========================================================================= Date: Sat, 30 Sep 2006 23:49:57 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Gabriel Gudding Subject: why it is necessary to revise gertrude stein MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit __________________________________ http://gabrielgudding.blogspot.com ========================================================================= Date: Sun, 1 Oct 2006 11:42:23 -0400 Reply-To: "Patrick F. Durgin" Sender: UB Poetics discussion group From: "Patrick F. Durgin" Subject: Re: why it is necessary to revise gertrude stein Mime-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit You mean, 'why it is necessary to read gertrude stein in context,' don't you? Isn't this form of "revision" a form of ahistorical "expression"? It's one thing to point out how poorly interpreted Stein continues to be (see, for example, _Legitimate Dangers_), but another to reappropriate the disfunctional circuit through which sh*t sheds stink. "Never revise her accidentally"--Jackson Mac Low, _Stein Series_ .. .. .. .. .. www.da-crouton.com ========================================================================= Date: Sun, 1 Oct 2006 12:47:46 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Carol Novack Subject: Mad Hatters' Review Issue 6 Launch Party Comments: To: lit-events@yahoogroups.com, NYCWriters@yahoogroups.com, FreeNYC Event Listing , poetswearprada@yahoogroups.com MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline *Mad Hatters' Review* *(http://www.madhattersreview.com ) * *Edgy & Enlightened Literature, Art & Music in the Age of Dementia* *Issue Six Launch Party* *A Festive Reading Featuring Demented Editors and Contributors* *Sunday, October 15th, 5:30-8pm* *At Gradisca Restaurant* *126 West 13th Street (between 6th and 7th Aves), **Manhattan*** *(F, V, 1, 2, or 3 train to **14th Street**)* *LANCE OLSEN* Lance Olsen is author of eight novels, one hypertext, four critical studies, four short-story collections, and a textbook about fiction writing. His ninth novel, Anxious Pleasures, will appear in March, 2007, from Shoemaker & Hoard. His short stories, essays, poems, and reviews have appeared in hundreds of journals, magazines, and anthologies, including Fiction International, Iowa Review, Village Voice, and Best American Non-Required Reading. Olsen is an N.E.A. fellowship and Pushcart prize recipient, and former governor-appointed Idaho Writer-in-Residence. His novel Tonguing the Zeitgeist was a finalist for the Philip K. Dick Award. He serves as Chair of the Board of Directors at Fiction Collective Two. He is also Associate Editor at American Book Review and co-founder of Now What, a collective blog by alternative prose writers and publishers. He lives with his wife, assemblage-artist Andi Olsen, in the mountains of central Idaho.** * * *CAROL NOVACK* (Publisher/Editor of MHR) is the author of a chapbook of poems and the former recipient of an arts grant from the Australian government. Her writings can or will be found in The Penguin Book of Australian Women Poets, American Letters & Commentary, Anemone Sidecar, Big Bridge, BlazeVOX, Del Sol Review, Diagram, First Intensity, 5_trope, LIT, Milk, and other publications. She is co-editing an anthology, Butterflies of Vertigo:Fresh Fiction for the New Century, and teaches innovative fiction-writing at The Women's Studio Center in Long Island City.** * * *CLAIRE MOED* Claire Olivia (C.O.) Moed was born on the Lower East Side of New York City when it was still a tough neighborhood. Her short stories and dramatic works have been published in several anthologies and literary reviews. Ensconced in obscurity, she shoots, writes and works a day job in New York City.** * * *JUSTIN TAYLOR* Justin Taylor is the editor of The Apocalypse Reader (Thunder's Mouth, June 2007), an anthology of short fiction about the end of the world; he is also the books editor for Econoculture.com . His work (which includes fiction, poetry, and literary journalism) has appeared in Bookslut, The Brooklyn Rail, Juked, Can We Have Our Ball Back?, Nextbook.org, and elsewhere in print and online. He has work forthcoming in elimae, McSweeney's Quarterly Concern, Del Sol Review, the Dennis Cooper-edited anthology Userlands (Akashic, December 2006), and elsewhere. See more of his work at www.justinDtaylor.net/ * * * With Live Jazzy, Experimental, Original Mad Hatter Music* *& an Open Reading for editors, contributors & others (time permitting)* *"Around us, everything is writing; that's what we must perceive. Everything is writing. It's the unknown in oneself, one's head, one's body. Writing is not even a reflection, but a kind of faculty one has, that exists to one side of oneself, parallel to oneself: another person who appears and comes forward, invisible, gifted with thought and anger, and who sometimes, through her own actions, risks losing her life. Into the night." --*Marguerite Duras ========================================================================= Date: Sun, 1 Oct 2006 13:45:55 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jeffrey Side Subject: Peter Finch interview at The Argotist Online Comments: To: british-poets@jiscmail.ac.uk, wryting-l@listserv.wvu.edu Peter Finch interviewed by Ian Davidson and Zoe Skoulding: http://www.argotistonline.co.uk/Finch%20interview.htm ========================================================================= Date: Sun, 1 Oct 2006 10:46:01 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Stephen Baraban Subject: Pascal, opinion, infinite distances, poetics, politics In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit David, Your "speculative" interpretation "done for amusement"--is delightful. For one thing, it's wonderful how you bring in those Bibical stories of gambling. Lacking, at this point in my life, much erudition regarding Pascal or philosophy in general, I would like to say, though, that at least one moment in Pascal's "wager" discussion *does* strike me as very deep--that is when he discsses the very wide gap between what is conceived of by Belief and by Non-Belief as an "infinite chaos" (here in the apparently awkward translation by someone named Trotter you can find on the web--a 1910 translation that's in the Public Domain): Let us then examine this point, and say, "God is, or He is not." But to which side shall we incline? Reason can decide nothing here. There is an infinite chaos which separated us. A game is being played at the extremity of this infinite distance where heads or tails will turn up. What will you wager? ____________________ What's deep, of course, is that the distance between the two basic options regarding the matter of theism vs. atheism becomes a scary wild distance like the terrifying cosmic distances Pascal famously wrote of: "The eternal silence of these infinite spaces terrifies me." I imagine this has been much discussed in the secondary literature on Pascal. But think of how this applies to, for instance, poetics and politics. What did Joan Houlihan and Ron Silliman say to each other over their almost-infinite poetical distance? (I think I read something in Ron's blog recently about their having dinner together, unless I was dreaming). How can people with very different mindsets about, say, the Israeli/Palestinian struggle say anything to each other about that matter? There's no quick fix akin to getting into a Ford Galaxie to cross the universe (as in Jean Luc Godard's "Alphaville" in which you'll recall there's also a voice-over quoting Pascal on the "infinite spaces"). Stephen --- David-Baptiste Chirot wrote: > > re Pascal--trying to recall the context/discussion & > apologize had a problem > with hotmail and message was sent more than was > meant to be--as i recall i > thought of "The Wager" in context of infinity/god > which was brought up at > one point--extension without limits--not in the > sense stephen baraban brings > up here-- > > robert smithson was interested in what he called the > Pascalian > dialectic--Pascal builds his thoughts often around > paradoxes--many times > with a form of gallows humor--i have often wondered > if "The Wager" isn't > really a form of cynicism carried into the arena of > gallows humor--a good > laugh on pascal's part at all those who bemoaned the > loss of one of europe's > finest scientitific and mathematical minds to the > narrow theological > confines of jansenism--by means of "The Wager" > pascal could show his old > fans that the man had lost none of his edge at > probablility problems and at > the same time harness it to prove to them the wisdom > of choosing good rather > than science in the biggest "throw" of all----that > he had chosen the right > path--so a form of elaborate joke-- > when i thought more about it, the cynicism and > gallows humor grows > deeper--as only examples of gambling that came to > mind in my rather small > knowledge of Bible are those of the gambling for > Joseph's Coat of Many > Colors, which prefigures that of the Roman soldiers > playing for Christ's > clothes-- > so gambling is associated with moments of > humiliation, pain and mockery of > Joseph and Jesus-- > by using this method of mockery turned inside out to > prove the existence of > God, pascal in a sense is mocking the mockers, > causing them pain and > humiliation--just as he has been toying with those > who feel he "lost > everything" in giving up math and science for the > church-- > as the saying in french has it, "tromper le trompeur > c'est double > plaisir"--to trump the one who set the trumps is a > double pleasure-- > (this interpretation purely speculative and done for > amusement--) > > __________________________________________________ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com ========================================================================= Date: Sun, 1 Oct 2006 15:25:55 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Murat Nemet-Nejat Subject: Re: pascal/art brut ("outsider") In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline David, This is an absolutely fascinating post, in relation both to what you say about Pascal and outsider art. As you point out, the "outsider" is a mental, intellectual source of energy with multiple aspects, including geography, tradition, etc. Poetry itself has "outside" influences, as in art, beyonf "tradition" ("avant,""post-avant,"without an "outside," etc.). Ciao, Murat On 9/30/06, David-Baptiste Chirot wrote: > > i was away from list for some days so just found the note below re > pascal's > "Wager" and catching up on The Outsiders (60s Ohio band, hit was "Time > Won't Let Me"; S E Hinton "young adult" novel made into 1983 film by > Coppola > . . . and a tv series in 1990 . . . see art brut below--) > > re Pascal--trying to recall the context/discussion & apologize had a > problem > with hotmail and message was sent more than was meant to be--as i recall i > thought of "The Wager" in context of infinity/god which was brought up at > one point--extension without limits--not in the sense stephen baraban > brings > up here-- > > robert smithson was interested in what he called the Pascalian > dialectic--Pascal builds his thoughts often around paradoxes--many times > with a form of gallows humor--i have often wondered if "The Wager" isn't > really a form of cynicism carried into the arena of gallows humor--a good > laugh on pascal's part at all those who bemoaned the loss of one of > europe's > finest scientitific and mathematical minds to the narrow theological > confines of jansenism--by means of "The Wager" pascal could show his old > fans that the man had lost none of his edge at probablility problems and > at > the same time harness it to prove to them the wisdom of choosing good > rather > than science in the biggest "throw" of all----that he had chosen the right > path--so a form of elaborate joke-- > when i thought more about it, the cynicism and gallows humor grows > deeper--as only examples of gambling that came to mind in my rather small > knowledge of Bible are those of the gambling for Joseph's Coat of Many > Colors, which prefigures that of the Roman soldiers playing for Christ's > clothes-- > so gambling is associated with moments of humiliation, pain and mockery of > Joseph and Jesus-- > by using this method of mockery turned inside out to prove the existence > of > God, pascal in a sense is mocking the mockers, causing them pain and > humiliation--just as he has been toying with those who feel he "lost > everything" in giving up math and science for the church-- > as the saying in french has it, "tromper le trompeur c'est double > plaisir"--to trump the one who set the trumps is a double pleasure-- > (this interpretation purely speculative and done for amusement--) > > > because the art market has made terms like "outsider art", "raw vision" > etc > etc take on such a cynical cast--what was it about them that had meaning > and > energy in the first place?--is worth it to remember--so one cd rethink > some > of the issues involved--make use of them in different ways-- > > in popular music for some decades collecting of garage band obscurities > for > example-truly "brut" recordings in every sense---(i used to have several > hundreds of lps, compilations, 45s etc--friends with far more--)--films > out > now of people like daniel johnson and wesley walls etc--"art brut" > muicians > so to speak-- > > must be tons of "art brut" writing out there--as well as already > published--is "art brut"different in writing than in art and music?--it's > not like you find "anthology of writing brut"--i mean "brut" in dubuffet's > sense of it, not the "outsider" sense usually tossed abt like "outlaw > bible > of american poetry" etc--but wd writing world have same enthusiasm for > brut > writing that brut music and art generate in their worlds?-- > > art brut/outsider art has its modern beginings mainly in the interests of > artists in expanding sources of inspiration--Japan for the Impressionists, > Tahiti for Gauguin, African suclpture for Picasso etc--and for the Blaue > Reiter group in Germany that included Kandinsky--children's art and > drawings. the attraction of "primitive" and children's art was to "get > outside" the strictures and confines of training in western art--a way to > begin at the begining in a certain sense-- > also begining in later nineteenth century was interest in spirtualism > and psychic states which generated a huge body of works in writing and > graphic arts--(Victor Hugo produced a very substantial and striking volume > of work in both media--a lot of the extraordinary graphic work on line and > the written in Conversations with Eternity The Forgotten Masterpiece of > Victor Hugo; New Paradigm, 1998)--these were forerunners of > psychology--leading to study of works produced by the mentally > ill--"Marcel > Reja's" (Paul Meunier) L'Art chez les fous (The Art of the Mad/of > Madpeople) > appeared in 1907. In 1922 appeared the book which marked huge > revolution > in many fields and in effects of art of the mentally ill on modern > art--Hans Prinzhorn's Bildnerei der Geisteskranken (Artistry of the > mentally > Ill)--the previous year had appeared Walter Morgenthaler's first study of > an > "outsider"/"art brut" artist--in english known as Madness and Art: The > Life > and Works of Adolf Wolfli. A breakthrough in the study of work by the > mentally ill occured in these works: the art of the mentally ill began to > be considered in terms of art, not simply in terms of symptoms, > manifestations of various disorders etc. During this same time period > "primitve" and "folk art" were also being reevaluated in terms of "art" in > their own right-- > it should be noted that a great deal of the works found outside asylums > were > found by artists--not collectors, dealers etc as is much more the case > later > on--it took artist's eyes to see in much of the outsider art before there > was a term for it the existence of art in it--the exception being with in > the asylums--and this too began to change when Dubuffet began building his > immense collection of "art brut" in the 1940's-- (again, an artist led the > way to perceiving art values not only to be looked at, but to be put to > use > by artists--and used also in his battery of "anti-cultural positions"--and > gave them the name "art brut"--) > the connection between the as yet unnamed "art brut" and modern art was > recognnized by the nazis in the infamous 1937-8 traveling exhibtion of > Entartete Kunst (Degenerate Art)--one of the first true blockbuster shows > of > the twentieth century, attended by roughly two million people in its > journey > through germany into Austria--works by Wolfli and other > "outsider"/mentally > ill artists hung alongside works by the greats and lesser lights of > modernism--all of them equally condmened--ironically the Nazis were the > first to stage a kind of exhibition which was to become common in later > decades--the mingling of outsider works with "high art" by > "masters"--"professionals"--hanging alongside the insane, the amateur, the > folk artist, the self taught, etc-- > > Dubuffet very early on chose not to focus on madness as the basis of art > brut--art brut is work done by people 'WHO ARE STRANGERS TO THE ORDINARY > ART > WORLD, KNOWING LITTLE ABOUT CURRENT WORKS OF ART, OR PERHAPS EVEN > DELIBERATELY DISTANCING THEMSELVES FROM ALL THAT." wORKS OF THE MAD WOULD > NATURALLY BE INCLUDED, BUT NOT SIMPLY AS WORKS BY THE MAD . . . > > in the late 1940's andre breton worked closely with dubuffet and shared > his > collections of obejcts in art brut shows etc--worked hard in developiong > projects for art brut almanac that didn't materialize until the later > series > of publications--and developed close friendship with dubuffet--though the > latter was from the start also a bit wary--in the end thay had a falling > out > over the issue of madness--for breton madness and spiritualism played a > central role in the interest of art brut--whereas for dubuffet they do not > not--he didn't care if an artist was mad or not--included works by the > sane > and insane in alternating shows to emphasize that these were not soley the > provenance of the mentally ill--(a stereotype which has peristsed all too > often to this day--)--dubuffet considered the works in themselves--not as > manifestations of this or that pathology--he also felt that Breton wanted > to > subsume art brut under the umbrella of surrealism, tucked away in a corner > along with other works by the mad or the spiritualists--yet another form > of > surrealist bric-a-brac to be added to the collection--the exact opposite > of > the kind of impact dubuffet hoped the works would have in breaking > preconceived ideas and heiracrhies of "art"--as traditonally conceived of > in > the west-- > > by Dubuffet in english on his anti-cultural positions a very good book > is-- > ASPHYXIATING CULTURE > > There is a great book on the history of Dubuffet's involvement with Art > Brut > and the history of his collection after his death, as well as the years > preceding Dubuffet's development of "art brut" going back to early 19th > century--ART BRUT The Origins of Outsider Art by Lucienne Peiry (Paris: > Flammarion, 2001) illustrated by hundreds of color and b and w > reproductions and fotos, with biographies of the artists, extensive > bibliographies; Ms Peiry is the Head of the Collection de l'Art Brut in > Lausanne, Switzerland--the collection begun by Dubuffet-- > > In a handwritten document written in english called "anticultural > positions" > given as a lecture at the art club of chicago on thursday 20 december 1951 > at 11:30 am dubuffet says, making a point he is repeat in a variety of > ways > regarding langauge: > > Art addresses itself to the mind, and not to the eyes. It has always > been considered this way by primitive peoples, and they are right. Art > is > a language, instrument of knowledge, insturment of expression. > I think the enthousiasm aabout the language of the words, which I > mentioned before, has been the reason our culture started to regard > painting > as a rough, rudimentary, and even contemptible language, good only for > illiterate people. From that, culture invented, as a rationalization for > art, this mith (sic) of plastic beauty, which, in my opinion, is an > imposture. > I just said, and I repeat now, painting is, in my opinion. is a > lnguage > much richer than that of words. So itis quite useless to look for > rationalizations in art. > Painting is a language much more immediate and at the same time much > mre charged with meaning. Painting operates through signs which are not > abstract and incorporeal like words. The signs of painting are much > closer > to the objects themselves. Further painting manipulates materials which > are > themselves living substances. That is why painting allows one to go much > further than words do in apporaching things and conjuring them. > Painting can also, and it is very remarkable, conjure things more or > less, as wanted, I mean: with more or less presence; that is to say: at > different stages between being and non-being. > At last painting can conjure things, not isolated, but linked to all > that surrounds them; a great many things simultaaneously. > On the other hand painting is a way much more immediate and muc more > direct than language of words, much clsoer to the cry, or to the danse; > that > is why painting is a way of expression of our inner voices much more > effective than that of words. > I just said that painting allows, especially, much better than > words, > one to express the various stages of thought, including the deeper levels, > the underground stages of mental processes . . . > > (one can see where this wd open one to begin thinkingconversely what might > be a writing brut--in what ways writing might opearte that painting cannot > do as well . . . ) > from what dubuffet writes here, one can have an idea what itis he is > finding > in