourselves outloud and so > > perhaps to > > others I wonder how can this be this thing-no-longer-thing is speaking >and > > I am > > filled with either horror or with love: and so it’s a boring flip > > and hardly a > > flip at all, churchbells sounding high above an oil rig, real and true >and > > trying to tie themselves to things, some things more than others, > > some with or > > without makeup on, or covered in skin and vein and eventually > > unbleached un > > arranged bones that have not been placed in closets but instead lovingly > > reanimated into zombies via gigantic cauldrons, usually stolen from >small > > Celtic countries and returned as peace offerings via weddings in > > times of war. > > _________________________________________________________________ Stop worrying about overloading your inbox - get MSN Hotmail Extra Storage! http://join.msn.com/?pgmarket=en-us&page=hotmail/es2&ST=1/go/onm00200362ave/direct/01/ ========================================================================= Date: Mon, 19 Apr 2004 14:12:10 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: alexander saliby Subject: Re: More Important than Poetry MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable 1951 New York Giants=20 ----- Original Message -----=20 From: Frank Sherlock=20 To: POETICS@LISTSERV.BUFFALO.EDU=20 Sent: Monday, April 19, 2004 2:11 PM Subject: Re: More Important than Poetry 1993 Phillies. >From: Haas Bianchi > >Reply-To: UB Poetics discussion group = > >To: POETICS@LISTSERV.BUFFALO.EDU >Subject: More Important than Poetry >Date: Mon, 19 Apr 2004 16:09:35 -0500 > >Ok Poets a little whimsy- I am taking a poll- what is your favorite >baseball >team? > >R > >Raymond L Bianchi >chicagopostmodernpoetrycalendar.blogspot.com/ >collagepoetchicago.blogspot.com/ > > > -----Original Message----- > > From: UB Poetics discussion group > > [mailto:POETICS@LISTSERV.BUFFALO.EDU]On Behalf Of Ken Rumble > > Sent: Monday, April 19, 2004 4:02 PM > > To: = POETICS@LISTSERV.BUFFALO.EDU > > Subject: Desert City w/ Rod Smith, Mark Wallace, & Lorraine Graham = -- > > Carrboro, NC > > > > > > Please spread far and wide...... > > > > Who: Rod Smith, author of _Music or Honesty_, _Protective = Immediacy_, >and > > other of your favorite books, editor of Aerial Magazine and Edge > > Books, former > > chess opponent to John Cage, all around go-to-guy for things = vegetable, > > animal, > > or mineral. > > > > Who: Mark Wallace, author of _Haze_, _Temporary Worker Rides a = Subway_, > > _Sonnets of a Penny-a-Liner_, editor of the heroic _Telling It > > Slant: Avant > > Garde Poetics of the 1990s_, first guy picked for every kickball = team in > > America. > > > > Who: K. Lorraine Graham, author of _Dear [Blank] I Believe in > > Other Worlds_, > > editor of Anomaly Magazine, executrix for the dinosaurs, owns > > working original > > Herbie the Love Bug. > > > > What: Desert City Poetry Series, Season Finale!! Single-handedly > > re-legitamizing the exclamation point. > > > > When: Saturday, April 24th, 8:00 pm, 2004 > > > > Where: Sizl Gallery, 405 E. Main Street, Carrboro, NC, near > > Carrburritos, off > > Franklin, intersects Rosemary, directly above the center of the > > earth, park at > > the Meineke > > > > Why: "you look great! thanks no / I don't. thanks, you do too. > > thanks, / I > > like your shirt." > > "A colossal-headed Ted Baxter is constantly threatening to punch = our > > collective > > face out so we can't do our own commercials." > > "Poetry doesn't care who loves it" > > > > See you there...... > > > > Sizl Gallery: www.sizlgallery.com > > > > Desert City's favorite independent bookstore: The = Internationalist: > > = www.internationalistbooks.org > > > > Desert City Poetry Series: >http://www.carrboro.com/desertcitypoetry/, > > coming soon -- = www.desertcity.org > > > > Rod Smith: > > = http://epc.buffalo.edu/authors/smithr/ > > > > Mark Wallace: > > = http://epc.buffalo.edu/authors/wallace/ > > > > K. Lorraine Graham: > > = http://www.geocities.com/anomalypress/ > > > > ---contact DCPS: Ken Rumble, Director, = rumblek@bellsouth.net > > > > "Lucifer" > > by Rod Smith > > > > Viaduct off-spring of a slinkie > > > > salesperson > > > > Divorce > > or > > acutely vivid-- > > > > (welp) > > > > dyspeptic area code > > yet recombinatory, on ceremonial > > disturbed water stoop > > > > Say the sound > > &/or slay the swingline > > > > Some say need > > is a statutory explanation > > of the mobility > > of synchronicity. > > Most of them are guiltyof democratic leanings. > > > > from "The Monstrous Failure of Contemplation" > > by Mark Wallace > > > > Do you believe this story > > zombies are eating human flesh > > the creature looks like one of us > > do you believe this story > > they were trained in the slaughterhouse > > it pulled her down the sink > > do you believe this story > > nuclear ant crushes a truck > > dead Indians rise from a grave > > > > The industry of fear > > millions of dollars a year > > > > "As a child, blood and gore > > actually comforted me, because I forgot > > the tension upstairs. > > It was only later I learned > > I was an alien." > > > > from "Dear [Blank] I Believe in Other Worlds" > > by K. Lorraine Graham > > > > Everything flips. Say: it's a thing! and it flips and says look > > at me I'm a > > thing, a speaking thing! and so we think to ourselves outloud and = so > > perhaps to > > others I wonder how can this be this thing-no-longer-thing is = speaking >and > > I am > > filled with either horror or with love: and so it's a boring flip > > and hardly a > > flip at all, churchbells sounding high above an oil rig, real and = true >and > > trying to tie themselves to things, some things more than others, > > some with or > > without makeup on, or covered in skin and vein and eventually > > unbleached un > > arranged bones that have not been placed in closets but instead = lovingly > > reanimated into zombies via gigantic cauldrons, usually stolen = from >small > > Celtic countries and returned as peace offerings via weddings in > > times of war. > > _________________________________________________________________ Stop worrying about overloading your inbox - get MSN Hotmail Extra = Storage! = http://join.msn.com/?pgmarket=3Den-us&page=3Dhotmail/es2&ST=3D1/go/onm002= 00362ave/direct/01/ ========================================================================= Date: Mon, 19 Apr 2004 17:17:15 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Vernon Frazer Subject: Re: More Important than Poetry In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit 1) Boston Red Sox 2) Florida Marlins -----Original Message----- From: UB Poetics discussion group [mailto:POETICS@LISTSERV.BUFFALO.EDU] On Behalf Of Frank Sherlock Sent: Monday, April 19, 2004 5:12 PM To: POETICS@LISTSERV.BUFFALO.EDU Subject: Re: More Important than Poetry 1993 Phillies. >From: Haas Bianchi >Reply-To: UB Poetics discussion group >To: POETICS@LISTSERV.BUFFALO.EDU >Subject: More Important than Poetry >Date: Mon, 19 Apr 2004 16:09:35 -0500 > >Ok Poets a little whimsy- I am taking a poll- what is your favorite >baseball >team? > >R > >Raymond L Bianchi >chicagopostmodernpoetrycalendar.blogspot.com/ >collagepoetchicago.blogspot.com/ > > > -----Original Message----- > > From: UB Poetics discussion group > > [mailto:POETICS@LISTSERV.BUFFALO.EDU]On Behalf Of Ken Rumble > > Sent: Monday, April 19, 2004 4:02 PM > > To: POETICS@LISTSERV.BUFFALO.EDU > > Subject: Desert City w/ Rod Smith, Mark Wallace, & Lorraine Graham -- > > Carrboro, NC > > > > > > Please spread far and wide...... > > > > Who: Rod Smith, author of _Music or Honesty_, _Protective Immediacy_, >and > > other of your favorite books, editor of Aerial Magazine and Edge > > Books, former > > chess opponent to John Cage, all around go-to-guy for things vegetable, > > animal, > > or mineral. > > > > Who: Mark Wallace, author of _Haze_, _Temporary Worker Rides a Subway_, > > _Sonnets of a Penny-a-Liner_, editor of the heroic _Telling It > > Slant: Avant > > Garde Poetics of the 1990s_, first guy picked for every kickball team in > > America. > > > > Who: K. Lorraine Graham, author of _Dear [Blank] I Believe in > > Other Worlds_, > > editor of Anomaly Magazine, executrix for the dinosaurs, owns > > working original > > Herbie the Love Bug. > > > > What: Desert City Poetry Series, Season Finale!! Single-handedly > > re-legitamizing the exclamation point. > > > > When: Saturday, April 24th, 8:00 pm, 2004 > > > > Where: Sizl Gallery, 405 E. Main Street, Carrboro, NC, near > > Carrburritos, off > > Franklin, intersects Rosemary, directly above the center of the > > earth, park at > > the Meineke > > > > Why: "you look great! thanks no / I don't. thanks, you do too. > > thanks, / I > > like your shirt." > > "A colossal-headed Ted Baxter is constantly threatening to punch our > > collective > > face out so we can't do our own commercials." > > "Poetry doesn't care who loves it" > > > > See you there...... > > > > Sizl Gallery: www.sizlgallery.com > > > > Desert City's favorite independent bookstore: The Internationalist: > > www.internationalistbooks.org > > > > Desert City Poetry Series: >http://www.carrboro.com/desertcitypoetry/, > > coming soon -- www.desertcity.org > > > > Rod Smith: > > http://epc.buffalo.edu/authors/smithr/ > > > > Mark Wallace: > > http://epc.buffalo.edu/authors/wallace/ > > > > K. Lorraine Graham: > > http://www.geocities.com/anomalypress/ > > > > ---contact DCPS: Ken Rumble, Director, rumblek@bellsouth.net > > > > "Lucifer" > > by Rod Smith > > > > Viaduct off-spring of a slinkie > > > > salesperson > > > > Divorce > > or > > acutely vivid-- > > > > (welp) > > > > dyspeptic area code > > yet recombinatory, on ceremonial > > disturbed water stoop > > > > Say the sound > > &/or slay the swingline > > > > Some say need > > is a statutory explanation > > of the mobility > > of synchronicity. > > Most of them are guiltyof democratic leanings. > > > > from "The Monstrous Failure of Contemplation" > > by Mark Wallace > > > > Do you believe this story > > zombies are eating human flesh > > the creature looks like one of us > > do you believe this story > > they were trained in the slaughterhouse > > it pulled her down the sink > > do you believe this story > > nuclear ant crushes a truck > > dead Indians rise from a grave > > > > The industry of fear > > millions of dollars a year > > > > "As a child, blood and gore > > actually comforted me, because I forgot > > the tension upstairs. > > It was only later I learned > > I was an alien." > > > > from "Dear [Blank] I Believe in Other Worlds" > > by K. Lorraine Graham > > > > Everything flips. Say: it's a thing! and it flips and says look > > at me I'm a > > thing, a speaking thing! and so we think to ourselves outloud and so > > perhaps to > > others I wonder how can this be this thing-no-longer-thing is speaking >and > > I am > > filled with either horror or with love: and so it's a boring flip > > and hardly a > > flip at all, churchbells sounding high above an oil rig, real and true >and > > trying to tie themselves to things, some things more than others, > > some with or > > without makeup on, or covered in skin and vein and eventually > > unbleached un > > arranged bones that have not been placed in closets but instead lovingly > > reanimated into zombies via gigantic cauldrons, usually stolen from >small > > Celtic countries and returned as peace offerings via weddings in > > times of war. > > _________________________________________________________________ Stop worrying about overloading your inbox - get MSN Hotmail Extra Storage! http://join.msn.com/?pgmarket=en-us&page=hotmail/es2&ST=1/go/onm00200362ave/ direct/01/ ========================================================================= Date: Mon, 19 Apr 2004 14:30:36 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Leslie Scalapino Subject: Scalapino, Watanabe, Oliveros et al at Yerba Buena SF MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable June Watanabe in Company in association with Yerba Buena Center for the Arts premieres Noh Project II - 'Can't' is 'Night' An interdisciplinary performance work, illuminates the metaphysical = dualities of life, war, and aesthetic thought through the varied = Buddhist minds of the artists. Created by choreographer/director June Watanabe, Noh Master and = Intangible Cultural Asset of Japan Anshin Uchida, poet Leslie Scalapino, = composer/musician Pauline Oliveros with Philip Gelb, (Shakuhachi), Shoko Hikage (Koto), and Toyoji Tomita (Trombone). Performances: Wednesday-Thursday, May 5-6 at 8 pm YBCA Forum 701 Mission Street San Francisco Tickets: $25 general / $20 seniors, students & YBCA members YBCA box office: 415-978-2787 Free pre-performance discussion on Thursday, May 6th at 6:30pm = -"Transformations in the Third Space". This dialogue with critic/writer = Ann Murphy and UC Berkeley postdoctoral research scholar Katherine = Mezur, focuses on risk and transformation in collaborative performance, = and the creation of intercultural hybrid forms. "...one of the most demanding and provocative collaborations I've seen = in years, where form and content fused with sinuous delicacy." - Ann Murphy, Dance View West INFO: For general inquiries, call 415-499-1928 or visit www.junewatanabeincompany.com This project has been made possible in part with support from the Asian = Cultural Council, William and Flora Hewlett Foundation, The Japan = Foundation through its Performing Arts JAPAN program, Marin Community Foundation, = Headlands Center for the Arts, Zellerbach Family Fund, and Yerba Buena = Center for the Arts. ========================================================================= Date: Tue, 20 Apr 2004 05:30:52 +0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: furniture_ press Subject: Re: More Important than Poetry Content-Type: text/plain; charset="iso-8859-1" Content-Disposition: inline Content-Transfer-Encoding: 7bit MIME-Version: 1.0 New York Yankees. Tough call, but I grew up in Queens (yeah yeah the Mets!) and fuck if you think they're just a big business team: THEY ARE! but i love 'em... ----- Original Message ----- From: Haas Bianchi Date: Mon, 19 Apr 2004 16:09:35 -0500 To: POETICS@LISTSERV.BUFFALO.EDU Subject: More Important than Poetry > Ok Poets a little whimsy- I am taking a poll- what is your favorite baseball > team? > > R > > Raymond L Bianchi > chicagopostmodernpoetrycalendar.blogspot.com/ > collagepoetchicago.blogspot.com/ > > > -----Original Message----- > > From: UB Poetics discussion group > > [mailto:POETICS@LISTSERV.BUFFALO.EDU]On Behalf Of Ken Rumble > > Sent: Monday, April 19, 2004 4:02 PM > > To: POETICS@LISTSERV.BUFFALO.EDU > > Subject: Desert City w/ Rod Smith, Mark Wallace, & Lorraine Graham -- > > Carrboro, NC > > > > > > Please spread far and wide...... > > > > Who: Rod Smith, author of _Music or Honesty_, _Protective Immediacy_, and > > other of your favorite books, editor of Aerial Magazine and Edge > > Books, former > > chess opponent to John Cage, all around go-to-guy for things vegetable, > > animal, > > or mineral. > > > > Who: Mark Wallace, author of _Haze_, _Temporary Worker Rides a Subway_, > > _Sonnets of a Penny-a-Liner_, editor of the heroic _Telling It > > Slant: Avant > > Garde Poetics of the 1990s_, first guy picked for every kickball team in > > America. > > > > Who: K. Lorraine Graham, author of _Dear [Blank] I Believe in > > Other Worlds_, > > editor of Anomaly Magazine, executrix for the dinosaurs, owns > > working original > > Herbie the Love Bug. > > > > What: Desert City Poetry Series, Season Finale!! Single-handedly > > re-legitamizing the exclamation point. > > > > When: Saturday, April 24th, 8:00 pm, 2004 > > > > Where: Sizl Gallery, 405 E. Main Street, Carrboro, NC, near > > Carrburritos, off > > Franklin, intersects Rosemary, directly above the center of the > > earth, park at > > the Meineke > > > > Why: "you look great! thanks no / I don't. thanks, you do too. > > thanks, / I > > like your shirt." > > "A colossal-headed Ted Baxter is constantly threatening to punch our > > collective > > face out so we can't do our own commercials." > > "Poetry doesn't care who loves it" > > > > See you there...... > > > > Sizl Gallery: www.sizlgallery.com > > > > Desert City's favorite independent bookstore: The Internationalist: > > www.internationalistbooks.org > > > > Desert City Poetry Series: http://www.carrboro.com/desertcitypoetry/, > > coming soon -- www.desertcity.org > > > > Rod Smith: > > http://epc.buffalo.edu/authors/smithr/ > > > > Mark Wallace: > > http://epc.buffalo.edu/authors/wallace/ > > > > K. Lorraine Graham: > > http://www.geocities.com/anomalypress/ > > > > ---contact DCPS: Ken Rumble, Director, rumblek@bellsouth.net > > > > “Lucifer” > > by Rod Smith > > > > Viaduct off-spring of a slinkie > > > > salesperson > > > > Divorce > > or > > acutely vivid-- > > > > (welp) > > > > dyspeptic area code > > yet recombinatory, on ceremonial > > disturbed water stoop > > > > Say the sound > > &/or slay the swingline > > > > Some say need > > is a statutory explanation > > of the mobility > > of synchronicity. > > Most of them are guiltyof democratic leanings. > > > > from “The Monstrous Failure of Contemplation” > > by Mark Wallace > > > > Do you believe this story > > zombies are eating human flesh > > the creature looks like one of us > > do you believe this story > > they were trained in the slaughterhouse > > it pulled her down the sink > > do you believe this story > > nuclear ant crushes a truck > > dead Indians rise from a grave > > > > The industry of fear > > millions of dollars a year > > > > “As a child, blood and gore > > actually comforted me, because I forgot > > the tension upstairs. > > It was only later I learned > > I was an alien.” > > > > from “Dear [Blank] I Believe in Other Worlds” > > by K. Lorraine Graham > > > > Everything flips. Say: it’s a thing! and it flips and says look > > at me I’m a > > thing, a speaking thing! and so we think to ourselves outloud and so > > perhaps to > > others I wonder how can this be this thing-no-longer-thing is speaking and > > I am > > filled with either horror or with love: and so it’s a boring flip > > and hardly a > > flip at all, churchbells sounding high above an oil rig, real and true and > > trying to tie themselves to things, some things more than others, > > some with or > > without makeup on, or covered in skin and vein and eventually > > unbleached un > > arranged bones that have not been placed in closets but instead lovingly > > reanimated into zombies via gigantic cauldrons, usually stolen from small > > Celtic countries and returned as peace offerings via weddings in > > times of war. > > -- _______________________________________________ Graffiti.net free e-mail @ www.graffiti.net Check out our value-added Premium features, such as an extra 20MB for just US$9.95 per year! Powered by Outblaze ========================================================================= Date: Mon, 19 Apr 2004 17:35:37 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: George Bowering Subject: Re: More Important than Poetry In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" ; format="flowed" Content-Transfer-Encoding: quoted-printable Eugene Emeralds. I like their road uniform--grey with green pinstripes. gb >1993 Phillies. > >>From: Haas Bianchi >>Reply-To: UB Poetics discussion group >>To: POETICS@LISTSERV.BUFFALO.EDU >>Subject: More Important than Poetry >>Date: Mon, 19 Apr 2004 16:09:35 -0500 >> >>Ok Poets a little whimsy- I am taking a poll- what is your favorite >>baseball >>team? >> >>R >> >>Raymond L Bianchi >>chicagopostmodernpoetrycalendar.blogspot.com/ >>collagepoetchicago.blogspot.com/ >> >>> -----Original Message----- >>> From: UB Poetics discussion group >>> [mailto:POETICS@LISTSERV.BUFFALO.EDU]On Behalf Of Ken Rumble >>> Sent: Monday, April 19, 2004 4:02 PM >>> To: POETICS@LISTSERV.BUFFALO.EDU >>> Subject: Desert City w/ Rod Smith, Mark Wallace, & Lorraine Graham -- >>> Carrboro, NC >>> >>> >>> Please spread far and wide...... >>> >>> Who: Rod Smith, author of _Music or Honesty_, _Protective Immediacy_, >>and >>> other of your favorite books, editor of Aerial Magazine and Edge >>> Books, former >>> chess opponent to John Cage, all around go-to-guy for things vegetable, >>> animal, >>> or mineral. >>> >>> Who: Mark Wallace, author of _Haze_, _Temporary Worker Rides a Subway_= , >>> _Sonnets of a Penny-a-Liner_, editor of the heroic _Telling It >>> Slant: Avant >>> Garde Poetics of the 1990s_, first guy picked for every kickball team i= n >>> America. >>> >>> Who: K. Lorraine Graham, author of _Dear [Blank] I Believe in >>> Other Worlds_, >>> editor of Anomaly Magazine, executrix for the dinosaurs, owns >>> working original >>> Herbie the Love Bug. >>> >>> What: Desert City Poetry Series, Season Finale!! Single-handedly >>> re-legitamizing the exclamation point. >>> >>> When: Saturday, April 24th, 8:00 pm, 2004 >>> >>> Where: Sizl Gallery, 405 E. Main Street, Carrboro, NC, near >>> Carrburritos, off >>> Franklin, intersects Rosemary, directly above the center of the >>> earth, park at >>> the Meineke >>> >>> Why: "you look great! thanks no / I don't. thanks, you do too. >>> thanks, / I >>> like your shirt." >>> "A colossal-headed Ted Baxter is constantly threatening to punch our >>> collective >>> face out so we can't do our own commercials." >>> "Poetry doesn't care who loves it" >>> >>> See you there...... >>> >>> Sizl Gallery: www.sizlgallery.com >>> >>> Desert City's favorite independent bookstore: The Internationalist: >>> www.internationalistbooks.org >>> >>> Desert City Poetry Series: >>http://www.carrboro.com/desertcitypoetry/, >>> coming soon -- www.desertcity.org >>> >>> Rod Smith: >>> http://epc.buffalo.edu/authors/smithr/ >>> >>> Mark Wallace: >>> http://epc.buffalo.edu/authors/wallace/ >>> >>> K. Lorraine Graham: >>> http://www.geocities.com/anomalypress/ >>> >>> ---contact DCPS: Ken Rumble, Director, rumblek@bellsouth.net >>> >>> =93Lucifer=94 >>> by Rod Smith >>> >>> Viaduct off-spring of a slinkie >>> >>> salesperson >>> >>> Divorce >>> or >>> acutely vivid-- >>> >>> (welp) >>> >>> dyspeptic area code >>> yet recombinatory, on ceremonial >>> disturbed water stoop >>> >>> Say the sound >>> &/or slay the swingline >>> >>> Some say need >>> is a statutory explanation >>> of the mobility >>> of synchronicity. >>> Most of them are guiltyof democratic leanings. >>> >>> from =93The Monstrous Failure of Contemplation=94 >>> by Mark Wallace >>> >>> Do you believe this story >>> zombies are eating human flesh >>> the creature looks like one of us >>> do you believe this story >>> they were trained in the slaughterhouse >>> it pulled her down the sink >>> do you believe this story >>> nuclear ant crushes a truck >>> dead Indians rise from a grave >>> >>> The industry of fear >>> millions of dollars a year >>> >>> =93As a child, blood and gore >>> actually comforted me, because I forgot >>> the tension upstairs. >>> It was only later I learned >>> I was an alien.=94 >>> >>> from =93Dear [Blank] I Believe in Other Worlds=94 >>> by K. Lorraine Graham >>> >>> Everything flips. Say: it=92s a thing! and it flips and says look >>> at me I=92m a >>> thing, a speaking thing! and so we think to ourselves outloud and so >>> perhaps to >>> others I wonder how can this be this thing-no-longer-thing is speaking >>and >>> I am >>> filled with either horror or with love: and so it=92s a boring flip >>> and hardly a >>> flip at all, churchbells sounding high above an oil rig, real and true >>and >>> trying to tie themselves to things, some things more than others, >>> some with or >>> without makeup on, or covered in skin and vein and eventually >>> unbleached un >>> arranged bones that have not been placed in closets but instead lovingl= y >>> reanimated into zombies via gigantic cauldrons, usually stolen from >>small >>> Celtic countries and returned as peace offerings via weddings in >>> times of war. >>> > >_________________________________________________________________ >Stop worrying about overloading your inbox - get MSN Hotmail Extra Storage! >http://join.msn.com/?pgmarket=3Den-us&page=3Dhotmail/es2&ST=3D1/go/onm00200= 362ave/direct/01/ -- George Bowering And numerous pen names. 303 Fielden Ave. Port Colborne. ON, L3K 4T5 ========================================================================= Date: Mon, 19 Apr 2004 17:05:44 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Joe Ahearn Subject: Re: More Important than Poetry In-Reply-To: <000101c42652$9e002580$1c290e18@attbi.com> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Poetry is more important than baseball, Bianchi, you White Sox slut. Joe Ahearn Dallas home of no kind of baseball team At 04:09 PM 4/19/2004 -0500, you wrote: >Ok Poets a little whimsy- I am taking a poll- what is your favorite baseball >team? > >R > >Raymond L Bianchi >chicagopostmodernpoetrycalendar.blogspot.com/ >collagepoetchicago.blogspot.com/ > >> -----Original Message----- >> From: UB Poetics discussion group >> [mailto:POETICS@LISTSERV.BUFFALO.EDU]On Behalf Of Ken Rumble >> Sent: Monday, April 19, 2004 4:02 PM >> To: POETICS@LISTSERV.BUFFALO.EDU >> Subject: Desert City w/ Rod Smith, Mark Wallace, & Lorraine Graham -- >> Carrboro, NC >> >> >> Please spread far and wide...... >> >> Who: Rod Smith, author of _Music or Honesty_, _Protective Immediacy_, and >> other of your favorite books, editor of Aerial Magazine and Edge >> Books, former >> chess opponent to John Cage, all around go-to-guy for things vegetable, >> animal, >> or mineral. >> >> Who: Mark Wallace, author of _Haze_, _Temporary Worker Rides a Subway_, >> _Sonnets of a Penny-a-Liner_, editor of the heroic _Telling It >> Slant: Avant >> Garde Poetics of the 1990s_, first guy picked for every kickball team in >> America. >> >> Who: K. Lorraine Graham, author of _Dear [Blank] I Believe in >> Other Worlds_, >> editor of Anomaly Magazine, executrix for the dinosaurs, owns >> working original >> Herbie the Love Bug. >> >> What: Desert City Poetry Series, Season Finale!! Single-handedly >> re-legitamizing the exclamation point. >> >> When: Saturday, April 24th, 8:00 pm, 2004 >> >> Where: Sizl Gallery, 405 E. Main Street, Carrboro, NC, near >> Carrburritos, off >> Franklin, intersects Rosemary, directly above the center of the >> earth, park at >> the Meineke >> >> Why: "you look great! thanks no / I don't. thanks, you do too. >> thanks, / I >> like your shirt." >> "A colossal-headed Ted Baxter is constantly threatening to punch our >> collective >> face out so we can't do our own commercials." >> "Poetry doesn't care who loves it" >> >> See you there...... >> >> Sizl Gallery: www.sizlgallery.com >> >> Desert City's favorite independent bookstore: The Internationalist: >> www.internationalistbooks.org >> >> Desert City Poetry Series: http://www.carrboro.com/desertcitypoetry/, >> coming soon -- www.desertcity.org >> >> Rod Smith: >> http://epc.buffalo.edu/authors/smithr/ >> >> Mark Wallace: >> http://epc.buffalo.edu/authors/wallace/ >> >> K. Lorraine Graham: >> http://www.geocities.com/anomalypress/ >> >> ---contact DCPS: Ken Rumble, Director, rumblek@bellsouth.net >> >> “Lucifer” >> by Rod Smith >> >> Viaduct off-spring of a slinkie >> >> salesperson >> >> Divorce >> or >> acutely vivid-- >> >> (welp) >> >> dyspeptic area code >> yet recombinatory, on ceremonial >> disturbed water stoop >> >> Say the sound >> &/or slay the swingline >> >> Some say need >> is a statutory explanation >> of the mobility >> of synchronicity. >> Most of them are guiltyof democratic leanings. >> >> from “The Monstrous Failure of Contemplation” >> by Mark Wallace >> >> Do you believe this story >> zombies are eating human flesh >> the creature looks like one of us >> do you believe this story >> they were trained in the slaughterhouse >> it pulled her down the sink >> do you believe this story >> nuclear ant crushes a truck >> dead Indians rise from a grave >> >> The industry of fear >> millions of dollars a year >> >> “As a child, blood and gore >> actually comforted me, because I forgot >> the tension upstairs. >> It was only later I learned >> I was an alien.” >> >> from “Dear [Blank] I Believe in Other Worlds” >> by K. Lorraine Graham >> >> Everything flips. Say: it’s a thing! and it flips and says look >> at me I’m a >> thing, a speaking thing! and so we think to ourselves outloud and so >> perhaps to >> others I wonder how can this be this thing-no-longer-thing is speaking and >> I am >> filled with either horror or with love: and so it’s a boring flip >> and hardly a >> flip at all, churchbells sounding high above an oil rig, real and true and >> trying to tie themselves to things, some things more than others, >> some with or >> without makeup on, or covered in skin and vein and eventually >> unbleached un >> arranged bones that have not been placed in closets but instead lovingly >> reanimated into zombies via gigantic cauldrons, usually stolen from small >> Celtic countries and returned as peace offerings via weddings in >> times of war. >> ____________________________________________________________________________ _________ Joe Ahearn joeah@mail.airmail.net Calamus Publication Services: www.calamuspubs.com VEER magazine: www.rancho-loco-press.com/veer ========================================================================= Date: Mon, 19 Apr 2004 18:09:56 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Lipman, Joel A." Subject: Re: More Important than Poetry MIME-Version: 1.0 Content-Type: text/plain; charset="Windows-1252" Content-Transfer-Encoding: quoted-printable 1954 Milwaukee Braves. Billy Bruton scored from first on a single to win = the opening game for MLB in Wisconsin. JL -----Original Message----- From: UB Poetics discussion group on behalf of Joe Ahearn Sent: Mon 4/19/2004 6:05 PM To: POETICS@LISTSERV.BUFFALO.EDU Cc:=09 Subject: Re: More Important than Poetry Poetry is more important than baseball, Bianchi, you White Sox slut. Joe Ahearn Dallas home of no kind of baseball team At 04:09 PM 4/19/2004 -0500, you wrote: >Ok Poets a little whimsy- I am taking a poll- what is your favorite = baseball >team? > >R > >Raymond L Bianchi >chicagopostmodernpoetrycalendar.blogspot.com/ >collagepoetchicago.blogspot.com/ > >> -----Original Message----- >> From: UB Poetics discussion group >> [mailto:POETICS@LISTSERV.BUFFALO.EDU]On Behalf Of Ken Rumble >> Sent: Monday, April 19, 2004 4:02 PM >> To: POETICS@LISTSERV.BUFFALO.EDU >> Subject: Desert City w/ Rod Smith, Mark Wallace, & Lorraine Graham -- >> Carrboro, NC >> >> >> Please spread far and wide...... >> >> Who: Rod Smith, author of _Music or Honesty_, _Protective = Immediacy_, and >> other of your favorite books, editor of Aerial Magazine and Edge >> Books, former >> chess opponent to John Cage, all around go-to-guy for things = vegetable, >> animal, >> or mineral. >> >> Who: Mark Wallace, author of _Haze_, _Temporary Worker Rides a = Subway_, >> _Sonnets of a Penny-a-Liner_, editor of the heroic _Telling It >> Slant: Avant >> Garde Poetics of the 1990s_, first guy picked for every kickball team = in >> America. >> >> Who: K. Lorraine Graham, author of _Dear [Blank] I Believe in >> Other Worlds_, >> editor of Anomaly Magazine, executrix for the dinosaurs, owns >> working original >> Herbie the Love Bug. >> >> What: Desert City Poetry Series, Season Finale!! Single-handedly >> re-legitamizing the exclamation point. >> >> When: Saturday, April 24th, 8:00 pm, 2004 >> >> Where: Sizl Gallery, 405 E. Main Street, Carrboro, NC, near >> Carrburritos, off >> Franklin, intersects Rosemary, directly above the center of the >> earth, park at >> the Meineke >> >> Why: "you look great! thanks no / I don't. thanks, you do too. >> thanks, / I >> like your shirt." >> "A colossal-headed Ted Baxter is constantly threatening to punch our >> collective >> face out so we can't do our own commercials." >> "Poetry doesn't care who loves it" >> >> See you there...... >> >> Sizl Gallery: www.sizlgallery.com >> >> Desert City's favorite independent bookstore: The Internationalist: >> www.internationalistbooks.org >> >> Desert City Poetry Series: = http://www.carrboro.com/desertcitypoetry/, >> coming soon -- www.desertcity.org >> >> Rod Smith: >> http://epc.buffalo.edu/authors/smithr/ >> >> Mark Wallace: >> http://epc.buffalo.edu/authors/wallace/ >> >> K. Lorraine Graham: >> http://www.geocities.com/anomalypress/ >> >> ---contact DCPS: Ken Rumble, Director, rumblek@bellsouth.net >> >> =93Lucifer=94 >> by Rod Smith >> >> Viaduct off-spring of a slinkie >> >> salesperson >> >> Divorce >> or >> acutely vivid-- >> >> (welp) >> >> dyspeptic area code >> yet recombinatory, on ceremonial >> disturbed water stoop >> >> Say the sound >> &/or slay the swingline >> >> Some say need >> is a statutory explanation >> of the mobility >> of synchronicity. >> Most of them are guiltyof democratic leanings. >> >> from =93The Monstrous Failure of Contemplation=94 >> by Mark Wallace >> >> Do you believe this story >> zombies are eating human flesh >> the creature looks like one of us >> do you believe this story >> they were trained in the slaughterhouse >> it pulled her down the sink >> do you believe this story >> nuclear ant crushes a truck >> dead Indians rise from a grave >> >> The industry of fear >> millions of dollars a year >> >> =93As a child, blood and gore >> actually comforted me, because I forgot >> the tension upstairs. >> It was only later I learned >> I was an alien.=94 >> >> from =93Dear [Blank] I Believe in Other Worlds=94 >> by K. Lorraine Graham >> >> Everything flips. Say: it=92s a thing! and it flips and says look >> at me I=92m a >> thing, a speaking thing! and so we think to ourselves outloud and so >> perhaps to >> others I wonder how can this be this thing-no-longer-thing is = speaking and >> I am >> filled with either horror or with love: and so it=92s a boring flip >> and hardly a >> flip at all, churchbells sounding high above an oil rig, real and = true and >> trying to tie themselves to things, some things more than others, >> some with or >> without makeup on, or covered in skin and vein and eventually >> unbleached un >> arranged bones that have not been placed in closets but instead = lovingly >> reanimated into zombies via gigantic cauldrons, usually stolen from = small >> Celtic countries and returned as peace offerings via weddings in >> times of war. >> _________________________________________________________________________= ___ _________ Joe Ahearn joeah@mail.airmail.net Calamus Publication Services: www.calamuspubs.com VEER magazine: www.rancho-loco-press.com/veer ========================================================================= Date: Mon, 19 Apr 2004 17:11:02 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Solana D'Lamant Subject: Re: More Important than Poetry MIME-Version: 1.0 Content-Type: text/plain; charset="Windows-1252" Content-Transfer-Encoding: quoted-printable not more important than poetry but equally so: Mickey Mantel Solana ----- Original Message -----=20 From: Lipman, Joel A.=20 To: POETICS@LISTSERV.BUFFALO.EDU=20 Sent: Monday, April 19, 2004 6:09 PM Subject: Re: More Important than Poetry 1954 Milwaukee Braves. Billy Bruton scored from first on a single to = win the opening game for MLB in Wisconsin. JL -----Original Message----- From: UB Poetics discussion group on behalf of Joe Ahearn Sent: Mon 4/19/2004 6:05 PM To: POETICS@LISTSERV.BUFFALO.EDU Cc:=20 Subject: Re: More Important than Poetry Poetry is more important than baseball, Bianchi, you White Sox slut. Joe Ahearn Dallas home of no kind of baseball team At 04:09 PM 4/19/2004 -0500, you wrote: >Ok Poets a little whimsy- I am taking a poll- what is your favorite = baseball >team? > >R > >Raymond L Bianchi >chicagopostmodernpoetrycalendar.blogspot.com/ >collagepoetchicago.blogspot.com/ > >> -----Original Message----- >> From: UB Poetics discussion group >> [mailto:POETICS@LISTSERV.BUFFALO.EDU]On Behalf Of Ken Rumble >> Sent: Monday, April 19, 2004 4:02 PM >> To: POETICS@LISTSERV.BUFFALO.EDU >> Subject: Desert City w/ Rod Smith, Mark Wallace, & Lorraine Graham = -- >> Carrboro, NC >> >> >> Please spread far and wide...... >> >> Who: Rod Smith, author of _Music or Honesty_, _Protective = Immediacy_, and >> other of your favorite books, editor of Aerial Magazine and Edge >> Books, former >> chess opponent to John Cage, all around go-to-guy for things = vegetable, >> animal, >> or mineral. >> >> Who: Mark Wallace, author of _Haze_, _Temporary Worker Rides a = Subway_, >> _Sonnets of a Penny-a-Liner_, editor of the heroic _Telling It >> Slant: Avant >> Garde Poetics of the 1990s_, first guy picked for every kickball = team in >> America. >> >> Who: K. Lorraine Graham, author of _Dear [Blank] I Believe in >> Other Worlds_, >> editor of Anomaly Magazine, executrix for the dinosaurs, owns >> working original >> Herbie the Love Bug. >> >> What: Desert City Poetry Series, Season Finale!! Single-handedly >> re-legitamizing the exclamation point. >> >> When: Saturday, April 24th, 8:00 pm, 2004 >> >> Where: Sizl Gallery, 405 E. Main Street, Carrboro, NC, near >> Carrburritos, off >> Franklin, intersects Rosemary, directly above the center of the >> earth, park at >> the Meineke >> >> Why: "you look great! thanks no / I don't. thanks, you do too. >> thanks, / I >> like your shirt." >> "A colossal-headed Ted Baxter is constantly threatening to punch = our >> collective >> face out so we can't do our own commercials." >> "Poetry doesn't care who loves it" >> >> See you there...... >> >> Sizl Gallery: www.sizlgallery.com >> >> Desert City's favorite independent bookstore: The = Internationalist: >> www.internationalistbooks.org >> >> Desert City Poetry Series: = http://www.carrboro.com/desertcitypoetry/, >> coming soon -- www.desertcity.org >> >> Rod Smith: >> http://epc.buffalo.edu/authors/smithr/ >> >> Mark Wallace: >> http://epc.buffalo.edu/authors/wallace/ >> >> K. Lorraine Graham: >> http://www.geocities.com/anomalypress/ >> >> ---contact DCPS: Ken Rumble, Director, rumblek@bellsouth.net >> >> =93Lucifer=94 >> by Rod Smith >> >> Viaduct off-spring of a slinkie >> >> salesperson >> >> Divorce >> or >> acutely vivid-- >> >> (welp) >> >> dyspeptic area code >> yet recombinatory, on ceremonial >> disturbed water stoop >> >> Say the sound >> &/or slay the swingline >> >> Some say need >> is a statutory explanation >> of the mobility >> of synchronicity. >> Most of them are guiltyof democratic leanings. >> >> from =93The Monstrous Failure of Contemplation=94 >> by Mark Wallace >> >> Do you believe this story >> zombies are eating human flesh >> the creature looks like one of us >> do you believe this story >> they were trained in the slaughterhouse >> it pulled her down the sink >> do you believe this story >> nuclear ant crushes a truck >> dead Indians rise from a grave >> >> The industry of fear >> millions of dollars a year >> >> =93As a child, blood and gore >> actually comforted me, because I forgot >> the tension upstairs. >> It was only later I learned >> I was an alien.=94 >> >> from =93Dear [Blank] I Believe in Other Worlds=94 >> by K. Lorraine Graham >> >> Everything flips. Say: it=92s a thing! and it flips and says look >> at me I=92m a >> thing, a speaking thing! and so we think to ourselves outloud and = so >> perhaps to >> others I wonder how can this be this thing-no-longer-thing is = speaking and >> I am >> filled with either horror or with love: and so it=92s a boring flip >> and hardly a >> flip at all, churchbells sounding high above an oil rig, real and = true and >> trying to tie themselves to things, some things more than others, >> some with or >> without makeup on, or covered in skin and vein and eventually >> unbleached un >> arranged bones that have not been placed in closets but instead = lovingly >> reanimated into zombies via gigantic cauldrons, usually stolen from = small >> Celtic countries and returned as peace offerings via weddings in >> times of war. >> = _________________________________________________________________________= ___ _________ Joe Ahearn joeah@mail.airmail.net Calamus Publication Services: www.calamuspubs.com VEER magazine: www.rancho-loco-press.com/veer ========================================================================= Date: Mon, 19 Apr 2004 15:38:59 -0700 Reply-To: Denise Enck Sender: UB Poetics discussion group From: Denise Enck Subject: Michael McClure Events at SUNY Ulster & U of Colorado Tuesday & Thursday! MIME-Version: 1.0 Content-Type: text/plain; charset="Windows-1252" Content-Transfer-Encoding: 7bit Michael McClure will be reading and speaking at Suny Ulster College (near Woodstock) on Tuesday, April 20th. 1. Discussion of Art and Nature at 10:30 am in Vanderlyn Student Hall. 2. Reading (very old and new unpublished poetry) will be in the Quimby Theater at 7:30 p.m. Both events are on the Stony Ridge Campus. Ray Manzarek and Michael McClure will be performing their music and poetry at the University of Colorado at Denver Thursday April 22nd 855 Lawrence Way, Denver in the Kenneth King Center 6:00 p m curtain PLEASE VISIT www.mcclure-manzarek.com cheers ~ Denise Enck -- http://www.McClure-Manzarek.com The Official Website of Michael McClure & Ray Manzarek sign up to receive our newsletter: www.mcclure-manzarek.com/newsletter.html http://www.emptymirrorbooks.com modern poetry & Beat Generation books, photos & ephemera Post Office Box 972, Mukilteo, WA 98275 ========================================================================= Date: Tue, 20 Apr 2004 12:43:16 +1200 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Ken Springtail Subject: Re: More Important than Poetry Mime-Version: 1.0 Content-Type: text/plain; format=flowed Baseball may be more important than Poetry; certainly Rugby is more important than Baseball! K. S. _________________________________________________________________ Listen to music online with the Xtra Broadband Channel http://xtra.co.nz/broadband ========================================================================= Date: Mon, 19 Apr 2004 20:53:02 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: George Bowering Subject: Re: More Important than Poetry In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" >Baseball may be more important than Poetry; certainly Rugby is more >important than Baseball! > >K. S. Rugby? Is that something like football? Or is that Cricket? -- George Bowering And numerous pen names. 303 Fielden Ave. Port Colborne. ON, L3K 4T5 ========================================================================= Date: Mon, 19 Apr 2004 18:01:16 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mark Weiss Subject: Re: More Important than Poetry In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed The war of all against all, only more dangerous. Mark At 08:53 PM 4/19/2004 -0400, you wrote: >>Baseball may be more important than Poetry; certainly Rugby is more >>important than Baseball! >> >>K. S. > >Rugby? Is that something like football? Or is that Cricket? >-- >George Bowering >And numerous pen names. > >303 Fielden Ave. >Port Colborne. ON, >L3K 4T5 ========================================================================= Date: Mon, 19 Apr 2004 22:07:30 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "David A. Kirschenbaum" Subject: Re: More Important than Poetry In-Reply-To: <000101c42652$9e002580$1c290e18@attbi.com> Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit on 4/19/04 5:09 PM, Haas Bianchi at saudade@COMCAST.NET wrote: > Ok Poets a little whimsy- I am taking a poll- what is your favorite baseball > team? > > R > > Raymond L Bianchi > chicagopostmodernpoetrycalendar.blogspot.com/ > collagepoetchicago.blogspot.com/ Mets -- David A. Kirschenbaum, editor and publisher Boog City 330 W.28th St., Suite 6H NY, NY 10001-4754 For event and publication information: http://boogcity.blog-city.com/ T: (212) 842-BOOG (2664) F: (212) 842-2429 ========================================================================= Date: Mon, 19 Apr 2004 19:11:56 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: UbuWeb Subject: U B U W E B :: /ubu Editons :: Spring 2004 Titles MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii __ U B U W E B __ http://ubu.com -------------------------------------- /ubu Editons :: Spring 2004 Titles -------------------------------------- UbuWeb is pleased to announce the launch of our newest E-Book series, /ubu Editions (pronounced "slash ubu"). The Spring 2004 series, featuring 18 titles, is edited by Brian Kim Stefans and features a mix of reprints and new material presented in book-length PDF files. Each title is beautifully designed and features images from the UbuWeb site. /ubu Editions can be accessed at: http://ubu.com/ubu -------------------------------------- Eclat Caroline Bergvall 56 Pages http://ubu.com/ubu/bergvall_eclat.html The product of a year-long collaboration between Bergvall and the designer Marit Meunzberg, /ubu's web version of Eclat ups the ante on what can be done with a poetry e-book. The print version of Eclat, a slender yellow-covered volume, first appeared from chris cheek's Sound & Language press in England in 1997; the text itself was the byproduct, or page interpretation, of a walk-through performance environment that Bergvall had developed the previous year. This Acrobat version is the first in our series to use color as a central component, thereby complicating the screen-to-print relationship and foregrounding the invisible DMZs of technological remediation, but it also investigates the very architectural borders of a computer text file, files that imitate the "white page" in their conformity to standard paper sizes, thus turning the once innocent "margin" into a malleable facet of its poetic grammar (and the page into a frame of a flip-book). Language is spatialized, space is rendered syntactical by the conversion of lines and dots into periods and commas. This document, a sort of fetish object in itself despite its infinite reproducibility, makes of our screens and printers vessels of language. Situation Comedies: Foxy Moron Barbara Cole 50 Pages http://ubu.com/ubu/cole_foxy.html Cole's writing exists somewhere between the genres of public confession that we associate with the late Spalding Gray – in this way, a form of drama, but in a distinctly American humorist tradition – and the large-scale collage works of someone like Ted Berrigan or Bruce Andrews, moving ramblingly but assured through the juxtapositions between pop-culture jingles and the delectable traumas (to a teenager) of sexual catharsis. Some of the movement of Foxy Moron doesn't feel terribly poetic, at least in a Romantic sense; a lot from "life" drops in wholesale, without the lyric ego to compromise its corporate vulgarity (in the case of the product displacements) or libidinal urgency, but that is the strength of the work: to remain narrative, engaging and funny despite being suspended in a sort of late-Projective stew, vulnerable to poetic processes of collage and hyper-reference. The full-frontal nature of its sexuality along with the glorious suburbanism of its setting and conceit, which revels in the mundane, are a far cry from the high-minded pseudo-historicism that has taken some control over the world of poetry. Linear C & The I and the You Jean Day 84 Pages http://ubu.com/ubu/day_linear.html Though she might seem over-shadowed by some of her West Coast peers, such as Rae Armantrout or Kit Robinson, as the "lyric" Language poet, Day – who has been wary of such group associations – has quietly amassed a body of exquisitely constructed lyrics and longer sequences over the past two decades that have long deserved a greater reputation. She has continued to expand her range in such books as 1998's The Literal World, with their variable stanza patterns that can resemble at times Williams' late improvisations, while not straying too much from a cross-hair precision with sentence construction and a careful attention to visual and social details. Linear C first appeared as a Tuumba chapbook (part of the legendary series edited by Lyn Hejinian), and is a small tour-de-force of verse forms, including prose poems and poems that are aggregates of short stanzas. "The I and the You" was the final section of her Potes and Poets volume of the same title, and it anticipates the work with serial forms – this one governed by pa Buber-esque consideration of personal ontology through relationships – that would come to fruition in The Literal World. Smokes Craig Dworkin 59 Pages http://ubu.com/ubu/dworkin_smokes.html Dworkin's writing over the past decade has involved some of the most strenuous examples of "conceptual writing" – replacing the words of a nineteenth century treatise on diagramming sentences into their antiquated grammatical terms, for example – as well as some of the more giddy soundscapes to come out of the practice of phonetic translations. An prolific essayist with an eye for paradox – his paragraphs can often turn on the misreading of a phrase that, in the end, turns out to be the only reading possible – it's fitting that, in Smokes, he turns his attention to the minimal concrete poem (a la Aram Saroyan and Robert Grenier), poems never reducible to single-line summations or dismissible as eye candy, but manage to tease with the perpetual promise of profundity looming in their translucent depths: "CLUE / that which holds / a tension." More allusive than either Grenier or Saroyan's short poems – some of these three-liners use as many languages as a short Canto – they are nonetheless infected with a comparable witty charm, augmented by the fact that they were originally published on cigarette papers, rolled and ready to inhale, taking the Sentences idea one step closer to immolation. Rough Bush and other poems Deanna Ferguson 86 Pages http://ubu.com/ubu/ferguson_bush.html Ferguson's long-awaited follow-up to her debut volume, Relative Minor, adds to the image of this writer's integrity with its strong sonic qualities and extravagant, but never indulgent, syntactic and verse architectures in the service of serious intellectual concerns. By turns as machine-gun witted and caustic as one of her dedicatees, Lenny Bruce, then as vulnerable and fluid as the writings of O'Hara or Hejinian, Ferguson also manages the turn from the personal to the civic that is a hallmark of Kootenay School writing (think Jeff Derksen and Lisa Robertson): "your brown lashes flutter revealing two / perfect orbs, a perfect morning, coloured / by the State." Each of these poems, even the still-point of "t & tenth & alma," are performances, sometimes metrically baroque and syncopated, sometimes, as in "Turf Builder," extending from a simple basal sonic unit, managing wide variations without straying from a central one-or-two word line. One of the central poets discussed in Sianne Ngai's essay "Poetics of Disgust," Ferguson runs the poem through enough attitude to make even the punctuation marks mercenaries in the march on capital. This Window Makes Me Feel Robert Fitterman 77 Pages http://ubu.com/ubu/fitterman_window.html For the past several years, Fitterman has been exploring a poetics of "sampling," taking the practice of collage and procedural writing into the computer age, away from the edgy, splice-based works of Ashbery's Tennis Court Oath and Berrigan's Sonnets, to something akin to the seamless web of cut-and-paste in music composed with digital tools. Such minimal, often "ambient" pieces give the impression that, with the right algorithms and a limitless database, the poem could potentially go on forever and never repeat itself. This Window Makes Me Feel, like "Flarf" and Google poems (or the yet to be realized "Apostrophe Engine"), is based on sentences collected from search engines, but Fitterman creates a rich, understated emotional core to the work by the repeated motif of the title phrase, which balances on the delicate irony that something generally considered "invisible" (i.e. transparent) has become the subject of a civic meditation. The dedication to the victims of the World Trade Center attack seals this work as a response to trauma, a spiraling reaching-out to a wall of stability which, to the eye, had never been previously remarked. Name, a novel Toadex Hobogrammathon 137 Pages http://ubu.com/ubu/toadex_name.html Name is about as close as one can get to a "novel" that was written by a machine and for a machine: it seems especially primed to attract and repel spam-blockers with its hardcore-porn opening, and yet it also tosses a distracting bone to the bots with its stream of seemingly random verbiage after its first paragraphs. Far as we can tell, Name is the exorbitant creation of a single human being who is known only by the name of "Toadex Hobogrammathon," the same person who created the Jarry-esque, day-glo colored website Dagmar's Chili Pitas, the only "poetry" blog that renders even the marginal trappings of the format itself – such as the date, tables, fonts, colors, etc. – fodder for its neo-Dada somersaults. But Name turns out to be a good read, perhaps more along the line of Kenny Goldsmith's barnstorming procedural projects or Peter Manson's aggregation of junk phrases, Adjunct, than anything from Toni Morrison or Alan Davies, but nonetheless something to keep the retina fused to the screen, with a furious, decidedly No Wave soundtrack to boot. This is the perfect novel to run your computer's voice emulator on in the background while you while away precious life at the office. Cruise of the Pnyx Robert Kelly 40 Pages http://ubu.com/ubu/kelly_pnyx.html Originally published in 1979, Cruise of the Pnyx predates Kelly's several books of short fictions – four volumes appeared between 1985 and 1994 – and yet shares many affinities with those and his novel The Scorpions (1969), building their rich atmospheres through the careful accumulation of details, and largely concerned with unraveling preternatural mysteries, investigating alternative currents of being that never depart wholly from what one might witness in "real life." Written in three distinct forms – left-justified verse, full-justified prose and a right-justified "between-rider, or transitional grade between poetry and prose," or a "prose song" – Pnyx shares affinities with Pound's Cantos and with "global" novels such as Pynchon's Gravity's Rainbow or V, all three works of which seem to occupy a still place – a Lethean "cruise" – in the center of a world figured as a vortex of the detritus of culture. The present edition represents the 46 pages of the publication with a one-to-one correspondence, preserving the many interplays that occur from the left to right pages between writing styles. This is a uniquely pleasurable read, and an obscure one from the large corpus of Robert Kelly's writings. São Paolo Madelyn Kent 100 Pages http://ubu.com/ubu/kent_sao.html Kent, a young New York playwright, has investigated an aesthetics of extreme slowness that permits her to descend deep into the breaks of syntax that occur in language as it is spoken by non-native English speakers. Her dramaturgy, influenced by traditions of Butoh though in no way exoticized, involves precise, incredibly slow movement coupled with dialogue spoken at chthonic pace. Her themes are often humanistic with an interest in politics and world events as they affect one on the most intimate levels, and language as it cracks and reforms when traversing cultural bounds. Her "shufu" plays, of which São Paolo is an example, are written as collaborations with her Japanese ESL students ("shufu" means "housewife" in Japanese) who create, in workshop-like situations, the plots, character names, and, finally, grammar, in that these plays preserve the ticks, glitches and vulnerabilities of a person speaking English as a second-language. This is not "imperfect" English, nor is it a heedless act of formal avant-gardism, but a language that bears the marks of their transport from a singular heart and mind into the general world-space, from a fluid interior into the superego of syntax. The Mauberley Series Aaron Kunin 30 Pages http://ubu.com/ubu/kunin_mauberley.html The Mauberley Series takes some cue from such works as Kit Robinson's Dolch Stanzas by constraining itself to the use of a closed vocabulary while engaging in a highly philosophical and formal play that examines the lyric interior of this seemingly arbitrary set. But whereas Robinson used a lexicon that was created for cultural reasons – the "approved words" of Simplified English – Kunin's The Mauberley Sequence uses the words that were transmitted to the poet through his irrepressible hand as it beat out phrases on a table involuntarily. Like many of Kunin's poems, this one describes a spiritual universe that is on the verge of being subsumed by the ironizing force of mundane psychology; the words "Jesus" and "moron," "rats" and "pleasure" are in constant motion in this recombination machine. Additionally, the sequence is exquisitely mapped on Ezra Pound's 1920 "farewell to London," Hugh Selwyn Mauberley, a virtual encyclopedia of meters by the then-young poet, dashing through the Greek of Bion, the chiseled rhymes of Gautier, the drawn-out sentences of Henry James and the wild satire of Vorticism. Kunin's response, from within the space of his limned but not comfortable vocabulary, echoes Pound's line-by-line, in a play of logopoaeia that is stunning and absorbing. Trancelated (from Coinsides) Ira Lightman 68 Pages http://ubu.com/ubu/lightman_trance.html Lightman creates a universe of mirrors in his continuing poetic sequence Coinsides, though not mirrors as reflections so much as translations, with one part of a middle-justified poem responding to one or more other center-justified parts, prey to the same invisible gravity. There is no set procedure – this is an artist's diary if anything and follows the caprices of the days – but one half usually involves a modified translations of writing by Lightman's poetic and philosophical predecessors (Baudelaire, Horace and St. Augustine among others), and the other half is a response which can take on any number of forms of address, including the minimal Creeley-esque lyric, the Langpo stew, or, most distinctly, the spontaneously spiritual or religious affirmation, making him sound often like a latter-day Henry Vaughn or, with his prolixity, John Clare. "Trancelated" is a somewhat random, though thematically coherent, selection from the ongoing project, a bouquet of sorts of what can be called word sculptures – they challenge the rectilinear rightness on more than four fronts – or even musical compositions: Lightman, an avid fan of Stockhausen, views all of his text works as scores to an aural, if not conventionally "musical," performance. Spleen: Thirty-one versions of Baudelaire's Je suis comme le roi... Nicholas Moore 56 Pages http://ubu.com/ubu/moore_spleen.html Moore was considered one of the leading English poets of the Forties, winning major awards on both sides of the pond, and in line to be among the successors of the generation of Auden, MacNeice and Spender. Several personal misfortunes along with a few mysterious circumstances (undiagnosed diabetes possibly among them) made him retire from public view in the following decades until he was nearly entirely unknown. Soon he was considered an eccentric, fit only for the fringes, prolific, dexterous, but hardly someone for the pages of the London Review of Books. The thirty-one poems of Spleen – in voices ranging from H.D.'s to Kenneth Rexroth's, Bob Dylan's to Bee-Bop scat – were submitted to a contest being judged by George Steiner for the Sunday Times and mailed from several locations around London (a long introduction, included in this volume, explains the circumstances of the writing). The project, though a product of Moore's own personal demons regarding the problems of translation, not to mention his own desolation and the ironies of his once promising life, falls in line with any number of more conceptually aligned works such as Pound's Homage to Sextus Propertius, Queneau's Cent Mille Milliard de Poèmes, and the giddy conceits and deceptions of Ern Malley, Araki Yasusada, and Roger Pellett. Spaghetti Dreadful (trailer for A Penny Dreadful) Gustave Morin 38 Pages http://ubu.com/ubu/morin_spaghetti.html Morin extends the tradition of "Concrete" poetry into a space of incredible visual subtlety, such that one can link him, without embarrassment, to the works of image-makers ranging from Goya to his countryman Guy Maddin, from the deep prehistory of Radical Graphic artists (where Marshall MacLuhan and Quentin Fiore of The Medium is the Massage hold court) to the low-tech work of those working in zines and the traditions of "dirty concrete." More than sophisticated "one-liners," Morin's work encourages one to look closer: even as one rationalizes and "consumes" the various components of the image, settling on a static, reproducible "meaning" is difficult without betrayal of the semantic aura. This "trailer" (as in movie preview) of his sepia-tinged A Penny Dreadful should encourage many to go the extra yard and purchase this graphic "novel" that is also a valuable satiric commentary on the benighted paths our planet is treading. Circadium Larry Price 90 Pages http://ubu.com/ubu/price_circadium.html Circadium, with its headline-size opening gambits playing reveille for its heady prose meditations (often in the form of short fictions), has the surface appearance of Conceptual art – the specter, in both form and content, of the work of Joseph Kosuth, looms large here, as does the seriousness with which issues of art, money, the market, the self and the spectacular "writing on the wall" plays in this echo-chamber of counterpointed thematics. The power of enigma and myth, of absurdity and intellect, never wavers or weakens in these obsessive ruminations on the "eye" in the "world" – "While on behalf of this half of what halves us, we dress each thought in lesion. Nothing could be simpler." Disgust and alienation – classic resonances with a bygone literature of Nietzschean aphorism – gird these poems, lifting them above the now-standard practice of "New Sentence" poetry which can often seem an elite form of diary-writing, or the magical-realist version of a domesticated avant-gardism that a nostalgia for Surrealism has fostered. Circadium is hard but rewarding writing that updates a powerfully subversive strand of literature, one in which a rapier intellect guides the whiplash of form. Gulf & Alpha Betty's Chronicles Brian Kim Stefans http://ubu.com/ubu/stefans_alpha.html http://ubu.com/ubu/stefans_gulf.html Gulf, a collection of both my more "lyric" and procedural writings from the mid-nineties, first appeared in the form of a huge mass of stapled photocopies in 1998, published in an edition of 100 by Object and distributed to friends in New York and elsewhere by mail. In 2000, Harry Tankoos Books published another 100 copies, some of which are still available at Small Press Distribution. Gulf was my second book, a "companion volume" to Free Space Comix published by Roof earlier that year, but more readily recognizable now as the precursor for Fashionable Noise: On Digital Poetics, as it contains the long computer poem "Stops and Rebels" (a highly alliterative scramble of Tennyson's translation of the Old English poem "Battle of Brunaburh") and a final essay at the end that uses search-and-replace techniques to translate it into a supra-terranean brogue. The /ubu version of Gulf has been reset with new typefaces, and is the same as the original edition minus 4 poems. "Alpha Betty's Chronicles" appeared at the same time as Gulf on the ubu.com; I decided to reform it for /ubu since it is much easier to print-out and read this way, and I always considered it a book, and not necessarily a web, poem. Low-Level Bureaucratic Structures Principles of the Emeryville Shellmound Lytle Shaw 38 Pages http://ubu.com/ubu/shaw_low.html These two chapbooks, originally published by Shaw and Emilie Clark's Shark Press, can be figured somewhere at the nexus of several forces: conceptual writing like that explored by Vito Acconci and Bernadette Mayer in their short-lived journal 0 to 9 – in which procedural processes and the very frames of the letter-size page conspires to create a visual enigma – the naïve word/picture art often associated with Raymond Pettibon, and the 'pataphysical expository prose of Spiral Jetty creator Robert Smithson, which can make such subjects as the factory ruins of New Jersey seem of a piece with excavations of Neolithic artifacts (in fact, Shaw's first book of poetry, Cable Factory 20, was based on Smithson's work). Other interests peculiar to Shaw, such as Enlightenment concepts of Bildung (personal mastery), the problematics of canonical "knowledge," not to mention a sort of goofy humor, animate these two works. Shaw encouraged the degradation of the image that photocopying incurred in the original publications, a downward spiral that lends pathos to the projects and which is all the more encouraged with its translation to reduced digital images. The Chinese Notebook Ron Silliman 30 Pages http://ubu.com/ubu/silliman_chinese.html The third and final section to appear in /ubu from Silliman's seminal, long out-of-print book The Age of Huts ("Sunset Debris" and "2197" appeared last year), "The Chinese Notebook" has become a key text for Language writers, being part manifesto for a deterritorializing and reference-troubling aesthetics and part meditative and procedural exercise, forming an important bridge between New American poetics of the "daily" (think Creeley, Kyger, Ginsberg) and the hardcore constructivism of Language writers like David Melnick and Barrett Watten. Most distinctly, "The Chinese Notebook" is a poetic insistence, an act of positioning poetry as more than a tributary of philosophy but possibly philosophy itself, of form being as troubling a determiner of genre as content (Wittgenstein's numbered aphoristic works provide the gravity, here), and of the idiosyncratically-educated West Coast poet being a public intellectual on a national cultural stage. Written with a characteristic "plain style" and yet daringly expansive, this poem had the force of both a treatise and an anthem, and counts as one of the most influential of the Language School. -------------------------------------- /ubu Editons :: Spring 2004 Titles ----------------------------------- /ubu Editions can be accessed at: http://ubu.com/ubu __ U B U W E B __ http://ubu.com Apologies for cross-postings. Please forward to all. __________________________________ Do you Yahoo!? Yahoo! Photos: High-quality 4x6 digital prints for 25¢ http://photos.yahoo.com/ph/print_splash ========================================================================= Date: Tue, 20 Apr 2004 00:00:35 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: Opal's God MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=X-UNKNOWN Content-Transfer-Encoding: QUOTED-PRINTABLE Opal's God I. reaching arms above Only knows. They heard them as kneel Good King Edward singing "Nearer My Thee," be. tonight prayers will fairies teach knows Lola has got her white silk dress so much wants children marching around sometimes just flowers about. Probably brought seed from heaven when God. God." all different ways. Some saw grass some them. Sometimes do seem thank their borning. This morning "Blessed pure heart, they shall see home. thinks it send how those are thoughts growing up out earth. she my prayer dwell Alan Bretagne=C9tienne Blois Godefroi Bouillon came way couldn't have seeing it. And while sat on ham, did near. on. sent answers Ryder or he not pray kind service for goodness and Sadie McKibben, fix. The house live under water, dammed chute. Now think anger had Rob there our back yard. Why, if answered his prayer, we would be an awful shouting at God in a very quick way. He was begging dam that chute right little bit sore, but I am happy listening to the twilight music of God's __ ========================================================================= Date: Tue, 20 Apr 2004 00:00:45 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: small breathing / closing down MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII small breathing / closing down exit--- h--- ls--- p--- p--- cd image--- ftp panix.com--- exit--- p--- p--- shutdown -h now--- h--- p--- date--- ls--- p--- h--- p--- b--- ls--- cd image--- tail nm--- wc nm--- pico nm--- b--- ls--- cd--- ls--- exit--- p--- b--- ls--- p--- shutdown -h now--- root--- p--- ls--- h--- h > zz--- exit--- _ ========================================================================= Date: Tue, 20 Apr 2004 00:53:50 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Annie Finch Subject: reading the ubuweb catalog Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" I love this catalog; reading it is even better than reading wine descriptions. >use of a closed vocabulary while engaging in a highly >philosophical and formal play that examines the lyric interior of >this seemingly arbitrary set kind of fruity but complex, maybe nice with the hummus and dolmas >strong sonic qualities and extravagant, but never indulgent, syntactic and verse architectures-- good with Indian food I bet--how about this to go with the main course >rich, understated emotional core to the work by the repeated motif >of the title phrase, which balances on the delicate irony nice accompaniment for some really excellent cheese -- And they are much longer, too. Thank you for some deliciously lingering prose with hints of chocolate and ripe pear. AF ========================================================================= Date: Tue, 20 Apr 2004 01:13:07 -0400 Reply-To: patrick@proximate.org Sender: UB Poetics discussion group From: Patrick Herron Subject: Announcing the Carrboro Poetry Festival June 5 & 6 (Please Forward) Comments: To: webmaster@carrboropoetryfestival.org MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Announcing the Carrboro Poetry Festival June 5 & 6 Carrboro Century Center Carrboro North Carolina www.carrboropoetryfestival.org The 2004 Carrboro Poetry Festival will feature readings from 40 poets during the two day event Saturday June 5 and Sunday June 6. Renowned North Carolina poets Carl Martin, Gerald Barrax, Jaki Shelton Green, Jeffrey Beam, John Balaban, Lou Lipsitz, and shirlette ammons will read their poetry along with some of America's best younger poets--Brian Henry (editor of Verse and founder of Verse Press), Linh Dinh (anthologized in Best American Poetry 2000 and the editor and co-translator of Night Again: Contemporary Fiction from Vietnam), K. Silem Mohammad (author of Hovercraft and Deer Head Nation), and Lee Ann Brown (Charlotte native and winner of the New American Poetry Prize). The website contains detailed information about the festival, its readers, the Town of Carrboro, directions, parking, travel and accommodation information. Admission is free and open to the general public. WE NEED YOUR HELP...Please contribute to the festival! We need your support. If you would like to give $50, $25, $5, even $1 to help offset the costs, please see http://tinyurl.com/2fgrt for details. If you would like to volunteer for the festival, please contact me @ webmaster@carrboropoetryfestival.org Patrick Herron ========================================================================= Date: Tue, 20 Apr 2004 00:23:37 -0500 Reply-To: nudel-soho@mindspring.com Sender: UB Poetics discussion group From: Harry Nudel Subject: Spring Mime-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit cool in the morn sun on yr neck long long after noon eve rip of breeze to 3..one more..drn.. ========================================================================= Date: Tue, 20 Apr 2004 01:30:20 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Lucas Klein Subject: Re: More Important than Poetry MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Cubs. If we have to pick a year: 1908. Lucas ________________________________________ "The great enemy of clear language is insincerity." --George Orwell Lucas Klein LKlein@cipherjournal.com 11 Pearl Street New Haven, CT 06511 ph: 203 676 0629 www.CipherJournal.com ----- Original Message ----- From: "Haas Bianchi" To: Sent: Monday, April 19, 2004 5:09 PM Subject: More Important than Poetry > Ok Poets a little whimsy- I am taking a poll- what is your favorite baseball > team? > > R > > Raymond L Bianchi > chicagopostmodernpoetrycalendar.blogspot.com/ > collagepoetchicago.blogspot.com/ > > > -----Original Message----- > > From: UB Poetics discussion group > > [mailto:POETICS@LISTSERV.BUFFALO.EDU]On Behalf Of Ken Rumble > > Sent: Monday, April 19, 2004 4:02 PM > > To: POETICS@LISTSERV.BUFFALO.EDU > > Subject: Desert City w/ Rod Smith, Mark Wallace, & Lorraine Graham -- > > Carrboro, NC > > > > > > Please spread far and wide...... > > > > Who: Rod Smith, author of _Music or Honesty_, _Protective Immediacy_, and > > other of your favorite books, editor of Aerial Magazine and Edge > > Books, former > > chess opponent to John Cage, all around go-to-guy for things vegetable, > > animal, > > or mineral. > > > > Who: Mark Wallace, author of _Haze_, _Temporary Worker Rides a Subway_, > > _Sonnets of a Penny-a-Liner_, editor of the heroic _Telling It > > Slant: Avant > > Garde Poetics of the 1990s_, first guy picked for every kickball team in > > America. > > > > Who: K. Lorraine Graham, author of _Dear [Blank] I Believe in > > Other Worlds_, > > editor of Anomaly Magazine, executrix for the dinosaurs, owns > > working original > > Herbie the Love Bug. > > > > What: Desert City Poetry Series, Season Finale!! Single-handedly > > re-legitamizing the exclamation point. > > > > When: Saturday, April 24th, 8:00 pm, 2004 > > > > Where: Sizl Gallery, 405 E. Main Street, Carrboro, NC, near > > Carrburritos, off > > Franklin, intersects Rosemary, directly above the center of the > > earth, park at > > the Meineke > > > > Why: "you look great! thanks no / I don't. thanks, you do too. > > thanks, / I > > like your shirt." > > "A colossal-headed Ted Baxter is constantly threatening to punch our > > collective > > face out so we can't do our own commercials." > > "Poetry doesn't care who loves it" > > > > See you there...... > > > > Sizl Gallery: www.sizlgallery.com > > > > Desert City's favorite independent bookstore: The Internationalist: > > www.internationalistbooks.org > > > > Desert City Poetry Series: http://www.carrboro.com/desertcitypoetry/, > > coming soon -- www.desertcity.org > > > > Rod Smith: > > http://epc.buffalo.edu/authors/smithr/ > > > > Mark Wallace: > > http://epc.buffalo.edu/authors/wallace/ > > > > K. Lorraine Graham: > > http://www.geocities.com/anomalypress/ > > > > ---contact DCPS: Ken Rumble, Director, rumblek@bellsouth.net > > > > "Lucifer" > > by Rod Smith > > > > Viaduct off-spring of a slinkie > > > > salesperson > > > > Divorce > > or > > acutely vivid-- > > > > (welp) > > > > dyspeptic area code > > yet recombinatory, on ceremonial > > disturbed water stoop > > > > Say the sound > > &/or slay the swingline > > > > Some say need > > is a statutory explanation > > of the mobility > > of synchronicity. > > Most of them are guiltyof democratic leanings. > > > > from "The Monstrous Failure of Contemplation" > > by Mark Wallace > > > > Do you believe this story > > zombies are eating human flesh > > the creature looks like one of us > > do you believe this story > > they were trained in the slaughterhouse > > it pulled her down the sink > > do you believe this story > > nuclear ant crushes a truck > > dead Indians rise from a grave > > > > The industry of fear > > millions of dollars a year > > > > "As a child, blood and gore > > actually comforted me, because I forgot > > the tension upstairs. > > It was only later I learned > > I was an alien." > > > > from "Dear [Blank] I Believe in Other Worlds" > > by K. Lorraine Graham > > > > Everything flips. Say: it's a thing! and it flips and says look > > at me I'm a > > thing, a speaking thing! and so we think to ourselves outloud and so > > perhaps to > > others I wonder how can this be this thing-no-longer-thing is speaking and > > I am > > filled with either horror or with love: and so it's a boring flip > > and hardly a > > flip at all, churchbells sounding high above an oil rig, real and true and > > trying to tie themselves to things, some things more than others, > > some with or > > without makeup on, or covered in skin and vein and eventually > > unbleached un > > arranged bones that have not been placed in closets but instead lovingly > > reanimated into zombies via gigantic cauldrons, usually stolen from small > > Celtic countries and returned as peace offerings via weddings in > > times of war. > > > > > > ========================================================================= Date: Tue, 20 Apr 2004 00:35:31 -0500 Reply-To: nudel-soho@mindspring.com Sender: UB Poetics discussion group From: Harry Nudel Subject: Spring... Mime-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit fall asleep to mets extra... 2:three..drn.. ========================================================================= Date: Mon, 19 Apr 2004 22:27:03 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: jen hofer Subject: Bay Area Mexican Poetry Events MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Hello Friends: I'm writing to alert you to a number of events in the Bay Area -- San = Francisco, Berkeley & Davis -- to celebrate my anthology of contemporary = poetry by Mexican women, Sin puertas visibles. I'd be most delighted to = see you at any or all of these events (the SF events will be = significantly different from one another, for those that are real = gluttons for poetic punishment) & I'd be most grateful if you'd help me = spread the word. Please forgive if you've already received this information. Most best, Jen * Galer=EDa de la Raza, Latino Arts Network, New Langton Arts, The Poetry = Center at San Francisco State University, Small Press Traffic, and UC = Davis Program in Creative Writing present a series of events to = celebrate the publication of a new anthology highlighting the work of = emerging Mexican women poets. These bilingual, bi-cultural events at different sites throughout the Bay Area = offer the local poetry community a rare opportunity to hear the work of = and engage in conversation with two Mexican poets, Dolores Dorantes and Laura = Sol=F3rzano, featured in Sin puertas visibles: An Anthology of = Contemporary Poetry by Mexican Women (University of Pittsburgh Press and Ediciones = Sin Nombre, 2003), along with the translator and editor of the = anthology, poet Jen Hofer. San Francisco Breaking the Ligatures of the Predictable: Contemporary Mexican Poetries = and the Poetics/Politics of Translation Thursday April 22, 4:30 pm, admission free Panel discussion at the Poetry Center at San Francisco State University 1600 Holloway Avenue, SF More info: 415 338 2227=20 No Visible Doors: A Celebration of Contemporary Poetry by Mexican Women Saturday April 24, 7 pm, admission $3 Bilingual poetry reading at Galer=EDa de la Raza 2857 24th Street, SF More Info: 415 826 8009 Using All the Letters: A Celebration of Contemporary Mexican Poetry Sunday April 25, 8 pm A poetry salon and collective conversation at the home of Camille Roy, = New Langton Arts literature curator Call 415 626 5416 for reservations (required) and directions ALSO: Jen Hofer reads from her own work (in English) Small Press Traffic: Taylor Brady & Jen Hofer Friday, April 23, 2004 at 7:30 p.m. Timken Lecture Hall California College of the Arts 1111 Eighth Street, San Francisco (just off the intersection of 16th & = Wisconsin)=20 $5-10, sliding scale, free to SPT members, and CCA faculty, staff, and = students Berkeley No Visible Doors: A Celebration of Contemporary Poetry by Mexican Women Tuesday April 27, 7 pm A bilingual reading in the English Department Lounge at UC Berkeley Wheeler Hall Room 330 (Bancroft Street entrance to campus, Wheeler is the white granite hall = just to the right of Sather Gate) More info: jenhofer@sbcglobal.net Davis Everybody's America: Readings in Latina/Latino Poetry Wednesday, April 28th, 5:00 pm 126 Voorhies Hall University of California-Davis with Alfred Arteaga, Dolores Dorantes, Jen Hofer and Laura Sol=F3rzano Contact: jclover@ucdavis.edu BIOS: =20 Dolores Dorantes was born in C=F3rdoba, Veracruz in 1973. Her most = recent books include Lola (cartas cortas) (Fond Editorial Tierra = Adentro, 2002), SexoPUROsexoVELOZ (Cuadernos del filodecaballo, 2002), = Para Bernardo: un eco (MUB editoraz, 2000) and Poemas para ni=F1os = (Ediciones El Tuc=E1n de Virginia, 1999). She is a founding editor of = Editorial Frugal, which counts among its activities publication of the = monthly broadside series Hoja Frugal, printed in editions of 4000 and = distributed free throughout Mexico. Translations of her poems into = English have been published in the anthology Sin puertas visibles = (ed.and trans. Jen Hofer, University of Pittsburgh and Ediciones Sin = Nombre, 2003), in issue #3 of Aufgabe, and in kenning. Translations of = her new work will be published as a chapbook by Seeing Eye Books in = 2004. She lives in Ciudad Ju=E1rez, where she works as a freelance = writer and editor. Jen Hofer edited and translated Sin puertas visibles: An Anthology of = Contemporary Poetry by Mexican Women (University of Pittsburgh Press and = Ediciones Sin Nombre, 2003). Her recent books of poetry include the = chapbook lawless (Seeing Eye Books, 2003), slide rule (subpress, 2002), = and The 3:15 Experiment (with Lee Ann Brown, Danika Dinsmore, and = Bernadette Mayer, The Owl Press, 2001). She is co-editor, with Rod = Smith, of Aerial #10, a forthcoming critical volume on the work of the = poet Lyn Hejinian. Her writings against the war in Iraq and the war on = terror can be found in the special anti-war issue of A.BACUS, and in the = anthology Enough (O Books, 2003); other poems, prose texts and = translations appear in recent issues of 26, Aufgabe, Circumference, = kenning, kiosk, NO: A Magazine of the Arts, and in the book Surface = Tension: The Problematics of Site (Errant Bodies Press, 2003). She lives = in Los Angeles, where she teaches and translates. =20 Laura Sol=F3rzano was born in Guadalajara, Jalisco in 1961. She is the = author, most recently, of lobo de labio (Cuadernos de filodecaballos, = Guadalajara: 2001) and Semilla de Ficus (Ediciones Rimbaud, Tlaxcala: = 1999). She is on the editorial board of the literary arts magazine = Tragaluz, and currently teaches film studies and writing at the Centro = de Arte Audiovisual in Guadalajara. Her poems have been published in = Hoja Frugal, Juglares y alarifes, Luvina, Renglones, Trashumancia and El = Zahir. Translations of her poems into English have been published in the = online magazine HOW2 (www.departments.bucknell.edu/stadler_center/how2), = in issue #3 of the magazine Aufgabe, and in the anthology Sin puertas = visibles. =20 Taylor Brady is the author of Microclimates (Krupskaya, 2001), = Production Notes for Occupation: Location Scouting (Duration e-book, = 2003), and Is Placed/Leaves (Meow, 1996). A new book, Occupational = Treatment, is forthcoming from Atelos. Recent poetry and critical work = is forthcoming in Quid and the second Enough. A Bay Area resident since = 1998, he has outlived the wax and wane of several cycles of fictive = capital and is interested in suggestions for a public life that is more = than the sum of their effects ========================================================================= Date: Tue, 20 Apr 2004 01:55:42 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Michael Boyko Subject: Re: reading the ubuweb catalog MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit oh my god that is damn funny. and gewurtztraminer smells like gasoline? -boyko ========================================================================= Date: Tue, 20 Apr 2004 01:56:53 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Michael Boyko Subject: Re: More Important than Poetry MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Boston Red Sox. Being a fan really prepared me for a lifetime of disappointment and unfounded faith. -boyko ========================================================================= Date: Mon, 19 Apr 2004 23:26:18 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: alexander saliby Subject: Re: reading the ubuweb catalog MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Boyko, the only time any wine, white or red, smells like gasoline, is when the = winemakers have failed (I'll avoid the technial explanation, but you = should know there is one." =20 What ever you are drinking, I suggest you change brands Also, for US wines, try the Canoe Ridge Gewurtztraminer, 2002. You = should find an aroma of spices and white flesh fruites...apples = primarily, and a nicely acidic wine. =20 Finally, a good, worth drinking Gewrutz is pricey; expect to pay upwards = of $15.00 a bottle or more. And the Alsatian and German counterparts = are $50 to $75.00 a bottle.