art brut--the values of immediacy, directness and a language of the > mind--thought processes of an underground . . . in the stages of > thought--as well as a way of conjuring stages between being and non-being > . > . . etc etc--very much a language, a cry a danse--with the living > materials, > substances and signs which are close to objects . . . > > > > > > > > > > >On Mon, 25 Sep 2006, Stephen Baraban wrote: > >> > >> > But speaking of Religion, could David-Baptiste Chirot > >> > please expatiate on why he keeps recommending that > >> > people read Pascal on his Wager. I admit that those > >> > pages exude charm and panache, but what spiritual > >> > nourishment can anyone take from P.'s insistence that > >> > Doubters be calculating and prudent about protecting > >> > the afterlife welfare of their endangered eternal ass? > > > > _________________________________________________________________ > Express yourself - download free Windows Live Messenger themes! > > http://clk.atdmt.com/MSN/go/msnnkwme0020000001msn/direct/01/?href=http://imagine-msn.com/themes/vibe/default.aspx?locale=en-us&source=hmtagline > ========================================================================= Date: Sun, 1 Oct 2006 22:11:53 +0200 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Anny Ballardini Subject: LitStation MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline James Finnegan's LitStation FILLING STATION FOR THE MIND http://litstation.com/index.htm ** *Founders* * *Jim Finnegan has formed writers groups in places ranging as widely as St. Louis, Northhampton, and Louisville. He currently lives in West Hartford CT, where he is founder of the Brick Walk poets. Jim is a board member of the Friends and Enemies of Wallace Stevens, an organization dedicated to preserving the memory of one of the century's great poets. He manages the NewPoetry list a contemporary poetry discussion list. Jim Finnegan jim@LitStation.com spread the voice wide and loud! Anny Ballardini http://annyballardini.blogspot.com/ http://www.fieralingue.it/modules.php?name=poetshome http://www.moriapoetry.com/ebooks.html I Tell You: One must still have chaos in one to give birth to a dancing star! Friedrich Nietzsche ========================================================================= Date: Sun, 1 Oct 2006 16:38:43 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Fulcrum Annual Organization: Fulcrum Annual Subject: Short Notice: Nikolayev & Kapovich at Harvard This Monday MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit Poetry Reading: Katia Kapovich, Philip Nikolayev Monday, October 2, 7 pm Common Room, Harvard-Yenching Library 2 Divinity Avenue, Harvard University Cambridge, MA 02138, USA ADMISSION FREE ========================================================================= Date: Sun, 1 Oct 2006 17:27:24 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Halvard Johnson Subject: Hamilton Stone Review, Issue 10, Fall 2006, Now Online! Mime-Version: 1.0 (Apple Message framework v752.2) Content-Transfer-Encoding: 7bit Content-Type: text/plain; charset=US-ASCII; delsp=yes; format=flowed ********************************************************** Hamilton Stone Review, Issue 10, Fall 2006, Now Online! Featuring fiction by Brian E. Langston, Stephanie Bachula, Hugh Fox, Denise Mann, Ken Champion, and Wayne Scheer; and poetry by Jeanpaul Ferro, Peter Munro, Hugh Fox, Sandy McIntosh, Scott Keeney, Crag Hill, Roy Frisvold, Glenn Bach, John M. Bennett, Joel Solonche, and Jan Clausen. http://www.hamiltonstone.org/hsr10.html ------------------------------------------------------------------------ --------------- Submissions to Hamilton Stone Review Hamilton Stone Review invites submissions of both poetry and fiction for Issue #11, which will be out in February 2007. Poetry submissions should go, only by email, directly to Halvard Johnson at halvard@earthlink.net. Send fiction submissions, only by email, to Lynda Schor at lyndaschor@earthlink.net. Deadline: Jan. 1, 2007. Be sure to include HSR11 and your name in the subject line of your submission. ------------------------------------------------------------------------ ------------ Hamilton Stone Review is produced by Hamilton Stone Editions. http://www.hamiltonstone.org/ PLEASE SEND THIS ALONG TO OTHERS ********************************************************** ========================================================================= Date: Mon, 2 Oct 2006 08:49:43 +1000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Pam Brown Subject: the deletions continue MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit the deletions continue Christian Bök in Sydney Laurie Duggan on nzepc Spring things to do Sasha : some further notes Sasha... Vale Sasha Soldatow http://thedeletions.blogspot Pam Brown _________________________________________________________________ Blog : http://thedeletions.blogspot.com/ Web site : Pam Brown - http://www.geocities.com/p.brown/ Associate editor : Jacket - http://jacketmagazine.com/index.html _________________________________________________________________ ____________________________________________________ On Yahoo!7 Answers: 25 million answers and counting. Learn something new today http://www.yahoo7.com.au/answers ========================================================================= Date: Sun, 1 Oct 2006 21:11:53 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Bruce Covey Subject: from Reb Livingston / No Tell Books In-Reply-To: <4b65c2d70610011311y529737b9i4581c0e2855212f9@mail.gmail.com> MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit No Tell Books Announces Four New Poetry Titles by Bruce Covey, PF Potvin, Rebecca Loudon, Reb Livingston & Ravi Shankar: www.notellbooks.org www.lulu.com/no-tell-books contact: Reb Livingston, reb@notellbooks.org * * * Elapsing Speedway Organism, by Bruce Covey ISBN: 978-1-84728-314-6 104 pages www.notellbooks.org/elapsing Available at Lulu for $12 Available Soon at Amazon, B&N and Powell's for $15 * * * The Attention Lesson, by PF Potvin ISBN: 978-1-84728-298-9 92 pages www.notellbooks.org/attention Available at Lulu for $12 Available Soon at Amazon, B&N and Powell's for $15 * * * Navigate, Amelia Earhart’s Letters Home, by Rebecca Loudon 38 pages www.notellbooks.org/navigate Available at Lulu for $9 * * * Wanton Textiles, by Reb Livingston & Ravi Shankar 42 pages www.notellbooks.org/wanton Available at Lulu for $9 ========================================================================= Date: Mon, 2 Oct 2006 01:27:33 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Steve Dalachinsky Subject: Re: pascal/art brut ("outsider") MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit this started out as an outsider writers thing so who are these outsider writers smithson's babty doctor was williams who as an outsider writer was read by kenny etc at the gallery on saturday? ========================================================================= Date: Sun, 1 Oct 2006 23:24:47 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: alexander saliby Subject: benefactors MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable You must all first hear the tale: Robert Creddens was born in a small Texas town to parents who would = always be strangers to him. He was adopted as an infant into a rural = Texas dysfunctional family. In his late teen years, Robert's adopted = parents had him committed to an asylum because of his homosexual antics = (it was a football team tale back then, and interestingly, none of the = football team members were singled out). Robert found himself released from the asylum to the custody of a caring = (equally gay) physician who took the lad in and abused him for the next = several years.=20 Demonstrating true human tenacity, Robert survived that relationship and = via a long trip ended up in Los Angeles where he worked for a decade or = more before he escaped to the Seattle area, where he lived until his = quiet death a few years ago. =20 Robert's escape device was film and television. And he created VCR's of = much of what he viewed.=20 I am the recipient of Robert's library of VCRs. It is an impressive = library. I estimate (I have not actually counted, yet) 100 VHS VCRs of = the following quality: Elia Kazan's "America America" 1963 Alfred Hitchcock's "Spellbound" 1945 Humphrey Bogart, Ava Gardner "The Barefoot Contessa" 1954=20 Shadow of a Doubt 1943 All About Eve 1950 Better Davis, Claude Rains, "Deception" 1946...notes by Robert Creddens: = "Horror Movies"=20 Sharon Tate, Barbara Parkins "Valley of the Dolls" =20 And Robert watched TV and made VCRs: Foreign Correspondent Richard Avedon American Masters "Darkness & Light" & John Mayceri Plays = Tiomkin "Great Performances" =20 These are all first copy VCRs, and they would make marvelous additions = to any Film School's library collection.=20 I will ship them (at my cost) to a school or library interested in = creating a "Robert Creddens" Collection.=20 Don't waste my time if all you want is a copy of Dr. Strange Love (yes, = there is one) for your viewing pleasure.=20 Backchannel, please. Alex=20 ========================================================================= Date: Mon, 2 Oct 2006 06:38:33 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Eric Elshtain Subject: New Beard of Bees Chapbook MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Beard of Bees Press is pleased to announce the publication of _Staccato Landmark_ by Thomas Fink who tells us: "Before you interrogate or irrigate or integrate, talk small." http://www.beardofbees.com/fink.html Eric Elshtain Editor Beard of Bees Press http://www.beardofbees.com ========================================================================= Date: Mon, 2 Oct 2006 07:49:02 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Tisa Bryant Subject: Paging Hoa Nguyen Mime-Version: 1.0 (Apple Message framework v624) Content-Transfer-Encoding: quoted-printable Content-Type: text/plain; charset=WINDOWS-1252; format=flowed hello, all! Hoa, are you here? or, could someone please backchannel me an email address for her? thank you! TLB ********************************** All the writer=92s noise is finally an attempt to shape a silence in=20 which something can go on. Call it the science of interpretation. Samuel R.=20 Delany=20= ========================================================================= Date: Mon, 2 Oct 2006 06:25:19 -0700 Reply-To: rsillima@yahoo.com Sender: UB Poetics discussion group From: Ron Silliman Subject: Neomodernism on Silliman's Blog Comments: To: Brit Po , New Po MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit http://ronsilliman.blogspot.com/ RECENT POSTS Neo-modernism in the novellas of Debra Di Blasi John Ashbery reading in a coffee house in Providence R.I. A Flarf fest in Carlisle, PA The poetics of Minton Sparks Southern story teller The songs of Dave Carter (and the singer/songwriter tradition) The enigmatic poetics of Beverly Dahlen On poetry in Iran and Nigeria Who needs to read? Eileen Tabios channels Gabriela Silang Translating translation in the Mauve Desert by Nicole Brossard Lots of frosting on very little cake – Aaron Sorkin and Studio 60 Context as a material of art in the work of Hai Bo, Yoko Ono et al in the galleries of New York Questioning Steve Benson Why is Lisa Robertson the most read poet in the annual Attention Span survey once again? Stephanie Young’s breakthrough book Telling the Future Off Squandering the American century (notes on 9/11 five years on) Fanny Howe’s war on terror http://ronsilliman.blogspot.com/ ========================================================================= Date: Mon, 2 Oct 2006 11:31:17 -0400 Reply-To: "Patrick F. Durgin" Sender: UB Poetics discussion group From: "Patrick F. Durgin" Subject: Hannah Weiner on Ted Berrigan Mime-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit ... as a preview of the forthcoming Hannah Weiner selected, see http://da-crouton.com/?p=57 As ever and furthermore, the "recordings" section is open to interpretation. (Despite that Da Crouton threatens to become yet another poetics blog...) ========================================================================= Date: Mon, 2 Oct 2006 08:44:32 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: EH Subject: Mark Rudman contact info MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Hi - Does anyone on the list have Mark Rudman's contact info? E-mail or phone. Many thanks! Eric Hoffman --------------------------------- Get your email and more, right on the new Yahoo.com ========================================================================= Date: Mon, 2 Oct 2006 11:55:23 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Michael Kelleher Subject: JUST BUFFALO E-NEWSLETTER 10-02-06 MIME-Version: 1.0 Content-Type: text/plain; format=flowed; charset=ISO-8859-1 Content-Transfer-Encoding: quoted-printable COMMMUNIQU=C9: FLASH FICTION, hosted by Forrest Roth Gary Lutz and Christina Milletti Fiction Reading Thursday, October 5, 7 p.m. Rust Belt Books, 202 Allen St., Buffalo Gary Lutz is the author of two collections of short fiction: Stories in the= Worst Way (Knopf, 1996; 3rd bed, 2002) and I Looked Alive (Black Square Editions/Four= Walls Eight Windows, 2004). He is the recipient of grants from the National Endow= ment for the Arts and the Foundation for Contemprary Performance Arts. Christina Milletti's fiction has appeared in several journals and anthologi= es, such as The Alaska Review, The Chicago Review, and The Greensboro Review, and The Cincinnati Review, as well as Harcourt's Best New American Voices and Scrib= ner's Best of the Fiction Workshops. She earned an MFA at Brown University and is= now an Assistant Professor of English at the University at Buffalo, SUNY where she= directs the Exhibit X Fiction Series. She is currently at work on her next novel, Choke= Box. =00 NICKEL CITY POETRY SLAM, hosted by Gabrielle Bouliane Featuring Jack McCarthy Friday, October 6, 7 p.m. Clifton Hall, Albright-Knox Art Gallery 10 open slam slots: all readers welcome=21 FALL WORKSHOPS All workshops take place in Just Buffalo's Workshop/Conference Room At the historic Market Arcade, 617 Main St., First Floor -- right across fr= om Shea's The Market Arcade is climate-controlled and has a security guard on duty at= all times. To get here: Take the train to the Theatre stop and walk, or park and enter on Washingto= n Street. Free parking on Washington Street evenings and weekends. Two-dollar parking in fenced, guarded, M & T lot on Washington. Visit our website for detailed descriptions, instructor bios, and to regist= er online. UPCOMING WORKSHOPS: POETRY WRITING: Poetry and Memory A Poetry Workshop For Poets of All Levels Instructor: Barbara Cole Four Tuesday Evening Sessions: October 17, 24, 31; November 7, 7-9 p.m. In the Just Buffalo Workshop Room Market Arcade Building, 617 Main St., First Floor. =24100, =2480 memberS COLLEGE ESSAY WRITING: Writing Your Way Into Higher Education -- A Workshop on the College Essay Instructor: Gary Earl Ross=A0 Wednesdays: Oct. 25, Nov. 1, 8, 15, 4:15-5:30 p.m. In the Just Buffalo Workshop Room Market Arcade Building, 617 Main St., First Floor.=A0 =2470, =2450 members Registration Deadline: October 23 CREATIVITY: The Tao of Writing A Creativity Workshop for Writers of All Levels Instructor: Ralph Wahlstrom 4 Thursdays, November 2, 9, 16, and 30, 7-9 p.m. In the Just Buffalo Workshop Room Market Arcade Building, 617 Main St., First Floor. =24100, =2480 member SONG LYRICS: Turning Poems Into Song Lyrics A Special Session For Aspiring Songwriters and Poets Instructor: Grammy Award-Winning Poet/Lyricist Wyn Cooper Tentative Date: Tuesday, November14, 7-9 p.m. In the Just Buffalo Workshop Room Market Arcade Building, 617 Main St., First Floor. =2450. =2440 for members JOIN JUST BUFFALO ONLINE=21=21=21 If you would like to join Just Buffalo, or simply make a massive personal d= onation, you can do so online using your credit card. We have recently added the abilit= y to join online by paying with a credit card through PayPal. Simply click on the me= mbership level at which you would like to join, log in (or create a PayPal account u= sing your Visa/Amex/Mastercard/Discover), and voil=E1, you will find yourself in lite= rary heaven. For more info, or to join now, go to our website: http://www.justbuffalo.org/membership/index.shtml JUST BUFFALO WRITER'S CRITIQUE GROUP Members of Just Buffalo are welcome to attend a free, bi-monthly writer cri= tique group in CEPA's Flux Gallery on the first floor of the historic Market Arca= de Building across the street from Shea's. Group meets 1st and 3rd Wednesday at 7 p.m. = Call Just Buffalo for details. LITERARY BUFFALO THIS WEEK TALKING LEAVES BOOKS Elizabeth Cunningham Reading/Book Signing: The Passion of Mary Magdalene Wednesday, October 4, 7 p.m. Talking Leaves Books Main St. Store Mary Saracino Reading/Book Signing: The Singing of Swans Thursday, October 5, 7 p.m. Talking Leaves Books Main St. Store Susan Ciminelli Reading/Book Signing: Ciminelli Solutions Sunday, October 8, 2 p.m. Talking Leaves Books, Elmwood Store NEW READING VENUE. BUDDIES 2 at the corner of Franklin & West Mohawk is now holding a poetry/short story= open mike nite regularly at 7:30- 9:30 the 4TH THURSDAY of every month=21=21=21=21 Th= is is a forum for GLBT readers & varied audiences to hear local GLBT voices writing, but perh= aps not reading, in the commmunity at large. Seating limited, arrive early for sign= up sheet . readers have a half hour per person -if they want it. Overflow readers will= be first on the program the following month. Visit our website to download a pdf of the October Literary Buffalo poster,= which list all of Buffalo's literary events. UNSUBSCRIBE If you would like to unsubscribe from this list, just say so and you will b= e immediately removed. _______________________________ Michael Kelleher Artistic Director Just Buffalo Literary Center Market Arcade 617 Main St., Ste. 202A Buffalo, NY 14203 716.832.5400 716.270.0184 (fax) www.justbuffalo.org mjk=40justbuffalo.org ========================================================================= Date: Mon, 2 Oct 2006 09:33:57 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: jen hofer Subject: city of angels october doings -- 10/8, 10/19, 10/20, 10/21 MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit hi there - a few events of note in the coming weeks - here's the redux for datebook ease - read below for further details: *** sunday 8 october 5 p.m. will alexander reads work in progress in silverlake *** thursday, 19 october 7 p.m. wave books poetry bus reading at calarts in valencia *** friday, 20 october (time tba - sometime in the evening) wave books poetry bus reading at natural history museum in los angeles *** saturday, 21 october 6-9 p.m. "many happy returns" opening at high energy constructs in chinatown *** www.gothtober.com is up & running - please visit! curated & constructed by head candycorn, renowned craft captain & neo enthusiast extraordinaire julianna (jp) parr, the site features community-based certified internet art with 31 artists over 31 days PLUS a bonus chance-operated bicycle ride - the most adventurous halloween advent calendar you'll ever have the pleasure to visit! ALSO.keep an eye out for an announcement of the "impunities: imagined communities" conference sponsored by the calarts mfa writing program at redcat in downtown los angeles - october 20-22 (sheesh, busy weekend!!) happy fall - hope to see you soon - read details below if desired - jen * will alexander reads work in progress sunday october 8 at 5 p.m. at the home of david lloyd (wine & beer provided but a little byob probably wouldn't hurt) 3020 Effie Street Los Angeles CA 90026 (one and a half blocks above Silver Lake Boulevard just south of Spaceland--turn up at the 7/11) ** Will Alexander is the author of numerous books of poetry and other writings, including Sunraise and Amageddon (Spuyten Duyvil, 2006); Exobiology as Goddess (Manifest Press, 2005); Towards the Primeval Lightning Field (O Books,1998); Asia & Haiti (Sun & Moon Press, 1995: PEN Finalist, 1996); and Arcane Lavender Morals (Leave Books, 1994); and a forthcoming book of essays, Singing Magnitic Hoofbeat, 2007. ** * the wave books poetry bus (www.poetrybus.com ) will visit los angeles october 19 & 20 - we'll read at calarts in valencia on the 19th & at the museum of natural history on the 20th. check the website for further details. performers 10/19: Jen Hofer, Joshua Beckman, Matthew Zapruder, Christian Hawkey, Martha Ronk, Standard Schaeffer, Juliana Spahr, Stephanie Young, Gillian Conoley, Anthony McCann, Joe Wenderoth, Jen Bervin, Noelle Kocot, Cole Heinowitz, Matthew Rohrer, Maggie Nelson performers 10/20: Jen Hofer, Matthew Zapruder, Christian Hawkey, Standard Schaeffer, Juliana Spahr, Stephanie Young, Gillian Conoley, Joe Wenderoth, Noelle Kocot, Cole Heinowitz, Maggie Nelson, Deborah Landau, Will Alexander, Richard Meier, Lisa Fishman * HIGH ENERGY CONSTRUCTS presents "Many Happy Returns" October 21 - November 25, 2006 A group show featuring works by: Joe Brainard . Fran Herndon & Jack Spicer . George Schneeman & Anne Waldman . Anne Waldman & Ed Bowes . Jen Hofer & Deborah Stratman . David Larsen & Marc Bell . Jen Bervin . Jeff Karl Butler . Sabrina Calle . Andrew Choate . Marcus Civin . Zoe Crosher . kari edwards . Thomas Evans . Derek Fenner . Coryander Friend . Ryan Gallagher . Granary Books . Jack Greene . Doug Harvey . August Highland . Tanya Hollis . Jane Dalrymple-Hollo . Colter Jacobsen . Lisa Jarnot . Juliacks . Mary Kite . Joanne Kyger . Donal Mosher . Kevin Opstedal . Amy Robinson . Christopher Russell . David E. Stone . Mathew Timmons . Cat Tyc . Ugly Duckling Presse . Will Yackulic . John Yau Opening Reception: Saturday, October 21, 2006, 6-9 pm Featuring a special store-front performance by Juliacks and Ben Bigelow Gallery Hours: Thursday - Saturday, 11am - 6pm High Energy Constructs, Los Angeles, presents "Many Happy Returns" - a group exhibition that centers around the intersections of poetry/literature/language and the visual/media arts. The exhibition will run from October 21 - November 25, 2006, with an opening reception on Saturday, October 21, 2006, 6-9 pm, featuring a special store-front window performance by Juliacks, and music by Ben Bigelow, entitled: Maybell Explorer of the Overgrown Garden.. Evoking the field(s) of verbal and visual interplay in art since the 1960s, "Many Happy Returns" offers a vibrant look at collaborative relations, radical creations, and hermetic disciplines that have proven to reflect and affect social, political, and artistic currents via traditional and counter-traditional expressions - in continuation with the likes of William Blake, Walt Whitman, Dada, Fluxus, the Beat and New York School Generations. Participants of this exhibition include celebrated poets and other influential figures in America's literary milieu, contemporary visual artists, filmmakers, bookmakers, printers, and other media artists. Via collage, video, painting, photography, installation, drawing, books, and other printed matter, the exhibition aims to bring together a unique array of individual and collective artworks that come out of literary communities. Named after Ted Berrigan's 1969 book-length poem, "Many Happy Returns" mixes today's bards and artists with the superceded ghosts of America's last avant-garde, in hopes of updating and highlighting the innovative collisions that take place between art and language. ========================================================================= Date: Mon, 2 Oct 2006 09:52:07 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Small Press Traffic Subject: Nickels on Laura Riding at SPT this Fri 10/6 MIME-Version: 1.0 Content-Type: text/plain; charset="ISO-8859-1"; format="flowed" Content-Transfer-Encoding: 8bit Small Press Traffic is pleased to present the first of our Predecessors Lectures Joel Nickels on Literature as Hypnosis: Laura Riding’s Critique of Modernism Friday, October 6, 2006 at 7:30 p.m. Nickels writes: “Among contemporary experimental poets, Laura Riding enjoys a measure of celebrity, in part because she is thought of as an ‘anti-systemic’ poet, in part because of her attempts to disperse writerly authority by calling attention to the instability of the linguistic sign. For these reasons, Riding is sometimes even considered a precursor to postmodern poetries that are defined by their attention to the ‘materiality of the signifier.’ In this talk I’ll provide a critical introduction to Riding’s poetics, focusing on what it can teach us about the methods and self-understandings of contemporary experimental writing. Central to my investigation will be Riding’s relentless critique of modernism. Although she helped canonize many of the authors we now think of as ‘modernist’ in her 1927 A Survey of Modernist Poetry, Riding also provided one of the earliest, and most conceptually rich, indictments of modernism’s epistemologies and political presuppositions. In works such as Anarchism Is Not Enough, The Telling, and The Word ‘Woman’ and Other Writings, Riding claims that the modernist ideals of authorial impersonality and formal experimentation are unconsciously derived from a capitalist public sphere characterized by economic anonymity, gratuitous innovation, and the inability to regulate social production. More than this, she claims that modernism’s attempts to evoke the possibility of social change through literary modes of linguistic repatterning merely mirror the workings of ideology, in which the illusion of free choice is generated within a structure that is completely administered from above. Riding’s critique, therefore, signals a crisis not merely in modernism’s claims to be ‘anti-systemic,’ but also in contemporary writing that accords anti-systemic significance to poetic bricolage, parataxis, and the ‘free play’ of linguistic signification. By positing a poetic agent who is everywhere and nowhere, who drifts impartially through social space, and who translates intuitions of political possibility into carefully orchestrated formal disjunctions, such poetries, she claims, merely reaffirm the logic of commodity-exchange and pseudo-democratic social hypnosis. But what resources are left, then, for those of us who still hope to find a place for political exploration and dissent in imaginative writing? By exploring Riding’s poetry and prose, with special attention to her long, strange epistolary collaboration, The World and Ourselves, I propose a few new answers to this question. They stem from Riding’s distinctions between disembedded vs. embedded poetic subjectivities, experimental vs. reciprocal modes of composition, and overproductionist vs. proportionate social economies. By revisiting these conceptual distinctions, which were born of the aesthetic and political crises of the 1930s, I aim to resuscitate one of the earliest and most powerful critiques of modernism, and ask to what extent it may be used to interrogate the forms of impersonalist, disembedded epistemology that are still at work in some contemporary writing.” Joel Nickels is a doctoral candidate at U. C. Berkeley, where he teaches English composition. He is currently completing a dissertation on the relationship between modernism’s models of creative production and its figurations of political agency. He has served as editor of the interdisciplinary journal, Qui Parle, and founded the Townsend Center working group, Phenomenology Now. At the moment, he’s also commuting to Fremont and San Francisco to teach high school enrichment classes in writing and critical thought. $5-10 sliding scale, free to current SPT members & CCA community directions & map: http://www.sptraffic.org/html/fac_dir.html Elizabeth Treadwell, 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, 2 Oct 2006 11:14:52 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Elizabeth Treadwell Subject: Kapil, Luoma & Treadwell reading in SF Saturday Comments: To: wom-PO@lists.usm.maine.edu Mime-Version: 1.0 Content-Type: text/plain; format=flowed Hey friends -- I will be reading from Cornstarch Figurine at the Artifact Series (http://www.artifactsf.org) this Saturday the 7th, and from very new work. I'm reading with Bhanu Kapil & Bill Luoma, surrounded by the art of David Larsen. Elizabeth Treadwell http://secretmint.blogspot.com http://elizabethtreadwell.com ========================================================================= Date: Mon, 2 Oct 2006 15:37:39 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jeffrey Side Subject: Kirk Wood Bromley interviewed by Sheila E. Murphy at The Argotist Online Comments: To: british-poets@jiscmail.ac.uk, wryting-l@listserv.wvu.edu Kirk Wood Bromley interviewed by Sheila E. Murphy: http://www.argotistonline.co.uk/Bromley%20interview.htm ========================================================================= Date: Mon, 2 Oct 2006 14:18:51 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Catherine Daly Subject: To Delite and Instruct: directions for reading... MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: quoted-printable I am happy to announce the publication of my third *printed* book, TO = DELITE AND INSTRUCT, by Jukka-Pekka Kervinen and Peter Ganick's blue lion = books. =20 It is a long project which investigates the idea of teaching and = learning "creative writing," among many other things. It contains games! and a = word hoard. =20 It is available through cafe press for a *mere* 15.95, making it both = the longest (276 pages) and the least expensive! of my books: http://www.cafepress.com/bluelionbooks66.78877749 =20 =20 It has been reviewed at Intercapillary Space -- check it out! -- http://intercapillaryspace.blogspot.com/2006/08/catherine-daly-to-delite-= and -instruct.html =20 =20 I will be reading in Tucson Tuesday, October 10, at 8 pm with Barbara = Cully and Maryrose Larkin at Cushing St. Bar and Grill.=20 =20 All best, Catherine Daly also author of DaDaDa (Salt Publishing), Locket (Tupelo Press), Secret = Kitty (Ahadada Press) and the forthcoming Paper Craft and Chanteuse / = Cantatrice.=20 =20 ========================================================================= Date: Mon, 2 Oct 2006 17:31:19 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Ward Tietz Subject: James Scully & Lisa Robertson at Georgetown U--10/5 Mime-Version: 1.0 (Apple Message framework v752.2) Content-Transfer-Encoding: quoted-printable Content-Type: text/plain; charset=WINDOWS-1252; delsp=yes; format=flowed Lannan Literary Programs at Georgetown University Presents ----------------------------------------------------- James Scully & Lisa Robertson ----------------------------------------------------- Social Practice THURSDAY, OCTOBER 5 Seminar: 6:00PM, 462 ICC Reading: 8:00PM, ICC Auditorium James Scully=92s books include Line Break: Poetry as Social Practice =20 and Raging Beauty: Selected Poems. He is co-translator of Aeschylus=92s =20= Prometheus Bound and Quechua People=92s Poetry, among other titles. For many years, Lisa Robertson was a participant in the Kootenay =20 School of Writing, an experimental utopian community based in =20 Vancouver. She is author of Debbie: An Epic, Rousseau=92s Boat, and The =20= Men: A Lyric Book. http://lannan.georgetown.edu ========================================================================= Date: Mon, 2 Oct 2006 14:38:14 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Rodney K Subject: MUSEE MECHANIQUE Book Launch, TH 10/12 in SF Mime-Version: 1.0 (Apple Message framework v624) Content-Transfer-Encoding: 7bit Content-Type: text/plain; charset=US-ASCII; format=flowed Ecstatic Monkey presents: Rodney Koeneke A Release Party in celebration of his new book of poems, Musee Mechanique with Ecstatic Monkey members Kaya Oakes and HL Hazuka THURSDAY, OCTOBER 12 @ 7:30 p.m. Modern Times Bookstore (888 Valencia bet. 19th and 20th) San Francisco wine and cheese ========================================================================= Date: Mon, 2 Oct 2006 22:19:34 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: AG Jorgensen Subject: Query: Online Audio of Poetry In-Reply-To: <7.0.1.0.1.20060911111146.05927380@earthlink.net> MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Dear all: I wonder if some suggestions could be offered on places to submit audio files. Your time - as always - appreciated! Best, AGJ --- "Our best security, our only security, is in the world of ideas, and I sense a slight foreboding," he said.-- Justice Anthony Kennedy __________________________________________________ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com ========================================================================= Date: Mon, 2 Oct 2006 22:22:02 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: AG Jorgensen Subject: Chris Gilbert - Mutual Landscape In-Reply-To: <7.0.1.0.1.20060911111146.05927380@earthlink.net> MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Dear all: Does anyone know where Chris Gilbert might be found. He was an early inspiration. Best, AGJ --- "Our best security, our only security, is in the world of ideas, and I sense a slight foreboding," he said.-- Justice Anthony Kennedy __________________________________________________ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com ========================================================================= Date: Mon, 2 Oct 2006 23:33:07 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Nicholas Perrin Subject: Re: Query: Online Audio of Poetry In-Reply-To: <20061003051934.39325.qmail@web54605.mail.yahoo.com> MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit The Kootenay School of Writing (Vancouver) has two upcoming issues of their web publication - "W" - focused on Music/Sound and Poetry, and Paraliterary Works. You can find submission info for the journal, plus recordings of readings at the KSW collective from the past two decades, and current info on happenings in Vancouver at www.kswnet.org --- AG Jorgensen wrote: > Dear all: > > I wonder if some suggestions could be offered on > places to submit audio files. Your time - as always > - > appreciated! > > Best, > AGJ > > --- > "Our best security, our only security, is in the > world of ideas, and I sense a slight foreboding," he > said.-- Justice Anthony Kennedy > > __________________________________________________ > Do You Yahoo!? > Tired of spam? Yahoo! Mail has the best spam > protection around > http://mail.yahoo.com > __________________________________________________ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com ========================================================================= Date: Tue, 3 Oct 2006 00:15:12 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Bradley Knoke Subject: please remove MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 8bit hello, could i please be removed from the listserve? that would be appreciated. thanks, brad. ========================================================================= Date: Tue, 3 Oct 2006 07:48:28 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Gary Sullivan Subject: THRILLS! STAN APPS & KIM ROSENFIELD, SATURDAY Mime-Version: 1.0 Content-Type: text/plain; format=flowed SEGUE READING SERIES @ BOWERY POETRY CLUB Saturdays: 4:00 p.m. - 6:00 p.m. 308 BOWERY, just north of Houston, NYC $6 admission goes to support the readers OCTOBER 7 STAN APPS and KIM ROSENFIELD Stan Apps is a poet from Los Angeles, author of a chapbook of poetry, soft hands, from Ugly Duckling Presse, and of an upcoming full-length collection, Info Ration from Make Now Press. Stan enjoys blogging and co-curating the Last Sunday of the Month reading series at the smell in L.A. Stan is originally from Waco, Texas, and is a typical touchy-feely liberal cult-member, currently allied with the cult called Flarf. Stan is also co-editing a new chapbook press called Insert Press. Kim Rosenfield is the author of several books of poetry including Trama, Good Morning: Midnight, Rx and Cool Clean Chemistry, and Some of Us. Her work has appeared in numerous magazines and journals including Object, Shiny, Torque, Crayon, and Chain. She lives and works in New York City. These events are made possible, in part, with public funds from The New York State Council on the Arts, a state agency. The Segue Reading Series is made possible by the support of The Segue Foundation. For more information, please visit www.segue.org, bowerypoetry.com/midsection.htm, or call (212) 614-0505. Curators: Oct.-Nov. by Nada Gordon & Gary Sullivan. ========================================================================= Date: Tue, 3 Oct 2006 08:00:23 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Dan Waber Subject: call for submissions: Cross-Media issue at UnlikelyStories.org Comments: To: announce@logolalia.com MIME-Version: 1.0 Content-Type: text/plain; charset=utf-8 Content-Transfer-Encoding: quoted-printable From Jonathan Penton (and I): We at www.UnlikelyStories.org would like to observe: 1. All creativity comes from the same stream. The distinctions between visu= al art, literature, music, film, performance art, and technologically-assisted art are artificial. 2. Although these distinctions are artificial, they are often practical. It is extremely expensive to bind many pieces of visual art in a book, and oft= en greatly reduces the emotional impact of such works. It is rarely convenient to view the original manuscript of a well-loved novel. 3. Although some practical distinctions are still valid, recent technologic= al changes have greatly reduced their necessity. With the advent of consumer-level laser printers, visual art can be reproduced much less expensively. Similar technologies have reduced the cost of short printing runs. The television, the VCR, and most importantly the Internet, have allowed for vastly greater distribution of artworks of all types. Although problems of finance and location are still acute, the opportunities to distribute a wide variety of artistic works to a larger audience are greatly increased. 4. Unfortunately, the mindset of artists, and to a lesser degree art appreciators, has not caught up with these changes. We still see a photographer as different from a painter and a filmmaker as different from a poet to a degree which is not justified by the differing technical skills. Worse, photography is considered inherently different from painting, and poetry inherently different from film, despite the fact that all four are often given quite similar electronic treatments to enhance their presentation, especially on the Internet. We at www.UnlikelyStories.org will proudly present our Cross-Media Issue in the hopes of working to alter these prejudices in both our own minds and the culture. Under the guiding vision of experimental artist and guest editor D= an Waber, we are looking to publish creative works which push the boundaries of not simply genre, but medium. We are looking for works that destroy the boundaries between poetry and visual art, between music and essay, between storytelling and programming. We are looking to dance about literature. We are especially interested in works which would not be possible without t= he World Wide Web, or that otherwise are designed to specifically take advanta= ge of the medium in which they will be presented. We are looking for essays and reviews of any cross-media work, as well as essays that explore current changes in art as our technology and culture change. We are looking for experiments =E2=80=93 music videography and prose poetry are too well estab= lished to be considered cross-media, unless, of course, you've painted a music video = or photographed a prose poem. The bulk of this issue will remain at www.UnlikelyStories.org in perpetuity, although large files might be taken down after one year. It should be noted that cross-media works are also accepted in regular issues of Unlikely 2.0, though the considerations for acceptance are drastically different. Please see http://www.unlikelystories.org/mission.shtml for our Mission Statement, and the guidelines that pertain to unthemed issues. Considerations for interested artists: 1. Please take the time to check out www.UnlikelyStories.org and see what we normally do at Unlikely 2.0. 2. Please send your work, or links to your work, directly to Dan Waber at=20 unlikelystories@gmail.com. Submissions must be received by Friday, December 22, 2006. The issue should go live in mid-January. 3. Please assume that all work will be viewed in Internet Explorer or Firef= ox at 1024x768 pixels. The sidebars that normally exist on Unlikely 2.0 will be removed when appropriate. 4. Please create works that can be reasonably viewed by users running Windo= ws 2000 on a Pentium III, Windows XP on a Pentium 4, or Mac OS 8.x. Movie formats that are viewable on the Web are unfortunately harder on computers than are DVDs. Realistically, a movie file shouldn't be larger than 400x300 pixels, and an animated file shouldn't be larger than 600x400 pixels. 5. Previously published works are accepted, with appropriate notation. Simultaneously submitted materials are not appropriate for this issue. Dan Waber's bio is being constantly updated by the search engine of your choice. Please enter: "dan waber" into the search box to begin. ========================================================================= Date: Tue, 3 Oct 2006 05:07:33 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: justin sirois Subject: Re: THRILLS! STAN APPS & KIM ROSENFIELD, SATURDAY In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit i have to say i saw Stan Apps read in San Fran a few weeks ago and he blew us away. not to be missed. --- Gary Sullivan wrote: > SEGUE READING SERIES @ BOWERY POETRY CLUB > > Saturdays: 4:00 p.m. - 6:00 p.m. 308 BOWERY, just > north of Houston, NYC > $6 admission goes to support the readers > > OCTOBER 7 > STAN APPS and KIM ROSENFIELD > > Stan Apps is a poet from Los Angeles, author of a > chapbook of poetry, soft > hands, from Ugly Duckling Presse, and of an upcoming > full-length collection, > Info Ration from Make Now Press. Stan enjoys > blogging and co-curating the > Last Sunday of the Month reading series at the smell > in L.A. Stan is > originally from Waco, Texas, and is a typical > touchy-feely liberal > cult-member, currently allied with the cult called > Flarf. Stan is also > co-editing a new chapbook press called Insert Press. > > Kim Rosenfield is the author of several books of > poetry including Trama, > Good Morning: Midnight, Rx and Cool Clean Chemistry, > and Some of Us. Her > work has appeared in numerous magazines and journals > including Objec!, > Shiny, Torque, Crayon, and Chain. She lives and > works in New York City. > > These events are made possible, in part, with public > funds from The New York > State Council on the Arts, a state agency. > > The Segue Reading Series is made possible by the > support of The Segue > Foundation. For more information, please visit > www.segue.org, > bowerypoetry.com/midsection.htm, or call (212) > 614-0505. Curators: Oct.