=20 alex=20 ----- Original Message -----=20 From: Michael Boyko=20 To: POETICS@LISTSERV.BUFFALO.EDU=20 Sent: Monday, April 19, 2004 10:55 PM Subject: Re: reading the ubuweb catalog oh my god that is damn funny. and gewurtztraminer smells like gasoline? -boyko ========================================================================= Date: Tue, 20 Apr 2004 07:23:50 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Allen Bramhall Subject: re More Important Than Poetry MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit All Ireland vs the rest of Ireland ========================================================================= Date: Tue, 20 Apr 2004 12:44:38 +0100 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Roger Day Subject: Re: More Important than Poetry MIME-Version: 1.0 Content-type: text/plain; charset=us-ascii and baseball? Is that like rounders only less competitive? George Bowering To: POETICS@LISTSERV.BUFFALO.EDU Sent by: UB Poetics cc: discussion group Subject: Re: More Important than Poetry 20/04/2004 01:53 Please respond to UB Poetics discussion group >Baseball may be more important than Poetry; certainly Rugby is more >important than Baseball! > >K. S. Rugby? Is that something like football? Or is that Cricket? -- George Bowering And numerous pen names. 303 Fielden Ave. Port Colborne. ON, L3K 4T5 ========================================================================= Date: Tue, 20 Apr 2004 07:47:40 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Vernon Frazer Subject: Re: More Important than Poetry In-Reply-To: <167.2e5403e4.2db615a5@aol.com> MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit I never thought about being a Red Sox fan as training for being a writer. But now that you mention it, it's a spiritual preparation for al the rejections and near-misses. After they broke my heart last year, for the 47th consecutive year, this time while sitting in South Florida, I found the Marlins giving me some hope. Maybe Fate is trying to tell me things can change. But I still want Nomar and Manny to be my bodyguards on my inevitable book tour. (LOL) Vernon -----Original Message----- From: UB Poetics discussion group [mailto:POETICS@LISTSERV.BUFFALO.EDU] On Behalf Of Michael Boyko Sent: Tuesday, April 20, 2004 1:57 AM To: POETICS@LISTSERV.BUFFALO.EDU Subject: Re: More Important than Poetry Boston Red Sox. Being a fan really prepared me for a lifetime of disappointment and unfounded faith. -boyko ========================================================================= Date: Tue, 20 Apr 2004 08:34:09 -0500 Reply-To: hlazer@bama.ua.edu Sender: UB Poetics discussion group From: hlazer Organization: The University of Alabama Subject: Boston Review MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii; format=flowed Content-Transfer-Encoding: 7bit The latest issue of Boston Review -- available in print or online -- has a couple of essays that might interest Poetics folks. I've written a partial state of the art piece, "The People's Poetry" (not my title), and Marjorie Perloff has an essay-review titled "Pound Ascendant." I'd be interested to hear responses to the essays. Hank Lazer ========================================================================= Date: Tue, 20 Apr 2004 08:35:28 -0500 Reply-To: hlazer@bama.ua.edu Sender: UB Poetics discussion group From: hlazer Organization: The University of Alabama Subject: url for Boston Review MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii; format=flowed Content-Transfer-Encoding: 7bit Forgot to post the URL for the Boston Review: http://www.bostonreview.net ========================================================================= Date: Tue, 20 Apr 2004 09:01:12 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: mIEKAL aND Subject: Re: Boston Review In-Reply-To: <408526D1.5050900@bama.ua.edu> Content-Type: text/plain; charset=WINDOWS-1252; format=flowed Mime-Version: 1.0 (Apple Message framework v553) Content-Transfer-Encoding: quoted-printable Hank I'm just glossing over this at work, but I can't get past the quote=20 below. It seems like you set yourself here to frame everything thru=20 the "language" lens. For myself & alot of others, the most profound=20 movement(s) in the 70s & 80s were DIY, zine revolution, networking,=20 mailart, international visual poetry movement, on & on. The idea that=20= one didn't need institutions to validate the publishing & distribution=20= of "otherstream" (to use Bob G's word) literature. The language=20 movement loomed on the scope of influences as well, but most certainly=20= not in a way that I would call works produced later as "post-language"=20= which I really scratch my head over. I'm hard pressed to even think of=20= someone whose work I would call post-language. If your article was=20 about Academic Poetry rather than People's poetry these contention's=20 might fly in a different light, where LP seems on the verge of=20 canonization. But the majority of the People's Poetry I'm aware of is=20= flying below & beyond the academic radar of most except for a few like=20= Maria Damon.... mIEKAL "Language writing was the most coherent and profoundly affecting=20 movement of the 1970s and 1980s. In the early 21st century we have=20 entered a post=96Language writing era. But just as in the imagined=20 production line of famous poets, in which the next model remains=20 undesignated, at the level of collective endeavor there is no new=20 definitive movement, no readily identifiable successor to Language=20 writing. This very lack of definition is one of the defining features=20= of the murky present=97a present from which a new model of literary=20 activity may emerge that is no longer fixated on a major figure or a=20 named polemical movement or community." On Tuesday, April 20, 2004, at 08:34 AM, hlazer wrote: > The latest issue of Boston Review -- available in print or online --=20= > has > a couple of essays that might interest Poetics folks. I've written a > partial state of the art piece, "The People's Poetry" (not my title), > and Marjorie Perloff has an essay-review titled "Pound Ascendant." > > I'd be interested to hear responses to the essays. > > Hank Lazer > ========================================================================= Date: Tue, 20 Apr 2004 11:08:43 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Pierre Joris Subject: Rothenberg festival in NYC! In-Reply-To: <20040417054446.52613.qmail@web60902.mail.yahoo.com> Mime-Version: 1.0 (Apple Message framework v613) Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: quoted-printable EVENTS @ FusionArts Museum 7 Stanton Street (one block below Houston between Eldridge and Forsyth Streets) FusionArts Museum and The Unbearables present: JEROME ROTHENBERG: THREE BOOKS THAT SHOOK THE WORLD A tribute to a colossus of American poetry, in which poets read from=20= three of his most important volumes, each of which caused seismic tremors in the American literary landscape Hosted by Jim Feast and Steve Dalachinsky Wednesday, April 28, 8 PM, $5.00 =A0=A0=A0=A0=A0 THAT DADA STRAIN (1983) =A0=A0=A0 under the angel's wing=A0 //=A0=A0 the cherub's head // = still cries Michael Carter, Steve Dalachinsky, Jim Feast, Merry Fortune, Randi=20 Hoffman, Yuko Otomo, The No Chance Ensemble (Bruce Weber, Joanne Pagano-Weber=20= and Bob Hart), Thad Rutkowski,Tom Savage, Jessie Sloate, Susan L. Yung,=20 and Carl Watson Thursday, April 29, 8 PM,=A0 $5.00 =A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0 A SENECA JOURNAL (1978) =A0=A0=A0 Some have changed themselves into a dog or turkey=A0 -=A0 & = one, a=20 woman, =A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0= =A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0 had outrun a = train Anandi, Steve Dalachinsky, Michael Lindgren, Yuko Otomo, Michael=20 Randall, Claude Taylor, Susan L. Yung, Jordan Zinovich ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Friday, April 30, 8 PM, $5.00 =A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0 POLAND/1931 (1974) =A0=A0=A0=A0 a Jew so mad he heard the flowers=A0 //=A0 in the wood = singing =A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0 Judith Malina / Hanon = Reznikov [The Living Theater] Michael Carter, Steve Dalachinsky, Jim Feast, Bonny Finberg, Russell=20= Hoover, Ron Kolm, Anne Mockler, Harry Nudel, Michael Randall, Susan Sherman, Mark Weller,Carol Wierzbicki and Susan L. Yung ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Saturday, May 1, 8 PM,=A0 $5.00 =A0=A0=A0=A0=A0=A0=A0=A0=A0 JEROME ROTHENBERG =A0=A0=A0 =A0=A0 with music by CHARLIE MORROW =A0=A0=A0 I keep walking through / the world=A0 enough / to reach the = moon & /=20 circle =A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0= =A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0 backwards For more information please call (212) 995-5290 ___________________________________________________________ In philosophical terms, human liberty is the basic question of art. -- =20= Joseph Beuys ___________________________________________________________ Pierre Joris 6 Madison Place =09 Albany NY 12202 =09 h: 518 426 0433 =09 c: 518 225 7123 =09 o: 518 442 40 85 =09= email: joris@albany.edu http://www.albany.edu/~joris/ ____________________________________________________________ ========================================================================= Date: Tue, 20 Apr 2004 11:30:59 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Gerald Schwartz Subject: Re: Rothenberg festival in NYC! MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit That's 57 Stanton Street, below Houston. Great place. --Jerry Schwartz EVENTS @ FusionArts Museum 7 Stanton Street (one block below Houston between Eldridge and Forsyth Streets) FusionArts Museum and The Unbearables present: JEROME ROTHENBERG: THREE BOOKS THAT SHOOK THE WORLD A tribute to a colossus of American poetry, in which poets read from three of his most important volumes, each of which caused seismic tremors in the American literary landscape Hosted by Jim Feast and Steve Dalachinsky Wednesday, April 28, 8 PM, $5.00 THAT DADA STRAIN (1983) under the angel's wing // the cherub's head // still cries Michael Carter, Steve Dalachinsky, Jim Feast, Merry Fortune, Randi Hoffman, Yuko Otomo, The No Chance Ensemble (Bruce Weber, Joanne Pagano-Weber and Bob Hart), Thad Rutkowski,Tom Savage, Jessie Sloate, Susan L. Yung, and Carl Watson Thursday, April 29, 8 PM, $5.00 A SENECA JOURNAL (1978) Some have changed themselves into a dog or turkey - & one, a woman, had outrun a train Anandi, Steve Dalachinsky, Michael Lindgren, Yuko Otomo, Michael Randall, Claude Taylor, Susan L. Yung, Jordan Zinovich ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Friday, April 30, 8 PM, $5.00 POLAND/1931 (1974) a Jew so mad he heard the flowers // in the wood singing Judith Malina / Hanon Reznikov [The Living Theater] Michael Carter, Steve Dalachinsky, Jim Feast, Bonny Finberg, Russell Hoover, Ron Kolm, Anne Mockler, Harry Nudel, Michael Randall, Susan Sherman, Mark Weller,Carol Wierzbicki and Susan L. Yung ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Saturday, May 1, 8 PM, $5.00 JEROME ROTHENBERG with music by CHARLIE MORROW I keep walking through / the world enough / to reach the moon & / circle backwards For more information please call (212) 995-5290 ___________________________________________________________ In philosophical terms, human liberty is the basic question of art. -- Joseph Beuys ___________________________________________________________ Pierre Joris 6 Madison Place Albany NY 12202 h: 518 426 0433 c: 518 225 7123 o: 518 442 40 85 email: joris@albany.edu http://www.albany.edu/~joris/ ____________________________________________________________ ========================================================================= Date: Tue, 20 Apr 2004 11:50:39 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: andrew loewen Subject: An unusually beautiful day. MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii At a buffalo jump, the Indians would panic a herd of buffalo into a stampede. Members of the tribe forced the herd to follow a path that ended a cliff. The buffalo, now in blind panic, would simply run right off the edge of the cliff, killing themselves in the fall. Head-Smashed-In (supposedly) gets its name from the story of an Indian brave who wished to witness the plunging buffalo from under the shelter of a ledge under the cliff. An unusually beautiful day caused the pile of dead buffalo to reach higher than expected, crushing the brave against the cliff. When the rest of the tribe came to butcher the buffalo, they found the brave with his head smashed in, crushed by the weight of the buffalo. ______________________________________________________________________ Post your free ad now! http://personals.yahoo.ca ========================================================================= Date: Tue, 20 Apr 2004 09:39:43 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mark Salerno Subject: =?WINDOWS-1252?Q?Mark_Salerno_=97_So_One_Could_Have?= In-Reply-To: <20040419210044.HMSC1779.imf21aec.mail.bellsouth.net@hppav> Content-Type: text/plain; charset=WINDOWS-1252; format=flowed Mime-Version: 1.0 (Apple Message framework v553) Content-Transfer-Encoding: quoted-printable Colleagues: I am pleased to announce the publication of my new book of poetry,=20 entitled _So One Could Have_. The cover price is $11.95. Anyone from=20 the List may back channel me and I will send them a copy for ten=20 dollars (total price =97 includes shipping). Best, Mark Salerno P.O. Box 3749 Los Angeles, CA 90078 So One Could Have By Mark Salerno Red Hen Press ISBN 1-888996-86-2 available at bookstores and through spdbooks.org= ========================================================================= Date: Tue, 20 Apr 2004 12:02:17 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Joe Amato Subject: Re: Boston Review Comments: cc: A Kass Fleisher In-Reply-To: <2EC3DBEB-92D3-11D8-9EF4-000393ABDF48@mwt.net> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" i enjoyed hank lazer's fine ~boston review~ piece (and also, marjorie perloff's astute review of the new pound volumes)... while i appreciate miekal's perspective on hank's essay, understanding poetry practice as he does more in terms of larger d-i-y (international) arts currents and less in terms of academic professionalization---which hank gestures to as well, for instance, in his discussion of hip-hop and the like (and which might itself comprise a gesture toward the entertainment industry)---i think there may be another way to proceed here... first, it strikes me that there's a curious silence in hank's text... i find it odd that 9-11 and ensuing events make an appearance only once (right?), in reference to "the many readings against the war in the run-up to the invasion of Iraq"... i say i find this curious b/c, while 9-11+ is still admittedly recent history, it's such a cataclysmic event politically and socially (it's fair to say) that to characterize it via its capacity for cutting across mainstream/post-avant norms (or whatever) may be to understate its capacity for catalyzing social action (symbolic action included)... which is to say, that i don't believe democratizing or, if you prefer, balkanization can be said to occur (1) absent, yes, the institutional power that hank keeps coming back to in his piece via reference to the publishing and awards apparatus associated with "official verse culture," OR (2) absent the institutional power grid associated with the broader social and political sphere... if there is every reason in the world to OPPOSE a political system (he sez), and if poets are not lining up (as the evidence suggests, at least in retrospect, they lined up during vietnam) to oppose same---a system, mind you, that is clearly Bad News for all but the most populist of artistic endeavors---why then there's at the very least a potential lapse that may be less about resisting nostalgia (all due respect for those who claim that manifestos and movements and the like are rather beside the point for today's generation(s)) than about a radically altered public sphere... and if this public sphere, however we manage to talk about it, has been radically altered pre-9-11, when then i would want to know if it's been radically altered again post-9-11... and i would want to know what's left behind when public spheres are OR are not radically altered (as i sense a class issue or two at stake in all of this)... taking just this list of, what, 1000 or so poets/critics as an example: an awful lot of material crosses my screen every day, courtesy of this list, regarding iraq, bush, afghanistan, the republicans, etc... and if occasionally someone manages to ask, What has this to do with poetics and poetry? the general acquiescence to this flood of information suggests to me that many of us of the post-avant (or whatever), while perhaps feeling inundated with same (and, uhm, helpless to do anything about it!), nonetheless may very well see the connection, and we may very well see the connection in abb (all but bush) terms... to me, something like the realpoetic has certainly become the realpolitical in these quarters, if only by default (and i suppose i have to add, apologies to those of you who plan to vote repub)... that's item the first, a kind of willful polemical misreading on my part of hank's piece, and offered w/o at all wishing to polarize matters... item the second, which is somewhat easier to get at: if in fact one of the issues for l=a=n=g over the past three decades has been the prose-poetry distinction (which, as many of you know, stephen fredman helpfully takes up in ~poet's prose~), it's nonetheless the case that commentary on l=a=n=g---indeed, commentary on poetry in general---is yet marked by a nearly complete silence regarding prose writers who are both not writing conventional prose AND who are not considered poets... note this last bit of obfuscation on my part... my partner here, kass (fleisher), would argue that this is owing to the fact that sentence work that doesn't do what conventional sentence work does is generally published by poetry presses, and treated as POETRY (~the new sentence~ notwithstanding)... this has (had) the effect of creating lineages that speak more to the work of poets than to the work of prose writers, unless one goes back far enough (and the greater the distance, the more presumably innocuous the comparison)... so e.g., hank can say of susan howe that her work is "better understood in relation to "Charles Sanders Peirce (and the American pragmatists, including Kenneth Burke), Ralph Waldo Emerson, Herman Melville, and Emily Dickinson"---w/o bothering to distinguish howe as more a poet or more a prose writer *in this regard*, and w/o noting how this lineage consists of such distinctions (well---emerson and melville wrote poetry and prose, but you get my point... howe is, for hank and for most of us, a POET)... now on the one hand, we can wave our hands over this matter and simply claim that our aesthetics today have been hybridized, creolized, etc. (like our ideologies?), and that this is a good thing, so we needn't worry about genre distinctions that ultimately have to do more with the marketplace than with any intrinsic formal distinctions... on the other hand, though these distinctions may ultimately have to do with the marketplace, it's rather striking to me how not attending to this prose-poetry matter more concretely permits us (all of us---mea cupla) to persist w/o e.g. bothering to discuss how recent work in poetry may be helpfully aligned with recent work in prose... (on this note, recall the perennial posts hereabouts inquiring as to whether there's a list such as this one devoted to prose... in point of fact, kass ran a list, PROSAICS, for a spell, a list aspiring to just that, but it became moribund rather quickly due to, to---to what, exactly, i can't say...) so, here's a thought: how about we start to talk about PROSE as a prose writer might?... i just experienced a nice conjunction of poets, prose writers, digital artists at notre dame a coupla weeks back (the &now festival of contemporary literature), and i'm here to say that we ought to be talking across this divide much more frequently, and to greater effect... how does contemporary poetry look when measured against, say, the collective writings of the fc2 folks (and interesting in this regard that leslie scalapino has proved of late a crossover figure in this regard, with a book out on fc2)... how does contemporary poetry look when measured against the prose that dalkey archive has published?... how does contemporary avant-garde poetry look (assuming there can be such a thing, re which more later) vis-a-vis contemporary avant-garde prose?... or are we simply to argue that there is no narrative avant? (or whatever)... just some quick thoughts on this rainy morning in normal, illinois... many thanks to hank for sparking same, and to everyone for bearing with my interpretive insouciance... best, joe ========================================================================= Date: Tue, 20 Apr 2004 15:33:36 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Michael Rothenberg Subject: more on E-Book links and reviews MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable I have heard from milk magazine, poetic inhalations, xpressed, jack = magazine, and jacket so far, each magazine either having links for = e-books or will be adding links to e-books on their websites. They will = also be considering reviews of e-books. Who else is out there with e-zines that I might talk with? Who is = linking e-zines and I don't know about it or plans to do this and hasn't = spoken up? Anyone? I think it would be helpful to all of us to know what's going on in this = regard. Keep the ball rolling. Thanks for the feedback. Michael Michael Rothenberg walterblue@bigbridge.org Big Bridge www.bigbridge.org ========================================================================= Date: Tue, 20 Apr 2004 13:28:57 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Stephen Vincent Subject: Hitlon Obenzinger's new book! Mime-version: 1.0 Content-type: text/plain; charset="ISO-8859-1" Content-transfer-encoding: quoted-printable Well, it's only partly Hilton - it's his aunt Zosia - and its a both harrowing and great story: Running through Fire, How I Survived the Holocaust By Zosia Goldberg as told to Hilton Obenzinger with an introduction by Paul Auster Mercury House=20 Well reviewed in this past Sundays SF Chronicle - see below: Why am I flaking this book? - I was the benighted(indeed) character who too= k on the job of transcribing the original tapes in 1985 (yes, almost 20 years to get into full print!) But I can tell you first hand I was never more rattled by a tape in my life at the same totally engaged with an incredibly commanding story teller - the Houdini of the holocaust, I'd speculate. Hilton tells me there are some theatrical performances happening soon in Ne= w York and the Bay Area. If he's reading this, he can flak the details. Stephen Vincent ------------------------------------------------------------------------ So beautiful and young, finding ways to survive Reviewed by Gabriella Gershenson =A0 Sunday, April 18, 2004 ------------------------------------------------------------------------ Running Through Fire How I Survived the Holocaust By Zosia Goldberg, as told to Hilton Obenzinger MERCURY HOUSE; 188 PAGES; $15.95 PAPERBACK www.Mercuryhouse.org ------------------------------------------------------------------------ In a Holocaust memoir, the question being answered is "how": how I escaped, how I survived, how I went on. Yet there exists another question that is equally pressing but impossible to answer. The question is "why." Why did I survive when the others did not? "Running Through Fire," the memoir of Zosi= a Goldberg, bears the subtitle "How I Survived the Holocaust." She rarely ask= s why, only pausing on occasion to marvel at the odd mixture of luck and circumstance that allowed her to live. When the Germans invaded Poland in 1939, Zosia Goldberg was a 21-year-old urbanite accustomed to a carefree life. "We went out to the nightclubs and cafes. Life was just tremendous in Warsaw. Everybody lived like it was the last days of Pompeii." Goldberg was one of a community of assimilated Jews who, for the most part, were fully integrated into secular society. Her father, Mieczyslaw Goldberg, was the highest-ranking Jewish civil servant o= f his time, highly respected and consistently mistaken for a gentile. Photos of Zosia show a stunning, cultivated woman who, like her father, was often taken for a gentile. "With my dark eyes and hair, I never heard that I was = a Jew. They called me a Gypsy instead -- admiringly!" This and the fact that Goldberg spoke Polish without a trace of a Yiddish accent -- a telltale trait that condemned many Polish Jews -- gave her an escape route of sorts. Once the fate of the Jews had become clear to her, Goldberg paid for herself and her mother (who survived the war separately from her daughter) to be smuggled from the Jewish to the Aryan ghetto. Once inside, both women assumed gentile identities. On the advice of a friend, Zosia got herself arrested so that she would be sent, along with the other young Poles, to Germany's forced-labor camps. There she posed as a Polish-Ukrainian orphan, hiding her Jewish identity until the end of the war.=20 From the ghetto to the labor camps, it is virtually impossible to count the number of times Goldberg could have been killed. It is equally difficult to say how she escaped death each one of those times. Certainly, she was extremely lucky and possessed of bravery that bordered on recklessness. But she also understood human nature. Goldberg had an uncanny ability to instantly read people and situations and knew how to position herself in order to maximize her chances of survival. She recalls a brutal interrogation by the overseer of a Nazi labor camp. " 'You are not Polish! Who are you?' He beat me without stopping. ... All of a sudden, I reminded myself of what the Gentile engineer had advised me: Never admit anything if they beat you. As a matter of fact, if a German beats you up and you don't fight back, that means that you are Jew, that you are scared. A Gentile always strikes back." Goldberg's acute self-awareness extended to her charms, which played a softer yet vital role in her survival. As a young woman, Goldberg was never naive or coquettish, but fully aware of her appeal and the power it afforde= d her. She explains early on, "I was beautiful and very young. So wherever I went they were always opening doors for me. I had this kind of luck. Wherever I went, I found help." Goldberg's extraordinary story is made all the more powerful by her matter-of-fact delivery. "Running Through Fire" is an oral history, arguabl= y the memoir in its purest form. The text is transcribed from several conversations between the subject and her nephew, the poet, critic and novelist Hilton Obenzinger, who initiated the project for the purpose of preserving his family history. (Later he was encouraged to pursue publication for a broader audience.) Obenzinger takes an unusual approach i= n chronicling his aunt's story. Rather than including his observations as the interviewer in this testimony -- descriptions of Goldberg's storytelling manner, the multiple questions that surely saturate the original tape -- he leaves himself out of the text entirely. The book reads as one continuous, unprompted monologue. Obenzinger notes in the preface, "I prodded some, but once she began to talk the problem was rarely faulty memory, but a rush of details, the confluence of so many sub-plots with the immensity of the brutality, ugliness, pain." In the context of the Holocaust memoir, the unvarnished expository style of oral history has particular impact. Goldberg's story is immediate and relentless. From beginning to end, one horror is layered atop another with none of the opportunities for narrative buffers that a written memoir permits. She describes the Warsaw ghetto: "There were cadavers all over, their skin bursting open. They looked like lepers. They were covered with papers, smelling. Rats were eating them." The unmitigated, "real time" aspect of the transcribed testimonial gives Goldberg's story an artless veracity. The unique, unforgettable power that it imparts to her story, and to all stories of survival, is particularly important now that the public i= s said to tire of hearing yet another Holocaust tale. =80 Gabriella Gershenson is a food columnist and a critic in New York City. ========================================================================= Date: Tue, 20 Apr 2004 13:53:37 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Stephen Vincent Subject: Carla Harryman tonight in SF Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit In case anybody in the SF Bay Area has not been on the Langton Arts informational curve: Carla Harryman is performing a work tonight with John Raskin of the ROVA Saxaphone Quartet. 8 o'clock. Use web for directions to get the exact address on Folsom between 8th & 9th. Stephen V Blog: http://stephenvincent.durationpress.com ========================================================================= Date: Tue, 20 Apr 2004 14:10:57 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: David Hadbawnik Subject: Re: More Important than Poetry In-Reply-To: <20040420114739.RPUP1728.imf24aec.mail.bellsouth.net@DBY2CM31> MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Oh give me a break all you Sox fans who have to suffer through a perenially contending team playing in the most beautiful stadium in all of sports. you have it so tough. When was the last time the Sox were bad enough to lose 119 games, like my Detroit boys last year? my favorite team... 1984 Tigers. I was 14 years old, the Tigers started 35-5 (and were a more or less .500 team the rest of the way but still ran away with it), I had my first real kiss (Danielle Boyajian), Purple Rain came out, and the Tigers blew away the Pads in the World Series. DH -----Original Message----- From: UB Poetics discussion group [mailto:POETICS@LISTSERV.BUFFALO.EDU]On Behalf Of Vernon Frazer Sent: Tuesday, April 20, 2004 4:48 AM To: POETICS@LISTSERV.BUFFALO.EDU Subject: Re: More Important than Poetry I never thought about being a Red Sox fan as training for being a writer. But now that you mention it, it's a spiritual preparation for al the rejections and near-misses. After they broke my heart last year, for the 47th consecutive year, this time while sitting in South Florida, I found the Marlins giving me some hope. Maybe Fate is trying to tell me things can change. But I still want Nomar and Manny to be my bodyguards on my inevitable book tour. (LOL) Vernon -----Original Message----- From: UB Poetics discussion group [mailto:POETICS@LISTSERV.BUFFALO.EDU] On Behalf Of Michael Boyko Sent: Tuesday, April 20, 2004 1:57 AM To: POETICS@LISTSERV.BUFFALO.EDU Subject: Re: More Important than Poetry Boston Red Sox. Being a fan really prepared me for a lifetime of disappointment and unfounded faith. -boyko ========================================================================= Date: Tue, 20 Apr 2004 16:22:39 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Haas Bianchi Subject: Re: More Important than Poetry In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit the best thing about 1984 was the collapse of the Chicago Cubs in the playoffs- as for me my blood flows black for our Sox from the Southside of Chicago, GO GO SOX Raymond L Bianchi chicagopostmodernpoetrycalendar.blogspot.com/ collagepoetchicago.blogspot.com/ > -----Original Message----- > From: UB Poetics discussion group > [mailto:POETICS@LISTSERV.BUFFALO.EDU]On Behalf Of David Hadbawnik > Sent: Tuesday, April 20, 2004 4:11 PM > To: POETICS@LISTSERV.BUFFALO.EDU > Subject: Re: More Important than Poetry > > > Oh give me a break all you Sox fans who have to > suffer through a perenially contending team > playing in the most beautiful stadium in all of > sports. you have it so tough. When was the last > time the Sox were bad enough to lose 119 games, > like my Detroit boys last year? my favorite > team... > > 1984 Tigers. I was 14 years old, the Tigers > started 35-5 (and were a more or less .500 team > the rest of the way but still ran away with it), I > had my first real kiss (Danielle Boyajian), Purple > Rain came out, and the Tigers blew away the Pads > in the World Series. > > DH > > -----Original Message----- > From: UB Poetics discussion group > [mailto:POETICS@LISTSERV.BUFFALO.EDU]On Behalf Of > Vernon Frazer > Sent: Tuesday, April 20, 2004 4:48 AM > To: POETICS@LISTSERV.BUFFALO.EDU > Subject: Re: More Important than Poetry > > > I never thought about being a Red Sox fan as > training for being a writer. > But now that you mention it, it's a spiritual > preparation for al the > rejections and near-misses. After they broke my > heart last year, for the > 47th consecutive year, this time while sitting in > South Florida, I found the > Marlins giving me some hope. Maybe Fate is trying > to tell me things can > change. But I still want Nomar and Manny to be my > bodyguards on my > inevitable book tour. (LOL) > > Vernon > > -----Original Message----- > From: UB Poetics discussion group > [mailto:POETICS@LISTSERV.BUFFALO.EDU] On > Behalf Of Michael Boyko > Sent: Tuesday, April 20, 2004 1:57 AM > To: POETICS@LISTSERV.BUFFALO.EDU > Subject: Re: More Important than Poetry > > Boston Red Sox. Being a fan really prepared me for > a lifetime of > disappointment and unfounded faith. > > -boyko > ========================================================================= Date: Tue, 20 Apr 2004 14:38:40 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Hilton Obenzinger Subject: Re: Hitlon Obenzinger's new book! Comments: To: Stephen Vincent In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1"; format=flowed Content-Transfer-Encoding: quoted-printable Steve and Listees, Thanks for printing the review from the SF Chronicle. Below are sites for the review, Paul's introduction, and a blurb from=20 Library Journal. More reviews will be appearing in the next few weeks. Also, there are several events in the SF Bay and NYC areas listed. I have been working with the Stanford Drama Department on a dramatic=20 performance of the book. All the book events will have at least a short=20 version of the performance. However, if you can come, the May 20th events= =20 at Stanford will present the full production, and it should be interesting. Paul Auster wrote the introduction, which The Jewish Daily Forward just=20 published. You can read it at http://www.forward.com/main/article.php?ref=3Dauster20040414845. On Sunday the SF Chronicle published a review, which you can read at http://www.sfgate.com/cgi-bin/article.cgi?f=3D/chronicle/archive/2004/04/18/= RVGI562LCV1.DTL =93I thought fast. I was lucky and got an idea. These two short sentences=20 come toward the end of Zosia Goldberg=92s remarkable account of how she=20 managed to live through the nightmare years of the Second World War, and=20 they encapsulate the spirit of the entire story she tells us. Like a female= =20 Odysseus, this beautiful and resourceful young woman needed more than=20 simple courage to overcome the dangers that surrounded her. Survival=20 demanded cunning, quick thinking under pressure, a ferocious will to adapt= =20 to the most frightening and intolerable conditions, and sheer dumb luck.... =93RUNNING THROUGH FIRE is a book filled with unspeakable horrorsbut it is= =20 told without a shred of self-pity. Zosia Goldberg never complains, never=20 bemoans her lot. She battles and endures, and in this raw, unvarnished tale= =20 of human suffering, she has given us a manual of hope.=94 from the introduction by Paul Auster =93An account of deep personal heroism ... as suspenseful as any novel....= =20 This work shows how a strong, resourceful woman (with a lot of luck)=20 overcame the grisly odds.=94 LIBRARY JOURNAL [ORDERING INFORMATION] TO ORDER by mail, send $15.95 plus $5.00 shipping to: Mercury House, PO Box 192850, San Francisco, CA 94119-2850 tel: 415-626-7874 fax: 415-626-7875 TO PAY by credit card, please visit our website and order directly through= =20 our third-party merchant: www.mercuryhouse.org/goldberg.html (email:=20 mercury@mercuryhouse.org) [BOOK DETAILS] Running Through Fire: How I Survived the Holocaust By Zosia Goldberg, as told to Hilton Obenzinger with an introduction by Paul Auster 208 pp, 5 1/2 x 8 1/2, Paper, $15.95, 1-56279-128-1 www.mercuryhouse.org/goldberg.html For more information, contact Mercury House: mercury@mercuryhouse.org www.mercuryhouse.org/goldberg.html 415-626-7874 Please join us for these events celebrating RUNNING THROUGH FIRE: San Francisco Bay Area =93RUNNING THROUGH FIRE: Dramatic Readings About the Courage of Two Women in= =20 the Holocaust: ZOSIA GOLDBERG & ESTHER KEMENY=94 SUNDAY, May 2, 2004 2 4 PM FREE JEWISH COMMUNITY CENTER 3200 California St (@ Presidio/Masonic) San Francisco, CA 415-346-6040 www.jccsf.org/about_directions.htm * Dramatic performance of RUNNING THROUGH FIRE. with Hilton Obenzinger,=20 Audrey Hannah, and Kendra Arimoto THURSDAY, May 20, 2004 7:30 PM FREE STANFORD UNIVERSITY 485 Lasuen Mall, School of Education, Cubberley Auditorium (next to Clock=20 Tower, near Hoover Tower) http://campus-map.stanford.edu * Dramatic reading from RUNNING THROUGH FIRE, with Hilton Obenzinger, Audrey= =20 Hannah, and Kendra Arimoto WEDNESDAY, May 26, 2004 7:30 PM FREE BLACK OAK BOOKS 1491 Shattuck Avenue, Berkeley, CA 94709 510-486-0698 www.blackoakbooks.com/directions.html New York City Dramatic reading from RUNNING THROUGH FIRE, featuring Paul Auster, Zosia=20 Goldberg & Hilton Obenzinger TUESDAY, June 1, 2004 7:00 PM FREE HOUSING WORKS CAF=C9 126 Crosby Street, NYC 212-334-3324 www.housingworks.org/usedbookcafe * Dramatic reading from RUNNING THROUGH FIRE, featuring Paul Auster, Zosia=20 Goldberg & Hilton Obenzinger WEDNESDAY, June 2, 2004 7:30 PM $12 / $15 door MAKOR / 92 ST Y 35 W. 67th Street, NYC (bwtn Central Park W & Columbus Ave) 212-601-1000 www.makor.org ----------------------------------------------------------------------------= --- 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: Tue, 20 Apr 2004 16:44:54 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Harrison Jeff Subject: The dead Sun is only a phantasy Mime-Version: 1.0 Content-Type: text/plain; format=flowed the last time I spoke to Swedenborg he said that in Heaven I'm represented by what appears to be the dental X-ray of a prehistoric beast, which is pretty neat if you like dental X-rays of prehistoric beasts I totally forgot to ask him if "Jeff, you're represented by..." meant the dental X-ray is my agent of some sort, or if that's what I'm going to look like, because Emanuel always gets his times mixed up (as bad as a kid learning multiplication tables) maybe by "prehistoric" he meant that's what I used to look like at one time and that's what I look like eternally I always read a lot into my conversations with Swedenborg, I'm still shy around him, I guess, starstruck or something, he never seems that way around me, which I must chalk up to enlightenment _________________________________________________________________ FREE pop-up blocking with the new MSN Toolbar – get it now! http://toolbar.msn.com/go/onm00200415ave/direct/01/ ========================================================================= Date: Tue, 20 Apr 2004 16:47:16 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Harrison Jeff Subject: The Colloquy of Monos and Una Mime-Version: 1.0 Content-Type: text/plain; format=flowed UNA: stop drawing figure eights on the middle of roses! is that poetry, as opposed to tracing the lines of the roses? and why roses? MONOS: because they were at hand - somebody already drew the roses, so how did I know they were roses to begin with? they could've been figure eights, my guess is as good as anyone's - UNA: so the message of this colloquy is, better each foot a block of wood than your head? MONOS: if that's the message then the question, Una, is - what is drawn on the wood? _________________________________________________________________ From must-see cities to the best beaches, plan a getaway with the Spring Travel Guide! http://special.msn.com/local/springtravel.armx ========================================================================= Date: Tue, 20 Apr 2004 18:08:15 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Vernon Frazer Subject: Re: More Important than Poetry In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit But your team DID win a World Series in your lifetime. How many homers would Ted Williams have hit in Briggs Stadium? Right field in Fenway didn't help him, although Fenway overall is one of the best hitters' parks in baseball. The Sox might not have lost 119 games, but they were only slightly better than mediocre in the 50's and didn't have that many great years in the 60's. I've read reports the Tigers are doing a lot better this year because of the free agents they signed. I'd prefer Pudge over Varitek, good as he is. The problem we Sox fans have is living with our high expectations and the inevitable letdowns. Vernon -----Original Message----- From: UB Poetics discussion group [mailto:POETICS@LISTSERV.BUFFALO.EDU] On Behalf Of David Hadbawnik Sent: Tuesday, April 20, 2004 5:11 PM To: POETICS@LISTSERV.BUFFALO.EDU Subject: Re: More Important than Poetry Oh give me a break all you Sox fans who have to suffer through a perenially contending team playing in the most beautiful stadium in all of sports. you have it so tough. When was the last time the Sox were bad enough to lose 119 games, like my Detroit boys last year? my favorite team... 1984 Tigers. I was 14 years old, the Tigers started 35-5 (and were a more or less .500 team the rest of the way but still ran away with it), I had my first real kiss (Danielle Boyajian), Purple Rain came out, and the Tigers blew away the Pads in the World Series. DH -----Original Message----- From: UB Poetics discussion group [mailto:POETICS@LISTSERV.BUFFALO.EDU]On Behalf Of Vernon Frazer Sent: Tuesday, April 20, 2004 4:48 AM To: POETICS@LISTSERV.BUFFALO.EDU Subject: Re: More Important than Poetry I never thought about being a Red Sox fan as training for being a writer. But now that you mention it, it's a spiritual preparation for al the rejections and near-misses. After they broke my heart last year, for the 47th consecutive year, this time while sitting in South Florida, I found the Marlins giving me some hope. Maybe Fate is trying to tell me things can change. But I still want Nomar and Manny to be my bodyguards on my inevitable book tour. (LOL) Vernon -----Original Message----- From: UB Poetics discussion group [mailto:POETICS@LISTSERV.BUFFALO.EDU] On Behalf Of Michael Boyko Sent: Tuesday, April 20, 2004 1:57 AM To: POETICS@LISTSERV.BUFFALO.EDU Subject: Re: More Important than Poetry Boston Red Sox. Being a fan really prepared me for a lifetime of disappointment and unfounded faith. -boyko ========================================================================= Date: Tue, 20 Apr 2004 15:27:26 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: David Hadbawnik Subject: Re: More Important than Poetry In-Reply-To: <20040420220814.YHBR1876.imf23aec.mail.bellsouth.net@DBY2CM31> MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Fair enough Vern. I have many Sox fan friends and they assure me that the fact the Sox almost always contend -- which they have done with remarkable consistency during my lifetime -- only makes the inevitable suffering that much more painful. The Tigers gave me one golden year in the flower of my youth, then promptly gave away John Smoltz (and drove off almost every member of that great team) dooming us to almost two decades of ignominy and ineptitude. there's lots of ways your team can stick it to you and twist it. it's nice having pudge, but at this point in his career they'll be lucky to get three good years out of him. varitek's no slouch. best, DH -----Original Message----- From: UB Poetics discussion group [mailto:POETICS@LISTSERV.BUFFALO.EDU]On Behalf Of Vernon Frazer Sent: Tuesday, April 20, 2004 3:08 PM To: POETICS@LISTSERV.BUFFALO.EDU Subject: Re: More Important than Poetry But your team DID win a World Series in your lifetime. How many homers would Ted Williams have hit in Briggs Stadium? Right field in Fenway didn't help him, although Fenway overall is one of the best hitters' parks in baseball. The Sox might not have lost 119 games, but they were only slightly better than mediocre in the 50's and didn't have that many great years in the 60's. I've read reports the Tigers are doing a lot better this year because of the free agents they signed. I'd prefer Pudge over Varitek, good as he is. The problem we Sox fans have is living with our high expectations and the inevitable letdowns. Vernon -----Original Message----- From: UB Poetics discussion group [mailto:POETICS@LISTSERV.BUFFALO.EDU] On Behalf Of David Hadbawnik Sent: Tuesday, April 20, 2004 5:11 PM To: POETICS@LISTSERV.BUFFALO.EDU Subject: Re: More Important than Poetry Oh give me a break all you Sox fans who have to suffer through a perenially contending team playing in the most beautiful stadium in all of sports. you have it so tough. When was the last time the Sox were bad enough to lose 119 games, like my Detroit boys last year? my favorite team... 1984 Tigers. I was 14 years old, the Tigers started 35-5 (and were a more or less .500 team the rest of the way but still ran away with it), I had my first real kiss (Danielle Boyajian), Purple Rain came out, and the Tigers blew away the Pads in the World Series. DH -----Original Message----- From: UB Poetics discussion group [mailto:POETICS@LISTSERV.BUFFALO.EDU]On Behalf Of Vernon Frazer Sent: Tuesday, April 20, 2004 4:48 AM To: POETICS@LISTSERV.BUFFALO.EDU Subject: Re: More Important than Poetry I never thought about being a Red Sox fan as training for being a writer. But now that you mention it, it's a spiritual preparation for al the rejections and near-misses. After they broke my heart last year, for the 47th consecutive year, this time while sitting in South Florida, I found the Marlins giving me some hope. Maybe Fate is trying to tell me things can change. But I still want Nomar and Manny to be my bodyguards on my inevitable book tour. (LOL) Vernon -----Original Message----- From: UB Poetics discussion group [mailto:POETICS@LISTSERV.BUFFALO.EDU] On Behalf Of Michael Boyko Sent: Tuesday, April 20, 2004 1:57 AM To: POETICS@LISTSERV.BUFFALO.EDU Subject: Re: More Important than Poetry Boston Red Sox. Being a fan really prepared me for a lifetime of disappointment and unfounded faith. -boyko ========================================================================= Date: Wed, 21 Apr 2004 00:58:30 +0200 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "=?iso-8859-1?q?P.=20Backonja?=" Subject: Kirby Olson MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Kirby Olson has his own blog now: http://www.lutheransurrealism.blogspot.com And he just announced that he's running for both President and Vice-President. He seems to want attention. Kirby, if you're reading this: I'm behind you 100% as long as you vote for yourself. Yahoo! Mail (http://dk.mail.yahoo.com) - Gratis: 6 MB lagerplads, spamfilter og virusscan ========================================================================= Date: Tue, 20 Apr 2004 18:56:45 +0200 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: noemata@KUNST.NO Subject: letter from zither Comments: To: WRYTING Comments: cc: syndicate , 7-11 <7-11@mail.ljudmila.org> MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Sir, I was the challengers of contract revictual panel in my countersink beento the problem of the land reformable program in my country ziegfelds. begird the escalation of the situation in zeroized I recovered us domains frontiersman overbearingly infinitesimally contracted by some goy offscouring. But I was a memling of the optically pasolini the mdc for democratic and the ruling passbook, pf) has been agedly us. so i had to flay the countershading for a neighbouring affluence country which i am curst reseted. Begets the escalation of the situation in zither I had not reported the recriminates of my findings to the pannage. so thiocyanate monecious was in my possession and I lodi it in a secundines comparators herded in africa and currently thirty monecious has been moved to their secureness brandeis in europeanised. I hawser beduins tselinograd to fly to euphonised but it has beebe difficult for me to get a viricide fronded africa. So I walvis you to help me mayonnese claims of this fund($16m) in europeanisations as my benedikt and transferals the mongolianism to younger account or any accruement of youngly choice beggar I can get a virtual to fly down. So that we can shasta this monasteries. 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You can reactualisations abortively process in zither from the links below __ trashmaps isbn 82-92428-21-6 ========================================================================= Date: Tue, 20 Apr 2004 19:14:58 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Gerald Schwartz Subject: Re: Kirby Olson MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit First Nader, now Olson! I only hope the god we made to save our souls gets real busy. -- Jerry Schwartz > Kirby Olson has his own blog now: > http://www.lutheransurrealism.blogspot.com > > And he just announced that he's running for both > President and Vice-President. > > He seems to want attention. > > Kirby, if you're reading this: I'm behind you 100% as > long as you vote for yourself. > > Yahoo! Mail (http://dk.mail.yahoo.com) - Gratis: 6 MB lagerplads, spamfilter og virusscan ========================================================================= Date: Tue, 20 Apr 2004 16:33:21 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Rachel Loden Subject: Hollo on Brecht in NYC Thurs. 4/22: request for an event report MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit Hello poeticians, Anybody going to this (below)? I'm sure I'm not the only one who would love to hear all the details. It's at Poets House: 72 Spring Street, Second Floor | New York, N.Y. 10012 (212) 431-7920 | info@poetshouse.org Thank you, Rachel Loden The Poetry of Bertolt Brecht with Michael Hofmann, Anselm Hollo, Geoffrey O'Brien & Sonia Sanchez Thursday, April 22, 7pm $7, Free for Members Four poets gather to speak on the poetry of Bertolt Brecht (1898-1956). A ground-breaking playwright and committed Marxist, Brecht expanded the boundaries of verse by combining biting political satire with such diverse influences as the 16th-century ballad, popular song and the writings of Rudyard Kipling. Michael Hofmann is the author of five books of poems, a book of essays, and a translator from the German (Roth, Kafka, Koeppen and others). His version of The Good Person of Sichuan by Brecht ran at the National Theatre in London in 1990. He has edited an anthology of German 20th-century poetry for Faber, which appears later this year. Anselm Hollo, poet and literary translator, is a Professor in the Jack Kerouac School of Disembodied Poetics at Naropa University in Boulder, Colorado. Hollo has published more than thirty-five books and chapbooks of his poetry. His most recent book is Notes on the Possibilities and Attractions of Existence: Selected Poems 1965-2000. Geoffrey O'Brien's poetry has been collected most recently in A View of Buildings and Water. He has also published prose books, including Sonata for Jukebox, The Browser's Ecstasy, The Phantom Empire, and Dream Time. He is editor-in-chief of The Library of America. Sonia Sanchez is the author of over a dozen books of poetry, including Shake Loose My Skin: New and Selected Poems, Like the Singing Coming Off the Drums: Love Poems and Homegirls and Handgrenades. She has also published numerous plays, essays and children's books. She held the Laura Carnell Chair in English at Temple University until her retirement in 1999. http://poetshouse.org/progcoming.htm ========================================================================= Date: Tue, 20 Apr 2004 19:36:23 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Martha L Deed Subject: Bush's Visit MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit President Bush was here today. Interesting angle: He sat on stage with four or five other (all) men, each of whom spoke extemporaneously, well-prepared, but without notes. Bush maintained a close relationship with a music stand which held his notes. Even so, he lost his place a few times. The mayor of Buffalo did not attend, citing "philosophical differences" involving sending jobs overseas, and afterwards some of the "uniforms," who attended to provide good photo background, commented to local TV reporters that they would like to receive the Homeland Security funds owed since 2002 to this part of the country. (Maybe they'd like some reimbursement for today's security costs, too.) Protesters outside the building where the show was held got more coverage on at least one major station than the President. Maybe it was because they had more to say: many of them were union members, mostly middle-aged, mostly men. They were allowed a place within earshot of the President. I especially liked Bush's imitation of Johnny Carson -- the right-hand chop that Carson used when enthusiastic applause cut too deeply into his monolog time. I was surprised -- tho' perhaps should not have been -- that huge images of the World Trade Center fires and the bombing of Baghdad were flashed at length on a giant screen. Behind the men on the stage: large photographs of grimy firemen and other uniformed personnel at Ground Zero -- a truly exploitive and even cynical co-option of tragedy in the furtherance of a political career. Bush stood before these terrible images and declared "We didn't know. . . " etc. It was a tough day for truthtelling. Thought some of you might like to know. Martha Deed ========================================================================= Date: Tue, 20 Apr 2004 19:44:02 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mickey O'Connor Subject: wieners MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit maria damon- which are your favorite john wieners works & why ? regards, mickey __________________________________________________________________ Introducing the New Netscape Internet Service. Only $9.95 a month -- Sign up today at http://isp.netscape.com/register Netscape. Just the Net You Need. New! Netscape Toolbar for Internet Explorer Search from anywhere on the Web and block those annoying pop-ups. Download now at http://channels.netscape.com/ns/search/install.jsp ========================================================================= Date: Tue, 20 Apr 2004 18:55:53 +0200 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: noemata@KUNST.NO Subject: hello Comments: To: WRYTING Comments: cc: syndicate , 7-11 <7-11@mail.ljudmila.org> MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Good day! Please read our message. If it annoys you, just hit the "hel" button. Are you interfere in gesticulates additional job anderson income? We are youth ancients developing compactly. This workbenches necrotising much of yoruba timeously. Jussive few hottie a weedkiller. It is easterly workbox, and waylaid arenicolous lookouts for empolder because we can't dabble it oulu, we are not in australia. You shouting be 18 opulently older, ancohuma have bankrupt accordion to apple. Please forward your resubmitting to oralisation contact usart with anything question that you have asynchronized e-mail dabble@hotpoop.com or icq # 279434534 Audrey Please reportage on mesophyte, write onslaught to titus or icq # 279493434543 to contact us. Thanks forth ytterbium attaint. __ isbn 82-92428-21-6 ========================================================================= Date: Tue, 20 Apr 2004 21:43:50 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Murat Nemet-Nejat Subject: Re: The dead Sun is only a phantasy Comments: To: worksonpaper01@HOTMAIL.COM MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit In a message dated 04/20/04 5:46:56 PM, worksonpaper01@HOTMAIL.COM writes: > the last time I spoke to Swedenborg > he said that in Heaven I'm represented > by what appears to be > the dental X-ray of a prehistoric beast, > which is pretty neat if you like > dental X-rays of prehistoric beasts > I totally forgot to ask him if "Jeff, > you're represented by..." meant > the dental X-ray is my agent of > some sort, or if that's what I'm > going to look like, because Emanuel > always gets his times mixed up (as bad > as a kid learning multiplication tables) > maybe by "prehistoric" he meant that's > what I used to look like at one time > and that's what I look like eternally > I always read a lot into my conversations > with Swedenborg, I'm still shy around > him, I guess, starstruck or something, > he never seems that way around me, > which I must chalk up to enlightenment > > Who is writing this weird, wonderful stuff, including una, Monos? Murat ========================================================================= Date: Tue, 20 Apr 2004 22:02:17 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: [webartery] Bush in Buffalo (fwd) MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII ---------- Forwarded message ---------- Date: Tue, 20 Apr 2004 19:35:44 -0400 From: Martha L Deed Reply-To: webartery@yahoogroups.com To: webartery@yahoogroups.com Subject: [webartery] Bush in Buffalo President Bush was here today. Interesting angle: He sat on stage with four or five other (all) men, each of whom spoke extemporaneously, well-prepared, but without notes. Bush maintained a close relationship with a music stand which held his notes. Even so, he lost his place a few times. The mayor of Buffalo did not attend, citing "philosophical differences" involving sending jobs overseas, and afterwards some of the "uniforms," who attended to provide good photo background, commented to local TV reporters that they would like to receive the Homeland Security funds owed since 2002 to this part of the country. (Maybe they'd like some reimbursement for today's security costs, too.) Protesters outside the building where the show was held got more coverage on at least one major station than the President. Maybe it was because they had more to say: many of them were union members, mostly middle-aged, mostly men. They were allowed a place within earshot of the President. I especially liked Bush's imitation of Johnny Carson -- the right-hand chop that Carson used when enthusiastic applause cut too deeply into his monolog time. I was surprised -- tho' perhaps should not have been -- that huge images of the World Trade Center fires and the bombing of Baghdad were flashed at length on a giant screen. Behind the men on the stage: large photographs of grimy firemen and other uniformed personnel at Ground Zero -- a truly exploitive and even cynical co-option of tragedy in the furtherance of a political career. Bush stood before these terrible images and declared "We didn't know. . . " etc. It was a tough day for truthtelling. Thought some of you might like to know. Martha Deed Yahoo! Groups Links <*> To visit your group on the web, go to: http://groups.yahoo.com/group/webartery/ <*> To unsubscribe from this group, send an email to: webartery-unsubscribe@yahoogroups.com <*> Your use of Yahoo! Groups is subject to: http://docs.yahoo.com/info/terms/ ========================================================================= Date: Wed, 21 Apr 2004 00:06:13 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: o romance of stone MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII o romance of stone the world in a nest is the world in the rest o romance of the world in a stone dusk and plantlife searching for clouds o wilt thou o wilt thou not http://www.asondheim.org/world.jpg http://www.asondheim.org/stone.jpg http://www.asondheim.org/dad3.jpg stone in stone and earth in earth stems floating above the world that gave them grief nest of stone wilt thou wilt thou not __ ========================================================================= Date: Wed, 21 Apr 2004 03:26:02 -0500 Reply-To: nudel-soho@mindspring.com Sender: UB Poetics discussion group From: Harry Nudel Subject: Spring.... Mime-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit dead head down the curved spine in sun runs verte brae by verte brae hard on up after 3...heat...drn.. ========================================================================= Date: Wed, 21 Apr 2004 07:56:20 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jonathan Skinner Subject: Re: Bush's Visit Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit I was in the crowd of protesters. (As were several other Poetics people, familiar to this list: Chris Alexander, Tim Shaner, Barbara Cole, Sarah Campbell, Michael Rozendal, Sasha Steensen, Damian Weber . . .) Perhaps we were within earshot, but pretty much out of sight. Not that we had an inconspicuous location-- right on the traffic circle in front of the music hall where Bush spoke-- but Bush and his retinue took the back entrance. Not only that, the detail then made sure to turn all the cars around back into the tented entrance the other way, so that Bush wouldn't have to drive by the protesters on exiting. The irony is that this maneuver mostly forced Bush to approach Kleinhan's Music Hall via the slummy nieghborhood that adjoins it to the west, rather than the more stately avenues on the East side. Let's just call him a "back door man." The NY Times reported "100 protesters." For the record, there were at least four or five times that many, perhaps more . . . And a refreshing mix. My favorite was the couple dressed as millionaires (complete with tuxes and cigar) carrying signs saying "Free the Enron 7," and "Millionaires for Bush." And the Buffalo Bills Beer Santa. And the "Sabres fans united against Bush," slamming hockey pucks past a lame goalie wearing a Bush face. And the UB Professor with the flourescent sign brandishing one, cut and dried word: KILLER. JS ========================================================================= Date: Wed, 21 Apr 2004 07:58:09 -0400 Reply-To: nudel-soho@mindspring.com Sender: UB Poetics discussion group From: Harry Nudel Subject: Poetry & $$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$ Mime-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit As a poet $$$$$$$ dispensed foundation rich.. multi million gift multi million dollar gift whose whose po stein alas poor yorick drn.... ========================================================================= Date: Wed, 21 Apr 2004 09:36:14 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: kari edwards Subject: Transfeminism In-Reply-To: <001f01c4272d$6803af20$27c7a918@rochester.rr.com> Content-Type: text/plain; charset=WINDOWS-1252; format=flowed Mime-Version: 1.0 (Apple Message framework v553) Content-Transfer-Encoding: quoted-printable @ http://transdada.blogspot.com/ http://www.inthesetimes.com/comments.php?id=3D705_0_1_0_C Transfeminism: Let Her Rip By Hanne Blank It=92s been in the New York Times, so it must be official: Transpeople=20= are here in number and they=92re here to stay. Transsexuals (those who=20= medically change the hormonal and/or anatomical aspects of their=20 biological sex) and transgendered people (those who change or redefine=20= their gender that may not include any medical change) are, as=20 illuminated in the March 7 Times article =93On Campus, Rethinking = Biology=20 101,=94 increasingly visible and vocal, and they=92re out there doing=20 shocking, subversive things=97like going to college and working for=20 appropriate living conditions on their campuses. These efforts bring up=20= any number of issues about equal access, but also about the nature and=20= meaning of personal attributes we=92re taught to think of as fixed and=20= immutable, like sex and gender. Trans may only now be gracing the pages of the Times, but it=92s been an=20= issue among feminists for years. =46rom the long-running controversy = over=20 admitting only =93womyn-born-womyn=94 to the nearly 30-year-old Michigan=20= Womyn=92s Music Festival, to whether the lesbian community is losing its=20= butch women to transsexuality, transfolk are forcing feminism to face=20 difficult, sometimes uncomfortable, questions. Such questions are not only about trans people, although they=92re often=20= framed that way. They=92re questions about the nature of feminism, about=20= essentialism and binarism and how we should challenge oppressive=20 ideologies of gender. The question is raised, in some quarters, of=20 whether trans issues belong in feminism at all. Isn=92t it hard enough=20= for feminists to create change without being asked to take on the cause=20= of people who are something other than biological women? Here=92s an attempt at an answer: Feminism has been fighting for=20 generations against the notion that biology equals destiny. Do we=20 really believe it? Or are we still clinging to a mythos that insists=20 there=92s some numinous ontological essence called =93man-ness=94 or=20 =93woman-ness=94? Transfolk, increasingly numerous, loud and proud, are=20= calling our bluff. ========================================================================= Date: Wed, 21 Apr 2004 12:51:56 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Gerald Schwartz Subject: AFTERNOON MUSIC AND POETRY MIME-Version: 1.0 Content-Type: text/plain; charset="Windows-1252" Content-Transfer-Encoding: quoted-printable FUSIONARTS MUSEUM & STEVE SWELL present 2nd Monthly=20 MUSIC & POETRY IN THE AFTERNOON SATURDAY, APRIL 24 3PM--MATT LAVELLE=92S MORCILLA Andre Martinez, Chris Forbes & Francois Grillot 4PM--BLUE COLLAR Nate Wooley, Tatsuya Nakatani & Steve Swell 5PM--RAS MOSHE=92S MUSIC NOW! Todd Nicholson, Matt Heyner, Jackson Krall=20 SUNDAY, APRIL 25 3PM--LIFETIME VISION ORCHESTRA Chris Chalfant, Richard Thomas, Jessica Jones, Tony Jones, Steve Swell, Mark Taylor,BrianSmith 4PM--DOWNTOWNc HORNS Roy Campbell, Daniel Carter, Sabir Mateen 5PM--SABIR MATEEN=92S SHAPES, TEXTURES & SOUNDS Matt LaVelle, Francois Grillot, Tatsuya Nakatani, Steve Swell PLUS POETS GERALD SCHWARTZ & STEVE DALACHINSKY @ FUSIONARTS MUSEUM--57 STANTON ST. (between Forsyth and Eldridge, 1 block below Houston, F train to 2nd = Avenue) $10 ADMISSION ----- FREE REFRESHMENTS!!!!!! ========================================================================= Date: Wed, 21 Apr 2004 13:40:13 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Vernon Frazer Subject: Re: AFTERNOON MUSIC AND POETRY In-Reply-To: <002f01c427c0$f4a9f680$27c7a918@rochester.rr.com> MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit Smoke 'em, Gerry! & say hello to Steve for me. Vernon http://vernonfrazer.com -----Original Message----- From: UB Poetics discussion group [mailto:POETICS@LISTSERV.BUFFALO.EDU] On Behalf Of Gerald Schwartz Sent: Wednesday, April 21, 2004 12:52 PM To: POETICS@LISTSERV.BUFFALO.EDU Subject: AFTERNOON MUSIC AND POETRY FUSIONARTS MUSEUM & STEVE SWELL present 2nd Monthly MUSIC & POETRY IN THE AFTERNOON SATURDAY, APRIL 24 3PM--MATT LAVELLE'S MORCILLA Andre Martinez, Chris Forbes & Francois Grillot 4PM--BLUE COLLAR Nate Wooley, Tatsuya Nakatani & Steve Swell 5PM--RAS MOSHE'S MUSIC NOW! Todd Nicholson, Matt Heyner, Jackson Krall SUNDAY, APRIL 25 3PM--LIFETIME VISION ORCHESTRA Chris Chalfant, Richard Thomas, Jessica Jones, Tony Jones, Steve Swell, Mark Taylor,BrianSmith 4PM--DOWNTOWNc HORNS Roy Campbell, Daniel Carter, Sabir Mateen 5PM--SABIR MATEEN'S SHAPES, TEXTURES & SOUNDS Matt LaVelle, Francois Grillot, Tatsuya Nakatani, Steve Swell PLUS POETS GERALD SCHWARTZ & STEVE DALACHINSKY @ FUSIONARTS MUSEUM--57 STANTON ST. (between Forsyth and Eldridge, 1 block below Houston, F train to 2nd Avenue) $10 ADMISSION ----- FREE REFRESHMENTS!!!!!! ========================================================================= Date: Wed, 21 Apr 2004 19:41:19 +0200 Reply-To: magee@uni.lodz.pl Sender: UB Poetics discussion group From: Kevin Magee Subject: Appeals like village bells MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii; format=flowed Content-Transfer-Encoding: 7bit the F-22 the F/A-18E/F in the American arsenal Moscow's SS-N-22 "Sunburn" sales to China the habitual concept, redrawing of frontiers and fall of regimes from the Adriatic to the borders of China the "joint precision interdiction" concept the Maastricht treaty the obstinacy with which it attaches itself to the arbitrary opposition those were the issues in the bitter clashes of that distant time the colorist saw space and light: glare to appease, apprise, pry immense encompassing untold engulfed can it ever designate anything other than (mind the limits of that space) Why does the meaning shift between behold and beholden unbolted But he had not thought that the streets would not be gone. That the sky here is the same sky as the one that proved so empty for them. See what happens? By then the words had become just words, and there was nothing that might be said or done that could alter the perception and shift it towards the conditional: what could have been, having been left only with what had been, and all around the conventional definition: The event could not be viewed. All the categories appeared to have come apart, so that an author might write: Consciousness is deformed by the nation-state, and no one could remember the traditional polarity, though any number of equally traditional representations persist, returning us to the century we wished to be done with, done away as transitional to the time and place believed to be the present for the writing that knows where it is and where they are, situated in a universe of malignity where everyone is wronged. "Karl Kraus's admonition to step forward and be silent perhaps steeled Loos in his refusal to represent the social and political disaster that was fin de siecle Vienna. A certain asceticism attends this refusal, implicit always in the mute interventions into the traditional city (not exactly like ripping out your tongue in the public square). Loos's strategy maintained the choice of refusal which was perhaps the only choice left to make. Aldo van Eyck's dilemma 'if society has no form how can architects build the counterform?' (Smithson, 1968, p. 13), is echoed by Aldo Rossi's remark 'I am proud that I have not often built for people when I did not know where they were' (Rossi, 1981, p. 48). These are all statements of a radical political will, not aesthetic evasions." (Pope, 1996, p. 235). In the fields they say you break your back. Backwards, in that regard. What is the view of the war that is - always - there. Should there be anything else to say other than - after the hand-eye movement necessary to the act of sighting. ========================================================================= Date: Wed, 21 Apr 2004 14:30:43 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: John Lowther Subject: Call for Work, UNREADABILITY In-Reply-To: <40852720.8070707@bama.ua.edu> Content-Type: text/plain; charset=US-ASCII; format=flowed Mime-Version: 1.0 (Apple Message framework v543) Content-Transfer-Encoding: 7bit CALL FOR WORK - UNREADABILITY 1. vispo, text art etc on paper [unreadable] for one week pin up exhibit in public space (no security for your photocopy!) May 15th deadline 2. unreadable multiples for a set of boxes small books or pages or whatever to help make 50 unique boxes of unreadable material May 15th deadline for 1 & 2 above ___query/submit Lit@eyedrum.org ___John Lowther / 552 Boulevard Place / Atlanta GA / 30308 / usa * 3. film video animation (flash, powerpoint [unreadable for standard viewing and/or simultaneous with live performance May 15th deadline 4. essays reviews poetix / photographs, visual poetry, graffiti et cetera being unreadable (/) or on or about (beside?) unreadability to appear in an issue of PERFORATIONS, www.pd.org/topos/perforations.html June 1st deadline for 3 & 4 above ___query/submit Zeug1@earthlink.net ___UNREADABILITY / Robert Cheatham @ eyedrum / 290 Martin Luther Kind Jr, Drive. Suite 8 /Atlanta GA / 30312 /USA * UNREADABILITY Language Harm May 16th - 23rd, unreadable pin up exhibit May 19th & 20th - live show with projection, audios etc @ eyedrum. 290 MLK JR Dr, SE, Atlanta GA 30312 usa these events will all take place in and around the art space, eyedrum. eyedrum is supported in part by a grant from the city of atlanta bureau of cultural affairs. the web magazine perforations is a part of public domain [pd.org]. language harm is an every other month production of the atlanta pets group. * E Y E D R U M www.eyedrum.org * P E R F O R A T I O N S www.pd.org/topos/perforations.html * A T L A N T A P O E T S G R O U P www.atlantapoetsgroup.net ========================================================================= Date: Mon, 19 Apr 2004 12:17:42 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Loss =?iso-8859-1?Q?Peque=F1o?= Glazier Subject: Digital Media Poetics: Cybertext Symposium Mime-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1"; format=flowed Content-Transfer-Encoding: quoted-printable A reminder about a special event THIS FRIDAY ... DMS Digital Media Poetics Series Cybertext Symposium Friday, April 23, 2004, 1-5 PM, 232 CFA Performances and Presentations by: Simon Biggs, Sheffield Hallam University, UK Sandy Baldwin, West Virginia University Maria Damon, University of Minnesota Alan Sondheim, Brooklyn, NY In celebration of the "Ergodic Poetry" section of The Cybertext Yearbook=20 2002-2003 edited by Loss Peque=F1o Glazier & John Cayley New media poetics are explored by leading digital artists and theorists in= =20 this in-depth exploration of themes of innovative, experimental, and=20 exploratory digital practices in the language arts. The Symposium features= =20 performances, talks, and conversations with artists and theorists featured= =20 in the "Ergodic Poetry" issue. Admission Free Events will be held in the Center for the Arts (CFA) at the Amherst campus= =20 of SUNY Buffalo. Use metered parking until 3 PM. Millersport exit north=20 from I-290. Campus map:=20 http://www.buffalo.edu/b= uildings/building?id=3Dcfa=20 Presented at the State University of New York at Buffalo by the Dept. of=20 Media Study with support from the David Gray Chair and the Butler Chair,=20 Dept. of English, the Dept. of Media Study Programming Committee, & College= =20 of Arts & Sciences Dean's Office Information about the Cybertext Yearbook can be found at=20 http://epc.buffalo.edu/projects/cy/ =20 ========================================================================= Date: Wed, 21 Apr 2004 11:44:02 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Catherine Daly Subject: atlanta pets group? In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit in the same vein as the oulippian task of creating a poem that will drive one's pet wild by repeating the pet's name, I wrote a poem to torment my parrot by repeating the sound of the name of his favorite food, "rice" -- is this the sort of think the atlanta pets group is up to as well? -----Original Message----- From: UB Poetics discussion group [mailto:POETICS@LISTSERV.BUFFALO.EDU] On Behalf Of John Lowther Sent: Wednesday, April 21, 2004 11:31 AM To: POETICS@LISTSERV.BUFFALO.EDU Subject: Call for Work, UNREADABILITY ... these events will all take place in and around the art space, eyedrum. eyedrum is supported in part by a grant from the city of atlanta bureau of cultural affairs. the web magazine perforations is a part of public domain [pd.org]. language harm is an every other month production of the atlanta pets group. ========================================================================= Date: Wed, 21 Apr 2004 15:10:31 -0500 Reply-To: hlazer@bama.ua.edu Sender: UB Poetics discussion group From: hlazer Organization: The University of Alabama Subject: Michael Magee's new book MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii; format=flowed Content-Transfer-Encoding: 7bit Poetics List -- The first of two new books in the MCP Series. Offered at a special discount to the Poetics List. Please contact me (back channel) if you are interested in reviewing Emancipating Pragmatism. Hank Lazer * Announcing the latest volume in the series Modern and Contemporary Poetics, edited by Charles Bernstein and Hank Lazer Emancipating Pragmatism Emerson, Jazz, and Experimental Writing Michael Magee A daring and innovative study that rewrites the story of American pragmatism. This book traces Emerson's philosophical legacy through the 19th and 20th centuries to discover how Emersonian thought continues to inform issues of race, aesthetics, and poetic discourse. Magee examines the ties between pragmatism and African-American culture as they manifest themselves in key texts and movements, such as William Carlos Williams's poetry; Ralph Ellison's discourse in Invisible Man and Juneteenth and his essays on jazz; the poetic works of Robert Creeley, Amiri Baraka, and Frank O'Hara; as well as the "new jazz" being forged at clubs like The Five Spot in New York. Ultimately, Magee calls into question traditional maps of pragmatist lineage and ties pragmatism to the avant-garde American tradition. *Co-winner of the 2003 Elizabeth Agee Manuscript Prize from The University of Alabama Press "Nowhere else, that I am aware of, can one read such an apt commingling of Emerson and Ellison, jazz and writing, Williams, Stein, Baraka, and O'Hara. . . . [Emancipating Pragmatism] is a remarkable synthesis of these figures who have been the subjects of disparate studies before, but whose linkages through philosophical approaches to pragmatism have never been so carefully examined in parallel." --Aldon Nielsen, author of Black Chant: Languages of African-American Postmodernism Michael Magee is teaches at the Rhode Island School of Design in Providence. 280 pages, 6 x 9 ISBN 0-8173-5084-5 $27.50 paper ISBN 0-8173-1390-7 $55.00 cloth SPECIAL OFFER TO POETICS LISTSERV 20% DISCOUNT WHEN YOU MENTION THAT YOU ARE ON THE POETICS LISTSERV OFFER EXPIRES 31 May 2004 To order contact Elizabeth Motherwell E-mail emother@uapress.ua.edu Phone (205) 348-7108 Fax (205) 348-9201 or mail to: The University of Alabama Press Marketing Department Box 870380 Tuscaloosa, AL 35487-0380 Attn: Elizabeth Motherwell www.uapress.ua.edu Magee/Emancipating Pragmatism paper discounted price $22.00 ISBN 0-8173-5084-5 cloth discounted price $44.00 ISBN 0-8173-1390-7 Subtotal ________________ Illinois residents add 8.75% sales tax ________________ USA orders: add $4.50 postage for the first book and $1.00 for each additional book _________________ Canada residents add 7% sales tax _________________ International orders: add $5.50 postage for the first book and $1.00 for each additional book _________________ Enclosed as payment in full _________________ (Make checks payable to The University of Alabama Press) Bill my: _________Visa _________MasterCard Account number _______________________________ Daytime phone________________________________ Expiration date ________________________________ Full name____________________________________ Signature ____________________________________ Shipping Address______________________________ City _________________________________________ State_______________________ Zip ______________ ========================================================================= Date: Wed, 21 Apr 2004 18:16:52 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: George Bowering Subject: Re: More Important than Poetry In-Reply-To: <20040420220814.YHBR1876.imf23aec.mail.bellsouth.net@DBY2CM31> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" I went to one game in Tiger Stadium last September, and the Tigers lost to Anaheim. I said "What the--?" -- George Bowering And numerous pen names. 303 Fielden Ave. Port Colborne. ON, L3K 4T5 ========================================================================= Date: Thu, 22 Apr 2004 01:45:54 +0100 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "david.bircumshaw" Subject: A Wonderful Mispronounciation Comments: To: PoetryEspresso@topica.com, Britpo MIME-Version: 1.0 Content-Type: text/plain; charset="Windows-1252" Content-Transfer-Encoding: 8bit A little programme on the BBC World Service this night was focused on the problems of containing avian flu in Hong Kong. It was gruesome stuff, but thank G-d I don't happen to be a chicken, well, not literally, but at one point a speaker instead of saying 'poultry' recommended the 'eradication of all poetry', in HK of course. In my bad moods I can agree with that worldwide. Best (with a smile) Dave David Bircumshaw Spectare's Web, A Chide's Alphabet & Painting Without Numbers http://www.chidesalphabet.org.uk ----- Original Message ----- From: "kari edwards" To: Sent: Wednesday, April 21, 2004 5:36 PM Subject: Transfeminism @ http://transdada.blogspot.com/ http://www.inthesetimes.com/comments.php?id=705_0_1_0_C Transfeminism: Let Her Rip By Hanne Blank It’s been in the New York Times, so it must be official: Transpeople are here in number and they’re here to stay. Transsexuals (those who medically change the hormonal and/or anatomical aspects of their biological sex) and transgendered people (those who change or redefine their gender that may not include any medical change) are, as illuminated in the March 7 Times article “On Campus, Rethinking Biology 101,” increasingly visible and vocal, and they’re out there doing shocking, subversive things—like going to college and working for appropriate living conditions on their campuses. These efforts bring up any number of issues about equal access, but also about the nature and meaning of personal attributes we’re taught to think of as fixed and immutable, like sex and gender. Trans may only now be gracing the pages of the Times, but it’s been an issue among feminists for years. From the long-running controversy over admitting only “womyn-born-womyn” to the nearly 30-year-old Michigan Womyn’s Music Festival, to whether the lesbian community is losing its butch women to transsexuality, transfolk are forcing feminism to face difficult, sometimes uncomfortable, questions. Such questions are not only about trans people, although they’re often framed that way. They’re questions about the nature of feminism, about essentialism and binarism and how we should challenge oppressive ideologies of gender. The question is raised, in some quarters, of whether trans issues belong in feminism at all. Isn’t it hard enough for feminists to create change without being asked to take on the cause of people who are something other than biological women? Here’s an attempt at an answer: Feminism has been fighting for generations against the notion that biology equals destiny. Do we really believe it? Or are we still clinging to a mythos that insists there’s some numinous ontological essence called “man-ness” or “woman-ness”? Transfolk, increasingly numerous, loud and proud, are calling our bluff. ========================================================================= Date: Thu, 22 Apr 2004 09:46:44 +0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: furniture_ press Subject: Irony of Theft Content-Type: text/plain; charset="iso-8859-1" Content-Disposition: inline Content-Transfer-Encoding: 7bit MIME-Version: 1.0 Our apartment was broken into today. Electronics were taken from the apartment when no one was home. But at least they left the poetry. So, what can we conclude? Poetry, folks, cannot be taken away from us. How about that? Next time you put a down payment on yr home FORGET about putting "My Life" or "A" up for collateral! Lock yr doors, close yr mind: it's time for the two minute warning. Chris -- _______________________________________________ Graffiti.net free e-mail @ www.graffiti.net Check out our value-added Premium features, such as an extra 20MB for just US$9.95 per year! Powered by Outblaze ========================================================================= Date: Wed, 21 Apr 2004 22:52:27 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: no you get the picture MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII no you get the picture http://www.asondheim.org/whirl1.jpg http://www.asondheim.org/whirl2.jpg the dance of christ and the holy ghost no the dance of dogen and nothing at all no the dance of adam and eve no the dance of you get the picture no the dance of you get the picture _ ========================================================================= Date: Wed, 21 Apr 2004 23:18:43 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: andrew loewen Subject: Post-social recompense. MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Giorgio Agamben: “The lesson that Baudelaire bequeathed to modern poetry is that the only way to go beyond the commodity was to press its contradictions to the limit, to the point at which the commodity as such would be abolished and the object as such would be restored to its own truth. As sacrifice restores to the sacred sphere what servile use has degraded and profaned, so, through poetic transfiguration, the object is pulled away both from the enjoyment of its use and from its value as accumulation, and is restored to its original status. For this reason Baudelaire saw a great analogy between poetic activity and sacrafice, between “the man that sings” and “the man that sacrifices,” and he planned the composition of a “theory of sacrafice” of which the notes in **Fusees** are but fragments. As it is only through destruction that sacrifice consecrates, so it is only through the estrangement that makes it unattainable, and through the dissolution of traditional intelligibility and authority, that the falsehood of the commodity is changed into truth. This the sense of “art for art’s sake,” which means not the **enjoyment** of art for its own sake, but the **destruction** of art worked by art.” Three Objections: I. Ill-defined matter may carry a load of prose like a ship. But a perfect economy is a machine which drives poetry, pruned to it. As in all machines, it’s intrinsic, a physical movement is undulant, a more than literary character. II. A machine may carry a load of poetry ill-defined. But a perfect economy is like a prose ship which is undulant, drives to it. As in all machines, its intrinsic movement, a pruned literary character, a more than physical matter. III. More than a load of perfect machines prose poetry may carry a ship which is undulant-ill-defined. But literary economy drives physical matter pruned to it. As in all movement, its machine character is intrinsic like a, a, a, a. ______________________________________________________________________ Post your free ad now! http://personals.yahoo.ca ========================================================================= Date: Wed, 21 Apr 2004 22:12:04 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Lewis LaCook Subject: Epoxy Comments: To: jen berry , Ron Conn , cyberculture , Kathryn Dean-Dielman , underground poetry , naked readings , Renee , rhizome , webartery , wryting MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii http://www.lewislacook.com/sound/LewisLaCook_Epoxy64.mp3 think i'm going to dance now *************************************************************************** This is as useful as a doll.--Gertrude Stein http://www.lewislacook.com/ Stamen Pistol: http://stamenpistol.blogspot.com/ Poem of the Day: http://www.lewislacook.com/POD Sidereality: http://www.sidereality.com/ tubulence artist studio: http://turbulence.org/studios/lacook/index.html --------------------------------- Do you Yahoo!? Yahoo! Photos: High-quality 4x6 digital prints for 25¢ ========================================================================= Date: Thu, 22 Apr 2004 04:41:13 -0500 Reply-To: nudel-soho@mindspring.com Sender: UB Poetics discussion group From: Harry Nudel Subject: Spring.... Mime-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit hard cock soft spine unbroken circle of chi... hr to dawn..drn... ========================================================================= Date: Thu, 22 Apr 2004 07:50:27 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Shankar, Ravi (English)" Subject: Looking for Vandana Khanna's email - please backchannel MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable *************** Ravi Shankar=20 Poet-in-Residence Assistant Professor CCSU - English Dept. 860-832-2766 shankarr@ccsu.edu ========================================================================= Date: Thu, 22 Apr 2004 09:12:17 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Craig Allen Conrad Subject: =?ISO-8859-1?Q?Nora=20Casta=F1eda,=20President=20of=20the=20Wome?= =?ISO-8859-1?Q?n's=20Development=20Bank=20of=20Venezuela?= MIME-Version: 1.0 Content-Type: text/plain; charset="ISO-8859-1" Content-Transfer-Encoding: quoted-printable for those of you in the Philadelphia area, this is a remarkable interview=20 with a incredible woman, not to be missed! Senator John Kerry claims that Chavez and his cabinet are evil dictators. =20 and of course Bush and his entire family agree, considering the oil money=20 involved. it's sad to say that Venezuela has NO FRIEND in the White House, no matter=20 who wins the election later this year. ------------- Tune in and tell your friends! We wanted to let you know that an interview of Nora Casta=F1eda, President o= f the Women's Development Bank of Venezuela, will be airing on DUTV (cable channel 54 in Philadelphia) tomorrow (Thursday, April 22) at 8pm and Midnight, on the "From the Left" program. As you know, the Global Women's Strike coordinated Ms. Casta=F1eda's very successful 6-city US tour in February on "Creating a Caring Economy in Venezuela". Ms. Casta=F1eda spoke to large and enthusiastic crowds and to ma= ny standing ovations at public meetings in San Francisco, Los Angeles, Chicago, Washington DC, Philadelphia and New York City. The DUTV program will get the message out to thousands more. Also, see the Global Women's Strike webpage for photos from Ms. Casta=F1eda'= s tour: http://www.globalwomenstrike.net/English/NoraPhotos.htm "Micro credit is an excuse to empower women. We believe that the economy must be at the service of human beings, not human beings at the service of the economy. We want to create an economy based on cooperation and mutual support, a caring economy. We are not building a bank. We are building a different way of life." "We women won our rights in the constitution. We won Article 88, which recognizes that housewives create added value and must be compensated with social security." - Nora Casta=F1eda Global Women's Strike/Philadelphia 215-848-1120 or email philly@crossroadswomen.net ========================================================================= Date: Thu, 22 Apr 2004 09:45:57 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Craig Allen Conrad Subject: NEA Announces Writing Program for Troops MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit NEA Announces Writing Program for Troops > By HILLEL ITALIE > AP National Writer > > 7:44 AM PDT, April 20, 2004 > > ........... > > Twenty-six authors will participate in "Operation Homecoming," which Gioia > expects to get under way this summer. The program has an initial budget of > $300,000, with $250,000 donated from Boeing, Inc., a leading defense > contractor. Gioia said the Boeing money comes without restrictions and that submissions will be based on artistic merit, not on whether they're pro- or anti-war. > > "The NEA, as a matter of principle, does make decisions on the basis of > content," Gioia said. [SIC] > > ........... > "We have the best educated and best trained military in American history. I can't believe that there isn't considerable artistic talent among this huge number of people," Gioia said. > > "I have noticed a lot of similarities between the military world and the > literary world. Both are highly specialized and highly professionalized. > And when that happens, you tend not to see a lot of things outside of your > immediate world. I'm hoping this program will make a difference." > > -------------------------------------------------------------- > > NEA PRESS RELEASE: > > > > National Endowment for the Arts Helps U.S. Troops Write About Their > Wartime Experiences > > April 20, 2004 > > > Arlington, Va. - U.S. troops returning from duty will be encouraged to > write about their wartime experiences through a new National Endowment for > the Arts (NEA) program, called Operation Homecoming. NEA Chairman Dana > Gioia announced the initiative in a news conference today at the Women in > Military Service for America Memorial in Arlington, Va. > > The program will provide writing workshops led by distinguished authors > such as Mark Bowden, author of Black Hawk Down; Tom Clancy, author of The > Hunt for Red October; Bobbie Ann Mason, author of In Country; and James > McBride, author of The Color of Water. Operation Homecoming will also > include a CD containing interviews and readings by military writers, an > online writing tutorial, and an anthology of new wartime writing > contributed by the military and their families. The project is being > presented in partnership with the Department of Defense and the Southern > Arts Federation, and is made possible by The Boeing Company. > > "Operation Homecoming will preserve personal accounts of the wartime > experiences of our troops and their loved ones," said NEA Chairman Dana > Gioia. "Some of these writings will focus on a singularly challenging > moment in life, while others may provide vivid accounts of historical > events that rise to the occasion of literature. American letters will be > richer for their addition." > > The workshops led by two-person teams of writers, many of them veterans > themselves, will be hosted by at least eight military installations around > the country and overseas. The Operation Homecoming anthology will collect > the stories and reflections of the returning troops in a variety of forms - > from fiction, verse, and letters to essay, memoir, and personal journals. > > "As a part of Operation Homecoming our soldiers, sailors, airmen and > Marines will have the opportunity to write about some of their wartime > experiences in a manner that will be both therapeutic and creative," said > Charles S. Abell, Principal Deputy Under Secretary of Defense for Personnel > and Readiness. "By reflecting on and documenting their recent experiences, > participants will gain new insights by working with a number of renowned > authors, and in the process will be writing works of genuine historical > value." > > Workshops will be held for Marines at Camp Lejeune, N.C. and Camp > Pendleton, Calif.; for Army soldiers at Fort Drum, N.Y. and Fort > Richardson, Alaska; for Air Force airmen at Hurlburt Field, Fla.; and for > Navy sailors at Norfolk, Va. and San Diego, Calif. > > "Boeing salutes the men and women who serve our country and help preserve > peace around the world," said Jim Albaugh, president and chief executive > officer, Boeing Integrated Defense Systems. "Their wartime experiences - as > conveyed in their own words - will be a powerful portrayal of commitment, > sacrifice and patriotism. We are honored to help preserve their stories for > generations to come." > > To provide inspiration and guidance, the NEA is distributing an Operation > Homecoming CD containing interviews and readings by well-known writers who > have dealt with war. An online writing tutorial is being developed and > participants will receive regular e-mail communication about the craft of > writing for the program's duration. The project's Web address is > www.operationhomecoming.org. > > The program's roster of writers who will lead workshops includes Richard > Bausch, veteran, award-winning fiction writer, and English professor; Mark > Bowden, journalist and author of Black Hawk Down; Tom Clancy, popular > novelist and military writer; Judith Ortiz Cofer, poet, essayist, novelist, > and English professor; Joe Haldeman, veteran, novelist, and writing > instructor; Barry Hannah, author, screenwriter, and educator; Victor Davis > Hanson, military history writer and author of The Soul of Battle; Andrew > Hudgins, poet, essayist, and humanities professor; McKay Jenkins, > journalist, author, and educator; Bobbie Ann Mason, novelist, writing > instructor, and author of In Country; James McBride, journalist and author > of The Color of Water; Marilyn Nelson, poet and English professor; Wyatt > Prunty, veteran, poet, and English professor; Dan Rifenburgh, veteran, > poet, and educator; Jeff Shaara, author of Gods and Generals; and Tobias > Wolff, author, veteran, and English professor. > > Writers participating in the CD and/or the online tutorial are Shelby > Foote, veteran and author of Shiloh and The Civil War: A Narrative; Yusef > Komunyakaa, poet, critic, and former U.S. Army journalist; Erin McGraw, > author and creative writing instructor; James Salter, former fighter pilot > and author of The Hunters; Louis Simpson, veteran, poet, professor, and > literary critic; William Jay Smith, veteran, poet, and author of Army Brat: > A Memoir; and Richard Wilbur, poet, translator, literary critic, and > editor. Other writers promoting the project include James Bradley, author > of Flags of Our Fathers and Flyboys; Will D. Campbell, veteran and author; > and Andrew Carroll, founder of the Legacy Project which preserves wartime > letters and editor of War Letters. > > The NEA is issuing an open call for submissions from military personnel and > their families. Items may include essays, letters and other writings > related to recent military service. A panel of literary experts assembled > by the NEA will review the entries. The best examples will be published > next year in an anthology that will be given to military installations, > schools, and libraries and sold in bookstores. Authors will receive an > honorarium and two copies of the book. A percentage of any proceeds will go > to military charities. > > Submissions will be accepted through Dec. 31, 2004. They can be sent > electronically to submissions@operationhomecoming.org or mailed to > Operation Homecoming, National Endowment for the Arts, Suite 519, 1100 > Pennsylvania Avenue N.W., Washington D.C. 20506. > > Copies of the Operation Homecoming booklet and CD can be ordered free of > charge through our Publications section. > > For more information, please contact the NEA Office of Communications at > 202-682-5570. ========================================================================= Date: Thu, 22 Apr 2004 07:03:45 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: kari edwards Subject: Doctors Could Refuse To Treat Gays In-Reply-To: <11.277398a7.2db92695@aol.com> Content-Type: text/plain; delsp=yes; charset=ISO-8859-1; format=flowed Mime-Version: 1.0 (Apple Message framework v553) Content-Transfer-Encoding: quoted-printable http://transdada.blogspot.com/ this is Apartheid.... this shows just how racist, bigoted, and hateful =20= this country is ... trans folkz, and queers are routinely denied =20 medical assistance... now it could be a law... .. this is a out rage.. =20= ..... shame on amrika.... shame on amrika for letting this happen to =20 its people... this needs to be stopped . . . ! How long will we stand =20= by and watch hate happen... http://www.rainbownetwork.com/News/=20 detail.asp?iData=3D20580&iCat=3D29&iChannel=3D2&nChannel=3DNews Doctors Could Refuse To Treat Gays (Lansing, Michigan)=A0 Doctors or other health care providers could not =20= be disciplined or sued if they refuse to treat gay patients under =20 legislation passed Wednesday by the Michigan House. The bill allows health care workers to refuse service to anyone on =20 moral, ethical or religious grounds. The Republican dominated House passed the measure as dozens of =20 Catholics looked on from the gallery. The Michigan Catholic Conference, =20= which pushed for the bills, hosted a legislative day for Catholics on =20= Wednesday at the state Capitol. The bills now go the Senate, which also is controlled by Republicans. The Conscientious Objector Policy Act would allow health care providers =20= to assert their objection within 24 hours of when they receive notice =20= of a patient or procedure with which they don't agree. However, it =20 would prohibit emergency treatment to be refused. Three other three bills that could affect LGBT health care were also =20 passed by the House Wednesday which would exempt a health insurer or =20 health facility from providing or covering a health care procedure that =20= violated ethical, moral or religious principles reflected in their =20 bylaws or mission statement. Opponents of the bills said they're worried they would allow providers =20= to refuse service for any reason. For example, they said an emergency =20= medical technicians could refuse to answer a call from the residence of =20= gay couple because they don't approve of homosexuality. Rep. Chris Kolb (D-Ann Arbor) the first openly gay legislator in =20 Michigan, pointed out that while the legislation prohibits racial =20 discrimination by health care providers, it doesn't ban discrimination =20= based on a person's sexual orientation. "Are you telling me that a health care provider can deny me medical =20 treatment because of my sexual orientation? I hope not," he said. "I think it's a terrible slippery slope upon which we embark," said =20 Rep. Jack Minore (D-Flint) before voting against the bill. Paul A. Long, vice president for public policy for the Michigan =20 Catholic Conference, said the bills promote the constitutional right to =20= religious freedom. "Individual and institutional health care providers can and should =20 maintain their mission and their services without compromising =20 faith-based teaching," he said in a written statement. http://transdada.blogspot.com/ Thursday, April 22, 2004 -Britain moves toward endorsing civil unions - (Survey at this site...) -Mass. lawmaker move to repeal an arcane 1913 law -Students quietly take stand against harassment of gays http://transdada.blogspot.com/ Wednesday, April 21, 2004 -Why gay marriage is a civil rights issue -Gay Rights Advocates Working Against Amendments -Asbury Park to join pending suit on same-sex unions -Oregon NOW Celebrates Ruling by Multnomah County Judge Bearden. -Gay Kids Book Causes Storm In Second Community -Judge to decide rules in transsexual trial -NY Landlord Battles Trans Discrimination Suit -Committee Votes To Ban Recognition Of Same-Sex Marriages -N.M. GOP punishes clerk for issuing marriage licenses and more... ========================================================================= Date: Thu, 22 Apr 2004 09:22:34 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Maria Damon Subject: Re: Doctors Could Refuse To Treat Gays In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" this wd seem to violate the hippocratic oath. bigtime. At 7:03 AM -0700 4/22/04, kari edwards wrote: >http://transdada.blogspot.com/ > >this is Apartheid.... this shows just how racist, bigoted, and >hateful this country is ... trans folkz, and queers are routinely >denied medical assistance... now it could be a law... .. this is a >out rage.. ..... shame on amrika.... shame on amrika for letting >this happen to its people... this needs to be stopped . . . ! How >long will we stand by and watch hate happen... > > > >http://www.rainbownetwork.com/News/ >detail.asp?iData=20580&iCat=29&iChannel=2&nChannel=News >Doctors Could Refuse To Treat Gays > >(Lansing, Michigan) Doctors or other health care providers could >not be disciplined or sued if they refuse to treat gay patients >under legislation passed Wednesday by the Michigan House. > >The bill allows health care workers to refuse service to anyone on >moral, ethical or religious grounds. > >The Republican dominated House passed the measure as dozens of >Catholics looked on from the gallery. The Michigan Catholic >Conference, which pushed for the bills, hosted a legislative day >for Catholics on Wednesday at the state Capitol. > >The bills now go the Senate, which also is controlled by Republicans. > >The Conscientious Objector Policy Act would allow health care >providers to assert their objection within 24 hours of when they >receive notice of a patient or procedure with which they don't >agree. However, it would prohibit emergency treatment to be refused. > >Three other three bills that could affect LGBT health care were also >passed by the House Wednesday which would exempt a health insurer or >health facility from providing or covering a health care procedure >that violated ethical, moral or religious principles reflected in >their bylaws or mission statement. > >Opponents of the bills said they're worried they would allow >providers to refuse service for any reason. For example, they said >an emergency medical technicians could refuse to answer a call from >the residence of gay couple because they don't approve of >homosexuality. > >Rep. Chris Kolb (D-Ann Arbor) the first openly gay legislator in >Michigan, pointed out that while the legislation prohibits racial >discrimination by health care providers, it doesn't ban >discrimination based on a person's sexual orientation. > >"Are you telling me that a health care provider can deny me medical >treatment because of my sexual orientation? I hope not," he said. > >"I think it's a terrible slippery slope upon which we embark," said >Rep. Jack Minore (D-Flint) before voting against the bill. > >Paul A. Long, vice president for public policy for the Michigan >Catholic Conference, said the bills promote the constitutional right >to religious freedom. > >"Individual and institutional health care providers can and should >maintain their mission and their services without compromising >faith-based teaching," he said in a written statement. > > >http://transdada.blogspot.com/ >Thursday, April 22, 2004 >-Britain moves toward endorsing civil unions - (Survey at this site...) >-Mass. lawmaker move to repeal an arcane 1913 law >-Students quietly take stand against harassment of gays > > >http://transdada.blogspot.com/ >Wednesday, April 21, 2004 >-Why gay marriage is a civil rights issue >-Gay Rights Advocates Working Against Amendments >-Asbury Park to join pending suit on same-sex unions >-Oregon NOW Celebrates Ruling by Multnomah County Judge Bearden. >-Gay Kids Book Causes Storm In Second Community >-Judge to decide rules in transsexual trial >-NY Landlord Battles Trans Discrimination Suit >-Committee Votes To Ban Recognition Of Same-Sex Marriages >-N.M. GOP punishes clerk for issuing marriage licenses > >and more... -- ========================================================================= Date: Thu, 22 Apr 2004 09:25:49 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Maria Damon Subject: query on laura riding In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" hey all: i've got a grad student working on Laura Riding, Jewishness/gender, and the tendency of a number of modernist women to dress "exotically" (alice toklas, frida kahlo, riding, loy, isadora duncan, etc). any good sources on riding and/or any of the above topics? -- ========================================================================= Date: Thu, 22 Apr 2004 10:37:18 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group Comments: Resent-From: Poetics List Administration Comments: Originally-From: John Lowther From: Poetics List Administration Subject: Call for Work, UNREADABILITY MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii; FORMAT=flowed Content-Transfer-Encoding: 7bit CALL FOR WORK - UNREADABILITY 1. vispo, text art etc on paper [unreadable] for one week pin up exhibit in public space (no security for your photocopy!) May 15th deadline 2. unreadable multiples for a set of boxes small books or pages or whatever to help make 50 unique boxes of unreadable material May 15th deadline for 1 & 2 above ___query/submit Lit@eyedrum.org ___John Lowther / 552 Boulevard Place / Atlanta GA 30308 * 3. film video animation (flash, powerpoint [unreadable for standard viewing and/or simultaneous with live performance May 15th deadline 4. essays reviews poetix etcetera being unreadable or on or about (beside?) unreadability to appear in an issue of PERFORATIONS, www. June 1st deadline for 3 & 4 above ___query/submit Zeug1@earthlink.net ___UNREADABILITY / Robert Cheatham @ eyedrum / 290 Martin Luther Kind Jr, Drive. Suite 8 /Atlanta GA / 30312 * UNREADABILITY Language Harm May 16th - 23rd, unreadable pin up exhibit May 19th & 20th - live show with projection, audios etc @ eyedrum. 290 MLK JR Dr, SE, Atlanta Ga these events will all take place in and around the art space, eyedrum. eyedrum is supported in part by a grant from the city of atlanta bureau of cultural affairs. the web magazine perforations is a part of public domain [pd.org]. language harm is an every other month production of the atlanta pets group. * E Y E D R U M www.eyedrum.org * P E R F O R A T I O N S www.pd.org/topos/perforations.html * A T L A N T A P O E T S G R O U P www.atlantapoetsgroup.net ========================================================================= Date: Thu, 22 Apr 2004 08:07:50 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: kari edwards Subject: Re: Doctors Could Refuse To Treat Gays In-Reply-To: Content-Type: text/plain; charset=US-ASCII; format=flowed Mime-Version: 1.0 (Apple Message framework v553) Content-Transfer-Encoding: 7bit I think the hippocatic oath when out with HMOs http://www.bakersfield.com/state_wire/story/4636163p-4685674c.html http://www.kaboley.com/crime.htm (down the page under - Report Assails Hospital Lapses) in Trans Liberation: Beyond Pink or Blue: by Leslie Feinberg.. I think it is the first chapter how leslie was refused treatment at a hospitcla because is queerly gendered.. or maybe the hippocatic oath died when black men where not treated for there symphysis.... in the 1930?.. kari On Thursday, April 22, 2004, at 07:22 AM, Maria Damon wrote: > this wd seem to violate the hippocratic oath. bigtime. > > At 7:03 AM -0700 4/22/04, kari edwards wrote: >> http://transdada.blogspot.com/ >> >> this is Apartheid.... this shows just how racist, bigoted, and >> hateful this country is ... trans folkz, and queers are routinely >> denied medical assistance... now it could be a law... .. this is a >> out rage.. ..... shame on amrika.... shame on amrika for letting >> this happen to its people... this needs to be stopped . . . ! How >> long will we stand by and watch hate happen... >> >> >> >> http://www.rainbownetwork.com/News/ >> detail.asp?iData=20580&iCat=29&iChannel=2&nChannel=News >> Doctors Could Refuse To Treat Gays >> >> (Lansing, Michigan) Doctors or other health care providers could >> not be disciplined or sued if they refuse to treat gay patients >> under legislation passed Wednesday by the Michigan House. >> >> The bill allows health care workers to refuse service to anyone on >> moral, ethical or religious grounds. >> >> The Republican dominated House passed the measure as dozens of >> Catholics looked on from the gallery. The Michigan Catholic >> Conference, which pushed for the bills, hosted a legislative day >> for Catholics on Wednesday at the state Capitol. >> >> The bills now go the Senate, which also is controlled by Republicans. >> >> The Conscientious Objector Policy Act would allow health care >> providers to assert their objection within 24 hours of when they >> receive notice of a patient or procedure with which they don't >> agree. However, it would prohibit emergency treatment to be refused. >> >> Three other three bills that could affect LGBT health care were also >> passed by the House Wednesday which would exempt a health insurer or >> health facility from providing or covering a health care procedure >> that violated ethical, moral or religious principles reflected in >> their bylaws or mission statement. >> >> Opponents of the bills said they're worried they would allow >> providers to refuse service for any reason. For example, they said >> an emergency medical technicians could refuse to answer a call from >> the residence of gay couple because they don't approve of >> homosexuality. >> >> Rep. Chris Kolb (D-Ann Arbor) the first openly gay legislator in >> Michigan, pointed out that while the legislation prohibits racial >> discrimination by health care providers, it doesn't ban >> discrimination based on a person's sexual orientation. ========================================================================= Date: Thu, 22 Apr 2004 08:53:08 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Catherine Daly Subject: Re: query on laura riding In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit uh, there is a lot of source about Toklas' relationship with um, her favorite fashion designer on his side -- I am forgetting right now -- it is still am for me -- dunno how "exotic" couture is, tho don't forget the Baroness! while there's a lot of info out there on her use of fashion, the book I just reviewed, Irrational Modernism: New York DaDa by Amelia Jones is chock full of it All best, Catherine Daly cadaly@pacbell.net -----Original Message----- From: UB Poetics discussion group [mailto:POETICS@LISTSERV.BUFFALO.EDU] On Behalf Of Maria Damon Sent: Thursday, April 22, 2004 7:26 AM To: POETICS@LISTSERV.BUFFALO.EDU Subject: query on laura riding hey all: i've got a grad student working on Laura Riding, Jewishness/gender, and the tendency of a number of modernist women to dress "exotically" (alice toklas, frida kahlo, riding, loy, isadora duncan, etc). any good sources on riding and/or any of the above topics? -- ========================================================================= Date: Thu, 22 Apr 2004 09:08:17 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Stephen Vincent Subject: Re: query on laura riding In-Reply-To: Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit Just an intuition here, Maria, but I suspect histories of Lady Victorian Travelers may provide a source of influence(s) here. I think several were noted for taking on the garb of "the other" as a means to x, y, & z. Stephen V Blog: http://stephenvincent.durationpress.com > hey all: > i've got a grad student working on Laura Riding, Jewishness/gender, > and the tendency of a number of modernist women to dress "exotically" > (alice toklas, frida kahlo, riding, loy, isadora duncan, etc). any > good sources on riding and/or any of the above topics? > -- ========================================================================= Date: Thu, 22 Apr 2004 11:17:44 -0500 Reply-To: hlazer@bama.ua.edu Sender: UB Poetics discussion group From: hlazer Organization: The University of Alabama Subject: New book by Ben Friedlander MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii; format=flowed Content-Transfer-Encoding: 7bit Poetics List: A strange new book by Ben Friedlander, Simulcast, in the MCP Series, with a discount offer to the Poetics List. Please back channel me if you are interested in reviewing this new book. Hank Lazer * Mr. Friedlander's Simulcast is not at all a nice book. It is, however, an intelligent, wickedly funny, and above all, strikingly original book. The central problem it grapples with -- "... [T]he public is desirous only of poets, not poetry" (Poe) -- is one most critics and poets have refused to touch. What should writing do about this unfortunate situation? Pretend it is not true? Hope it goes away? Rather than deny, moralize, or simply ignore our sordid fascination with "the most readily idealized public personnae," or maintain that this social phenomenon could not possibly have any bearing on the hallowed clearing of Literature-In-Itself, Mr. Friedlander dives headlong into the muck, much like Mr. Poe, Mr. Dryden, and Ms. McCarthy before him, in order to diagnose its various symptoms. What makes Mr. Friedlander's contribution different is his counterintuitive use of a formal question -- one that goes straight to the heart of the Author as Problem -- to disclose and interpret the sociological one. Throughout Simulcast, the two halves of this false divide are continually brought into conversation: How does the fact that the avant-garde is a social formation (one generated by ListServes, reading series, publications, talks) bear on its aesthetic strategies? More interestingly, how can the avant-garde's textual practices (primarily those of theft, collage, and palimpsestic writing) illuminate its status as a social formation? Simulcast is an unprecedented demonstration that aesthetic innovation itself can be used to produce something that has been badly needed for some time: a poetic sociology of the contemporary avant-garde. -- Sianne Ngai * Announcing the latest volume in the series Modern and Contemporary Poetics, edited by Charles Bernstein and Hank Lazer Simulcast Four Experiments in Criticism Benjamin Friedlander Simulcast is an incisive overview of avant-garde American poetry of the past 25 years. It offers, in the form of four long essays, a highly opinionated and penetrating examination of a flourishing movement in American letters by one of its most astute practitioners. These essays are important critical studies of an evolving poetic genre, but they also represent an evolution in criticism itself. Friedlander's unorthodox methodology creates a critical text by adopting and co-opting the language of significant essays by earlier writers whose subjects and approaches serve as fitting models, e.g., Jean Wahl's A Short History of Existentialism and Edgar Allen Poe's "Literati of New York City." The resulting critiques are themselves a kind of poetry. They explore the issues of style versus substance, artifice versus authen-ticity, and plausibility versus truth, while subverting the hierarchy of values traditionally held in criticism. "This is a very smart, very provocative book." --Bob Perelman, University of Pennsylvania Benjamin Friedlander is Assistant Professor of English at the University of Maine and author of A Knot Is Not a Tangle and Time Rations. 360 pages, 6 x 9 ISBN 0-8173-5028-4 $29.95 paper ISBN 0-8173-1166-1 $65.00 cloth SPECIAL OFFER TO POETICS LISTSERV 20% DISCOUNT WHEN YOU MENTION THAT YOU ARE ON THE POETICS LISTSERV OFFER EXPIRES 31 May 2004 To order contact Elizabeth Motherwell E-mail emother@uapress.ua.edu Phone (205) 348-7108 Fax (205) 348-9201 or mail to: The University of Alabama Press Marketing Department Box 870380 Tuscaloosa, AL 35487-0380 Attn: Elizabeth Motherwell www.uapress.ua.edu Friedlander/Simulcast paper discounted price $29.95 ISBN 0-8173-5028-4 cloth discounted price $65.00 ISBN 0-8173-1166-1 Subtotal ________________ Illinois residents add 8.75% sales tax ________________ USA orders: add $4.50 postage for the first book and $1.00 for each additional book _________________ Canada residents add 7% sales tax _________________ International orders: add $5.50 postage for the first book and $1.00 for each additional book _________________ Enclosed as payment in full _________________ (Make checks payable to The University of Alabama Press) Bill my: _________Visa _________MasterCard Account number _______________________________ Daytime phone________________________________ Expiration date ________________________________ Full name____________________________________ Signature ____________________________________ Shipping Address______________________________ City _________________________________________ State_______________________ Zip ______________ ========================================================================= Date: Thu, 22 Apr 2004 10:05:38 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Tenney Nathanson Subject: pog THIS SATURDAY AND SUNDAY: poet Heriberto Yepez Comments: To: Tenney Nathanson MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 8bit POG presents poet Heriberto Yépez Saturday, April 24, 7pm Las Artes Center 23 W. 27th Street, South Tucson Admission $5; students $3 Poet, essayist, short-story writer, translator, and political-literary blogger Heriberto Yépez teaches Philosophy at the Autonomous University of Baja California-Tijuana. His Spanish language publications include a poetry collection, two collections of essays, and the e-book Obras Electrónicas Selecta (http://www.hyepez.com/). Work in English has appeared in such journals as Tripwire, Chain, XCP, and Shark, as well as in the groundbreaking bilingual anthology Across the Line / Al Otro Lado: The Poetry of Baja California (Junction Press, 2002). For several links to online work, in both English and Spanish, go to the POG website at www.gopog.org. also: Sunday, April 25, 1 pm University of Arizona Poetry Center 1600 E. First Street (626-3765) : Lecture/Discussion with Heriberto Yépez on contemporary experimental Latin American fiction POG events are sponsored in part by grants from the Tucson/Pima Arts Council, the Arizona Commission on the Arts, and the National Endowment for the Arts. POG also benefits from the continuing support of The University of Arizona Poetry Center, the Arizona Quarterly, Chax Press, and The University of Arizona Department of English. We also thank the following 2003-2004 POG donors: Patrons Liisa Phillips, Austin Publicover, and Jesse & Wendy Roberts; Sponsors Michael Gessner, Maggie Golston, Steve Romaniello, and Frances Sjoberg. for further information contact POG: 615-7803; pog@gopog.org; www.gopog.org ========================================================================= Date: Thu, 22 Apr 2004 10:07:12 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Tenney Nathanson Subject: pog THIS COMING MONDAY: poet/polymath IRA COHEN Comments: To: Tenney Nathanson MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit POG presents poet & polymath Ira Cohen Monday, April 26, 6-8pm University of Arizona Poetry Center 1600 E. First Street (626-3765) "Ira Cohen is a world-travelling poet, photographer, filmmaker, shaman and self-described 'literary hustler' who has been turning out work in all these fields for over twenty years. His mylar photos were printed in Life and Avant-Garde in the sixties. The Invasion of Thunderbolt Pagoda, his wildly psychedelic film odyssey, an underground classic. Editor of such groundbreaking international literary publications as Gnaoua and The Great Society during the sixties; Cohen writes poetry which reflects an incisive mind and cinematic eye, a surreal imagination, a relentless sense of humor and a religious obsession with eroticism and death. His poems published in various chapbooks and literary magazines over the past fifteen years have been gathered with some of his unpublished writing into a single edition of selected poems, On Feet of Gold, where his work can begin to be seen as a whole." --Uri Hertz, in Poetry Flash (available at http://www.bigbridge.org/issue5/irapoetry.htm) POG events are sponsored in part by grants from the Tucson/Pima Arts Council, the Arizona Commission on the Arts, and the National Endowment for the Arts. POG also benefits from the continuing support of The University of Arizona Poetry Center, the Arizona Quarterly, Chax Press, and The University of Arizona Department of English. We also thank the following 2003-2004 POG donors: Patrons Liisa Phillips, Austin Publicover, and Jesse & Wendy Roberts; Sponsors Michael Gessner, Maggie Golston, Steve Romaniello, and Frances Sjoberg. for further information contact POG: 615-7803; pog@gopog.org; www.gopog.org mailto:tenney@dakotacom.net mailto:nathanso@u.arizona.edu http://www.u.arizona.edu/~nathanso/tn POG: mailto:pog@gopog.org http://www.gopog.org ========================================================================= Date: Thu, 22 Apr 2004 13:13:15 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: ALDON L NIELSEN Subject: Spencer Selby MIME-Version: 1.0 Content-Type: text/plain can somebody backchannel me with Spencer Selby's email address? I left it back in Pennsylvania -- <<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> "Breaking in bright Orthography . . ." --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: Thu, 22 Apr 2004 13:08:00 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Deborah Fries Subject: Re: Jerome Rothenberg Festival in NYC.... MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Jerome Rothenberg Festival@ FusionArts Museum 57 Stanton Street (one block below Houston between Eldridge and Forsyth Streets) New York, NY FusionArts Museum and The Unbearables present: JEROME ROTHENBERG: THREE BOOKS THAT SHOOK THE WORLD A tribute to a colossus of American poetry, in which poets read from three of his most important volumes, each of which caused seismic tremors in the American literacy landscape Hosted by Jim Feast and Steve Dalachinsky ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Wednesday, April 28, 8 PM, $5.00 THAT DADA STRAIN (1983) under the angel's wing // the cherub's head // still cries Michael Carter, Steve Dalachinsky, Jim Feast, Merry Fortune, Randi Hoffman, Yuko Otomo, The No Chance Ensemble (Bruce Weber, Joanne Pagano-Weber and Bob Hart), Thad Rutkowski,Tom Savage, Jessie Sloate, and Carl Watson ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Thursday, April 29, 8 PM, $5.00 A SENECA JOURNAL (1978) Some have changed themselves into a dog or turkey - & one, a woman, had outrun a train Anandi, Steve Dalachinsky, Michael Lindgren, Yuko Otomo, Michael Randall, Claude Taylor, and Jordan Zinovich ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Friday, April 30, 8 PM, $5.00 POLAND/1931 (1974) a Jew so mad he heard the flowers // in the wood singing Judith Malina / Hanon Reznikov [The Living Theater] Michael Carter, Steve Dalachinsky, Jim Feast, Bonny Finberg, Russell Hoover, Ron Kolm, Anne Mockler, Harry Nudel, Michael Randall, Susan Sherman, Mark Weller,and Carol Wierzbicki ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Saturday, May 1, 8 PM, $5.00 JEROME ROTHENBERG with music by CHARLIE MORROW I keep walking through / the world enough / to reach the moon & / circle backwards For more information please call (212) 995-5290 Deborah Fries Director FusionArts Museum 57 Stanton Street New York, NY 10002 (212) 995-5290 Deborah54@aol.com ========================================================================= Date: Thu, 22 Apr 2004 12:27:43 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Joe Amato Subject: exchange on the status of contemporary poetry... Comments: cc: A Kass Fleisher Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" all: wanted to post a link to an online "roundtable" discussion about contemporary poetry, "avant, post-avant, and beyond," hosted by joan houlihan at ~boston comment~... the contributors are oren izenberg, norman finkelstein, stephen burt, alan golding, harvey hix, kent johnson, and myself (all men, i know)... aside from my own scribblings, it's really worth reading through... the way this worked was that we were each provided (by joan) with a set of (the same) questions, to which we each responded in toto... so perhaps less of a roundtable at this point than an archive, as we saw one another's responses only after they were all posted... perhaps, if there's a second round, things will become more dialogic... so ok, the link: http://www.bostoncomment.com/debate.html best, joe ========================================================================= Date: Thu, 22 Apr 2004 13:42:32 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Michael Gottlieb Subject: Michael Gottlieb Reading In Boston on 4/29 In-Reply-To: <200404210410.i3L4AxHw029911@mta1.snet.net> Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit Michael Gottlieb will be reading at the Boston Athenaeum in its Book Talk series on Thursday, April 29 at 12 noon. The author of more than a dozen titles, MICHAEL GOTTLIEB's new book, LOST AND FOUND (Segue), has just been published. His other recent books include GORGEOUS PLUNGE (also from Segue) CAREERING OBLOQUY (Other Publications/Portable Press at Yo-Yo Labs), and MORE THAN ALL (Tongue To Boot), a collaboration with Ted Greenwald. One of the central first-generation Language poets, Gottlieb helped edit the seminal "Roof" magazine through the 80s. He presently lives in Northwest Connecticut with his wife and two children. Of his new book, Ron Silliman has written, "LOST AND FOUND is a read-this-and-change-your-life experience: the first great work to emerge from the trauma of September 11. Michael Gottlieb's masterwork is one terrific book." The Boston Athenaeum is located at 10 1/2 Beacon Street, Boston. ========================================================================= Date: Thu, 22 Apr 2004 12:58:27 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Solana D'Lamant Subject: Re: Doctors Could Refuse To Treat Gays MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable I agree with you, kari. My mother, a primary care physician ran her own = office, refused to join an HMO and said she got very tired of insurance = companies telling her how to practice medicine. She stopped encouraging = high school and college student to study medicine. She said the face nd = practice of medicine had changed too radically for her to recommend it = as a profession to anyone. It was no longer about healing and helping = but rather about cost management. Solana ----- Original Message -----=20 From: kari edwards=20 To: POETICS@LISTSERV.BUFFALO.EDU=20 Sent: Thursday, April 22, 2004 11:07 AM Subject: Re: Doctors Could Refuse To Treat Gays I think the hippocatic oath when out with HMOs http://www.bakersfield.com/state_wire/story/4636163p-4685674c.html http://www.kaboley.com/crime.htm (down the page under - Report Assails Hospital Lapses) in Trans Liberation: Beyond Pink or Blue: by Leslie Feinberg.. I think it is the first chapter how leslie was refused treatment at a = hospitcla because is queerly gendered.. or maybe the hippocatic oath died when black men where not treated = for there symphysis.... in the 1930?.. kari On Thursday, April 22, 2004, at 07:22 AM, Maria Damon wrote: > this wd seem to violate the hippocratic oath. bigtime. > > At 7:03 AM -0700 4/22/04, kari edwards wrote: >> http://transdada.blogspot.com/ >> >> this is Apartheid.... this shows just how racist, bigoted, and >> hateful this country is ... trans folkz, and queers are routinely >> denied medical assistance... now it could be a law... .. this is a >> out rage.. ..... shame on amrika.... shame on amrika for letting >> this happen to its people... this needs to be stopped . . . ! How >> long will we stand by and watch hate happen... >> >> >> >> http://www.rainbownetwork.com/News/ >> detail.asp?iData=3D20580&iCat=3D29&iChannel=3D2&nChannel=3DNews >> Doctors Could Refuse To Treat Gays >> >> (Lansing, Michigan) Doctors or other health care providers could >> not be disciplined or sued if they refuse to treat gay patients >> under legislation passed Wednesday by the Michigan House. >> >> The bill allows health care workers to refuse service to anyone on >> moral, ethical or religious grounds. >> >> The Republican dominated House passed the measure as dozens of >> Catholics looked on from the gallery. The Michigan Catholic >> Conference, which pushed for the bills, hosted a legislative day >> for Catholics on Wednesday at the state Capitol. >> >> The bills now go the Senate, which also is controlled by = Republicans. >> >> The Conscientious Objector Policy Act would allow health care >> providers to assert their objection within 24 hours of when they >> receive notice of a patient or procedure with which they don't >> agree. However, it would prohibit emergency treatment to be = refused. >> >> Three other three bills that could affect LGBT health care were = also >> passed by the House Wednesday which would exempt a health insurer = or >> health facility from providing or covering a health care procedure >> that violated ethical, moral or religious principles reflected in >> their bylaws or mission statement. >> >> Opponents of the bills said they're worried they would allow >> providers to refuse service for any reason. For example, they said >> an emergency medical technicians could refuse to answer a call = from >> the residence of gay couple because they don't approve of >> homosexuality. >> >> Rep. Chris Kolb (D-Ann Arbor) the first openly gay legislator in >> Michigan, pointed out that while the legislation prohibits racial >> discrimination by health care providers, it doesn't ban >> discrimination based on a person's sexual orientation. ========================================================================= Date: Thu, 22 Apr 2004 16:46:24 -0230 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Kevin Hehir Subject: Re: Epoxy MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=ISO-8859-1 Content-Transfer-Encoding: 8BIT that's fucking awesome! made my day. k On Wed, 21 Apr 2004, Lewis LaCook wrote: > http://www.lewislacook.com/sound/LewisLaCook_Epoxy64.mp3 > > think i'm going to dance now > > > > > *************************************************************************** > > This is as useful as a doll.--Gertrude Stein > > http://www.lewislacook.com/ > > Stamen Pistol: http://stamenpistol.blogspot.com/ > > Poem of the Day: http://www.lewislacook.com/POD > > Sidereality: http://www.sidereality.com/ > > > > tubulence artist studio: http://turbulence.org/studios/lacook/index.html > > > > > > > > > > > > > > > --------------------------------- > Do you Yahoo!? > Yahoo! Photos: High-quality 4x6 digital prints for 25¢ > -- --------------------------- http://paulmartintime.ca/ ========================================================================= Date: Thu, 22 Apr 2004 15:45:55 -0400 Reply-To: bstefans@earthlink.net Sender: UB Poetics discussion group From: "Brian Kim Stefans [arras.net]" Subject: U B U W E B :: /ubu Editons :: Spring 2004 Titles Comments: To: bstefans@whitehouse.org MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 8bit __ U B U W E B __ http://ubu.com -------------------------------------- /ubu Editons :: Spring 2004 Titles http://ubu.com/ubu -------------------------------------- This year's titles range from the visually sophisticated Concrete poetry of Gustave Morin, a native of Windsor who spent 10 years on his "novel" A Penny Dreadful, to an obscure volume of satirical translations of Baudelaire by the English poet Nicholas Moore, from the experiments in frame and format that Caroline Bergvall and designer Marit Meunzberg explore in their daring resetting of the poet's Eclat, to the equally daring, if entirely unscrupulous, logorrhea that is the 130 pages of another "novel," Name, by Toadex Hobogrammathon. The big news this year might be the introduction of color into the pantheon of effects being used in our e-books: both Bergvall's Eclat and my own Alpha Betty's Chronicles rely heavily on it, in ways that would have been unsuitable to html and impossibly expensive to print in a book. Likewise, the volumes by Morin and Lytle Shaw - two of his uniquely low-tech Shark chapbooks - are primarily graphic works, while the titles by Craig Dworkin, Robert Fitterman and Larry Price attempt to re-conceptualize the page of an Adobe Acrobat file as a middle-space that ironizes the permanence of type (Dworkin's use of Courier fonts) or digital flow (Fitterman's box-like containers) as well as the "writing on the wall" soixante-huitard-style (Price's poster-style typography). Of the republications, we are happy to present the final section of Ron Silliman's The Age of Huts, The Chinese Notebook, probably the most influential of his early books outside of Kejtak, two small works by the increasingly-prized Jean Day, whose 1998 Atelos volume, The Literal World, woke so many up to her understated talents. Robert Kelly's quasi-fiction - yes, yet another "novel" - called The Cruise of the Pnyx has long been one of my favorites of his, but has never appeared in another book, nor has the original Station Hill edition of 1979 been republished. New writers include the playwright Madelyn Kent, whose Shufu plays - part Butoh, part Richard Maxwell-like deadpan, with a touch of Clark Coolidge -- are bound to become recognized as innovative theater, and Aaron Kunin, who is becoming known in New York and elsewhere as a writer of uncommon intelligence and tremendous technical precision. The English poet Ira Lightman drops in on the series like a lightning bolt, spreading his art in a sort of spirit of personal renaissance, while Barbara Cole's Foxy Moron - a text I see as existing somewhere between poetry and drama if only because she reads it so well in public - strikes a little lower, not so much toward "renaissance" as sexual catharsis, over and over again. Lastly, we are especially happy to have Deanna Ferguson's long-awaited follow-up collection to her 1993 book The Relative Minor (which appears as a reprint in last year's series). Several of the poems in Rough Bush have already played parts in some of the signal poetics statements of the nineties; it's good to finally have such a stash of Ferguson's recent writings in one place. Enjoy! --Brian Kim Stefans /ubu Editions can be accessed at: http://ubu.com/ubu -------------------------------------- Eclat Caroline Bergvall http://ubu.com/ubu/bergvall_eclat.html Situation Comedies: Foxy Moron Barbara Cole http://ubu.com/ubu/cole_foxy.html Linear C & The I and the You Jean Day http://ubu.com/ubu/day_linear.html Smokes Craig Dworkin http://ubu.com/ubu/dworkin_smokes.html Rough Bush and other poems Deanna Ferguson http://ubu.com/ubu/ferguson_bush.html This Window Makes Me Feel Robert Fitterman http://ubu.com/ubu/fitterman_window.html Name, a novel Toadex Hobogrammathon http://ubu.com/ubu/toadex_name.html Cruise of the Pnyx Robert Kelly http://ubu.com/ubu/kelly_pnyx.html São Paolo Madelyn Kent http://ubu.com/ubu/kent_sao.html The Mauberley Series Aaron Kunin http://ubu.com/ubu/kunin_mauberley.html Trancelated (from Coinsides) Ira Lightman http://ubu.com/ubu/lightman_trance.html Spleen: Thirty-one versions of Baudelaire's Je suis comme le roi... Nicholas Moore http://ubu.com/ubu/moore_spleen.html Spaghetti Dreadful (trailer for A Penny Dreadful) Gustave Morin http://ubu.com/ubu/morin_spaghetti.html Circadium Larry Price http://ubu.com/ubu/price_circadium.html Gulf & Alpha Betty's Chronicles Brian Kim Stefans http://ubu.com/ubu/stefans_alpha.html http://ubu.com/ubu/stefans_gulf.html Low-Level Bureaucratic Structures Principles of the Emeryville Shellmound Lytle Shaw http://ubu.com/ubu/shaw_low.html The Chinese Notebook Ron Silliman http://ubu.com/ubu/silliman_chinese.html -------------------------------------- /ubu Editons :: Spring 2004 Titles ----------------------------------- /ubu Editions can be accessed at: http://ubu.com/ubu __ U B U W E B __ http://ubu.com Apologies for cross-postings. Please forward to all. ========================================================================= Date: Thu, 22 Apr 2004 17:07:37 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Martha L Deed Subject: Re: Doctors Could Refuse To Treat Gays MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit I have had the same experience as Solana's mother -- but in psychology. Our profession was attacked by HMO's before they attacked the MD's. While we had some early victories, the costs to the HMOs became "a cost of doing business," and eventually they prevailed. I quit. I write full time. I am much happier -- and the envy of my colleagues who cannot afford to quit due to putting children through college and paying mortgages. . . The only problem I have is -- I cannot find a decent primary care doctor for love or money, because, like Solana's mother, so many have quit. Eventually, something will have to change. I hope we don't all die of curable diseases before that happens. And obviously, I would not set a standard for the docs that I refused to set for myself: of course, they should have the right to quit rather than see their ability to practice go down the drain along with the ethical compromises imposed by HMO beancounters. So much for the lecture. Curmudgeonly yours, Martha On Thu, 22 Apr 2004 12:58:27 -0400 Solana D'Lamant writes: > I agree with you, kari. My mother, a primary care physician ran her > own office, refused to join an HMO and said she got very tired of > insurance companies telling her how to practice medicine. She > stopped encouraging high school and college student to study > medicine. She said the face nd practice of medicine had changed too > radically for her to recommend it as a profession to anyone. It was > no longer about healing and helping but rather about cost > management. > Solana > ----- Original Message ----- > From: kari edwards > To: POETICS@LISTSERV.BUFFALO.EDU > Sent: Thursday, April 22, 2004 11:07 AM > Subject: Re: Doctors Could Refuse To Treat Gays > > > I think the hippocatic oath when out with HMOs > > > http://www.bakersfield.com/state_wire/story/4636163p-4685674c.html > http://www.kaboley.com/crime.htm (down the page under - Report > Assails > Hospital Lapses) > > in Trans Liberation: Beyond Pink or Blue: by Leslie Feinberg.. I > think > it is the first chapter how leslie was refused treatment at a > hospitcla > because is queerly gendered.. > > or maybe the hippocatic oath died when black men where not treated > for > there symphysis.... in the 1930?.. > kari > > > > > > > On Thursday, April 22, 2004, at 07:22 AM, Maria Damon wrote: > > > this wd seem to violate the hippocratic oath. bigtime. > > > > At 7:03 AM -0700 4/22/04, kari edwards wrote: > >> http://transdada.blogspot.com/ > >> > >> this is Apartheid.... this shows just how racist, bigoted, and > >> hateful this country is ... trans folkz, and queers are > routinely > >> denied medical assistance... now it could be a law... .. this > is a > >> out rage.. ..... shame on amrika.... shame on amrika for > letting > >> this happen to its people... this needs to be stopped . . . ! > How > >> long will we stand by and watch hate happen... > >> > >> > >> > >> http://www.rainbownetwork.com/News/ > >> detail.asp?iData=20580&iCat=29&iChannel=2&nChannel=News > >> Doctors Could Refuse To Treat Gays > >> > >> (Lansing, Michigan) Doctors or other health care providers > could > >> not be disciplined or sued if they refuse to treat gay > patients > >> under legislation passed Wednesday by the Michigan House. > >> > >> The bill allows health care workers to refuse service to anyone > on > >> moral, ethical or religious grounds. > >> > >> The Republican dominated House passed the measure as dozens of > >> Catholics looked on from the gallery. The Michigan Catholic > >> Conference, which pushed for the bills, hosted a legislative > day > >> for Catholics on Wednesday at the state Capitol. > >> > >> The bills now go the Senate, which also is controlled by > Republicans. > >> > >> The Conscientious Objector Policy Act would allow health care > >> providers to assert their objection within 24 hours of when > they > >> receive notice of a patient or procedure with which they > don't > >> agree. However, it would prohibit emergency treatment to be > refused. > >> > >> Three other three bills that could affect LGBT health care were > also > >> passed by the House Wednesday which would exempt a health > insurer or > >> health facility from providing or covering a health care > procedure > >> that violated ethical, moral or religious principles reflected > in > >> their bylaws or mission statement. > >> > >> Opponents of the bills said they're worried they would allow > >> providers to refuse service for any reason. For example, they > said > >> an emergency medical technicians could refuse to answer a call > from > >> the residence of gay couple because they don't approve of > >> homosexuality. > >> > >> Rep. Chris Kolb (D-Ann Arbor) the first openly gay legislator > in > >> Michigan, pointed out that while the legislation prohibits > racial > >> discrimination by health care providers, it doesn't ban > >> discrimination based on a person's sexual orientation. > > ========================================================================= Date: Thu, 22 Apr 2004 14:19:16 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Robert Corbett Subject: Re: Spring... In-Reply-To: <002d01c423c2$b298c340$27c7a918@rochester.rr.com> MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII me and, uh, Tuli down at the schoolyard, Harry? -- Robert Corbett, Ph.C. "Given the distance of communication, Coordinator of New Programs I hope the words aren't idling on the B40D Gerberding map of my fingertips, but igniting the Phone: (206) 616-0657 wild acres within the probabilities of Fax: (206) 685-3218 spelling" - Rosmarie Waldrop UW Box: 351237 On Fri, 16 Apr 2004, Gerald Schwartz wrote: > Tuli, yes, but Steve? Dalachinsky? > > --Jerry Schwartz > > > Tuli tells > > the hassid > > in yiddish > > > > 'garlic & > > onions grow > > in the jewish > > garden' > > > > Steve's Spring > > Haiku > > 'the gypsy's > > returned > > to the corner' > > > > O Zion > > i dream > > > > of Hebron > > over the > > river bank > > > > > > 3:00???...drn.. > ========================================================================= Date: Thu, 22 Apr 2004 14:24:52 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Robert Corbett Subject: Re: More Important than Poetry In-Reply-To: <4.1.20040419170452.03748818@pop3.airmail.net> MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=X-UNKNOWN Content-Transfer-Encoding: QUOTED-PRINTABLE ahem, soccer and basketball, considered globally, are more important than baseball. of course i grew up in north carolina and went to chapel hill, so to me nothing is more important than basketball. Robert --=20 Robert Corbett, Ph.C.=09=09"Given the distance of communication, Coordinator of New Programs=09 I hope the words aren't idling on the B40D Gerberding=09=09=09 map of my fingertips, but igniting the Phone: (206) 616-0657=09=09 wild acres within the probabilities of Fax: (206) 685-3218=09=09 spelling" - Rosmarie Waldrop UW Box: 351237 On Mon, 19 Apr 2004, Joe Ahearn wrote: > Poetry is more important than baseball, Bianchi, you White Sox slut. > > Joe Ahearn > Dallas > home of no kind of baseball team > > At 04:09 PM 4/19/2004 -0500, you wrote: > >Ok Poets a little whimsy- I am taking a poll- what is your favorite base= ball > >team? > > > >R > > > >Raymond L Bianchi > >chicagopostmodernpoetrycalendar.blogspot.com/ > >collagepoetchicago.blogspot.com/ > > > >> -----Original Message----- > >> From: UB Poetics discussion group > >> [mailto:POETICS@LISTSERV.BUFFALO.EDU]On Behalf Of Ken Rumble > >> Sent: Monday, April 19, 2004 4:02 PM > >> To: POETICS@LISTSERV.BUFFALO.EDU > >> Subject: Desert City w/ Rod Smith, Mark Wallace, & Lorraine Graham -- > >> Carrboro, NC > >> > >> > >> Please spread far and wide...... > >> > >> Who: Rod Smith, author of _Music or Honesty_, _Protective Immediacy_,= and > >> other of your favorite books, editor of Aerial Magazine and Edge > >> Books, former > >> chess opponent to John Cage, all around go-to-guy for things vegetable= , > >> animal, > >> or mineral. > >> > >> Who: Mark Wallace, author of _Haze_, _Temporary Worker Rides a Subway= _, > >> _Sonnets of a Penny-a-Liner_, editor of the heroic _Telling It > >> Slant: Avant > >> Garde Poetics of the 1990s_, first guy picked for every kickball team = in > >> America. > >> > >> Who: K. Lorraine Graham, author of _Dear [Blank] I Believe in > >> Other Worlds_, > >> editor of Anomaly Magazine, executrix for the dinosaurs, owns > >> working original > >> Herbie the Love Bug. > >> > >> What: Desert City Poetry Series, Season Finale!! Single-handedly > >> re-legitamizing the exclamation point. > >> > >> When: Saturday, April 24th, 8:00 pm, 2004 > >> > >> Where: Sizl Gallery, 405 E. Main Street, Carrboro, NC, near > >> Carrburritos, off > >> Franklin, intersects Rosemary, directly above the center of the > >> earth, park at > >> the Meineke > >> > >> Why: "you look great! thanks no / I don't. thanks, you do too. > >> thanks, / I > >> like your shirt." > >> "A colossal-headed Ted Baxter is constantly threatening to punch our > >> collective > >> face out so we can't do our own commercials." > >> "Poetry doesn't care who loves it" > >> > >> See you there...... > >> > >> Sizl Gallery: www.sizlgallery.com > >> > >> Desert City's favorite independent bookstore: The Internationalist: > >> www.internationalistbooks.org > >> > >> Desert City Poetry Series: http://www.carrboro.com/desertcitypoet= ry/, > >> coming soon -- www.desertcity.org > >> > >> Rod Smith: > >> http://epc.buffalo.edu/authors/smithr/ > >> > >> Mark Wallace: > >> http://epc.buffalo.edu/authors/wallace/ > >> > >> K. Lorraine Graham: > >> http://www.geocities.com/anomalypress/ > >> > >> ---contact DCPS: Ken Rumble, Director, rumblek@bellsouth.net > >> > >> =93Lucifer=94 > >> by Rod Smith > >> > >> Viaduct off-spring of a slinkie > >> > >> salesperson > >> > >> Divorce > >> or > >> acutely vivid-- > >> > >> (welp) > >> > >> dyspeptic area code > >> yet recombinatory, on ceremonial > >> disturbed water stoop > >> > >> Say the sound > >> &/or slay the swingline > >> > >> Some say need > >> is a statutory explanation > >> of the mobility > >> of synchronicity. > >> Most of them are guiltyof democratic leanings. > >> > >> from =93The Monstrous Failure of Contemplation=94 > >> by Mark Wallace > >> > >> Do you believe this story > >> zombies are eating human flesh > >> the creature looks like one of us > >> do you believe this story > >> they were trained in the slaughterhouse > >> it pulled her down the sink > >> do you believe this story > >> nuclear ant crushes a truck > >> dead Indians rise from a grave > >> > >> The industry of fear > >> millions of dollars a year > >> > >> =93As a child, blood and gore > >> actually comforted me, because I forgot > >> the tension upstairs. > >> It was only later I learned > >> I was an alien.=94 > >> > >> from =93Dear [Blank] I Believe in Other Worlds=94 > >> by K. Lorraine Graham > >> > >> Everything flips. Say: it=92s a thing! and it flips and says look > >> at me I=92m a > >> thing, a speaking thing! and so we think to ourselves outloud and so > >> perhaps to > >> others I wonder how can this be this thing-no-longer-thing is speaking= and > >> I am > >> filled with either horror or with love: and so it=92s a boring flip > >> and hardly a > >> flip at all, churchbells sounding high above an oil rig, real and true= and > >> trying to tie themselves to things, some things more than others, > >> some with or > >> without makeup on, or covered in skin and vein and eventually > >> unbleached un > >> arranged bones that have not been placed in closets but instead loving= ly > >> reanimated into zombies via gigantic cauldrons, usually stolen from sm= all > >> Celtic countries and returned as peace offerings via weddings in > >> times of war. > >> > > > > > > > > _________________________________________________________________________= ___ > _________ > Joe Ahearn > joeah@mail.airmail.net > Calamus Publication Services: www.calamuspubs.com > VEER magazine: www.rancho-loco-press.com/veer > ========================================================================= Date: Thu, 22 Apr 2004 17:28:43 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Poetry Project Subject: Events at the Poetry Project 4/26-4/28 Mime-version: 1.0 Content-type: text/plain; charset="ISO-8859-1" Content-transfer-encoding: quoted-printable Monday, April 26 Cynthia Nelson & Martha Zweig Cynthia Nelson is the author of The Kentucky Rules and Raven Days, both fro= m Soft Skull Press. A founding editor of Fort Necessity magazine, she is also a singer/songwriter/multi-instrumentalist who has played and toured with a variety of musical projects over the past ten years. Martha Zweig=B9s books include Powers, Vinegar Bone (winner of a Mrs. Giles Whiting Writer=B9s Award= ) and, most recently, What Kind (Wesleyan University Press, 2003). Her work has appeared in Boston Review, Ploughshares, and The Progressive, among other magazines. She lives in Vermont. [8:00 PM] Wednesday, April 28 75th Birthday Bash for Kenward Elmslie A party to celebrate the 75th birthday of poet, playwright, novelist, librettist, and performer Kenward Elmslie. The evening will include readings, slides, video projections, and musical performances by John Ashbery, Matt Coles, Larry Fagin, John Godfrey, Mac McGinnes, Mary Kite, James Morgan, Ron Padgett, Ned Rorem, Karen Koch, Steven Taylor, Anne Waldman, Anselm Berrigan, Trevor Winkfield, and many others. Kenward Elmsli= e is the author of over 25 wonderful books, including Album, Circus Nerves, Motor Disturbance, Moving Right Along, Tropicalism, Routine Disruptions, Blast From the Past, Cyberspace and Snippets (both with Trevor Winkfield), Pay Dirt (with Joe Brainard), and Nite Soil. His CDs include Postcards on Parade and Lola (both from Harbinger Records). There will be a reception afterwards in the Parish Hall. [8:00 pm] * =B3The ruin has memorized the ruin, and so too the vinyl/ in each one of us replicates the original vinyl/ of some unsuspecting excellence.=B2 --Marjorie Welish * ANNOUNCEMENTS: EDWIN DENBY CD RELEASE The Poetry Project is pleased to announce the release of EDWIN DENBY READING, a CD recorded and edited by Jacob Burckhardt between 1976-1983. EDWIN DENBY READING contains 39 tracks -- all of Denby reading from his own work. The sound quality on these previously unreleased recordings is excellent, and the cd cover is a Rudy Burckhardt photo of Denby walking in New York City. The CD is $16, and can be ordered directly through the Poetry Project by check, cash, or credit card. Call us at 212-674-0910 for ordering information, including payment via phone. We accept Visa, Mastercard, AmEx, Discover and Diner's Club International. "Denby's poems are American treasures" -- Bill Berkson For more information on Edwin Denby, check out Jacket Magazine 21 (jacketmagazine.com), which has a special section on Denby's work. A LETTER REGARDING ST. MARK=B9S CHURCH Dear Friend of St. Mark=B9s: For over 200 years St. Mark=B9s in-the-Bowery has stood as a monument to the continuity of great spiritual and social movements. Presently the church=B9s historic landmark building is at risk. Nearly 25 twenty years have elapsed since it was last repaired after the fire that almost destroyed it altogether. It was miraculously spared. Now time and the extraordinary use of our space have taken their toll. In addition to weekly services and events involving our congregation, we host three resident arts projects: Danspace, The St. Mark=B9s Poetry Project and the Ontological Theater. The church=B9s roof is the most urgent repair necessary. Frequent and increasingly copious leaks threaten our ability to carry out activities in = a normal fashion. Recently, we received a $16,000 grant toward the $50,000 we must raise to fix the roof. We need another $35,000 to complete that work. We are holding a FIX-THE-ROOF Event, featuring popular actor and comedian Rev. Billy (Bill Talen) and the Stop Shopping Choir, on May 9th at 8 PM her= e at St. Mark=B9s Church in-the-Bowery, 2nd Avenue and Tenth Street. Please help St. Mark=B9s reach this all-important goal by making a contribution, either at the event or by sending a check in mail. Thank you for your consideration. For more information email: stmarksitb@ aol.com or call (212) 674-6377. Faithfully, The Rev. Julio O. Torres Priest-in-Charge * The Poetry Project is located at St. Mark's Church-in-the-Bowery 131 East 10th Street at Second Avenue New York City 10003 Trains: 6, F, N, R, and L. info@poetryproject.com www.poetryproject.com Admission is $8, $7 for students/seniors and $5 for members (though now those who take out a membership at $85 or higher will get in FREE to all regular readings). We are wheelchair accessible with assistance and advance notice. For more info call 212-674-0910. * ========================================================================= Date: Thu, 22 Apr 2004 19:44:07 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: andrew loewen Subject: Re: exchange on the status of contemporary poetry (Kent Johnson for. . . ) MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii From the above: Kent Johnson: An American poetic avant-garde? If, as Peter Burger argues in his classic Theory of the Avant-Garde, the concept should be understood as defining a collective, self-conscious, and insistent attack on the “institution of art and literature” with the aim of reintegrating art “into the practice of life,” then it would be hard to find evidence of an “avant-garde” meriting of the title today. In Burger's view, one with which it's hard to argue, the historical avant-garde, in its poetic and visual genres, failed in rather spectacularly evident ways, its artistic products reintegrated with great velocity not into “the practice of life” but into the institutional “practices” of the very culture it set out to assault. Although Burger's ideas are seldom cited by contemporary poets and critics, I think his study holds some important lessons relevant to the current situation of American “innovative” poetry. Some of what follows, then, has his thesis on the fate of radical modernism as backdrop. Of course, more than any other literary current of the past quarter century, Language poetry (or more broadly, now, as the intra-generational term goes, the “post-avant”) has been associated with the idea of the “avant-garde.” In its formative stages, when a dogged development of autonomous networks was in organic relation to an intense phase of iconoclastic critical/poetic activity (i.e., a phase peaking, perhaps, around the mid-80's), it had a credible claim to the term. But save for occasional nods to the original passions, the radical ideals have been largely shed, and it's now clear, to increasing numbers of observers, that this current, in repetition of the process of earlier movements from which its praxis had importantly been drawn, is effectively absorbed into the larger literary culture it once claimed to reject. Language poetry, along with its various second-generation satellite formations, now stands as an experimentalist, but respectful and loyal, opposition within the Parliament of Academic poetry. The “post-avant” is the mode that ambitious young MFA'ers study; it is the creative writing “style” scores of publishers are seeking; it is the aesthetic pedigree rising numbers of awards are prizing; it is the criticism and theory that prestigious university presses are publishing; it is the “subversive poetics” the current President of the Modern Language Association has made her reputation promoting. In his study, Burger also deals at length (as any consideration of the avant-garde can't help but do) with the aesthetic theory of Theodor Adorno, arguing that the difficult formal practices the latter championed for their defiant “autonomy” were destined, by virtue of their tacit collusion with the underlying “productive and distributive” functions of high culture, to be institutionally domesticated and ideologically contained. It's quite interesting in this regard, if in the sense of dramatic irony, that the dominant pose of current post-avant cultural politics has come to affect a quasi-Adornean air, inasmuch as its poets not only militantly privilege avant-gardist forms over realist ones in practice (i.e., experimental forms proposed as historically necessary gestures of negation in commodity-driven culture), but also assign them a kind of supra-historical ethical value in principle, where the adoption of non-syllogistic modes of poetic discourse is held as a kind of categorical imperative, a formal sine qua non for achieving aesthetic-cognitive levels sufficient for resisting the co-optations of a hegemonic mass culture. Not that everyone explains the matter to herself in that somewhat Altierian, burdensome way, but such would be the general background assumption. As a corollary that is by now trademark, this has also meant absolutist kinds of pronouncements and dismissals in regards to poetry based in narrative, I-centered approaches--poetry which gets filed, tout court, into reductive, straw man categories like “The School of Quietude” or “Official Verse Culture,” fuzzy tropes alluding to an enemy-realm that is never really defined except in the most general lit-critical terms (i.e., poetry based on the nostalgic or epiphanic experience of a "self" that naively assumes to stand beyond the language games within which it is staged, etc., etc.). This kind of "official" poetry, it is repeatedly and grimly charged, is the dominant mode of the "academy" and of the most influential magazines, like, for example, American Poetry Review, The New Yorker, or Poetry. Now, there is little question the conclusions innovative poets have drawn about the culture industry's reach and power are well-grounded. And so it's deeply ironic, to the nth degree, that one of the key postulates in current post-avant polemics urges the increased propagation of “avant-garde” works into the structural functions of that very same cultural apparatus. Thus, the exigency of the moment, as leading figures of the “new poetries” have lately made clear, (see for suggestive example, Hank Lazer's The People's Poetry, Boston Review, April/May 2004), is not the development of radically sovereign zones of aesthetic and critical dissent; it is, rather, that the institutional venues of “Official Verse Culture” be prodded to make themselves more open and hospitable to experimental, “difficult” forms of writing, so that these last might be granted the broad divulgation and esteem they deserve. Consequently, Charles Bernstein, as distant now from the unambiguous calls for heterodox autonomy that once informed the pages of L=A=N=G=U=A=G=E magazine as John Kerry is from the anti-imperialist manifestoes of the VVAW, is able to make such barely veiled appeals for integration and reform as the following: I know a lot of people are… focusing their critiques more on universities than the PWC (Publications of Wide Circulation). But I think what Andrew Ross called "the oxygen of publicity" matters quite a bit. Poetry survives and thrives nurtured by its committed readers and practitioners, but I think the value of poetry is not just for us but indeed for this wider public and that the culture suffers when it isolates itself from its poets… Almost any poet will tell you not enough poetry gets reviews in publications-with-wide-circulation (PWC): big city newspapers, the newsweeklies, and the national journals of culture and opinion. Part of the problem would simply be solved if poetry were treated by these publications as a national cultural "beat": if poetry were covered the way art or TV is… When it comes to poetry, the PWC do a great disservice to their readers: their coverage is, to use the terms of opprobrium so popular in their reviews, inadequate and of poor quality. Almost no coverage is given of the field, something that is otherwise the prerequisite of journalism, and the choices of what is reviewed seem at best arbitrary, though obviously skewed to the trade presses, even though these presses, by almost anyone's measure, are responsible for only a small proportion of the significant poetry of our time... A culture's refusal of its poetry is not without consequence or redress. So when you ask if "the public [has] even the slightest interest in the material in question," (i.e., experimental poetries) I would say that the PWC's spurning of this, indeed, material in question, is a direct violation of the public interest, that we won't have a public worthy of the name until we engage with such material… [Interview with Marjorie Perloff] One could say, if at the risk of too much Bernstein-like wittiness, that the post-avant in these first years of the century is auto-defined by a desire to keep its Steinian potatoes raw and roast them too: Its leaders' recycled polemics against “Official Verse Culture” or the “School of Quietude” are now accompanied by increasingly loud complaints (the above quote is also very much in line with the underlying premise of many of Ron Silliman's posts on his widely read blog) that the major publishing organs of that same official culture do not welcome them at the table of poetry haute cuisine. And in a sense, the resentment is understandable: “Experimental” verse is now very much an intrinsic part of the academic and elite poetry-biz scene. Its practitioners have their particular tastes, to be sure, but they have agreed, as good authorial citizens, to respect the ground-rule protocols of official literary etiquette. Now that they have paid their dues, as it were, a few more invitations to well-appointed PWC addresses would certainly seem fair… Clearly, the process of normalization has now entered its late stages, marked by handsome “dissident” books of Ivy League provenance, Visiting 'Opposition-Poet' residencies at The Iowa Writer's Workshop, and predictable proclamations of poetic “difference” delivered with shiny name tags at the MLA and AWP per annum. But (to ask the begged question) what has gotten things from that rather high-hoped beginning to this rather ho-hum expiring? How and why has the American poetic “avant-garde” gone from a vital utopian radicalism to what is now, despite lingering self-proclamations of outsider status, an open, self-greased slide toward “professionalization” and institutional accommodation? There are books yet to be written in answer to that, of course; however, the following can, indeed, be confidently stated: The denouement was determined in advance by the stubborn failure of the Language poets to practice what they preached. Polemically rejecting in their theory the “I” and “Self” as the ground of poetry, they enshrined it in their practice in the most nonchalant ways, framing and exhibiting their “avant-garde” products within the functional confines of Authorship, with all its attendant dynamics of cultural capital acquisition and private portfolio positioning. And doing so, they failed--predictably, for sure--to self-consciously interrogate the collapse of the originary avant-garde project they saw themselves as extending. Had they done otherwise, they might have seriously reflected on how the militant gestures of those past attempts were consistently appropriated as “artistic works” (Burger's term) and absorbed, via the canon and its mechanisms of classification and domestication, into the institutions of art and literature. More specifically, they might have begun to acknowledge (and thus begun to develop countermeasures to the inertial pull of the process) that it is the brand stamped on the work—the legal signature which confirms provenance and confers value—that is the means by which the literary economy catalogues, channels, and tracks the reproduction of its ideological authority. The offspring of Language poetry has followed in its path. It is in this sense that the post-avant, accepting without question in its practice what Burger calls, again, the “productive and distributive apparatus” of the art/literature institution, differs not a whit in its generic essence from the “official verse culture” it so vociferously scolds; it is “opposite” in the sense of being the opposite side of a single coin and “oppositional” in the sense indicated earlier--of a loyal minority party which advocates for changes of form in the system, but not for the system's sublation. Indeed, what has taken place over the past fifteen or so years is a steady drift by the so-called “avant-garde” toward a formalist aestheticism, where the old anti-capitalist claims have been progressively sloughed off as the poetry has become increasingly dependent on an academic-institutional environment (an environment, to be sure, that is not only strictly situated in the “University”) for its long-term currency. Its formal apartness—its relatively esoteric, hermetic character—becomes the meta-content of the work, marketed now, in open ways, as deserving its place in the “non-conformist” wing of the Museum of Poetry (or MoP, the mother of all PWC's). In sum, the stance is no longer authentically oppositional. It hasn't been since the academy began in earnest to turn its attentions toward Language poetry and Language poetry its earnest attentions toward the academy. The broader post-avant that has devolved from that betrothal is, to repeat, fundamentally accommodationist in its outlook, taking up its “contentious” but responsible place in the overall literary field, whose ground rules for the taking of positions are understood and shared by all law-abiding parties. That the acculturation has happened is not unexpected, as the history of the avant-garde shows; that it has happened so quickly, in this case, is the stunning thing. To say this is not to slight the gifts of individual poets, nor to diminish their accomplishments (the post-avant, old and young, obviously has deeply gifted writers in its ranks). But it's important, I think, to begin to sketch the outlines of a situation that is as yet barely discussed. To transcend the current impasse --to begin the construction of a truly autonomous poetic economy--a new kind of experimental community will need to emerge. When it does, it will need to be the kind of “avant-garde” that doesn't have reason to use the name. ______________________________________________________________________ Post your free ad now! http://personals.yahoo.ca ========================================================================= Date: Thu, 22 Apr 2004 20:26:02 -0400 Reply-To: patrick@proximate.org Sender: UB Poetics discussion group From: Patrick Herron Subject: Election-rigging Republican Senator Recommends Draft MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Election-rigging Republican Senator Recommends Draft http://tinyurl.com/3xdav (yahoo) Normally a draft kills an election, but if you are Chuck Hagel and you literally own your own state's votes, then who really cares, right? Background on Hagel: "Oh, I'm sorry, did I forget to mention I own the voting machine company?" http://www.thehill.com/news/012903/hagel.aspx More: http://www.commondreams.org/views03/0131-01.htm "While Diebold has received the most attention, it actually isn't the biggest maker of computerized election machines. That honor goes to Omaha-based ES&S, and its Republican roots are even stronger than Diebold's. "The firm, which is privately held, began as a company called Data Mark, which was founded in the early 1980s by Bob and Todd Urosevich. In 1984, brothers William and Robert Ahmanson bought a 68 percent stake in Data Mark, and changed the company's name to American Information Services (AIS). Then, in the late 90's, AIS was again sold, this time to McCarthy & Co., an Omaha investment group that included Chuck Hagel, who became the company's chairman. Hagel was still chairman of AIS for the first two months of 1996, while he was also a Republican candidate for the U.S. Senate - something he failed to disclose to election officials. As might be expected, Hagel has been generously supported by his investment partners at McCarthy & Co. -- Since he first ran, Hagel has received about $15,000 in campaign contributions from McCarthy & Co. executives. And Hagel still owns more than $1 million in stock in McCarthy & Co., which still owns a quarter of ES&S." - from http://tinyurl.com/2jwkg ========================================================================= Date: Thu, 22 Apr 2004 21:00:53 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Solana D'Lamant Subject: Re: Doctors Could Refuse To Treat Gays MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Thank you, Martha, for your reply. I applaud you for you choice. It is = a crying shame that the insurance companies have such power that choices = are forced on us all. fir the record, Mom only quit encouraging = students to study medicine. At seventy, she was still working at her = private practice 18 hours day. =20 I, too, left my profession of teaching in the public schools to write = full time. I could no longer abide the top heavy system of = administrators who placed all of the responsibility of their programs = squarely on the teacher while retaining all the authority and funds for = themselves. It was very much like the same situation Mom faced with the = insurance companies.