-Nov. > by Nada Gordon & Gary Sullivan. > . . . . . . . http://www.narrowhouserecordings.com/ a record label primarily interested in contemporary writing, poetics and the political __________________________________________________ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com ========================================================================= Date: Tue, 3 Oct 2006 07:37:55 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: julia bloch Subject: Jena Osman & Sarah Dowling at Penn MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit The EMERGENCY Series Presents Sarah Dowling and Jena Osman Thursday | October 12 | 6pm-7pm Kelly Writers House | 3805 Locust Walk University of Pennsylvania What does it mean to be an emerging poet in America today? Does Dana Gioia's claim that "poetry has vanished as a cultural force in America" ring true for poets at the cutting edge of literary production? Does today's emerging poet face increasing isolation and shrinking audiences, or is a quiet renaissance taking place, one centered around close-knit communities, long-distance mentorships, new media, and chapbook exchange? How are theoretical stances and aesthetic practices transmitted among poets at different stages in their careers? The Emergency Series at Kelly Writers House seeks to answer these questions, highlighting perspectives on the current state of American poetry through the diverse experiences of its practicing poets. By bringing together emerging and established poets for readings and discussions, it aims to create an ongoing dialogue about the role poetic lineage plays in a poet's development, and its impact on the vitality of the craft. SARAH DOWLING is originally from Regina, Saskatchewan, and lives in Philadelphia. She recently completed an M.A. in creative writing at Temple University and is currently a doctoral student at the University of Pennsylvania. Her work has previously appeared or is forthcoming in How2, Descant, In/Vision, Taproot II, and The Mitre. JENA OSMAN's most recent book of poems is An Essay in Asterisks (Roof Books, 2004). Her book The Character (Beacon Press, 1999) was the winner of the 1998 Barnard New Woman Poets Prize. Other publications include Jury (Meow Press), Amblyopia (Avenue B), and Twelve Parts of Her (Burning Deck Press). In 2006, she was awarded the Pew Fellowship in the Arts for poetry. Osman received an M.A. in poetry and playwriting from Brown University, and a Ph.D. in English from the Poetics Program at the State University of New York at Buffalo. She is the director of the creative writing program at Temple University. For more info, visit: http://emergency-reading.blogspot.com/ http://www.writing.upenn.edu/wh/calendar/1006.html#12 __________________________________________________ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com ========================================================================= Date: Tue, 3 Oct 2006 10:07:56 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Tom W. Lewis" Subject: will be in NYC 10/20-23... In-Reply-To: <20061003143755.64036.qmail@web56005.mail.re3.yahoo.com> MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: quoted-printable what's going on poetry-wise that weekend?=20 will be staying within spittin' distance of the MoMA... tl =20 ========================================================================= Date: Tue, 3 Oct 2006 11:25:08 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Aldon Nielsen Subject: Re: will be in NYC 10/20-23... In-Reply-To: <54AA9B41BC35F34EAD02E660901D8A5A07ACB536@TLRUSMNEAGMBX10.E RF.THOMSON.COM> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed For that matter, what's going on Oct. 18-23 -- I'm coming to Brooklyn those dates. At 11:07 AM 10/3/2006, you wrote: >what's going on poetry-wise that weekend? > >will be staying within spittin' distance of the MoMA... > >tl > <<<<<<<<<<<<<<<<<<<<<<<<<<<<<>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> "I stand corrected, like a bishop of the obvious." --Robert Kelly Aldon Lynn Nielsen George and Barbara Kelly Professor of American Literature Department of English The Pennsylvania State University 112 Burrowes University Park, PA 16802-6200 (814) 865-0091 [office] (814) 863-7285 [Fax] ========================================================================= Date: Tue, 3 Oct 2006 09:52:53 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Bill Berkson Subject: GEORGE SCHNEEMAN / WORKS 1968-2006 AT FIRST FLOOR Comments: To: ALVIN CURRAN , Susan Cummins Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit FIRST FLOOR Presents GEORGE SCHNEEMAN WORKS 1968-2006 collages, portraits, landscapes, prints, collaborations, collage paintings, posters frescos, calendars and ceramics October 13-29 Thursday-Sunday, 4-7 pm Opening: Friday, October 13, 4-7 p.m. 113 East 2nd Street (Between 1st & A) 212-982-7682 ========================================================================= Date: Tue, 3 Oct 2006 12:27:04 -0700 Reply-To: barbara jane reyes Sender: UB Poetics discussion group From: barbara jane reyes Subject: Barbara Jane Reyes and Yunte Huang @ The Poetry Center, SFSU 10/12/2006 MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Barbara Jane Reyes and Yunte Huang Thursday October 12, 2006 4:30 pm @ the Poetry Center HUM 512, SFSU, free Barbara Jane Reyes was born in Manila, Philippines and raised in the San Francisco Bay Area. She received her undergraduate education at UC Berkeley, and her MFA at San Francisco State University. She is the author of Gravities of Center (Arkipelago, 2003) and Poeta en San Francisco (Tinfish, 2005), for which she received the prestigious James Laughlin Award of the Academy of American Poets. Yunte Huang came to the U.S. in 1991 after earning a B.A. in English at Peking University. He received his Ph.D. from SUNY-Buffalo in 1999 and is currently a Professor of English at UC Santa Barbara. He is the author of the collection of poetry CRIBS (Tinfish, 2005), Transpacific Displacement (2002), and Shi: A Radical Reading of Chinese Poetry (1997), and the translator into Chinese of Ezra Pound's The Pisan Cantos. http://www.sfsu.edu/~poetry/eventCalendar.html#OCTOBER ---------- http://barbarajanereyes.com http://poetaensanfrancisco.blog-city.com ========================================================================= Date: Tue, 3 Oct 2006 16:33:17 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Steve Dalachinsky Subject: Fw: Join Us in Celebration of Tribes Magazine 15th Anniversary ! MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit ~YOU ARE INVITED!~ MONDAY OCTOBER 9TH AT 6PM (TILL 8PM) Please Join Fly-By-Night Authors and The Editors & Contributors for "A Gathering of the Tribes" Magazine with Our Friends: CHAVISA WOODS (EMCEE) BARBARA PURCELL CHERYL BOYCE TAYLOR EVE PACKER STEVE DALACHINSKY YUKO OTOMO JEFF CYPHER WRIGHT NANCY MERCADO MARGARITA DRAGO ELIOT KATZ SUSAN SHERMAN for A Special Reading Honoring ~THE 15TH ANNIVERSARY OF TRIBES~ & To Help Fund Issue No. 12 & Pay Our Rent @ THE CORNELIA STREET CAFE 29 Cornelia Street (off Bleecker St.) West Village, NYC 212-989-9319 Our Authors, Editors & Contributors will read! Copies of Our Publications Available for Sale & Signing! As well as Advance Subscriptions for No. 12 & Tribes Memberships. $10 admission includes a free drink plus a $4 donation to TRIBES (Note: Gratuity to bartenders not included. $1 tip suggested) Curated by Roxanne Hoffman & Bruce Weber ========================================================================= Date: Tue, 3 Oct 2006 14:37:49 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Matias Viegener Subject: IMPUNITIES experimental writing event at REDCAT, Los Angeles, Oct 20-21 Mime-Version: 1.0 (Apple Message framework v752.3) Content-Transfer-Encoding: quoted-printable Content-Type: text/plain; charset=ISO-8859-1; delsp=yes; format=flowed Impunities a two day experiment in writing and community October 20th and 21st, 2006 REDCAT, the Roy and Edna Disney CalArts Theater 631 West 2nd St, Los Angeles CA 90012 What role does writing and narrative play in the invention of =20 alternative communities, identities and politics? Can imaginary =20 communities or fictitious authors solve real problems? What are the =20 methodologies of the oppressed, the voices of the silenced and the =20 technologies of otherness? Such work might include collaborative =20 projects, self-organizing or anarchic groups, poetic terrorists, =20 writer-pirates, and textual gleaners, revolutionaries or exiles. =20 Impunities gathers disparate cultural vagabonds who set into motion =20 our collective fantasies of escape, oblivion, arrival, and =20 transformation. With Chris Abani, Sesshu Foster, Renee Gladman, Johnny Golding, =20 Shelley Jackson, Joni Jones, Bhanu Kapil, Lewis MacAdams, K. Silem =20 Mohammad, Ishmael Reed, Emily Roysdon, Sarah Schulman, Mady =20 Schutzman, Edwin Torres, and Anne Waldman. Organized by Christine =20 Wertheim and Matias Viegener. Sponsored by the Writing Program at =20 CalArts and a grant from The Annenberg Foundation. For more =20 information see www.redcat.org or contact: impunities@gmail.com. Friday October 20th Introduction and =20 Welcome =20= 12.30 Situated Identities: Locations of =20 Difference 1.00 - 2.30 Against the ideology of a universal positionless subjectivity, (how) =20 can writers articulate specifically situated identities? Speakers: =20 Renee Gladman, K. Silem Mohammad, Matias Viegener Mod: Ara Shirinyan Collectivity, Community, =20 Control =20 3.00 - 4.30 Are there forms of collectivity, whether spontaneously self-=20 organizing or hierarchically formed, that offer alternatives to the =20 dominant systems of creation and social control? Speakers: Lewis =20 MacAdams, Ishmael Reed, Emily Roysdon Mod: Brighde Mullins Cocktail Reception at =20 REDCAT =20 4.30 - 5.30 Evening reading =20 performance =20= 8.30 - 11.00 Chris Abani, Sesshu Foster, Johnny Golding, Shelley Jackson, Joni =20 Jones, Bhanu Kapil, Edwin Torres, Anne Waldman, Christine =20 Wertheim. MC: Brighde Mullins Saturday October 21st Imagined Identities: Technologies of the =20 Self 10.30-12.00 How can alternative identities be imagined and articulated in =20 language? Do such literary technologies of the self help us negotiate =20= with real powers, or do they always remain in the realms of =20 'fiction'? Speakers: Shelley Jackson, Bhanu Kapil, Edwin Torres =20 Mod: Bruna Mori Allegories of =20 Transformation =20= 12.00-1.30 What are the conceptual toolboxes of writers who imagine alternative =20 narratives and alternative worlds, and which devices and allegories =20 of transformation work best to effect real change? Speakers: Chris =20 Abani, Sarah Schulman, Mady Schutzman Mod: Stan Apps Lunch - in Disney Hall Caf=E9 [not =20 hosted] 1.30 - 2.45 Counter-=20 memory =20= 2.45 - 4.15 How do writers activate memories against the stream? Can writing help =20= resist or liberate the peripheral consciousness of subjugated =20 knowledges? Speakers: Sesshu Foster, Joni Jones, Anne Waldman Mod: =20= Joseph Mosconi Summary =20 Panel =20= 4.15 - 5.45 Imaginary communities, actual issues ~ Fictional characters, real =20 writers. Speakers: Christine Wertheim, Johnny Golding Evening reading =20 performance =20= 8.30- 11.00 Renee Gladman, K. Silem Mohammad, Matias Viegener, Lewis MacAdams, =20 Ishmael Reed, Emily Roysdon, Sarah Schulman, Mady Schutzman MC: =20 Doug Kearney= ========================================================================= Date: Wed, 4 Oct 2006 08:07:21 +0900 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jesse Glass Subject: Jerome Rothenberg at The Bowery Poetry Club Oct. 8th MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Jerome Rothenberg will be reading from his latest book China Notes and The Treasures of Dunhuang (Ahadada Books) at the Bowery Poetry Club, Sunday, October 9th at 2 o'clock. The BPC is located at 308 Bowery at Bleecker, right across from CBGB's. $6.00 Cover charge. For more info. call 212-614-0505. Jess ========================================================================= Date: Tue, 3 Oct 2006 16:09:17 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Rod Smith Subject: New @ Bridge Street: Notley's Alma, Collected Creeley 75-05, Ginsberg Journals, Pereleman, Blaser Essays, Moriarty, Waldrop, Killian, Cole, &&& MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Thanks everyone for the terrific response to the last new titles list. Discount & ordering information, as always, at the end of this post. THE FIRE: COLLECTED ESSAYS OF ROBIN BLASER, ed Miriam Nichols, U Cal, 518 pgs, $29.95. Includes "Poetry and Positivisms," "The Recovery of the Public World," " 'My Vocabulary Did This to Me,' " "The 'Elf' of It," "Bach's Belief," and many others. THE CHOMSKY-FOUCAULT DEBATE ON HUMAN NATURE, foreword by John Rajchman, 214 pgs, $14.95. "Answer: Yes, in principle." COLLECTED POEMS OF ROBERT CREELEY 1975-2005, University of California, cloth 662 pgs, $49.95. Collects Hello: A Journal, Later, Mirrors, Memory Gardens, Windows, Echoes, Life & Death, If I were writing this, On Earth, and 4 previously unpublished poems. "I want to be useful/ to someone, I think,/ always--if not many,/ then one." AT ALL (TOM RAWORTH AND HIS COLLAGES), Norma Cole, Hooke Press, 34 pgs, $10. "to create a disturbance / quietly" ENTUSIASM: ODES & OTIUM, Jean Day, AIP, 132 pgs, $13.50. ""that I took these odd positions, but to enchant." THE LIVES OF A SPIRIT / GLASSTOWN, Fanny Howe, 140 pgs, Nightboat, $12. "Not one psychological term!" POSTCOLONIAL MELANCHOLIA, Paul Gilroy, Columbia, 170 pgs, $18.95. New in pb. THE BOOK OF MARTYRDOM & ARTIFICE: FIRST JOURNALS & POEMS 1937-1952, Allen Ginsberg, ed Juanita Lieberman-Plimpton & Bill Morgan, cloth 524 pgs, $27.50. "Today the Dean called my novel 'smutty,' and termed Jean-Luis Kerouac a 'lout.'" Includes 50 pages of previously unpublished poems. SELECTED AMAZON REVIEWS, Kevin Killian, Hooke, 54 pgs, $10. "And don't forget, 'candlelight is the sexiest form of lighting, and luckily for us, the easiest, the cheapest, and the most readily available.' " MUSEE MECHANIQUE, Rodney Koeneke, BlazeVOX, 92 pgs, $11. "To force down your head on Wagga Wagga beach / and play oinky oinky with the plastic weather chicken" SPLAY ANTHEM, Nathaniel Mackey, New Directions, 128 pgs, $15.95. "The intractable two no longer among/ us, he her ecstatic exegete, wishing/ the world away, nose between her/ legs as in a book. . . Comes up for / air." MAINSTREAM, Michael Magee, BlazeVOX, 100 pgs, $10. "Stalin's girlfriend described him as being 'just like a bunny'-" ULTRAVIOLETA, Laura Moriarty, Atelos, 270 pgs, $13.50. " 'Let me go,' they say, meaning, 'let me go on.' " NEW MEDIA POETICS: CONTEXTS, TECHNOTEXTS, AND THEORIES, ed Adalaide Morris & Thomas Swiss, MIT, hc 430 pgs, $38. Essays by Goldsmith, Stefans, Wershler-Henry, Ley, Spinelli, Filreis, Perloff, Strickland and Lawson, Haules, Glazier, Noland, Poundstone, Golding, Beiguelman, Memmott, Cayley, & Watten. IFLIFE, Bob Perelman, Roof, 136 pgs, $13.95. "Le Paradis n'est pas artificiel, / but is jagged" ALMA, OR THE DEAD WOMAN, Alice Notley, Granary, 344 pgs, $17.95. "the world secretly thought by a woman dreaming and dead." COLLECTED POEMS OF MURIEL RUKEYSER, ed Kaufman & Herzog, U Pittsburghh, 670 pgs, $27.95. "Barbarian music, a new song." BURROW, Lauren Shufran, Hooke, 52 pgs, $10. "i tripled my doses, and accused myself of malpractice." ELSEWHERE NO. 2, Gary Sullivan, 24 pgs, $3.95. Comic by Sullivan from a text by Nada Gordon. "The Luminous Enhancement Of Brilliant Dryness" AFTER THE EMPIRE: THE BREAKDOWN OF THE AMERICAN ORDER, Emmanuel Todd, trans C. Jon Delogu, Columbia , 236 pgs, $18.95. CURVES TO THE APPLE, Rosmarie Waldrop, New Directions, 198 pgs, $16.95. Collects three previous books: The Reproduction of Profiles, Lawn of Excluded Middle, and Reluctant Gravities. "Doubt, sometimes called world." FILM-YOKED SCRIM, Diane Ward, Factory School, 60 pgs, $12. "And in all exchanges, a new poverty: apology for war." SING A BATTLE SONG: POEMS BY WOMEN IN THE WEATHER UNDERGROUND, Factory School, 76 pgs, $12. "spider, spin me a world web" PARADISO DIASPORA, John Yau, Penguin, 96 pgs, $18. "The children like to keep spiders in their biscuits." Some Bestsellers: GRAVE OF LIGHT: SELECTED POEMS 1970-2005, Alice Notley, Wesleyan, cloth 368 pgs, $29.95. GIRLY MAN, Charles Bernstein, U Chicago, 186 pgs, cloth $24. I LOVE ARTISTS: NEW AND SELECTED POEMS, Mei-Mei Berssenbrugge, 145 pgs, $19.95. THE MEN, Lisa Robertson, BookThug, 72 pgs, $16. EVERY GOODBYE AIN'T GONE: AN ANTHOLOGY OF INNOVATIVE POETRY BY AFRICAN AMERICANS, ed Al Nielsen & Lauri Ramey, U Alabama, $27.95. CO, Bruce Andrews with Barbara Cole, Jesse Freeman, Jessica Grim, Yedda Morrison, & Kim Rosefield, Roof, 104 pgs, $12.95. SOME NOTES ON MY PROGRAMMING, Anselm Berrigan, Edge, 80 pgs, $15. PETROLEUM HAT, Drew Gardner, Roof, 96 pgs, $12.95. THE FLOWERS OF EVIL, Charles Baudelaire trans Keith Waldrop, Wesleyan, 196 pgs, cloth $24.95. ON EARTH: LAST POEMS AND AN ESSAY, Robert Creeley, U Cal, cloth 90 pgs, $21.95. THE COLLECTED POEMS OF TED BERRIGAN, Ted Berrigan, ed. Alice Notley with Anselm Berrigan and Edmund Berrigan, U CAL, cloth 750 pgs, $49.95. STARTLE RESPONSE, Heather Fuller, O Books, 64 pgs, $12. POETRY OF THE REVOLUTION: MARX, MANIFESTOES, AND THE AVANT-GARDES, Martin Puchner, Princeton, 318 pgs, $24.95. DEATHSTAR/RICO-CHET, Judith Goldman, O Books, 112 pgs, $14. THE TOTALITY FOR KIDS, Joshua Clover, U Cal, 80 pgs, $16.95. MEDIATED, Carol Mirakove, Factory School, 94 pgs, $12. SHADOWTIME, Charles Bernstein, Green Integer, 132 pgs, $11.95. WHAT IS SAID TO THE POET CONCERNING FLOWERS, Brian Kim Stefans, Factory School, 146 pgs, $14. IN MEMORY OF MY THEORIES, Rod Smith, O Books, 72 pgs, $12. ORGANIC FURNITURE CELLAR, Jessica Smith, Outside Voices, 96 pgs, $16. CHEERLEADER'S GUIDE TO THE WORLD: COUNCIL BOOK, Stacy Doris, Roof, 88 pgs, $12.95. CMYK, Michael Coffey, O Books, 120 pgs, $14. STEP, George Albon, Post-Apollo, 66 pgs, $12. THE THORN, David Larsen, Faux, 84 pgs, $15. MIXAGE, A.L. Nielsen, Zasterle, 64 pgs, $10. FEAR THE SKY, Rod Smith, Narrow House Recordings, audio CD, $12. GUY DEBORD: REVOLUTION IN THE SERVICE OF POETRY, Vincent Kaufmann, U Minn, cloth 345 pgs, $29.95. CHINESE SUN, Arkadii Dragomoshcheko, trans Evgeny Pavlov, Ugly Duckling, 330 pgs, $15. ORDERING INFORMATION: List members receive free shipping on orders of more than $20. Free shipping + 10% discount on orders of more than $30. There are two ways to order: 1. E-mail your order to rodsmith@bridgestreetbooks.com or aerialedge@gmail.com with your address & we will bill you with the books. or 2. via credit card-- you may call us at 202 965 5200 or e-mail w/ yr add, order, card #, & expiration date & we will send a receipt with the books. Pease remember to include expiration date. We must charge shipping for orders out of the US. ========================================================================= Date: Tue, 3 Oct 2006 22:48:24 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Michael Magee Subject: Re: Reading Series Links? Comments: cc: Steve Evans MIME-Version: 1.0 Content-Type: text/plain; charset=utf-8 Content-Transfer-Encoding: 7bit Steve, ours is: http://www.downcitypoetry.org Yrs, Mike ---- Steve Evans wrote: > Greetings all, > > For a blog related to the UMaine New Writing Series at > > http://nwsnews.wordpress.com/ > > I'm looking for links to other reading series around the country. If > you coordinate, attend, or just know of an interesting series near > you, please backchannel me with the link. > > Thanks, > > Steve ========================================================================= Date: Wed, 4 Oct 2006 00:36:24 -0400 Reply-To: patrick@proximate.org Sender: UB Poetics discussion group From: "patrick@proximate.org" Subject: LOOKIE RIGHT HERE it's Mime-Version: 1.0 Content-Type: text/plain; charset=us-ascii $ apply template-meta poetics-list ...reading ...matching 15,183 posts done $ show template-meta Pay me money or pay me attention whether it's wealth or fame I WANNA GET PAID (wanna get played to get paid) Pay me pay me pay me Pay me now-ow-ow Pay me now ________________________________________________________________ Sent via the WebMail system at proximate.org ========================================================================= Date: Wed, 4 Oct 2006 03:50:02 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Charles Bernstein Subject: recommended books/ things to do in NY Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed poetry things to do in NY: http://www.columbia.edu/cu/newpoetry/calendar.html * Short comments on Baudelaire tr. Waldrop, Dragomoschenko, Proletpen, 37 Peruvian poets, & OBERIU: http://epc.buffalo.edu/authors/bernstein/blog ========================================================================= Date: Wed, 4 Oct 2006 07:05:09 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Marcus Bales Subject: Re: Reading Series Links? Comments: To: Michael Magee In-Reply-To: <10509669.1159930104449.JavaMail.root@eastrmwml07.mgt.cox.net> MIME-Version: 1.0 Content-type: text/plain; charset=US-ASCII Content-transfer-encoding: 7BIT Every Saturday At Noon Literary events and performances in Gallery 324 The Galleria at Erieview 1301 East Ninth Street Cleveland, Ohio 44114 216/780-1522 mbales@oh.verio.com One to four Featured Readers read for about 15 or 20 minutes each, beginning with a poem by another poet whom they admire. An open mic reading inviting audience members to read one poem follows, and then each Featured Reader is asked to read one more encore poem before breaking to invite the audience to buy the books, chapbooks, and cds of the Featured Readers. The Gallery 324 and the food court at the Galleria opens at 10am. Coffee, pastries, breakfast, and lunch are available. Parking is free in the lighted, climate-controlled Galleria parking garage is available -- enter off Lakeside between E9th and E12th streets on the south side of the street. Come up the escalator or elevator to the first floor and Gallery 324 is right by the top of the escalator. On 3 Oct 2006 at 22:48, Michael Magee wrote: > Steve, ours is: > > http://www.downcitypoetry.org > > Yrs, > > Mike > > ---- Steve Evans wrote: > > Greetings all, > > > > For a blog related to the UMaine New Writing Series at > > > > http://nwsnews.wordpress.com/ > > > > I'm looking for links to other reading series around the country. > If > > you coordinate, attend, or just know of an interesting series near > > you, please backchannel me with the link. > > > > Thanks, > > > > Steve ========================================================================= Date: Wed, 4 Oct 2006 09:37:01 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: susan maurer Subject: Re: will be in NYC 10/20-23... In-Reply-To: <54AA9B41BC35F34EAD02E660901D8A5A07ACB536@TLRUSMNEAGMBX10.ERF.THOMSON.COM> Mime-Version: 1.0 Content-Type: text/plain; format=flowed look up poetz.com >From: "Tom W. Lewis" >Reply-To: UB Poetics discussion group >To: POETICS@LISTSERV.BUFFALO.EDU >Subject: will be in NYC 10/20-23... >Date: Tue, 3 Oct 2006 10:07:56 -0500 > >what's going on poetry-wise that weekend? > >will be staying within spittin' distance of the MoMA... > >tl > _________________________________________________________________ Search—Your way, your world, right now! http://imagine-windowslive.com/minisites/searchlaunch/?locale=en-us&FORM=WLMTAG ========================================================================= Date: Wed, 4 Oct 2006 10:53:14 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Aaron Belz Subject: observable readings, thursday: hsu & luong (st. louis) MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit For those within striking range of St. Louis, MO... Observable Readings presents its first all-Korean, all Francophone evening: RAY HSU, originally from Toronto, Canada, now of Madison, WI... author of "Anthropy" (2005) ... described by the Toronto Star as "brainy and eclectic"... "Signs lean like blank, stupid trees. / The engine is a heart, / A handful of nails." FRANCOIS LUONG, originally from Strasbourg, France, now living in Houston, TX... author of reams of erotic love poetry, editor of "Melancholia's Tremulous Dreadlocks"... "sanity is the life in the silence of hammers / falling against windowpanes" ... These poets have traveled over 1,200 miles to read poetry to YOU!! Please help us in welcoming them to the austere beauty of Schlafly Bottleworks in Maplewood at 8 PM on Thursday, October 5th. This is a FREE reading! Directions and other information are available at http://observable.org/readings/ . . . . . . . "'Anthropy' is anthropology remade in the freewheeling, crisply detached style of postmodernism... Hsu's work resembles that of Anne Carson, the celebrated Montreal writer and classics scholar who combines cultural references to the ancient world with a cool (in both senses of the word) contemporary voice. Brainy and eclectic... The pleasures of Anthropy lie in watching an inventive mind excavate public history and private life for lessons about memory, identity and progress... Tantalizing and thought-provoking." --The Toronto Star ========================================================================= Date: Wed, 4 Oct 2006 13:54:41 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Daniel Kane Subject: chaplin and the surrealists? MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit I was talking to a friend about Chaplin the other day, and he recalled seeing an old issue of what he thought was 'transition' where a group of surrealists including Breton had penned a manifesto-type letter in support of Chaplin after he had been charged with sodomy by his underage bride.anyone out there know where we might find this manifesto-letter? I did the usual internet / library searches, and don't have immediate access to copies of 'transition,' and he wasn't sure if it was in 'transition' in the first place. If you know the source, I'd greatly appreciate a pointer! You can backchannel me at dkane@panix.com Best, --daniel ========================================================================= Date: Wed, 4 Oct 2006 14:05:44 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Christopher Leland Winks Subject: Re: chaplin and the surrealists? In-Reply-To: <001c01c6e7de$2b91a8c0$2e01a8c0@DANIELKANE> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Disposition: inline Content-Transfer-Encoding: 7bit I think it is reprinted in Maurice Nadeau's "Histoire du surrealisme," as well as in the (abridged) English version by Richard Howard. As a footnote -- and a sign of how Chaplin's star had faded for the most radical French avant-gardists, there's also the Internationale Lettriste's (1951, I think) attack on Chaplin when "Limelight" was premiered at the Cannes Film Festival. "Go home, Mister Chaplin" was the concluding sentence. ----- Original Message ----- From: Daniel Kane Date: Wednesday, October 4, 2006 1:54 pm Subject: chaplin and the surrealists? > I was talking to a friend about Chaplin the other day, and he recalled > seeing an old issue of what he thought was 'transition' where a > group of > surrealists including Breton had penned a manifesto-type letter in > supportof Chaplin after he had been charged with sodomy by his > underagebride.anyone out there know where we might find this > manifesto-letter? I did > the usual internet / library searches, and don't have immediate > access to > copies of 'transition,' and he wasn't sure if it was in > 'transition' in the > first place. > > > > If you know the source, I'd greatly appreciate a pointer! You can > backchannel me at dkane@panix.com > > Best, > > --daniel > ========================================================================= Date: Wed, 4 Oct 2006 14:09:58 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Nate Pritts Subject: New H_NGM_N mag: In-Reply-To: A MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: quoted-printable Out now, the first issue of H_NGM_N's new print magazine COMBATIVES! Each issue features a large selection of poems by one poet (or two poets working together, as in the case of the forthcoming #3)! Our first offering is BRETT PRICE. Go to http://hngmn.squarespace.com/combatives/ for more information. Vol. 1 of this mag will run for 6 issues - each issue is only $2 (simply to help cover the cost of shipping) & & & when you order an issue, I'll send you up to 3 copies. Pass them around, leave them on subways, whatever. You can also use PayPal to order a subscription to all 6 issues for $10. We're trying to get back to basics, putting our shoulders to the wheel, hiding under boot soles, bowing & passing smiling in our cars. Really, we want everyone to read this work, to talk about it, blog about, weep over it. Here's the kicker - it's stapled down the side so you know it's good! Yrs-- Nate http://www.h-ngm-n.com ******************************************** Dr. Nate Pritts Northwestern State University Dept. of Language & Communication Natchitoches, LA 71497 (318) 357-5574 http://hngmn.squarespace.com/nate-pritts/ http://www.nsureadings.blogspot.com ========================================================================= Date: Wed, 4 Oct 2006 15:31:48 -0400 Reply-To: az421@FreeNet.Carleton.CA Sender: UB Poetics discussion group From: Rob McLennan Subject: Chaudiere Books, Ottawa Content-transfer-encoding: 7BIT Against all sane and sage advice, Jennifer Mulligan and I (with much help from very many other people) have started an Ottawa-based literary publishing house. Founded to focus on material by Ottawa-area writers, we're starting with poetry and fiction, and hope to soon move into non-fiction in a town infamous for being overrun with writers, but with an equally infamous lack of local attention from media. Our website is due up next week, but we have information on our first event in Ottawa on October 26th, as the ottawa international writers festival helps us launch new titles by Clare Latremouille, Meghan Jackson and Monty Reid here: http://chaudierebooks.blogspot.com/ thanks rob mclennan, publisher/editor Chaudiere Books -- poet/editor/pub. ... ed. STANZAS mag & side/lines: a new canadian poetics (Insomniac)...pub., above/ground press ...coord.,SPAN-O + ottawa small press fair ...11th coll'n - name , an errant (Stride, UK) .... c/o 858 Somerset St W, Ottawa ON K1R 6R7 * http://robmclennan.blogspot.com/ ========================================================================= Date: Wed, 4 Oct 2006 16:31:57 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Steve Dalachinsky Subject: Re: Reading Series Links? MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit wow which steve sent that ? but thanks for info from steves ========================================================================= Date: Wed, 4 Oct 2006 18:33:31 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Poetics List Subject: Poetics List Welcome Message MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline The Poetics List Sponsored by: The Electronic Poetry Center (SUNY-Buffalo/University of Pennsylvania) and the Regan Chair (Department of English, Penn) & Center for Program in Contemporary Writing (Penn) Poetics List Editorial Board: Charles Bernstein, Julia Bloch, Lori Emerson, Joel Kuszai, Nick Piombino Note: this Welcome message is also available at the EPC/@Buffalo page http://epc.buffalo.edu/poetics/welcome.html Poetics Subscription Registration (required) poetics.list --at -- gmail.com note our new address! 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Like all systems, the listserv will sometimes be down: if you feel your message has been delayed or lost, *please wait at least one day to see if it shows up*, then check the archive to be sure the message is not posted there; if you still feel there is a problem, you may wish to contact the editors at . ________________________________ ========================================================================= Date: Wed, 4 Oct 2006 16:41:09 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "e.g. vajda" Subject: new reading series in Arizona Comments: To: spidertangle@yahoogroups.com, performancelist@googlegroups.com MIME-Version: 1.0 Content-Type: text/plain; charset=WINDOWS-1252; format=flowed Content-Transfer-Encoding: quoted-printable Content-Disposition: inline IN THE FOOTSTEPS OF LANGUAGE SERIES =96 PART I Hosted by Grace Vajda and the Student Arts Council at Prescott College Friday, October 6, 2006. The Chapel at Prescott College. 6pm. 220 Grove Avenue, Prescott, AZ 86301. CECIL TOUCHON Cecil Touchon will be giving a reading as part of his FLUXHIBITION. The Fluxhibition case contains hundreds of examples of visual art, conceptual art, performance art, poetry readings, concrete/visual poetry, avant garde publications, mail art, collage, photographs, drawings, event scores, audio works, etc. created especially for this project or selected from the permanent collection of the FLUXMUSEUM. The box is traveling to San Francisco, Melbourne, Rome, Toronto, New York, London, Paris, Berlin and elsewhere over the course of the next year and will be opened for the first time in Prescott, AZ. Born 1956 in Austin, Texas, Cecil is a contemporary American collage artist= , painter, published poet and theorist living in Fort Worth, Texas. Co-founde= r of the International Post-Dogmatist Group, Touchon is director of the group's Ontological Museum, Founder of the International Museum of Collage, Assemblage and Construction and founder of the International Society of Assemblage and Collage Artists. As a visual artist, Touchon's work is widel= y collected and shown through an international network of commercial art galleries. ( http://en.wikipedia.org/wiki/Cecil_Touchon) website: www.touchon.com IN THE FOOTSTEPS OF LANGUAGE SERIES =96 PART II Hosted by Grace Vajda and the Student Arts Council at Prescott College Friday, October 13, 2006. The Chapel at Prescott College. 730pm. 220 Grove Avenue, Prescott, AZ 86301. THE BE BLANK CONSORT Sheila E. Murphy (Phoenix), John M. Bennett (Columbus, OH), Scott Helmes (Minneapolis, MN), and K.S. Ernst (NJ) will perform as the BE BLANK CONSORT in Prescott, AZ with innovative and improvisational poetry. ..:::::A statement from the poets:::::.. THE BE BLANK CONSORT was born in June 2001 at the Atlantic Center for the Arts (New Smyrna Beach, Florida) when all of its members were part of a literary residency convened by Richard Kostelanetz. We are all writers, but we all use language in greatly expanded and often completely new ways and contexts. THE CONSORT was formed to perform various kinds of texts and visual texts, many of them created collaboratively, in ways that would reveal new resonances and possibilities in them. Some of the pieces are poems written by one of us and scored for multiple voices by another. A few are entirely written and scored by one person. Many more were written in collaboration between two or more of the performers and others. Scott Helmes, in January 2002, initiated the first poems specifically designed fo= r performance by THE CONSORT and many have followed since, created by all the members. THE CONSORT has performed numerous times in Miami, New York, Columbus, Minneapolis, and other venues, and has released a CD, SOUND MESS: + OTHER POEMS. Much of K.S. (Kathy) Ernst's visual poetry is painted, collaged, or digital= . In addition, she uses three-dimensional letters in freestanding sculptures. She was born in St. Louis, MO, but spent most of her life about an hour fro= m New York City. John M. Bennett has exhibited and performed his word art worldwide, and has published over 200 books of poetry; among the most recent are LA M AL (Blue Lion Press) and CANTAR DEL HUFF (Luna Bisonte Prods). He is Curator of the Avant Writing Collection at the Ohio State University Libraries. Sheila E. Murphy is the author of numerous books of poetry, most recently CONTINUATIONS (collaboration with Douglas Barbour) from The University of Alberta Press. Her home is in Phoenix. Scott Helmes's professional activities have been mainly in the fields of architecture and education. Starting in 1972, he began writing experimental poetry and pursuing mail art activities and artistic printmaking/drawings. His writing archive from 1972 to 1997 is in the Avant Writing Collection of the Ohio State University Libraries. ========================================================================= Date: Wed, 4 Oct 2006 20:39:59 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Poetics List Subject: Heavy Water opening October 12 MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline FusionArts Museum presents "Heavy Water" an exhibit honoring the life and art of Enrico Baj October 9, 2006 - March 29, 2007 Gallery A featured artists: Blanka Amezkua, Paul Cabezas, Gregory Castillo, Moki Cherry, Richard Ciufo, Ismael Cosme, Maria Madonna Davidoff, Dulcie Dee, Maggie Ens, Flash Light, Ed Higgins, Rene Hinds, Allan Jay, Keiko Kamma, Julius Klein, Mark Kostabi, Paul Kostabi, Oscar Lopez, Juan Carlos Pinto, Lina Puerta, Morrisa Maltz, Alexi Meteni, Taisuke Morishita, Rosa Naparstek, Jerry Pagan, Billy Parrott, Philly/Kondor 8, Phil Rostek, Trudy Ruane, Shalom, JD Siazon, Jaroslav Trunov, Raphael Velez, Helga Von Eichen Kopperl, Mark Zman and Enrico Baj. Opening night reception for the artists Thursday, 12 October, 2006 from 7 pm - 11 pm The opening night reception will feature spoken word performances by poets Brian Boyles, Bob Heman, Jeffrey Wright and Bruce Weber Reading will begin at 8:00 PM This exhibit is made possible with public funds from the New York State Council on the Arts (NYSCA), a state agency. "Nomadisme Protecteur" Jocelyn Fiset's Protective Dome at FusionArts Museum, 2003 FusionArts Museum presents Jocelyn Fiset "Nomadisme Protecteur" A Protective Dome for Humankind October 3 - October 31, 2006 Gallery B "In these times when Humankind suffers as much as provokes a whole host of upheavals, it is a matter of emergency to place on each and every individual on this planet a protective aura to have a positive influence on their destiny" Jocelyn Fiset Opening night reception for the artist Thursday, 12 October, 2006 7 pm - 11 pm This exhibit was made possible in part with funding from Quebec Government House in New York FusionArts Museum 57 Stanton Street (between Forsyth & Eldridge Streets on the Lower East Side) New York, NY 10002 phone: 212.995.5290 F or V train to Second Avenue/East Houston Street www.artnet.com/fusionartsmuseum.html Fall and Winter Hours: Tuesdays and Wednesdays 1 - 6 pm Thursdays and Sundays 1 - 7 pm To forward this e-mail to a friend or colleague, use this link. This email was sent from Fusion Arts Museum Immediate removal with PatronMail(r) SecureUnsubscribe. To change your e-mail address or update preferences, use this link. ========================================================================= Date: Thu, 5 Oct 2006 12:28:09 +0100 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Sam Ladkin Subject: Contemporary Women's Experimental Poetry Festival Mime-Version: 1.0 (Apple Message framework v752.2) Content-Transfer-Encoding: quoted-printable Content-Type: text/plain; charset=ISO-8859-1; delsp=yes; format=flowed > Please reply to Emily Critchley: ec308@cam.ac.uk > and apologies for cross-posting > > CONTEMPORARY WOMEN'S EXPERIMENTAL POETRY FESTIVAL > > Friday 6th - Sunday 8th October 2006 in the University English =20 > Faculty on > West Road > > Workshops on Thursday 5th and Monday 9th in Gonville and Caius College > > Everyone is warmly invited - men and women equally. > > Tickets available on the door: > =A35 per session (=A33 concessions / students), =A325 or =A320 = weekend. > > The book stall will be selling works by all those featured and =20 > associated > publishers including Barque, rem, Arehouse, Bad, Salt, Equipage, =20 > and many > more. > > We would still welcome more helpers. If anyone would be willing to > volunteer as a helper (staffing the door or selling drinks or =20 > books), then > they attend the corresponding session for free. Please contact Emily > Critchley (ec308) or Catherine Brown (cb214) with offers of help. =20 > Thanks. > > > THE FESTIVAL > > This year's festival is dedicated to showcasing and developing the > experimental poetry of contemporary women from across the English-=20 > speaking > world. It features past and present local talent, as well as poets =20 > from > across Great Britain, Europe, New Zealand, and the United States. It > includes readings, performances, visual pieces /installations, =20 > films, and > responses to their work. > > This year is the tenth anniversary of the groundbreaking book, Out of > Everywhere, produced by Wendy Mulford, Ken Edwards and Maggie O' =20 > Sullivan. > It was the first anthology, and one of the last, to recognise the > achievements of the female avant-garde. > > > THE POETS: > > Poets who have agreed to read their poetry include: Maggie O'Sullivan > (Yorkshire), Wendy Mulford (Suffolk), Ken Edwards (Sussex), Dell Olsen > (London), Tom Raworth (Cambridge), Kathleen Fraser (San Francisco), > Marianne Morris (Canada /London), Andrea Brady (US / London), =20 > Africa Wayne > (New York), Jennifer Moxley (US), Geraldine Monk (Sheffield), Carol > Mirakove (US), Susana Gardner (US), Susan Schultz (Hawaii), Cathy =20 > Wagner > (Ohio), Leslie Scalapino (San Francisco), Kai Fierle-Hedrick (Canada > /London), Lisa Samuels (US /NZ), Kaia Sand (Oregon), Marjorie =20 > Welish (New > York), Caroline Bergvall (London), Tim Atkins (London) and =20 > Bernadette Mayer > (New York). > > The following will give talks about women's poetry: Ken Edwards, Carol > Mirakove (US), Peter Middleton (Southampton), Rod Mengham (Cambridge), > Susan Schultz (Hawaii), Peter Manson (Glasgow), Kristin Kreider =20 > (London) > and Lucy Sheerman (Cambridge). > > > THE PROGRAM: > > Thursday 5th 2 - 4.30pm > Open workshop by Leslie Scalapino > (Gonville & Caius College) > > Friday 6th > 7.30-10.30 > Andrea Brady - poetry > Lisa Samuels - paper > Kathleen Fraser - poetry + visual projections > > Saturday 7th > 11.00-1.30 > Africa Wayne - poetry > Susan Schultz - poetry + paper > Rod Mengham - paper > Susana Gardner - poetry > > 3.00-5.30 > Geraldine Monk - poetry > Peter Middleton - paper > Redell Olsen - poetry > Carol Mirakove - poetry + paper > > 7.30-10.30 > Keith Tuma / Justin Katko - film > Marianne Morris - poetry + art installations > Tom Raworth - poetry > Catherine Wagner - poetry > > Sunday 8th > 11.00-1.30 > Justin Katko & Camille PB - poetry > Kai Fierle-Hedrick - poetry + art installations > Kristen Kreider - paper + art installations > Tim Atkins - poetry > > 3.00-5.30 > Ken Edwards - talk on Out of Everywhere > Wendy Mulford - poetry > Peter Manson - paper > Maggie O'Sullivan - poetry > > 6.30-9.15 > Lucy Sheerman - paper > Caroline Bergvall - poetry > Kaia Sand - poetry > Leslie Scalapino - poetry > > Concluding remarks > > Dinner & good times.. > > Monday 9th 2-5pm > Open workshop by Kathleen Fraser > (Gonville & Caius College) > > > Contact Emily Critchley: 07968139821 / ec308@cam.ac.uk or Catherine =20= > Brown: > 07815040315 / cb214@cam.ac.uk, for further details. > > > > > > ========================================================================= Date: Thu, 5 Oct 2006 05:22:57 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: UbuWeb Subject: NYC: Outside In Panel, This Saturday MIME-Version: 1.0 Content-Type: text/plain; charset=ascii Content-Transfer-Encoding: quoted-printable Saturday, October 7, 2:00 p.m. for:=0A=0A"Outside In" Panel=0APanelists: Wa= yne Koestenbaum, Alissa Quart, David Grubbs=0AModerated by Kenneth Goldsmit= h=0A=0AA panel exploring the transmigration of outsider aesthetics and prac= tices influencing and entering into the mainstream. As Alissa Quart says, "= [This is] a new amateur republic, a land where "unsigned" has nearly become= an honorific for musicians and where even those who are far from amateur, = superprofessional rock stars like Beck and the band Interpol, emulate godhe= ads of amateurism like Daniel Johnston, the brilliant schizophrenic and bri= lliantly schizophrenic songwriter and musician who lives with his mother. B= eck and others like to record covers of Johnston's songs while Sundance fea= tures a biopic of Johnston's life. "=0A=0A=0AOliver Kamm/5BE Gallery=0A621 = West 27th Street=0ANew York, New York 10001=0Atel. 212-255-0979=0ABetween 1= 1th Ave & the West Side Highway=0A=0A-----------------------------=0A=0AWAY= NE KOESTENBAUM has published five books of poetry (most recently, Best-Sell= ing Jewish Porn Films), one novel (Moira Orfei in Aigues-Mortes), and five = books of nonfiction (Double Talk, The Queen's Throat, Jackie Under My Skin,= Cleavage, and Andy Warhol). The Queen's Throat was nominated for a Nationa= l Book Critics Circle Award. He wrote the libretto for an opera, Jackie O (= music by Michael Daugherty). Koestenbaum is a Professor of English at the C= UNY Graduate Center and is currently a Visiting Professor in the painting d= epartment of the Yale School of Art.