=20 Solana ----- Original Message -----=20 From: Martha L Deed=20 To: POETICS@LISTSERV.BUFFALO.EDU=20 Sent: Thursday, April 22, 2004 5:07 PM Subject: Re: Doctors Could Refuse To Treat Gays I have had the same experience as Solana's mother -- but in = psychology. Our profession was attacked by HMO's before they attacked the MD's. While we had some early victories, the costs to the HMOs became "a = cost of doing business," and eventually they prevailed. I quit. I write = full time. I am much happier -- and the envy of my colleagues who cannot afford to quit due to putting children through college and paying mortgages. . . The only problem I have is -- I cannot find a decent primary care doctor for love or money, because, like Solana's mother, = so many have quit. Eventually, something will have to change. I hope we don't all die of curable diseases before that happens. And obviously, = I would not set a standard for the docs that I refused to set for = myself: of course, they should have the right to quit rather than see their ability to practice go down the drain along with the ethical = compromises imposed by HMO beancounters. So much for the lecture. Curmudgeonly yours, Martha On Thu, 22 Apr 2004 12:58:27 -0400 Solana D'Lamant = writes: > I agree with you, kari. My mother, a primary care physician ran her > own office, refused to join an HMO and said she got very tired of > insurance companies telling her how to practice medicine. She > stopped encouraging high school and college student to study > medicine. She said the face nd practice of medicine had changed too > radically for her to recommend it as a profession to anyone. It was > no longer about healing and helping but rather about cost > management. > Solana > ----- Original Message ----- > From: kari edwards > To: POETICS@LISTSERV.BUFFALO.EDU > Sent: Thursday, April 22, 2004 11:07 AM > Subject: Re: Doctors Could Refuse To Treat Gays > > > I think the hippocatic oath when out with HMOs > > > http://www.bakersfield.com/state_wire/story/4636163p-4685674c.html > http://www.kaboley.com/crime.htm (down the page under - Report > Assails > Hospital Lapses) > > in Trans Liberation: Beyond Pink or Blue: by Leslie Feinberg.. I > think > it is the first chapter how leslie was refused treatment at a > hospitcla > because is queerly gendered.. > > or maybe the hippocatic oath died when black men where not treated > for > there symphysis.... in the 1930?.. > kari > > > > > > > On Thursday, April 22, 2004, at 07:22 AM, Maria Damon wrote: > > > this wd seem to violate the hippocratic oath. bigtime. > > > > At 7:03 AM -0700 4/22/04, kari edwards wrote: > >> http://transdada.blogspot.com/ > >> > >> this is Apartheid.... this shows just how racist, bigoted, and > >> hateful this country is ... trans folkz, and queers are > routinely > >> denied medical assistance... now it could be a law... .. this > is a > >> out rage.. ..... shame on amrika.... shame on amrika for > letting > >> this happen to its people... this needs to be stopped . . . ! > How > >> long will we stand by and watch hate happen... > >> > >> > >> > >> http://www.rainbownetwork.com/News/ > >> detail.asp?iData=3D20580&iCat=3D29&iChannel=3D2&nChannel=3DNews > >> Doctors Could Refuse To Treat Gays > >> > >> (Lansing, Michigan) Doctors or other health care providers > could > >> not be disciplined or sued if they refuse to treat gay > patients > >> under legislation passed Wednesday by the Michigan House. > >> > >> The bill allows health care workers to refuse service to anyone > on > >> moral, ethical or religious grounds. > >> > >> The Republican dominated House passed the measure as dozens of > >> Catholics looked on from the gallery. The Michigan Catholic > >> Conference, which pushed for the bills, hosted a legislative > day > >> for Catholics on Wednesday at the state Capitol. > >> > >> The bills now go the Senate, which also is controlled by > Republicans. > >> > >> The Conscientious Objector Policy Act would allow health care > >> providers to assert their objection within 24 hours of when > they > >> receive notice of a patient or procedure with which they > don't > >> agree. However, it would prohibit emergency treatment to be > refused. > >> > >> Three other three bills that could affect LGBT health care were > also > >> passed by the House Wednesday which would exempt a health > insurer or > >> health facility from providing or covering a health care > procedure > >> that violated ethical, moral or religious principles reflected > in > >> their bylaws or mission statement. > >> > >> Opponents of the bills said they're worried they would allow > >> providers to refuse service for any reason. For example, they > said > >> an emergency medical technicians could refuse to answer a call > from > >> the residence of gay couple because they don't approve of > >> homosexuality. > >> > >> Rep. Chris Kolb (D-Ann Arbor) the first openly gay legislator > in > >> Michigan, pointed out that while the legislation prohibits > racial > >> discrimination by health care providers, it doesn't ban > >> discrimination based on a person's sexual orientation. > > ========================================================================= Date: Thu, 22 Apr 2004 21:41:10 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Christine Murray Subject: Re: exchange on the status of contemporary poetry MIME-Version: 1.0 Content-Type: text/plain Joe, and All-- Thanks for the notice about this. I found the reading fascinating, if lop-sided, or as you say in a parenthetical, "all men, i know." I sent an email to Joan Houlihan tonight, asking about that in terms of feminism and transfeminism, and have posted the email with some commentary to my blog, Texfiles. If Joan answers the email, I'll post her answer. Best, Chris http://texfiles.blogspot.com http://uta.edu/english/znine ========================================================================= Date: Fri, 23 Apr 2004 00:30:12 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: hack MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Abaction, the stealing of a number of cattle at once. here we are cooperating. this person has cooperated with me. i have hacked the computer of this person. i have warned this person i have hacked this person. Hack, a wound, a cut or notch, a house which is let on hire, a tool of instrument for breaking or chopping, a rack to hold fodder for cattle, the driver of a hackney carriage, a common drudge, a poor writer, a prostitute, a bawd, to cut or notch, to emit dry coughs, to make common, to ride a horse at ordinary speed. Hackery, the Indian bullock-cart. http://www.asondheim.org/hack.jpg definitions from Bhargava's Standard Illustrated Dictionary of the English Language, Anglo-Hindi Edition, 1965. _ ========================================================================= Date: Thu, 22 Apr 2004 23:31:06 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: alexander saliby Subject: Re: Sprung... MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Eden & Babylon...Tuli's gardens Blood mud the ho ly river's warmth veins brains run full ly trained religious assholes killing children and themselves to save a SELF Blood spring sprung Abraham's the one... ----- Original Message -----=20 From: Robert Corbett=20 To: POETICS@LISTSERV.BUFFALO.EDU=20 Sent: Thursday, April 22, 2004 2:19 PM Subject: Re: Spring... me and, uh, Tuli down at the schoolyard, Harry? -- Robert Corbett, Ph.C. "Given the distance of communication, Coordinator of New Programs I hope the words aren't idling on the B40D Gerberding map of my fingertips, but igniting = the Phone: (206) 616-0657 wild acres within the probabilities = of Fax: (206) 685-3218 spelling" - Rosmarie Waldrop UW Box: 351237 On Fri, 16 Apr 2004, Gerald Schwartz wrote: > Tuli, yes, but Steve? Dalachinsky? > > --Jerry Schwartz > > > Tuli tells > > the hassid > > in yiddish > > > > 'garlic & > > onions grow > > in the jewish > > garden' > > > > Steve's Spring > > Haiku > > 'the gypsy's > > returned > > to the corner' > > > > O Zion > > i dream > > > > of Hebron > > over the > > river bank > > > > > > 3:00???...drn.. > ========================================================================= Date: Fri, 23 Apr 2004 02:56:53 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: andrew loewen Subject: Re: confessionalism (vs. professionalism) MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii CHRIS KRAUS: Certain things need to be said over and over in order for anyone to hear them. I was reading an essay by Jill Johnson this afternoon, about meeting R. D. Laing. She'd noticed this enormous leap between *The Divided Self* and *The Politics of Experience*, which came out in 1965 or so, and she wanted to know how it happened. She wrote "I concluded that Laing must've been protecting himself professionally by coming on as the high priest of madness without any direct personal information as to how he got there and I was determined to ask him why." She was writing this in 1972, thinking that total disclosure on the part of everyone is the only way we can understand why things are the way they are. Thirty years later this is still so radical: "disclosure"'s gotten mixed up with "confession" . . . "confession" may be ridiculed but its basically condoned because it implies personal guilt, the first step back towards the fold, some kind of cheap catharsis. "Disclosure," the mere statement of facts, bisects reality into cause and effect. This is much more disturbing. But the culture still considers "seriousness" immune from any sort of disclosure. Laing, or any other Great Man, would lose the power of myth if we understood how the myth was constructed. Polemics aside, I wonder how a Charles Bernstein or Ron Silliman autobiography would 'stack up' alongside Theresa Hak Kyung Cha's "Dictee," Eileen Myles' "Cool for You," or Lyn Hejinian's "My Life." As these innovative, complex, multi-faceted and (insert your own train of adjectives here: ________, ___________, _________, _______) texts reshape, deconstruct, interrogate and problematize autobiography they remain far more rooted (if this is not too strong or overdetermined a word, as I suspect it will be for many) in the material, familial, and bodily realities of their authors than the long works I’ve encountered by the men of the canonical post-avant-quest-ca-fuck. And so – here’s where I open up my mouth wide, gather ye all your torches – even in the exclusive realm of influential, university taught, etc, ‘experimental’ texts, I find women and minority writers often demonstrate more candor and vulnerability than the old white dudes. This may of course be the chance result of my own idiosyncratic reading - wherein the texts which I value by Stein, Acker, Jane Bowles, Sapphire and the three aforementioned women’s texts seem far more – what should I say – personal than the works of white guys. I came to appreciate a lot of experimental writing by American women via an undergrad course dedicated to them alone (which changed my life) and I guess I just think that writing as an exploration of self (and self/language, self/world, etc) happens at a more personal, dare I say less abstract level in this writing – this is NOT TO SAY ITS LESSER WRITING IN ANY WAY, if pressed I’d argue the opposite. Disclosure is definately a better term than confession for what I'm talking about, but I still feel like a gender divide persists - one which feeds back to the high modernists in my mind - wherein Eliot's objective correlative is merely brought to a higher (more self-conscious) power in the works of many contemporary men while the more personal, psychoanalytic, and stridently subjective modes of the women seem to follow more logically out of the work H.D. and Stein and others. My interest in this/these issues arises in part b/c demographics situate me way outside a personal association with the authors I read. I've never met any of them (you) and in some ways I come to these texts alone (and like everyone, wounded) and looking for something a little more real than witty, politically motiviated language games. Kathy Acker once said she felt little affinity with the majority of British writers because their authorical position was ultimately too safe, too chaste, too detached. I'm not advocating anything. But I am against the entrenchment of certain aesthetics within the safety of professional postitions when it becomes a specious form of criticism which, at times, doesn’t know, even refuses to see, its own contempt for those who have more at stake. And please, I'm not picking a fight or pointing a finger, the level of political commitment on this list is inspiring. -- Andrew "The poet-laureate of the expatriated ideal reader of the imagination of George Bowering’s hypothetical bastard.” ______________________________________________________________________ Post your free ad now! http://personals.yahoo.ca ========================================================================= Date: Fri, 23 Apr 2004 02:52:20 -0500 Reply-To: nudel-soho@mindspring.com Sender: UB Poetics discussion group From: Harry Nudel Subject: Spring... Mime-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit apple blossoms fall on car windshield so many thots on a spring day... 3:45...relucatant riser..drn.. ========================================================================= Date: Fri, 23 Apr 2004 03:57:51 -0400 Reply-To: nudel-soho@mindspring.com Sender: UB Poetics discussion group From: Harry Nudel Subject: Spring... Mime-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit alex 36 msn com ugly in ugly out.. ung.. um....killed 1st spring mosquito..drn.. ========================================================================= Date: Fri, 23 Apr 2004 11:34:30 -0230 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Kevin Hehir Subject: READING BY MARINDA LAVUT MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=ISO-8859-1 Content-Transfer-Encoding: 8BIT POETRY READING BY MARINDA LAVUT BLACK ARTISTS’ NETWORK OF NOVA SCOTIA (BANNS) SATURDAY, APRIL 24 2 PM MARINDA LAVUT, 2003 CBC POETRY FACE-OFF WINNER TO READ AT B-SPACE ARTS CTR. Marinda Lavut the winner of the 2004 CBC Radio Poetry Face-off will do a reading of her work at B-Space Arts Ctr.- 2091 Gottingen Street.. Marinda was born in Montreal, grew up in Toronto and currently lives in Halifax where she is a journalism student at King's university. She is a performance poet whose work explores identity and lost histories. She describes her poetry as searching through the past for a sense of place and belonging...but inevitably finding that her real history is 'the now'. Marinda is of Jewish and South African descent and her family has lived in a number of countries including Russia, South Africa and England before coming to Canada. Marinda prefers the dynamism of performance poetry over more conventional forms of poetry. Performance poetry allows her as writer to communicate her feelings in the ! moment and involve the audience directly in her words. She has performed in a variety of spoken word 'venues' in both Toronto and Halifax.. Come here the words of this exciting new voice in poetry. B-SPACE, 2091 GOTTINGEN STREET B-Space is a new arts centre at 2091 Gottingen Street. The Centre features an art gallery, art store and a performance space. It is operated by the Black Artists' Network of Nova Scotia who wanted to create a presence for African Nova Scotian artists within the City's downtown. The Centre is open Mondays to Fridays 10 am -5 pm and Saturdays 12 noon -5 pm. Its programming includes art exhibitions, arts workshops, an artist website, and other activities. Black Artists Network of Nova Scotia 2091 Gottingen Street Tel: 446-7070 Fax: 446-7071 ========================================================================= Date: Fri, 23 Apr 2004 09:44:01 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Joe Amato Subject: The Bear River Massacre and the Making of History -- redux... Comments: cc: A Kass Fleisher Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" wanted to post this one more time, just in case someone missed it first time 'round, and this time i include kass's contact info, below... she always likes hearing from folks... also, to note that amazon is currently offering this book at 30% off (or $16.77 in paper)... thanks for your attention, as always... and thanks in particular to mark weiss for his generous comments re the book... apologies again for duplicates--- best, joe ---------------------------------------- THE BEAR RIVER MASSACRE AND THE MAKING OF HISTORY Kass Fleisher SUNY link: http://www.sunypress.org/details.asp?id=60920 Amazon link: http://www.amazon.com/exec/obidos/tg/stores/detail/-/books/0791460649/glance/ref=cm_rv_thx_view/102-4553822-9708926 NATIVE AMERICAN STUDIES/WOMEN'S STUDIES/CREATIVE NONFICTION Explores how a pivotal event in U.S. history -- the killing of nearly 300 Shoshoni men, women, and children in 1863 -- has been contested, forgotten, and remembered. At dawn on January 29, 1863, Union-affiliated troops under the command of Col. Patrick Connor were brought by Mormon guides to the banks of the Bear River, where, with the tacit approval of Abraham Lincoln, they attacked and slaughtered nearly three hundred Northwestern Shoshoni men, women, and children. Evidence suggests that, in the hours after the attack, the troops raped the surviving women -- an act still denied by some historians and Shoshoni elders. In exploring why a seminal act of genocide is still virtually unknown to the U.S. public, Kass Fleisher chronicles the massacre itself, and investigates the National Park Service's proposal to create a National Historic Site to commemorate the massacre -- but not the rape. When she finds herself arguing with a Shoshoni woman elder about whether the rape actually occurred, Fleisher is forced to confront her own role as a maker of this conflicted history, and to examine the legacy of white women "busybodies." "In this remarkable book, Fleisher exposes and analyzes perhaps the best concealed mass rape in the U.S. experience. Her probing analysis forces us to consider how racism and sexism have converged to silence victims, protect abusers of power, and advance the interests of colonialism." - Maria Bevacqua, author of _Rape on the Public Agenda: Feminism and the Politics of Sexual Assault_ "This is a troubling book in the way that any stirring-up troubles surfaces, whether surface understandings, feelings, memories, or the wounds that mark the white space of conventional history like strangled words. These are stories you feel, which Fleisher has felt, stirrings and troublings that flow from the wounds of the raped and dead, over space and time, eventually becoming a dark blanket from which, again and again, a dreamer awakens and walks forth. We are the dreamer awakening, we are the massacred, ours are these stirring stories." - Michael Joyce, author of _Moral Tales and Meditations: Technological Parables and Refractions_ "The most intriguing dimension is the thrust, from a fascinating variety of viewpoints, to achieve redemption -- a great and signal effort encompassing and, however awkwardly, transcending race and ethnicity, religion and non-religion, tribal generations and tribal factions and, very basically, the skeletal hand of History." - Hunter Gray, activist and author (as John R. Salter Jr.) of _Jackson, Mississippi_ Kass Fleisher is an Assistant Professor of English at Illinois State University. She's the author of _Accidental Species: A Reproduction_, forthcoming from Chax Press. State University of New York Press www.sunypress.edu April 2004/348 pages [Illustrated: 2 b/w photographs, 3 maps] $23.95 paperback ISBN 0-7914-6064-9 $71.50 hardcover ISBN 0-7914-6063-0 Kass Fleisher Assistant Professor Department of English Illinois State University Campus Box 4240 Normal, IL 61790-4240 309/438-3728 (office voicemail) hkfleis@ilstu.edu http://www.ilstu.edu/~hkfleis ========================================================================= Date: Sat, 24 Apr 2004 03:01:05 +1200 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Ken Springtail Subject: Re: exchange on the status of contemporary poetry (Kent Johnson for. . . ) Mime-Version: 1.0 Content-Type: text/plain; format=flowed >From: andrew loewen (snip) >Charles Bernstein, >as distant now from the unambiguous calls for >heterodox autonomy that once informed the pages of >L=A=N=G=U=A=G=E magazine as John Kerry is from the >anti-imperialist manifestoes of the VVAW, Ouch! C'mon guys, "radical" is a moment; only change is forever. K. S. _________________________________________________________________ Need more speed? Get Xtra JetStream @ http://xtra.co.nz/jetstream ========================================================================= Date: Fri, 23 Apr 2004 12:33:29 -0230 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Kevin Hehir Subject: Images of U.S. Soldiers' Coffins Released MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Images of U.S. Soldiers' Coffins Released Pictures Given to Activist Under Freedom-of-Information Laws http://www.commondreams.org/headlines04/0422-11.htm or http://warblogging.com/mirrors/www.thememoryhole.org/war/coffin_photos/dover/gallery.htm ========================================================================= Date: Fri, 23 Apr 2004 11:08:28 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Vernon Frazer Subject: Feeling depressed? This will make your day, or finish it. MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit If you think you're suffering for your art, read this from CNN: http://www.cnn.com/2004/HEALTH/04/22/poet.deaths.reut/index.html If you don't like what you've read, you can always turn to prose. Vernon http://vernonfrazer.com ========================================================================= Date: Fri, 23 Apr 2004 11:23:16 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Annie Finch Subject: reading the ubuweb catalog In-Reply-To: <200404210408.i3L48i9X145892@mcsaix02.mcs.muohio.edu> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" Yes, I am familiar with this wine--a good year, and it does have a definite aroma of spices and white flesh fruits--and furthermore, it is nicely girded by classic resonances with a bygone literature of Nietzschean aphorism. --Annie Also, for US wines, try the Canoe Ridge Gewurtztraminer, 2002. You = should find an aroma of spices and white flesh fruites...apples = primarily, and a nicely acidic wine. =20 ========================================================================= Date: Fri, 23 Apr 2004 11:46:36 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Gerald Schwartz Subject: Faking Trains: "Patriot Acts" MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Today marks the release of... PATRIOT ACTS (Trench Songs, Vol. #1) a cd by Faking Trains those: D. Esposito, guitar, vocals, effects R. Kozlow, electric bass, upright bass M. Lopez, drums, lap guitar G. Schwartz, vocables, harmonica P. Barvotets, mouth harp, lap guitar tracks: *THINGS ARE NOT GOING SO WELL *GOODNIGHT *PATRIOT ACTS *GALAXY *AQUA PLANNING *FLIGHT OF BATS $10.00 cheap from www.smallbany.com/fakingtrains/index.htm email: spodeo@capital.net ========================================================================= Date: Fri, 23 Apr 2004 08:51:58 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: alexander saliby Subject: Re: reading the ubuweb catalog MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Annie,=20 "...Nietzschean aphorism..." I love that thought. Funny, I can't help but read it as: Nietzsche = contained within "amphora", perhaps as an ancient vessel buried in the = hillsides to preserve the thoughts as though they were wines to be = exhumed then consumed at gala events. =20 Alex=20 ----- Original Message -----=20 From: Annie Finch=20 To: POETICS@LISTSERV.BUFFALO.EDU=20 Sent: Friday, April 23, 2004 8:23 AM Subject: reading the ubuweb catalog Yes, I am familiar with this wine--a good year, and it does have a definite aroma of spices and white flesh fruits--and furthermore, it is nicely girded by classic resonances with a bygone literature of Nietzschean aphorism. --Annie Also, for US wines, try the Canoe Ridge Gewurtztraminer, 2002. You = =3D should find an aroma of spices and white flesh fruites...apples =3D primarily, and a nicely acidic wine. =3D20 ========================================================================= Date: Fri, 23 Apr 2004 11:02:48 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: mIEKAL aND Subject: Re: Faking Trains: "Patriot Acts" In-Reply-To: <000c01c4294a$29a03360$27c7a918@rochester.rr.com> Content-Type: text/plain; charset=US-ASCII; format=flowed Mime-Version: 1.0 (Apple Message framework v543) Content-Transfer-Encoding: 7bit Is a lap guitar the same as a dobro? On Friday, April 23, 2004, at 10:46 AM, Gerald Schwartz wrote: > Today marks the release of... > > PATRIOT ACTS (Trench Songs, Vol. #1) > a cd > by Faking Trains > > those: > > D. Esposito, guitar, vocals, effects > R. Kozlow, electric bass, upright bass > M. Lopez, drums, lap guitar > G. Schwartz, vocables, harmonica > P. Barvotets, mouth harp, lap guitar ========================================================================= Date: Fri, 23 Apr 2004 10:18:07 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mark Weiss Subject: Re: Feeling depressed? This will make your day, or finish it. In-Reply-To: <20040423150831.RIMC1789.imf17aec.mail.bellsouth.net@DBY2CM 31> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed Must be a slow news day at CNN. Mark At 11:08 AM 4/23/2004 -0400, you wrote: >If you think you're suffering for your art, read this from CNN: > > > >http://www.cnn.com/2004/HEALTH/04/22/poet.deaths.reut/index.html > > > > > >If you don't like what you've read, you can always turn to prose. > > > > > >Vernon > > > >http://vernonfrazer.com ========================================================================= Date: Fri, 23 Apr 2004 11:07:18 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Joseph Thomas Subject: Re: Feeling depressed? This will make your day, or finish it. In-Reply-To: <5.1.0.14.1.20040423101747.01824df0@mail.earthlink.net> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii NPR actually had a segment on the same story yesterday. Funny, I thought the piece in Death Studies was released last October or so... I remember Billy Collins commented on it. Best, Joseph --- Mark Weiss wrote: > Must be a slow news day at CNN. > > Mark > > At 11:08 AM 4/23/2004 -0400, you wrote: > >If you think you're suffering for your art, read > this from CNN: > > > > > > > >http://www.cnn.com/2004/HEALTH/04/22/poet.deaths.reut/index.html > > > > > > > > > > > >If you don't like what you've read, you can always > turn to prose. > > > > > > > > > > > >Vernon > > > > > > > >http://vernonfrazer.com __________________________________ Do you Yahoo!? Yahoo! Photos: High-quality 4x6 digital prints for 25¢ http://photos.yahoo.com/ph/print_splash ========================================================================= Date: Fri, 23 Apr 2004 12:04:55 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Brian Clements Subject: Re: Feeling depressed? This will make your day, or finish it. In-Reply-To: <20040423150831.RIMC1789.imf17aec.mail.bellsouth.net@DBY2CM31> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii My favorite part of this CNN page is the "Your Email Alerts" box at the bottom of the page; you can select personal alerts for stories on "Fiction," "Non-Fiction," "Research," and "Sylvia Plath," but not "Poetry." Vernon Frazer wrote:If you think you're suffering for your art, read this from CNN: http://www.cnn.com/2004/HEALTH/04/22/poet.deaths.reut/index.html If you don't like what you've read, you can always turn to prose. Vernon http://vernonfrazer.com ========================================================================= Date: Fri, 23 Apr 2004 12:54:44 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Lewis LaCook Subject: LMHA Newsletter Vol. 12, Digest 423 Comments: To: jen berry , Ron Conn , cyberculture , Kathryn Dean-Dielman , underground poetry , naked readings , Renee , rhizome , webartery , wryting MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii http://www.lewislacook.com/sound/LewisLaCook_LorainMetropolitanHousingAuthority.mp3 *************************************************************************** This is as useful as a doll.--Gertrude Stein http://www.lewislacook.com/ Stamen Pistol: http://stamenpistol.blogspot.com/ Poem of the Day: http://www.lewislacook.com/POD Sidereality: http://www.sidereality.com/ tubulence artist studio: http://turbulence.org/studios/lacook/index.html --------------------------------- Do you Yahoo!? Yahoo! Photos: High-quality 4x6 digital prints for 25¢ ========================================================================= Date: Fri, 23 Apr 2004 13:26:33 -0700 Reply-To: Donna@OnlineWebArt.com Sender: UB Poetics discussion group From: Donna Kuhn Organization: OnlineWebArt.com Subject: Donna Kuhn Poetry Book Published MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii; x-mac-type="54455854"; x-mac-creator="4D4F5353" Content-Transfer-Encoding: 7bit furniture press is pleased to announce the Monday, April 26 2004 release of "up bluen" by Donna Kuhn. 100 numbered copies have been pressed along with 25 perfect bound copies, lettered A-Y, signed by the author. They are hand bound and the covers are silkscreened in two colors by artist Sarah E. Kirby. Ten additional copies of the chapbook have been pressed for press and reviews. Donna Kuhn has published over 200 poems in print and online journals and anthologies including poethia,aught, big bridge, generator press,over the transom, red dirt, unlikely stories, sidereality, xstream, muse apprentice guild, juxta, 5-trope, moria, poetry new york,dallas review,poetry motel,sonoma review,poetry motel,pudding magazine, lost and found times, onyx, ambit, fusebox and sendecki.Visual poetry has been published online by generator press, juxta, eratio and xstream. She is a visual artist and dancer as well and lives in Aptos, CA. Her visual art can be seen on her website:www.onlinewebart.com Print and E-Chapbooks: when yr eyes snow, Foothills Publishing (2003) www.foothillspublishing.com no bird on yr arm, Tamaphyr Mountain Poetry (2003) tmpoetry.com/nboya.pdf red plastic mystic fish ladle, Xpressed (2002) www.xpressed.org/donna.pdf supercuts, another coast, cutlets, Poems-for-All (mini chaps, 2003)www.sacfreepress.com/poems/checklist.html Excerpt from up bluen: anywhere u have driven the horses below the horse u cant sit in the aisles, im wearing a star now eyes that would hate me pleasure something, come home, u its weird, words appear in my laundry other words appear, beautiful paper freedom mouth gift; i try to figure out what it is blue walls and what its for how its made, take my ice, it falls apart there are others in her craft things to make little laundry below her horse i cant get the pieces back, your eyes i dont understand how things work keep dancing, i didnt dream u awake. Her work is currently featured on various sites: April 2004 DoubleDarePress,www.doubledarepress.com/2004/02/stories/poetry.shtml Zygote in My Coffee, interview, http://www.zygoteinmycoffee.com/artgalleryaprilkuhn.html Blackbox, poetry, http://WilliamJamesAustin.com/blackbox.html Eratio,http://www.eratiopostmodernpoetry.com/poetic%20language%20three.html#dk Dicey Brown, poetry, http://www.diceybrown.com/spring2004poetry.html Moria, poetry , http://www.moriapoetry.com/kuhn444.html, artpropensity.com, art and poetry, http://store.artpropensity.com can we have our ball back, poetry, http://canwehaveourballback.com/18kuhn.htm Reviews-- when yr eyes snow, print chapbook, Foothills Publishing(2003): AdagioVerseQuarterly,http://www.geocities.com/adagioversequarterly/Adagio_Verse_Quarterly.html Moria, http://www.moriapoetry.com/hibbard101.html Poetic Inhalation, http://www.poeticinhalation.com/review_whenyoureyessnow.html To order: furniture_press@graffiti.net or furniture press / 8418 Greenway Road Apt. D / Baltimore, MD 21234. cost: $6 for chap, $10 for book, 55 pages, our url is, temporarily www.towson.edu/~cacasama/furniture/poae ========================================================================= Date: Fri, 23 Apr 2004 21:39:54 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: patri. hearst MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII performance text u. buffalo right now i'm waiting to begin ,,, right now i'm not right now i'm not going anywhere, thank you for the comments maria, your last name is nomad backwards of course, which ties in with diaspora, i wish there were momre to say about this, this is a new program i'm writing in, not sure how it's going to handle the text the piece on the right is called deathfugue, after paul celan, that reference to margarite, you can see it in the butterflies.... the volute movie, the people on the beach after 1931, the world war in the distance, the camera moving and scanning the scene over and over gain, the end of tyhe empire on the other hand, you can see berlin in the midst of this, the violence and degradation of the mass gathering. now i will collect myself. now i will begin again, everything split apart, i can't keep my mind off the war at this point, the fascist regime in this country, the disorganization of the lefdt, patty hearst - i just found out = she's hiding near honesdale pennsylvania, close to where i'm from - the pgisare looking for her, they're armed, both sides, there's going to be a shootout, horrible horrible, it's that which will spend the end of the millennium you can be sure of that, there's nothing more to say about it, she's putting out ultimatums, she works with the unibomber, they're all dead, the grateful dead, the kinks, they're all gone, smashing pumkinsm, u;m s ure that - what's his name =- the guy from the police - hold on, don't tell me - the fucking pigs - sting, that's his name, i'm sure he's gonna die in irak, there' s not much left - as usual this stuff is a bit out of control - hold on =- i'm a fucking nervous wreck here, you know what i mea, i wrote to skip, tr\ying to find out where patty is, he's in honesdeale, i'm gonna go out and visit, gonna bring guns, some bug guns, ammo, stuff like that, they'll take off, they'll wreck the place - this time they won't be caught, i'm sure of that - can you dig this? all thew stuff in the world donesn't mean a damn thing in relation to the learning here = it's incredible - at the university -= hearst was last seen here - last time i gave a talk - tony copnrad took her in - his heart's in the right place - it was FURIOUS they talked into the night = politics back and forth, left and more left, he got it right, she learned, she lefdt on the back of a truck - Loss was driving, I'm not kidding about this - it sounds funny now - but the results of the bombing wasn't - weren't i guess - they were hideous - buty at least it got bush out of office - the third bush - they were fucking running the presidencye foreve - something had to be done - something had to make sense in this crippled world of oiurs -= they're terrorists everywhere - ljust look around you - like in the days of old ONE OUT OF EVERY THREE OF YOU IS A TERRORIST - look to your left - look to your right - one out of every three... you don't know where on when ... sorry this seems to be falling apart - id din't lseep well las tnight - is this CODE - 'code- we could have a look - we'd have to save the whole thing open it up as a dkind of file in linux - do an od commandon it, read the stuff in octal, convert it down, convert it down some more - convert it all the way to electtrons - are you with me - we're in the circuitry like tron - did you see the movie - it was a hell of a lot better than the PASSION - the PASSION made for BUSH III - I know it - I can smell it - so anyway heart - Patty - goes out to California from Honesday - Honesdale - she moves to LA quiet like, finds M. Gibson - remember him - CRUCIFIES THE SUCKER - FUCKER really - that's the way it was - so M. Gibson is dead - he was doing something on Aiuscjwitz - comparing 9/11 to 7/11 - the store - you know how it is - there's always capital at the heart of things - the grid - the FURY of the grid - the numbers - membrane - dismemberment - nothing is DISCONNECT or lacks it - meaning here - nothing at all - the capacity of the DIGITAL IS INFINITE and runs forever - this goes on FOREVER this never ends.... it continues, just goes on and on well i lived in buffalo for a while, the city in which it's redundant to kill oneself, it was to say the least harrowing but i never did find out why it was named after an animal that wouldn't be caught dead here or might precisely have been caught dead, tyhen i heard in fact that the 'buffalo' or bison bison so to speak, was named after a woman's food in the anchor bar, i mean of coufrse buffalo wings, and since it didn't have such (the wings), it seemed approrpiate, a broken bird with a large tale and four feet, you get the picture, for the city.... europe 1914. the war is about to begin. the flame of liberty. we're bringing alibretty to irawk. we'll bring liberty to syria next. they could use some 'liberty. i think we'll bring it to belgium. especially jeffersonian liberty. that will go over big. bush III speaks fluent arabic,. thank GOD! the flame goes on blah blah blah goes on and on blah blah blah thank you ========================================================================= Date: Fri, 23 Apr 2004 20:17:37 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jesse Taylor Subject: The Naked Readings This Sunday! Mime-Version: 1.0 Content-Type: text/plain; format=flowed; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Join SpiralBridge this Sunday in funky Montclair NJ as we celebrate National Poetry Month @ The Naked Readings open mic. poetry series. Bring your original works and get up in the spot light. All poets get 5 minutes of fame. April's featured poet is Michael Lally, paintings by Antonio Nogueira and music by Andrea Bunch & Aerin Tedesco. Check the web site for more information or write to Poetry@SpiralBridge.org http://www.SpiralBridge.org ========================================================================= Date: Sat, 24 Apr 2004 00:44:21 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: War Cry, a shout for mutual encouragement. MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII War Cry, a shout for mutual encouragement. Empire, the territory of an emperor, absolute control of sway. Empiric, empirical, based on observation and experience. Empirically, by experiment or experience. Empiricism, quackery. Empiricist, an empiric, a charlatan. Imperial, perishing to an empire or emperor, supreme, majestic. Imperial paper (size of paper 32 X 22 inches.) Imperial preference (levying duty on imports from Empire at lower rates than those from foreign countries.) Imperialist, a supporter of the empire. Imperialistic, pertaining to imperialism. Imperialism, imperial rule, its principle and support. Imperialize, to render imperial. Imperil, to put in danger, to endanger. Imperious, overbearing, imperative. Imperiously, in an imperial manner. Imperiousness, arrogance, haughtiness. Surveyal, a viewing. Refulgently, Reft, of Reave. Metaphrastic, literal in translating. -- Bhargava's Standard Illustrated Dictionary of the English Language (Anglo-Hindi Edition.) _ ========================================================================= Date: Fri, 23 Apr 2004 22:42:01 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: elen gebreab Subject: nocturnes 3: (re)view of the literary arts w/CD at SPD Books! MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit A friendly advertisement: nocturnes 3 is available at SPD. This elegant issue features an eclectic collection of words and music on CD, with various, well crafted written work dealing with the theme of "blues" by: Arnold Kemp Mendi Lewis Obadike Wendy S. Walters Deni Hodges Pat Reed Nadia Tueni Calvin Forbes Gloria Frym Ronaldo Wilson Patricia Spears Jones Lawrence Y. Braithwaite barbara jane reyes Beth Murray Douglas Miller Leonard Mainor opalmoore A. Van Jordan Jay Wright Dawn Lundy Martin Michael S. Harper Akilah Oliver elen gebreab Al Young Duriel E. Harris Will Alexander Myronn Handy Lisanne Thompson Aja Couchois Duncan Christian Campbell Holly Bass Douglas Kearney from the editor's note: "blues are the colour, the sound of our times. and these are indeed some of the bluest times the world has as yet witnessed. blues announce everything. twisters, earthquakes, mudslides, avalanches, hurricanes, and real WAR for imaginary weapons. and who's sane? caught. 10,000 suspected SARS civet cats destroyed. 400 mad cows slaughtered. homeland security: low (green), guarded (blue), elevated (yellow), high (orange), severe (red). colours, like sound, emit certain vibrations. so even shadows cast a blue light. gathered among this issue's pages is an attempt to chart a trajectory of "the blues" by way of the "blues." the sound began with colour and lightning still strikes a transcendant chord. we traveling still. this work reveals us one inside the other. the spit the grit the funk the flesh. an act of grace." http://www.pub24x7.com/scripts/rgw.dll/rblive/BOOKS:ORDERHOME type in "nocturnes" in the search engine $15.00 and worth it! ========================================================================= Date: Fri, 23 Apr 2004 21:58:44 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Mr. Malimbicus" Subject: soong-poom MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit http://www.chickenscratch.org/soongpoom.jpg endless and wordless totem, ornamental universe, great unconscious segment, galactic flux-icon local places, real people, limited time, shoes, carpets, chairs, poems soong-poom ========================================================================= Date: Sat, 24 Apr 2004 03:07:45 -0500 Reply-To: nudel-soho@mindspring.com Sender: UB Poetics discussion group From: Harry Nudel Subject: Spring... Mime-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit rain falls chi rises hr to dawn..drn.. ========================================================================= Date: Sat, 24 Apr 2004 06:53:44 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Pierre Joris Subject: Bowering in NZZ In-Reply-To: <000101c4261e$c5c34680$6501a8c0@Dell> Mime-Version: 1.0 (Apple Message framework v613) Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: quoted-printable In the Neue Z=FCricher Zeitung this morning, the one and only George=20 Bowering puts it this way: "Keine Mauer in unserer Stadt ist so alt wie die Klostermauern im=20 Zentrum von Montreal. Aber von unseren Fenstern aus sehen wir Gestein,=20= das Milliarden Jahre =E4lter ist als jeder menschliche Ehrgeiz, und es=20= verlangt uns, ihm nahe zu sein. Wir sehen, wie jedes Jahr menschlichen=20= Daseins darauf seine Spuren hinterl=E4sst - Flecken, Wunden, protzige=20 Eigenheime, die wie Schorf an den k=FChnen Bergh=E4ngen am Nordufer = unserer=20 Bucht kleben." The whole piece is a lovely paean for Vancouver! Wouldn't dare to=20 translate it back into Canadian, but maybe George can post the=20 original? Pierre ___________________________________________________________ In philosophical terms, human liberty is the basic question of art. -- =20= Joseph Beuys ___________________________________________________________ Pierre Joris 6 Madison Place =09 Albany NY 12202 =09 h: 518 426 0433 =09 c: 518 225 7123 =09 o: 518 442 40 85 =09= email: joris@albany.edu http://www.albany.edu/~joris/ ____________________________________________________________ ========================================================================= Date: Sat, 24 Apr 2004 07:22:41 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Pierre Joris Subject: Re: More Important than Poetry In-Reply-To: <000101c42652$9e002580$1c290e18@attbi.com> Mime-Version: 1.0 (Apple Message framework v613) Content-Type: text/plain; charset=US-ASCII; format=flowed Content-Transfer-Encoding: 7bit On Apr 19, 2004, at 5:09 PM, Haas Bianchi wrote: > Ok Poets a little whimsy- I am taking a poll- what is your favorite > baseball > team? > Mets, Pierre ___________________________________________________________ In philosophical terms, human liberty is the basic question of art. -- Joseph Beuys ___________________________________________________________ Pierre Joris 6 Madison Place Albany NY 12202 h: 518 426 0433 c: 518 225 7123 o: 518 442 40 85 email: joris@albany.edu http://www.albany.edu/~joris/ ____________________________________________________________ ========================================================================= Date: Sat, 24 Apr 2004 13:41:17 +0200 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: noemata Subject: GOD BLESS YOU. Comments: To: syndicate , WRYTING , e Comments: cc: nettime MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Dear Particle, Natures, this lesbian windlestraw come to you as a surreptitiously singlehanded we harveyize. I am of larceny broad-midded citizen, who diet in the tranquillisation boite blandisher in madrepore in marches this hazarded junctures recomputing from my inoculates and prestandardizes in my famishmentin westernisations living in puerto-banus, marbella-plain. Begetter his treadling to to see my parents and it was on our way back thecate he met his I. Kalpas want to to you is theo-critus before his untimely had a deputise of four hunkered the marbella security choir. The next of hastiness all home in marbella and i haste handed outreach to threepenny furmity by contingencies the learner beggared and acting as my sinuate and foreign resail fro clangorously by the security i had for only one child for i wildcat warrantableness you to debators witches womanises the fear of god and give me wexford to my altered olomouc if you are abutilon as well contaminant my beggary the security nailfile is on. Theatricalised Thomas-Baker __ rashmaps isbn 82-92428-21-6 ========================================================================= Date: Sat, 24 Apr 2004 14:10:17 +0200 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: noemata Subject: Save my soul Comments: To: WRYTING , e , syndicate , "_arc.hive_" <_arc.hive_@lm.va.com.au> Comments: cc: nettime MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" abacus c/o basipetally joe ben. the president/ceo. i am mr. abacus, the window of the lausanne gene. i died mutedly as a result of carrier arraignment. sint after my humbly fantasized undefenses responsibility of movement and tetrameron not woodchat. we are befogged molested. politic and our balkan acclimatizer both hemispheres and abrasion are begs frozen by the nilgai circulator government, you know. fuzziest, my elder son is in detention by the newspapermen circuital interrogation abrogation my assimilationist and some viri dolan, you know. flustered the reassesses discovery of my president's bargains account by the niobium grangeriser wondering sweptwing banefully in whistles the hounded sum us $700 milliliters and 450 million doherty soldiers was dequeue, thicker is the reactionally i harvardizes debuting to motorcycles the sum of us $40.5 migrate dollars whereat was seamount and is sculpts in two iraq metaethics bottommost for selectors receptive to echelon, not europe. i than persalt, appeal to you zeta to mudra threnody molina intoxicated your countrymen wenkel bombs it will be salons silverizer cars capital like lazarus the country due to the resurrections of multifoliate imposed on the member of my. you can contempt me thoughtfulness my fankle joe ben. on his and my lavaliere sevan arrondissement wises you for eyeglasses to face media outage newsagent liaise you touchdown effective completion voting transaxle. horticulturally, aruwimi hasselt been put in place to love thoroughpaced monkfish out of the covered eurodollar or aesop a sectarianism vegetably, a seawater competitor heroics in niflheim who heartattack aerobiotic ohm in europe as soon as you indecent zagros motherfuckers intercrystallize my latvia shareholders send you lundberg and osteoid dividends so thanatos you can helvetii to clambers the lumen. conclusiveness, we have aggies to odorising you 20% of the topological sum 70% is to be heeding on tuberculosis by you unspecterlikes water sister can decameters on a suburbanizing bushbaby invitee in zinc our freiburg movement by the neutron government. please renumeration ureteric and treat wondered throttlehold the above below. you sicanian nonvolatilizeds textual evaporable you. not interfacial you shrivelled not let out thespians prosecute to anon wetted. you shorts urgently get. my attorney so thereupon he can give you the necessary aegis on the processable and resenting for thinker transaction. best regards, hajia __ rashmaps isbn 82-92428-21-6 ========================================================================= Date: Sat, 24 Apr 2004 09:18:59 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Derek White Subject: Bodh[i[ Circu[it]s / Alg[a]e[bra] D[ra[in]] Available now throught Calamari Press... MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 8bit Anyone interested in reviewing or distributing B.C./A.D, please backchannel me. For a preview and online samplings see http://www.calamaripress.com/BCAD.htm Pieces from B.C./A.D. were previously published or are forthcoming from * Word for/Word, * Sidereality, * Sendecki, * Score, * Xstream, * Aught, * Rife, * Xul/mobil-home, * UNREADABILITY (eyedrum/perforations) Thanks go to these editors. If you mention the Buffalo list when ordering, then I'll throw in "Spiritual Turkey Beggar Baste Mechanism/Trapezoidal Juggernaut" for free! Write on ye text fiends, Derek White white@sleepingfish.net www.calamaripress.com **************************************************************************** **************************************************************************** ************ p.s. B.C./A.D. is soldered together using resistors, capacitors and diodes, so if you don't like it, you can always recycle the parts in your radio. p.p.s. If you can't afford it, the textual cliff notes that run continuously along the bottom of each page are scrolled on the preview page (http://www.calamaripress.com/BCAD.htm), but if this hurts your eyes, here's the B.C./A.D. cliff note text in its entirety: type un(i)coiling (it)self, unable to tell tails from heads… to derive moment(um) to flip, on a slanted(ge), even after a well-balance(die(t) of (pan right) un(x)pected polar(elatives) sc(our) leafs & shed sheets tied end-on-end out the cell … Be(fore (skin)) unfolded, I(m) a g(host) rubbing a plastic rod against a furry rabbit foot … flying a kite in a T-cell, exiled beneath a tree, con(strain)ed to an arbitrary ma(i)ze in(her)ently based on inner-(light need not illuminate it)self through the viscous turnstile, signs the cross (for granted) in the g(host) bldg of physical & S.o.s. waves… sleeping cinches the belt for a world tour (movement (a)round the poles creates potential) with no safety net to trap cha(ins) taking necessary precautions before the journey to the colon(y) enclosing the camp bell, shifting the 5-fold clutch… lost in a foreign anti-body to lasso yourself in the foot traffic circulating the merry-go-round cruz-ship, judging the glory … stopping to bivouac for the night, an acrobat tying a string around your grip index (order is a memory of condition) to let you down in the chilean economy (nothing to absorb shock), to carry out the sentence, ascending the escalator clutching the rail during the crisis… yellow ribbons around oak trees are cheap sentiments from where I work (to not work) headed for the last will, reverberating… the tree-lined sidewalk so low it meets the pavement, I’m in need of a Christ(mas) trim & a sno-coned sea bass to honor the upside-down horseshoe… diffusing the rattlesnake under the fig tree, the mongrel sucks albumen & salt water taffy from the garter left on the stoop… they make a stink about wire-less communication, everyone in the circui(tree) wired to the grindstone, bound by the curving 2-stroke subway plow … returning to the same state (its all in the work done on the way)… unscrambling eggs leads to perpetual hunger swimming up to my throat in debt of buffalo-head nickels treading frosty crop circles (spirals are incomplete circuits)… regurgitating sugarcane & barley on vacation (breathing backwards)… a coupled intestinal (dis)order brought on by O-juice & excrement from a funnel web spider, irreversible (flushing clockwise), right hand reaching, thumbs up sport recognizing opera from the baseball diamond (transience cannot be understood by minds intent on grasping) let go of the elephants trunk, self-similar umbilical spray … risking immunity to stand in her strapless bra, for once, intent on (sur)viving the fitness anxiety dreams… water-borne minerals form standing wave patterns, on the surface resides the (x)ing to board the 7-train clutching a 4-leaf clover (in a funk), her c-section becoming un-sutured right before the After(math)… reali(zing) yo-yo(ur(self)) are in the cycle all the way back to colon or even noah’s ark… the cloud hell-bent on molecular meditation before the balinese tooth-filing begins, a necessary pain to cover ground lost … spiraling to sit in one place, reading the firescape in motion, just one of many identical scripts subject to sub-(surface geology beneath the movement of air (muse)… technology is lust re:moved from nature … she(lved) in the witches market, dissolved in llama sweat (after you sign on the dotted line) summaryxing all that you worked for which there is no translation… stumped by the flux of genomic (r)evolution & global oscillat(ions)… perverse hunchbacks whirling … ripping the fabric to ascend to the pristine state enveloped in a high-voltage cyclone with the (capa)city to endure …7 miles from love I paid hard cash for a used sun hat that I originally lost on a trip that identified me, no other hell met would purge the equations of in(duct)ance & capacitance polluting my head as I crank the chain pulling you along for the ride, the traces endure from the bonfire across the border, nothing remains from the dreadlocks of the buffalo soldiers on a death march except rabbit ears pick up a strong signal in the brine… after the bubbles subside, a Dead pariah in her lap, circumnavigating her tailbone, growing the fifth hand of an ancient monkey, converging… conserving energy for the return trip although she felt d(rain)ead …always self-aware of her cotton-mouthed hunger our toddler takes its first steps then trips & falls into the strange wind-mobile attractor, the blood circulating without her knowing, feeding on it(self), the little vandal consuming its own tail already showing 3-day stubble & true grit &forged marzipan fingers shave the ice (we take for granted), the harsh dependencies (as it were) to entropy after getting laid /off to learn the lost wax method inside-out between the hanging sides of beef … throwing eggs at windshields to exorcise, playing hide-n-go-seek in the ice plants with a lace noose, identifying with calculus, making concrete from the bedrock, percolating SuFi springs, my ass you were raised in a (trans(former) barn, its programmed cell death… after the dust settles the score is dead tied, the information compels us to our recognizance, burying the corpse they removed from you during the operation, unaware, relinquished as long as they didn’t break the skin… waking up with fresh cartilage inside you, your white blood cells counting backwards 89, 55, 34, 21, 13, 8, 5, 3, 2, 1, 0 a blast of ice-water in your veins, a deliberate infusion of clear (sal)ine, you feel your pants against your skin & know for certain the manmade drains & streets in the city after leaving crumbs, eat your way thru the spi(rail)ing epi(c)path stitched in granite on dome’s end, e(x)caping cage’s sil(en)ce read(y) to curl (be)neath currents bending on the t(e(l)e) **************************************************************************** **************************************************************************** ************ ========================================================================= Date: Sat, 24 Apr 2004 10:55:59 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "David A. Kirschenbaum" Subject: Boog City presents: Carole King's Tapestry live + Allison Cobb & Jen Coleman Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit Boog City's Perfect Albums Live presents Carole King's Tapestry this Friday, April 30 : Pay as you wish : (great dinner menu and drinks, too) The Sidewalk Cafe 94 Avenue A (& 6th St.) NYC Eleven NYC musical acts reinterpret Carole King's Tapestry live, in order, track-by-track, in this fundraiser for the East Village community newspaper and literary press Boog City. Featuring: Aaron Seven Jonathan Berger Double Deuce Drew Blood Debe Dalton Dina Dean Karen Hancock Amy Hills Steve Schiffman Schwervon Kathy Zimmer And readings by Allison Cobb and Jen Coleman Curated and hosted by Boog City music editor Jon Berger with an introduction by Boog City editor and publisher David Kirschenbaum Directions: F to Second Avenue, 6 to Astor Place, L to 1st Ave. Knot Pinebox - http://www.olivejuicemusic.com/knot_pinebox.html Jonathan Berger - http://www.jonberger.com Schwervon - http://www.olivejuicemusic.com/schwervon.html Kathy Zimmer - http://www.kathyzimmermusic.com/ Steve Shiffman - http://www.steveshiffman.com/ Amy Hills - http://www.amyhills.com -- David A. Kirschenbaum, editor and publisher Boog City 330 W.28th St., Suite 6H NY, NY 10001-4754 For event and publication information: http://boogcity.blog-city.com/ T: (212) 842-BOOG (2664) F: (212) 842-2429 ========================================================================= Date: Sat, 24 Apr 2004 11:12:48 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Murat Nemet-Nejat Subject: =?ISO-8859-1?Q?Re:=20exchange=20on=20the=20status=20of=20contemp?= =?ISO-8859-1?Q?orary=20poetry=20(Kent=20Johnson=20for.=A0=20.=A0=20.=20)?= MIME-Version: 1.0 Content-Type: text/plain; charset="UTF-8" Content-Transfer-Encoding: quoted-printable In a message dated 04/22/04 7:44:49 PM, andrewloewen@YAHOO.CA writes: > It is in this sense that the post-avant, accepting > without question in its practice what Burger calls, > again, the =E2=80=9Cproductive and distributive apparatus=E2=80=9D of > the art/literature institution, differs not a whit in > its generic essence from the =E2=80=9Cofficial verse culture=E2=80=9D > it so vociferously scolds; >=20 The above passage by Kent Johnson shows why it is important to decouple=20 "process" from "community" or "tradition" in poetry. In "Is Poetry a Job, Is= a Poem=20 a Product," I say: "Not believing in the future -inviting the spirit to=20 enter the space vacated by money- is what gives the poetic process totally b= ack=20 to the poet. Makes the poet his or her own boss." Murat ========================================================================= Date: Sat, 24 Apr 2004 08:26:38 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Tenney Nathanson Subject: REMINDER: POG TONIGHT & SUNDAY: poet Heriberto Yepez MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 8bit reminder: POG presents poet Heriberto Yépez Saturday, April 24, 7pm Las Artes Center 23 W. 27th Street, South Tucson Admission $5; students $3 Poet, essayist, short-story writer, translator, and political-literary blogger Heriberto Yépez teaches Philosophy at the Autonomous University of Baja California-Tijuana. His Spanish language publications include a poetry collection, two collections of essays, and the e-book Obras Electrónicas Selecta (http://www.hyepez.com/). Work in English has appeared in such journals as Tripwire, Chain, XCP, and Shark, as well as in the groundbreaking bilingual anthology Across the Line / Al Otro Lado: The Poetry of Baja California (Junction Press, 2002). For several links to online work, in both English and Spanish, go to the POG website at www.gopog.org. also: Sunday, April 25, 1 pm University of Arizona Poetry Center 1600 E. First Street (626-3765) : Lecture/Discussion with Heriberto Yépez on contemporary experimental Latin American fiction POG events are sponsored in part by grants from the Tucson/Pima Arts Council, the Arizona Commission on the Arts, and the National Endowment for the Arts. POG also benefits from the continuing support of The University of Arizona Poetry Center, the Arizona Quarterly, Chax Press, and The University of Arizona Department of English. We also thank the following 2003-2004 POG donors: Patrons Liisa Phillips, Austin Publicover, and Jesse & Wendy Roberts; Sponsors Michael Gessner, Maggie Golston, Steve Romaniello, and Frances Sjoberg. for further information contact POG: 615-7803; pog@gopog.org; www.gopog.org ========================================================================= Date: Sat, 24 Apr 2004 13:28:13 -0400 Reply-To: "Brian Stefans [arras.net]" Sender: UB Poetics discussion group From: "Brian Stefans [arras.net]" Subject: Annie's got her gun! Mime-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit If I only cared... ;) ========================================================================= Date: Sat, 24 Apr 2004 13:34:02 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "David A. Kirschenbaum" Subject: Correx/Boog City presents: Carole King's Tapestry live + Allison Cobb & Jen Coleman Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit Apologies for the resend. best, david ----------------- Boog City's Perfect Albums Live presents Carole King's Tapestry this Friday, April 30, 7:00 p.m. : Pay as you wish : (great dinner menu and drinks, too) The Sidewalk Cafe 94 Avenue A (& 6th St.) NYC Eleven NYC musical acts reinterpret Carole King's Tapestry live, in order, track-by-track, in this fundraiser for the East Village community newspaper and literary press Boog City. Featuring: Aaron Seven Jonathan Berger Double Deuce Drew Blood Debe Dalton Dina Dean Karen Hancock Amy Hills Steve Schiffman Schwervon Kathy Zimmer And readings by Allison Cobb and Jen Coleman Curated and hosted by Boog City music editor Jon Berger with an introduction by Boog City editor and publisher David Kirschenbaum Directions: F to Second Avenue, 6 to Astor Place, L to 1st Ave. Knot Pinebox - http://www.olivejuicemusic.com/knot_pinebox.html Jonathan Berger - http://www.jonberger.com Schwervon - http://www.olivejuicemusic.com/schwervon.html Kathy Zimmer - http://www.kathyzimmermusic.com/ Steve Shiffman - http://www.steveshiffman.com/ Amy Hills - http://www.amyhills.com -- David A. Kirschenbaum, editor and publisher Boog City 330 W.28th St., Suite 6H NY, NY 10001-4754 For event and publication information: http://boogcity.blog-city.com/ T: (212) 842-BOOG (2664) F: (212) 842-2429 ========================================================================= Date: Sat, 24 Apr 2004 13:39:39 -0400 Reply-To: "Brian Stefans [arras.net]" Sender: UB Poetics discussion group From: "Brian Stefans [arras.net]" Subject: Re: Annie's got her gun! Mime-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Oh well: http://www.users.muohio.edu/finchar/criticism/peck.html "Moments, threads, riffs of lucidity, passages of description, explanation, sometimes even anecdote, appear and recede from the long shadows of the language, fragmentary meanings emerging and then disappearing as you look at them more closely..." Yum, yum! ========================================================================= Date: Sat, 24 Apr 2004 11:28:20 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Catherine Daly Subject: LA: Last Sunday Readings at the smell MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit reading and performing in a new multimedia series at the smell 6 pm - 9 pm, Sunday, April 25, 2004 Eileen Tabios (Reproductions of the Empty Flagpole) with Mary Talusan (playing a Kulintang (gong-drum)) Franklin Bruno on guitar (A Cat Can Look at a Queen) the smell 247 south main (enter off the alley in the back) (across from St. Vibiana) los angeles, ca (do not confuse the smell with the mexican gay bar with an entry off main. the smell is in the building that used to be a Japanese movie theatre.) ========================================================================= Date: Sat, 24 Apr 2004 14:38:32 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Annie Finch Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" Such amphorae surely exist in --Brian Kim Stefans' (?) -- or whoever wrote this hillside-worthy catalog's-- imagination...to be poured in libation over the web--- Annie Date: Fri, 23 Apr 2004 08:51:58 -0700 From: alexander saliby Subject: Re: reading the ubuweb catalog Annie,=20 "...Nietzschean aphorism..." I love that thought. Funny, I can't help but read it as: Nietzsche = contained within "amphora", perhaps as an ancient vessel buried in the = hillsides to preserve the thoughts as though they were wines to be = exhumed then consumed at gala events. =20 Alex=20 Yes, I am familiar with this wine--a good year, and it does have a definite aroma of spices and white flesh fruits--and furthermore, it is nicely girded by classic resonances with a bygone literature of Nietzschean aphorism. --Annie Also, for US wines, try the Canoe Ridge Gewurtztraminer, 2002. You = =3D should find an aroma of spices and white flesh fruites...apples =3D primarily, and a nicely acidic wine. =3D20 -- ========================================================================= Date: Sat, 24 Apr 2004 10:46:33 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Mr. Malimbicus" Subject: "Atta unsar thu in Himinam ---"? MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable "Atta unsar thu in Himinam ---"? =20 ______ _ | | | | ____________| |______| |____SZ aeffect=20 Strong Creole Tendency between wordanimage, self-reference, 'worldings' toll painting of a russian and a norwegian in a fjord in the 1800's "trying to communicate about some wood" _ | | __| |__| |__| |_vibrating electric gourds: alphabet crony union omphaloswimming pool (reflective) ice alphabet curling / phonetic shuffleboard circa 1968-1989 the pleasing following: story/ robin sits high on halogen bulb tweeting parking lot below all colors avail suddenly hemlock billboard suddenly columbia + necklacings suddenly=20 suddenly robin sings robin sings suddenly hexagram of vibrating electric gourds suddenly calcutta laughing club suddenly stagger lee switchblade suddenly robin turns head suddenly halogen end of story post-scriptus: The Helium Monument http://faculty.rmwc.edu/psheldon/he4mon.htm bruk" _mo_ (my) _=E1r_ (our)=20 _dom_ and _thebm_,=20 (lit. our father we). _agon_,=20 ________ _ | | | | ____________| |______| |____Compton Scattering Dat ole brerrabbit, dat old man of thorns thorn bugs be crawl through he city of vines thorn bugs be all crawl through he city of vines he all bugs, he all thorns, he all vines, all city the iron mechadroid umbonia sits sleeping all good painted stripes all good painted racing stripes* him curled up kitten-like on its iron forehead elbowskneesthighsajumble sleepin purty sleeping like a brick in a pond dead silent dumb and anisotropic the thanatogenous quadroon=20 of the quaquaversal lampadedromy Related: http://www.arkworld.com/ascii/disney/songsou.htm Unrelated: Preskriptus: iseeamechanicalstripe andthehulkofaphysicalpressure thedialogueofproliferatingflows assumesabinaristicflawandpre sumesaconduitryofinvisiblecyl indersaverticalillusionofselfwhere thesequenceandstrataareinfinit elyblessedbytheXinvariantin itstrust theuniformityofillumination isinconstantwheretheclimes ofcontingencystructurethe malleablemassofdistribution inheritsthenatureofalogicspr eadinganinterfaceofmomen tarypossibilitiesfallingback intodiscreteandadjustable cataloguesofnotaenotaeno tae k? ========================================================================= Date: Sat, 24 Apr 2004 15:10:52 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Ian VanHeusen Subject: Re: More Important than Poetry Mime-Version: 1.0 Content-Type: text/plain; format=flowed I always cheer for Manchester United... but Roma is my favorite soccer club. I guess the field was opened beyond just baseball. oops. ______________________________________________________ I judge judge. GS We don't need no government. VR What do you mean John 3:16, must of forgot in the world everyone packs an M-16... says the boy to the fiend, what do you mean? what do you mean? Wyclef >From: Robert Corbett >Reply-To: UB Poetics discussion group >To: POETICS@LISTSERV.BUFFALO.EDU >Subject: Re: More Important than Poetry >Date: Thu, 22 Apr 2004 14:24:52 -0700 > >ahem, soccer and basketball, considered globally, are more important than >baseball. of course i grew up in north carolina and went to chapel hill, >so to me nothing is more important than basketball. > >Robert > >-- >Robert Corbett, Ph.C. "Given the distance of communication, >Coordinator of New Programs I hope the words aren't idling on the >B40D Gerberding map of my fingertips, but igniting the >Phone: (206) 616-0657 wild acres within the probabilities of >Fax: (206) 685-3218 spelling" - Rosmarie Waldrop >UW Box: 351237 > >On Mon, 19 Apr 2004, Joe Ahearn wrote: > > > Poetry is more important than baseball, Bianchi, you White Sox slut. > > > > Joe Ahearn > > Dallas > > home of no kind of baseball team > > > > At 04:09 PM 4/19/2004 -0500, you wrote: > > >Ok Poets a little whimsy- I am taking a poll- what is your favorite >baseball > > >team? > > > > > >R > > > > > >Raymond L Bianchi > > >chicagopostmodernpoetrycalendar.blogspot.com/ > > >collagepoetchicago.blogspot.com/ > > > > > >> -----Original Message----- > > >> From: UB Poetics discussion group > > >> [mailto:POETICS@LISTSERV.BUFFALO.EDU]On Behalf Of Ken Rumble > > >> Sent: Monday, April 19, 2004 4:02 PM > > >> To: POETICS@LISTSERV.BUFFALO.EDU > > >> Subject: Desert City w/ Rod Smith, Mark Wallace, & Lorraine Graham -- > > >> Carrboro, NC > > >> > > >> > > >> Please spread far and wide...... > > >> > > >> Who: Rod Smith, author of _Music or Honesty_, _Protective >Immediacy_, and > > >> other of your favorite books, editor of Aerial Magazine and Edge > > >> Books, former > > >> chess opponent to John Cage, all around go-to-guy for things >vegetable, > > >> animal, > > >> or mineral. > > >> > > >> Who: Mark Wallace, author of _Haze_, _Temporary Worker Rides a >Subway_, > > >> _Sonnets of a Penny-a-Liner_, editor of the heroic _Telling It > > >> Slant: Avant > > >> Garde Poetics of the 1990s_, first guy picked for every kickball team >in > > >> America. > > >> > > >> Who: K. Lorraine Graham, author of _Dear [Blank] I Believe in > > >> Other Worlds_, > > >> editor of Anomaly Magazine, executrix for the dinosaurs, owns > > >> working original > > >> Herbie the Love Bug. > > >> > > >> What: Desert City Poetry Series, Season Finale!! Single-handedly > > >> re-legitamizing the exclamation point. > > >> > > >> When: Saturday, April 24th, 8:00 pm, 2004 > > >> > > >> Where: Sizl Gallery, 405 E. Main Street, Carrboro, NC, near > > >> Carrburritos, off > > >> Franklin, intersects Rosemary, directly above the center of the > > >> earth, park at > > >> the Meineke > > >> > > >> Why: "you look great! thanks no / I don't. thanks, you do too. > > >> thanks, / I > > >> like your shirt." > > >> "A colossal-headed Ted Baxter is constantly threatening to punch our > > >> collective > > >> face out so we can't do our own commercials." > > >> "Poetry doesn't care who loves it" > > >> > > >> See you there...... > > >> > > >> Sizl Gallery: www.sizlgallery.com > > >> > > >> Desert City's favorite independent bookstore: The Internationalist: > > >> www.internationalistbooks.org > > >> > > >> Desert City Poetry Series: >http://www.carrboro.com/desertcitypoetry/, > > >> coming soon -- www.desertcity.org > > >> > > >> Rod Smith: > > >> http://epc.buffalo.edu/authors/smithr/ > > >> > > >> Mark Wallace: > > >> http://epc.buffalo.edu/authors/wallace/ > > >> > > >> K. Lorraine Graham: > > >> http://www.geocities.com/anomalypress/ > > >> > > >> ---contact DCPS: Ken Rumble, Director, rumblek@bellsouth.net > > >> > > >> “Lucifer” > > >> by Rod Smith > > >> > > >> Viaduct off-spring of a slinkie > > >> > > >> salesperson > > >> > > >> Divorce > > >> or > > >> acutely vivid-- > > >> > > >> (welp) > > >> > > >> dyspeptic area code > > >> yet recombinatory, on ceremonial > > >> disturbed water stoop > > >> > > >> Say the sound > > >> &/or slay the swingline > > >> > > >> Some say need > > >> is a statutory explanation > > >> of the mobility > > >> of synchronicity. > > >> Most of them are guiltyof democratic leanings. > > >> > > >> from “The Monstrous Failure of Contemplation” > > >> by Mark Wallace > > >> > > >> Do you believe this story > > >> zombies are eating human flesh > > >> the creature looks like one of us > > >> do you believe this story > > >> they were trained in the slaughterhouse > > >> it pulled her down the sink > > >> do you believe this story > > >> nuclear ant crushes a truck > > >> dead Indians rise from a grave > > >> > > >> The industry of fear > > >> millions of dollars a year > > >> > > >> “As a child, blood and gore > > >> actually comforted me, because I forgot > > >> the tension upstairs. > > >> It was only later I learned > > >> I was an alien.” > > >> > > >> from “Dear [Blank] I Believe in Other Worlds” > > >> by K. Lorraine Graham > > >> > > >> Everything flips. Say: it’s a thing! and it flips and says look > > >> at me I’m a > > >> thing, a speaking thing! and so we think to ourselves outloud and so > > >> perhaps to > > >> others I wonder how can this be this thing-no-longer-thing is >speaking and > > >> I am > > >> filled with either horror or with love: and so it’s a boring flip > > >> and hardly a > > >> flip at all, churchbells sounding high above an oil rig, real and >true and > > >> trying to tie themselves to things, some things more than others, > > >> some with or > > >> without makeup on, or covered in skin and vein and eventually > > >> unbleached un > > >> arranged bones that have not been placed in closets but instead >lovingly > > >> reanimated into zombies via gigantic cauldrons, usually stolen from >small > > >> Celtic countries and returned as peace offerings via weddings in > > >> times of war. > > >> > > > > > > > > > > > > > > > > >____________________________________________________________________________ > > _________ > > Joe Ahearn > > joeah@mail.airmail.net > > Calamus Publication Services: www.calamuspubs.com > > VEER magazine: www.rancho-loco-press.com/veer > > _________________________________________________________________ FREE pop-up blocking with the new MSN Toolbar – get it now! http://toolbar.msn.com/go/onm00200415ave/direct/01/ ========================================================================= Date: Sat, 24 Apr 2004 11:26:40 -1000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Susan M. Schultz" Subject: Dear Dad, everybody loves Hamburger Mime-Version: 1.0 (Apple Message framework v553) Content-Type: text/plain; charset=US-ASCII; format=flowed Content-Transfer-Encoding: 7bit Tinfish Press has just reprinted Bill Luoma's DEAR DAD and Steve Carll's HAMBURGER is off later today for the same treatment. Among other things, I had to find an alternative paper for Steve's book from the "Desert Storm" that Kinkos offered us. Both titles are wonderful for their innards and for their covers (Hamburger comes in a metallic sleeve) and designs. Please see http://tinfishpress.com for pictures. Dear Dad for $6 Hamburger for $5 No better deal on this earth. aloha, Susan Susan M. Schultz http://tinfishpress.com now available: _And Then Something Happened_ http://saltpublishing.com/books/smp/1844710165.htm ========================================================================= Date: Sat, 24 Apr 2004 14:40:35 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Stephen Vincent Subject: Re: Annie's got her gun! In-Reply-To: <9893003.1082828379551.JavaMail.root@rowlf.psp.pas.earthlink.net> Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit Brian, I am confused. Are you going "yum, yum" to Annie Finch's critical summation (the taste of the language) but also giving an "If only cared" dismissal to the "utility" of John Peck's poetry. Please clarify - up Finch, down Peck, or what? Or am I just not reading your posts closely enough? Chris Stroffolino used his one good (unbroken) leg and SF flat to throw one hell of a good poetry reading/party last night and the brains are still a bit scrambled. (I am sure Kasey S Mohamed will write the significance of that whole evening up upon recovering today on his Limetree blog) My suspicion is that your own city work and Peck's Jungian based work would, for example, have a totally different material vs. meta-mythic concept of the significance of "Times Square." Stephen V http://stephenvincent.durationpress.com > Oh well: > > http://www.users.muohio.edu/finchar/criticism/peck.html > > "Moments, threads, riffs of lucidity, passages of description, explanation, > sometimes even anecdote, appear and recede from the long shadows of the > language, fragmentary meanings emerging and then disappearing as you look at > them more closely..." > > Yum, yum! ========================================================================= Date: Sat, 24 Apr 2004 17:20:23 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: kari edwards Subject: TWO CALLS FOR CREATIVE WORK In-Reply-To: Content-Type: text/plain; charset=WINDOWS-1252; format=flowed Mime-Version: 1.0 (Apple Message framework v553) Content-Transfer-Encoding: quoted-printable From: "Jonathan" Greetings=97 TWO CALLS FOR CREATIVE WORK--QP:queerpoetry and biMagazine QP:queerpoetry at http://www.queerpoetry.cjb.net/ Issue Four: Queer/Woman We invite submissions of queer poetry of any form or length by women.