=0A=0AALISSA QUART is the author of Hot= house Kids: The Dilemma of the Gifted Child (Penguin Press) and the book Br= anded. She has written for The New York Times, The New York Times Magazine = and The Atlantic as well as many other publications.=0A=0ADAVID GRUBBS is a= musician, critic and writer. As a musician he is known for his solo work, = as well as for collaborations with Stephen Prina, Susan Howe, Tony Conrad, = Angela Bulloch, Will Oldham, and many others. Grubbs is a 2005-6 grant reci= pient in Music/Sound from the Foundation for Contemporary Arts. He holds a = Ph.D. in English from the University of Chicago and is an Assistant Profess= or of Radio and Sound Art at Brooklyn College.=0A=0AKENNETH GOLDSMITH is th= e author of eight books of poetry, founding editor of the online archive Ub= uWeb (ubu.com), and the editor "I'll Be Your Mirror: The Selected Andy Warh= ol Interviews," Goldsmith is also the host of a weekly radio show on New Yo= rk City's WFMU. He teaches writing at The University of Pennsylvania, where= he is a senior editor of PennSound, an online poetry archive.=0A=0A =0AUbu= Web=0Ahttp://ubu.com=0A=0A=0A=0A ========================================================================= Date: Thu, 5 Oct 2006 08:46:16 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Ken Rumble Subject: Poetry Bus, Durham, NC, Oct 6, 7pm MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline http://www.youtube.com/watch?v=C_FJJfMQXiQ What: Wave Books' Poetry Bus! Where: Baldwin Lofts, 107 W. Main Street, Durham!! When: This Friday! October 6th! 7pm!!! Who: Joshua Beckman, Matthew Zapruder, Carrie St. George Comer, David Roderick, Valzhyna Mort, Bob Hicok, Lee Ann Brown, Mark McMorris, Ken Rumble, and other local poets!!! What else: Bring a beverage!! What else X 2: Thanks to Carolina Wren for providing some beverages!! Why: It's a bus!! Full of poets!!! ========================================================================= Date: Thu, 5 Oct 2006 08:33:08 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: mIEKAL aND Subject: Romanian-born German writer Oskar Pastior dies at 78 Comments: To: spidertangle@yahoogroups.com Comments: cc: camille bacos Mime-Version: 1.0 (Apple Message framework v752.2) Content-Type: text/plain; charset=US-ASCII; delsp=yes; format=flowed Content-Transfer-Encoding: 7bit Romanian-born German writer Oskar Pastior dies at 78 The Associated Press Published: October 5, 2006 http://www.iht.com/articles/ap/2006/10/05/arts/EU_A- E_BKS_Germany_Obit_Pastior.php BERLIN Oskar Pastior, a Romanian-born German writer who was celebrated for his creative use of language, has died, his publisher said Thursday. He was 78. Pastior died overnight in Frankfurt, where he was visiting the annual book fair, said Christine Knecht, a spokeswoman for the Carl Hanser Verlag publishing house. She did not give the cause of death. Among Pastior's early works was "Offne Worte" published in 1964; he made his literary debut in Germany in 1969 with "Vom Sichersten ins Tausendste," a collection of poems. Pastior was born on Oct. 20, 1927 in the Transylvanian city of Sibiu, where he lived as a member of the German-speaking minority. After being interned in Soviet labor camps following World War II, he returned to communist Romania in 1949 and studied German at the University of Bucharest. He worked in radio before turning to writing. Pastior fled to West Germany during a study trip to Vienna, Austria in 1968 and settled in West Berlin. He had been working on a book about his time in Soviet labor camps at the time of his death. Germany's culture minister, Bernd Neumann, described Pastior as "one of the most significant authors of our time." "His virtuoso linguistic art is a pleasure but also a challenge for the reader," Neumann said in a statement. "Great seriousness and a passion for the word were evident in his playful linguistic experiments." Details of survivors and funeral arrangements were not immediately available. BERLIN Oskar Pastior, a Romanian-born German writer who was celebrated for his creative use of language, has died, his publisher said Thursday. He was 78. Pastior died overnight in Frankfurt, where he was visiting the annual book fair, said Christine Knecht, a spokeswoman for the Carl Hanser Verlag publishing house. She did not give the cause of death. Among Pastior's early works was "Offne Worte" published in 1964; he made his literary debut in Germany in 1969 with "Vom Sichersten ins Tausendste," a collection of poems. Pastior was born on Oct. 20, 1927 in the Transylvanian city of Sibiu, where he lived as a member of the German-speaking minority. After being interned in Soviet labor camps following World War II, he returned to communist Romania in 1949 and studied German at the University of Bucharest. He worked in radio before turning to writing. Pastior fled to West Germany during a study trip to Vienna, Austria in 1968 and settled in West Berlin. He had been working on a book about his time in Soviet labor camps at the time of his death. Germany's culture minister, Bernd Neumann, described Pastior as "one of the most significant authors of our time." "His virtuoso linguistic art is a pleasure but also a challenge for the reader," Neumann said in a statement. "Great seriousness and a passion for the word were evident in his playful linguistic experiments." Details of survivors and funeral arrangements were not immediately available. ========================================================================= Date: Thu, 5 Oct 2006 13:32:01 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jon Leon Subject: An Addition to the Transgressive Compendium MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline Poets & Parties: RIGHT NOW THE MUSIC AND THE LIFE RULE (Hathaway, 2006), a new collection of vignettes by the author of TRACT (Dusi-e/chap, 2006) is once again available to the public ($9.75). Many of the most alluring Euro types cameo in Leon's addition to the transgressive compendium. Look at this piece of his diary. ::: Two girls I knew, one a painter, and one an obese seductress began fingering one another in my bedroom the night of the Southcoast Soiree. I had Keystone remove them from the premises. From the boudoir I could hear my name. I allowed them back into the pool party under the condition they perform atop a float in the water for all to view and possibly participate. Several of my distinguished guests penetrated the couple. I stood by and watched with benign curiosity. Many times I had fucked in groups and was by that time quite disenchanted. Later that evening I was accosted in the street by a gentleman named Ethan. He said to me, "You're not really a writer, *I'm* a writer." Then I walked to the newsstand to read the latest reviews of my work. I bought a hotel building on Liberty Street. We named the place The Commodore. I accepted to allow 60% of the rooms residence priority. The whole organization moved in. Around this time the counter-culture was bemoaning its loss of all credibility. They acknowledged finally that hip meant being able to buy things. Hipsters were just the mainstream with brighter costumes. I went so far left as to prohibit any variation of the dress code in The Commodore. All music was disallowed except what we played through the stereo in every room and hallway. That was mostly Phil Collins. Everyone loved it of course. Fortunately we were still cool, but less neo-bohemian, more Helmsley. :::: RIGHT NOW THE MUSIC AND THE LIFE RULE by Jon Leon from Hathaway Books. DIY is dead, everybody knows that. ========================================================================= Date: Thu, 5 Oct 2006 13:58:11 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Gabriel Gudding Subject: on why not to join a literary movement MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit __________________________________ http://gabrielgudding.blogspot.com ========================================================================= Date: Thu, 5 Oct 2006 15:08:51 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "David A. Kirschenbaum" Subject: **VIP: Boog City's Baseball Poetry Issue Needs Your Ads and Donations** Mime-version: 1.0 Content-type: text/plain; charset="ISO-8859-1" Content-transfer-encoding: quoted-printable please forward --------------- Please help Boog City issue 37 go to press. We need your ad dollars and donations to help pay our printer so people throughout Manhattan's East Village and Brooklyn's Greenpoint and Williamsburg can read the 2,000 issue= s we distribute to them. Our indie ad rates go as low as $30 for an 1/8-page ad, on up to $210 for a full inside page. Email editor@boogcity.com or call 212-842-BOOG(2664) for more information and additional rates. THANKS! David **About this month's paper: Boog City 37 is the press's latest baseball issue. I assembled 25 poets, th= e number of people on a baseball roster. Each poet was then assigned a different position on the team and asked to pick anyone who had ever played their position, be they in Major League Baseball, the Negro Leagues, the All-American Girls Professional Baseball League, the minor leagues, college= , the schoolyard, or anywhere else. Here's our team: Starters Pitcher George Bowering Satchel Paige Catcher Ammiel Alcalay Bob Tillman First Base Elinor Nauen Buck O=B9Neil Second Base Bill Luoma Robinson Cano Third Base Susan Schultz Brooks Robinson Shortstop Douglas Rothschild Marty Marion Left Field Bob Holman Frank Robinson Center Field Anselm Berrigan Bernie Williams Right Field Marcella Durand Paul O'Neill Reserves Starting Pitcher Jim Behrle Fernando Valenzuela Starting Pitcher Basil King Sandy Koufax Starting Pitcher Jill Magi Laura Rose Relief Pitcher Joel Kuszai John Hiller Relief Pitcher Edmund Berrigan Jack Warhop Relief Pitcher Lee Ranaldo Hoyt Wilhelm Relief Pitcher Joanna Sondheim Steve Howe Relief Pitcher Alli Warren Rollie Fingers Closer Jean-Paul Pecqueur Kazuhiro Sasaki Catcher (backup) Spike Vrusho Jerry May 1B/OF (backup) Maureen Thorson John Olerud 2B/SS (backup) Amy King Dorothy =B3Dottie=B2 Schroede= r 2B/SS/3B Lauren Russell Bud Fowler LF/CF David Hadbawnik Barry Bonds CF/RF Scott MX Turner Curt Flood OF Nathaniel Siegel Glenn Burke --=20 David A. Kirschenbaum, editor and publisher Boog City 330 W.28th St., Suite 6H NY, NY 10001-4754 For event and publication information: http://boogcityevents.blogspot.com/ T: (212) 842-BOOG (2664) F: (212) 842-2429 ========================================================================= Date: Thu, 5 Oct 2006 19:16:38 +0000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Raymond Bianchi Subject: Re: **VIP: Boog City's Baseball Poetry Issue Needs Your Ads and Donations** Comments: cc: "David A. Kirschenbaum" MIME-Version: 1.0 Content-Type: text/plain Content-Transfer-Encoding: 8bit New York has enough money.... two teams in the playoffs.... (Complete Chicago Envy on my part) ... -------------- Original message -------------- From: "David A. Kirschenbaum" > please forward > --------------- > > Please help Boog City issue 37 go to press. We need your ad dollars and > donations to help pay our printer so people throughout Manhattan's East > Village and Brooklyn's Greenpoint and Williamsburg can read the 2,000 issues > we distribute to them. > > Our indie ad rates go as low as $30 for an 1/8-page ad, on up to $210 for a > full inside page. Email editor@boogcity.com or call 212-842-BOOG(2664) for > more information and additional rates. > > THANKS! > David > > **About this month's paper: > > Boog City 37 is the press's latest baseball issue. I assembled 25 poets, the > number of people on a baseball roster. Each poet was then assigned a > different position on the team and asked to pick anyone who had ever played > their position, be they in Major League Baseball, the Negro Leagues, the > All-American Girls Professional Baseball League, the minor leagues, college, > the schoolyard, or anywhere else. > > Here's our team: > > Starters > > Pitcher George Bowering Satchel Paige > Catcher Ammiel Alcalay Bob Tillman > First Base Elinor Nauen Buck O¹Neil > Second Base Bill Luoma Robinson Cano > Third Base Susan Schultz Brooks Robinson > Shortstop Douglas Rothschild Marty Marion > Left Field Bob Holman Frank Robinson > Center Field Anselm Berrigan Bernie Williams > Right Field Marcella Durand Paul O'Neill > > Reserves > > Starting Pitcher Jim Behrle Fernando Valenzuela > Starting Pitcher Basil King Sandy Koufax > Starting Pitcher Jill Magi Laura Rose > Relief Pitcher Joel Kuszai John Hiller > Relief Pitcher Edmund Berrigan Jack Warhop > Relief Pitcher Lee Ranaldo Hoyt Wilhelm > Relief Pitcher Joanna Sondheim Steve Howe > Relief Pitcher Alli Warren Rollie Fingers > Closer Jean-Paul Pecqueur Kazuhiro Sasaki > > Catcher (backup) Spike Vrusho Jerry May > 1B/OF (backup) Maureen Thorson John Olerud > 2B/SS (backup) Amy King Dorothy ³Dottie² Schroeder > 2B/SS/3B Lauren Russell Bud Fowler > LF/CF David Hadbawnik Barry Bonds > CF/RF Scott MX Turner Curt Flood > OF Nathaniel Siegel Glenn Burke > > -- > David A. Kirschenbaum, editor and publisher > Boog City > 330 W.28th St., Suite 6H > NY, NY 10001-4754 > For event and publication information: > http://boogcityevents.blogspot.com/ > T: (212) 842-BOOG (2664) > F: (212) 842-2429 ========================================================================= Date: Thu, 5 Oct 2006 15:34:17 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: angela vasquez-giroux Subject: Re: **VIP: Boog City's Baseball Poetry Issue Needs Your Ads and Donations** In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: quoted-printable Content-Disposition: inline a silly question - - so what happens after you've assigned each poet a "player"? what is the purpose of it? you can reply to my personal email if you wish. angela On 10/5/06, David A. Kirschenbaum wrote: > > please forward > --------------- > > Please help Boog City issue 37 go to press. We need your ad dollars and > donations to help pay our printer so people throughout Manhattan's East > Village and Brooklyn's Greenpoint and Williamsburg can read the 2,000 > issues > we distribute to them. > > Our indie ad rates go as low as $30 for an 1/8-page ad, on up to $210 for > a > full inside page. Email editor@boogcity.com or call 212-842-BOOG(2664) fo= r > more information and additional rates. > > THANKS! > David > > **About this month's paper: > > Boog City 37 is the press's latest baseball issue. I assembled 25 poets, > the > number of people on a baseball roster. Each poet was then assigned a > different position on the team and asked to pick anyone who had ever > played > their position, be they in Major League Baseball, the Negro Leagues, the > All-American Girls Professional Baseball League, the minor leagues, > college, > the schoolyard, or anywhere else. > > Here's our team: > > Starters > > Pitcher George Bowering Satchel Paige > Catcher Ammiel Alcalay Bob Tillman > First Base Elinor Nauen Buck O=B9Neil > Second Base Bill Luoma Robinson Cano > Third Base Susan Schultz Brooks Robinson > Shortstop Douglas Rothschild Marty Marion > Left Field Bob Holman Frank Robinson > Center Field Anselm Berrigan Bernie Williams > Right Field Marcella Durand Paul O'Neill > > Reserves > > Starting Pitcher Jim Behrle Fernando Valenzuela > Starting Pitcher Basil King Sandy Koufax > Starting Pitcher Jill Magi Laura Rose > Relief Pitcher Joel Kuszai John Hiller > Relief Pitcher Edmund Berrigan Jack Warhop > Relief Pitcher Lee Ranaldo Hoyt Wilhelm > Relief Pitcher Joanna Sondheim Steve Howe > Relief Pitcher Alli Warren Rollie Fingers > Closer Jean-Paul Pecqueur Kazuhiro Sasaki > > Catcher (backup) Spike Vrusho Jerry May > 1B/OF (backup) Maureen Thorson John Olerud > 2B/SS (backup) Amy King Dorothy =B3Dottie=B2 > Schroeder > 2B/SS/3B Lauren Russell Bud Fowler > LF/CF David Hadbawnik Barry Bonds > CF/RF Scott MX Turner Curt Flood > OF Nathaniel Siegel Glenn Burke > > -- > David A. Kirschenbaum, editor and publisher > Boog City > 330 W.28th St., Suite 6H > NY, NY 10001-4754 > For event and publication information: > http://boogcityevents.blogspot.com/ > T: (212) 842-BOOG (2664) > F: (212) 842-2429 > --=20 http://mother-of-light.blogspot.com ========================================================================= Date: Thu, 5 Oct 2006 16:20:44 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jon Leon Subject: Reactionary Essay: Lawn of Excluded Middle MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline In the literary world of today there are winners and losers. A lot of the old losers like Baudelaire have become winners and likewise a lot of the winners today will become losers. But what about the extreme losers of today's ripe world of total literature? What will they become? Will they become old losers who are never winners? The immediate writing from the loser set is oft perceived by the losers to be a supreme act of litero-historico impact. The belief that to fight a good fight will actually bring about the success of the good. But what is this tendency toward the success of the pure goodness but a complete vanity of the most ambitious contrariness. How wild is it that a one-time loser rises to the glory position of total win? The old present-tense loser peers will look on in awe firstly and then conversely in contempt, as they occupy the ambiguous territory of "what about today's losers." A question no one can answer. Many poignant writers of our time like Morrissey have attempted to explain it: "Our friends hate it when we become successful." Many loser-cum-winners then become photogenic and find others struggling in the highest world of total literature with euphoric isolation. Will they be the new winner? Is loser obscurity the only free win to total sublimity? Reckless guile will crash with the squeal of a termite's pitched scream. JL ========================================================================= Date: Thu, 5 Oct 2006 16:40:24 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jay Dougherty Subject: Interview with John Yamrus MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit New interview with poet John Yamrus has been posted on PoetryCircle.com: http://www.poetrycircle.com/index.php/topic,2535.0.html ========================================================================= Date: Thu, 5 Oct 2006 16:34:56 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Ed Baker Subject: STOP THE EMAILS.. Content-Type: text/plain Mime-Version: 1.0 Content-Transfer-Encoding: 7bit Do GET ME OFF OF YOUR LIST! I AM GETTING 4 or 5 emails from garbage poetry sites every hour.. AND I didn't respond to joining your Buffalo blog site.. hence forth I will @$#*&!! to those sites.. GARBAGE ! best, Ed Baker ========================================================================= Date: Thu, 5 Oct 2006 16:47:20 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "David A. Kirschenbaum" Subject: Re: STOP THE EMAILS.. In-Reply-To: <1160080497.4987.3.camel@localhost> Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit ed, is everything ok? something seems to be bothering you, i think. have a great day, david on 10/5/06 4:34 PM, Ed Baker at edbaker@SDF.LONESTAR.ORG wrote: > Do GET ME OFF OF YOUR LIST! I AM GETTING 4 or 5 emails from garbage > poetry sites every hour.. AND I didn't respond to joining your Buffalo > blog site.. > > hence forth I will @$#*&!! to those sites.. GARBAGE ! best, Ed Baker > > -- David A. Kirschenbaum, editor and publisher Boog City 330 W.28th St., Suite 6H NY, NY 10001-4754 For event and publication information: http://boogcityevents.blogspot.com/ T: (212) 842-BOOG (2664) F: (212) 842-2429 ========================================================================= Date: Thu, 5 Oct 2006 16:50:24 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mark Weiss Subject: Sinon Pettet poetry workshop Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed SIMON PETTET POETRY WORKSHOP (starting in November) Limited Enrollment OPEN HOUSE SUNDAY Oct 8, 2006 2-4 *Washington Square (NYC) location *contact spettet1@yahoo.com for address & further details "Noted East Village resident and poet, SIMON PETTET (author of Talking Pictures, Abundant Treasures, Lyrical Poetry and More Winnowed Fragments - among other books) will be conducting a special 10-week workshop this Fall in downtown NYC (Washington Place). Although this workshop (focusing on poetry and spirituality,poetry and history, and poetry and struggle) is open to anyone,numbers are, of necessity, restricted. Those interested are requested to submit a manuscript of not more than five pages to spettet1@yahoo.com and/or attend open house ========================================================================= Date: Thu, 5 Oct 2006 16:42:52 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Ed Baker Subject: Re: Interview with John Yamrus In-Reply-To: <5c1si1$8j8a73@smtp01.lnh.mail.rcn.net> Content-Type: text/plain Mime-Version: 1.0 Content-Transfer-Encoding: 7bit DO STOP SENDING ME YOUR "stuff" I am now getting 10 stupid fucking poetry site-messages an hour.. thanks, Ed Baker On Thu, 2006-10-05 at 16:40 -0400, Jay Dougherty wrote: > New interview with poet John Yamrus has been posted on PoetryCircle.com: > > http://www.poetrycircle.com/index.php/topic,2535.0.html > ========================================================================= Date: Thu, 5 Oct 2006 16:57:56 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: angela vasquez-giroux Subject: Re: Interview with John Yamrus In-Reply-To: <1160080973.4987.8.camel@localhost> MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline "You may leave the list at any time by sending a "SIGNOFF POETICS" command to LISTSERV@LISTSERV.BUFFALO.EDU. " you are now inundating the rest of us with your "stuff", ed. you are subscribed, so unsubscribe. best, angela On 10/5/06, Ed Baker wrote: > > DO STOP SENDING ME YOUR "stuff" I am now getting 10 stupid fucking > poetry site-messages an hour.. thanks, Ed Baker > > > > > On Thu, 2006-10-05 at 16:40 -0400, Jay Dougherty wrote: > > New interview with poet John Yamrus has been posted on PoetryCircle.com: > > > > http://www.poetrycircle.com/index.php/topic,2535.0.html > > > -- http://mother-of-light.blogspot.com ========================================================================= Date: Thu, 5 Oct 2006 16:02:27 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Tom W. Lewis" Subject: Re: STOP THE EMAILS... I will @$#*&!! to those sites In-Reply-To: <1160080497.4987.3.camel@localhost> MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: quoted-printable sorry to pour salt on Ed's wounds, but what verb is that? -- "hence forth I will @$#*&!! to those sites." what verb, expletive or otherwise, takes a preposition in that kind of construction?=20 "I will _post_ to those sites." "I will _write_ to those sites." "I will _call out_ to those sites." "I will _drive_ to those sites." "I will _be obligated_ to those sites." "I will _hit a pop fly out_ to those sites." "I will _give my unvarnished opinion_ to those sites." looks like transitive verbs, or verbs of motion -- doesn't work for expletives, since you can't fuck to, shit to, or damn to anything or -one...=20 you can say "'fuck off' to those sites," I guess... which is what Ed's trying to do, if us gnats and poetry spammers would only let him... here's indelible electronic ink in your eye... -----Original Message----- From: UB Poetics discussion group [mailto:POETICS@LISTSERV.BUFFALO.EDU] On Behalf Of Ed Baker Sent: Thursday, October 05, 2006 15:35 To: POETICS@LISTSERV.BUFFALO.EDU Subject: STOP THE EMAILS.. Do GET ME OFF OF YOUR LIST! I AM GETTING 4 or 5 emails from garbage poetry sites every hour.. AND I didn't respond to joining your Buffalo blog site.. hence forth I will @$#*&!! to those sites.. GARBAGE ! best, Ed Baker ========================================================================= Date: Thu, 5 Oct 2006 14:28:16 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: amy king Subject: Re: STOP THE EMAILS.. In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit mwaaaahhhhhahahahaha!!! "David A. Kirschenbaum" wrote: ed, is everything ok? something seems to be bothering you, i think. have a great day, david on 10/5/06 4:34 PM, Ed Baker at edbaker@SDF.LONESTAR.ORG wrote: > Do GET ME OFF OF YOUR LIST! I AM GETTING 4 or 5 emails from garbage > poetry sites every hour.. AND I didn't respond to joining your Buffalo > blog site.. > > hence forth I will @$#*&!! to those sites.. GARBAGE ! best, Ed Baker > --------------------------------- Stay in the know. Pulse on the new Yahoo.com. Check it out. ========================================================================= Date: Thu, 5 Oct 2006 17:29:46 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Poetry Project Subject: Events at the Poetry Project 10/9 - 10/13 In-Reply-To: Mime-version: 1.0 Content-type: text/plain; charset="ISO-8859-1" Content-transfer-encoding: quoted-printable Dearly Beloved, We are so pleased to request your attendance at the following THREE events (read below). Harken the beginning of this season=B9s Friday Late Night Series. Rejoice! Love, The Poetry Project Monday, October 9, 8:00 pm Jon Paul Fiorentino & Paul Foster Johnson Jon Paul Fiorentino's most recent book of poetry is The Theory of the Loser Class (Coach House Books, 2006). He is the author of the poetry book Hello Serotonin (Coach House Books, 2004) and the humour book Asthmatica (Insomniac Press, 2005). His most recent editorial projects are the anthologies Career Suicide! Contemporary Literary Humour (DC Books, 2003) and Post-Prairie - a collaborative effort with Robert Kroetsch, (Talonbooks= , 2005). He lives in Montreal where he teaches writing at Concordia Universit= y and is the Managing Editor of Matrix magazine. Paul Foster Johnson's first collection of poems, Refrains/Unworkings, will be published in Spring 2007 by Apostrophe Books. Quadriga, a chapbook of his collaborations with E. Tracy Grinnell, was recently released by g-o-n-g press. Currently serving a= s an editor at Litmus Press, he curated the Experiments and Disorders reading series at Dixon Place from 2003 to 2006. Wednesday, October 11, 8:00 pm Michael Friedman & Chris Kraus Michael Friedman has edited the journal Shiny since 1986. His first novel, Martian Dawn, is just out from Turtle Point. Several poems from his last book, Species (The Figures, 2000), were included in the anthology Great American Prose Poems: From Poe to the Present (Scribner, 2003). Blowing apart the boundary line between experimental narrative and staid autobiography, Chris Kraus is the author of three novels, I Love Dick, Aliens and Anorexia, and the recently released Torpor, which are as much about the space (and time) we inhabit as they are about their narrator. Operating on both sides of the production line, Kraus serves as the editor of the Native Agents Series of the Semiotext(e) imprint, the home to kindre= d poets and novelists such as Eileen Myles, Heather Woodbury, and The Bernadette Corporation. She is also a teacher of writing and has written numerous essays on poetics, theory, and art. Friday, October 13, 10:30 pm Dirty Movies Late at Night: Mike Hauser, Maureen Thorson & The Trusty Knife Rust Buckle and various simpaticos from disparate America celebrate the release of a new chapbook by Mike Hauser. Mike Hauser lives in Milwaukee. H= e posts his poems to dodo:(hubbahubbain78.blogspot.com). He publishes the magazine Dodo Bird on a very inconsistent basis. He still has copies of that, and of the chapbook Dirty Movies Late at Night (Rust Buckle), he can give you. Maureen Thorson is the author of two chapbooks, Novelty Act (Ugly Duckling Presse) and the forthcoming Mayport (Poetry Society of America). She lives in Washington, D.C., where she runs Big Game Books, the tiniest press in the world. Zack Pieper & The Trusty Knife are a band of basement/bathroom/garage/attic songsters from Milwaukee, WI who perform an array of eclectic rock & roll material & will be presenting their low-tech folk-rot album Sad Contraptions Unrehearsed. Dustin Williamson is the co-curator of this event. He edits the Rust Buckle magazine and chapbook series. He is the author of the chapbooks Heavy Panda (Goodbye Better), Gorilla Dust (forthcoming from Open 24 Hour Press), and Power Lunch, a collaboration with the poet Gina Myers. B.Y.O.D.M. First Floor presents George Schneeman: Work 1968-2006 Collages, portraits, landscapes, collaborations, calendars, prints, collage paintings, frescos, posters and ceramics. Opening =AD Friday October 13, 4-7pm 113 E. 2nd St (1st & A) 212-982-7682 Regular hours: Thurs =AD Sun, 4-7pm, Oct. 13-29 Jon Paul Fiorentino WHAT=B9S THE WORST THAT COULD HAPPEN, COURTNEY? She slides out of a launderette. No, wait. She struts out of a caf=E9. Check that. She stumbles out of a bus. Or not. She steps out of a bank. Too dull. She stirs out of a dream. That sucks. She slips out of a clinic. The washer is old; the smoke is thick. The transit is slow; the credit is wrecked. The fear is real; the doctor is sick Her clothes are stained; her coffee is cold. Her transfer is gone; her money is low. Her mind is made up; her pills do not work. Paul Foster Johnson R13. Disturbing the Peace =20 The stroke of a system bound us and we are slow to acknowledge our blisters=8Bto raise scythes to connotation=8Bto thatch its purpose=8B =20 I have found quarrel then a bland truce so what am I after if not constraint and its own desirous motions, punchlines if not facts=8Bgathering before night vision=8B =20 of the kind that had been elusive in the tent city=8B lost among sculpture=8Bscuffing in camouflage toward shelter=8Bworking a trapdoor over=8B and could they lend themselves to this physiology=8B =20 If not wandering, relenting to a tour or a turning out of umbrella terms=8B a sediment of pure reason=8Bdriven inside like discipline in a kind of wilderness =20 anchors to anything, the cognitive barrier of every sawhorse=8Bincomplete, unbalanced, unsolved=8Bapperception suspended over somber churches=B9 situation on the ground Michael Friedman=20 from Chapter One of Martian Dawn One=20 Richard and Julia strolled along Rodeo Drive, monogrammed tote bags in each hand. The sidewalk was crowded, but they hardly seemed to notice. It was a bright, sunny day. Julia was momentarily struck by how beautiful the red awnings of the Beverly Wilshire Hotel looked against the pale, sandblasted facades of the hotel and boutiques. They returned, exhausted from shopping, to their modernist glass compound nestled in the Hollywood Hills. Sunlight streamed through glass-walled living room from the Japanese garden. There, Julia felt, they were away fro= m it all - Morty, Mars, everything. It was just Richard and her. Her old life with Angel and the gang seemed like a distant Jacqueline Susann nightmare. She watched Richard move silently through the house, stopping to rearrange the flowers and pictures. Sometimes, she reflected, he was like a wild animal - a black panther padding through the brush of Equatorial Guinea at dusk. Fall Calendar: http://www.poetryproject.com/calendar.html 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 $85 or higher will get in FREE to all regular readings). We are wheelchair accessible with assistance and advance notice. For more info call 212-674-0910. If you=B9d like to be unsubscribed from this mailing list, please drop a line at info@poetryproject.com. ========================================================================= Date: Fri, 6 Oct 2006 07:14:17 +0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Bob Marcacci Subject: Re: STOP THE EMAILS... I will @$#*&!! to those sites In-Reply-To: <54AA9B41BC35F34EAD02E660901D8A5A07ACB579@TLRUSMNEAGMBX10.ERF.THOMSON.COM> Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit don't the kids call it bitching? -- Bob Marcacci What government is the best? That which teaches us to govern ourselves. - Johann Wolfgang von Goethe > From: "Tom W. Lewis" > Reply-To: UB Poetics discussion group > Date: Thu, 5 Oct 2006 16:02:27 -0500 > To: > Conversation: STOP THE EMAILS... I will @$#*&!! to those sites > Subject: Re: STOP THE EMAILS... I will @$#*&!! to those sites > > sorry to pour salt on Ed's wounds, but what verb is that? -- > > "hence forth I will @$#*&!! to those sites." > > what verb, expletive or otherwise, takes a preposition in that kind of > construction? > > "I will _post_ to those sites." > "I will _write_ to those sites." > "I will _call out_ to those sites." > "I will _drive_ to those sites." > "I will _be obligated_ to those sites." > "I will _hit a pop fly out_ to those sites." > "I will _give my unvarnished opinion_ to those sites." > > looks like transitive verbs, or verbs of motion -- doesn't work for > expletives, since you can't fuck to, shit to, or damn to anything or > -one... > > you can say "'fuck off' to those sites," I guess... which is what Ed's > trying to do, if us gnats and poetry spammers would only let him... > > here's indelible electronic ink in your eye... > > > -----Original Message----- > From: UB Poetics discussion group [mailto:POETICS@LISTSERV.BUFFALO.EDU] > On Behalf Of Ed Baker > Sent: Thursday, October 05, 2006 15:35 > To: POETICS@LISTSERV.BUFFALO.EDU > Subject: STOP THE EMAILS.. > > Do GET ME OFF OF YOUR LIST! I AM GETTING 4 or 5 emails from garbage > poetry sites every hour.. AND I didn't respond to joining your Buffalo > blog site.. > > hence forth I will @$#*&!! to those sites.. GARBAGE ! best, Ed Baker ========================================================================= Date: Thu, 5 Oct 2006 18:18:38 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Tom W. Lewis" Subject: Re: STOP THE EMAILS... I will @$#*&!! to those sites In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: quoted-printable that would be "I will _be bitching_ to those sites" -- kinda weak, with the passive use of the participle... or "I will _bitch_ to those sites" "I will _bitch & moan_ to those sites" that's what he's already doing bitchin' -----Original Message----- From: UB Poetics discussion group [mailto:POETICS@LISTSERV.BUFFALO.EDU] On Behalf Of Bob Marcacci Sent: Thursday, October 05, 2006 18:14 To: POETICS@LISTSERV.BUFFALO.EDU Subject: Re: STOP THE EMAILS... I will @$#*&!! to those sites don't the kids call it bitching? --=20 Bob Marcacci What government is the best? That which teaches us to govern ourselves. - Johann Wolfgang von Goethe > From: "Tom W. Lewis" > Reply-To: UB Poetics discussion group > Date: Thu, 5 Oct 2006 16:02:27 -0500 > To: > Conversation: STOP THE EMAILS... I will @$#*&!! to those sites > Subject: Re: STOP THE EMAILS... I will @$#*&!! to those sites >=20 > sorry to pour salt on Ed's wounds, but what verb is that? -- >=20 > "hence forth I will @$#*&!! to those sites." >=20 > what verb, expletive or otherwise, takes a preposition in that kind of > construction?=20 >=20 > "I will _post_ to those sites." > "I will _write_ to those sites." > "I will _call out_ to those sites." > "I will _drive_ to those sites." > "I will _be obligated_ to those sites." > "I will _hit a pop fly out_ to those sites." > "I will _give my unvarnished opinion_ to those sites." >=20 > looks like transitive verbs, or verbs of motion -- doesn't work for > expletives, since you can't fuck to, shit to, or damn to anything or > -one...=20 >=20 > you can say "'fuck off' to those sites," I guess... which is what Ed's > trying to do, if us gnats and poetry spammers would only let him... >=20 > here's indelible electronic ink in your eye... >=20 >=20 > -----Original Message----- > From: UB Poetics discussion group [mailto:POETICS@LISTSERV.BUFFALO.EDU] > On Behalf Of Ed Baker > Sent: Thursday, October 05, 2006 15:35 > To: POETICS@LISTSERV.BUFFALO.EDU > Subject: STOP THE EMAILS.. >=20 > Do GET ME OFF OF YOUR LIST! I AM GETTING 4 or 5 emails from garbage > poetry sites every hour.. AND I didn't respond to joining your Buffalo > blog site.. >=20 > hence forth I will @$#*&!! to those sites.. GARBAGE ! best, Ed Baker ========================================================================= Date: Thu, 5 Oct 2006 16:30:45 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Walter Lew Subject: EDWIN TORRES Writing Workshop & Reading/Performance, *MON. Oct. 9* Comments: cc: wlew@miami.edu MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit “BRAIN LINGO” WORKSHOP and POETRY READING / PERFORMANCE BY EDWIN TORRES WHEN: Monday, Oct. 9. WORKSHOP 11:00 am - 12:30 pm. READING/PERFORMANCE 5:00 - 6:30. WHERE: The CAS GALLERY of the UNIVERSITY OF MIAMI'S WESLEY FOUNDATION 1210 STANFORD DR. (Coral Gables Campus) Both events are open to all. Legendary NY-based poet and multimedia artist Edwin Torres’s always freshly experimenting work has ranged from performances that helped spearhead the spoken word movement in the 1990s to post-multiculturalist visual poetry influenced by Futurism and Bauhaus. His poetry books include THE ALL-UNION DAY OF THE SHOCK WORKER (Roof Books), FRACTURED HUMOROUS (Subpress), and the forthcoming THE POPEDOLOGY OF AN AMBIENT LANGUAGE. His CDs include HOLY KID (Kill Rock Stars) and NOVO (OozeBap.org). Torres’ many collaborations with other artists intermingle poetry with textures of sound, theater, and improvisation, and his Brain Lingo workshops have led many students to new modes of writing. Torres has taught at Bard College and Naropa University, among others, and is co-editor of the journal RATTAPALLAX. The recipient of numerous fellowships, he is the Lower Manhattan Cultural Council’s 2006 writer-in-residence. Check out Torres’ website at . There will be a book signing after the evening reading. For further information, please contact Victor Garcia, MFA Events Coordinator / cell: 305-244-8884 or Walter K. Lew . __________________________________________________ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com ========================================================================= Date: Thu, 5 Oct 2006 20:08:26 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Larissa Shmailo Subject: The Feminist Poets in Low-Cut Blouses Sunday 10/8 at Bowery Poetry Club MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit SUNDAY, 10.8: The Feminist Poets in Low-Cut Blouses present a "Love and Lust Reading" at the _Bowery Poetry Club_ (http://www.bowerypoetry.com/) featuring Larissa Shmailo, Iris N. Schwartz, Madeline Artenberg, Dorothy Friedman August, Frank Simone, Jean Lehrman, Erica Miriam Fabri, and Matthew K. Johnson. Recommended by Time Out, maudnewton.com, and Khlebnikov scholars everywhere. Bowery Poetry Club/ 308 Bowery bet Houston and Bleecker /5pm/ $6/ 212-712-9865 ========================================================================= Date: Thu, 5 Oct 2006 18:19:18 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: elen Subject: Seismosis by John Keene + Christopher Stackhouse Comments: cc: AFAM-LIT@LISTSERV.UIC.EDU, "Kalamu@Aol. Com" , Brown Writing List MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit The NEWEST offering from 1913 Press: Seismosis, a collaborative book by John Keene + Christopher Stackhouse AVAILABLE NOW! Order your copy directly from 1913 Press: http://journal1913.org/seismosis.html or via Small Press Distribution: http://journal1913.org/seismosis.html Teach this book!...View this book!...Even read this book! Seismosis, by John Keene + Christopher Stackhouse with a Foreword by Ed Roberson + an Afterword by Geoffrey Jacques $19 / ISBN: 0977935108 Featuring line-drawings by Stackhouse & poems-as-essays by Keene--handed back and forth and back again, written and rewritten, drawn and redrawn--Seismosis penetrates the common ground between writing/literature and drawing/visual art, creating a revisioned landscape where much of the work is abstract, or abstracted, or both. The multiform agreements the texts & the drawings make, from a brilliant & decisive center, are revolutionary, antilinear, and highly responsive. The result is a sophisticated call-and-response affair. A pioneering event between two African-American artists, Seismosis is a formal experience. John Keene is a former member of the Dark Room Writers Collective, a graduate fellow of Cave Canem, and recipient of many awards and fellowships-including a 2003 Poetry Fellowship from the New Jersey State Council on the Arts and a 2005 Mrs. Giles Whiting Foundation Prize for fiction. Keene is the author of the acclaimed experimental novel, Annotations, from New Directions. Christopher Stackhouse is the author of Slip (Corollary Press), a Cave Canem graduate fellow, a poetry editor at Fence magazine, and a New York Foundation for the Arts Fellow in Poetry for 2005. An MFA candidate at Bard College, Stackhouse is also an exhibiting artist whose canvases and works on paper have appeared in several New York City galleries. To schedule an event with John Keene + Christopher Stackhouse, or to receive a copy for review, please contact 1913 Press: 1913press@gmail.com Advance Praises for Seismosis : It's what happens when writing and drawing give each other a hand, a free hand, to shake it up, to go the distance from crossing out to crossing over, from ear to here and back again, fast. A little nerve music for the time being-sampling seismo for the pleisto scene. -- David Levi Strauss ... Seismosis is the complete text for the course, replete with illustrations, examples, graphs, exercises, and tests. -- from the Foreword by Ed Roberson This exquisite collaboration goes beyond a linear mutual appreciation: poet likes artist's work-artist likes poet's work. In Seismosis, Keene & Stackhouse present an interwoven, intersecting conversation between one another and their art forms. We read the poems and see the drawings-we read the drawings and see the poems, as the collaborators make use of space, line, and textural performance in one multimedia framework. Here, two men's boyish charms and haunting playfulness create a three-dimensional canvas out of thinking inscriptions. -- Tracie Morris Wow. Rarely a book makes such an impact. Keene and Stackhouse heat up the strange place where abstraction becomes as visceral as thoughts or conversations. Anyone interested in artistic collaborations will rarely find one this complete, in the pleasure of ever-forming and dissolving boundaries between gestures. An immediate delight. -- Thalia Field 1913 Press / Box 9654 / Hollins University / Roanoke, VA 24020 http://www.journal1913.org As always, 1913 Press is in need of support to stay alive. If you've got the notion, many thanks: http://journal1913.org/support1913.html ========================================================================= Date: Thu, 5 Oct 2006 22:57:04 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Eric Yost Subject: Re: STOP THE EMAILS... I will @$#*&!! to those sites In-Reply-To: <54AA9B41BC35F34EAD02E660901D8A5A07ACB579@TLRUSMNEAGMBX10.ERF.THOMSON.COM> MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit >>what verb is that? -- "@$#*&!! to those sites." The verb is @$#*&!! just as written. @$#*&!! is untranslatable. It cannot be rendered phonetically, intensified, abbreviated, or set in all caps. @$#*&!! doesn't rhyme with $#@&*'! or with any other word. It does not scan. It has no synonyms. Etymologists trace its origins to cartoons of the twentieth century, but they may be @$#*&!! themselves and are consequently not to be trusted. @$#*&!! becomes fierce when discussed; it coalesces into a referential black hole that sucks the meaning from any given semantic space. If cornered by a definition, @$#*&!! will void all poems and stop all E-mails. Even Martin Heidegger, way out there on the horizon of verhandenheit, knew better than to mess with @$#*&!! ========================================================================= Date: Fri, 6 Oct 2006 17:14:58 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: victor Taylor MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable hi can you take off your emailing list. victort@woosh.co.nz ========================================================================= Date: Thu, 5 Oct 2006 21:44:19 -0700 Reply-To: ishaq1824@shaw.ca Sender: UB Poetics discussion group Comments: RFC822 error: Incorrect or incomplete address field found and ignored. From: Ishaq Organization: selah7 Subject: BBC Radio Documentary: Marcus Garvey MIME-version: 1.0 Content-type: text/plain; charset=us-ascii; format=flowed Content-transfer-encoding: 7bit Marcus Garvey listen: http://www.bbc.co.uk/1xtra/realmedia/documentaries/marcusgarvey.ram Documentaries home Marcus Garvey Hear the documentary http://www.bbc.co.uk/1xtra/tx/documentaries/marcus_garvey.shtml Hear the documentary The only person you can rely on is yourself...do you agree? That was the moto that Marcus Garvey taught. His mantra of hard work and self-reliance inspired a new generation of black entrepreneurs to raise the profile of black people everywhere. 