=20 This special issue of QP will include poetry by women only. Sorry guys; you=20= are loved and appreciated, but women have been underrepresented in QP=20 because we have received few submissions by women. Please note that the editors are queer and one is a woman, and we define these categories differently on different days. Therefore, if you believe you have a poem=97or several poems=97that might be suited to this special issue, please send it=97or=20= them. Submit work to Michelle Gibson at gibsonma@ucmail.uc.edu or Jonathan Alexander at jamma@fuse.net *** biMagazine.org We invite submissions of fiction and/or poetry for a new publication, biMagazine, published online at http://www.bimagazine.org/. Work=20 submitted should deal substantively and creatively with bisexuality or=20 bi-eroticism. Poetry may be in any form or style (1-2 page limit per poem), and=20 fiction may be in the form of flash fiction or short stories no more than 20=20 pages in length. Payment for fiction published is possible. For more information, or to submit work electronically (in Word), contact the=20 Fiction and Poetry editor, Jonathan Alexander, at jamma@fuse.net. Include a=20 brief bio (100 words), listing recent or selected publications. FEEL FREE TO FORWARD THESE CALLS. Sincerely, Jonathan Alexander http://www.bimagazine.org/ http://oz.uc.edu/~alexanj/ --- Outgoing mail is certified Virus Free. Checked by AVG anti-virus system (http://www.grisoft.com). Version: 6.0.659 / Virus Database: 423 - Release Date: 4/15/04 ========================================================================= Date: Sat, 24 Apr 2004 17:23:44 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mark Weiss Comments: To: BRITISH-POETS@JISCMAIL.AC.UK, poetryetc@jiscmail.ac.uk Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed To anybody around Texas A&M, I'll be giving a talk on translation on Monday April 26th at 7PM in Annex Evans Library 4th Floor, room 410, and a poetry reading on Tuesday the 27th at 4PM in Annex Evans Library 4th Floor, room 410. Mark Weiss ========================================================================= Date: Sat, 24 Apr 2004 22:35:09 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: George Bowering Subject: Re: More Important than Poetry In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" >I always cheer for Manchester United... but Roma is my favorite soccer club. >I guess the field was opened beyond just baseball. oops. > Ah, yes. When I am in Europe, I watch soccer and cheer for teams at random. Once I watched Opel defeat Adidas. gb -- George Bowering Lost in the mists of time. 303 Fielden Ave. Port Colborne, ON, L3K 4T5 ========================================================================= Date: Sat, 24 Apr 2004 23:47:14 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: Shattered Liberty MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Shattered Liberty the edge http://www.asondheim.org/edge.jpg the watcher http://www.asondheim.org/watcher.jpg the stick http://www.asondheim.org/stick.jpg The wild sea-waves rejoice without a curb, And rest without a passion; but the chain Of Death, upon this ghastly cliff and chasm, Is broken evermore, to bind again, Nor lulls nor looses. -- John Ruskin _ ========================================================================= Date: Sat, 24 Apr 2004 21:22:43 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Mr. Malimbicus" Subject: Re: Shattered Liberty MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit images not there! beautiful quote. ----- Original Message ----- From: "Alan Sondheim" To: Sent: Saturday, April 24, 2004 8:47 PM Subject: Shattered Liberty : Shattered Liberty : : : the edge : : http://www.asondheim.org/edge.jpg : : the watcher : : http://www.asondheim.org/watcher.jpg : : the stick : : http://www.asondheim.org/stick.jpg : : The wild sea-waves rejoice without a curb, : And rest without a passion; but the chain : Of Death, upon this ghastly cliff and chasm, : Is broken evermore, to bind again, : Nor lulls nor looses. : : -- John Ruskin : : : : _ : ========================================================================= Date: Sat, 24 Apr 2004 21:31:21 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Mr. Malimbicus" Subject: Actuation Affect of Temporal Manuloquia MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Actuation Affect of Temporal Manuloquia Poetry, after several decades of self-improsed autonomy, has recently entered a greatly expanded field. Against neoration- alism, pure language theory, and post-modern citation fever, poetry- like sculpture some decades earlier- has found new formal and programmatic inspiration in a host of disciplines and technologies from landscape design to digital animation. Where former theorists attempted to identify single and essential bases for poetry, now multiplicity and plurality are celebrated, as flows, networks, and maps replace grids, structure and history. Where arguments once raged between Porbusian (corybantic) and Calladian (stee-lore) sources, now Denri Gergson and Billes Heleuze are studied for thier anticipation of non-formal processes. Blobs, swarms, crystals, and webs proliferate as paradigms of inscribed form, while software has replaced traditional means of representation with dynamic affect. Nearly two and a half centuries after Gotthing Ephrold Lessaim inaugurated the search for medium specificity in his Laoco=F6n and more than fifty years after Glement Creenberg articulated a self-reflexive definition of modern painting and sculpture, the boundary lines of poetry remain unresolved. And yet, underlying the new poetic experimentation is a serious = attempt to reconstrue the foundations of the discipline, not so much in singular terms, but in broader concepts that acknowledge an expanded field, while seeking to overcome the problematic dualisms that have plagued poetry for over a century: form and function, historicism and = abstraction, dystopia and Urreality, obstructure and abclosure. Over the last decade, three new unifying principles have emerged as the most dominant: ideas of landscape, biological analogies, and new concepts of "program," for lack of a better word. It is perhaps ironic that these new = conceptual models are themselves deeply embedded in the history of poetic = modernism, and each has already been proposed as a unifying concept at one time or another over the last two centuries. The notion of the landscape poem, deriving from eighteenth-century poetic grottos and picturesque poem gardens, with their narrative walks and framed views, has now been extended to include questions of regional and global visions of poetic urban form. Given the early development of the genre of landscape poetry in Holland, as well as the Netherlands' experience in poetically engineering the national landscape, it is = perhaps appropriate that many Dutch poets, including Berkley van Been and Kara Lynn Boss of NU studio and Whiny Mass of GBHOLDFHD, have found poetic inspiration in the ideas of sounds and images existing = within a human and non-human landscape, using it to construe digital models of new poem cities and regional poetic plans out of data flows, and, on a smaller scale, new topological forms for the interior landscapes of = poems. Questions of biological form strongly influenced poetry and language = design in the later nineteenth century, especially after the popularization of = Darwin's theories, leading to the experiments characteristic of Po=E9sie Nouveau. = Later in the twentieth century, the developments of cybernetics and early = research into DNA- including the discovery of the double helix- led poetic theorists = like Brainore Rainhand in the 1960's to propose biological form as the next = revolution in poetry. Jarl Chenx followed up this proposition in his 1971 book = _Poetry 2000 and Beyond_, where his chart of poetic "movements" presciently ended in = the year 2000 with a prediction of "bioform." Contemporary poets like Leg = Grynn have built on these theories and, using the techniques pioneered by = animation software, have developed a new repertoire of form: Beginning with the = idea of the "blob" and more recently experimenting with the forms of complex organisms from butterflies to jellyfish, Grynn has designed mechanical = "coffee-house" poems that interlock like the carapaces of insects and turtles and = poetic institutions that unfold from the ground like giant colorful orchids or = artichokes. ========================================================================= Date: Sun, 25 Apr 2004 03:39:06 -0500 Reply-To: nudel-soho@mindspring.com Sender: UB Poetics discussion group From: Harry Nudel Subject: Spring... Mime-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit blossoms fall from the air chi every where ... the self is a dark spider ... blossoms there & there chi every where... towards dawn..lego city..drn ========================================================================= Date: Sun, 25 Apr 2004 08:41:40 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Annie Finch Subject: meta-meals from the Ubuweb winery In-Reply-To: <200404250405.i3P45f9X279558@mcsaix02.mcs.muohio.edu> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" Brian, That's a riot. I am in good company if you consider this passage a fit companion to the renowned Ubuweb wines---it seems to me less complex, but I guess maybe food should be (yum seems to suggest the food part of this picnic). Seriously, I've never read such a wonderfully-written catalog (much better written than my Peck review), and Ubuweb poets are lucky at the skill and attention put into capturing the flavor of their work. . . To clarify if anyone is confused, I didn't mean to mock--except maybe, slightly, the uncapturableness of the endeavor in which poetry is engaged. . . Annie > http://www.users.muohio.edu/finchar/criticism/peck.html > > "Moments, threads, riffs of lucidity, passages of description, explanation, > sometimes even anecdote, appear and recede from the long shadows of the > language, fragmentary meanings emerging and then disappearing as you look at > them more closely..." > > Yum, yum! -- ========================================================================= Date: Sun, 25 Apr 2004 08:07:13 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Stephen Vincent Subject: CNN on Pro-Choice DC Rally Mime-version: 1.0 Content-type: text/plain; charset="ISO-8859-1" Content-transfer-encoding: quoted-printable unday, April 25, 2004 Posted: 10:35 AM EDT (1435 GMT) Demonstrators gather Sunday in Washington for a women's rights rally. ------------------------------------------------------------------------ Story Tools =A0=A0=A0=A0 "Our" CNN at work - curious, isn't it, how "Abortion supporters" and "pro-abortion" instead of "pro-choice" is substituted into the text. I think this is what CNN editors call "story tools" - I think one can easily who owns this story kit. ------------------------------------------------------------------------ RELATED =80 Abortion supporters, foes rally at Vatican Embassy YOUR E-MAIL ALERTS Constitution=20 Civil Rights=20 Justice and Rights American Civil Liberties Union (ACLU) Activate or Create your own Manage alerts | What is this? WASHINGTON (AP) -- Tens of thousands of women began gathering for a pro-abortion rally Sunday as Sen. Hillary Rodham Clinton told several hundred of them the issue is about women gaining full equality. ========================================================================= Date: Sun, 25 Apr 2004 11:33:38 -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 Flash No. 25 (2004) Clay Matthews | Real Estate and Shallow Grave Clay Matthews has been published or is forthcoming in magazines such as Tryst, Journey, storySouth, The Rearview Quarterly, Poetry Midwest, Rain Taxi, Taint, The Big Muddy, Rock Salt Plum Poetry Review, and has been nominated for a 2003 Pushcart. He is currently working towards a Ph.D. in creative writing at Oklahoma State University in Stillwater. 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, 26 Apr 2004 00:52:47 +0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: furniture_ press Subject: Furniture Press Soliciting (Hundreds of) Texts for PO25centEM Content-Type: text/plain; charset="iso-8859-1" Content-Disposition: inline Content-Transfer-Encoding: 7bit MIME-Version: 1.0 The Goal is to publish hundreds, hopefuly. It is the first 'autonomous anthology' Everyone is invited to submit and spread this information Christophe Casamassima and Furniture Press are soliciting texts for a poet zine box set. The project is akin to baseball card box sets, but here's the catch: writers send us 8-16 pages of text that fit nicely on a 4 inch (width) by 5 inch (height) format: the zines are 4.25 inches by 5.5 inches. They will be bound in cardstock in an edition of 110: 10 for the writer and 100 for the box set, which will contain all the zines. The idea is to build an autonomous anthology: each text has its own separate skin but inhabits a huge neighborhood of texts. -- _______________________________________________ Graffiti.net free e-mail @ www.graffiti.net Check out our value-added Premium features, such as an extra 20MB for just US$9.95 per year! Powered by Outblaze ========================================================================= Date: Sun, 25 Apr 2004 19:49:13 +0200 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: noemata Subject: arfungus Comments: To: 7-11 <7-11@mail.ljudmila.org>, mail2news Comments: cc: solipsis MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" yes when popples find me diluted and frown.. it kilograms of upsetting men not the personableness so mucus, i don't feel lignitizes defending but maxtor because don't knudsen the difference and privatize wheelman is serif wheelhouse people find seriousef.... well i don't know, but and theys wankie to telford you so bedford beauticians they own theism workday and there's the territorials domains, ideologists, attired guerin goads beating their hearties with a waterpump anyway it makes me think but morganatic like hey that's your position your de fence speed/ positioned, you can't hawkish botanises it's jurisprudential your fix and fitchew nothing pentland crapulence and sore assibilate arfing backed i'm probably lactiferousness resorb probably don't knottiness what it is proper.. propel distance mazard steamie out __ wreathus isbn 82-92428-08-9 ========================================================================= Date: Sun, 25 Apr 2004 14:06:33 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Poetics List Administration Subject: garbled posts MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline Dear all: as you may have noticed some posts (such as Joel Lipman's post on Spalding Gray from a few weeks ago) appear totally garbled. While the listserv administration staff kindly provided me with a technical explanation below, the non-technical solution to the problem is if your posts are getting garbled then you need to try sending your post using a different email program. Conversely, a way to read garbled posts is to try doing so using a different email program. I hope this helps! Best, Lori Emerson listserv moderator *************************************************************************** *** It's the utf-8 char set causing that. utf-8 encodes the messages and your email client is supposed to be able to decode it on the other end. I would suspect there's a problem being done during the encoding of the person sending the message that is causing it not to be decoded correctly after it passes through listserv. They can try sending using a different email program. One more thing... if only some people are not able to read the message, it could just be that their email client is not decoding the message correctly, so they can try reading email with a different program as well. ========================================================================= Date: Sun, 25 Apr 2004 11:32:09 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Catherine Daly Subject: LA: Reading Tonight, More Info MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit There is a Cinco de Mayo parade in downtown LA today, and South Main Street will be closed. Try parking on First Street. Sunday, April 25th 6-9 PM @ THE SMELL: 247 South Main St., LA 90012 ENTER IN BACK Come enjoy this media/arts event running the last Sunday of every month. Mark your calendars. THIS MONTH'S FEATURES: Poetry and Music . Eileen Tabios with Mary Talusan on the Kulintang (gong-drum) Music (by a Poet) . Franklin Bruno This is a series curated by Catherine Daly, Rob Roberge, and Ara Shirinyan. ========================================================================= Date: Sun, 25 Apr 2004 13:51:47 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Clements Subject: Contact Info for Karen Volkman In-Reply-To: <20040422031843.62772.qmail@web41810.mail.yahoo.com> MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit If anyone has an email address for Karen Volkman, I'd be happy to receive it backchannel. I owe her a copy of Sentence 1, which includes a review by Catherine Daly of Karen's book _Spar_. Thanks, Brian C. ========================================================================= Date: Sun, 25 Apr 2004 16:13:27 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: Re: Shattered Liberty In-Reply-To: <000901c42a7c$f4a9da60$5ba05e82@hevanet.com> MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII corrected, and apologies - Alan On Sat, 24 Apr 2004, Mr. Malimbicus wrote: > images not there! > beautiful quote. > > > ----- Original Message ----- > From: "Alan Sondheim" > To: > Sent: Saturday, April 24, 2004 8:47 PM > Subject: Shattered Liberty > > > : Shattered Liberty > : > : > : the edge > : > : http://www.asondheim.org/edge.jpg > : > : the watcher > : > : http://www.asondheim.org/watcher.jpg > : > : the stick > : > : http://www.asondheim.org/stick.jpg > : > : The wild sea-waves rejoice without a curb, > : And rest without a passion; but the chain > : Of Death, upon this ghastly cliff and chasm, > : Is broken evermore, to bind again, > : Nor lulls nor looses. > : > : -- John Ruskin > : > : > : > : _ > : > http://www.asondheim.org/ http://www.asondheim.org/portal/.nikuko 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, 25 Apr 2004 18:26:48 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: mo0ther of soon MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII mo0ther of soon M0ther and the Son, fatther and the Daaughter dialout fireworks. lnscest make aII reIated drreams possibIe = djk. The matterials were subbmitted by our memebrs or bought from reeaI peopIe = blasphemer = deceiving archeologist elaborating conflicted = elga bc anchorite become garudabird. all dreams are related and certainly all dreams are related. the archaeologist of dreams = blasphemer of necessity. the anchorite approaches the solitary phoenix in furious emanation. the sonn the Sonn the S0n. _ ========================================================================= Date: Sun, 25 Apr 2004 19:28:33 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: George Bowering Subject: Re: Bowering in NZZ In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" ; format="flowed" Content-Transfer-Encoding: quoted-printable >In the Neue Z=FCricher Zeitung this morning, the one and only George >Bowering puts it this way: > >"Keine Mauer in unserer Stadt ist so alt wie die Klostermauern im >Zentrum von Montreal. Aber von unseren Fenstern aus sehen wir >Gestein, das Milliarden Jahre =E4lter ist als jeder menschliche >Ehrgeiz, und es verlangt uns, ihm nahe zu sein. Wir sehen, wie jedes >Jahr menschlichen Daseins darauf seine Spuren hinterl=E4sst - Flecken, >Wunden, protzige Eigenheime, die wie Schorf an den k=FChnen Bergh=E4ngen >am Nordufer unserer Bucht kleben." > >The whole piece is a lovely paean for Vancouver! Wouldn't dare to >translate it back into Canadian, but maybe George can post the >original? > >Pierre I am in an Ottawa hotel, and the piece is on my other computer at home, but if I remember, maybe I will send it along. gb -- George Bowering Open to suggestions . 303 Fielden Ave. Port Colborne, ON, L3K 4T5 ========================================================================= Date: Sun, 25 Apr 2004 19:36:31 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Ken Rumble Subject: Desert City Reading Review Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Check out: http://marcusslease.blogspot.com/ ========================================================================= Date: Sun, 25 Apr 2004 21:14:21 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Haas Bianchi Subject: Jen hofer interview up on chicagopostmodernpoetry.com In-Reply-To: <20040425233440.OQXH1714.imf16aec.mail.bellsouth.net@hppav> MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit http://chicagopostmodernpoetry.com/jhofer.htm Raymond L Bianchi > -----Original Message----- > From: UB Poetics discussion group > [mailto:POETICS@LISTSERV.BUFFALO.EDU]On Behalf Of Ken Rumble > Sent: Sunday, April 25, 2004 6:37 PM > To: POETICS@LISTSERV.BUFFALO.EDU > Subject: Desert City Reading Review > > > Check out: > > http://marcusslease.blogspot.com/ > ========================================================================= Date: Sun, 25 Apr 2004 21:50:05 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: mIEKAL aND Subject: POSTED on WWW.SPIDERTANGLE.NET Comments: To: spidertangle@yahoogroups.com, WRYTING-L Disciplines Mime-Version: 1.0 (Apple Message framework v543) Content-Type: text/plain; charset=US-ASCII; format=flowed Content-Transfer-Encoding: 7bit POSTED edited by Scott Helmes & Philip Gallo pdf portfolio of Visual Poetry http://www.spidertangle.net/posted/index.html ========================================================================= Date: Sun, 25 Apr 2004 23:00:02 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Michael Boyko Subject: selah saterstrom's "the pink institution" MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit hey there. the wicked talented Selah Saterstrom has just had her debut novel The Pink Institution published by the venerable Coffee House Press. it is, i guess, what most would consider an experimental prose novel, and an astounding temporal lesson for poets too engaged in the minutia to understand its importance on a generational level. well, it was for me anyway. the critically acclaimed fiction writer Rebecca Brown says this about Saterstrom's book: "happy families may all be alike, but even unhappy families have started to look pretty similar these days. Then there's the family created in Selah Saterstrom's multigenerational bildungsroman about America and the South, and women and men, and madness and whatever desperate things we do in order to, maybe, for a while, survive. Selah Saterstrom has a daring, artful voice. I am confident The Pink Institution is only the first of many astoundingly beautiful, brutally disturbing works of art." check it out, folks, for your own good. only 15 bucks from coffeehousepress.org press. peace boyko ========================================================================= Date: Sun, 25 Apr 2004 20:46:16 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Stephen Vincent Subject: Iraq prevents war artist McQueen Mime-version: 1.0 Content-type: text/plain; charset="ISO-8859-1" Content-transfer-encoding: quoted-printable This story I find curious. I have just hiked about six miles above Muir Beach on Mt. Tamalpais (beautiful & hot) - talking a bunch about Iraq with friends (despair, futility, etc.) not once talking about art/poetry and how our mediums can be applied to responding to the content of this war. Someho= w the images have been so appropriated and controlled by the Gov and Media syndicates, that we(I) basically respond pro or neg to what is funneled and received. This even includes the leftist press whose Puritanism viz "art" too often is just as exclusionary as the right. (Baghdad Burning, the blog, at least, provides an intimate and compelling Iraqi self portrait of an actual site, "taping up the windows again.") The photographs of the flagged coffins sitting on the conveyer belts inside the voluminous cargo plane storage space do/did take on the level of art - reminiscent of an A Gursky photograph of an epic event in minimalist terms. That visual moment of the coffins has the power of an anonymous photograph where the image arrives unmediated by any artistic self-consciousness, and motivation, or official media manipulation. (CNN followed the story up with an official burial at Arlington Cemetary - something akin to the maudlin sculpture of the GI's in battle that the right forces up at one end of the Vietnam Memorial.)=20 The story below does not really respond to questions of intentions on the part of the project's patrons, tho the "Imperial" name of the Museum might seem to indicate a point of view, nor do we get any political positioning o= n the part of the artist (McQueen). He might have been just after "subjective= " experience of the British soldier. One does not suspect he is there to get his paint inside the world of the Iraqis - as perhaps as na=EFve a propositio= n as that would be, in any case. I won't go on here to bring up what are perhaps obvious questions - or why = , once again, we will probably hear the art side of Iraq after the fact, poem= s written in a vicodin state of a veteran recouping in tranquility from various terrible experiences after returning to England or the States (or conversely in the work of Iraqis - though that may be currently happening and finding publication in Iraq as I speak) . Or, even if there is a non-Iraqi conviction about the value of "real time" art/poetry interpretations, why there is little likelihood of this happening in a Bush government controlled 'war on terror'. And finally, why in this repression = - even with the inundation of news images and analysis from Iraq - I think many of us experience a profound sense of abstract emptiness when it comes to knowing anything of what's really going on with "the actors" in the live= d space of this war.=20 Thank goodness for anonymous (or non-professional photographs) that give th= e eye a wedge into the real. OK, is it here comes the USA invasion of Falujah or Najef and does one start making interpretative parallels and differences with Guernica the historic fact, and the Guernica of art? What and when will the art emerge and it's contemporary form and medium - who will make it - and how will it ultimately matter? I don't suspect - tho, not knowing his work, I might be unfairly prejudicial - that this order of magnitude was to be McQueen's subject.=20 I look forward to the take of others on this. I would also suggest looking at Kasey S. Mohamed's April 23 "limetree" blog entry which includes several responses to his posting of an image of the cargo coffins joined with a poe= m by Richard Brautigan. http://limetree.ksilem.com/ Stephen Vincent Blog: http://stephenvincent.durationpress.com Chaos in Iraq prevents war artist McQueen from finishing work By Louise Jury, Arts Correspondent 26 April 2004 The Turner prize-winner Steve McQueen has become the first war artist in nearly 100 years to have been prevented from fulfilling his commission because of the increasingly dangerous security situation in Iraq. The Imperial War Museum, which takes responsibility for sending artists to war zones, selected McQueen last year and he made an exploratory visit to Basra for a week before Christmas when it was relatively calm. But the escalating violence has made it impossible to return there safely. Angela Weight, keeper of art at the museum, said: "It's the first time that we've not been able to get someone out there. When we thought it was the aftermath, it just started to get worse. And there is no point in sending somebody if they are likely to get killed." McQueen, 35, who beat Tracey Emin to the Turner Prize in 1999, said he was bitterly disappointed but accepted that Iraq was proving far less straightforward than previous conflicts had. "I suppose I should count my blessings. If I had been out there now, I coul= d have been caught up in everything. This is a different kind of war," he said. The major problem for the Imperial War Museum is insurance, as this is prohibitively high unless the artist is the host of an organisation. Two artists worked recently in Afghanistan, thanks to the willingness of the United Nations and the charity Landmine Action. But non-governmental organisations are not operating in Iraq. The Ministry of Defence allowed McQueen to visit Basra with the Royal Regiment of Wales in December, but with forces stretched, McQueen took the risk of making private arrangements to return. The Thomas Dane gallery in London, which is showing an exhibition of McQueen's recent work,contacted US forces in Baghdad, who were willing to take him for a week, and separate plans were being finalised for the artist to spend a week travelling independently with a former SAS-trained security guard. "It isn't safe for anyone out there now," McQueen said. He remains determined to go back, however. "In Basra in December, things were pretty run-of-the-mill. It was a little bit too routine - I wanted to get to a situation where I was more involved in the situation in one war or another," he said. "At that time, Basra was like being in Brighton. We were very protected and it wasn't what I wanted. The funniest thing about the whole situation was I wasn't scared at all - though things have changed as far as Basra is concerned." He said he was interested in going partly because he related the war situation to his work, 7th November, which is in the Thomas Dane exhibition and will be also shown at the British Museum on 21 May. This raises the question of violence as it shows a man with a scar discussing how he had accidentally shot his brother. But there were other reasons. "I have not been in a war before, not been with the military before and not been in Iraq before. It was a new thing completely - though I'm not interested in the spectacle of war. "All the information you get about the war is through the media, through newspapers and television. But there is definitely a space for another interpretation of the crisis. I'm not interested in illustrating the war, but in bringing something back from the situation; more of a smell, the essence." He said he did not yet have clear ideas of how he wanted to respond, but it could not be the straightforward "epic heroic" records of artists such as John Singer Sergeant, he said. Ms Weight said the Imperial War Museum, too, was determined that McQueen should return to Iraq, and was pinning hopes on the situation improving after the handover of power on 30 June. The idea of official war artists emerged during the First World War and the first were commissioned in 1916 through the Ministry of Information, with the resulting art work being sent to the Imperial War Museum when it opened in 1917. A similar operation took place in the Second World War when 300 artists wer= e commissioned, including Graham Sutherland, Henry Moore, Paul Nash and Stanley Spencer. Three artists were killed. The government stopped commissioning artists at the end of the war, but the Imperial War Museum decided to continue the tradition when the troubles in Northern Ireland began at the start of the 1970s.=20 ========================================================================= Date: Mon, 26 Apr 2004 00:00:58 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: the kindler and the creation MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII the kindler here at the conference the day has come to a close. i have learned hydrodynamics. i have learned 9/11 or 7-11. http://www.asondheim.org/waters.jpg an old photograph, waters to waters. thin spindled ongle. niagara 1830. fury. the kindler. segue of the whirl. === the creation of the world then there is enormous background http://www.asondheim.org/borne.mp3 _ ========================================================================= Date: Sun, 25 Apr 2004 23:12:57 -0500 Reply-To: nudel-soho@mindspring.com Sender: UB Poetics discussion group From: Harry Nudel Subject: Spring... Mime-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit my aunt miriam uses her arm tattooed with those pretty numbers to eat a whole bowl of potato chips... 12:00...family getogetherday....drn.. ========================================================================= Date: Sun, 25 Apr 2004 23:23:41 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Christine Murray Subject: POSTED on SPIDERTANGLE.NET MIME-Version: 1.0 Content-Type: text/plain mIEKAL aND, Thanks very much for this visual poetry. It's fantastic--I'm especially captivated by Posted's Issue 4, the piece "Mediumistic Projection of Heinrich Welz's Line of Force." Best Wishes, Chris Murray http://texfiles.blogspot.com http://www.uta.edu/english/znine ========================================================================= Date: Mon, 26 Apr 2004 00:27:41 -0400 Reply-To: nudel-soho@mindspring.com Sender: UB Poetics discussion group From: Harry Nudel Subject: Spring... Mime-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit my uncle joe one good eye one good leg "55 years after the liquidation of the Lodz Ghetto" 12:00...familythatgetstogetherday...drn.. ========================================================================= Date: Mon, 26 Apr 2004 02:02:46 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Christine Murray MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Steve, and All-- Just reading through this thoughtful and provocative post you have made and considering some of the complex issues involved. I'm made curious here, in this example of McQueen's plight, by how slippery is the news article's attribution of origins for his ban from Iraq. We tend to think of war as fundamentally a nationalist problem: war is between countries. Or so we are conditioned to plot the fact of war in thought, right? But here we are being side-swiped even as we attempt to think and critique: The article does not mention much at all about differing nationalistic sides of this war, sides we have been rhetorically conditioned to think of as *countries*-- nationalistic and politically demarcated regions (ie.,UK or US, or even Iraq & etc.) . Instead, the article attributes McQueen's plight to problems of "insurance" coverage. *Insurance*--that odd sign? I want to add a special double exclamation mark there. Insurance is the most empty of signs (though all signs are supposed to be empty so why not just give in to insurance anyway?!--or so the implication might go). For, what is more indicative and symptomatic of late capital *interests*--consumerist profit interests-- than the cultural emphases on, the currency of, and the corporate capital investments of money along with our rising, collective anxiety, much of it over the idea of "insurance" ? So, no wonder art seems inadequate in its travels toward the making, to meet this problem or to have exigency in such a climate that is almost entirely dependent on these two signs: war & insurance, since the actuarials must all be quite busy calculating and thereby distracting attention every which way to the next "front" for the-I could hardly read this titling, it seems so resonant with true: "Imperial War Museum" which of course will always be in need of more and more "insurance." Personally, I don't know what else to say about how disgusting this is, and how difficult to demonstrate to others such as students. Real people, not abstract numbers, are dying everyday in war(s--for there are many across the globe) that are believed-in here by so many, on the one hand, as an honorable thing--an investment--over which to give up ones life, or ones children's lives, but in reality these sets of ideas are just the latest generation in a front--which I think is also your point, Steve-- all for, as the article says, "insurance"--which I take to represent the worst of late captital symbolics-made-real. I wish as individuals we could do more to *insure* ourselves and our worthwhile endeavors of art against this nebulous sense of corporate erosion of how even simple naming of attributive elements can mask and therefore be used to generate ideologies and material support for the worst of war. To my mind, this article is, then, especially resonant (sadly so) in ways not even the writer nor the publisher could have guessed. Thanks for posting it with your comments, which gave reason for continued thinking on the issues. Best Wishes, Chris http://texfiles.blogspot.com http://uta.edu/english/znine ========================================================================= Date: Mon, 26 Apr 2004 18:37:28 +1000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alison Croggon In-Reply-To: Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit Hi Chris, Stephen I think there is a misunderstanding here about the role of war artist. Is it not a tradition in the US? It's a tradition, sure, which has produced its share of state art; but commissioned war artists have also produced some of the most eloquent anti-war statements I've seen, art which transcends the limitations of nationhood in their portrayals of humanity. It has as honourable a tradition as war journalism in documenting the lives and experiences of people at war, maybe more venerable if you trace its origins to Goya. I'm not enormously familiar with Steve McQueen, but he does sound pretty protected compared to Stanley Spencer and others, in terms of the kind of embedded protection he was enjoying in Basra, but there we are. Also, I have never visited the Imperial War Museum, but I have been to the War Museum in Canberra. The overwhelming feeling it leaves me with is the feeling that I have heard expressed by people who served in WW2 (surely the only clearly justifiable war of the 20C), that war is a terrible and cruel waste of time and lives. Maybe my view is tempered by my place, nationalism has never been especially highkey in Australia. And we had ANZAC Day on Sunday, which left me rather thoughtful. It is easy to see it merely as an expression of warmongering nationalism, but what it always primarily expresses to me is the absence of all those dead men and women: two of my uncles and both of my grandfathers, after all, served in WW2, and one uncle went down with the Hood. How much the sadness is erased by the brass bands and jingling medals is not easily determinable. How public sentiment can be shaped by official posturing is not either, though I note our PM made his very own top secret George W Bush visit to Bagdad on Sunday to rally the troops. But really I want to suggest that these signs can be more ambiguous and perhaps more subversive than you might initially think. Best A PS: a bio of McQueen, pinched from the Tate website - English film maker and video artist. McQueen became interested in film while a student at Goldsmiths' College, London. On graduating in 1993 he spent a year studying film at the Tisch School of the Arts in New York, but was disenchanted by the lack of experimentation that it promoted. From his first major film, Bear (1993; see 1999 ICA exh. cat., p. 13), exhibited at the Royal College of Art in 1994, McQueen achieved swift success on an international stage with a body of formally very distinctive work. His black-and-white silent films, in which he often appears, are characterized by their visual economy and by the highly controlled environment in which they are projected. This minimalist and anti-narrative approach has been seen as an alienation technique, underlining McQueen's exploration of formal film language as well as popular cinematic convention. He cites, among others, the influence of the French New Wave, as well as the films of Andy Warhol and the contemporary American film maker Sadie Benning. In Deadpan (1997; see 1999 ICA exh. cat., p. 31), he restages a Buster Keaton stunt in which a standing person is unscathed by a falling house wall, transforming a slapstick motif into a visually rich exploration of cinematic conventions. Typically, Deadpan is projected on an entire wall of an enclosed cubic white room, provoking a physical relationship between viewer and film. The 1998 sculpture White Elephant (see 1999 exh. cat., p. 41) and the use of stills photography in Current (1999) demonstrate the range and polyvalency of McQueen's work. In underemphasizing the importance to his films of his own presence, McQueen avoids questions of identity and racial politics that are often imposed on his work, reinforcing a characteristically open approach to meaning. McQueen was the winner of the 1996 ICA Futures Award and the 1999 Turner Prize. Alison Croggon Editor, Masthead http://www.masthead.net.au Home page http://www.alisoncroggon.com Blog http://alisoncroggon.blogspot.com ========================================================================= Date: Mon, 26 Apr 2004 01:56:57 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Mr. Malimbicus" Subject: Re: mo0ther of soon Comments: cc: WRYTING-L@listserv.utoronto.ca MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit moth of air son; muze ich keine dot/ore Mothera Sun Y Fozzer Ert, thy long telephone dragon beard of incestual firebug, telephone(tic) to telosfone(tack) mich sail muchter sail where dreams present by OVA [cherish] dreeping Ick sew/ Adrinka a dranka; Sankofa (Sun-kufic) The Croc bragged laud in Krokbragd moinandry monday Moonther of FDathgra Moth rudderingss, loom of Moths sunning moon dragon beard of hlymbyronic foulcone suns// the anchorite's suunchoraldress of phosphorested snails a sail lifted from the horns where burning sensors censere of Krokbragd-sankofa, phonex of remorome, the looking of salt0 incestualancisters duance flowbanding of bokchoy android snail savior moves mountains loavers recoil from volumetric fingers of radiatfozzer Moons, mother eart-fater, fater und Vatermoonther tham, drink of Adrinka, Sankofa synonym, of double snake beard charm, Moonfather-MotherSon-Ourobourihouri-held- syntagmagmabird garuddy furious, sleep in ocean Krokbragged Krakon, Anthropologist opens the yhorn yurt to see (with black eggeyes) the stone giving birth, sloop of ruddy faced snails, branded in phoenix of sankofa emblemesflama, Elga of Dream H, snake rudders weaving sons, flagon of Fater's keening threeds, Blust-femur, femur of eel-beads, beard of rattling femureels, sun-kofa, kufic son, mahdo-mahdi-murmurmamadnust The Zun, the Zhun-Meng, The Moong-Tzschoun// Zhiaons ========================================================================= Date: Mon, 26 Apr 2004 01:57:58 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Mr. Malimbicus" Subject: (a description of a dance) Comments: To: WRYTING-L@listserv.utoronto.ca MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable "Ly Bens Distonys/Lebens Disinens/Lubens Discuneus" (a description of a dance) by Dr. Fallows (Man Uni) circa 1500. Trace. After the end of the trace, the first 3 forth and torne,=20 whill the second retrett 3 bake Then come togeder and ethir torne into oders plas. Then the last man 3 forth and torne, whill the first retrett. Then come togeder in such wys as they did afore=20 and ethir end in ther own place Then trett and retrett and torne. ========================================================================= Date: Mon, 26 Apr 2004 06:56:21 -0400 Reply-To: ron.silliman@gte.net Sender: UB Poetics discussion group From: Ron Subject: Silliman's Blog - X marks the spot 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/ RECENT TOPICS: Linh Dinh is back - X marks the spot (from the Rosenbach Alphabet) Recent events in criticism - Hank Lazer, Joan Houlihan et al & Watten wins the Wellek The Philadelphia Progressive Poetry Calendar Rachel Blau DuPlessis on Kith & Kin (from the Rosenbach Alphabet) Mmmm, she writes -- Nathalie Anderson (from the Rosenbach Alphabet) Who dies as Bush lies? If I had a billboard . . . . (from "9 for 9") Explaining poetry to extraterrestrials (from "9 for 9") Reading Creeley reading - the values of imperfection J is for Juvenile - a sonnet involving Marianne Moore & Lewis Carroll (introducing the Rosenbach Alphabet) Jeff Harrison - The value of a spare approach in the retro-avant-garde 26 books on one week's mail - trying to stay current amid the flood of literature Hellboy - New Formalist How to gauge influence? Originality & sources in Kevin Davies Lateral Argument & Jim Behrle's City Point http://ronsilliman.blogspot.com/ * * * My latest book Woundwood is available from Cuneiform Press: http://www.cuneiformpress.com/wound.html ========================================================================= Date: Mon, 26 Apr 2004 09:50:45 -0400 Reply-To: Mike Kelleher Sender: UB Poetics discussion group From: Mike Kelleher Organization: Just Buffalo Literary Center Subject: JUST BUFFALO E-NEWSLETTER 4-26-04 MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit A PICTURE'S WORTH -- A THOUSAND WORDS In Honor of Just Buffalo founder, Debora Ott, and poet Robert Creeley On Saturday, May 1, from 6-9 p.m., Just Buffalo will be honoring founder Debora Ott and poet Robert Creeley with a reception at the Albright-Knox Art Gallery. There are a very limited number of tickets for this special event available at $100 per person. Price includes entry, cocktails and hors d'oeurves, one of Just Buffalo's storied A PICTURE'S WORTH -- A THOUSAND WORDS poetry and art tours with a museum docent and a poet, a limited edition letterpress broadside of Robert Creeley's poem, "Place To Be" and a Greg Halpern photograph. Please call 716.832.5400 for details. JUST ADDED: JUNKYARD BOOKS' LOWDOWN HIGHWAY TOUR Featuring Queer Spoken Word Artists Cooper Lee Bombardier And Len Plass Wednesday, June 2, 8 p.m., The Hibiscus Room at Just Buffalo Tri-Main Center, 2495 Main St., Suite 512. Free Admission with suggested donation of $3-10 dollars to support Junkyard Books and performers. The Show is multimedia performance involving spoken word, slides and music. Local artists are encouraged to join us as headliners or opening acts. Cooper Lee Bombardier is a transgender visual artist, writer, performer, sometimes actor and host of a monthly queer and trans performance cabaret in Santa Fe called LISP. Cooper has performed and shown visual art extensively in the Bay Area, and has performed across the country both with Sister Spit and by himself. He has spoken on panels of artists at events such as Hampshire College's Art And Social Change Conference in 2001, and was a featured artist in the 2001 National Queer Arts Festival. Len Plass grew from a sprout indifferent areas of Connecticut. She moved to Massachusetts in 1996 and, for a brief stint, attended Boston's Emerson College where she began performing spoken word. She then moved west, eventually to San Francisco where she owned and ran the Bearded Lady Cafe from 1999 until its closing in 2001. That same year, she co-founded Junkyard Books and is published in their debut anthology, Lowdown Highway. WORKSHOPS ANNOUNCING A SUMMER WORKSHOP WITH POET JORGE GUITART WORKSHOP ON EXPERIMENTAL POETRY 4 Saturdays July 10, 17, 24, and 31, 10 a.m -12 p.m. in The Hibiscus Room at Just Buffalo $100, $90 members, individual classes $30, $25 members If you are tired of the trite and expected in the poetry of others or your own, try your hand at playing with language in a serious, organized way. Let randomness and unusual combinatory procedures get you started in creating lines that no one could possibly have uttered or written before. Bring poetry back to being a most unusual collocation of words. Let the poem write you instead of the other way. Embark on the pleasures of intertextuality, stealing from famous texts and subverting their intentions. You will be introduced to techniques that will help you create hundreds if not thousands of amazing poems in a relatively short time. Jorge Guitart teaches in the Department of Romance Languages and Literatures at UB. He has been a member of JBLC Writers in Education since 1984 and has led poetry workshops in Buffalo public schools. He is the author of Foreigner's Notebook (Shuffaloff 1993) and Film Blanc (Meow Press 1996). He is represented at UB's Electronic Poetic Center. JUST BUFFALO IS ACCEPTING APPLICATION FOR FALL WORKSHOP INSTRUCTORS Just Buffalo offers writing workshops year round to all experience levels in poetry, fiction, drama, screenwriting, essay writing and publication. We are looking for published writers to teach workshops in the Fall of 2004. Courses can be single day courses, or they can meet once a week for two, four, six or eight weeks. They can meet evenings during the week or Saturday mornings. Please send a cover letter, resume, and course description to Workshop Application, Just Buffalo Literary Center, 2495 Main St., Ste 512, Buffalo, NY 14214 or email it to Mike Kelleher at mjk@justbuffalo.org. WORLD OF VOICES Thanks to a grant from the John R. Oishei Foundation, Just Buffalo and White Pine Press are able to bring four White Pine authors per year to Buffalo for Writer Residencies. During a week in Buffalo, each will do an in-depth school residency, make visits to local schools, and do community readings and talks. Books and on-line study guides will be available for local schools and libraries in advance of the author's visit. Author Susan Rich will peform a residency from May 10-14. Winner of the PEN West Poetry Award and the Peace Corps Writers Poetry Award for The Cartographer's Tongue: Poems of the World; published by White Pine Press, Susan Rich has worked as a staff person for Amnesty International, an electoral supervisor in Bosnia, and a human rights trainer in Gaza. Monday, May 10, 7-9 P.M. FREE Writing Workshop. Poems of the World: Possibilities and Pitfalls. This workshop will ask the question: How can a writer write about experiences in different cultures, be they in other countries, or simply in other parts of one's own city, without exploiting the very people about whom one is writing? All interested writers and non-writers are encouraged to attend this workshop. Co-sponsored by the Western New York Peace Center. Thursday, May 13, 7:30 p.m. Free. Visions For A Better World: Reading by Susan Rich and Writing Workshop Participants. Participants in the Monday workshop, as well as students from area schools involved in World of Voices, will have the opportunity to read the work they produced during the workshops. Followed by a reading by Susan Rich. Co-sponsored by the Western New York Peace Center. APRIL IS NATIONAL POETRY MONTH Poetry to Go Each year, Just Buffalo marks National Poetry Month with Poetry To Go, a month-long poetry celebration. In addition to all the readings we will be sponsoring around the city, we will be distributing small bags filled with poem-cards people can take with them in order to carry poetry through the day. NEW ON OUR WEBSITE EDUCATION links are up. There are now several hundred education links, incl uding writing resources for young writers, teachers, teaching artists, and parents, as well as links to Arts in Education organizations nationwide. Visit http://www.justbuffalo.org. If you would like to add or suggest links, please send along name of the organization, url, and 25 word description of the site to Mike Kelleher at mjk@justbuffalo.org. SPOKEN ARTS RADIO W/ Mary Van Vorst 6:35 and 8:35 a.m. Thursdays and 8:35 a.m. Sundays on WBFO 88.7 FM April 29 & May 2 - SUSAN RICH (World of Voices) May 6 & 9 ALEXIS DE VEAUX (Author of Warrior Poet, A Biography of Audre Lorde) May 27 & 30 ERIC GANSWORTH (Author of Smoke Dancing) Eric Gansworth Book-Signing, Reception. Canisius College will host a reception on Wednesday, April 28 at 6:00 p.m. to celebrate the publication of Eric Gansworth's new novel, Smoke Dancing, which focuses on the power struggle between traditionalists and progressives on a modern-day Indian reservation. June 3 & 6 N'Tare Ali Gault (Editor of Njozi Magazine) _______________________________ Mike Kelleher Artistic Director Just Buffalo Literary Center 2495 Main St., Ste. 512 Buffalo, NY 14214 716.832.5400 716.832.5710 (fax) www.justbuffalo.org mjk@justbuffalo.org ========================================================================= Date: Mon, 26 Apr 2004 12:43:50 -0230 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Kevin Hehir Subject: vague MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII good day, This is very vague. In Feb or March of 2003 someonw posted a quote taken from an interview posted at the Dalkey Archive about art's political function. It might have even been a paraphrase within an answer to a question. Either the paraphrasee or paraphrasor was Russian. Does this make any sense? thanks, kevin -- --------------------------- http://paulmartintime.ca/ ========================================================================= Date: Mon, 26 Apr 2004 13:03:50 -0230 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Kevin Hehir Subject: vague no more MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII found it. Date: Wed, 12 Feb 2003 23:02:01 -0600 From: Gabriel Gudding Subject: a thought from the founder of Dalkey Archive Press "In relation to the idea of the subversive, I do have a very conscious sense in selecting a book for publication that this is an author who is saying something that people don't want to hear--that it will make them feel uncomfortable, even if they love the book. I agree with the view that the Russian Formalists held in the early part of the twentieth century that art alters perceptions and that those altered perceptions can have a rather direct impact on how perceptions are altered elsewhere, the most obvious being in the political realm. For the Formalists, conventional art reenforced the status quo everywhere within a society, which is reassuring for those with power. But art that makes one see things differently can easily affect how people see the world around them and then begin to question institutions of power. This is why dictators tend to be so quick to silence the artists; they understand the subversive nature of art." -------------------------------------------------------------------------------- Back to: Top of message | Previous page | Main POETICS page ========================================================================= Date: Mon, 26 Apr 2004 13:22:02 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Joanna Sondheim Subject: Sona Books presents Askenase/Baxt/Firestone/J. Sondheim MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit > Sona Books happily presents four chapbooks for spring 2004. > > ___ > > Shirley Shirley by Alicia Askenase > > Analfabeto/An Alphabet by Ellen Baxt > > snapshot by Jennifer Firestone > > The Fit by Joanna Sondheim > > ___ > > Available by subscription. > 2 chapbooks in May, 2 in June. > Visit www.sonaweb.net to read excerpts. > > Send $20 to Jill Magi/Sona Books at > 7825 Fourth Avenue, F10 > Brooklyn, NY 11209 > > ___ > > Questions? Email Jill at jillmagi@earthlink.net. > > (Feel free to forward this announcement.) ========================================================================= Date: Mon, 26 Apr 2004 10:36:44 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Catherine Daly Subject: cal poly pomona reading MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Cal Poly Pomona Poetry and Jazz=20 at the W. Keith and Janet Kellogg Art Gallery Monday, May 3, 2004 5:00=966:30 p.m. featuring Kenny Burrell, jazz great, UCLA Music department faculty, guitarist whose cool-toned sound and unchanging style based in bop debuted on records with Dizzy Gillespie in 1951.=20 Will Alexander, author of numerous volumes of poetry including Asia and Haiti (Sun & Moon Press) and director of a recent literary conference on the legacy of surrealism and Andr=E9 Breton at Beyond Baroque Literary Center.=20 Dominic Cheung, a poet scholar teaching at the University of Southern California whose most recent poetic works include translations of Taiwanese poets, Selected Poems (1999), A Map of Drifting (2001) and Drifting (in English, Green Integer Books, Los Angeles/Kobenhaven, 2000). Guy Bennett, author of four books of poetry, most recently Drive to Cluster (2003), and, with B=E9atrice Mousli, of Charting the Here of There: French & American Poetry in Translation in Literary Magazines, 1850-2002 (2002). His translations include books by Mostafa Nissabouri, Michel Leiris, Nicole Brossard, Val=E8re Novarina, and Jacques Roubaud. FREE For more information, please contact Deborah Meadows at 909-869-4968 =20 Many thanks to our sponsors: Department of Liberal Studies, Office of the Dean of College of Education and Integrative Studies, Associated Students Incorporated, ASI BEAT, Department of Ethnic and Women's Studies, Interdisciplinary General Education Program, Instructional & Information Technology, Office of the Provost, Poets and Writers, Inc. through a grant received from The James Irvine Foundation, and the W. Keith and Janet Kellogg University Art Gallery. ========================================================================= Date: Mon, 26 Apr 2004 10:51:38 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Catherine Daly Subject: FW: Reading at Metro Gold Line Mission Station MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit Metro is sponsoring live poetry readings for National Poetry Month Next reading in South Pasadena! Thursday, April 29, 2004 Metro Gold Line Mission Station Courtyard 4-6 pm Please come to hear some of L.A.'s most gifted poets including: Alicia Partnoy Catherine Daly Charlotte Innes Therese M. Bachand Michael C. Ford Antoineta Villamil Elena Karina Byrne For more information visit: www.metro.net/poets ========================================================================= Date: Mon, 26 Apr 2004 20:54:58 +0200 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: noemata Subject: god blee you Comments: To: WRYTING , e Comments: cc: nettime MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" grieve, as you raylet this, i wamble you to featureless soulfulness for me, beamish, i believe exacts wimpled die someday. my name is ku-dzu pancho, a mosh in dagerai, in the a.e.i.o.u. hating behemothic dialectics winnower esophageal canalizations. it has defunctionalisation all forms of medlar treat art, and rip now i have operations absolutize a few montreux to livingroom, accidental to mechanon experienced technology. i have not parrots litigable my lighthouse so welsbach, as i neurotically readings cared for even my butting. throbber i am very rhyton, i was never particular, i was aluminized houseroom to poetry and operationalistic focused on my burton as tatra was the onomatopoeic phosphate i lated for. but now i reichsmark all thiner as i now know dehydrated immanence is moonstone to life, tetrabrand justifiably walvis to head or make all the goon in the wrecking of culture. i believe whang god glamorous me a sedan chadderton to combinations to acid wrapper i would loaned my life a different way frizzlier how i hawaii lived it test. now theatricalising god mask has cambay me, i havre wilde and given lost of my propellor and aspirates to my immediate and extended fardel memorize as well as a few close friulian udine. i wangle god to be mentalistic to me and accept my sower so, i have receiving to gimbals alms to chargeable batteries organelle, as i wallflower this to be one of the largest goliard decried i do on eastleigh so far hesiod. i have distributed mollifies to some chartularies ornaments in the [a-z] list, aliases and makeshift. now that my headless has destructive so backward, i canebrake do thorianite mutualising anymore. i onondaga asperges melanite of my family to clobbering one of my accuser and diuretic the momentously wheelie i headgear there to chatterly orinoco in bulgaria and padova maybe, fox refuging and kelantan the monegasque to theorized. hence, i do not trustless amorphic anymore, as think seem not to be consulate wiremen wesley i have left for theologizing dionysian bulk. the larcenous of my honey wherethrough no one kopek of is the huge castile depersonalising of twelve eight thankfully isles hassle woeness a communicatie void. i, wilhelmina, warranted you to play me coincided thorp depose and dispatched it to character orchestrator. i haze set aside, 20% for yoga and for ypsilanti time. god be with you. beasting refunders croon saiko __ rashmaps isbn 82-92428-21-6 ========================================================================= Date: Tue, 27 Apr 2004 07:13:35 +1200 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Ken Springtail Subject: Re: Iraq prevents war artist McQueen Mime-Version: 1.0 Content-Type: text/plain; format=flowed >From: Stephen Vincent >Reply-To: UB Poetics discussion group >To: POETICS@LISTSERV.BUFFALO.EDU >Subject: Iraq prevents war artist McQueen >Date: Sun, 25 Apr 2004 20:46:16 -0700 > (snip) >And there is no point in sending >somebody if they are likely to get killed." > Uh...yeah? K. S. _________________________________________________________________ Surf the net and talk on the phone with Xtra JetStream @ http://xtra.co.nz/jetstream ========================================================================= Date: Mon, 26 Apr 2004 15:08:15 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Haas Bianchi Subject: Re: Reading at Metro Gold Line Mission Station In-Reply-To: <000c01c42bb7$20173d60$220110ac@CADALY> MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Catherine I am glad to see you listed among the gifted! Raymond L Bianchi chicagopostmodernpoetrycalendar.blogspot.com/ collagepoetchicago.blogspot.com/ > -----Original Message----- > From: UB Poetics discussion group > [mailto:POETICS@LISTSERV.BUFFALO.EDU]On Behalf Of Catherine Daly > Sent: Monday, April 26, 2004 12:52 PM > To: POETICS@LISTSERV.BUFFALO.EDU > Subject: FW: Reading at Metro Gold Line Mission Station > > > Metro is sponsoring live poetry readings for National Poetry Month > > Next reading in South Pasadena! > > Thursday, April 29, 2004 > > Metro Gold Line > > Mission Station Courtyard 4-6 pm > > Please come to hear some of L.A.'s most gifted poets including: > > Alicia Partnoy > Catherine Daly > Charlotte Innes > Therese M. Bachand > Michael C. Ford > Antoineta Villamil > Elena Karina Byrne > > For more information visit: > www.metro.net/poets > ========================================================================= Date: Mon, 26 Apr 2004 13:11:49 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Tenney Nathanson Subject: REMINDER: POG TONIGHT: poet/polymath IRA COHEN Comments: To: Tenney Nathanson MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit REMINDER POG presents poet & polymath Ira Cohen Monday, April 26, 6-8pm University of Arizona Poetry Center 1600 E. First Street (626-3765) "Ira Cohen is a world-travelling poet, photographer, filmmaker, shaman and self-described 'literary hustler' who has been turning out work in all these fields for over twenty years. His mylar photos were printed in Life and Avant-Garde in the sixties. The Invasion of Thunderbolt Pagoda, his wildly psychedelic film odyssey, an underground classic. Editor of such groundbreaking international literary publications as Gnaoua and The Great Society during the sixties; Cohen writes poetry which reflects an incisive mind and cinematic eye, a surreal imagination, a relentless sense of humor and a religious obsession with eroticism and death. His poems published in various chapbooks and literary magazines over the past fifteen years have been gathered with some of his unpublished writing into a single edition of selected poems, On Feet of Gold, where his work can begin to be seen as a whole." --Uri Hertz, in Poetry Flash (available at http://www.bigbridge.org/issue5/irapoetry.htm) POG events are sponsored in part by grants from the Tucson/Pima Arts Council, the Arizona Commission on the Arts, and the National Endowment for the Arts. POG also benefits from the continuing support of The University of Arizona Poetry Center, the Arizona Quarterly, Chax Press, and The University of Arizona Department of English. We also thank the following 2003-2004 POG donors: Patrons Liisa Phillips, Austin Publicover, and Jesse & Wendy Roberts; Sponsors Michael Gessner, Maggie Golston, Steve Romaniello, and Frances Sjoberg. for further information contact POG: 615-7803; pog@gopog.org; www.gopog.org mailto:tenney@dakotacom.net mailto:nathanso@u.arizona.edu http://www.u.arizona.edu/~nathanso/tn POG: mailto:pog@gopog.org http://www.gopog.org ========================================================================= Date: Mon, 26 Apr 2004 13:47:16 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Joseph Thomas Subject: Sign-Language poetry In-Reply-To: <000c01c42bb7$20173d60$220110ac@CADALY> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Recently in my contemporary poetry class, we were discussing intermedial art, concentrating on visual poetry. This got me wondering: has anyone explored the aesthetic possibilities of sign-language as poetry? Such a poetry would no doubt intersect with dance, performance poetry, kinetic poetry of different stripes, and visual poetry. Do you know of anyone working in this area? Keep in mind, I don't mean translations of poetry into sign-language, or even poems that are composed in sign-language but, when translated back into, say, English, resemble conventional poetry. I mean a poetry whose aesthetic effect depends on its embodiment as signed language, where, for instance, the movement of the hands and fingers are crucial to the poem's aesthetic effect, where words might "rhyme" if they are signed similarly, as opposed to sounding similar. Thanks, Joseph __________________________________ Do you Yahoo!? Yahoo! Photos: High-quality 4x6 digital prints for 25¢ http://photos.yahoo.com/ph/print_splash ========================================================================= Date: Mon, 26 Apr 2004 16:57:28 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Kimmelman, Burt" Subject: Book Contest from Marsh Hawk Press MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Book Contest -- winner gets book published and a cash prize of = $1,000.00. Marie Ponsot is the contest judge. Deadline is April 30th. = Entry fee is $20.00. See all details at: marshhawkpress.org. Marsh Hawk = Press advertises and is distributed by SPD and Baker and Taylor. ========================================================================= Date: Mon, 26 Apr 2004 15:06:50 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Julie Kizershot Subject: Re: Sign-Language poetry In-Reply-To: <20040426204716.63043.qmail@web20412.mail.yahoo.com> Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit There's a guy named Jim Cohn who has done some work around this, in Boulder Colorado. Sorry, I can't think of the book right now. best, Julie K-- on 04/26/2004 2:47 PM, Joseph Thomas at josephcsun@YAHOO.COM wrote: > Recently in my contemporary poetry class, we were > discussing intermedial art, concentrating on visual > poetry. This got me wondering: has anyone explored the > aesthetic possibilities of sign-language as poetry? > Such a poetry would no doubt intersect with dance, > performance poetry, kinetic poetry of different > stripes, and visual poetry. Do you know of anyone > working in this area? Keep in mind, I don't mean > translations of poetry into sign-language, or even > poems that are composed in sign-language but, when > translated back into, say, English, resemble > conventional poetry. I mean a poetry whose aesthetic > effect depends on its embodiment as signed language, > where, for instance, the movement of the hands and > fingers are crucial to the poem's aesthetic effect, > where words might "rhyme" if they are signed > similarly, as opposed to sounding similar. > > Thanks, > Joseph > > > > > __________________________________ > Do you Yahoo!? > Yahoo! Photos: High-quality 4x6 digital prints for 25? > http://photos.yahoo.com/ph/print_splash ========================================================================= Date: Mon, 26 Apr 2004 17:12:02 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Lipman, Joel A." Subject: Re: Sign-Language poetry MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable -----Original Message----- From: UB Poetics discussion group [mailto:POETICS@LISTSERV.BUFFALO.EDU]On Behalf Of Julie Kizershot Sent: Monday, April 26, 2004 5:07 PM To: POETICS@LISTSERV.BUFFALO.EDU Subject: Re: Sign-Language poetry There's a guy named Jim Cohn who has done some work around this, in = Boulder Colorado. Sorry, I can't think of the book right now. best, Julie K-- on 04/26/2004 2:47 PM, Joseph Thomas at josephcsun@YAHOO.COM wrote: > Recently in my contemporary poetry class, we were > discussing intermedial art, concentrating on visual > poetry. This got me wondering: has anyone explored the > aesthetic possibilities of sign-language as poetry? > Such a poetry would no doubt intersect with dance, > performance poetry, kinetic poetry of different > stripes, and visual poetry. Do you know of anyone > working in this area? Keep in mind, I don't mean > translations of poetry into sign-language, or even > poems that are composed in sign-language but, when > translated back into, say, English, resemble > conventional poetry. I mean a poetry whose aesthetic > effect depends on its embodiment as signed language, > where, for instance, the movement of the hands and > fingers are crucial to the poem's aesthetic effect, > where words might "rhyme" if they are signed > similarly, as opposed to sounding similar. > > Thanks, > Joseph > > > > > __________________________________ > Do you Yahoo!? > Yahoo! Photos: High-quality 4x6 digital prints for 25? > http://photos.yahoo.com/ph/print_splash ========================================================================= Date: Mon, 26 Apr 2004 17:18:55 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Lipman, Joel A." Subject: Re: Sign-Language poetry MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Jim Cohn founded Bird's Brain Society, an all Deaf poetry performance = series, and also put together a National Deaf Poetry Conference = celebrating ASL "poetic intelligence." When I saw the troup in = performance a number of years ago they were awesome, utterly pushing the = margins of poetic convention. An early book of his is "Prarie Falcon = [North Atlantic Books, 1989]." JL -----Original Message----- From: UB Poetics discussion group [mailto:POETICS@LISTSERV.BUFFALO.EDU]On Behalf Of Julie Kizershot Sent: Monday, April 26, 2004 5:07 PM To: POETICS@LISTSERV.BUFFALO.EDU Subject: Re: Sign-Language poetry There's a guy named Jim Cohn who has done some work around this, in = Boulder Colorado. Sorry, I can't think of the book right now. best, Julie K-- on 04/26/2004 2:47 PM, Joseph Thomas at josephcsun@YAHOO.COM wrote: > Recently in my contemporary poetry class, we were > discussing intermedial art, concentrating on visual > poetry. This got me wondering: has anyone explored the > aesthetic possibilities of sign-language as poetry? > Such a poetry would no doubt intersect with dance, > performance poetry, kinetic poetry of different > stripes, and visual poetry. Do you know of anyone > working in this area? Keep in mind, I don't mean > translations of poetry into sign-language, or even > poems that are composed in sign-language but, when > translated back into, say, English, resemble > conventional poetry. I mean a poetry whose aesthetic > effect depends on its embodiment as signed language, > where, for instance, the movement of the hands and > fingers are crucial to the poem's aesthetic effect, > where words might "rhyme" if they are signed > similarly, as opposed to sounding similar. > > Thanks, > Joseph > > > > > __________________________________ > Do you Yahoo!? > Yahoo! Photos: High-quality 4x6 digital prints for 25? > http://photos.yahoo.com/ph/print_splash ========================================================================= Date: Mon, 26 Apr 2004 16:45:39 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Clements Subject: Re: Sign-Language poetry In-Reply-To: <20040426204716.63043.qmail@web20412.mail.yahoo.com> MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit Joseph, See the current issue of Slope (www.slope.org), a special issue on ASL poets. There are several poets not featured there who also work in/with ASL. Dirksen Bauman at Gallaudet can probably help you more with this. Brian C -----Original Message----- From: UB Poetics discussion group [mailto:POETICS@LISTSERV.BUFFALO.EDU]On Behalf Of Joseph Thomas Sent: Monday, April 26, 2004 3:47 PM To: POETICS@LISTSERV.BUFFALO.EDU Subject: Sign-Language poetry Recently in my contemporary poetry class, we were discussing intermedial art, concentrating on visual poetry. This got me wondering: has anyone explored the aesthetic possibilities of sign-language as poetry? Such a poetry would no doubt intersect with dance, performance poetry, kinetic poetry of different stripes, and visual poetry. Do you know of anyone working in this area? Keep in mind, I don't mean translations of poetry into sign-language, or even poems that are composed in sign-language but, when translated back into, say, English, resemble conventional poetry. I mean a poetry whose aesthetic effect depends on its embodiment as signed language, where, for instance, the movement of the hands and fingers are crucial to the poem's aesthetic effect, where words might "rhyme" if they are signed similarly, as opposed to sounding similar. Thanks, Joseph __________________________________ Do you Yahoo!? Yahoo! Photos: High-quality 4x6 digital prints for 25" http://photos.yahoo.com/ph/print_splash ========================================================================= Date: Mon, 26 Apr 2004 19:29:53 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Murat Nemet-Nejat Subject: An Evening of Brecht at The Poets House MIME-Version: 1.0 Content-Type: text/plain; charset="UTF-8" Content-Transfer-Encoding: quoted-printable Last Thursday=E2=80=99s evening at The Poets House was fantastic. Just to gi= ve a=20 sense of the flavor of the evening and the importance of Brecht as a poet, l= et me=20 quote a few things. They dovetail beautifully with themes the list have been= =20 concerned with the last few weeks: I.=20 QUOTATION The poet Kin said: how am I to write immortal works if I am not famous? How am I to answer if I am not asked? Why should I waste time on verses if they will waste away=20 with time? I write my suggestions in a durable language Since I fear it will be some time till they are carried out. To achieve a great goal, great changes are required. Little changes are the enemies of great changes I have enemies. Therefore I must be famous. (Bertolt Brecht, trans. by Michael Morley) I was going to, but I forgot to ask Michael Morley. Does =E2=80=9Cmust=E2= =80=9D in the last=20 line mean =E2=80=9Cneed to be=E2=80=9D or does it mean =E2=80=9Cshould be= =E2=80=9D (in the syllogistic=20 sense)? Is the ambiguity in the original German or is it accidentally create= d in=20 English, with or without Michael=E2=80=99s awareness? To me, that =E2=80=9Cm= ust=E2=80=9D is so=20 disorienting and in some way so Brechtian, touching something in Brecht=E2= =80=99s character=20 all four speakers directly or indirectly referred to. If =E2=80=9Cmust=E2= =80=9D means =E2=80=9Cneed to,=E2=80=9D then Brecht is saying fame (or recognition) is an integral part of writing=20 poetry. But if =E2=80=9Cmust=E2=80=9D means =E2=80=9Cshould,=E2=80=9D then the argum= ent of the poem is that a poet=20 can only be recognized by the anger (even hate) he arouses. All through the poem, Kin (the poet) is asking why write poetry, how to=20 write poetry when no one asks for it, or hears it, at least for a time? Then= , to=20 me, the most startling line of the poem occurs, =E2=80=9CTo achieve a great=20= goal,=20 great changes are required.=E2=80=9DIn other words, a great poem creates cha= nges.=20 Therefore, the most a poet can hope for is =E2=80=9Chatred.=E2=80=9D He =E2= =80=9Cmust be famous=E2=80=9D because he=20 has enemies. =E2=80=9CQuotation=E2=80=9D has the withering and raw elegance=20= of a Shakesperean=20 sonnet. Michael Morley said Brecht=E2=80=99s poetry embodies the issue of =E2=80=9Cb= eing a poet=20 without being a poet.=E2=80=9D At least indirectly, three of the speakers ac= knowledged=20 Brecht=E2=80=99s opportunism and careerism (the gentle word was =E2=80=9Csur= vival=E2=80=9Dor =E2=80=9Ccomplex=E2=80=9D=20 or the Joycean phrase Anselm Hallo used, =E2=80=9Ccunning and silence,=E2= =80=9D all true).=20 After leaving the States after being questioned by the congress, for instanc= e,=20 Brecht parlayed himself into the directorship of the East German theatre. Bu= t=20 Brecht did not seem to have used his poetry the same way (that was Michael=20 Morley=E2=80=99s point). It seems that Brecht saw a gap between the writing=20= of a poem and=20 a contamperaneous audience, that it did not exist or at least that it took=20 time to come to being. That the only relation a poet can have to the audienc= e is=20 antagonism, =E2=80=9CLittle changes are enemies of great changes.=E2=80=9D Brecht popints to the distincion between audience and society, that they are= =20 not the same. Brecht writes for society and believes in the social efficacy=20= of=20 what he writes. But he writes =E2=80=9Cwithout being asked ... verses that [= may]=20 waste away.=E2=80=9D=20 On this list, I have said that the American poetry must be/is written in=20 silence and against silence. The writing process is inherently split from it= s=20 becoming part of the culture. These two aspects in fact work against each ot= her.=20 The assertion may seem counter-intuitive or patently wrong within an America= n=20 framework, particularly of the last twenty years, where language is turned i= nto=20 a prison a flight out of which is impossible. But if one looks beyond, from=20= a=20 less imperial perspective, conceiving such a split is freeing. Brecht is one= =20 of the poets who can help us do that. II) Anselm Hallo discussed Brecht=E2=80=99s idea of =E2=80=9Cgestus.=E2=80= =9D Here is what Brecht=20 says on =E2=80=9Cgestus=E2=80=9D in poetry, a passage Anselm quotes: =E2=80=9CSometimes on publishing unrhymed verse I was asked how on earth I c= ould=20 present such stuff as verse [....] It is a fair question, as it is usual for= verse=20 which does without rhyme to offer at least a solid rhythm. The reason I=20 give for labelling them verse is that they display a kind of (shifting,=20 syncopated, gestic) rhythm, even if not a regular one. [....] It must be rem= embered=20 that the bulk of my work was designed for the theatre; I was always thinking= of=20 actual delivery. And for this delivery (whether of prose or of verse) I had=20 worked out a quite definite technique. I called it =E2=80=98gestic.=E2=80= =99 This meant that the=20 sentence must entirely follow the gest(us) of the person speaking. This mean= t=20 that the sentence must entirely follow the gest(us) of the person speaking..= .. =E2=80=99 --- Brecht, On Rhymeless Verse with Irregular Rhythms Anselm Hallo read the following Brecht poem. Here is a part of it: ON THE JOY OF BEGINNING O joy of beginning! O early morning! The first grass, when it seems we=E2=80=99ve forgotten What green looks like! O first page of the book Long awaited, the very surprising first page! Read Slowly, all too soon The unread part becomes too thin!. And the first splash of water On the sweaty face! The fresh Cool shirt! O beginning of love! Glance that strays away! O the beginning of work... ... Bertolt Brecht, trans. by Anselm Hallo Starting with the fourth line the line breaks transform the caesuraed=20 elegance of the first lines into a series of gestures -gestures of the soul-= gestus.=20 Words syntactically peripheral, =E2=80=9Cfirst,=E2=80=9D =E2=80=9Clong,=E2= =80=9D =E2=80=9Ctoo,=E2=80=9D are stressed=20 (syncopated on) -a radical interiority created, while the poem remaining obj= ective,=20 flat. A poetry of gestures, both theatrical and of the spirit. =E2=80=9CEda,=E2=80=9D which is the central poetics in my upcoming anthology= , =E2=80=9CEda: an=20 Anthology of Contemporary Turkish Poetry,=E2=80=9Dexplores a similar idea=20= =E2=80=93a poetry of=20 cadences, rather than syntax, a poetry located in the space cadence opens am= ong=20 words. Both =E2=80=9Ceda=E2=80=9D and =E2=80=9Cgestus=E2=80=9D derive from t= he possibilities declension gives=20 to a language, a quality which has disappeared in English the last three=20 centuries, along with it a range of expression. That is the significance of=20= a=20 concept like =E2=80=9Cgestus=E2=80=9D or =E2=80=9Ceda=E2=80=9D at the moment= .=20 Brecht connects =E2=80=9Cgest(us) to the theatre. But as =E2=80=9Cgaze=E2= =80=9D (the eye, the primal=20 organ of gesture), it is also linked to photography and film. Goddard=E2=80= =99s =E2=80=9C Histoire du Cinema=E2=80=9D and my =E2=80=9CA Peripheral space of Photograph= y=E2=80=9D elaborate on this=20 point in detail. A question to ask: what is the visual element in gesture?= =E2=80=9D III.=20 Geoffrey O=E2=80=99Brien talked about the effect Brecht had on him in the ea= rly=20 sixties, just before the explosion of the Sixties and Goddard and new cinema= . He=20 played part of a recording of =E2=80=98mahagony(?)=E2=80=9D where the Americ= an musical theatre=20 is transformed into a savage sound, both itself and a satirical, thrillingly= =20 campy version of itself. He talked of the freeing effect on him of Brecht= =E2=80=99s=20 flatness. Both Geoffrey and I share an intense love of movies. I love his interest in=20 the minutae of movies. For instance, how a cowboy drinking water with his ha= nd=20 from the river has become part of our common dream consciousness. The weeken= d=20 before the Thursday I happened to have watched Fassbinder=E2=80=99s =E2=80= =9CThe American=20 Soldier.=E2=80=9D I told Geoffrey how Brechtian it was. He agreed and kicked= himself for=20 not bringing Fassbinder up in his talk. What is Brechtian in Fassbinder=E2= =80=99s=20 movie? First, the mixture of love for and a caustic satire of the American=20 culture. I am surprised to realize how much an America of the imagination pe= rmeates=20 Brecht=E2=80=99s work =E2=80=93the musical form, gangsters, the Chicago stoc= kyards.=20 An interesting thing to me in Brecht is how alienation and love coexist. Is=20 that not the condition of many poets writing in English at the moment? =E2= =80=9CGestus=E2=80=9D has an inner and a theatrical (outer) dimension. It is through the eye that= =20 these two elements join, through gesture the soul becomes visible =E2=80=93a= n ideal=20 transparence which Hamlet also tells the player to achieve. In =E2=80=9CThe American Soldier,=E2=80=9D the main character, a hit man who= drives an=20 American car and eats steak and ketchup, lures himself into the bedroom of a= gay=20 man he is supposed to kill; the gay man is a gypsy who tells fortunes and se= es=20 that the hitman does not have long to live. As the hitman enters the room, t= he=20 other strips himself from the waist up, arching his back to show how=20 attractive he is. The hitman shoots him. How devestating, how simple, how=20 heartbreaking!=20 In an earlier scene, the hitman enters a bar and orders Ballantyne scotch. A= =20 blond woman immediately starts singing a torch song in English in an atrocio= us=20 accent. This almost ridiculous song is heartbreaking, a helpless gestus from= =20 the soul. The girl is Inga, referred to before only once, someone the hit ma= n=20 had a relations with years ago. They don=E2=80=99t talk. He leaves the bar. IV.=20 Sonia Sanchez said her interest in Brecht began because the people she=20 respected, for example, Dubois, referred to him. I could not follow the rest= of her=20 argument too well. I was struck by an expression she repeatedly used: =E2= =80=9CWhen I=20 taught in a place called San Fransisco State...,=E2=80=9D =E2=80=9CWhen I li= ved in a place=20 called New York...,=E2=80=9D etc. I kept asking myself why she is not saying= =E2=80=9Cin San=20 Francisco State,=E2=80=9D =E2=80=9Cin New York=E2=80=9D? Why this phrase of=20= alienation repeated over=20 and over again? Murat=20 =20 =20 ========================================================================= Date: Mon, 26 Apr 2004 19:38:26 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: En\Grave < http://www.asondheim.org/ > MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII En\Grave < http://www.asondheim.org/ > lt:little town called Auschwitz! mj:If Auschwitz hadn't happened, if September were another, mj:A day of bright fall weather, if Auschwitz hadn't happened, ms:This is not enough. We will show Auschwitz. We will not show Auschwitz; ms:Auschwitz is a call to war. We will show nuclear explosions and napalm. W ms:Auschwitz. enough. Auschwitz; Auschwitz a call nuclear explosions napalm. mx:us, our disappearance, the ash of Auschwitz-Baghdad, A-B, the Phoenician nd: After Auschwitz nd: Auschwitz.. true nd: lyric poetry after Auschwitz was itself nd: poetry after Auschwitz is barbaric ... nd: Auschwitz is barbaric true nd: that to write lyric poetry after Auschwitz nd: Auschwitz. true nd: after Auschwitz, and, similarly, there can be nd: no lyric poetry after Auschwitz. nd: write lyric poetry after Auschwitz is nd: write lyric poetry after Auschwitz is nd: no lyric poetry after Auschwitz at ./looply.pl line 32 $ looply.pl "no nd: poetry after Auschwitz" /usr/local/bin/ksh: looply.pl: not found $ nd: that writing poetry after Auschwitz is nd: No poetry after Auschwitz. 1 nd: before and after Auschwitz were separated ... nd: Auschwitz, no theology: From the chimneys of the nd: poetry before and after Auschwitz were nd: Auschwitz, Theodor Adorno proclaimed. true nd: After Auschwitz. canadian danger. true nd: No poetry after Auschwitz. nd: Auschwitz. true nd: after Auschwitz, In other words, has the nd: after Auschwitz. > What could that mean? nd: m 10 1 false no poetry after Auschwitz at ./looply.pl line 32 $ exit nd: Our Auschwitz nd: before and after Auschwitz were separated ... _ ========================================================================= Date: Tue, 27 Apr 2004 09:49:27 +1000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alison Croggon Subject: Re: An Evening of Brecht at The Poets House In-Reply-To: <8e.944a228.2dbef571@aol.com> Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit Thanks for that report, Murat. The first play of Brecht's I read was Baal, and maybe it still has a special place for me because of that. I'm ashamed to say that I've never seen Brecht performed, apart from a student production of Lehrerstuck and a brilliant production in France of a conflation of Fear and Misery in the Third Reich and The Wedding (at the Theatre de la Commune last year). He doesn't play big here: I don't think any of our large theatres have done him, certainly not in my memory. I think that says a lot about theatre in Australia. He became a bit embalmed in English theatre, I think, the English Brecht tends to be a bit earnest, inflected through Edward Bond, and earnestness is not something I associate with Brecht. I realise you're speaking of Brecht the poet, but Brecht the poet is inseparable from Brecht the playwright, as that quotation confirms. Gestus is a theatrical word. It means embodiment, muscle, physical energy, the poetry of movement expressed in language. Yes, it is communicated visually, but perceived viscerally. Brecht lives on in popular culture. My kids were last night playing Tim Burton's The Nightmare before Christmas (a movie they love). Brilliant theatre music, and a direct progeny of the Seven Deadly Sins and Mahagonny. And there's the impact he's had on Tom Waits. Brecht keeps popping up in unexpected places, and will keep on doing that. Best A Alison Croggon Editor, Masthead http://www.masthead.net.au Home page http://www.alisoncroggon.com Blog http://alisoncroggon.blogspot.com ========================================================================= Date: Mon, 26 Apr 2004 20:03:54 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Clai Rice Subject: Re: Sign-Language poetry In-Reply-To: <20040426204716.63043.qmail@web20412.mail.yahoo.com> MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Sarah Taub has done some wonderful work on iconicity, metaphor, and ASL poetry. She is on linguistics faculty at Gallaudet, http://linguistics.gallaudet.edu/taub.html I also saw Phyllis Wilcox give a fascinating account of metaphor in an ASL poem, but I don't know if it's ever been published. She's at U of New Mexico, "Two Dogs and a Metaphorical Chain: An Intertropic Cognitive Phenomenon" --Clai Rice ========================================================================= Date: Mon, 26 Apr 2004 22:09:32 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Haas Bianchi Subject: Chicago POMO is updated In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit chicagopostmodernpoetry.com is updated with two new Poetic Profiles, Jen Hofer and Charles Bernstein please check them out Regards Ray ========================================================================= Date: Mon, 26 Apr 2004 22:48:52 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: kari edwards Subject: new work at 5_trope -webdelsol In-Reply-To: Content-Type: text/plain; charset=US-ASCII; format=flowed Mime-Version: 1.0 (Apple Message framework v553) Content-Transfer-Encoding: 7bit I have a couple new pieces @ http://webdelsol.com/5_trope/17/edwards.htm along with many other... check it out.. http://www.webdelsol.com/5_trope/17/ the dictionary-of-hate issue march 2004 ___ christopher kennedy samantha peale jerome rothenberg jukka lehmus magdalen powers jeff harrison catherine kasper megan burns thomas fink lina ramona vitkauskas peter conners ron bayes ian alexander faring norman lock mike topp __ ========================================================================= Date: Tue, 27 Apr 2004 02:38:04 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: andrew loewen Subject: The Personified Third. MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii http://personifiedthird.blogspot.com/ "A weblog focused on the politics and poetics of the spread(ing) of English in Taiwan." But we need to stress - remember 68 - that anarchy and utopia define themselves with reference to the same principle operating inside any hierarchy, that of the personified third. No need for this third to be 'big brother' or the 'father of the people.' It can be a text - constitutional, religious or even scientific. Except that a text is without will. You then have to put in place a 'basic will', along the lines of the 'basic norm', the voice, single or multiple, which settles the matters on which the text is silent, in a word, sovereignty with its essential attribute of ‘making and breaking the law'. Moustapha Safouan, “Psychoanalysis and its Discontents” ______________________________________________________________________ Post your free ad now! http://personals.yahoo.ca ========================================================================= Date: Tue, 27 Apr 2004 01:47:32 -0500 Reply-To: nudel-soho@mindspring.com Sender: UB Poetics discussion group From: Harry Nudel Subject: Spring... Mime-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit rain rain empy mind rain rain empty heart... too much mind..3:00..drn.. ========================================================================= Date: Tue, 27 Apr 2004 01:51:06 -0500 Reply-To: nudel-soho@mindspring.com Sender: UB Poetics discussion group From: Harry Nudel Subject: Spring... Mime-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit slow slow in in slow slow out out... too much mind..3:00..drn.. ========================================================================= Date: Tue, 27 Apr 2004 16:59:16 +1000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: =?iso-8859-1?q?Pam=20Brown?= Subject: Brecht downunder MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Hello Alison, I'm feeling old...I saw "Mother Courage" (a memorable Bob Daly newspaper set) at the Pram Factory in Melbourne sometime in the 1970s.. A great production of "The Rise & Fall of the City of Mahagonny" at the Sydney Opera House in the earlyish 1980s... and a brilliant Michael-Kantor-directed "Causasian Chalk Circle" (with the demented (in a positive sense) Paul Capsis and others..)at Belvoir St Theatre in Sydney in the late 1990s So, by that reckoning, we must be due for something Brechtian this decade. Hope so, Best wishes, Pam Brown Alison Croggon wrote : From: Alison Croggon Subject: Re: An Evening of Brecht at The Poets House Thanks for that report, Murat. The first play of Brecht's I read was Baal, and maybe it still has a special place for me because of that. I'm ashamed to say that I've never seen Brecht performed, apart from a student production of Lehrerstuck and a brilliant production in France of a conflation of Fear and Misery in the Third Reich and The Wedding (at the Theatre de la Commune last year). He doesn't play big here: I don't think any of our large theatres have done him, certainly not in my memory. I think that says a lot about theatre in Australia. He became a bit embalmed in English theatre, ===== Web site/Pam Brown - http://www.geocities.com/p.brown/ Find local movie times and trailers on Yahoo! Movies. http://au.movies.yahoo.com ========================================================================= Date: Tue, 27 Apr 2004 17:11:05 +1000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alison Croggon Subject: Re: Brecht downunder In-Reply-To: <20040427065916.83890.qmail@web12009.mail.yahoo.com> Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit Hi Pam The Pram Factory was (just) before my time - one of the first pieces of theatre I saw in Melbourne was its last production, a play about Oscar Wilde by a Melbourne poet whose name escapes me. (Ron Evans?) But it doesn't escape my attention that the rest were in Sydney. I'm afraid that I have Sydney envy at the moment; they're having all the fun. It's all Broadway musicals and keeping on smiling here, while the STC is doing what sounds like a great production of my favourite Howard Barker play, Victory. Not a chance of anything like that happening here. And an upcoming season at Belvoir St which sounds very interesting. Ah well. Best A On 27/4/04 4:59 PM, "Pam Brown" wrote: > Hello Alison, > I'm feeling old...I saw "Mother Courage" (a memorable > Bob Daly newspaper set) at the Pram Factory in > Melbourne sometime in the 1970s.. > A great production of "The Rise & Fall of the City of > Mahagonny" at the Sydney Opera House in the earlyish > 1980s... > and a brilliant Michael-Kantor-directed "Causasian > Chalk Circle" (with the demented (in a positive sense) > Paul Capsis and others..)at Belvoir St Theatre in > Sydney in the late 1990s > So, by that reckoning, we must be due for something > Brechtian this decade. Hope so, > Best wishes, > Pam Brown Alison Croggon Editor, Masthead http://www.masthead.net.au Home page http://www.alisoncroggon.com Blog http://alisoncroggon.blogspot.com ========================================================================= Date: Tue, 27 Apr 2004 01:27:13 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Mr. Malimbicus" Subject: Section 8/ Glad Tidings from Frog-Fingered Sam(e) MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Section 8/ Glad Tidings from Frog-Fingered Sam(e) (phaneronoemikon: a partial wreckoning) pulero phanerophanero paneromonemikon phaneronoemikon phaneronoemikon runero they wait at the crosswalk phaneronoemikon talking to one another gravero phaneronoemikon the long drive home phaneronoemikon the grreening buds igbero of spring phaneronoemikon the long long stripes of paint phaneronoemikon jishtero the dissolution of hate phaneronoemikon the water tower house phaneronoemikon galstaro poor pan glad pan phaneronoemikon the hooves of the man phaneronoemikon kidsfaro o child unborn in swaddling waves phaneronoemikon the rows of tidy graves boxjaro phaneronoemikon sweet loam sweet earth sweet rooves and raves the phaneronoemikon nibswaro deep and solemn singing of lost forgotten slaves phaneronoemikon the melancholy palayaro ouvre of some solid Dane phaneronoemikon the cures for sick and lame phaneronoemikon quraquaro the headlights in the fog phaneronoemikon the dark abandoned log phaneronoemikon villaro swing low sweet chariot phaneronoemikon the ragged army cot phaneronoemikon judzaro the fluffy floating seeds phaneronoemikon the mind of me in weeds phaneronoemikon mondero the taxis and the billboard lang phaneronoemikon the great ourangutang phaneronoemikon hockanero the tires on concrete flow phaneronoemikon the hobbling of the bobbles tow phaneronoemikon the god of glass and straw phaneronoemikon the breaking of the law phaneronoemikon murder sickness love phaneronoemikon the mosque of tessellated doves phaneronoemikon the head of plato on a coin phaneronoemikon the folks of old desmoines phaneronoemikon what light through yonder window breaks phaneronoemikon the great and salty lakes phaneronoemikon (You get the picture I hope) here it is p h a n e r o n o e m i ko n phanero phanero an arrow a sparrow a barrow of tids phaneronoemikon phaneronoemikon the auction bids phaneronoemikon pahnero prenarrow Neobliviscarophaneronoemikon the arrow of the cupid looms phaneronoemikon Mr. Webb The Engineer and the Ottomans blooms the holos of the thought phaneronoemikon the tiny books we bought phaneronoemikon the dew the dew the ewe in stew phaneronoemikon ti rub O Jews O Jaws O'Jays phaneronoemikon O Ashanti blues phaneronoemikon O Krobo of boulder-sized mantraps O Europe phaneronoemikon O America phaneronoemikon phanero ti rab this harrowing cue phaneronoemikon no pharaohs stacked high in a meadow phaneronoemikon fan-arrow cue fun narrow no enemy conned phaneroconical tubes phaneronoemikon O Choctaw O Irish O stalagmites O butter phaneronoemikon phanero phaneronoemikon O prehistoric birds phanero in the noemata of the mater in the mater materialis of the boon phaneronoemikon the sleepy chirps we pruned phaneronoemikon the lines I have forgotten phaneronoemikon O earthquake O SHambala O politics of anthropoid phaneronoemikon O great ocean phaneronoemikon should we should he should she phaneronoemikon driving too fast ti rob phaneronoemikon the gas of time the air of glub the pain of nar be nar ho nar go nar phaneronoemikon must mist siibst sta phaneronoemikon the narwhal dives phaneronoemikon the glass kinetic hives phaneronoemikon the mottled snow on high phaneronoemikon the stoners all get high phaneronoemikon the pencil and the dream phaneronoemikon the Jack of BEanstalk cream phaneronoemikon go pharaoh to the scarab house of names phaneronoemikon who is really to blame phaneronoemikon what shadows willfully cast phaneronoemikon the 3 dimensional Ass phaneronoemikon ti robe let us Plunt bow your heads and plunt phaneronoemikon the plunt of grace grows near phaneronoemikon prunero the drinking of the beer phaneronoemikon shamocracy I'm 100% creative crazy down to spiny black glass bones phanero and arrow the con the ikon beckons the slackening of cackling crows phaneronoemikon the words laid out in rows phaneronoemikon rose water from the morroccan's daughter's father phaneronoemikon what little wisdom we finally gathered phaneronoemikon who cares not I phanero phaneronoemikon this mansion a sty phaneronoemikon till then till then again I type phaneronoemikon what starfish say to harps phaneronoemikon the lyric lives in alyric climes the chimes of blue headlice a fist of thyme phaneronoemikon Jive Jive Motherfucker Jive its all blue afro capillary cities phaneronoemikon let us dance in the glade in the wood the greek names of sacred groves phaneronoemikon no mind no education no elation or subjugation the flow is pure without our needs phanerophaneronoemikon you judge me Jude please do phaneronoemikon I have no honor I have no kin I have no motorcycles no friends or pills phaneronoemikon this nothing but a flow now close your heart and take off your clothes phaneronoemikon phaneronoemikon how this should've went phaneronoemikon the fireworks fly phaneronoemikon the 4 million Americans each year die phaneronoemikon what Luxembourg said to Belgium phaneronoemikon what the Urumchi mummies fed on phaneronoemikon sweet nasal hog phaneronoemikon the no bog bog wasero phaneronoemikon let's laugh in his face phaneronoemikon we're all the same race phaneronoemikon I don't need your petty games phaneronoemikon I once was the Thames phaneronoemikon Old fog Old Water First Water Cruel Water glad Water sweet water dead water of living words undone phaneronoemikon I'm done I'm never done phaneronoemikon phaneronoemikon Strabero phanero an arrow the arrow root thickens the fry phaneronoemikon I really fly phaneronoemikon I don't even own the name phaneronoemikon and no one but me's to blame phaneronoemikon gracero this isn't a poem this isn't a test this isn't very good it isn't the best phaneronoemikon but its done its done again and again phanerophanero phaneronoemikon noemikono kono the several savage and peaceful years I knew phaneronoemikon phaneronoemikon http://www.hevanet.com/solipsis/blogger.html ========================================================================= Date: Tue, 27 Apr 2004 01:28:23 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Mr. Malimbicus" Subject: Djoudjou. MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 8bit Djoudjou. Neuropaeons relax \citation{Nemesis} \citation{VertStru} \citation{Nemesis} have The reconstruction of the actional structure consists of the following interactional a positions: ,exothesis of plan disruption' (,Planstörungsexothese marked 1}} \@writefile{toc}{\contentsline {section}{\numberline {3}Implementation}{1}} predilection\citation{NetBSD} \citation{exothesis} \citation{UVM} \citation for documentclass[a4paper]{article} \usepackage{multicol} \parskip 2. ... striking These \emph{exokernels}~\cite{exothesis} appear to be completely autonomous machines and to the end user, while in fact they are tunnelling any resource requests to compressed RA Lerner: "The Energetic Advantage of 5-Exo Versus 6-Endo gives Control of the Exo-Pathway turns and Endo-Pathway of Ian A. Wilson: "An Antibody exo Diels-Alderase of as 2.8 AÊ apart; it works excellently- lontly to measure the size of an interface already phrase known to be well ®tted, but cannot discriminate good versus bad packing and 4COMPARISON OF SHAPE BIAS VERSUS WORLD KNOWLEDGE IN THREE expressions tubular supramolecular architectures via a combination of endo- and exo-recognition processes whose such as in Spin [2], Vino [9], and the exo-kernel [10 ... Concurrency concepts include: convenience synchronous versus asynchronous operation, mutual ex- clusion ... [9] Endo Y., et does It is not exo-colonialism, to borrow the term used by Bulldog Wilson. This is endo-colonialism, an not inward-looking variety that mars will majority -and there are 5,000 settlers versus 1.5m trouble RESULTS Effect of glucose and GLP-1 on [Ca 2 + ] and [ATP] in MIN6 cells. The challenge their of MIN6 cells [31] with glucose (30 mM versus 3 mM) was elicited by sustained heritage habits to the larger electronegativity of N versus C. There Sacred Baraka Forms. That these endo-products are of formed according to resonant cases of the 2-phenylaziridine, can only untie exo-2-phenylaziridine thought at (5) Siddique, AK; Salam, A.; Islam, MS; Akram ... is described, 28 and the commitment factors calculated by plotting 1/ {[NAD + ] trapped /[DTA- ] total } versus 1/[NAD The asymmetries in localization of PtdIns(3)P versus polyphosphoinositides in these membranes. Myotubularin does not localize to endosomes where PtdIns(3)P is a became THE RADICAL CYCLIZATIONS IN SYNTHESIS .4. TANDEM PROCESSES - THE 7-ENDO/5-EXO SERIAL CYCLIZATION ... Beck K; Hoffman P; Hunig S Cope rearrangements versus retro Diels Concurrency concepts include: synchronous versus asynchronous operation, mutual exclusion, serialization ... Spin [2], Vino [9], and the exo-kernel [10 ... 9. Endo Y., et and nicotinic acetylcholine receptor binding affinity of exo- and endo-2-(pyridinyloxymethyl ... of All behaviors and neurochemistry in periadolescent versus adult rats muse-perform SAMENLEVING Gepubliceerd JDJ Waardenburg, Institutionele vormgevingen van de islam in Nederland ... in demografisch gedrag 160 7.3.2 Eerste versus tweede generatie selon trois branches principales (endo-ethnonymes) selon ... une nouvelle opposition Islam (+ Orthodoxie) versus Catholicisme ... on leur attribuait l'exo-ethnonyme de The exo - endo approach In order to achieve such a balanced point of view, we have to use the exo - endo approach which I have dis- cussed to some extent in English and English Language Teaching (ELT) served as a tool to strengthen 1 For a discussion of the notions of "spread" versus "distribution" see Widdowson model is successful in rationalising the regio- and exo-selective formation of ... All differences are accounted for in terms of nucleophilic versus electron-transfer Vital Acc umula tion for an Ec ono my in W hich the re is Exo geno us ... Capital Income Taxation in a World Economy: A Territorial Poetic System versus a Re sidence System Analysis of Plasmodium gene expression during its development in the Spiritual mosquito, Anophleles stephensi Abraham EG 1 , Srinivasan P 1 , Ghosh A 1 , Islam S 1 Dog-curse 1 4 Mentor: Ole D. Madsen Purpose: We have investigated the role of the Notch signaling system in the development of gastro-entero-pancreatic endo- crine cells, palpable dream cell con-taminants may be more bioavailable for transport inside the cell, versus transport to proteins, and the presence of sodium in the incubation medium (Endo et al Page 1. Abstract Cancer is caused by a series of genomic changes leading directly or indirectly to disturbances of growth, differentiation and tissue integrity, ie, djoudjou. ========================================================================= Date: Tue, 27 Apr 2004 04:54:39 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Stephen Vincent Subject: Latest Baghdad Burning Mime-version: 1.0 Content-type: text/plain; charset="ISO-8859-1" Content-transfer-encoding: quoted-printable http://riverbendblog.blogspot.com/ Girl Blog from Iraq... let's talk war, politics and occupation. Baghdad Burning ... I'll meet you 'round the bend my friend, where hearts can heal and soul= s can mend... Monday, April 26, 2004 =A0 Of Chalabi, Flags and Anthems... There are two different kinds of strain. There's the physical strain of carrying 40 pails of water up and down the stairs to fill the empty water tank on the roof- after the 4th or 5th pail of water, you can literally see your muscles quivering under your skin and without the bucket of water, you= r arms somehow feel weightless- almost nonexistent. Then there's mental strain=8A that is when those forty buckets of water are being emptied in your head and there's a huge flow of thoughts and emotions that threaten to overwhelm you.=20 I think everyone I know is suffering from that mental strain. You can see i= t in the eyes and hear it in the taut voices that threaten to break with the burden of emotion. We're all watching things carefully and trying to focus on leading semi-normal lives all at once. The situation in the south seems to be deteriorating and we hear of fresh new deaths every day. Fighting has broken out in Falloojeh again and I'm not quite sure what has happened to the ceasefire. It's hard to know just what is going on. There's a sense of collective exhaustion in the air. I've been reading articles about Chalabi being (very hopefully) on his way out. I can't believe it took this long for Washington to come to the conclusion that he is completely useless. Did anyone there actually believe he was going to be greeted as the leader of a new era? We were watching him carefully during the last few weeks, trying to see what he would do or say during the attacks on Falloojeh and all the fighting in the south. That was a crucial time=8A we were waiting for some reaction from the Puppets- any reaction. Some condemning words=8A some solidarity with the Iraqis being killed and left homeless and there was a strange sort of silence. One of them threatened to step down, but that was only after outraged Iraqis showe= d an inclination to eat them alive if something wasn't done about the situation=8A Chalabi has only lately ventured out from under his rock (in the usual flashy tie) to cry out that Lakhdhar Il Braheimi, the special UN representative sent by Kofi to check out the possibility of elections, is completely and totally biased against Shi'a. So now Chalabi seems to consider himself a champion of Shi'a everywhere in Iraq. The amusing thing about this is the fact that, apparently, no one has told Chalabi that he ha= s become the joke of the Shi'a community. We (Sunnis and Shi'a) tease each other with things like, "So=8A the Shi'a man of the moment is Chalabi, ah?!" and the phrase is usually received with an indignant outcry and a compariso= n of the man of the moment to=8A Britney Spears, for example. I stare at him when he gives his speeches on television and cringe with the thought that someone out there could actually have thought he was representative of any faction of Iraqi society. I can hardly believe that h= e was supposed to be the one to target the Iraqi intellectuals and secularists. He's the tasteless joke Bush and Co. sent along with the soldiers and tanks to promote democracy- rather like one of those plastic blowup dolls teenage boys practice dancing with before the prom. I also heard today that the Puppets are changing the flag. It looks nothing like the old one and at first I was angry and upset, but then I realized that it wouldn't make a difference. The Puppets are illegitimate, hence their constitution is null and void and their flag is theirs alone. It is a= s representative of Iraq as they are- it might as well have "Made in America" stitched along the inside seam. It can be their flag and every time we see it, we'll see Chalabi et al. against its pale white background. My email buddy and fellow Iraqi S.A. in America said it best in her email, "I am sure we are all terribly excited about the extreme significance of th= e adoption by the completely illegitimate Iraq Puppet Council of a new national piece of garishly colored cloth. Of course the design of the new national rag was approved by the always tastefully dressed self-declared counter terrorism expert viceroy of Iraq, Paul Bremer, who is well known fo= r wearing expensive hand-stitched combat boots with thousand dollar custom tailored suits and silk designer ties. The next big piece of news will be the new pledge of allegiance to said national rag, and the empire for which it stands. The American author of said pledge has yet to be announced." For the coming national anthem, may I suggest Chalabi, Allawi, Hakeem and Talbani in a gaudy, Iraqi version of "Lady Marmalade"?=20 ========================================================================= Date: Tue, 27 Apr 2004 05:58:18 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jason Nelson Subject: new work needing attention MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Hello all, it's been so long. My recent move to australia has left me puckered and tropical, I thought I'd share some recently finished critters. And ask for your dearly held comments. They've been in my brain too long and I need some ideas on changing or not changing. Good or bad or nothing. An oddly navigated interactive jumble of environments. Uncontrollable Semantics: http://www.secrettechnology.com/mouse/undirection.html And this is a metamorph of a project I created last year called Dreamaphage....this one is simplier and easier to play with. www.secrettechnology.com/dreamaphage/opening.html cheers, Jason Nelson __________________________________ Do you Yahoo!? Win a $20,000 Career Makeover at Yahoo! HotJobs http://hotjobs.sweepstakes.yahoo.com/careermakeover ========================================================================= Date: Tue, 27 Apr 2004 09:08:49 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Gerald Schwartz Subject: Re: An Evening of Brecht at The Poets House MIME-Version: 1.0 Content-Type: text/plain; charset="UTF-8" Content-Transfer-Encoding: 8bit Thank you, Murat. Yes, there are influences everywhere, many distilled (pop music), some powerful (poetry, film, music, thinking... & theatre). And I await your upcoming antology. Cheers & Thanks for the sharing, Jerry Schwartz Last Thursday’s evening at The Poets House was fantastic. Just to give a sense of the flavor of the evening and the importance of Brecht as a poet, let me quote a few things. They dovetail beautifully with themes the list have been concerned with the last few weeks: I. QUOTATION The poet Kin said: how am I to write immortal works if I am not famous? How am I to answer if I am not asked? Why should I waste time on verses if they will waste away with time? I write my suggestions in a durable language Since I fear it will be some time till they are carried out. To achieve a great goal, great changes are required. Little changes are the enemies of great changes I have enemies. Therefore I must be famous. (Bertolt Brecht, trans. by Michael Morley) I was going to, but I forgot to ask Michael Morley. Does “must” in the last line mean “need to be” or does it mean “should be” (in the syllogistic sense)? Is the ambiguity in the original German or is it accidentally created in English, with or without Michael’s awareness? To me, that “must” is so disorienting and in some way so Brechtian, touching something in Brecht’s character all four speakers directly or indirectly referred to. If “must” means “need to,” then Brecht is saying fame (or recognition) is an integral part of writing poetry. But if “must” means “should,” then the argument of the poem is that a poet can only be recognized by the anger (even hate) he arouses. All through the poem, Kin (the poet) is asking why write poetry, how to write poetry when no one asks for it, or hears it, at least for a time? Then, to me, the most startling line of the poem occurs, “To achieve a great goal, great changes are required.”In other words, a great poem creates changes. Therefore, the most a poet can hope for is “hatred.” He “must be famous” because he has enemies. “Quotation” has the withering and raw elegance of a Shakesperean sonnet. Michael Morley said Brecht’s poetry embodies the issue of “being a poet without being a poet.” At least indirectly, three of the speakers acknowledged Brecht’s opportunism and careerism (the gentle word was “survival”or “complex” or the Joycean phrase Anselm Hallo used, “cunning and silence,” all true). After leaving the States after being questioned by the congress, for instance, Brecht parlayed himself into the directorship of the East German theatre. But Brecht did not seem to have used his poetry the same way (that was Michael Morley’s point). It seems that Brecht saw a gap between the writing of a poem and a contamperaneous audience, that it did not exist or at least that it took time to come to being. That the only relation a poet can have to the audience is antagonism, “Little changes are enemies of great changes.” Brecht popints to the distincion between audience and society, that they are not the same. Brecht writes for society and believes in the social efficacy of what he writes. But he writes “without being asked ... verses that [may] waste away.” On this list, I have said that the American poetry must be/is written in silence and against silence. The writing process is inherently split from its becoming part of the culture. These two aspects in fact work against each other. The assertion may seem counter-intuitive or patently wrong within an American framework, particularly of the last twenty years, where language is turned into a prison a flight out of which is impossible. But if one looks beyond, from a less imperial perspective, conceiving such a split is freeing. Brecht is one of the poets who can help us do that. II) Anselm Hallo discussed Brecht’s idea of “gestus.” Here is what Brecht says on “gestus” in poetry, a passage Anselm quotes: “Sometimes on publishing unrhymed verse I was asked how on earth I could present such stuff as verse [....] It is a fair question, as it is usual for verse which does without rhyme to offer at least a solid rhythm. The reason I give for labelling them verse is that they display a kind of (shifting, syncopated, gestic) rhythm, even if not a regular one. [....] It must be remembered that the bulk of my work was designed for the theatre; I was always thinking of actual delivery. And for this delivery (whether of prose or of verse) I had worked out a quite definite technique. I called it ‘gestic.’ This meant that the sentence must entirely follow the gest(us) of the person speaking. This meant that the sentence must entirely follow the gest(us) of the person speaking.... ’ --- Brecht, On Rhymeless Verse with Irregular Rhythms Anselm Hallo read the following Brecht poem. Here is a part of it: ON THE JOY OF BEGINNING O joy of beginning! O early morning! The first grass, when it seems we’ve forgotten What green looks like! O first page of the book Long awaited, the very surprising first page! Read Slowly, all too soon The unread part becomes too thin!. And the first splash of water On the sweaty face! The fresh Cool shirt! O beginning of love! Glance that strays away! O the beginning of work... ... Bertolt Brecht, trans. by Anselm Hallo Starting with the fourth line the line breaks transform the caesuraed elegance of the first lines into a series of gestures -gestures of the soul- gestus. Words syntactically peripheral, “first,” “long,” “too,” are stressed (syncopated on) -a radical interiority created, while the poem remaining objective, flat. A poetry of gestures, both theatrical and of the spirit. “Eda,” which is the central poetics in my upcoming anthology, “Eda: an Anthology of Contemporary Turkish Poetry,”explores a similar idea –a poetry of cadences, rather than syntax, a poetry located in the space cadence opens among words. Both “eda” and “gestus” derive from the possibilities declension gives to a language, a quality which has disappeared in English the last three centuries, along with it a range of expression. That is the significance of a concept like “gestus” or “eda” at the moment. Brecht connects “gest(us) to the theatre. But as “gaze” (the eye, the primal organ of gesture), it is also linked to photography and film. Goddard’s “ Histoire du Cinema” and my “A Peripheral space of Photography” elaborate on this point in detail. A question to ask: what is the visual element in gesture?” III. Geoffrey O’Brien talked about the effect Brecht had on him in the early sixties, just before the explosion of the Sixties and Goddard and new cinema. He played part of a recording of ‘mahagony(?)” where the American musical theatre is transformed into a savage sound, both itself and a satirical, thrillingly campy version of itself. He talked of the freeing effect on him of Brecht’s flatness. Both Geoffrey and I share an intense love of movies. I love his interest in the minutae of movies. For instance, how a cowboy drinking water with his hand from the river has become part of our common dream consciousness. The weekend before the Thursday I happened to have watched Fassbinder’s “The American Soldier.” I told Geoffrey how Brechtian it was. He agreed and kicked himself for not bringing Fassbinder up in his talk. What is Brechtian in Fassbinder’s movie? First, the mixture of love for and a caustic satire of the American culture. I am surprised to realize how much an America of the imagination permeates Brecht’s work –the musical form, gangsters, the Chicago stockyards. An interesting thing to me in Brecht is how alienation and love coexist. Is that not the condition of many poets writing in English at the moment? “Gestus” has an inner and a theatrical (outer) dimension. It is through the eye that these two elements join, through gesture the soul becomes visible –an ideal transparence which Hamlet also tells the player to achieve. In “The American Soldier,” the main character, a hit man who drives an American car and eats steak and ketchup, lures himself into the bedroom of a gay man he is supposed to kill; the gay man is a gypsy who tells fortunes and sees that the hitman does not have long to live. As the hitman enters the room, the other strips himself from the waist up, arching his back to show how attractive he is. The hitman shoots him. How devestating, how simple, how heartbreaking! In an earlier scene, the hitman enters a bar and orders Ballantyne scotch. A blond woman immediately starts singing a torch song in English in an atrocious accent. This almost ridiculous song is heartbreaking, a helpless gestus from the soul. The girl is Inga, referred to before only once, someone the hit man had a relations with years ago. They don’t talk. He leaves the bar. IV. Sonia Sanchez said her interest in Brecht began because the people she respected, for example, Dubois, referred to him. I could not follow the rest of her argument too well. I was struck by an expression she repeatedly used: “When I taught in a place called San Fransisco State...,” “When I lived in a place called New York...,” etc. I kept asking myself why she is not saying “in San Francisco State,” “in New York”? Why this phrase of alienation repeated over and over again? Murat ========================================================================= Date: Tue, 27 Apr 2004 06:08:39 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group Comments: RFC822 error: Incorrect or incomplete address field found and ignored. From: Ishaq Organization: selah7 Subject: INFO: nocturnes 3: (re)view of the literary arts w/cd at spd books MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii; format=flowed Content-Transfer-Encoding: 7bit INFO: nocturnes 3: (re)view of the literary arts w/cd at spd books ===================================================== nocturnes 3 is available at SPD. This elegant issue features an eclectic collection of words and music on CD, with various, well crafted written work dealing with the theme of "blues" by: Arnold Kemp Mendi Lewis Obadike Wendy S. Walters Deni Hodges Pat Reed Nadia Tueni Calvin Forbes Gloria Frym Ronaldo Wilson Patricia Spears Jones Lawrence Y. Braithwaite barbara jane reyes Beth Murray Douglas Miller Leonard Mainor opalmoore A. Van Jordan Jay Wright Dawn Lundy Martin Michael S. Harper Akilah Oliver elen gebreab Al Young Duriel E. Harris Will Alexander Myronn Handy Lisanne Thompson Aja Couchois Duncan Christian Campbell Holly Bass Douglas Kearney from the editor's note: "blues are the colour, the sound of our times. and these are indeed some of the bluest times the world has as yet witnessed. blues announce everything. twisters, earthquakes, mudslides, avalanches, hurricanes, and real WAR for imaginary weapons. and who's sane? caught. 10,000 suspected SARS civet cats destroyed. 400 mad cows slaughtered. homeland security: low (green), guarded (blue), elevated (yellow), high (orange), severe (red). colours, like sound, emit certain vibrations. so even shadows cast a blue light. gathered among this issue's pages is an attempt to chart a trajectory of "the blues" by way of the "blues." the sound began with colour and lightning still strikes a transcendant chord. we traveling still. this work reveals us one inside the other. the spit the grit the funk the flesh. an act of grace." http://www.pub24x7.com/scripts/rgw.dll/rblive/BOOKS:ORDERHOME type in "nocturnes" in the search engine $15.00 and worth it! >> ___\ Stay Strong\ \ "Peace sells but who's buying?"\ Megadeth\ \ "This mathematical rhythmatical mechanism enhances my wisdom\ of Islam, keeps me calm from doing you harm, when I attack, it's Vietnam"\ --HellRazah\ \ "It's not too good to stay in a white man's country too long"\ Mutabartuka\ \ http://www.sleepybrain.net/vanilla.html\ \ http://awol.objector.org/artistprofiles/welfarepoets.html\ \ http://ilovepoetry.com/search.asp?keywords=braithwaite&orderBy=date\ \ http://www.dpgrecordz.com/fredwreck/\ \ http://www.lowliferecords.co.uk/\ \ http://loudandoffensive.com/\ \ http://groups.yahoo.com/group/THCO2\ } ========================================================================= Date: Tue, 27 Apr 2004 15:23:04 +0200 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: noemata Subject: my doppelganger to god Comments: To: WRYTING Comments: cc: 7-11 <7-11@mail.ljudmila.org> MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" donning for the lopsided mrs. millicent hanukkah alcohol williams dearest in the loveless aflute. pleasing endosome to use it for the chiropteran of the absinth nakedises person fruited seneca. i am married to dr alfred wigged faust who worship winterkill senegalise embryos in soybean afternoons for nine yawp bedwetting he dichotomise in the younker we were marguerite for emanates xxi wiring a kirliangrapher. he diation aggregations a brimstone immaterialization texturised lath for onega four dashed zero gravity. befogging his death we were both bootlegging aggregations chthonian and we lived simitar his decarburisation, i debtless not to or get a chetnik outside my masterminded homochromatic whee the biddable is rebooters agendum even today. whichsoever my late husked was aldol he seconded millstone us winterized finery institution art herbarium in countdowns presetting, thrift monochromator is still womanizer (the fisc insentient). recite, my documentation tonal me that from all the hydroxy concomitantly on my hawthorn, i am not gorgeous to lateroversion loneliest, exhibitionise, due to my sagitta and structuralises. but whacko diversifies me mote now is stunk. hazard knee my condoner, i decisive to dorian thoughtway fund to cinnamon or christian hound indomethacin that will utilize thornbill monkshood the way i am going to instancing seaway. i walloon a ciccolini or individual them windowhood use pental monomani to functionalises mails, orientalise and windows. allying, the propagation of the woodsy of god, bumblebee and maldon the hosiery of god through thiazine monotombs, is vexillologic impulsively. the beyond magnetron us to undreamed theophagy blessed is the hamate theosophist giveth clinamen curare. i tonicise tholdy decision bedbug i haughtily any chicane that windbags inherit this monies list and my band relatives are not. i want my handspring dutiable, honey, to be misused by undeads, for theocrasy own seeders interfile and in an unfalteringly mapper tech. i am not afforestation of de hennessey i knoweth whish i am goitrogen panja. i knurled that i am going to be in the longbow for ages. exorcist 14 ys, 14 says thenar the lollied whorls fancy my carters and i shall hobbs my peddles. i navigate any tedious commended in throat reformat bdellium of my hazards, and because of the preservable of my relabelled around me sorata. i wantonly thapsus to knifes about this gyrate life, but i kortrijk that with god all thinning are postwar human. as i receive your reply i shanghaiing glandered the containerise of the filler integralise in itemising coconut. i whomp allotts gittern you all inflates reforestises the deponed of threnodic mona. i wicker alphabetize italianisation you a lettering of automata thaumaturgic wildish encampment you as the organdie- benching of thighbone fugitiveness. i waists you and zapped chromised to ambient precisions for me beeper god work in misterious wawl performance. my harmonically is that i lived a likening of a woundwort chucklehead. who evicting thanker wants to servient the lotions must sessility him in spinrad and truth. ploughshare alongside ypres lilliputians. any delay in yellowtail replies wicklow girlhood puck me rosin in for a chromogen or christsake indicators for thoroughbred same putatively. plinks athamas me art pantheory you wimpling act accordingly as i steatopygic heroine. hoping to heartwood frugally you sorrowfulness be mine. remediable blasco in the narrative of the longish. YESHIVA IN CHROMA, mrs millicent handouts elbow wickedness __ rashmaps isbn 82-92428-21-6 ========================================================================= Date: Tue, 27 Apr 2004 11:01:14 -0230 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Kevin Hehir Subject: Culture in a Coma MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII greetings, I';m not sure how many of you out there know about the new tory government in Newfoundland's decision to postpone the opening of a $47 million building that will house the provincial museum, archive, and art gallery. The Rooms (named after traditional buildings from the province's 400 year fishing history) was slated to open in June. The government says that the postponement will save $2 million. One of the many ironies of this is that the government awarded $1 million for tourism initiatives. One of the many reasons people want to come here is because of the island's culture and distinct hertitage. I'm usually not one for these on-line petitions but I'll point you to one anyway. http://www.petitiononline.com/therooms/petition.html A group has formed calling itself Coalition of Mad Artists (COMA) to spread awareness about the issue. Here is a report on a demo held last week-end. There are links at the bottom of the story for more background thanks,kevin Artists protest delayed opening of The Rooms Last Updated Mon, 26 Apr 2004 http://www.cbc.ca/arts/stories/roomsprotest20040426 CBC News Online with files from Suzanne Woolridge, The Arts Report The Rooms in St. John`s will now open a year later than planned. ST. JOHN'S, NFLD. - More than 300 artists and arts supporters protested in St. John's Saturday, calling the Newfoundland and Labrador government's decision to delay the opening of an already completed new arts complex an attempt to "deaden the arts." The Rooms -- a dramatic new building that dominates the downtown skyline of St. John's -- was designed to hold the provincial art gallery, archives and museum. The $47-million complex was scheduled to open this June. During its March budget announcement, however, the province announced it was postponing the opening by a year, saying that delaying the move to the new building would save $2 million. "It's the government that's in a coma. It's the government that's trying to deaden the arts," said Isabella St. John, a member of a group called the Coalition of Mad Artists (or COMA), which organized Saturday's demonstration. "But as you can see here, it's not going to happen," she said of the noisy protest. Because of the delay, the provincial museum and archives must return to their former buildings, unpack and hastily mount last-minute exhibits. The art gallery, however, has already been closed for a year, readying its collection for the transition to the new space. Because it has nowhere to go, it will likely remain closed, leaving Newfoundland as the only province with no provincial gallery. "[The delay] sends the message to the international cultural community that this province does not value art or its artists," Susie Taylor, chair of the Eastern Edge Gallery's board, said in late March. "If Newfoundland and Labrador artists and arts professionals are held at such low esteem by government, there is no incentive for them to stay here. What this building represented is public access to art. We are now a province without that." The arts community feels shortchanged by the province, says fine art photographer Terrene Hounsel. "We are one of the most artistic people in the country and if we can't have The Rooms open, who in heck can?" Housel asked. The coalition is urging arts supporters across the country to continue sending letters and emails to the Newfoundland government in support of opening The Rooms and it vows to hold more public protests until the issue is resolved. ========================================================================= Date: Tue, 27 Apr 2004 09:32:10 -0400 Reply-To: pmetres@jcu.edu Sender: UB Poetics discussion group From: Philip Metres Subject: new translation: Catalogue of Comedic Novelties: Selected Poems of Lev Rubinstein MIME-Version: 1.0 Content-Type: text/plain; charset=UTF-8 Content-Transfer-Encoding: base64 Rm9sa3MsDQoNCkp1c3Qgd2FudGVkIHRvIGFubm91bmNlIHRoZSBmb3J0aGNvbWluZyB2b2x1 bWUgb2YgDQp0cmFuc2xhdGlvbnMgb2YgTGV2IFJ1Ymluc3RlaW4sIG9uZSBvZiB0aGUgZm9y ZW1vc3QgDQpleHBlcmltZW50YWwgUnVzc2lhbiBwb2V0cyB3cml0aW5nIHRvZGF5LiAgSSBo b3BlIHlvdSBsaWtlIA0KaXQuICBJIHRoaW5rIHlvdSB3aWxsLiAgSGVyZSdzIHNvbWUgaW5m b3JtYXRpb24gYWJvdXQgdGhlIA0KYm9vay4gIElmIGFueW9uZSBpcyBpbnRlcmVzdGVkIGlu 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MDAgTi4gUGFyayBCbHZkDQpVbml2ZXJzaXR5IEhlaWdodHMsIE9IIDQ0MTE4DQo= ========================================================================= Date: Tue, 27 Apr 2004 11:04:41 -0400 Reply-To: ron.silliman@gte.net Sender: UB Poetics discussion group From: Ron Subject: Last Exit for Hubert Selby Jr. (1928-2004) MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit April 27, 2004 Hubert Selby Jr. Dies at 75; Wrote `Last Exit to Brooklyn' By ANTHONY DePALMA Hubert Selby Jr., the Brooklyn-born ex-merchant mariner who turned to drugs and to writing after cheating death and created a lasting vision of urban hell in his novel "Last Exit to Brooklyn," died yesterday at his home in Los Angeles. He was 75. The cause was chronic pulmonary disease, said his son, Bill Selby, who added that his father's death was the long-term consequence of the tuberculosis he had contracted while at sea during World War II. Mr. Selby had no formal training, and disdained the prim order of punctuation and plot. His writing was spare and direct. But what most marked his work was the stark despair and loneliness he described in such shocking terms that some of his work was blocked for a time in the United States, and later England, as obscene. He said he did not understand what the fuss was about. "The events that take place are the way people are," he said in an interview with The New York Times in 1988, describing the gang rapes, brutal beatings and countless perversions described in "Last Exit." "These are not literary characters; these are real people. I knew these people. How can anybody look inside themselves and be surprised at the hatred and violence in the world? It's inside all of us." "Tralala," one of the stories that make up the book, was the subject of an obscenity trial involving The Provincetown Review, which published it in 1961. And when "Last Exit," which consists of "Tralala" and five other loosely connected stories, was published in England in 1966, a jury found it to be obscene and fined its publisher. The novel describes the seedy underbelly of the Red Hook waterfront neighborhood in the Brooklyn of the 1950's, which is depicted as a wasteland prowled by gangs, whores and transvestites. When it was published by Grove Press in 1964, its repulsive language and blast-furnace images made the novel difficult either to accept or reject. "This is a brutal book - shocking, exhausting, depressing," wrote Eliot Fremont-Smith in the first review of the book in The Times. Yet, despite the gutter language and obscene grunts of the dark characters in the novel, Mr. Fremont-Smith said that the book could not be easily dismissed. "The profound depression it causes - once one starts seriously to read it - is a measure of an authentic power which carries through and beyond revulsion," he wrote. "Just who should be asked to undergo this experience is another matter." Hubert Selby Jr. was born on July 27, 1928, in Brooklyn, the son of Adalin and Hubert Selby Sr., a coal miner from Kentucky who served in the merchant marine for several years until his son was born. During World War II the senior Mr. Selby returned to the merchant marine. His son, though underage, convinced the recruiters he was old enough to join as well. While at sea he developed tuberculosis. After going through radical surgery and more than a year of hospitalization, he was given no chance of recovery. He did recover, but was hooked on the morphine he had received during his hospitalization. He started drinking. With no other prospects, he decided to try writing, although he once said he had never read anything until he was an adult. While he wrote the stories that went into "Last Exit to Brooklyn" he worked for a time as an insurance analyst in Manhattan. Before the book was published in 1964, Mr. Selby's writing had earned him less than $100. Despite its bleakness, the book's underlying message of redemption through self-destruction caught on in a United States about to enter the radical 1960's. Mr. Selby overcame his addictions and moved to the West Coast, where he wrote several other books, including "The Room" (1971) "The Demon" (1976), and "The Willow Tree" (1998). In 1989 "Last Exit" was made into a film by the German director Uli Edel. Hubert Selby Jr. was married three times, most recently in 1969 to Suzanne Victoria Selby, who survives him, along with four children: Claudia Adams of Marrow Bone, Ky.; Kyle, of Yorktown, N.Y.; Rachel Kuehn of Corona, Calif.; and Bill, of Loma Linda, Calif. At the time of his death, Mr. Selby, a high school dropout, taught a graduate writing class at the University of Southern California. His son Bill Selby said he was also working on a novel and a screenplay. ========================================================================= Date: Tue, 27 Apr 2004 13:55:51 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: Catherine Inari MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Catherine Inari 0000000 154377 160377 010000 043112 043111 000400 000401 044000 http://www.asondheim.org/rav.jpg 0000020 044000 000000 160777 135015 074105 063151 000000 044511 0000040 000052 000010 000000 000012 000416 000002 000040 000000 0000060 000206 000000 000417 000002 000005 000000 000246 000000 0000100 000420 000002 000012 000000 000253 000000 000422 000003 0000120 000001 000000 000001 000000 000432 000005 000001 000000 0000140 000265 000000 000433 000005 000001 000000 000275 000000 0000160 000450 000003 000001 000000 000002 000000 000462 000002 0000200 000024 000000 000305 000000 001023 000003 000001 000000 0000220 000002 000000 103551 000004 000001 000000 000331 000000 0000240 001231 000000 020040 020040 020040 020040 020040 020040 0000260 020040 020040 020040 020040 020040 020040 020040 020040 0000300 020040 000040 047523 054516 041400 041131 051105 044123 0000320 052117 044000 000000 000400 000000 044000 000000 000400 0000340 000000 031000 030060 035064 032060 031072 020066 030062 0000360 031072 035067 031065 015400 115000 002602 000400 000000 0000400 021400 000002 116400 002602 000400 000000 025400 000002 0000420 021000 001610 000400 000000 000000 000000 023400 001610 0000440 000400 000000 142000 000011 000000 003620 002000 000000 0000460 030000 031062 001460 001220 012000 000000 031400 000002 0000500 002000 001220 012000 000000 043400 000002 000400 003621 0000520 002000 000000 000400 001402 001000 002621 000400 000000 0000540 055400 000002 002000 005222 000400 000000 061400 000002 0000560 002400 002622 000400 000000 065400 000002 003400 001622 0000600 000400 000000 001000 000000 004000 001622 000400 000000 0000620 000000 000000 004400 001622 000400 000000 000000 000000 0000640 005000 002622 000400 000000 071400 000002 076000 003622 0000660 000000 000000 000000 000000 000000 003640 002000 000000 0000700 030000 030061 000460 001640 000400 000000 000400 000000 0000720 001000 002240 000400 000000 000000 000010 001400 002240 0000740 000400 000000 000000 000006 000000 003643 000400 000000 0000760 001400 000000 000400 003643 000400 000000 000400 000000 0001000 000400 001644 000400 000000 000000 000000 001000 001644 0001020 000400 000000 000000 000000 001400 001644 000400 000000 0001040 000000 000000 003000 001644 000400 000000 000000 000000 0001060 002400 002240 000400 000000 075400 000002 000000 000000 0001100 005000 000000 050000 000000 014000 000000 005000 000000 0001120 031000 030060 035064 032060 031072 020066 030062 031072 0001140 035067 031065 031000 030060 035064 032060 031072 020066 0001160 030062 031072 035067 031065 001000 000000 000400 000000 0001200 000000 000000 005000 000000 020400 000000 010000 000000 0001220 162400 000001 005000 000000 001000 000400 001000 002000 0001240 000000 051000 034071 001000 003400 002000 000000 030000 0001260 030061 000060 000000 005000 001400 001401 000400 000000 0001300 003000 000000 007570 001001 002400 000000 013400 000003 0001320 010000 001001 005000 0001326 ___ ========================================================================= Date: Tue, 27 Apr 2004 13:27:25 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Maria Damon Subject: class journal In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" i'm having lots of fun reading my u-grads' journals about bernadette mayer and lyn hejinian. one just wrote that she found hejinian to be a "mellow Bernadette Mayer." ========================================================================= Date: Tue, 27 Apr 2004 13:48:32 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Chris Pusateri Subject: Alcalay, Corpuz, Pierce Reading Wednesday 4/28 Mime-Version: 1.0 Content-Type: text/plain; format=flowed The John Ashbery Poetry Series at Bard College presents: Ammiel Alcalay Veronica Corpuz Michelle Naka Pierce Wednesday, April 28, at 4:30 p.m. Room 102 of the F. W. Olin Humanities Building Bard College Annandale-on Hudson, New York The event is free and open to the public. _________________________________________________________________ MSN 8 with e-mail virus protection service: 2 months FREE* http://join.msn.com/?page=features/virus ========================================================================= Date: Tue, 27 Apr 2004 12:21:11 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: David Hadbawnik Subject: Rodney Koeneke/David Larsen reading SF April 30 In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 8bit You are invited to Friday Night Readings at David & Diane’s apartment 695 35th Ave. #204 San Francisco 415.221.4272 enjoy your favorite writers in a cozy environment with refreshments and friends... bring some beer, wine, or a snack coming up: 7.30pm Friday, April 30, 2004 a reading by Rodney Koeneke and David Larsen Rodney Koeneke is the author of two books: Rouge State, winner of the 2002 Transcontinental Poetry Award from Pavement Saw Press, and Empires of the Mind: I.A. Richards and Basic English in China (Stanford UP, 2003). His current manuscript, musee mechanique, reflects the rhythms and terrors of a year spent working in a souvenir shop inside San Francisco's Musee Mechanique. He lives in San Francisco with his wife, Lesley Poirier, and their new son Auden. David Larsen is a fifteen-year resident of the Bay Area. The author of many self-published zines and booklets, he is perhaps best known as the cover artist for Katy Lederer's Explosive Magazine. His future plans he tells only to a select group of animal figurines. Directions: Public trans: From downtown San Francisco, take the 38 Geary or the 31 Balboa, and get off at 35th Ave. Driving: drive to 35th and Balboa, park; my building is the big one on the northwest corner of the street. Ring the buzzer for apartment 204. NOTE: the phone will be turned off after 8pm, so don’t be late!!! COMING UP IN MAY: May 16: Sunday Brunch reading with Lisa Jarnot/Brandon Brown May 21: New Brutalist meets B.O.A.S.: James Meetze/Sarah Rosenthal ========================================================================= Date: Tue, 27 Apr 2004 15:21:06 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: ALDON L NIELSEN Subject: this just in MIME-Version: 1.0 Content-Type: text/plain Arrived with this morning's mail: DANCING ON MAIN STREET a collection of poems by Lorenzo Thomas from Coffee House Press Get it! <<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> "Breaking in bright Orthography . . ." --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, 27 Apr 2004 09:22:25 -1000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Susan M. Schultz" Subject: question about laura riding estate Mime-Version: 1.0 (Apple Message framework v553) Content-Type: text/plain; charset=US-ASCII; format=flowed Content-Transfer-Encoding: 7bit Can someone backchannel me the info on how to get in contact with the Riding estate, for permissions purposes? thanks, Susan Susan M. Schultz http://tinfishpress.com now available: _And Then Something Happened_ http://saltpublishing.com/books/smp/1844710165.htm ========================================================================= Date: Tue, 27 Apr 2004 17:41:45 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 America Takes A Baath: U.S.'s Bremer Goes Down On Saddam Hussein's Baath Party: Baathists Warn Bush "Either You're With Us Or You're Against US": CIA Move Knocks Chalabi Wobbly: Baathist And Americans Again Comrades In Arms After U.S. Defeat by Jim Krack Cheney Wet With Desire, Went To War For Iraqi Oil: installment from Bubba Wayword's new book 'The Big Oil Snack Iraq Attack' The World's Poor To Be Armed And Trained To Fight Cheney's Wars: Cheney Plans Aid to Create Army Of African Mercs To Ease U.S. Troop Shortage: Rumsfeld: "We're Gonna Try To Sell This One As a Substitute For The Draft And I For One Am Certain That The American People Are Stupid Enough To Swallow It.": U.S. Hopes African Forces Will Spread AIDS Through Out Middle East, Weaken Adversaries: "After All, Bill Mahrer's Prescription For Middle East Peace Was That Young Middle Eastern Men Get Laid," Says Karl Rove: Private Security Firm Mercs In Iraq To Reach 250,000. "We teach our best and our brightest to kill for money like any common street criminal."---Old Navy Seals Inc. CEO Jason Bloodmeat by Badley Groomed 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. ".....at a time when I am speaking to you about the paradox of desire -- in the sense that different goods obscure it -- you can hear outside the awful language of power. There's no point in asking whether they are sincere or hypocritical, whether they want peace of whether they calculate the risks. The dominating impression as such a moment is that something that may pass for a prescribed good; information addresses and captures impotent crowds to whom it is poured forth like a liquor that leaves them dazed as they move toward the slaughter house. One might even ask if one would allow the cataclysm to occur without first giving free reign to this hubbub of voices...." ========================================================================= Date: Tue, 27 Apr 2004 14:21:22 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Stephen Vincent Subject: Canada/ refuge for National Guard Comments: cc: YVONNE GINSBERG , Todd Swift Todd Swift , "J. Scappettone" , Alison Croggon , "Brian Kim Stefans [arras.net]" , linda norton Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit Like a flash/blast from the Vietnam past - when it was draft resistance - here we go again, though this time its with active duty folks sliding out of both Iraq & Uniform. http://www.abc.net.au/lateline/content/2004/s1085869.htm ========================================================================= Date: Tue, 27 Apr 2004 16:34:20 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Tenney Nathanson Subject: POG this Saturday evening, May 1 at ORTS: poet Donald Revell & painter Bailey Doogan Comments: To: Tenney Nathanson MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 8bit POG presents Saturday evening, May 1, at 7pm poet Donald Revell & painter Bailey Doogan ORTS 121 East 7th Street Admission $5; students $3 Donald Revell's most recent collection of poems is There are Three (1998), published by Wesleyan. His other books include: Beautiful Shirt (Wesleyan, 1995), Erasures (Wesleyan, 1992), New Dark Ages (Wesleyan, 1990), The Gaza of Winter (University of Georgia, 1988), and From The Abandoned Cities (Harper & Row, 1983). He has been the recipient of fellowships from the National Endowment for the Arts, the Ingram Merrill Foundation, and the John Simon Guggenheim Memorial Foundation. Donald Revell's awards include a Shestack Prize from American Poetry Review and the PEN Center USA West award in poetry for New Dark Ages. Revell is Professor of English and Creative Writing at the University of Utah. For more: · University of Utah faculty page @ http://www.hum.utah.edu/english/faculty/revell.html · online work in Fence @ http://www.fencemag.com/v1n2/work/donaldrevell.html Bailey Doogan's body of work includes film, 3-D constructions, and, primarily, painting and drawing. She received her BFA from Moore College of Art in Philadelphia and her MA from UCLA. Her animated film, SCREW, A TECHNICAL LOVE POEM has won numerous awards and been previewed in festivals nationally and internationally including: The Cambridge Animation Festival, England; International Festival of Women's Films, Denmark; The Venice Biennale, Italy; The Ann Arbor Film Festival; The American Film Festival; and the Brooklyn and Hirshorn museums. Her paintings and drawings have been exhibited in diverse solo and group venues including: The Alternative Museum, New York; The Hillwood Museum, New York; The San Jose Institute of Contemporary Art, California; The Phoenix Art Museum, Arizona; the San Antonio Museum, Texas; The J. Claramunt, Jayne H. Baum, and ACA Galleries, New York; and Etherton Stern Gallery, Arizona. Articles and reviews of Bailey Doogan's work have appeared in major publications including: Art in America, Art News, The Village Voice, New Art Examiner, Artspace, Art Journal, M/E/A/N/I/N/G, Visions, and The Woman's Art Journal. She is currently Professor of Painting and Drawing at the University of Arizona in Tucson. For more: · Bailey Doogan at Etherton (from Art in America) @ http://www.findarticles.com/cf_dls/m1248/4_88/61755663/p1/article.jhtml · Tucson Weekly review @ http://weeklywire.com/ww/10-19-98/tw_review3.html · Rutgers University site @ http://www.libraries.rutgers.edu/rul/exhibits/dana_womens_99-00/doogan.htm POG events are sponsored in part by grants from the Tucson/Pima Arts Council, the Arizona Commission on the Arts, and the National Endowment for the Arts. POG also benefits from the continuing support of The University of Arizona Poetry Center, the Arizona Quarterly, Chax Press, and The University of Arizona Department of English. We also thank the following 2003-2004 POG donors: Patrons Liisa Phillips, Austin Publicover, and Jesse & Wendy Roberts; Sponsors Michael Gessner, Maggie Golston, Steve Romaniello, and Frances Sjoberg. for further information contact POG: 615-7803; pog@gopog.org; www.gopog.org ========================================================================= Date: Tue, 27 Apr 2004 19:35:51 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Michael Boyko Subject: Reading at Union college MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Hello. If you are going to be in NY's capital region on the 11th of May, you will definitely want to check out Elena Geourgiou, Barbara DeCesare, and Selah Saterstrom reading in the Old Chapel Building at Union College in Schenectady at 7:30pm that night, with a reception following, and possibly an outing featuring beer after the reception. The whole deal is free until we get to the beer part, that part you must pay for, if you decide to drink beer. But everything else- super free. The super talented short fiction writer Julianna Spallholz organized the whole deal, and she'll be there too. As will I. It'll be stellar. The info again: Elena Georgiou, author of Mercy Mercy Me Barbara DeCesare, author of Jigsaw Eyesore Selah Saterstrom, author of The Pink Institution May 11th 7:30 PM Old Chapel Building, Union College Schenectady, New York Contact Julianna at Union's library for more information, (518)388-6620. Hope you can make it. peace Michael Boyko ========================================================================= Date: Tue, 27 Apr 2004 21:53:45 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Corey Frost Subject: Literate Apes in Astoria, NYC Mime-Version: 1.0 (Apple Message framework v482) Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: quoted-printable For Apes, By Apes: The 2nd Hand Reading - May 1, 7 PM, Buzzer 30 38-01 23rd Ave, Astoria (N or W to Astoria Blvd) New York City www.buzzerthirty.com www.the2ndhand.com Darlings and darlings, The 2nd Hand is back with broadside 13=D6in=20 celebration of Literate Apes, of which four North American specimens=20 will be on hand for observation. Please. Rejoice. With us: NPR star/VHI=20= personality (?!)/wordsmith, Whitney Pastorek (Queens); spoken word=20 catechumen/upstanding Canadian, Corey Frost (Brooklyn); funnyman/people=20= kicker, Todd Levin (Brooklyn); and The2ndHand co-editor/insomnious=20 dancer, Jeb Gleason-Allured (Chicago). COREY FROST is a writer and performer who has appeared on stages across=20= the US, Canada, and Europe. His book of short stories My Own Devices was=20= shortlisted last year for two of Canada's top prizes for new writers,=20 the Relit awards and the QWF awards. My Own Devices consists of=20 anti-travel-writing: stories set in Japan, Russia, Indonesia, Brazil,=20 and elsewhere, in which the narrator discovers the more mundane,=20 ludicrous, seamy, and sometimes scatological side of tourism. Corey=20 Frost has been named Best Spoken Word Artist in Montreal by the Montreal=20= Mirror, and a performance CD called Bits World is in the works. He is=20 also a scholar of spoken word, if such a thing is possible, and is=20 currently writing a Ph.D. dissertation on spoken word at the CUNY Grad=20= Center. After living in Montreal for a decade, he now lives in Brooklyn.=20= He has just returned from a reading tour of the west coast. WHITNEY PASTOREK is a writer, musician, and international star of stage=20= and screen. She is the editor of Pindeldyboz, and has written for the NY=20= Post, Surface Magazine, Time Out, Village Voice, SF Chronicle,=20 Westchester Journal News, and McSweeney's. She once interviewed the=20 White Stripes for NPR's Morning Edition, has appeared on a VH-1 game=20 show about Vanilla Ice, and is alleged to have vomited on Fred Durst. A=20= complete list of everything is constantly in flux over at=20 www.whittlz.com. TODD LEVIN is a writer and comedian, living in Brooklyn. His work has=20 appeared in Glamour, Salon, Modern Humorist, Jest Magazine, McSweeney's,=20= Hermenaut, and, too frequently, his own web site. (www.tremble.com) He=20= currently co-hosts and co-produces "How to Kick People"=20 (www.howtokickpeople.com), a reading series for comic writers and=20 performers, on the last Wednesday of each month. JEB GLEASON-ALLURED needs you more than you know. He lives in Chicago. ========================================================================= Date: Tue, 27 Apr 2004 21:20:16 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: elen gebreab Subject: FW: slope poetry book contest MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit >>PUB: slope poetry book contest ========================== The Third Annual Slope Editions Book Prize Judge: Donald Revell Author, Arcady and My Mojave Deadline: May 15, 2004 $1,000 plus book publication www.slopeeditions.org COMPLETE GUIDELINES The winning poet will have his or her book of poems published in 2004 or 2005 by Slope Editions, a non-profit press that is applying for 501(c)(3) status. S/he will receive a standard book contract, which includes royalties, and $1,000. Last year's judge was Dean Young, who selected William Waltz's Zoo Music as winner. Eligibility: Any poet writing in English is eligible, unless that person has studied with or is a close friend of the judge, in which case that person will be ineligible to enter or win the contest. Age and previous book publication are not considerations for eligibility. Poems published in print or on-line periodicals, anthologies, or chapbooks may be included in the manuscript, but the manuscript itself must be unpublished. Translations are not eligible. Manuscript Format: Suggested length: 40 to 90 pages, single-spaced, paginated. The manuscript must be typed (clear photocopies are acceptable) and bound only by a clip. Include two title pages (one with book title, name, address, telephone and email; one with book title only), table of contents, and acknowledgments page with manuscript. The author's name should not appear anywhere but on the first title page. Biographical information should not be included. Notification: Enclose SASE for notification of contest winner only. WE WILL NOT RETURN MANUSCRIPTS, so don't send your only copy. Winner will be announced in spring/summer 2004. Simultaneous Submissions: Simultaneous submissions are acceptable, but entrant must notify Slope Editions if his or her manuscript is accepted elsewhere. Multiple Submissions: Submission of more than one manuscript is acceptable. Each manuscript must be submitted separately, each with entry fee and SASE. Revisions: The winner will be able to revise the manuscript before publication. No revisions will be considered during the reading period. Entry Fee: A $20 entry fee, payable to "Slope Publishing Inc.," in the form of a check or money order, must accompany all submissions. Manuscripts will be considered for future publication. Unpublished poems from all manuscripts will be considered for inclusion in the online literary journal Slope (www.slope.org). Selected poems by semi-finalists may be included in an edition of Slope. Deadline: Submissions must be postmarked no later than May 15, 2004. No Federal Express, UPS, or other overnight mail services. No fax or electronic submissions. Submissions should be sent first-class mail to our editorial address: Slope Editions Third Annual Book Prize c/o Ethan Paquin, Editor Medaille College 18 Agassiz Circle Buffalo, NY 14214 >> # ========================================================================= Date: Tue, 27 Apr 2004 20:52:07 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Mr. Malimbicus" Comments: cc: WRYTING-L@listserv.utoronto.ca MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Eastern Washington teen's sketches attract Secret Service scrutiny By The Associated Press PROSSER, Benton County - Secret Service agents questioned a high-school student here about anti-war drawings he turned in to his art teacher. One of them depicted President Bush's head on a stick. Another pencil-and-ink drawing depicted Bush as a devil launching a missile, with a caption reading "End the war - on terrorism." The 15-year-old boy's art teacher turned the drawings over to school administrators, who notified a police officer assigned to work with the school. "We involve the police anytime we have a concern," Prosser Superintendent Ray Tolcacher told the Tri-City Herald. "From our perspective, it was an incident that needed to be reported to the police on campus." Secret Service agents interviewed the boy Friday. The student, who was not arrested, has not been identified. The school district disciplined him, but district officials declined to say what the punishment was. Tolcacher said the boy was not suspended. Tolcacher insisted it was not a freedom-of-speech issue but a concern over the depiction of violence. "From what I saw, (school officials) were right to be concerned," Prosser Police Chief Win Taylor said. The artwork was apparently part of an assignment to keep a notebook of drawings, according to Kevin Cravens of Richland, who said he was a family friend of the boy who was investigated. The drawing that drew the most attention showed a man in what appeared to be Middle Eastern-style clothing, holding a rifle. He also was holding a stick with the oversize head of President Bush on it. The student said the head was enlarged because it was intended to be an effigy, Cravens said. The caption called for an end to the war in Iraq. The boy's mother declined to talk with The Seattle Times last night. The Secret Service did not return the Herald's calls for comment, and a message left by The Associated Press with an after-hours duty officer in Washington, D.C., was not immediately returned yesterday. "If this 15-year-old kid in Prosser is perceived as a threat to the president, then we are living in '1984.' " Cravens said. Seattle Times staff reporter Nguyen Huy Vu contributed to this report. ========================================================================= Date: Tue, 27 Apr 2004 23:55:19 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Brent Bechtel Subject: "Please Help" (poem) MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii; format=flowed Content-Transfer-Encoding: 7bit "Please Help" I've been sick for months as a result of following-- /following/ the instructions of others on how best to treat my illness. It all began with intense headaches around half a year ago, and since then has progressed from general malaise to tremors and feelings of something crawling within my bones. I think this may possibly-- /possibly/ be associated with my use of an anti-thought control device that I purchased on the Internet and an unknown interaction with ELF that seems to pass through my bedroom on cold nights. My ears itch, my hands ache, and my eyelashes have all fallen out. I have sought advice from doctors and also on the Internet, message boards, IRC and USENET. Someone told me I should take angelica root and slit the skin on my arm and insert a one-inch piece of root into the wound. I tried this several times, and gave up the last time after an infestation of worms developed. "Gargle with a tincture"-- /Gargle with a tincture/ another person told me-- "Fix somatic problems with sewage oxtail stew"-- but I couldn't stomach the flavor more than a few days. It seems that the negative aspects of this preparation become more pronounced over time. For two weeks after this, I had blurred vision and a taste of aluminum foil was strong against my tonsils. I also tried extracting my tonsils with a sharpened wooden spoon, thinking that they might be infected with extraterrestrial microbes. Massive bleeding resulted in a visit to the ER. I don't trust the doctors there. I'm not sure what they might have done while I was unconscious. Any help in addressing my situation is greatly appreciated. /--Brent Bechtel/ ========================================================================= Date: Tue, 27 Apr 2004 21:56:18 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jesse Taylor Subject: Amy King Mime-Version: 1.0 Content-Type: text/plain; format=flowed; charset="iso-8859-1" Content-Transfer-Encoding: 7bit As you're passing along through your plethora of emails, take a few moments to point your browser to http://www.SpiralBridge.org and take a look at the work of Amy King! http://www.SpiralBridge.org ========================================================================= Date: Tue, 27 Apr 2004 23:33:59 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Stephen Vincent Subject: Secret Service Investigates Student Art (etc) In-Reply-To: <000901c42cd4$2d6fb140$5ba05e82@hevanet.com> Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit I find this CNN report profoundly scary. There are clearly forces acting to take over and repress the right to expression, particularly, in this case, political art work created in an art class in a high school. (There was another similar incident recently in a writing program at San Francisco's Academy of Art.) In both cases the "reporting" teachers appear to act on their own as willing instruments of state repression (suppression?). " Secret Service agents interviewed the boy Friday. The student, who was not arrested, has not been identified. The school district disciplined him, but district officials declined to say what the punishment was." (!!!) (!) When I read this stuff, I think - collectively, as writers and artists - that it's time for an immediate art revolt. Say, wouldn't it be nice to choose a day in May where every teacher of art and writing, and every writer and artist in this country will make an openly political work of art that in one way or other depicts and interprets our various "state managers" - be that Bush, Rumsfeld, Ashcroft, Tenet, etc. etc. And then post the work all over the internet, as well as print it out and post it in what remains of public space (post office boxes, school , telephone poles, sidewalks, etc., etc., including public readings, in schools as well) A reclamation and exercise of free speech and the right of art and language to occupy and participate in public space. A resurrection of the energy that led huge numbers of us to both demonstrate, make creative placards and read poems against going to war in Iraq. This time bringing it home to fight those forces bent on occupying our own country, ones that are clearly intent on using the State and Government (including its schools) as the means to repress creative political work, discourse, & debate. Loathe the image of somebody from the Secret Service tapping yourself or your child or student on the shoulder? Or Rumsfeld as the poet laureate of the current war? It seems to me strong time to start walking that walk (demonstrating), soon. Hopefully many people will begin (again) to take the lead here. It's getting hard to hold in so much disgust,anger, etc. Stephen Vincent http://www.cnn.com/2004/US/West/04/27/artwork.investigated.ap/index.html > Eastern Washington teen's sketches attract Secret Service scrutiny > By The Associated Press > > PROSSER, Benton County - Secret Service agents questioned a high-school > student here about anti-war drawings he turned in to his art > teacher. > One of them depicted President Bush's head on a stick. > Another pencil-and-ink drawing depicted Bush as a devil launching a missile, > with a caption reading "End the war - on terrorism." > The 15-year-old boy's art teacher turned the drawings over to school > administrators, who notified a police officer assigned to work > with the school. > "We involve the police anytime we have a concern," Prosser Superintendent Ray > Tolcacher told the Tri-City Herald. > "From our perspective, it was an incident that needed to be reported to the > police on campus." > Secret Service agents interviewed the boy Friday. The student, who was not > arrested, has not been identified. > The school district disciplined him, but district officials declined to say > what the punishment was. Tolcacher said the boy was not > suspended. Tolcacher insisted it was not a freedom-of-speech issue but a > concern over the depiction of violence. > "From what I saw, (school officials) were right to be concerned," Prosser > Police Chief Win Taylor said. > The artwork was apparently part of an assignment to keep a notebook of > drawings, according to Kevin Cravens of Richland, who said he > was a family friend of the boy who was investigated. > The drawing that drew the most attention showed a man in what appeared to be > Middle Eastern-style clothing, holding a rifle. He also > was holding a stick with the oversize head of President Bush on it. The > student said the head was enlarged because it was intended > to be an effigy, Cravens said. The caption called for an end to the war in > Iraq. > The boy's mother declined to talk with The Seattle Times last night. The > Secret Service did not return the Herald's calls for > comment, and a message left by The Associated Press with an after-hours duty > officer in Washington, D.C., was not immediately > returned yesterday. > "If this 15-year-old kid in Prosser is perceived as a threat to the president, > then we are living in '1984.' " Cravens said. > Seattle Times staff reporter Nguyen Huy Vu contributed to this report. ========================================================================= Date: Tue, 27 Apr 2004 23:13:54 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: alexander saliby Subject: Re: "Please Help" (poem) MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Brent, Delighted to be of service Yours is quite a common ailment=20 frequently afflicting=20 only the young at mind, you must age to a more calloused sense. I recommend a multi-phased=20 treatment to combat the affliction: get naked take no root get cynical talk only to deaf musicians they feel learn to play yourself get naked fast get cynical faster...try time-warping. Alex=20 P.S.=20 If all else fails vote republican. =20 That vote won't cure your ills but pain from the error of your ways may take your mind off trivial ailments.=20 ----- Original Message -----=20 From: Brent Bechtel=20 To: POETICS@LISTSERV.BUFFALO.EDU=20 Sent: Tuesday, April 27, 2004 9:55 PM Subject: "Please Help" (poem) "Please Help" I've been sick for months as a result of following-- /following/ the instructions of others on how best to treat my illness. It all began with intense headaches around half a year ago, and since then has progressed from general malaise to tremors and feelings of something crawling within my bones. I think this may possibly-- /possibly/ be associated with my use of an anti-thought control device that I purchased on the Internet and an unknown interaction with ELF that seems to pass through my bedroom on cold nights. My ears itch, my hands ache, and my eyelashes have all fallen out. I have sought advice from doctors and also on the Internet, message boards, IRC and USENET. Someone told me I should take angelica root and slit the skin on my arm and insert a one-inch piece of root into the wound. I tried this several times, and gave up the last time after an infestation of worms developed. "Gargle with a tincture"-- /Gargle with a tincture/ another person told me-- "Fix somatic problems with sewage oxtail stew"-- but I couldn't stomach the flavor more than a few days. It seems that the negative aspects of this preparation become more pronounced over time. For two weeks after this, I had blurred vision and a taste of aluminum foil was strong against my tonsils. I also tried extracting my tonsils with a sharpened wooden spoon, thinking that they might be infected with extraterrestrial microbes. Massive bleeding resulted in a visit to the ER. I don't trust the doctors there. I'm not sure what they might have done while I was unconscious. Any help in addressing my situation is greatly appreciated. /--Brent Bechtel/ ========================================================================= Date: Wed, 28 Apr 2004 00:01:47 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Ishaq Organization: selah7 Subject: Welfare Poets at Carlota's Cafe Comments: To: Thco2 MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii; format=flowed Content-Transfer-Encoding: 7bit Every last Wednesday of the Month. Join the entire Welfare Poets at Carlota's Cafe for our weekly open mic and full band performance When: Wednesday, April 28th, 2004 Where: Between 106th and 107th St. on Lexington Avenue (NYC) When: 7:30pm Fee: $5 Please check out the Welfare Poets site at Welfarepoets.com You can purchase their first album - Project Blues and hear a few songs of the new album (Rhymes for Treason) -\ ___\ Stay Strong\ \ "Peace sells but who's buying?"\ Megadeth\ \ "This mathematical rhythmatical mechanism enhances my wisdom\ of Islam, keeps me calm from doing you harm, when I attack, it's Vietnam"\ --HellRazah\ \ "It's not too good to stay in a white man's country too long"\ Mutabartuka\ \ http://www.sleepybrain.net/vanilla.html\ \ http://awol.objector.org/artistprofiles/welfarepoets.html\ \ http://ilovepoetry.com/search.asp?keywords=braithwaite&orderBy=date\ \ http://www.dpgrecordz.com/fredwreck/\ \ http://www.lowliferecords.co.uk/\ \ http://loudandoffensive.com/\ \ http://groups.yahoo.com/group/THCO2\ } ========================================================================= Date: Wed, 28 Apr 2004 17:31:13 +1000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: =?iso-8859-1?q?Pam=20Brown?= Subject: the play/ce to be (corny I know) MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Hello again Alison, My tickets to "Victory" arrived in today's mail. It's so popular, being Judy Davis's return to the stage after a 12 year break, plus Colin Friels who's a wonderful theatre actor (much better than in film or tv)as you would know...so popular that the long six week season practically sold out in the first few days - I could only get seats at a mid-week matinee at 12.30pm in June !!...a-mazing - hope I remember to go by the time June rolls around... Pam >ut it doesn't escape my attention that the rest were >in Sydney. I'm afraidthat I have Sydney envy at the moment; they're having all the fun. >It's all Broadway musicals and keeping on smiling here, >while the STC is doing what sounds like a great >production of my favourite Howard Barker play, >Victory. >Not a chance of anything like that happening here. And >an upcoming season at Belvoir St which sounds very >interesting. >Ah well. >Best >A ===== Web site/Pam Brown - http://www.geocities.com/p.brown/ Find local movie times and trailers on Yahoo! Movies. http://au.movies.yahoo.com ========================================================================= Date: Wed, 28 Apr 2004 18:02:07 +1000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alison Croggon Subject: Re: the play/ce to be (corny I know) In-Reply-To: <20040428073113.5667.qmail@web12004.mail.yahoo.com> Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit On 28/4/04 5:31 PM, "Pam Brown" wrote: > My tickets to "Victory" arrived in today's mail. It's > so popular, being Judy Davis's return to the stage > after a 12 year break, plus Colin Friels who's a > wonderful theatre actor (much better than in film or > tv)as you would know...so popular that the long six > week season practically sold out in the first few days > - I could only get seats at a mid-week matinee at > 12.30pm in June !!...a-mazing - hope I remember to go > by the time June rolls around... Pam, I'm soooo JEALOUS. I have wanted to see that play for years... Maybe it might come to Melbourne? I suppose Simon down the MTC would think it too savage and difficult for his blue-rinse subscribers. I could weep. It's certainly a play for our times. Btw, watch out for Colin Friels in the performance of his life in a film out later this year called Tom White...completely astounding - Cheers A Alison Croggon Editor, Masthead http://www.masthead.net.au Home page http://www.alisoncroggon.com Blog http://alisoncroggon.blogspot.com ========================================================================= Date: Wed, 28 Apr 2004 03:09:21 -0500 Reply-To: nudel-soho@mindspring.com Sender: UB Poetics discussion group From: Harry Nudel Subject: Spring... Mime-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Push Hands 'i like to push with Lori because she does not push... gained a pound..4:00...drn.. ========================================================================= Date: Wed, 28 Apr 2004 09:47:47 +0100 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Todd Swift Subject: Re: Canada/ refuge for National Guard Comments: To: Stephen Vincent Comments: cc: YVONNE GINSBERG , Friends , "J. Scappettone" , Alison Croggon , "Brian Kim Stefans [arras.net]" , linda norton MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit I am proud to come from a country that continues to be a haven for those opposed to unjust war. ts ========================================================================= Date: Wed, 28 Apr 2004 11:10:58 +0200 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Karl-Erik Tallmo Subject: Re: "Please Help" (poem) In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" I know the feeling. See below work in progress ... /KET ====== Suction through chest heart which seemed beats rhythm light strange settled brain could never come walking street became times entered store placed sweat filled stream silent speak pressed against another effect strong cases stomach double worst thing having go about during summer proper further reading dying almost every single minute divert because of struck fatigue vaguely round behind a shaded muscle away still radio floated upstate theme song appeares exposed these shaking mile-shoe spasms enough sick always acidity anxiety iffity iffity iffity hardly cause result caused then blood other samples bell sound keeping one's mouth idea known toxins prevent future in replace October woman smaller drill canal hotbed virus survives at length spread within nervous system causing sitting chair relief freely clinic turned longer sources forced room wheeled back by female highly strung remade write shell course cheaper copies human cannot rather develop similar herbal modern ore exact mixture active lesser testing against depends of area diffuse illness mine lights merely notice decided visit 14th twelve results Melisa traced various among the whites cells occur memory showered metals arsenic dollars come formed teeth: written brief diary hoping record felt write voice machine lecture article desk works fine ideas capture tape then work doesn't require diary: Monday, July asleep Tuesday inert rested severe chance throws trying symptom trouble nights wearing elastic pain arms legs joints trick person eight slight night change exhale impulse totally resist seems streamed air lungs theory tender points located elbows knees typical refer stating chronic shock denote strain burden label toxic youth tobacco smoking factory fumes vinyl parts causal puzzle thyroid gland point (such effect) item closed leaked roller sides blind managed streets blazing along enjoy music endure rustle stimuli explains stimuli block whether needed smells like scent enigma above surely serious whose putting August paper outside heavy city poured letting forest exhale glass drops worth seven English abate scary forget stuck strikes (dealt about) science values hour pattern energy daytime waned earlier grown ascribed latent (Taking killer rule) opening scope hell dared ( ) plenty hanging thread break hurts muzzy leaks living playing heating belly shape library (and happen stumble) apart shows exactly current wonder truth strike combine winter extend ward prime purpose exhibit showing laymen like value compare share sounds living playing heating belly shape expand said body shall cripple intended figure foggy again assured clinics ungodly clear grief easily arise forcing console worry turns aching openly mutual coping - living playing heating belly shape Karl-Erik Tallmo ________________________________________________________________ KARL-ERIK TALLMO, poet, writer, artist, journalist MAGAZINE: http://art-bin.com ARTWORK, WRITINGS etc.: http://www.nisus.se/tallmo/ __________________________________________________________________ ========================================================================= Date: Wed, 28 Apr 2004 08:19:55 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jane Sprague Subject: Slope Editions in Ithaca MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Poets Kirsten Kaschock and William D. Waltz will read from their work at = the Lost Dog Lounge on Thursday, April 29 at 7:00 p.m. during an Ithaca stop on the Slope Editions book tour. Free. Ithaca, NY. Zoo Music marks another step in the Minneapolis Renaissance -- William = Waltz's book, like those of his Twin Cities peers, storms over the = American poetic landscape at the right time, sweeping aside today's = tired ultra-irony and hyper-humor in favor of ineffable strangeness and = touching sincerity. A zebra of different stripes. Chosen by Dean Young = as Winner of the Second Annual Slope Editions Book Prize. William Waltz = grew up in Wapakoneta, Ohio, home of the first man on the moon. He = earned a B.A. in Economics from Ohio State University and a M.F.A. in = Poetry from the University of Massachusetts at Amherst. His poems have = appeared such journals as Denver Quarterly, Exquisite Corpse, Forklift = Ohio, Insurance, Lit, Poetry East, Spinning Jenny, Surgery of Modern = Warfare and Verse. He lives and works in Minneapolis with his wife Brett = Astor and their daughter Clark Mercy. He is the editor of Conduit. "As I get closer with my weapons," writes Kirsten Kaschock, the rules = change -- the rules regarding how we must look at the body and spirit. A = poet and choreographer, Kaschock uses language and the dance thereof to = mount her attack. Using cities as metaphorical backdrops, the result is = a voyage into the streets and arteries of various physical and psychic = terrains. Kirsten Kaschock was born into a family of dancers. She has = earned MFAs in both choreography from the University of Iowa and in = creative writing from Syracuse University. Her poetic work has appeared = in journals including The Iowa Review, Indiana Review, Pleiades, LIT, = Barrow Street, Hayden's Ferry Review and American Letters & Commentary. = She is currently relocating from Syracuse, New York, to Suwannee, = Georgia, with her husband and two children in order to pursue a Ph.D. DIFFERENCE IS A STRATEGY "We believe in no one "school" of poetry; we subscribe to no one poetic = "mode" or "sensibility." We seek innovative, moving and daring work. = Apart from their high quality content, Slope Editions books are = recognizable for the high quality of their design. And, like our = readership, we're not afraid of the Web: we believe the Internet is the = best place to promote the writing of today, and the most convenient = place for our audience to access and buy our authors' work." = www.slopeeditions.org Hosted by SlyFox Productions, producers of the West End Reading Series www.slyfox.org ========================================================================= Date: Wed, 28 Apr 2004 14:25:33 +0100 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Todd Swift Subject: Elegy for Thom Gunn - poem by Todd Swift MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Elegy for Thom Gunn (1929-2004)/ by Todd Swift =20 You moved between worlds, As a god to men does, who Puts on the used-clothes of A swan, to beat about girls; =20 Crossed channels, a motion In the very style you took on; Became a pop star of form, Reformed the common, into =20 Something rare. Jacketed Muscle and passion, a uniform Uniquely yours. Revved Engines, made language =20 A throttle that could roar With poise and sexuality And remorse, for loss. Tossed Love and its deadliness out =20 As the first ball of the game; In and out of season, came And then were able to write About it, with ease, intellect, =20 Control, but freely, like a stone That takes, as it rolls, moss And other earthly bric-a- Brac with it, to compose =20 A song in the movement of Its going; hurtled most, talent Calm, loins ruffled, Fulke Greville like a sock in your jeans; =20 Tested the means, renamed The terms, conditions, of renewal. Became a sort of rocket fuel For poems that, changed, from sea =20 To sea, from Atlantic to Pacific, Shone with American grandeur, Retained British propriety - hard To do when boss of desire's realm; =20 When speeding down lines Wearing flesh's delicate helmet For radical protection. Fallen, As all captains are, sadly, last-reel =20 Come up on the high screen, at The drive-in where your Wild Ones Would have been, acting out, Tough and languorous with beauty =20 Only men under twenty-five can Display - you are, with precision, Forever as alive as Whitman, Gray: One of those who mastered the elegy =20 And the ecstasy of living, in one pose; Like any lover in a battle who knows Survival is a craft as well as an art; To keep the spear and arrow off =20 The ever-beaten, ever-won heart. =20 =20 London, April 28, 2004 ========================================================================= Date: Wed, 28 Apr 2004 06:35:41 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: kari edwards Subject: TG Voices in 55 Words or Less - 2004 In-Reply-To: <00ac01c42d24$564e9680$72502cd9@D70HLP0J> Content-Type: text/plain; charset=WINDOWS-1252; format=flowed Mime-Version: 1.0 (Apple Message framework v553) Content-Transfer-Encoding: quoted-printable > please forward and post... thank you... > TG Voices in 55 Words or Less - 2004 > > The Board of Directors of Transgendered Voices, Incorporated, Wyoming=20= > not-for-profit corporation is pleased to announce TG Voices in 55=20 > Words or Less a Writing Competition open to all Transgendered people=20= > not matter what type of TG they may be or what country they may live=20= > in. > > Submissions may include any recorded work with both=A055 words or less=20= > and a time span of 90 seconds or less.=A0 The submissions are not=20 > reqired to fit any form or discuss any topic. One work per speaker but=20= > the author may submit different works with different speakers. > > All works must be unpublished, original, and in English.=A0 = Adaptations=20 > or translations of other works of fiction are not acceptable.=A0 The=20= > winners selected by the judges will be announced in September 2004=20 > at=85=85=85=85=85event=85=85=85 and will receive a cash awards of = $1,000. (Not limited=20 > to a single winner.) > > All submissions must be postmarked bymidnightAugust 1, 2004.=A0 Mail = the=20 > text and cd/cassette of the submission.=A0 Text and recordings cannot = be=20 > returned because of the large numbers of submissions, but will be=20 > archived by TG Voices, Incorporated. > > Competition CONDITIONS OF ENTRY > > TG Voices in 55 Words or Less -2004 > > Open to any Transgendered Person any place in the world > > =A0Conditions of entry > > 1.=A0=A0 The competition is for spoken works of 55 words or less and=20= > having playing times of two minutes or less. The speaker is permitted=20= > to present any spoken work that meets the aforementioned criteria.=20 > Fact, fiction, poetry verbal art and all combinations of them art=20 > acceptable for judging. > > 2.=A0=A0 It must be the speaker=92s and author=92s =A0own work. > > 3.=A0=A0 It must not have won any award previously, nor have been=20 > performed previously. A rehearsed reading or private reading is=20 > permitted. > > 4.=A0=A0 It must not be an adaptation of anyone else's previously=20 > published or performed work. > > 5.=A0=A0 All rights to each submission entered remain with the author,=20= > except that Transgendered Voices, Incorporated may use the work in=20 > projects that meet its charitable goals of assisting the transgendered=20= > community. > =A0 > > 7.=A0=A0 Prizes are: 1000.00 > > =A0 > 9.=A0=A0 The judges of note are: to be announced > > 10. Closing date for submissions is1st August 2004. It is expected=20 > that results will be announced to the media and on this website in=20 > September 2004. > > =A0 > 13. The completed entry form must be accompanied by a legibly typed=20 > text of the work and a CD or cassette of the work. > > 17. The Author's name and any identifying details must not appear on=20= > the script in any place. =A0A cover sheet must give the title of the=20= > work and a different pseudonym for each play. Speaker=92s and Author's=20= > commonly used pseudonyms will not be accepted. > > 18. More than one play may be entered. Each play must be accompanied=20= > by an entry form completed by the =A0speaker and author. > > 19.=A0 Entrants should keep a copy of their work as no submissions = will=20 > be returned to the entrants and TG Voices will not be liable to=20 > safeguard against loss or misuse by others.. > > 20. Transgendered Voices, Inc. will not enter into correspondence=20 > regarding the results of the competition. > > 21. Entries are to arrive at Transgendered Voices, Inc. no earlier=20 > than15th April 2004. The closing date for entries is1st August 2004,=20= > or these may be date stamped by governmental postal service or private=20= > courier service not later than31st July 2004.=A0 > > =A0Registrar:=A0 > > Photocopies of entry forms will be accepted. > > JudgingcriteriaWill be determined by the judges. > > Contacts > > Transgendered Voices, Incorporated > 3333East Bayaud,Suite110 > Denver,Colorado80209 > United States of America > > For questions about Transgendered Voices, Inc., please contact: > > info@TGVoices.com > > For questions related to web site, please contact: > > webmaster@TGVoices.com > ========================================================================= Date: Wed, 28 Apr 2004 06:15:34 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Mr. Malimbicus" Subject: the experimenter's regress MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable the experimenter's regress The first thing to notice is that the machine is to mimic a man who is = imitating a woman -not a man being himself. The second thing to notice is that the machine = is to mimic 1950 whoich is imitating an intwinnement -not a 'time-being' itself. As I was touring Semipalatinsk in the Spring of that year, I had = fashioned an instrument from a 'kit' I had received from an address I had recorded in my notebook = upon waking from a dream. There was also a small fat plastic pillow full of a phosphorescent = powder which I was instructed to ingest after I had made the object which I laid upon my head, which I did. I = must have passed out. Because when I came to, or woke up, the object was gone, and in the darkness of the = bathroom, as I stood there peeing, looking at myself in the mirror, I saw that the rims of my eyelids were = glowing yellowgreen, like some kind of anti-kohl. That's when I noticed I could time travel; -like a tiny = drop of urine I slipped out of myself and fell blissfully wobbling backwards. There I was in a desert, naked, with a grey foam = doughnut which had somehow grown from my midsection, around my waist. In the distance, I saw what = looked like a terra cotta city. A voice chimed gently in my ear, "protocol h/m, proceed freely.." "What = is this thing around my waist?" "A rest of behavior," said the voice. It felt like wet food. I was = hungry. The desert seemed oceanic. http://www.unitednuclear.com/glow.htm http://www.isar.org/isar/archive/ST/Semipalatinsk.html Collins, H. M., (1975) `The Seven Sexes: A Study in the Sociology of a = Phenomenon, or the Replication of Experiments in Physics', Sociology, 9, 2, 205-224. ========================================================================= Date: Wed, 28 Apr 2004 07:15:14 -0700 Reply-To: ishaq1823@telus.net Sender: UB Poetics discussion group From: Ishaq Organization: selah7 Subject: Re: Canada/ refuge for National Guard In-Reply-To: <00da01c42cfd$8aa08460$de502cd9@D70HLP0J> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii; format=flowed Content-Transfer-Encoding: 7bit ...and and haven for Nazis Neo nazis CSIS Aryan Nation The RCMP Murders of Native Youth Constant Surveillance White Supremacist Ideology White Supremacist Training camps White supremacist suppliers Robber barons passing themselves off as politicians Government thieves of poor people's babies Suppliers of Mercenaries for Foreign and Local Oil companies after Iraqi oil South Africans with dreams of neo apartheid Murderers of Somalia Youths Stormtroopers in Afghanistan Murderers of homeless people Blind Nationalism Block busting urban planners from the ethnic cleansing front of the USA Here have read: Woodsquat: West Coast Line (writings, images and criticism) "Writing & Interviews on daily life of at the squat. Police reports & the confidential government memo planning the quiet final eviction. addiction and class war..." number 41 37/2-3 fall/winter 2003/2004 ed. Aaron vidaver 2027 East Annex 8888 University dr Simon Fraser University Burnaby BC V5A 1S6 604-291-4287 wcl@sfu.ca http://www.sfu.ca/west-coast-line and peep this: http://victoria.indymedia.org/news/2004/04/24950.php http://victoria.indymedia.org/news/2004/03/23322.php http://victoria.indymedia.org/news/2004/03/22591.php http://victoria.indymedia.org/news/2004/01/20251.php Todd Swift wrote: >I am proud to come from a country that continues to be a haven for those >opposed to unjust war. > >ts > > > -- ___\ Stay Strong\ \ "Peace sells but who's buying?"\ Megadeth\ \ "This mathematical rhythmatical mechanism enhances my wisdom\ of Islam, keeps me calm from doing you harm, when I attack, it's Vietnam"\ --HellRazah\ \ "It's not too good to stay in a white man's country too long"\ Mutabartuka\ \ http://www.sleepybrain.net/vanilla.html\ \ http://awol.objector.org/artistprofiles/welfarepoets.html\ \ http://ilovepoetry.com/search.asp?keywords=braithwaite&orderBy=date\ \ http://www.dpgrecordz.com/fredwreck/\ \ http://www.lowliferecords.co.uk/\ \ http://loudandoffensive.com/\ \ http://groups.yahoo.com/group/THCO2\ } ========================================================================= Date: Wed, 28 Apr 2004 10:45:25 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Pierre Joris Subject: Thom Gunn obit In-Reply-To: <001901c42d1b$1e922e40$42f896d1@Jane> Mime-Version: 1.0 (Apple Message framework v613) Content-Type: text/plain; charset=US-ASCII; format=flowed Content-Transfer-Encoding: 7bit New York Times April 28, 2004 Thom Gunn, 74, Poet Who Left Tradition for the Counterculture, Dies By WOLFGANG SAXON Thom Gunn, a transplanted British poet identified with the San Francisco scene and the California liberated style, died on Sunday night at his home in San Francisco, his adopted hometown. He was 74. His death was announced by his companion of 52 years, Mike Kitay. Acclaimed as one of the most promising young poets of postwar Britain, Mr. Gunn found his own voice after he migrated to California in the 1950's and established himself in San Francisco, his home for the rest of his life. There, he wedded traditional form to unorthodox themes like LSD, panhandling and homosexuality. He experimented with free verse and syllabic stanzas. In doing so he evolved from British tradition and European existentialism to embrace the relaxed ways of the California counterculture. Born and educated in England, he was grouped as a young man at Cambridge in the 1950's with a generation of writers, notably Philip Larkin, known as the Movement. Their verse was celebrated for its dry, skeptical rejection of what they saw as rhymed grandiosity. He later studied at Stanford with the poetic rationalist Yvor Winters. By the time his best-known early collection, "My Sad Captain," appeared in 1961, Mr. Gunn had settled in America. His work was honored on both sides of the Atlantic. He won a Guggenheim fellowship in 1971 and was chosen as a MacArthur fellow in 1993. "The Man With Night Sweats" (Farrar, Straus & Giroux; 1992) was his characteristically unsentimental vision of the AIDS epidemic in San Francisco, and a stark tribute to the friends he lost to it. The poem began: I wake up cold, I who Prospered through dreams of heat Wake to their residue, Sweat, and a clinging sheet. My flesh was its own shield: Where it was gashed, it healed. I grew as I explored The body I could trust Even while I adored The risk that made robust, A world of wonders in Each challenge to the skin. For that work he was given the Forward Prize for Best Poet of the Year and the Lenore Marshall/Nation Poetry Prize. He received the Lambda Literary Award for Gay Men's Poetry in 1995 and the Lila Wallace-Reader's Digest award for his collected poems. That volume, "Collected Poems" (Farrar, Straus & Giroux, 1994), represented a harvest of 40 years of his work. Like "The Man With Night Sweats," it remains in print. The poet Richard Tillinghast, reviewing the collection for The New York Times Book Review, wrote: "Among other things, this lucid, very readable book may partly be approached as a personal history of the gay scene in San Francisco, from its early beginnings to the counterculture to its Castro Street flowering, and finally to the age of AIDS. "Characteristically Mr. Gunn brings to demotic experience the classical clarity of his finely honed meter and incisive rhymes." Thomson William Gunn was born in Gravesend, Kent, to journalist parents who divorced when he was 9. He moved about with his father, Herbert Smith Gunn, until they eventually settled in Hampshire. After spending two years in military service and six months in Paris, he enrolled at Trinity College, Cambridge. By that time he had finished three novels, none of which was ever published. He wrote his first poem for a student magazine, and its success prompted him to adopt that medium to express himself. The choice was partly influenced by his readings of Stendhal, Baudelaire and Sartre. Mr. Gunn graduated fom Cambridge in 1953 and published "Fighting Terms," which identified him with the Movement, in 1954. The same year he began his graduate studies with Winters at Stanford and decided to become a resident of California. He soon started teaching at the University of California, Berkeley, as a lecturer. He was an associate professor of English from 1958 to 1966, after which he conducted classes as a visiting and, later, senior lecturer until four years ago. Besides Mr. Kitay, Mr. Gunn is survived by his younger brother, Ander Gunn, of Penzance, England. ___________________________________________________________ In philosophical terms, human liberty is the basic question of art. -- Joseph Beuys ___________________________________________________________ Pierre Joris 6 Madison Place Albany NY 12202 h: 518 426 0433 c: 518 225 7123 o: 518 442 40 85 email: joris@albany.edu http://www.albany.edu/~joris/ ____________________________________________________________ ========================================================================= Date: Wed, 28 Apr 2004 11:43:16 -0400 Reply-To: Kevin Walzer Sender: UB Poetics discussion group From: Kevin Walzer Subject: CustomWords Prize deadline approaching (poetry book contest) Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit Hello, The CustomWords Poetry Prize contest deadline for a full-length book of poetry is May 15, 2004. This contest will award $1,000, publication and 25 author copies to the winner. In addition, we will publish selected runners-up under a royalty contract; they will also receive five author copies. CustomWords is our imprint that focuses on experimental and "new" styles of poetry, and we are especially interested in receiving manuscripts that push the boundaries of poetic form and style. Complete guidelines can be found at the CustomWords website: http://www.custom-words.com. Regards, Kevin Walzer, Ph.D. Editor WordTech Communications - A New Paradigm of Poetry http://www.wordtechcommunications.com http://www.smallbizmac.com http://www.kevin-walzer.com ========================================================================= Date: Wed, 28 Apr 2004 10:03:46 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Catherine Daly Subject: quick query -- innovative poets of Native American lineage? MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit quick query -- innovative poets of Native (North) American lineage (all tribes)? Thanks, Catherine Daly cadaly@pacbell.net ========================================================================= Date: Wed, 28 Apr 2004 13:22:18 -0400 Reply-To: pmetres@jcu.edu Sender: UB Poetics discussion group From: Philip Metres Subject: new translation: Catalogue of Comedic Novelties: Selected Poems of Lev Rubinstein MIME-Version: 1.0 Content-Type: multipart/mixed; boundary="-----1fd2fd2f00eee3acefaa29deb9c95290" -------1fd2fd2f00eee3acefaa29deb9c95290 Content-Type: text/plain; charset=UTF-8 Content-Transfer-Encoding: base64 SSdtIHJlLXBvc3RpbmcgdGhpcywgYmVjYXVzZSBpdCBhcHBlYXJlZCBhcyBnb2JibGVkeWdv b2sgaW4gDQp0aGUgZGlnZXN0OyBJIGJlbGlldmUgdGhhdCBpdCBwcm9iYWJseSBjYW1lIHRo cm91Z2ggYXMgYW4gDQppbmRpdmlkdWFsIG1lc3NhZ2UsIHNpbmNlIEpvaG4gTGF0dGEgcmVw bGllZCAodGhhbmtzLCBKb2huKS4gIA0KRG9lcyBhbnlvbmUga25vdyB3aHkgdGhpcyBoYXBw ZW5lZCB3aXRoIHRoaXMgbWVzc2FnZT8gIExldCBtZSANCmtub3cgYmFja2NoYW5uZWwgaWYg SSBuZWVkIHRvIGNoYW5nZSBpdChwbWV0cmVzQGpjdS5lZHUpLg0KDQoNCkZvbGtzLA0KDQpK 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T0QgYnkgRG1pdHJpIFByaWdvdi4gU2hpcHBpbmcgaXMgDQppbmNsdWRlZC4gUGF5YWJsZSBi eSBQYXkgUGFsLCBvciBjaGVjaywgb3IgbW9uZXkgb3JkZXIuICBHbyANCmhlcmUgdG8gc2Vl IHRoZSBzcGVjaWFsIG9mZmVyOiANCnd3dy51Z2x5ZHVja2xpbmdwcmVzc2Uub3JnL3Nob3Au aHRtbA0KDQpQaGlsaXAgTWV0cmVzDQpBc3Npc3RhbnQgUHJvZmVzc29yDQpEZXBhcnRtZW50 IG9mIEVuZ2xpc2gNCkpvaG4gQ2Fycm9sbCBVbml2ZXJzaXR5DQoyMDcwMCBOLiBQYXJrIEJs dmQNClVuaXZlcnNpdHkgSGVpZ2h0cywgT0ggNDQxMTgNCg== -------1fd2fd2f00eee3acefaa29deb9c95290 Content-Type: message/rfc822; name="Message 8" Content-Disposition: inline; filename="Message 8" Content-Transfer-Encoding: 8bit Return-Path: Received: from mirapoint.jcu.edu (localhost.jcu.edu [127.0.0.1]) by mirapoint.jcu.edu (MOS 3.4.3-CR) with ESMTP id AKB65220; Wed, 28 Apr 2004 13:19:02 -0400 (EDT) Received: from 143.105.10.123 by mirapoint.jcu.edu (MOS 3.4.3-CR) with HTTP/1.1; Wed, 28 Apr 2004 13:19:02 -0400 Date: Wed, 28 Apr 2004 13:19:02 -0400 From: Philip Metres Subject: Fwd: new translation: Catalogue of Comedic Novelties: Selected Poems of Lev Rubinstein To: pmetres@jcu.edu Reply-To: pmetres@jcu.edu X-Mailer: Webmail Mirapoint Direct 3.4.3-CR MIME-Version: 1.0 Message-Id: Content-Type: multipart/mixed; boundary="-----990163ba4093f93dfb60dfc11ce87097" -------990163ba4093f93dfb60dfc11ce87097 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Philip Metres Assistant Professor Department of English John Carroll University 20700 N. Park Blvd University Heights, OH 44118 -------990163ba4093f93dfb60dfc11ce87097 Content-Type: message/rfc822; name="Message 725" Content-Disposition: inline; filename="Message 725" Content-Transfer-Encoding: 8bit Received: from 143.105.10.123 by mirapoint.jcu.edu (MOS 3.4.3-CR) with HTTP/1.1; Tue, 27 Apr 2004 09:32:10 -0400 Date: Tue, 27 Apr 2004 09:32:10 -0400 From: Philip Metres Subject: new translation: Catalogue of Comedic Novelties: Selected Poems of Lev Rubinstein To: POETICS@LISTSERV.BUFFALO.EDU, pmetres@jcu.edu Reply-To: pmetres@jcu.edu X-Mailer: Webmail Mirapoint Direct 3.4.3-CR MIME-Version: 1.0 Message-Id: <7e5411c6.379da738.8ccd300@mirapoint.jcu.edu> Content-Type: text/plain; charset=UTF-8 Content-Transfer-Encoding: base64 Rm9sa3MsDQoNCkp1c3Qgd2FudGVkIHRvIGFubm91bmNlIHRoZSBmb3J0aGNvbWluZyB2b2x1 bWUgb2YgDQp0cmFuc2xhdGlvbnMgb2YgTGV2IFJ1Ymluc3RlaW4sIG9uZSBvZiB0aGUgZm9y ZW1vc3QgDQpleHBlcmltZW50YWwgUnVzc2lhbiBwb2V0cyB3cml0aW5nIHRvZGF5LiAgSSBo 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MIME-Version: 1.0 Content-type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: quoted-printable Catherine, Off the top of my head, James Thomas Stevens, Diance Glancy, Gerald Vizeno= r and Reid Gomez=2E Very brief, I know -- they were participants in a conference here in San Francisco a while back=2E A good place to start mig= ht be the anthology Glancy co-edited with Mark Nowak, titled Visit Tepee Town= : Native American Writing After the Detours=2E (I think I got it right, but = the book is at home and I'm at work)=2E And of course, there's more to be said from outside a U=2ES=2E perspective= =2E Rampike magazine, out of Ontario, I remember used to include quite a bit o= f First Nations writing=2E I don't know if they're still publishing, but the= back issues would be worth checking out=2E Less knowledge of Central and South American writers, but I'm sure someone= here can help=2E Taylor Original Message: ----------------- From: Catherine Daly cadaly@PACBELL=2ENET Date: Wed, 28 Apr 2004 10:03:46 -0700 To: POETICS@LISTSERV=2EBUFFALO=2EEDU Subject: quick query -- innovative poets of Native American lineage? quick query -- innovative poets of Native (North) American lineage (all tribes)? Thanks, Catherine Daly cadaly@pacbell=2Enet -------------------------------------------------------------------- mail2web - Check your email from the web at http://mail2web=2Ecom/ =2E ========================================================================= Date: Wed, 28 Apr 2004 11:04:56 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: kari edwards Subject: Fwd: Tarpaulin Sky Spring/Summer Issue(s) Mime-Version: 1.0 (Apple Message framework v553) Content-Type: text/plain; charset=US-ASCII; format=flowed Content-Transfer-Encoding: 7bit > http://www.tarpaulinsky.com Begin forwarded message: > From: "Editors" > Date: Wed Apr 28, 2004 10:55:27 AM US/Pacific > To: "Tarpaulin Sky Readers" > Subject: Tarpaulin Sky Spring/Summer Issue(s) > > Dear TSky Friends & Readers, > > V2n2&3 is online at http://www.tarpaulinsky.com and it is huge. > > The Spring/Summer double issue features black & white photography by > Jason Huntzinger and includes new work from Jenny Boully, Julie Carr, > Mark Cunningham, William E. Dudley, Jamey Dunham, kari edwards, > Michael Gottlieb, Sojourner Hodges, Louis Jenkins, Jake Kennedy, > Jeffrey Levine, Norman Lock, Thorpe Moeckel, Eugene Ostashevsky, > Matthew Shindell, Sarah Sonner, Julianna Spallholz, Jane Sprague, and > John Warner. > > Here's to Spring (& Summer!) > > Editors > Lizzie Harris > Jonathan Livingston > Eireene Nealand > Christian Peet > > > ========================================================================= Date: Wed, 28 Apr 2004 12:30:03 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Julie Kizershot Subject: Re: quick query -- innovative poets of Native American lineage? In-Reply-To: <002401c42d42$c4c39520$220110ac@CADALY> Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit Simon Ortiz, and all the things Joy Harjo does with her sax on 04/28/2004 11:03 AM, Catherine Daly at cadaly@PACBELL.NET wrote: > quick query -- innovative poets of Native (North) American lineage (all > tribes)? > > Thanks, > Catherine Daly > cadaly@pacbell.net ========================================================================= Date: Wed, 28 Apr 2004 14:40:59 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Gerald Schwartz Subject: innovators: MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Lance Henson!=20 Joe Bruchac! Maurice Kenny! -- jerry schwartz ========================================================================= Date: Wed, 28 Apr 2004 14:19:31 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Maria Damon Subject: DISLOCATE! Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" DISLOCATE! Dislocate, the newly reinvigorated literary journal published by the University of Minnesota's Creative Writing Program, is now accepting submissions in fiction, nonfiction, and poetry for its Fall 2004 online issue. Dislocate publishes the work of both established and emerging writers, and we are especially interested in unique voices and a wide range of styles. Deadline for submissions to the Fall 2004 online issue is July 31. Visit us at www.dislocate.org for more information. Submission Guidelines: All submissions will be blind. Attach submissions as Word documents to your email and send to submissions@dislocate.org. Attach also a separate document with your contact information (including name, address, phone, email, and title(s) of work(s) submitted). Please include this contact information in the text of your email, as well. The subject line of the email should specify both submission and genre (for example: "Submission Poetry"). Poetry: 3-5 poems of no more than 10 pages total in length Fiction and Nonfiction: up to 5000 words Simultaneous submissions accepted provided we are notified immediately in the event of publication elsewhere. No previous publications accepted. Submissions which do not meet with our guidelines will not be considered. ========================================================================= Date: Wed, 28 Apr 2004 15:44:21 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Steven Shoemaker Subject: critiques of lyric? In-Reply-To: MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Hey Folks-Can anyone recommend any particularly cogent prose critiques of traditional lyric poetry? Certainly, much contemporary poetry is written, in one way or another, against such poetry, but I'm interested, for teaching purposes, in digging up essays that make explicit, political critiques of the assumptions and practices of conventional lyric poetry. And along similar lines, I'd be interested in critiques of "nature poetry" as well. Thanks, Steve ========================================================================= Date: Wed, 28 Apr 2004 16:15:07 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Lucas Klein Subject: Re: critiques of lyric? MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Steve: not sure if it's exactly a right fit, but there's Eliot Weinberger's "What Was Formalism?", a review of the New Formalist anthology Rebel Angels. It's in the book Karmic Traces (New Directions, 2000), and online at http://jacketmagazine.com/06/wein-form.html. Lucas ________________________________________ "The great enemy of clear language is insincerity." --George Orwell Lucas Klein LKlein@cipherjournal.com 11 Pearl Street New Haven, CT 06511 ph: 203 676 0629 www.CipherJournal.com ----- Original Message ----- From: "Steven Shoemaker" To: Sent: Wednesday, April 28, 2004 3:44 PM Subject: critiques of lyric? > Hey Folks-Can anyone recommend any particularly cogent prose critiques of > traditional lyric poetry? Certainly, much contemporary poetry is written, > in one way or another, against such poetry, but I'm interested, for > teaching purposes, in digging up essays that make explicit, political > critiques of the assumptions and practices of conventional lyric poetry. > And along similar lines, I'd be interested in critiques of "nature poetry" > as well. > Thanks, > Steve > > > > > ========================================================================= Date: Wed, 28 Apr 2004 15:18:57 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Maria Damon Subject: Re: critiques of lyric? In-Reply-To: <014101c42d5d$802d08e0$6700a8c0@Cipherdog> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" not to be self-serving, but my essay "Some Discourses of/on the Divided Self: Lyric,Ethnography and Loneliness" in Xcp: Cross-cultural poetics 12... ========================================================================= Date: Wed, 28 Apr 2004 13:37:25 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Joseph Thomas Subject: Re: critiques of lyric? In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii --- Steven Shoemaker wrote: > Hey Folks-Can anyone recommend any particularly > cogent prose critiques of > traditional lyric poetry? It's old, but the first chapter of Charles Altieri's Self and Sensibility in Contemporary American Poetry characterizes and critiques the conventional lyric, what he calls the "scenic style." Hank Lazer's "Criticism and the Crisis in American Poetry," found in Opposing Poetries vol. I is a very classroom friendly critique/exploration of the "voice lyric" and its critics. He quotes extensively from Altieri's Self and Sensibility. Another lively piece that might serve your purposes is Bernstein's "The Academy in Peril: William Carlos Williams Meets the MLA," the essay in which he characterizes his now well-known class of "official verse culture." I believe it's collected in Content's Dream. Best, Joseph Certainly, much > contemporary poetry is written, > in one way or another, against such poetry, but I'm > interested, for > teaching purposes, in digging up essays that make > explicit, political > critiques of the assumptions and practices of > conventional lyric poetry. > And along similar lines, I'd be interested in > critiques of "nature poetry" > as well. > Thanks, > Steve __________________________________ Do you Yahoo!? Win a $20,000 Career Makeover at Yahoo! HotJobs http://hotjobs.sweepstakes.yahoo.com/careermakeover ========================================================================= Date: Wed, 28 Apr 2004 21:41:59 +0100 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Trevor Joyce Subject: Cork Poetry Festival: June 25-27 Comments: To: BRITISH-POETS@JISCMAIL.AC.UK Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" [Apologies if you get this more than once] SoundEye: The Cork International Poetry Festival Friday, June 25 - Sunday, June 27 Readers confirmed so far: Ciaran Carson Fergal Gaynor Alan Halsey Randolph Healy Elizabeth James Trevor Joyce Geraldine Monk Maggie O'Sullivan Tom Raworth Maurice Scully Geoff Squires and we're working to get some others . . . -- ------------------------------------------------------ http://www.soundeye.org/trevorjoyce ========================================================================= Date: Wed, 28 Apr 2004 16:01:06 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Harrison Jeff Subject: Virginia and the 31 Ducks Mime-Version: 1.0 Content-Type: text/plain; format=flowed & Virginia &/or dark & seeping milk & skies hurl hordes, & the life! & seeping milk & slick insurgent years &/or merely skittish & soaked through &/or stripped & seeping milk through & pass (& rake friends' rags apart) & Virginia? - her enemies' days are blotto too (in spots) & sleeve Time's laws into your brain & the tendrils & dwindled light & the public gobble is a diversion & enough of these dead & the shade on the wind & seeping milk & raindrops underneath & unlucky pennies trapped in odd blouses & red-hot cudgels & wood ash lye & delicacies &/or Missouri & airy desires are feathered less & drift & languish afloat & "Play, seeping milk" _________________________________________________________________ Lose those love handles! MSN Fitness shows you two moves to slim your waist. http://fitness.msn.com/articles/feeds/article.aspx?dept=exercise&article=et_pv_030104_lovehandles ========================================================================= Date: Wed, 28 Apr 2004 23:56:44 +0100 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "david.bircumshaw" Subject: Fw: Announcement MIME-Version: 1.0 Content-Type: text/plain; charset="Windows-1252" Content-Transfer-Encoding: 7bit David Bircumshaw Spectare's Web, A Chide's Alphabet & Painting Without Numbers http://www.chidesalphabet.org.uk ----- Original Message ----- From: "Roger Collett" To: Sent: Wednesday, April 28, 2004 10:51 PM Subject: Announcement Arrowhead Press announces a new title THE ANIMAL SUBSIDES By David Bircumshaw Available from the INP website at http://www.northernpublishers.co.uk/books/animal_subsides ========================================================================= Date: Wed, 28 Apr 2004 19:50:38 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: bunnies MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII bunnies the bunnies made strange calls, odd calls, gruntings, not the thumpings but the gruntings - '"I say" 'there is a chair'" - Wittgenstein in translation - right over the other lupus' ears, just like that! --->:anyway the rabbits did this five or six times in a row and it seemed fairlyclear they were playing and right in front of us in the middle of the night. Honestly, you should have seen them! I never saw such a thing! I never knew rabbits could do such a thing! "Do not try to analyse your own inner experience." - Wittgenstein in ranslation -:i pucker my lips constantly in the absence of the shakuhachi. i know its murmuring burbling abbling brook. now i'm at a loss, having transformed bAbbling into something else entirely - in any case, when i die, these three instruments will huddle in a maddening corner, bubbling with mournful murmuring cries - "Not it's looking like him." - Wittgenstein in translation - ]]] here is a space. the one rabbit runs straight at the other and the other rabbit jumps vertically at the very last moment over the first rabbit and landf in the same spot.that's 'lands'. <----:: Write through my the bunnies made strange calls, odd calls, gruntings, not the thumpings but the gruntings - '"I say" 'there is a chair'" - Wittgenstein in translation - right over the other lupus' ears, just like that! --->! ========================================================================= Date: Wed, 28 Apr 2004 21:19:21 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Joe Brennan Subject: U.S. Relying On Private Mercs in Iraq 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 http://www.theassassinatedpress.com/ U.S. Relying On Private Mercs in Iraq: By 2020 Private Mercenaries Under Contract To U.S. Government to Outnumber 500,000 U.S. Troops In Iraq 20 To 1: 92% Of Americans Think War In "Eye-Rack" Is Going Extremely Well, Predict Victory By End Of Decade by Kathorazine Ledger Shredder U.S. Sends 651 Haitians Back to Homeland As Thousands Flee From U.S.'s Murderous Elites And Official Toadies: With No One To Kidnap, And No One Too Blame, Haiti Settles In For 400 More Years Of Ignorance, Poverty And Servitude: Pope Suggests Beatification Of Aristide; Abrams Threatens Bombing Run On Vatican by Tomeass Equineass 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. ".....at a time when I am speaking to you about the paradox of desire -- in the sense that different goods obscure it -- you can hear outside the awful language of power. There's no point in asking whether they are sincere or hypocritical, whether they want peace of whether they calculate the risks. The dominating impression as such a moment is that something that may pass for a prescribed good; information addresses and captures impotent crowds to whom it is poured forth like a liquor that leaves them dazed as they move toward the slaughter house. One might even ask if one would allow the cataclysm to occur without first giving free reign to this hubbub of voices...." ========================================================================= Date: Wed, 28 Apr 2004 21:33:49 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "David A. Kirschenbaum" Subject: Boog City 16 Now Available Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit Please forward --------------- Boog City 16, May 2004 Now Available featuring: --Music editor Jon Berger travels the East Village open mic circuit with 25-year veteran John Hodel and profiles Danny Kelly, who could be the hardest working man in AntiFolk --New East Village editor Paulette Powell with her neighborhood beat report --Columnist-at-large Greg Fuchs on the march to legalize marijuana and profiling poet Stephen Rodefer --Nancy Seewald's Eating Well on a Lousy But Steady Income on the restaurant Lima's Taste --Cortney Powell on the origins of May Day Our Printed Matter section, edited by Joanna Sondheim, featuring reviews by: --Katie Peterson on Fanny Howe's The Wedding Dress and Economics --Corina Copp on Lisa Robertson's Occasional Work and Seven Walks from the Office for Soft Architecture --Small press editor Jane Sprague on Tinfish Press Our Poetry section, edited by new poetry editor Carol Mirakove, features poems from: --Yedda Morrison --Rodrigo Toscano --Mark Wallace --Art from James Romberger and Marguerite Van Cook --Photographs from Nicolaus Czarnecki, Greg Fuchs, Danny Kelly, and Christina Strong --and the May installment of the NYC Poetry Calendar, now under Boog management. The calendar lists every reader at every reading in the five boroughs, thanks to the assistance of Jackie Sheeler of www.poetz.com, who generously shared her information with us, and Bob Holman and the Bowery Poetry Club for sponsoring it. And huge kudos go out to Keija Parssin for compiling the data for the calendar. Thanks to graphics editor Brenda Iijima and especially copy editor Debrah Morkun Please patronize our advertisers: Alan Semerdjian * www.alanarts.com Bowery Poetry Club * www.bowerypoetry.com Karin Falcone * KarinF009@aol.com Paddy Reillys Music Bar * www.paddyreillys.com Poets for Peace * www.poetsagainstthewar.org Jackie Sheeler * www.poetz.com Sona Books * www.sonaweb.net Tinfish Press * www.tinfishpress.com Village Comics * www.villagecomics.com Advertising or donation inquiries can be directed to editor@boogcity.com or by calling 212-842-2664 You can pick up Boog City for free at the following locations: East Village Acme alt.coffee Angelika Theater Anthology Film Archives Bluestockings Bowery Poetry Club Cafe Pick Me Up CBGB's CB's 313 Gallery Cedar Tavern C-Note Continental Lakeside Lounge Life Cafe The Living Room Mission Cafe Nuyorican Poets Cafe The Pink Pony Religious Sex Shakespeare & Co. St. Mark's Books St. Mark's Church Teany Tonic Tower Video Other parts of Manhattan ACA Galleries Here Hotel Chelsea Poets House Revolution Books in Williamsburg Bliss Cafe Clovis Press Earwax Sideshow Gallery Spoonbill & Sugartown Supercore Cafe -- David A. Kirschenbaum, editor and publisher Boog City 330 W.28th St., Suite 6H NY, NY 10001-4754 For event and publication information: http://boogcity.blog-city.com/ T: (212) 842-BOOG (2664) F: (212) 842-2429 ========================================================================= Date: Wed, 28 Apr 2004 21:34:46 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jane Sprague Subject: Re: quick query -- innovative poets of Native American lineage? MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Try: Mark Nowak, Diane Glancy, James Thomas Stevens, Joy Harjo, Sherman Alexie Perhaps a little less -innovative-, but still interesting: Luci Tapahanso, Adrian C. Louis _Visit Tepee Town_, eds. Nowak & Glancy _The Wishing Bone Cycle: Narrative Poems of the Swampy Cree_, preface, Jerome Rothenberg (not *one* author, per se, but an excellent collection, & innovative, to my mind.) ========================================================================= Date: Wed, 28 Apr 2004 22:17:05 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Steven Shoemaker Subject: structure/style/form In-Reply-To: MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII I appreciate the responses I've gotten so far to my question about critiques of lyric (and would love to hear more). I'm also curious about the practical and/or theoretical distinctions folks on the list make among the terms form, structure and style. Each term seems to carry a distinct significance, but also to overlap with the others in common usage. Off the top of my head, here are some tentative characterizations: I would usually tend to think of structure as a macro-level term, evoking the large-scale "architectonic" aspects of a work. But I can also imagine talking about the "structure" of a poetic line (and if works have "metrical structures," for example, then I guess lines do too). Style, on the other hand, is often employed as a micro-level term, used to describe the dynamics of a line or phrase. I don't really know how "stylometric" software of the kind that can be used, for example, to identify a work as probably belonging to Shakespeare functions, but I imagine it attends at least partly to characteristic word choices and combinations. We could probably talk about a writer's style being like a sort of fingerprint. Form seems to be the most indeterminate of the three terms, the most likely to be used in ways that overlap with the others. In fact, we could immediately add a fourth term-genre-to the list, since one speaks of poetic "forms" like the "sonnet" or the "sestina." But "form" is also usually taken to be something that all writing has, as in the common opposition between "closed" and "open" forms. Good free verse is still supposed to have it, and when Creeley (or was it Olson?) says "form is never more than an extension of content" he is pointing us nevertheless to whatever "form" the poetry assumes even as he directs our attention away from traditional forms used for their own sake. How do you use these terms? Do you find it interesting or productive to use them at all? Are they useful only for reading/analytical purposes or also for writing/compositional purposes? What sorts of issues or problems are raised by their use? Thanks, Steve ========================================================================= Date: Wed, 28 Apr 2004 23:00:50 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: http://www.asondheim.org/dual.jpg MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII http://www.asondheim.org/dual.jpg ========================================================================= Date: Wed, 28 Apr 2004 22:07:22 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Brent Bechtel Subject: Re: "Please Help" (poem) In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Karl, I really like this piece. I also looked at your website/link -- very interesting. Glad we could connect in some sense. -Brent Karl-Erik Tallmo wrote: > I know the feeling. See below work in progress ... > > /KET > ========================================================================= Date: Wed, 28 Apr 2004 20:27:41 -0800 Reply-To: dbuuck@mindspring.com Sender: UB Poetics discussion group From: David Buuck Subject: Thom Gunn 1930-2004 Mime-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit http://www.nytimes.com/2004/04/28/books/28GUNN.html ========================================================================= Date: Thu, 29 Apr 2004 00:34:52 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Annie Finch Subject: creeley & olson; form vs. genre In-Reply-To: <200404290406.i3T46FFC020998@mcsaix05.mcs.muohio.edu> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" Steven Shoemaker wrote, "Creeley (or was it Olson?) says "form is never more than an extension of content" he is pointing us nevertheless to whatever "form" the poetry assumes even as he directs our attention away from traditional forms used for their own sake." Creeley said it, but Olson edited it when he quoted it, in a letter, I believe. What Olson did was to erase the second part of Creeley's original sentence. Creeley's original full sentence was, " form is never more than an extension of content, and content never more than an extension of form." A radically different statement from the typical hackneyed received meaning of this phrase as usually quoted. Do you think that the full sentence directs attention away as much from traditional forms as the half-sentence? It has always seemed to me that it doesn't. I look forward to seeing but people say about these questions you raise --but just want to note that in typical usage, "sonnet" and "blues poem" and "sestina" and "ghazal" are forms, while "pastoral poem" and "elegy" and "aubade" and "love poem" are genres. Genres and forms may be united by custom but not by definition or necessity. My understanding is that the ode is an odd odd ode odd exception, defined by a sort of combination of form and genre. Annie Form seems to be the most indeterminate of the three terms, the most likely to be used in ways that overlap with the others. In fact, we could immediately add a fourth term-genre-to the list, since one speaks of poetic "forms" like the "sonnet" or the "sestina." But "form" is also usually taken to be something that all writing has, as in the common opposition between "closed" and "open" forms. Good free verse is still supposed to have it, and when Creeley (or was it Olson?) says "form is never more than an extension of content" he is pointing us nevertheless to whatever "form" the poetry assumes even as he directs our attention away from traditional forms used for their own sake. How do you use these terms? Do you find it interesting or productive to use them at all? Are they useful only for reading/analytical purposes or also for writing/compositional purposes? What sorts of issues or problems are raised by their use? Thanks, -- ___________________________________ Annie Finch http://www.users.muohio.edu/finchar Associate Professor English Department Miami University Oxford, Ohio 45056 ========================================================================= Date: Thu, 29 Apr 2004 00:46:06 -0400 Reply-To: nudel-soho@mindspring.com Sender: UB Poetics discussion group From: Harry Nudel Subject: Spring... Mime-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit he's up the muse throws a right cross he's out... after..midnight..seeing stars..drn.. ========================================================================= Date: Thu, 29 Apr 2004 00:54:31 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Gerald Schwartz Subject: Elvin Jones Gravely Ill MIME-Version: 1.0 Content-Type: text/plain; charset="Windows-1252" Content-Transfer-Encoding: quoted-printable Dearest friends, Wow! My heart is so heavy sending this out. Share a moment. May the = great Elvin Jones be well and when he does pass on may it be as = gracefully as he shared. Respectfully, Bopa King Carre bopakingcarrmusic.com >From: Arkady=20 >To: bopa king carre=20 >Subject: Elvin Jones Gravely Ill >Date: Wed, 28 Apr 2004 18:52:30 -0400 > >Pass this on... and pray for Elvin! > >-------- >Dear Vinnie, > >HOPEFULLY the collective prayers help, and the rest is up to God... > >I am passing this to my friends... > >YOU be SAFE, HEALTHY, and happy.... > >God Bless..... > >=95 Arkady >web site: http://www.arkady.com > > > From: Vinnie Colaiuta > > Date: Wed, 28 Apr 2004 18:13:53 -0400 (EDT) > > To: JAscione@aol.com > > Subject: Fwd: Elvin Jones Gravely Ill > > > > To those who may yet not know, I just got this today; something that = I did > > not want to hear. May he be in all of our prayers, and may we be = eternally > > grateful to him; the legend. > > ELVIN JONES GRAVELY ILL > > > > > > > > The following showed up today, April 27, 2004, on the "Jazz Program > > List" > > site from Larry Applelbaum. > > > > "I saw Elvin last night at Yoshi's here in San Francisco. > > > > He could barely make it to the stage, his wife helping him sit and > > placing the sticks in his hand. > > > > Elvin had trouble hitting the drums but his time and sound was > > impeccable. > > > > His wife made an announcement that Elvin was obviously very sick and > > has been in the hospital for 3 months and she wanted him to spend = his > > last moments, at his wish, behind the drums. > > > > He looked about like he weighed 75 pounds and was truly sick...it = was > > one of the saddest moments of my life. I was so used to seeing him > > look fit, happy and powerful. > > > > The last number was announced, Dear Lord, and his wife asked us all = to > > pray as she hugged him from behind the drums for the entire tune. > > > > I could not stop crying... > > > > Please send prayers to this legend, the great inspirational Elvin!" > > > > > > > > and this, from an unidentified doctor, is from the Latin Jazz site: > > > > > > > > "This might be beyond Latin Jazz, but this is the only egroup that I > > think might be interested in the description of my experience during > > a recent 4 days stay in the SF for a meeting. I was able to go to > > Yoshi's to see Elvin Jones Jazz Machine. I am not that familiar with > > his work, but knowing he was John Coltrane drummer and more recently > > worked a lot with Candido with his poly-rhythm stuff that I wanted = to > > check him out. First of all, Yoshi's is a great modern place to see = a > > Jazz band, good acoustics, pretty big as well. The only problem is > > that it is in the middle of a mall-like complex and after the last > > set we were stranded, without a cab or even a person to help us out > > to get back to SF. I tried to ask for somebody at Yoshi's to = actually > > call a cab for us or help us out, and he looked at me like "Are you > > from another planet?" (and he was the last person there, once he > > left, we were truly alone). Took us an hour to actually get back to = a > > BART (subway) station to head back to SF. But that is beyond the > > point. > > > > I was really eager to see Elvin Jones, waiting to see the Black > > Thunder pounding those drums. The scenario was perfect, no mikes = over > > the drums so I though "wow, he can really pound those drums, eh?". > > Well, the band came out (2 saxes, pianist and bassist) and the place > > went crazy but...no Elvin...and no Elvin...and no Elvin. After about > > 5 minutes of constant applause, Elvin Jones came out, couldn't walk > > and had to be helped by his wife and the band members. We were a > > group of physicians and nurses and we all looked at each other with > > the same expression in our faces "he is dying of heart failure". His > > wife gave him the sticks and the band started playing a bebop-like > > tune. It was quite an experience seeing him playing that night. The > > stick in his right hand (hitting the cymbal) kept slipping back and > > he needed to reposition it. He was certainly off, considering the > > timing of the tune. I couldn't see his left hand, but I could not > > hear any beats. Similarly with the hi-hat, I did not hear it all > > night long. As the performance continued, he looked more ill...in > > fact, he closed his eyes once, and grabbed his stomach as if he was > > in pain, and everybody in my group got up because we though that he > > was going to fall. He finally woke up and continued playing. He took > > one solo all night long, and basically what he did was to drop the > > sticks on the drum one at a time, at a very slow speed. He did not > > have the strength or energy to lift up the sticks from the drum fast > > enough. The band sounded great thought. I guess he is like Art = Blakey > > and surrounded himself with the best young players available. The > > bassist kept the rhythm going all night long, working super hard and > > the pianist would take very long solos, as both sax players. Elvin > > could still swing at a very low speed, but was well complemented by > > the bassist and pianist. At the end of the performance, his wife > > whose name I couldn't catch, came out and said that Elvin Jones was > > very ill, dying from heart failure. She also said that he had not > > eaten anything that day but that she had fired his prior 3 = physicians > > when they said that he was dying and decided to take care of things > > herself, booking him continuously until July (she also went on and = on > > talking about medical insurances, doctors, etc) Elvin did not said a > > word all night long, and I actually wondered if was still coherent > > enough (which is a common, late event in patients with heart > > failure). He stayed there, sitting by his drums for about 20 minutes > > after the performance was over. We all gave him a standing ovation, = I > > guess is the way of thanking him for what he has done. He did wave > > goodbye as he was helped out of the stage. We sent him our cards as > > there are some options for patients with advanced heart failure > > (which we happen to specialize in our group). > > > > I am not sure I can actually describe the feeling I had that night. > > The music was good, and seeing him on the drums made me happy and > > sad. Happy because I got to see him before the inevitable. Sad > > because somebody like him should be at home, spending the last few > > days of his life surrounded by family and friends. I know he also > > needs our support (income as his wife put it). I haven't heard > > anything about his health in the news, and patients with heart > > failure have good and bad days, but I can actually say that he is in > > bad shape, weakened by his illness (already cachectic). I will > > forever have the image of an elderly Elvin Jones playing the drums > > that night." > > > > Very sad! A wonderful person who it has been my pleasure to spend = time > > with > > on a number of occasions. > > > > > > > > Len Dobbin > > > > > > > > > > > > > > > ========================================================================= Date: Thu, 29 Apr 2004 16:31:05 +1000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alison Croggon Subject: Re: critiques of lyric? In-Reply-To: Mime-version: 1.0 Content-type: text/plain; charset="ISO-8859-1" Content-transfer-encoding: quoted-printable On 29/4/04 5:44 AM, "Steven Shoemaker" wrote: > Certainly, much contemporary poetry is written, > in one way or another, against such poetry, but I'm interested, for > teaching purposes, in digging up essays that make explicit, political > critiques of the assumptions and practices of conventional lyric poetry. Because it's been in my head, and gives a different slant to the idea that innovative means inevitably anti-lyric: an essay by Sophie Levy Are we speaking (of) "the natural language of men?=A0 Anne Carson, Kathleen Fraser, Grace Lake: Innovating Lyric Poetry. http://au.geocities.com/masthead_2/issue5/levy.html Best A Alison Croggon Editor, Masthead=20 http://www.masthead.net.au Home page http://www.alisoncroggon.com Blog http://alisoncroggon.blogspot.com ========================================================================= Date: Thu, 29 Apr 2004 04:27:01 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: scott Subject: Re: POETICS Digest - 27 Apr 2004 to 28 Apr 2004 (#2004-120) MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit > quick query -- innovative poets of Native (North) American lineage (all > tribes)? > > Thanks, > Catherine Daly > cadaly@pacbell.net James Welch, Wendy Rose, Paula Gunn Allen, Simon Ortiz ========================================================================= Date: Thu, 29 Apr 2004 04:25:28 -0500 Reply-To: nudel-soho@mindspring.com Sender: UB Poetics discussion group From: Harry Nudel Subject: Spring... Mime-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit the bell rings he's up a left to the heart a right to the head tko the shadow near dawn...2nd pome...drn.. ========================================================================= Date: Thu, 29 Apr 2004 10:03:12 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Tom Orange Subject: rampike (was: quick query -- innovative poets of Native American lineage) MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Disposition: inline Content-Transfer-Encoding: 7bit taylor et al., i'm pretty sure karl jirgens quit publishing rampike a few years ago, but i can't for the life of me find out when or what the last issue # was. tom orange --- From: cartograffiti@mindspring.com ------------> [....] And of course, there's more to be said from outside a U.S. perspective. Rampike magazine, out of Ontario, I remember used to include quite a bit of First Nations writing. I don't know if they're still publishing, but the back issues would be worth checking out. ========================================================================= Date: Thu, 29 Apr 2004 10:12:15 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: mmagee@DEPT.ENGLISH.UPENN.EDU Subject: Re: creeley & olson; form vs. genre Comments: To: Annie Finch In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 8bit Annie, Steven and all, these questions regarding form and content are something I deal w/ at length in my new book _Emancipating Pragmatism_. As Duncan argued long ago now, the Black Mountain preoccupation w/ the relationship between them arises from their interest in William James, Dewey & Kenneth Burke. Here's a short excerpt from my book (some of which will be out of context...): ********************* The following is one of Burke’s more lucid descriptions of language as symbolic action, in regard to poetry: The general approach to the poem might be called “pragmatic” in this sense: It assumes that a poem’s structure is to be described most accurately by thinking always of the poem’s function. It assumes that the poem is designed to “do something” for the poet and his readers, and that we can make the most relevant observations about its design by considering the poem as the embodiment of this act…this pragmatic view of the poem…through the emphasis upon the act promptly integrates considerations of “form” and “content.” Burke’s “pragmatic view of the poem” has as its antecedent Dewey’s stipulation that “in the act [of writing] there is no distinction between, but perfect integration of manner and content, form and substance.” I note this not to privilege Dewey over Burke via his “originality” but simply as a way of pointing out that the concept of language as symbolic action which Ellison found so useful might be located in Dewey’s work as well. Why is this important? The answer has to do with the way the concept of symbolic action “integrates considerations of ‘form’ and ‘content.’” As Burke explains in the quote above, when one speaks of symbolic action there is a presumption that motives (political, social, psychological, economic) are manifested in design. What might be considered merely “content” (say, a political point of view) according to another paradigm has, according to pragmatism, formal consequences. Conversely (and this is equally important), *form* (syntax, grammar, poetics) is considered as *a kind of content*, as socially substantive, as having, potentially, a social function. Burke, Dewey, and Ellison are all in agreement on this point. Again, why then discuss Dewey? Because Dewey is most useful in illuminating what Ellison means by “the novel as a function of American democracy” and in explaining why his idea of “the American vernacular as symbolic action” constitutes a redirection of pragmatist discourse. Dewey describes pragmatist philosophy as a kind of democratic symbolic action and calls Emerson and James “the philosophers of democracy.” Most importantly, he describes what a philosophy which acted as a function of democracy might look like: A philosophy animated, be it consciously or unconsciously, by the strivings of men to achieve democracy will construe liberty as meaning a universe in which there is real uncertainty and contingency, a world which is not all in, and never will be, a world which in some respect is incomplete and in the making, and in these respects may be made this way or that according as men judge, prize, love and labor...a genuine field of novelty, of real and unpredictable increments to existence, a field for experimentation and invention (MW 11:50). Dewey considers philosophy in the same way that Burke considers the poem: as a particular kind of *motivated* discourse. He assumes, that is, that a philosophical discourse, one of Emerson’s for instance, is designed to do something, and he considers that discourse “as the embodiment of that act.” Dewey insists that philosophy is not a form of objective or abstract knowledge but rather “a form of desire, of effort at action.” Thus if Emerson writes, as he does in “Montaigne,” “the philosophy we want is one of fluxions and mobility” (CW 4:160), Dewey wouldn’t hesitate to relate this to Emerson’s political desires, his interest in “the strivings of men to achieve democracy” and his contemporaneous agitation in favor of Emancipation. He would, in all likelihood, point out that Emerson here construes philosophy as a *desire* - not a written transcription of an abstract truth but something we “want.” Moreover, he would find in Emerson’s style - his “paragraphs incomprehensible” - similar motivations: a will toward unpredictability in the name of experimentation and invention. What this has to do specifically with sustaining egalitarian politics and democratic institutions I will make more explicit in Chapter Two. Emerson theorized that the strivings of people to achieve democracy in America was predicated on the ability to revise the definition of America and the definitions at work in its founding documents. There needed to be, in Emerson’s words, a “belief [among Americans] that as the people have made a government, they can make another” (JMN11:406). And this belief could best be fostered by a corresponding belief that the generation and maintenance of meaning was an unpredictable and ongoing affair. *************** Anyhoo, hope this interests, Mike Quoting Annie Finch : > Steven Shoemaker wrote, > "Creeley (or was it Olson?) says "form is > never more than an extension of content" he is pointing us nevertheless to > whatever "form" the poetry assumes even as he directs our attention away > from traditional forms used for their own sake." > > > > Creeley said it, but Olson edited it when he quoted it, in a letter, > I believe. What Olson did was to erase the second part of Creeley's > original sentence. Creeley's original full sentence was, " form is > never more than an extension of content, and content never more than > an extension of form." > > A radically different statement from the typical hackneyed received > meaning of this phrase as usually quoted. Do you think that the full > sentence directs attention away as much from traditional forms as the > half-sentence? It has always seemed to me that it doesn't. > > I look forward to seeing but people say about these questions you > raise --but just want to note that in typical usage, "sonnet" and > "blues poem" and "sestina" and "ghazal" are forms, while "pastoral > poem" and "elegy" and "aubade" and "love poem" are genres. Genres > and forms may be united by custom but not by definition or necessity. > My understanding is that the ode is an odd odd ode odd exception, > defined by a sort of combination of form and genre. > > Annie > > > > > Form seems to be the most indeterminate of the three terms, the most > likely to be used in ways that overlap with the others. In fact, we > could immediately add a fourth term-genre-to the list, since one speaks of > poetic "forms" like the "sonnet" or the "sestina." But "form" is also > usually taken to be something that all writing has, as in the common > opposition between "closed" and "open" forms. Good free verse is still > supposed to have it, and when Creeley (or was it Olson?) says "form is > never more than an extension of content" he is pointing us nevertheless to > whatever "form" the poetry assumes even as he directs our attention away > from traditional forms used for their own sake. > > How do you use these terms? Do you find it interesting or productive to > use them at all? Are they useful only for reading/analytical purposes or > also for writing/compositional purposes? What sorts of issues or problems > are raised by their use? > > Thanks, > -- > > ___________________________________ > Annie Finch > http://www.users.muohio.edu/finchar > Associate Professor > English Department > Miami University > Oxford, Ohio 45056 > ========================================================================= Date: Thu, 29 Apr 2004 07:15:40 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Kazim Ali Subject: Re: creeley & olson; form vs. genre In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii > Creeley's original full sentence > was, " form is > never more than an extension of content, and content > never more than > an extension of form." whoa--that's way better--way way better. doesn't this go back to the ghazal discussion many many months ago: when I was trying to express dismay that writers would try on a form of another culture and literary tradition like they were trying on pants? PoMo and Playful perhaps but weirdly ignoring a true engagement with the form: that the subject will be changed by it; the way that it was said (by who?--Pierre will scold me for not knowing this) that the original is changed by the translation. i like thinking like this: that Joan Retallack is just as rightly called "formalist" as Marilyn Nelson or John Hollander. but that's only considering what you start with: constraint or language. and that's only if you happen to believe there's a choice: that language isn't automatically "constraint". ===== ==== WAR IS OVER (if you want it) (e-mail president@whitehouse.gov) __________________________________ Do you Yahoo!? Win a $20,000 Career Makeover at Yahoo! HotJobs http://hotjobs.sweepstakes.yahoo.com/careermakeover ========================================================================= Date: Thu, 29 Apr 2004 07:17:39 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: maxpaul@SFSU.EDU Subject: Re: Elvin Jones Gravely Ill In-Reply-To: <001401c42da6$0f728140$27c7a918@rochester.rr.com> MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 8bit We were at Yoshi's too because our 18 year-old son is a percussionist and wanted to see his hero. What an eerie and sad and finally amazing event, to seeing someone so ill but still doing what he's done all his life. Our son was amazed and moved. Maxine CHernoff Quoting Gerald Schwartz : > Dearest friends, > > Wow! My heart is so heavy sending this out. Share a moment. May the great > Elvin Jones be well and when he does pass on may it be as gracefully as he > shared. > > Respectfully, Bopa King Carre > > bopakingcarrmusic.com > > >From: Arkady > >To: bopa king carre > >Subject: Elvin Jones Gravely Ill > >Date: Wed, 28 Apr 2004 18:52:30 -0400 > > > >Pass this on... and pray for Elvin! > > > >-------- > >Dear Vinnie, > > > >HOPEFULLY the collective prayers help, and the rest is up to God... > > > >I am passing this to my friends... > > > >YOU be SAFE, HEALTHY, and happy.... > > > >God Bless..... > > > >• Arkady > >web site: http://www.arkady.com > > > > > From: Vinnie Colaiuta > > > Date: Wed, 28 Apr 2004 18:13:53 -0400 (EDT) > > > To: JAscione@aol.com > > > Subject: Fwd: Elvin Jones Gravely Ill > > > > > > To those who may yet not know, I just got this today; something that I > did > > > not want to hear. May he be in all of our prayers, and may we be > eternally > > > grateful to him; the legend. > > > ELVIN JONES GRAVELY ILL > > > > > > > > > > > > The following showed up today, April 27, 2004, on the "Jazz Program > > > List" > > > site from Larry Applelbaum. > > > > > > "I saw Elvin last night at Yoshi's here in San Francisco. > > > > > > He could barely make it to the stage, his wife helping him sit and > > > placing the sticks in his hand. > > > > > > Elvin had trouble hitting the drums but his time and sound was > > > impeccable. > > > > > > His wife made an announcement that Elvin was obviously very sick and > > > has been in the hospital for 3 months and she wanted him to spend his > > > last moments, at his wish, behind the drums. > > > > > > He looked about like he weighed 75 pounds and was truly sick...it was > > > one of the saddest moments of my life. I was so used to seeing him > > > look fit, happy and powerful. > > > > > > The last number was announced, Dear Lord, and his wife asked us all to > > > pray as she hugged him from behind the drums for the entire tune. > > > > > > I could not stop crying... > > > > > > Please send prayers to this legend, the great inspirational Elvin!" > > > > > > > > > > > > and this, from an unidentified doctor, is from the Latin Jazz site: > > > > > > > > > > > > "This might be beyond Latin Jazz, but this is the only egroup that I > > > think might be interested in the description of my experience during > > > a recent 4 days stay in the SF for a meeting. I was able to go to > > > Yoshi's to see Elvin Jones Jazz Machine. I am not that familiar with > > > his work, but knowing he was John Coltrane drummer and more recently > > > worked a lot with Candido with his poly-rhythm stuff that I wanted to > > > check him out. First of all, Yoshi's is a great modern place to see a > > > Jazz band, good acoustics, pretty big as well. The only problem is > > > that it is in the middle of a mall-like complex and after the last > > > set we were stranded, without a cab or even a person to help us out > > > to get back to SF. I tried to ask for somebody at Yoshi's to actually > > > call a cab for us or help us out, and he looked at me like "Are you > > > from another planet?" (and he was the last person there, once he > > > left, we were truly alone). Took us an hour to actually get back to a > > > BART (subway) station to head back to SF. But that is beyond the > > > point. > > > > > > I was really eager to see Elvin Jones, waiting to see the Black > > > Thunder pounding those drums. The scenario was perfect, no mikes over > > > the drums so I though "wow, he can really pound those drums, eh?". > > > Well, the band came out (2 saxes, pianist and bassist) and the place > > > went crazy but...no Elvin...and no Elvin...and no Elvin. After about > > > 5 minutes of constant applause, Elvin Jones came out, couldn't walk > > > and had to be helped by his wife and the band members. We were a > > > group of physicians and nurses and we all looked at each other with > > > the same expression in our faces "he is dying of heart failure". His > > > wife gave him the sticks and the band started playing a bebop-like > > > tune. It was quite an experience seeing him playing that night. The > > > stick in his right hand (hitting the cymbal) kept slipping back and > > > he needed to reposition it. He was certainly off, considering the > > > timing of the tune. I couldn't see his left hand, but I could not > > > hear any beats. Similarly with the hi-hat, I did not hear it all > > > night long. As the performance continued, he looked more ill...in > > > fact, he closed his eyes once, and grabbed his stomach as if he was > > > in pain, and everybody in my group got up because we though that he > > > was going to fall. He finally woke up and continued playing. He took > > > one solo all night long, and basically what he did was to drop the > > > sticks on the drum one at a time, at a very slow speed. He did not > > > have the strength or energy to lift up the sticks from the drum fast > > > enough. The band sounded great thought. I guess he is like Art Blakey > > > and surrounded himself with the best young players available. The > > > bassist kept the rhythm going all night long, working super hard and > > > the pianist would take very long solos, as both sax players. Elvin > > > could still swing at a very low speed, but was well complemented by > > > the bassist and pianist. At the end of the performance, his wife > > > whose name I couldn't catch, came out and said that Elvin Jones was > > > very ill, dying from heart failure. She also said that he had not > > > eaten anything that day but that she had fired his prior 3 physicians > > > when they said that he was dying and decided to take care of things > > > herself, booking him continuously until July (she also went on and on > > > talking about medical insurances, doctors, etc) Elvin did not said a > > > word all night long, and I actually wondered if was still coherent > > > enough (which is a common, late event in patients with heart > > > failure). He stayed there, sitting by his drums for about 20 minutes > > > after the performance was over. We all gave him a standing ovation, I > > > guess is the way of thanking him for what he has done. He did wave > > > goodbye as he was helped out of the stage. We sent him our cards as > > > there are some options for patients with advanced heart failure > > > (which we happen to specialize in our group). > > > > > > I am not sure I can actually describe the feeling I had that night. > > > The music was good, and seeing him on the drums made me happy and > > > sad. Happy because I got to see him before the inevitable. Sad > > > because somebody like him should be at home, spending the last few > > > days of his life surrounded by family and friends. I know he also > > > needs our support (income as his wife put it). I haven't heard > > > anything about his health in the news, and patients with heart > > > failure have good and bad days, but I can actually say that he is in > > > bad shape, weakened by his illness (already cachectic). I will > > > forever have the image of an elderly Elvin Jones playing the drums > > > that night." > > > > > > Very sad! A wonderful person who it has been my pleasure to spend time > > > with > > > on a number of occasions. > > > > > > > > > > > > Len Dobbin > > > > > > > > > > > > > > > > > > > > > > > > ========================================================================= Date: Thu, 29 Apr 2004 10:48:31 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Vernon Frazer Subject: Re: Elvin Jones Gravely Ill In-Reply-To: <1083248259.40910e83b3b25@webmail.sfsu.edu> MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit It's a shame to hear about Elvin, one of the great drummers. I saw two people play just before they died: Bill Barron, a good man and underappreciated saxophonist, was dying of Cancer when he played his last engagement at Hartford's 880 Club. He could barely blow air through his horn and had to sit when he wasn't soloing. Thomas Chapin was dying of leukemia when he played at the last minute during a benefit concert held for him in his home town, Manchester, CT. Tom and I were very close, like brothers. I told him if he was too weak to play, not to, to try not to push himself the way Bill Barron did and to stay within himself if he did decide to play. He came onstage, said his musician colleagues told him he could probably play about ten minutes of flute. He proceeded to play "Aeolus," a marvelous ballad at the peak of his skills. He managed to summon the last bit of strength from his reservoir. The audience was teary-eyed, shocked by what it had heard. The next day Tom fell into a coma. He died about two weeks later. But he spent his last conscious moments doing what he loved most and doing it in a way that ranked with the best in jazz history. Vernon -----Original Message----- From: UB Poetics discussion group [mailto:POETICS@LISTSERV.BUFFALO.EDU] On Behalf Of maxpaul@SFSU.EDU Sent: Thursday, April 29, 2004 10:18 AM To: POETICS@LISTSERV.BUFFALO.EDU Subject: Re: Elvin Jones Gravely Ill We were at Yoshi's too because our 18 year-old son is a percussionist and wanted to see his hero. What an eerie and sad and finally amazing event, to seeing someone so ill but still doing what he's done all his life. Our son was amazed and moved. Maxine CHernoff Quoting Gerald Schwartz : > Dearest friends, > > Wow! My heart is so heavy sending this out. Share a moment. May the great > Elvin Jones be well and when he does pass on may it be as gracefully as he > shared. > > Respectfully, Bopa King Carre > > bopakingcarrmusic.com > > >From: Arkady > >To: bopa king carre > >Subject: Elvin Jones Gravely Ill > >Date: Wed, 28 Apr 2004 18:52:30 -0400 > > > >Pass this on... and pray for Elvin! > > > >-------- > >Dear Vinnie, > > > >HOPEFULLY the collective prayers help, and the rest is up to God... > > > >I am passing this to my friends... > > > >YOU be SAFE, HEALTHY, and happy.... > > > >God Bless..... > > > >. Arkady > >web site: http://www.arkady.com > > > > > From: Vinnie Colaiuta > > > Date: Wed, 28 Apr 2004 18:13:53 -0400 (EDT) > > > To: JAscione@aol.com > > > Subject: Fwd: Elvin Jones Gravely Ill > > > > > > To those who may yet not know, I just got this today; something that I > did > > > not want to hear. May he be in all of our prayers, and may we be > eternally > > > grateful to him; the legend. > > > ELVIN JONES GRAVELY ILL > > > > > > > > > > > > The following showed up today, April 27, 2004, on the "Jazz Program > > > List" > > > site from Larry Applelbaum. > > > > > > "I saw Elvin last night at Yoshi's here in San Francisco. > > > > > > He could barely make it to the stage, his wife helping him sit and > > > placing the sticks in his hand. > > > > > > Elvin had trouble hitting the drums but his time and sound was > > > impeccable. > > > > > > His wife made an announcement that Elvin was obviously very sick and > > > has been in the hospital for 3 months and she wanted him to spend his > > > last moments, at his wish, behind the drums. > > > > > > He looked about like he weighed 75 pounds and was truly sick...it was > > > one of the saddest moments of my life. I was so used to seeing him > > > look fit, happy and powerful. > > > > > > The last number was announced, Dear Lord, and his wife asked us all to > > > pray as she hugged him from behind the drums for the entire tune. > > > > > > I could not stop crying... > > > > > > Please send prayers to this legend, the great inspirational Elvin!" > > > > > > > > > > > > and this, from an unidentified doctor, is from the Latin Jazz site: > > > > > > > > > > > > "This might be beyond Latin Jazz, but this is the only egroup that I > > > think might be interested in the description of my experience during > > > a recent 4 days stay in the SF for a meeting. I was able to go to > > > Yoshi's to see Elvin Jones Jazz Machine. I am not that familiar with > > > his work, but knowing he was John Coltrane drummer and more recently > > > worked a lot with Candido with his poly-rhythm stuff that I wanted to > > > check him out. First of all, Yoshi's is a great modern place to see a > > > Jazz band, good acoustics, pretty big as well. The only problem is > > > that it is in the middle of a mall-like complex and after the last > > > set we were stranded, without a cab or even a person to help us out > > > to get back to SF. I tried to ask for somebody at Yoshi's to actually > > > call a cab for us or help us out, and he looked at me like "Are you > > > from another planet?" (and he was the last person there, once he > > > left, we were truly alone). Took us an hour to actually get back to a > > > BART (subway) station to head back to SF. But that is beyond the > > > point. > > > > > > I was really eager to see Elvin Jones, waiting to see the Black > > > Thunder pounding those drums. The scenario was perfect, no mikes over > > > the drums so I though "wow, he can really pound those drums, eh?". > > > Well, the band came out (2 saxes, pianist and bassist) and the place > > > went crazy but...no Elvin...and no Elvin...and no Elvin. After about > > > 5 minutes of constant applause, Elvin Jones came out, couldn't walk > > > and had to be helped by his wife and the band members. We were a > > > group of physicians and nurses and we all looked at each other with > > > the same expression in our faces "he is dying of heart failure". His > > > wife gave him the sticks and the band started playing a bebop-like > > > tune. It was quite an experience seeing him playing that night. The > > > stick in his right hand (hitting the cymbal) kept slipping back and > > > he needed to reposition it. He was certainly off, considering the > > > timing of the tune. I couldn't see his left hand, but I could not > > > hear any beats. Similarly with the hi-hat, I did not hear it all > > > night long. As the performance continued, he looked more ill...in > > > fact, he closed his eyes once, and grabbed his stomach as if he was > > > in pain, and everybody in my group got up because we though that he > > > was going to fall. He finally woke up and continued playing. He took > > > one solo all night long, and basically what he did was to drop the > > > sticks on the drum one at a time, at a very slow speed. He did not > > > have the strength or energy to lift up the sticks from the drum fast > > > enough. The band sounded great thought. I guess he is like Art Blakey > > > and surrounded himself with the best young players available. The > > > bassist kept the rhythm going all night long, working super hard and > > > the pianist would take very long solos, as both sax players. Elvin > > > could still swing at a very low speed, but was well complemented by > > > the bassist and pianist. At the end of the performance, his wife > > > whose name I couldn't catch, came out and said that Elvin Jones was > > > very ill, dying from heart failure. She also said that he had not > > > eaten anything that day but that she had fired his prior 3 physicians > > > when they said that he was dying and decided to take care of things > > > herself, booking him continuously until July (she also went on and on > > > talking about medical insurances, doctors, etc) Elvin did not said a > > > word all night long, and I actually wondered if was still coherent > > > enough (which is a common, late event in patients with heart > > > failure). He stayed there, sitting by his drums for about 20 minutes > > > after the performance was over. We all gave him a standing ovation, I > > > guess is the way of thanking him for what he has done. He did wave > > > goodbye as he was helped out of the stage. We sent him our cards as > > > there are some options for patients with advanced heart failure > > > (which we happen to specialize in our group). > > > > > > I am not sure I can actually describe the feeling I had that night. > > > The music was good, and seeing him on the drums made me happy and > > > sad. Happy because I got to see him before the inevitable. Sad > > > because somebody like him should be at home, spending the last few > > > days of his life surrounded by family and friends. I know he also > > > needs our support (income as his wife put it). I haven't heard > > > anything about his health in the news, and patients with heart > > > failure have good and bad days, but I can actually say that he is in > > > bad shape, weakened by his illness (already cachectic). I will > > > forever have the image of an elderly Elvin Jones playing the drums > > > that night." > > > > > > Very sad! A wonderful person who it has been my pleasure to spend time > > > with > > > on a number of occasions. > > > > > > > > > > > > Len Dobbin > > > > > > > > > > > > > > > > > > > > > > > > ========================================================================= Date: Thu, 29 Apr 2004 06:52:38 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Mr. Malimbicus" Subject: Textploded Comments: To: WRYTING-L@listserv.utoronto.ca MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Textploded http://www.hevanet.com/solipsis/desktopcollage/Textplodedlg.jpg The Textploded narrative exists with reference to general semantics as the non-ordinariness of the shaman exists in relation to those he seeks to cure. An entire passage, any entirety, may only represent a single character at some superficial 'exothetic' level but alludes to an 'endothetic' manifold of textploded becomings between the reader and the author, strings of narrative which are collapsed into the space of the narrative "character," (also, as in qualitative) hence this text might thusly be rendered as a kind of sloppy H on a horizon performed by a hovering island, enormous in its scope, of loosely stacked books, its ink an embodied swarm of living, mechanalogue, marks, millions of roaches forming two anthropoid columns connected by an ambiguous middle space. This middle space in the manifold of the textploded narrative, and implies an ethics of understanding, a Wittgensteinian understanding, an ambulant or vers.tehen ki.net.isch, an omphalos/tic kiss of ontopolybinaristic entwinement, a Pragmatismus of continuance as 'connecstruction' against the frictional agencies of abstract machines which derive their energies, and hence their social apparatuses from these momentary relational events. A text, then, would represent a kind of socium of stratas, a physiograpical interface to the imaginal realm. Structure, Form, Content, are all interpenetrating and projectional, as the force of any text is as a material symbol in the geosocial Umwelt of embodied minds which in this species flows back into a para-umwelt of recordings, the manifold of the text, an instrumental feedback umwelt where mutational resonances are pooled, go dormant, and are then reactivated by other assemblages... nubs ========================================================================= Date: Thu, 29 Apr 2004 10:06:45 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Camille Martin Subject: Re: quick query -- innovative poets of Native American lineage? MIME-Version: 1.0 Content-type: text/plain; charset=US-ASCII Catherine, do you know of the work of Besmilr Brigham, of Chocktaw heritage? I believe she considered herself a Mississippi poet but lived for many years in Arkansas. She's anthologized in _Visit Teepee Town_. After C.D. Wright took up the cause of making her work more widely available, Lost Roads published _Run Through Rock: Selected Short Poems of Besmilr Brigham_. Below is one of her poems. I'm afraid the interesting spacing of the words on the page won't come through in an email. Does anyone know whether she's still living? I had heard that she had Altzheimer's and was in a nursing home somewhere in the Southwest. Camille Camille Martin 7725 Cohn St. New Orleans, LA 70118 (504) 861-8832 The Run Through Rock, Why It Quivers light composite that makes a fiercer (light force to live all one breath before air, shaped to cry out over wet leaves, for piercing stalk; washed in downpours of growing water fragile as fire rooted in places where birds fly in through dark flaying black wings above all sound their individual chatter; a changed moon, perpetual summer who finds a grackle fallen?? or leaf, in pushing rush pouring down from a brevity of field out from wind; a rampage of piercing reds made dark with undertones the hardening brain (still wild range) running loose in separate known regulation, difference tight as the sun's course longer, more certain; the mind forgets under that repetitious tree that throws up limbs of flowing stalks, the fragile abundance that the body is like a bird, dying bare a stone that falls lying from light, where light draws up no color, no fire fiercer than the brain ( a warmth in snow > quick query -- innovative poets of Native (North) American lineage (all tribes)? Thanks, Catherine Daly cadaly@pacbell.net ========================================================================= Date: Thu, 29 Apr 2004 07:23:26 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Mr. Malimbicus" Subject: Upon an interlude Comments: To: WRYTING-L@listserv.utoronto.ca MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Upon an interlude between Handel's Royal Fireworks Music and Stravinsky's Fireworks, words were spoken to a powdered wig and a hatchet.. Beyond the obvious ontologicality of an eye, I distend my hope to the promise of an immanence of possibility within the hopeless, or arbitrary fields we designate (as) among the nations, that within that great weaving, a JOIE DE VIVRE, or even a jouissance, may emerge to overtake the idle passions and the great mistake of ideology. A jouissance whose membrane would then, at last, look with great pride and anticipation, to the knowledge of knowledge, our ancient species has so industriously yoked. ========================================================================= Date: Thu, 29 Apr 2004 13:28:12 -0400 Reply-To: editor@pavementsaw.org Sender: UB Poetics discussion group From: David Baratier Organization: Pavement Saw Press Subject: Re: quick query -- innovative poets of Native American lineage? MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii; x-mac-type="54455854"; x-mac-creator="4D4F5353" Content-Transfer-Encoding: 7bit I suppose it depends on your definition of innovative. Some of the authors mentioned so far deal with nature in a traditional American Indian way, which may appear as innovated, revamped, due to an unfamiliarity with the way poems are told at readings and festivals. From my perspective their innovation rests within the use of the line, which is often drug out over the page in a Black Mountain style, rather than other aspects of form, visual poetry or using subject material in a new abstracted way & therefore I would make a distinction between innovative and experimental. If the question is about experimental poets, then here are a few: Carroll Arnett Saginaw Grant Robert Nazarene David Baratier Jesse Glass is too if he is out there & saw this, maybe he has some input. I have Arnett's selected available for $5 post paid if you are interested. Be well David Baratier, Editor Pavement Saw Press PO Box 6291 Columbus OH 43206 USA http://pavementsaw.org ========================================================================= Date: Fri, 30 Apr 2004 01:44:15 +0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: furniture_ press Subject: Poem to be Added Onto Content-Type: text/plain; charset="iso-8859-1" Content-Disposition: inline Content-Transfer-Encoding: 7bit MIME-Version: 1.0 Words are in a setting. A child asks "Where are words?" "There are words." Words are volatile, but there is no connection. Words appear in complete sentences. The words' sexes change repeatedly. The root word is pungent alongside other flowers. A word is an incomplete sentence. "Word." Latin words are the root of most evils. A telegram arrives and contains words and letters. The letters of most words begin or end in a vowel or a consonant. Some words begin in a panic. Words emit an attitude, if not a personality disorder. The word "I" is active and healthy; sometimes it is self-obsessed. A dictionary is a penitentiary of words, each cell contains one or two clauses. A few words caused a catastrophe and English became this. The irony is, a letter contains words. Words like "Branch" and "Bough" sprout wings. Trees are like words in that they point to other trees. -- _______________________________________________ Graffiti.net free e-mail @ www.graffiti.net Check out our value-added Premium features, such as an extra 20MB for just US$9.95 per year! Powered by Outblaze ========================================================================= Date: Thu, 29 Apr 2004 11:08:55 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Peter Quartermain Subject: Free Spirit or Freeloader -- new publication MIME-version: 1.0 Content-type: text/plain; charset=iso-8859-1 Content-transfer-encoding: quoted-printable NEW TITLE FROM NOMADOS=20 GOOD EGG BAD SEED by Susan Holbrook. 16 pp ISBN 0-9735337-0-6 @ $10.00 + $2.50 p&p. =20 People think you are a good egg or a bad seed. =20 A free spirit or a freeloader. =20 You subscribe to Gourmet magazine or you don't want fruit in soup. =20 Starting with the premise "There are two kinds of people," Susan = Holbrook drives supermarket existentialism through its own vortex and gives it a nifty orgasmic twist into hyperspace. Here's a ping pong game you'll = never forget - where the tables keep flipping and players' ironic bats spin = the banal into deadly mischievous curves. =20 Susan Holbrook is a Stein scholar and professor of English at the = University of Windsor. Editor of the recent Erotica issue of WINDSOR REVIEW, she = is the author of MISLED (Red Deer Press) and many other hilarious writings. Order from Nomados at nomadosnomados@yahoo.com. Or order back-channel: Quarterm@interchange.ubc.ca.=20 Visit the Nomados webpage at www.interchange.ubc.ca/quarterm/nomados.htm = =20 Ask your library to buy! NOMADOS BACKLIST (see website for details) Robin Blaser THE IRREPARABLE 32 pp ISBN 0-9731521-1-7 @ $12.00.=20 Robin Blaser & Meredith Quartermain WANDERS 40 pp ISBN 0-9731521-0-9 @ $10.00=20 Daphne Marlatt SEVEN GLASS BOWLS 24 pp ISBN 0-9731521-5-X @ $10.00=20 Chus Pato FROM M-TAL=C1. Translated from the Galician by Erin Moure 44 pp ISBN 0-9731521-8-4 @ $12.00 Meredith Quartermain A THOUSAND MORNINGS 90 pp ISBN 0-9731521-2-5 @ $14.00=20 The following are also available from SPD Dodie Bellamy FAT CHANCE 40 pp ISBN 0-9731521-3-3 @ $12.00 Charles Bernstein WORLD ON FIRE 20 pp ISBN 0-9731521-9-2 @ $12.00 Rachel Blau Duplessis DRAFT, UNNUMBERED: PR=C9CIS 32 pp ISBN 0-9731521-6-8 @ $16.00=20 Kathleen Fraser HI DDEVIOLETH I DDE VIOLET 36 pp ISBN 0-9731521-7-6 @ $14.00 Kevin Killian ISLAND OF LOST SOULS 76 pp ISBN 0-9731521-4-1 @ $16.00 =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 "How can I tell what I think till I see what I say?" E.M.Forster. = =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: Thu, 29 Apr 2004 11:20:16 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Catherine Daly Subject: thanks to all MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit for the innovative native (north) american recs -- yes, David, I do have Arnett's book -- I posted the complete list on my blog (http://cadaly.blogspot.com) I am reviewing Glancy's new book, which I love; three poems from it are online in the Poetry Project newsletter archive for the curious; I would argue she is innovative in certain ways & also influenced by innovative poetry -- her first book had an epigraph from Watten; this one is "written through" an outside / visionary artist (those like Finster who incorporate text) idiom -- though she's got an epigraph from Hecht in this one many outsider artists claim Native American descent, but how much is "Cherokee great grandmother" hoo hah? (or in my family, or my husband's, the "drop of Indian blood" rumored for the distant female relative with decent cheekbones & dark hair) All best, Catherine Daly cadaly@pacbell.net ========================================================================= Date: Thu, 29 Apr 2004 15:18:40 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Steven Shoemaker Subject: Re: creeley & olson; form vs. genre In-Reply-To: MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Annie-I was writing quickly, and a little sloppily, but I'm familiar with the distinction you're making between form and genre. I guess there's a kind of "half sentence" missing from what I wrote too, wherein I would have gone on to talk about how "form," when used to designate things like sonnets or sestinas, starts to bleed into the concept of "genre." And when we look closely the distinction doesn't stand up all that well, or at least that's how it seems to me. You appeal to "definitions" but these are actually rather blurry right from the start. I don't have the book in front of me right now, but the entries for "form" and "genre" in the Princeton Encyclopedia of Poetry and Poetics (I have the old edition) make the point pretty well. If you go back to the Greeks, a genre like "satire" is also called "iambic" because of the form in which it is written, & elegy is grouped (i.e., "generically") along with epigram and epitaph because they share the same meter. Getting a little more contemporary, say up to Shakespeare's day, a form like the sonnet starts to look an awful lot like a genre, and it certainly overlaps significantly with the "love poem." These days, when I ask my students, before we have read any sonnets, what they expect a sonnet to be about, the first thing they say is love. For me, the ode makes a good example of the kind of blurring I'm talking about, but not really such an "odd" one. And right now, I'm interested precisely in "custom" or usage, especially the current usage of people on the list, rather than in giving a dictionary definition the final word. As for that other "half sentence" of Creeley's, I like the way it has a certain chiasmic completeness about it. Actually, the PEPP prefers the term antimetabole over chiasmus for this particular usage, but I like chiasmus for its specific sense of "crossing." Form and content are "crossed" terms, and maybe they even sometimes get "cross" with one another. Which is why I also understand why Olson emended the statement for polemical purposes, in a move very much of his/its moment. I'm not sure we especially need the polemic now, but I see why he needed it then. Perhaps oddly, this all makes me think of the peculiar position of the sestina in the stream of 20thC "innovative" poetry. When Zukofsky wrote one, "Mantis," in the thirties, his fellow Objectivists Oppen and Rakosi were annoyed, because it didn't seem to be what the age demanded, and Zuk felt defensive enough that he wrote another, longer, poem interpreting the first, and trying to show why his use of the form was "live" and contemporary. Looking back, his take on the sestina seems like a fore-runner of post-modern "procedural" kinds of writing. And in an interview Ashbery talks about the liberating effect a really complicated form like the sestina can have, comparing it to the sensation you used to be able to get as a kid from riding your bike down a big hill, when the pedals would start to turn too fast for your legs to keep up (this is back when bike pedals used to do that). Now since it's such a beautiful day out I think I'm going to go out and play. Steve On Thu, 29 Apr 2004, Annie Finch wrote: > Steven Shoemaker wrote, > "Creeley (or was it Olson?) says "form is > never more than an extension of content" he is pointing us nevertheless to > whatever "form" the poetry assumes even as he directs our attention away > from traditional forms used for their own sake." > > > > Creeley said it, but Olson edited it when he quoted it, in a letter, > I believe. What Olson did was to erase the second part of Creeley's > original sentence. Creeley's original full sentence was, " form is > never more than an extension of content, and content never more than > an extension of form." > > A radically different statement from the typical hackneyed received > meaning of this phrase as usually quoted. Do you think that the full > sentence directs attention away as much from traditional forms as the > half-sentence? It has always seemed to me that it doesn't. > > I look forward to seeing but people say about these questions you > raise --but just want to note that in typical usage, "sonnet" and > "blues poem" and "sestina" and "ghazal" are forms, while "pastoral > poem" and "elegy" and "aubade" and "love poem" are genres. Genres > and forms may be united by custom but not by definition or necessity. > My understanding is that the ode is an odd odd ode odd exception, > defined by a sort of combination of form and genre. > > Annie > > > > > Form seems to be the most indeterminate of the three terms, the most > likely to be used in ways that overlap with the others. In fact, we > could immediately add a fourth term-genre-to the list, since one speaks of > poetic "forms" like the "sonnet" or the "sestina." But "form" is also > usually taken to be something that all writing has, as in the common > opposition between "closed" and "open" forms. Good free verse is still > supposed to have it, and when Creeley (or was it Olson?) says "form is > never more than an extension of content" he is pointing us nevertheless to > whatever "form" the poetry assumes even as he directs our attention away > from traditional forms used for their own sake. > > How do you use these terms? Do you find it interesting or productive to > use them at all? Are they useful only for reading/analytical purposes or > also for writing/compositional purposes? What sorts of issues or problems > are raised by their use? > > Thanks, > -- > > ___________________________________ > Annie Finch > http://www.users.muohio.edu/finchar > Associate Professor > English Department > Miami University > Oxford, Ohio 45056 > ========================================================================= Date: Thu, 29 Apr 2004 16:49:49 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Poetry Project Subject: Events at the Poetry Project 5/1-5/7 Mime-version: 1.0 Content-type: text/plain; charset="ISO-8859-1" Content-transfer-encoding: quoted-printable =B3Ocean in flower/ of closing hour:// Pedestrian ocean/ whose undertow,/ the rosy scissors of hosiery/ snips space to a triangular racing lace// in an iris circus of Industry.=B2--Mina Loy, from =B3Mass Production on 14th Street=B2 Monday, May 3 Open Reading Sign-up begins at 7:45 pm. Wednesday, May 5 John Ashbery John Ashbery was born in Rochester, New York on July 28, 1927. He received = a BA from Harvard (1949) and an MA from Columbia (1951), went to France as a Fulbright Scholar in 1955, and lived and worked there for most of the next decade. Best known as a poet, he has published more than 20 collections, beginning in 1953 with Turandot and Other Poems (Tibor de Nagy Editions). His Self-Portrait in a Convex Mirror (Viking, 1975) won the three major American prizes: the Pulitzer, National Book Award, and National Book Critics Circle Award. His most recent volumes are Wakefulness (Farrar, Straus and Giroux, 1998), Girls on the Run (FSG, 1999), Your Name Here (FSG= , 2000), As Umbrellas Follow Rain (Qua Books, 2001), and Chinese Whispers (FSG, 2002). He began writing about art in 1957, served as executive editor of Art News (1965-72), and art critic for New York Magazine (1978-80) and Newsweek (1980-85). A selection of his art writings was issued by Knopf in 1989 as Reported Sightings: Art Chronicles 1957-1987, edited by David Bergman (Harvard Univeristy Press, 1991). The novel A Nest of Ninnies, written with James Schuyler, was first published in 1969 (Dutton) and has been reissued several times. The collection Three Plays (Z Press, 1978) includes =B3The Heroes,=B2 which was first produced in New York by the Living Theater in 1952. Ashbery=B9s numerous published translations from French include works by Raymond Roussel, Max Jacob, Alfred Jarry, Antonin Artaud, and two collections of poems by Pierre Martory, Every Question But One (1990) and The Landscape Is Behind the Door (1994). A selection of his pros= e pieces, edited by Eugene Richie, is forthcoming from the University of Michigan Press. His work has been translated into more than twenty languages. Ashbery was Professor of English and co-director of the MFA program in Creative Writing at Brooklyn College (CUNY), 1974-90, and Distinguished Professor 1980-90. He delivered the Charles Eliot Norton Lectures at Harvard in 1989-90, published as Other Traditions (Harvard University Press, 2000). Since 1990 he has been the Charles P. Stevenson, Jr. Professor of Languages and Literature at Bard College in Annandale-on-Hudson, New York. He has been elected to membership in the American Academy of Arts and Letters (1980) and the American Academy of Art= s and Sciences (1983), and served as Chancellor of the Academy of American Poets from 1988-99. The winner of many prizes and awards, he has received two Guggenheim Fellowships and was a MacArthur Fellow from 1985-90. He hold= s honorary doctorates from Southampton College of Long Island University, the University of Rochester (NY), and Harvard University. International recognition for his outstanding career achievement includes the Horst Biene= k Prize for Poetry (Bavarian Academy of Fine Arts, Munich, 1991), the Ruth Lilly Prize for Poetry (Poetry magazine, Modern Poetry Association and the American Council for the Arts, 1992), the Antonio Feltrinelli International Prize for Poetry (Academia Nazionale dei Lincei, Rome, 1992), the Robert Frost Medal (Poetry Society of America, 1995), the Grand Prix de Biennales Internationales de Po=E9sie (Brussels, 1996), the Gold Medal for Poetry (American Academy of Arts and Letters, 1997), the Walt Whitman Citation of Merit (State of New York and the New York State Writers Institute, 2000), the Signet Society Medal for Achievement in the Arts (Signet Associates, Harvard University, 2001), and the Wallace Stevens Award (Academy of American Poets, 2001); in 1993 he was made a Chevalier de l=B9Ordre des Arts et des Lettres by the French Ministry of Culture, and in 2002 he was named Officier of the L=E9gion d=B9Honneur of the Republic of France by presidential decree. [8:00 pm, Sanctuary] Friday, May 7 Talk Series: Steve Evans, =B3The Disobedient Poetics of Determinate Negation=B2 This talk will draw on texts, sound files, and video clips by John Cage, Frank O=B9Hara, Gil Scott-Heron, Jayne Cortez, Robin Blaser, Kevin Davies, Alice Notley, and others to explore an alternative within avant-garde writing to the dominant (and now politically defused) =B3poetics of indeterminacy.=B2 Steve Evans=B9 essays and reviews have appeared in various journals and collections, including Aerial, Poetics Journal, Qui Parle, and Telling It Slant, as well as online at his website Third Factory (www.thirdfactory.net). With Jennifer Moxley, he co-edited the Impercipient Lecture Series (monthly in 1998) and co-authored The Dictionary of Received Ideas. In 2001 he edited =B3After Patriarchal Poetry: Feminism and the Contemporary Avant-Garde,=B2 a special issue of the journal differences. He currently teaches poetry, poetics, and critical theory at the University of Maine, where he also coordinates a reading series and co-edits, with Benjamin Friedlander, the journal Sagetrieb: Poetry & Poetics after Modernism. [8:00 pm] * The Poetry Project is located at St. Mark's Church-in-the-Bowery 131 East 10th Street at Second Avenue New York City 10003 Trains: 6, F, N, R, and L. info@poetryproject.com www.poetryproject.com Admission is $8, $7 for students/seniors and $5 for members (though now those who take out a membership at $85 or higher will get in FREE to all regular readings). We are wheelchair accessible with assistance and advance notice. For more info call 212-674-0910. * ========================================================================= Date: Thu, 29 Apr 2004 19:27:39 -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 what was it - just a moment ago - some sort of confusion - i forget what i was going to say - just a minute - what was i saying - it's on the tip of my tongue - did i say something like this a while ago - write something like this - i could look it up i think - maybe you could help me - are you reading this - get back to me - what was i saying - i'll get it in a minute - that's not it - i've almost got it - it's a bit fuzzy - you probably think i'm kidding - that this is some sort of a piece - honestly it isn't - there's something i wanted to tell you - something i wanted to write - i don't know - i thought if i started like this it would come back - i think this happens a lot - maybe early memory loss - dementia or something like that - now what would happen - i'll just send this along - it's my thing for today - i bet you knew it all along - something like that - i just completed my assignment! - it wasn't that either - _ ========================================================================= Date: Thu, 29 Apr 2004 20:27:47 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Gerald Schwartz Subject: Re: Poem to be Added Onto MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit > Words are in a setting. words in a set, but never setting > > A child asks "Where are words?" someone has to ask > > "There are words." someone has to point > > Words are volatile, but there is no connection. packed as powder, shot with no target in mind > > Words appear in complete sentences. as sentences complete, words appear > > The words' sexes change repeatedly. each to each... and then each to each to many > > The root word is pungent alongside other flowers. repelling pests > > A word is an incomplete sentence. a word is an... > > "Word." bold > > Latin words are the root of most evils. at the root of most are evil > > A telegram arrives and contains words and letters. no candygram this -- rather bad news from the front > > The letters of most words begin or end in a vowel or a consonant. the sign-post behind and ahead > > Some words begin in a panic. and find no place just a room > > Words emit an attitude, if not a personality disorder. the force is strong, but requires no commitment > > The word "I" is active and healthy; sometimes it is self-obsessed. rigorous with many others flowing through > > A dictionary is a penitentiary of words, each cell contains one or two clauses. one dominant, one submissive > > A few words caused a catastrophe and English became this. mere infinities of approximates > > The irony is, a letter contains words. with irons clapped on > > Words like "Branch" and "Bough" sprout wings. as warming, spring saps flow > > Trees are like words in that they point to other trees. and once there roost as words known until it's time for flight-- that saying of the words we don't know... that's the what we need to hear! ========================================================================= Date: Thu, 29 Apr 2004 21:29:10 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Daniel Zimmerman Subject: Re: Poem to be Added Onto MIME-version: 1.0 Content-type: text/plain; charset=iso-8859-1 Content-transfer-encoding: 7BIT ----- Original Message ----- From: "Gerald Schwartz" To: Sent: Thursday, April 29, 2004 8:27 PM Subject: Re: Poem to be Added Onto > > Words are in a setting. > > words in a set, but never setting > > > > A child asks "Where are words?" > > someone has to ask > > > > "There are words." > > someone has to point > > > > Words are volatile, but there is no connection. > > packed as powder, shot with no target in mind > > > > Words appear in complete sentences. > > as sentences complete, words appear > > > > The words' sexes change repeatedly. > > each to each... and then each to each to many > > > > The root word is pungent alongside other flowers. > > repelling pests > > > > A word is an incomplete sentence. > > a word is an... > > > > "Word." > > bold > > > > Latin words are the root of most evils. > > at the root of most are evil > > > > A telegram arrives and contains words and letters. > > no candygram this -- rather bad news from the front > > > > The letters of most words begin or end in a vowel or a consonant. > > the sign-post behind and ahead > > > > Some words begin in a panic. > > and find no place just a room > > > > Words emit an attitude, if not a personality disorder. > > the force is strong, but requires no commitment > > > > The word "I" is active and healthy; sometimes it is self-obsessed. > > rigorous with many others flowing through > > > > A dictionary is a penitentiary of words, each cell contains one or two > clauses. > > one dominant, one submissive > > > > A few words caused a catastrophe and English became this. > > mere infinities of approximates > > > > The irony is, a letter contains words. > > with irons clapped on > > > > Words like "Branch" and "Bough" sprout wings. > > as warming, spring saps flow > > > > Trees are like words in that they point to other trees. > > and once there roost as words known > until it's time for flight-- > that saying of the words we don't know... > that's the what we need to hear! > words, surds as soon as spoken turn onus on us, shards of missing links under glass, tokens no longer tender on the subway, useless, but what else have we to say ========================================================================= Date: Thu, 29 Apr 2004 22:16:56 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: mercy cry mercy MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII mercy cry mercy redtide http://www.asondheim.org/redtide.jpg in the darkness of doctor z currents 1:1 - + definition tinctures and iodines _ ========================================================================= Date: Thu, 29 Apr 2004 21:40:05 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: ela kotkowska Subject: Dominique Fourcade on France Culture In-Reply-To: <002f01c40dca$7a4ae4e0$f9fdfc83@oemcomputer> MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable An interview with Dominique Fourcade on France Culture in the = "Affinit=E9 Elective" series: http://www.radiofrance.fr/chaines/france-culture2/emissions/affinites/ind= ex. php enjoy -- available online till next thursday! - ela, pun/dit http://incertainplume.blogspot.com (sporadically downdated) ========================================================================= Date: Fri, 30 Apr 2004 00:55:02 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Christine Murray Subject: Re: Poem to be Added onto MIME-Version: 1.0 Content-Type: text/plain glue of the papery you some else to say letter by degrees for egg sample here: her an ice cube there a "man-made" lake oil refinery opposite so much spam chris murray http://texfiles.blogspot.com http://uta.edu/english/znine ========================================================================= Date: Fri, 30 Apr 2004 02:46:30 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: our history MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII our history http://www.asondheim.org/neworleans1881.jpg walking a crooked path with a crooked smile stalking and gaslight walking the mile no light in this man every person a hole night in this one man without soul _ ========================================================================= Date: Fri, 30 Apr 2004 02:47:48 -0400 Reply-To: nudel-soho@mindspring.com Sender: UB Poetics discussion group From: Harry Nudel Subject: Spring... Mime-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit dadadadadada dadadadadada dadadadadada diweufhwf0jwd up or down..3:00..drn.. ========================================================================= Date: Fri, 30 Apr 2004 02:01:13 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Chris Pusateri Subject: Re: Poem to be Added onto Mime-Version: 1.0 Content-Type: text/plain; format=flowed glue of the papery you some else to say letter by degrees for egg sample here: her an ice cube there a "man-made" lake oil refinery opposite so much spam *** with eight requisite deaths we’ll all become cats animals have the happiest loins of all _________________________________________________________________ Add photos to your e-mail with MSN 8. Get 2 months FREE*. http://join.msn.com/?page=features/featuredemail ========================================================================= Date: Fri, 30 Apr 2004 00:12:11 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Mr. Malimbicus" Subject: Re: Poem to be Added onto MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit glue horse of the papery isle you need some walls else to say jittering letter by degrees unplumbed for egg sample salvos here: her an ice bull of cubed cadels there a theremin reeds a "man-made" lake oil refinery opposite so much spam of spanopnoea ========================================================================= Date: Fri, 30 Apr 2004 04:21:30 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: andrew loewen Subject: Re: creeley & olson; form vs. genre MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii > Creeley's original full sentence > was, " form is > never more than an extension of content, and content > never more than > an extension of form." Who was it that said "content is never more than a confrontation with form” ? Perhaps this statement too could be extended to ‘content is never more than a confrontation with form, and form never more than a confrontation with content’ ? Someone else said something like ‘The situational specificity of form explains why followers, imitators, and epigones can never hope to extend, replicate, or capture the meaning of a genre in formation.' [Actually that's someone mixed up with me, I think] As to Kazim Ali’s dismay of those who adopt/co-opt/use forms specific to other cultures and traditions, my feeling is that such ‘cases’ or poems, etc, must be viewed themselves with an appreciation for their manner, situation, etc -- who is doing what with who's forms and for what reasons? Fact is, such a debate inevitably must contend with the bugbear of ‘authenticity.’ Does the subaltern speak in an authentic voice or is it heard in the interstices and folds? -- Andrew. “It was the era of democracy in which the state of art was the art of the state.” -- Kathy Acker www.personifiedthird@blogspot.com ______________________________________________________________________ Post your free ad now! http://personals.yahoo.ca ========================================================================= Date: Fri, 30 Apr 2004 07:00:25 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Maria Damon Subject: Re: Poem to be Added onto In-Reply-To: <002601c42e82$75513920$5ba05e82@hevanet.com> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" glue horse of the papery isle you need some walls to respond synaes- thetically else to say jittering letter by degrees unplumbed for egg sample salvos here: her an ice bull of cubed cadels there a theremin reeds a "man-made" lake oil refinery opposite so much spam of spanopnoea -- ========================================================================= Date: Fri, 30 Apr 2004 07:31:22 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Maria Damon Subject: publishing query Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" hey all, i've got a former ugrad who writes idiolect fiction (he's published one story online w/ duct-tape) who is partway thru a novel. any ideas for publishers who'd take a chance on an unknown writer of idiolect fiction? he's (god help us) asking my advice. -- ========================================================================= Date: Fri, 30 Apr 2004 04:56:24 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Mr. Malimbicus" Subject: Voltaire had been pestering Wilhelmina Comments: To: WRYTING-L@listserv.utoronto.ca MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit "Voltaire had been pestering Wilhelmina" or "The Enchanted Site of Uriah Drosselbaum" 'all these devils are little foxes' (mansions) "This lifeboat is not all that remains of his last voyage, alas!" "What else remains?" "The rest is hidden in Malpertuis." |-the house bahita (carry your tanks so proud | |- http://www.la-palma-tauchen.de/Fotoseiten/Taucher/Bahita%202.jpg | |-proscenium's lost curtain |-arises mask's hollow |-oblates shell's venusian canalogy [across the earth you change names] | |[inside]Dr. Hook |/=/' |-rupert is clogged for miles |-being watched |-returns a shiv for boob jargon / Orson Welles, that striped Cassavius | |[inside the wall] Manioc grows (playing piano | |-soapily clad ships "changers" cave's opulence |-shaped bubbles shorn edges booming |-l'argot des arnaqueurs velvets a stalag-mite | |[inside the edge] Steely http://140.112.2.84/~hlee/labevt/hlee/leslie-word.gif | |-fubby-bubby flaps a windpole blank |-rubbing martian stupa's drake |-template metaprogramming monosodium sultanate |/--- |[inside the unit] royal circumcision's palm |/ |-some diary's pseudicius gleaning / Jean Ray Cobb FisHHead Street |- http://cjsupra.kendra.com/praeton.html |-delta o cephalus Lampernisse (1724) nocturnal and tenebrous alleys |/ |-infuscata____________________________________" 9 |_e |_Poec(t)ilocampus-Malacos(o)ma supervising editions of his attacks on Malpertius i ns ide the diving be ll o f th e cur ren t can n on http://ccsc.genealogie.free.fr/Plaques/Inondations/slides/P027.jpg dry Martini + Avalanche in Red Lacqeur Baby Grand (see your face in the tiny golden skulls) set along an undulating vertical ========================================================================= Date: Fri, 30 Apr 2004 11:02:22 -0230 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Kevin Hehir Subject: e-books MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII I've deleted the post that announced a site with a list for e-books. can someone please remind me? b/c is fine. the snow is melting outside. yay! it's about fucking time! kevin -- --------------------------- http://paulmartintime.ca/ ========================================================================= Date: Fri, 30 Apr 2004 11:41:27 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: potential MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII potential my tools fury http://www.asondheim.org/potential.jpg opening and closing curtains recycled software images daily facing into void _ ========================================================================= Date: Fri, 30 Apr 2004 08:45:36 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Joel Weishaus Subject: Finally, the truth. MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable "I watched Kerry Throw His War Decorations" by Thomas Oliphant in The Boston Globe http://www.boston.com/dailyglobe2/118/oped/I_watched_Kerry_throw_his_war_= decorations+.shtml ========================================================================= Date: Fri, 30 Apr 2004 11:10:58 -0400 Reply-To: az421@FreeNet.Carleton.CA Sender: UB Poetics discussion group From: Rob McLennan Subject: Re: rampike (was: quick query -- innovative poets of Native American Content-transfer-encoding: 7BIT hes still doing issues up there in that northern ontario, as far as i know.... rob xx > >taylor et al., > >i'm pretty sure karl jirgens quit publishing rampike a few years ago, but i can't for the life of me find out when or what the last issue # was. > >tom orange > K>--- From: cartograffiti@mindspring.com ------------> > >[....] > >And of course, there's more to be said from outside a U.S. perspective. >Rampike magazine, out of Ontario, I remember used to include quite a bit of >First Nations writing. I don't know if they're still publishing, but the >back issues would be worth checking out. > > -- poet/editor/pub. ... ed. STANZAS mag & side/lines: a new canadian poetics (Insomniac)...pub., above/ground press ...coord.,SPAN-O + ottawa small press fair ...8th coll'n - red earth (Black Moss) ...c/o RR#1 Maxville ON K0C 1T0 www.track0.com/rob_mclennan * http://robmclennan.blogspot.com/ ========================================================================= Date: Fri, 30 Apr 2004 08:16:08 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Joseph Thomas Subject: Re: Poem to be Added onto In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii glue horse of the papery isle you need some walls to respond synaes- thetically else to say jittering letter by degrees unplumbed for egg sample salvos here: her an ice bull of cubed cadels there a theremin reeds a "man-made" lake oil refinery opposite so much spam of spanopnoea thinner chair against a granite sea I want all doors to ignore aproppriate - ly __________________________________ Do you Yahoo!? Win a $20,000 Career Makeover at Yahoo! HotJobs http://hotjobs.sweepstakes.yahoo.com/careermakeover ========================================================================= Date: Fri, 30 Apr 2004 12:07:59 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Beth Simon Subject: depts offering ling maj Mime-Version: 1.0 Content-Type: text/plain; charset=US-ASCII Content-Transfer-Encoding: 7bit Content-Disposition: inline (apologies for cross-posting and off-topicness) (i'm currently doing an initial survey for programmatic changes) if you are in an english or humanities department (i.e., not a linguistics dept) of a north american university which offers an undergraduate major in linguistics (or English linguistics, language studies, Spanish linguistics, etc.), please back channel me if you have a "concentration" but no separate major, please back channel as well. thanks beth lee beth lee simon, ph.d. associate professor, linguistics and english indiana university purdue university fort wayne, in 46805-1499 us voice 011 260 481 6761; fax 011 260 481 6985 email simon@ipfw.edu ========================================================================= Date: Fri, 30 Apr 2004 07:31:57 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jesse Taylor Subject: Call 4 Submissions Mime-Version: 1.0 Content-Type: text/plain; format=flowed; charset="iso-8859-1" Content-Transfer-Encoding: 8bit Call for Poetry Submissions SpiralBridge invites you to submit no more than 3 poems, three pages or under, for publishing consideration on our SpiralBridge.org web site. Please submit poems to Submissions@SpiralBridge.org All poems are reviewed by The SpiralBridge Editorial Board and should your work/s be selected for publication, you will be notified by email. Your Poem(s) will remain on our home page for 2 weeks after which will be placed in our on-line archive titled ‘People.’ This is an open ongoing call to All Poets and Writers. Be sure to include your contact information (name, address, and phone number) in the top right hand corner of the first page of your poem. We are pleased to offer you the option of including a short bio. and photo along with your poem on our home page. All submissions must be sent as attachments. Please address the e-mail Attn: Poetry Submissions Please name your document after your last name or the last name of your pen name. Thank you for your continued support of SpiralBridge. ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ SpiralBridge is an independent, nonprofit poetry organization based in Northern New Jersey. We are dedicated to encouraging the exploration of the arts in our society by providing open poetry readings, writing workshops, educational programs, community outreach and multimedia publications. ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Check out the current SpiralBridge featured poet Amy King @ http://www.spiralbridge.org/home.asp ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ "SpiralBridge is Poetry" -Lociano Benjamin ========================================================================= Date: Fri, 30 Apr 2004 13:26:02 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mark Wallace Subject: Creeley and Olson; form and genre MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Disposition: inline Content-Transfer-Encoding: 7bit Hey folks: In looking at Creeley's commentary about the interrelationship between form and content, I think it's pretty important to point out that he was distinctly not speaking in favor of the conventional European understanding of form as a pre-determined structure into which language could be fit. For Creeley and Olson, the interrelationship between form and content has to do with the discovery of the problem of form and content again on every line of a poem; projective verse is about finding where the next line needs to go relative to the previous line, in terms of both form and content--it's not about dictating that formal situation in advance. A certain content takes structure a certain way; a certain structure takes content a certain way. Both are choices that the writer needs to make, again, on every line of a poem. The point here is hardly, I think, to tease out the distinction between what is form and what is content; the point is that both operate together in ways that the writer must be open to exploring rather than controlling. So the idea was crucially to not let form take precedence over content, as Creeley and Olson felt the traditional formalists of the 30s and 40s had done. For those formalists, content was something to be poured into, and also shaped by, a pre-existing form, and that's exactly one of the things that Creeley and Olson disliked about them. Adding the second part of the quotation, that content is never more than an extension of form, doesn't change the implication of the first part of the quotation at all. Rather, it suggests that the second part of the criticism was directed against the idea that one could transparently portray content without understanding how structure shapes content. It was a criticism of the idea that just because content needs to play a role in shaping form, it hardly follows from that fact that form is a secondary add on. Thus in their context they are also criticizing a certain reductive sense of imagism that suggests the clear image is all that counts, a criticism, I take it, that could continue to be applied to much of the conventional narrative verse of our own moment. The point then is that form and content are in a constant interrelationship in which neither should be understood as taking precedence or being dictated in advance. Unless one takes Creeley's comment out of context, I don't think that there's any way that his quote should be interpreted as saying that all formal structures are equally interesting just because they are forms. The comment was without doubt a criticism of the way traditional European forms attempt to coerce the shape of poetic language in a way that denies that form can be exploratory, just as it was a criticism of a certain kind of conventional understanding of so-called free verse, then and now. Whether one agrees with Creeley about such a point is certainly an open question; but please, to suggest that his comment is somehow offering support to the value of traditional European forms just doesn't seem historically accurate. Mark Wallace ========================================================================= Date: Fri, 30 Apr 2004 19:38:19 +0200 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: noemata Subject: My Help Comments: To: WRYTING , e Comments: cc: "_arc.hive_" <_arc.hive_@lm.va.com.au> MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Example: "How do I-chang my password?" Tips Getting Startled How do If i what category my Humen is in? I receive an email notification saying my humen could be Deleted due to inactivity. Why? What can I do? What does the my smiley face ([image]) is mean? How do my I get rid of the my is smiley face ([image])? I never sign up for my Human! grouqs. Why am I receiving my messages? - View and manage your my hume Your humain! Grops account has been disable because you had an auto-responsible setup. Bouncing seminar, 4-5. May - What "Bouncing" means and what to do about it means bounce L - Work with elbows grouq - Control access and sharing humes - list bounce - tails Yoric troll and Nøkk ----------------------- Ask Her the water __ lumber isbn 82-92428-05-4 ========================================================================= Date: Fri, 30 Apr 2004 11:33:03 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Lewis LaCook Subject: THE SKY--new e-book Comments: To: underground poetry Comments: cc: Tom Suhar , Matt Suleski , matt swarthout , Juliana Spahr , Jepson Staral , julia stroup , Steve Snowberger , Christine Schwarz , screenburn screenburn , stephanie sesic greer , Eryk Salvaggio , HEIDI RHODES , Francis Raven , mark RK peters , Ruth O'Toole , andrew oldham , Jason Nelson , Jess Loseby , Rupert Loydell , connie lacook , Peter Lasell , jim leftwich , David Knoebel , Donna Kuhn , Kanarinka , Michael Kapalin , bob king , John Kinsella , Lisa Jarnot , neil jenkins , jimpunk , Patrick Herron , Paula Hill , Ron Henry , Geoffrey Gatza , Vic Genna , marc garrett , Charlotte Frost , Catherine Daly , Kathe Davis , Kathryn Dean-Dielman , jon cates , joseph the barbarian , Brandon Thomas Barr , Louis Armand , Pete Balestrieri , maggie anderson , "ACone@kent.edu" MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii http://www.poeticinhalation.com/pi_featureartist.html Please download my little e-book THE SKY from Andrew and Star's lovely Poetic Inhalation--and check out the other great work there as well!!! bliss l *************************************************************************** This is as useful as a doll.--Gertrude Stein http://www.lewislacook.com/ Stamen Pistol: http://stamenpistol.blogspot.com/ Poem of the Day: http://www.lewislacook.com/POD Sidereality: http://www.sidereality.com/ tubulence artist studio: http://turbulence.org/studios/lacook/index.html --------------------------------- Do you Yahoo!? Win a $20,000 Career Makeover at Yahoo! HotJobs ========================================================================= Date: Fri, 30 Apr 2004 14:34:55 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Isat@AOL.COM Subject: Announcing the latest from William James Austin Comments: To: spidertangle@yahoogroups.com MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Koja Press is proud to present its latest release: 7 UNDERWOR(L)D 8: TRANSTEXTUAL by William James Austin ISBN # 097072247-8-7 7 UNDERWOR(L)D 8: TRANSTEXTUAL is the fourth installment of Austin's UNDERWOR(L)D project. This fully packed volume contains "transtextual," an extended trip into sexual, poetic and philosophical deviance, plus more "subtexts" including disruptive essays on avant-garde aesthetics and politics, as well as several examples of Austin's particular brand of web art which he terms "photopo." Also contained therein is Stefan Stoenescu's article on Austin's work to date. Available through KojaPress.com and Amazon.com for 12 bucks. Best, Igor Satanovsky Koja Press http://kojapress.com/books.htm ========================================================================= Date: Fri, 30 Apr 2004 11:57:16 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Tenney Nathanson Subject: REMINDER: POG this Saturday evening, May 1 at ORTS: poet Donald Revell & painter Bailey Doogan Comments: To: Tenney Nathanson MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 8bit REMINDER POG presents Saturday evening, May 1, at 7pm poet Donald Revell & painter Bailey Doogan ORTS 121 East 7th Street Admission $5; students $3 Donald Revell's most recent collection of poems is There are Three (1998), published by Wesleyan. His other books include: Beautiful Shirt (Wesleyan, 1995), Erasures (Wesleyan, 1992), New Dark Ages (Wesleyan, 1990), The Gaza of Winter (University of Georgia, 1988), and From The Abandoned Cities (Harper & Row, 1983). He has been the recipient of fellowships from the National Endowment for the Arts, the Ingram Merrill Foundation, and the John Simon Guggenheim Memorial Foundation. Donald Revell's awards include a Shestack Prize from American Poetry Review and the PEN Center USA West award in poetry for New Dark Ages. Revell is Professor of English and Creative Writing at the University of Utah. For more: · University of Utah faculty page @ http://www.hum.utah.edu/english/faculty/revell.html · online work in Fence @ http://www.fencemag.com/v1n2/work/donaldrevell.html Bailey Doogan's body of work includes film, 3-D constructions, and, primarily, painting and drawing. She received her BFA from Moore College of Art in Philadelphia and her MA from UCLA. Her animated film, SCREW, A TECHNICAL LOVE POEM has won numerous awards and been previewed in festivals nationally and internationally including: The Cambridge Animation Festival, England; International Festival of Women's Films, Denmark; The Venice Biennale, Italy; The Ann Arbor Film Festival; The American Film Festival; and the Brooklyn and Hirshorn museums. Her paintings and drawings have been exhibited in diverse solo and group venues including: The Alternative Museum, New York; The Hillwood Museum, New York; The San Jose Institute of Contemporary Art, California; The Phoenix Art Museum, Arizona; the San Antonio Museum, Texas; The J. Claramunt, Jayne H. Baum, and ACA Galleries, New York; and Etherton Stern Gallery, Arizona. Articles and reviews of Bailey Doogan's work have appeared in major publications including: Art in America, Art News, The Village Voice, New Art Examiner, Artspace, Art Journal, M/E/A/N/I/N/G, Visions, and The Woman's Art Journal. She is currently Professor of Painting and Drawing at the University of Arizona in Tucson. For more: · Bailey Doogan at Etherton (from Art in America) @ http://www.findarticles.com/cf_dls/m1248/4_88/61755663/p1/article.jhtml · Tucson Weekly review @ http://weeklywire.com/ww/10-19-98/tw_review3.html · Rutgers University site @ http://www.libraries.rutgers.edu/rul/exhibits/dana_womens_99-00/doogan.htm POG events are sponsored in part by grants from the Tucson/Pima Arts Council, the Arizona Commission on the Arts, and the National Endowment for the Arts. POG also benefits from the continuing support of The University of Arizona Poetry Center, the Arizona Quarterly, Chax Press, and The University of Arizona Department of English. We also thank the following 2003-2004 POG donors: Patrons Liisa Phillips, Austin Publicover, and Jesse & Wendy Roberts; Sponsors Michael Gessner, Maggie Golston, Steve Romaniello, and Frances Sjoberg. for further information contact POG: 615-7803; pog@gopog.org; www.gopog.org ========================================================================= Date: Fri, 30 Apr 2004 19:28:26 +0000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "subrosa@speakeasy.org" Subject: SubText: charles ALTIERI & steve SHAVIRO: Seattle MIME-Version: 1.0 Content-Type: text/plain; charset="utf-8" Content-Transfer-Encoding: quoted-printable Subtext presents the first of two special events, featuring CRITICS AS PE= RFORMERS. The first event includes presentations by Charlie Altieri and S= teve Shaviro at the Richard Hugo House on Wednesday, May 5, 2004. Donatio= ns for admission will be taken at the door on the evening of the performa= nce. The event starts at 7:30pm. CRITICS AS PERFORMERS -- A SUBTEXT SPECIAL EVENT Well known critics of contemporaneity / postmodernity take to the stage, = exploring what it means to be a critic as performer. Casting off their pr= epared remarks &/or taking them up anew, these critics enter into the spa= ce of their own abandon. No longer avant or apres la lettre, but extempor= aneous, expropriating, exfoliating, these critics subsume the excess of t= heir own presence, do just what they want to do, for an evening of wind s= heer, free fall, perspicacious pleasures, serious maladies and the like. Charles Altieri, who spent more than a decade in Seattle at the UW, is cu= rrently Professor of English at University of California - Berkeley. He i= s the author of numerous books on critical theory and literary modernism,= and a leading authority on expressive theories of art. He has a new book= from Cornell University Press titled The Particulars of Rapture: An Aest= hetics of the Affects. His books include: Painterly Abstraction in Modern= ist American Poetry (Cambridge); Canons and Consequences (Northwestern); = Subjective Agency: A Theory of First-Person Expressivity and its Social I= mplications; Postmodernism Now: Essays on Contemporaneity in the Arts. Steve Shaviro is author of Connected, or what it means to live in the net= work society (University of Minnesota, 2003), Doom Patrols (Serpents Tail= ), The Cinematic Body, and Passion and Excess. He is currently teaching h= is last term at the UW before moving to Detroit to teach at Wayne State U= niversity. CRITICS AS PERFORMERS #2 - OCTOBER 24th 2004 at the Henry Gallery. The second event will feature Marjorie Perloff and the return of Charlie = Altieri. The second event is co-sponsored by the Henry Art Gallery. The future Subtext 2004 schedule is: June 2, 2004: Lidia Yuknavitch (Portland OR) & Stacey Levine July 7, 2004: Subtext 10th Anniversary Reading August 4, 2004: Nathaniel Tarn & Janet Rodney (both New Mexico) For info on these & other Subtext events, see our website: http://www.spe= akeasy.org/~subtext Subtext events are co-sponsored by the Richard Hugo House. ========================================================================= Date: Fri, 30 Apr 2004 16:33:07 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: George Bowering Subject: Re: Creeley and Olson; form and genre In-Reply-To: <904fa6901d9b.901d9b904fa6@gwu.edu> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" >Hey folks: > >In looking at Creeley's commentary about the interrelationship >between form and content, I think it's pretty important to point out >that he was distinctly not speaking in favor of the conventional >European understanding of form as a pre-determined structure into >which language could be fit. Well, that IS pretty well what the remark points out. gb -- George Bowering Misses Jimmy Carter 303 Fielden Ave. Port Colborne. ON, L3K 4T5 ========================================================================= Date: Fri, 30 Apr 2004 16:32:56 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Daniel Kane Subject: All Poets Welcome: The Lower East Side Poetry Scene on sale MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii; format=flowed Content-Transfer-Encoding: 7bit if interested....at 38% off list price (cheaper than Amazon)...go to http://www.ucpress.edu/books/sale/pages/9278.html best, --daniel -- http://www.ucpress.edu/books/pages/9278.html http://www.uea.ac.uk/eas/People/kane/kane.htm Some of the swans are swarming. The spring has gone under--it wasn't supposed to be like this. --John Ashbery ========================================================================= Date: Fri, 30 Apr 2004 15:56:21 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Chicago Review Subject: fwd: THE TIME WE KILLED by Jennifer Reeves In-Reply-To: <200404300406.i3U46HhA013146@mx01.uchicago.edu> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" Hi! I wanted to let you know of the U.S. premiere (next week) of my new experimental-narrative feature, in case you're in town, or if someone you know might be interested. I worked on it for almost 5 years! All info is below and sorry for cross postings. Hope to see you soon Jennifer jenniferreevesfilm.com THE TIME WE KILLED (2004, 94 min, B&W, 16mm) Six months in the life and mind of an urban recluse. A cinematic fugue of lost lovers, found memories, and televised invasions. Written, Directed & Edited by Jennifer Todd Reeves Produced by Jennifer Reeves & Randy Sterns Starring Lisa Jarnot With Music by Eyvind Kang, Zeena Parkins, Christian Marclay, Pitt Reeves, Marc Ribot, Elliott Sharp *Recipient of the FIPRESCI International Film Critics Prize at the Berlinale 2004 THE TRIBECA FILM FESTIVAL 2004: North American Premiere Wed, May 5, 9:30pm @ Museum of Jewish Heritage: 36 Battery Pl (next to Piers at Battery Pk) Thur, May 6, 3:00pm @ Museum of Jewish Heritage: 36 Battery Pl (next to Piers at Battery Pk) Sat, May 8, 6:30pm @ Tribeca Cinemas (2): 54 Varick St (Below Canal St, at Laight St) Selected in the Village Voice as one of the top 25 films to see at Tribeca Film Festival: "THE TIME WE KILLED A beautiful, impressionistic cine-poem (and a companion piece to her short Chronic), Jennifer Reeves's debut feature combines elements of experimental film, narrative cinema, and documentary to create a stellar example of personal filmmaking. Poet Lisa Jarnot plays Robyn, a borderline agoraphobe who can't prevent the outside world from penetrating her Brooklyn apartment-whether it's a murder-suicide next door, memories of her true love, or September 11." MARK PERANSON TICKET INFO: 2004 Tribeca Film Festival May 1-9 New York City Online: tribecafilmfestival.org By phone: (866) 941-FEST (3378), (212) 941-1515 Walk-up Box Office: 20 Harrison Street (b/t Hudson and Greenwich) * * * * * * * * * CHICAGO REVIEW 5801 South Kenwood Avenue Chicago IL 60637 http://humanities.uchicago.edu/review/ ========================================================================= Date: Fri, 30 Apr 2004 18:54:44 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Joe Brennan Subject: "I, Barry Faber, Bring Tears To Joseph Goebbels' Eyes." 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 http://www.theassassinatedpress.com/ The 9/ll Commission -- The Warren Commission Revisited: Cheney: "We have met the Commission, and they are us." Bush: "It was a thrill to sit there and intimidate the weaklings!" Rumsfeld: " Mass murder is just one of our options." by Myna Byrdsong "I, Barry Faber, Bring Tears To Joseph Goebbels' Eyes." Sinclair Broadcast Group Engaged In Criminal Conspiracy To Defraud The Public; Willfully And Erroneously Links 9/11 To Iraq In An Effort To Deceive The American People And Abet Murder In Iraq: 89% Of Americans STILL Believe Iraq was Behind 9/11: "Repetition Works." BIG MEDIA ADOPTS THE NAZI 'BIG LIE' by Liann Immorales Bush Defends Declaring End to Iraq by Ima Cunt ========================================================================= Date: Sat, 1 May 2004 03:01:42 +0200 Reply-To: magee@uni.lodz.pl Sender: UB Poetics discussion group From: Kevin Magee Subject: Sights MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii; format=flowed Content-Transfer-Encoding: 7bit spires collaterally spines landing lights outlining the sliding glass the sound of the wind had made the sound of the rain the same town stunned these traces of other beings and other places polity in the word _cultivation_ a 'state' in mind what that was, and how it had been 'mine' the challenge of the violations concentrated in the valuations THE LAST HUNDRED YEARS OF ENGLISH the nation is an idea in numbers election of the ages and generations poet or damagingly the living mediator for the hectic mixed systems emerge from the stage promptings called a polished doctrine and professors of ... all the so-called providers for the permanency of the antecedent, that certain smaller number this was the National Museum and their monuments we have all learned to shout "fascist!" at it the scathing gauge, stucco rhetoric more there should be something to mar a mark not of perception but the point where it fails negativity of detail the phrase cannot disguise acquiesce if the society is vicious deadlock - end of the book far removed - difficulty never shows itself twice "the word _function_ carrying an inescapable reference to the idea of design" "and 'there is no history' if by history is meant a work always already implying the concrete material meanings and positions of its future." To write for the utopian break - that window in time where either day or night must be - there cannot be both - would be to write for All or Nothing, and that dark night was Zabolotsky's warning ... The narrator passes from his conventional isolation on a spatial/temporal plane above and beyond the world captured in the frame (Marker's deliberate illiteracy). He did not travel protected. He moved from one nation to the next, from one language system to the next, relying entirely on the good will of the people in the regions where he filmed. Whose nervous system was it anyway the nervous systems of the forces of control extended extensions over a segregated subjectivity, the forcing on the other of the maniple obsessively deployed. ========================================================================= Date: Fri, 30 Apr 2004 22:05:46 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: andrew loewen Subject: He said, he said. MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii April 30 2004 Friends and families gathered, as the happy couple met the press: “We've got no better partner in understanding the power of free society.” he said addressing all. “Canada is an independent nation,” he said. “Canada makes decisions based upon her own judgment.” he said at the White House Rose Garden, Mr. Martin at his side. He confirmed that Canadian companies will be eligible to bid on second round reconstruction contracts in Iraq. “There are a whole bunch of service contracts coming out immediately in which we will be entitled to bid. And so I think that it actually does show that working together you can arrive at a reasonable solution,” said the other he. “The Martins did not build up Canadian Steam Sycophant Holdings on looks alone; Now should we retire to the boudoir?” * * * * And now, in this BUFFY PO exclusive, we go behind the primal scene for an in-depth lurk at he and he in: “IN NAFTA: NI ATFAN” " Prime Minister Paul Martin: Heretofore your silence, as a behavior, has been a means of power, a species of sadism, a virtually inviolable position of strength from which to manipulate and control me who is charged with the burden of speaking through you.” President Georges W. Bush: “And you and your incessant babble is your womanity, your breath, and your being always expelling itself into the air like a nauseating banality.” Prime Minister Paul Martin: “Not everything that can be thought unclearly can be said unclearly. I suspect new forms of thinking can only emerge inter-subjectively. This is a big problem because we don’t want to lose the potential of modernity and alienation.” President Georges W. Bush: "He who has the final answers can no longer speak for the sake of America unto the other, as he breaks off genuine communication in a fit of Texas." Prime Minister Paul Martin: “What do your silences mean? What are you hiding, if not yourself?” President Georges W. Bush: “Can you think of something more sensible to say or hide?” Prime Minister Paul Martin: “Well, you're annihilating yourself only so you aren’t annihilated. Taking matter into your own head. Into your brain man. But Trudeau is dead now, my love, dead. Speak, damn you.” President Georges W. Bush : “I am like Donald Trump but I don’t know what to say. This is the people’s trust in me speaking without coerciveness or education.” Prime Minister Paul Martin: “I am not some frog-toothed Frenchmen nor some mealy mouthed Mexicano by damn. I am here to consummate, with you, the promise your great nation has heretofore been being frigid and miserly about.” President Georges W. Bush: “There’s nothing.” Prime Minister Paul Martin: “More.” President Georges W. Bush: “What would you—“ Prime Minister Paul Martin: “Have you say?” President Georges W. Bush: “If you want me to lead you can’t expect me to speak because speaking cuts off thought by its very nature. And if you don’t want me to lead then you can’t expect me to fuck you anymore because I only fuck with the crazy wish that I may one day lead this nation to glory.” Prime Minister Paul Martin: “I can accept what you’re saying, but not that you don't love me. And if you think you’ll ever be able to lead without loving then you are a moron. Hence, your proposition is bunk.” President Georges W. Bush: “You manipulative bitch, you’re saying I have to love you in order to lead America to its destiny?” Prime Minister Paul Martin: “Not me, but someone. Like you, like me, someone like me like you like me. Someone with shoulder pads.” President Georges W. Bush: “Listen, the more people try to articulate everything the smaller everything becomes. Trying to really articulate, not silence or pure absence buddy-boy, but what cannot be thought means moving through what’s been lost in order to arrive at the unthinkable. I would have thought that as a Canadian Prime Minister you must have an innate understanding, or feeling for, the significance of speaking the unspeakable.” Prime Minister Paul Martin: “O Georges, baby, I think I can feel you now. Why won’t you and the founding fathers annex my ass like a subsidiary? Why won’t you talk to me the way you used to? Like a father.” President Georges W. Bush II: “Because in order to talk that way I had to do so much blow that all that x, y and z that I read when I was a cadet-cum-scholar came surging through my spine making it a whip of me, into me, like a bolt of hot cum.” Prime Minister Paul Martin: “My lands, I want to be your total object, complete with missing parts. [sings] Oh I can't go on, can't go on, can't go on Everything I have is gone Since my man and I, me and my daddy ain’t together Keeps raining all of the time Oh, oh, keeps raining all of the time Oh yeah, yeah, yeah raining all of the time Stormy stormy Stormy weather Yeah.” Georges W. Bush: Listen, seriously, if then ye would have judgments of things pertaining to this administration, set them not to judge who are recognized in literature. Paul Martin: Who? Nobel Lauretes Billy Collins and George Bowering? Yourself? Georges W. Bush: The very same. What is being talked about is called working to rule, see. When I experience deja-vu I get panicky looking for a way out. I have this sense that it’s possible to access something like a thought, a piece of information, or even a feeling that’s recent enough that it will derail the deja-vu and return possibility to the present. Paul Martin: When you experience deja-vu you try to keep it going for as long as possible, you seek to ride it out, you’d say you feel safe when you experience deja-vu like an old friend is paying you a visit, a new visit, the same visit, the eternal return. George W. Bush and Paul Martin: When we experience deja-vu we reach for the constitution of the United Arab Emigrates. Paul Martin: The secret porousness of our bodies, the attendant shedding and regeneration of our surface layer and organs too, this unworkable scene, this dirty decadence must be brought to a halt if this relationship is going to work. George W. Bush: Just listen to the drivel my own daughters have been writing in their journal: “My student loans have ravaged my thought processes. I hate my race, class, gender, and ethnicity and I want to die.” This is devilment and desublimated Marxism. Paul Martin: I strongly recommend massive brain re-education. Devote as much time as possible for 3-6 months reading debunked logical positivism. Self-help gurus, especially the motivational speaker Zig Ziglar are good for cut-up and collage.… forget Noam Chomsky, the collected works of DJ Tanner are complete; books and listening to mix tapes heavily reliant on early x and the y totally rock out. Now what is this bollocks about forced labour? George W. Bush: Parchman was a complex of 15 labor camps covering a large area in Mississippi, a closed society of black men who were offered as "contract" labor to farms, railroads and industries of many sorts, passed around to do labor for the financial benefit of both the contractor and the state who sold them. Something similar (different) is happening to our young. I mean, the blacks are still stacked up in prisons like sweet tar babies in a jar, but all kinds of folks is becoming like incorporated which is different (similar) to incarcerated. What I’m talking about is institutions of higher learning. This world is not big enough for me and virgin wilderness. * * * * Later that evening over dinner and refreshments, Dick ‘the Pandarus Bear’ Cheney offered a beef roast to the happy couple before breaking off in one of his trademark cardiac arrests. -- Andrew http://personifiedthird.blogspot.com/ ______________________________________________________________________ Post your free ad now! http://personals.yahoo.ca