1Xtra's Robbo Ranx looks at how he inspired Malcolm X, the Nation of Islam and the Rastafarian faith. Nas name-checked Marcus Garvey in his Illmatic album while Akala lives by his words. http://www.bbc.co.uk/1xtra/realmedia/documentaries/marcusgarvey.ram ___ Stay Strong \ -"I testified/My mama cried/Black people died/When the other man lied" -- chuck d \ "Be a friend to the oppressed and an enemy to the oppressor" --Imam Ali Ibn Abu Talib (as) \ "They want to see us breathless. We will not be. They want to see us tired. We refuse to be. They want to see what our strength is. We will not show it in advance. We will continuously surprise them." -- Julia Wright "We restate our commitment to the peace process. But we will not submit to a process of humiliation." --patrick o'neil \ "...we have the responsibility to make no deal with the oppressor" --harry belafonte \ "...these people generate wars in Asia and Africa,...These are the people who, in the last century, caused several devastating wars. In one world war alone, they killed over 60 million people.... In the near future, Allah willing, we will put you to trial in courts established by the peoples...."-- mahmoud ahmadinejad \ http://www.sidebrow.net/2006/a047braithwaite.php \ http://cleveland.indymedia.org/uploads/2006/07 olivet___h.a.t.s_in_the_square___loud_ruffa1b.mp3 \ http://radio.indymedia.org/news/2005/10/7255.php \ http://radio.indymedia.org/uploads/olivet___h.a.t.s_in_the_square___loud_ruff.mp3 \ http://ilovepoetry.com/search.asp?keywords=braithwaite&orderBy=date \ http://vancouver.indymedia.org/?q=en/node/1269\ \ http://radio.indymedia.org/uploads/en_fins__clichy-sous_bois_amixquiet-_lordpatch_the_giver__.mp3 \ http://vancouver.indymedia.org/?q=en/taxonomy/term/111 \ http://www.lowliferecords.co.uk/ ========================================================================= Date: Fri, 6 Oct 2006 08:21:22 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jeffrey Side Subject: John Crouse and Jim Leftwich poems at The Argotist Online Comments: To: british-poets@jiscmail.ac.uk, wryting-l@listserv.wvu.edu John Crouse and Jim Leftwich poems at The Argotist Online: http://www.argotistonline.co.uk/Crouse%20&%20Leftwich%20poems.htm ========================================================================= Date: Fri, 6 Oct 2006 10:43:30 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: susan maurer Subject: Anna Siano Mime-Version: 1.0 Content-Type: text/plain; format=flowed Another reminder that on 10-8 from 2-4 at 307 willow ave in hoboken photographer anna siano has curated a reading and photography show as part of the annual Hoboken studio tour. all the readers have been photgraphed and ther will be 40 some folk. look up anna siano website to see some of the pics and come listen and hang out at a reception. wonderul little back garden. susan maurer _________________________________________________________________ Express yourself - download free Windows Live Messenger themes! http://clk.atdmt.com/MSN/go/msnnkwme0020000001msn/direct/01/?href=http://imagine-msn.com/themes/vibe/default.aspx?locale=en-us&source=hmtagline ========================================================================= Date: Fri, 6 Oct 2006 12:22:48 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Ian Randall Wilson Subject: Re: STOP THE EMAILS... I will @$#*&!! to those sites In-Reply-To: MIME-Version: 1.0 Content-Transfer-Encoding: 7bit Content-Type: text/plain; charset="us-ascii" No, those are threats, clearly threats. I believe Ed is a terrorist, a poetry terrorist and as you know, you're either for us or you're against us. Ed needs to be rounded up, strapped to a board with his feet slightly higher than his head, and then must endure someone reading inspirational poetry to him. He'll crack. Fast. I guarantee it. IRW ________________________________________________________________________ Check out the new AOL. Most comprehensive set of free safety and security tools, free access to millions of high-quality videos from across the web, free AOL Mail and more. ========================================================================= Date: Fri, 6 Oct 2006 15:09:48 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Richard Jeffrey Newman Subject: Up on It's All Connected MIME-version: 1.0 Content-type: text/plain; charset=us-ascii Content-transfer-encoding: 7bit Hello All-- I have started to post translations in progress to my blog, It's All Connected, (http://itsallconnected.wordpress.com). The first one is up; it's the Poet's Preface to the Shahnameh, which is the Persian national epic. If you have a chance, give it a read and let me know what you think. Thanks, Richard Richard Jeffrey Newman Associate Professor, English Nassau Community College One Education Drive Garden City, NY 11530 O: (516) 572-7612 F: (516) 572-8134 Department Office: (516) 572-7185 newmanr@ncc.edu ========================================================================= Date: Fri, 6 Oct 2006 15:36:30 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Eric Yost In-Reply-To: <000d01c6e9a5$a0b267c0$37d04aca@victorrhur93qq> MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit >>hi can you take off your emailing list. You first. ========================================================================= Date: Sat, 7 Oct 2006 02:51:13 +0200 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Karl-Erik Tallmo Subject: Poetry Festival in Stockholm In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" For those of you who happen to be in the vicinity of Stockholm, there is right now a poetry festival going on: See http://arsint.com/program.html Karl-Erik Tallmo ========================================================================= Date: Fri, 6 Oct 2006 17:22:59 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: alexander saliby Subject: Re: Up on It's All Connected MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Richard, Made the briefest of visits; read the Poet's Preface; loved it! =20 Thanks for sharing the materials. I threaten to return to the site = soon.=20 Alex=20 ----- Original Message -----=20 From: Richard Jeffrey Newman=20 To: POETICS@LISTSERV.BUFFALO.EDU=20 Sent: Friday, October 06, 2006 12:09 PM Subject: Up on It's All Connected Hello All-- I have started to post translations in progress to my blog, It's All Connected, = (http://itsallconnected.wordpress.com). The first one is up; it's the Poet's Preface to the Shahnameh, which is the Persian national = epic. If you have a chance, give it a read and let me know what you think. Thanks, Richard=20 Richard Jeffrey Newman Associate Professor, English Nassau Community College One Education Drive Garden City, NY 11530 O: (516) 572-7612 F: (516) 572-8134 Department Office: (516) 572-7185 newmanr@ncc.edu ========================================================================= Date: Fri, 6 Oct 2006 22:41:32 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Richard Jeffrey Newman Subject: Re: Up on It's All Connected In-Reply-To: MIME-version: 1.0 Content-type: text/plain; charset=us-ascii Content-transfer-encoding: 7bit Alex, Thanks for the kind words! Richard -----Original Message----- From: UB Poetics discussion group [mailto:POETICS@LISTSERV.BUFFALO.EDU] On Behalf Of alexander saliby Sent: Friday, October 06, 2006 8:23 PM To: POETICS@LISTSERV.BUFFALO.EDU Subject: Re: Up on It's All Connected Richard, Made the briefest of visits; read the Poet's Preface; loved it! Thanks for sharing the materials. I threaten to return to the site soon. Alex ----- Original Message ----- From: Richard Jeffrey Newman To: POETICS@LISTSERV.BUFFALO.EDU Sent: Friday, October 06, 2006 12:09 PM Subject: Up on It's All Connected Hello All-- I have started to post translations in progress to my blog, It's All Connected, (http://itsallconnected.wordpress.com ). The first one is up; it's the Poet's Preface to the Shahnameh, which is the Persian national epic. If you have a chance, give it a read and let me know what you think. Thanks, Richard Richard Jeffrey Newman Associate Professor, English Nassau Community College One Education Drive Garden City, NY 11530 O: (516) 572-7612 F: (516) 572-8134 Department Office: (516) 572-7185 newmanr@ncc.edu ========================================================================= Date: Fri, 6 Oct 2006 21:06:47 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Hot Whiskey Press Subject: You will be rocked! MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline Thursday October 12, 2006 8pm at Trident Booksellers Anselm Hollo, Amy Matterer, Christopher Ryan and Kate Spencer You will be rocked. You will be rolled. You will leave with big fat poetry in your ears. Check www.hotwhiskeypresents.blogspot.com or email us for more info and to see the sweet ass poster Jennifer designed. -- Hot Whiskey Press www.hotwhiskeyblog.blogspot.com www.hotwhiskeypress.com ========================================================================= Date: Fri, 6 Oct 2006 21:56:16 -0700 Reply-To: editor@pavementsaw.org Sender: UB Poetics discussion group From: David Baratier Subject: Re: no subject In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit >>>hi can you take off your emailing list. >>You first. Preferably in a gradual, trochaic hexameter pattern of removal. Be well David Baratier, Editor Pavement Saw Press PO Box 6291 Columbus, OH 43206 http://pavementsaw.org ========================================================================= Date: Sat, 7 Oct 2006 09:46:30 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Lori Emerson Subject: CFP: bpNichol + 20 (04/01/2007; journal issue) MIME-Version: 1.0 Content-Type: text/plain; charset=WINDOWS-1252; format=flowed Content-Transfer-Encoding: quoted-printable Content-Disposition: inline Please forward far and wide! thank you, Lori =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 CFP: bpNichol + 20 (04/01/2007; journal issue) CALL FOR SUBMISSIONS Deadlines: 1 December 2006 for proposals; 1 April 2007 for finished essays Journal: Open Letter, A Canadian Journal of Writing and Theory Guest Editor: Lori Emerson "What often happens on the death of an author is that an institutional group of textual custodians comes into being=97scholars and editors who present themselves as caring as passionately about that author's text as the author once did...Much of this kind of activity...is celebratory rather than productive or critical, even, or perhaps especially, when it purports to offer no more than readings or explications...Most of those interested in continuing to author Nichol texts have been other writers. Most of these have been writers of his own generation, and most have been his friends. There has been little sign yet of scholars who hope to focus their careers on Barrie's work." =97Frank Davey Open Letter is seeking essays for a special issue dedicated to "bp Nichol + 20". As a follow-up to the 1998 issue of Open Letter "bpNichol + 10," we hope to reenliven and, especially, broaden the critical landscape of Nichol's works. The editors are particularly interested in critical/critical-creative submissions from young and emerging scholars/writers who are part of a generation that never knew "Barrie" or "beep." Submissions could address: *Nichol's essays, sound poems, visual poems, novels, pamphlets, broadsides, computer-poems, script writing, collaborations, ephemera etc. and, of course, The Martyrology *his work with Therafields, the TRG, the Four Horsemen, the Tish poets etc. *his literary inheritors *his literary and/or philosophical influences *the issue of autobiography in relation to his work *his critical reception outside of Canada and/or the U.S. However, the above list is merely suggestive. SUBMISSION GUIDELINES Please send proposals to Lori Emerson (lori.emerson@gmail.com) by 1 December 2006. Notifications of acceptance will be made no later than 15 January 2007. Finished essays will be appreciated by 1 April 2005 and should not exceed 3500 words in length. For more information on Open Letter please visit http://publish.uwo.ca/~fdavey/home.htm ========================================================================= Date: Sat, 7 Oct 2006 09:53:58 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Ruth Lepson Subject: Re: You will be rocked! In-Reply-To: <4b2211bd0610062006y583dd75avdb4df92ca5099be1@mail.gmail.com> Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit in Boston? On 10/6/06 11:06 PM, "Hot Whiskey Press" wrote: > Thursday October 12, 2006 8pm at Trident Booksellers > > Anselm Hollo, Amy Matterer, Christopher Ryan and Kate Spencer > > You will be rocked. You will be rolled. You will leave with big fat > poetry in your ears. > > > > Check www.hotwhiskeypresents.blogspot.com or email us for more info > and to see the sweet ass poster Jennifer designed. > ========================================================================= Date: Sat, 7 Oct 2006 10:27:21 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Steve Dalachinsky Subject: Re: You will be rocked! Comments: To: wryting-l@listserv.wvu.edu MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit tonight 7 pm and tomorrow 3 pm ( workshop and reading ) in lowell mass. steve dalachinsky yuko otomo john voigt walter wright blaise sewula and mystic slide show at 119 gallery 119 chelmsford st lowell mass 1 978- 452- 8138 donation come on by if you're in the area ========================================================================= Date: Sat, 7 Oct 2006 11:42:39 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Larissa Shmailo Subject: Fem Poe reading 10/8 MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit SUNDAY, 10.8 / 5 pm: The Feminist Poets in Low-Cut Blouses present a "Love and Lust Reading" at the _Bowery Poetry Club_ (http://www.bowerypoetry.com/) featuring Larissa Shmailo, Iris N. Schwartz, Madeline Artenberg, Dorothy Friedman August, Frank Simone, Jean Lehrman, Erica Miriam Fabri, and Matthew K. Johnson. . Bowery Poetry Club/ 308 Bowery bet Houston and Bleecker /$6/ 212-712-9865 ========================================================================= Date: Sat, 7 Oct 2006 19:42:37 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Adam Morey Subject: Re: (no subject) In-Reply-To: <000d01c6e9a5$a0b267c0$37d04aca@victorrhur93qq> MIME-Version: 1.0 Content-Type: text/plain;charset=iso-8859-1 Content-Transfer-Encoding: 8bit I'm not wearing an emailing list. > hi can you take off your emailing list. > > > victort@woosh.co.nz > ========================================================================= Date: Sat, 7 Oct 2006 16:48:39 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Chris Stroffolino Subject: Re: (no subject) In-Reply-To: <4004.169.226.249.172.1160264557.squirrel@webmail.albany.edu> Mime-Version: 1.0 (Apple Message framework v752.2) Content-Transfer-Encoding: 7bit Content-Type: text/plain; charset=US-ASCII; format=flowed Adam--- I think victort@whoosh means "take back your emailing list"--- ya know, like in Guys and Dolls-- "take back your mink, take back your pearls what made you think, that I was one of those girls---I'm SCREAMING!" (ah, the proto-feminist poets in low-collared blouses!) On Oct 7, 2006, at 4:42 PM, Adam Morey wrote: > I'm not wearing an emailing list. > >> hi can you take off your emailing list. >> >> >> victort@woosh.co.nz >> ========================================================================= Date: Sat, 7 Oct 2006 17:43:15 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Catherine Daly Subject: FW: LA-Lit 1 Year Anniversary Show MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: quoted-printable LA-Lit 1 Year Anniversary Show at Betalevel (http://betalevel.com/directions) Sunday October 15 at 3pm LA-Lit celebrates its one year anniversary with a discussion of the experimental literary scene in Los Angeles. Previous guests on the show = will participate in a panel discussion from 3pm-5pm, then give readings = beginning at 7pm. Also! Poetic Service Announcements!!! Topics of discussion may include: LA-Lit - is there one? Is an identifiable literary community important to Los Angeles? Have old structures of organization become useless to us? - rhizomatic communities vs bureaucratic organiztion What are specific methods that could be used to create/grow literary community? What role can experimental poetics play in the creation of community?=20 Eccentric or outside, off-center. is there no center?=20 How to define our own 'decentered' spontaneous connectivity? For consideration, a cloud. political activism . ecopoetics . urban poetics . art in the context of world-wide brutality . art and activism . the art of protest . = collaborative art/poetics . poetic people power . social experiments . the poetics of daily life in an urban setting . momentary poetics . poetic manifestos . postwar culture . the public avant-garde . feminisms . post-avant . = activist communities . poetic terrorism . anti-poetics . poetic recreation . textual/poetic extremeties . small poetic world/brutal surrounding world = . poetic/activist pleasure . urban nature . a world of cities . cultural activism . street poetics . uncontrollable space of the urban event . community fences/border walls Hope to see you there,=20 Matt & Steph --=20 The following information is a reminder of your current mailing list subscription:=20 You are subscribed to the following list:=20 LA-Lit =09 using the following email: cadaly@comcast.net You may automatically unsubscribe from this list at any time by=20 visiting the following URL: If the above URL is inoperable, make sure that you have copied the=20 entire address. Some mail readers will wrap a long URL and thus break this automatic unsubscribe mechanism.=20 You may also change your subscription by visiting this list's main = screen:=20 If you're still having trouble, please contact the list owner at:=20 The following physical address is associated with this mailing list:=20 la-lit@la-lit.com ========================================================================= Date: Sat, 7 Oct 2006 17:56:41 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jennifer Karmin Subject: WALKING POEM: call for submissions MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit WALKING POEM: call for submissions **************************************** "the big steel sculpture that looks at once like a bird and a woman" - Chicago Sun-Times, 8/15/67 I am collecting writing about walking in cities. This writing may take any shape or form -- poem, story, essay, letter, etc. All writing will be used to create a Walking Poem for "Chicago Calling: a 24-Hour Arts Festival" (http://www.chicagocalling.org). Starting from the Chicago Picasso statue, I will walk and navigate the city using the collected writing as my map. Once read outloud, each piece will be given away to passing pedestrians. A gesture similar to Pablo Picasso's, who gave his sculpture as a "gift to the people of Chicago" and refused a fee for this work. SUBMISSION DEADLINE: *October 23, 2006 SUBMIT: *All writing will considered for 2007-08 publication. *Send published or unpublished writing. *Choose and send one direction: forward, backwards, right or left. *Choose and send one number: 1 - 92 (Picasso's age at death). CONTACT: *Email submissions as word attachment with subject: WALKING POEM to jkarmin@yahoo.com *Snail mail submissions to Jennifer Karmin 2652 W.Evergreen, 2R Chicago, IL 60622 "CHICAGO CALLING: a 24-Hour Arts Festival" ******************************************** Chicago-based artists will showcase performances and projects that involve collaborations with artists living in other locations — here in the U.S. and in other countries worldwide. Artists involved with "Chicago Calling" work in a range of media, including: music, painting, photography, poetry, and dance. Their collaborations will be prepared, improvised, or a combination of both. Some will involve live feeds between Chicago and elsewhere. The first "Chicago Calling" event will begin at 12 a.m. on Wednesday, October 25th and the final event will end at midnight on that day. October 25th was chosen as the date of "Chicago Calling" because it is Pablo Picasso’s birthday. __________________________________________________ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com ========================================================================= Date: Sat, 7 Oct 2006 23:21:00 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Peter Ciccariello Subject: War of context MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline War of context -- Peter Ciccariello Image - http://invisiblenotes.blogspot.com/ ========================================================================= Date: Sat, 7 Oct 2006 21:03:50 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: AG Jorgensen Subject: Poetry: Do you ever get the feeling? In-Reply-To: <8f3fdbad0610072021t416e604s4ccd64006d262427@mail.gmail.com> MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Does anyone ever get the feeling that we're, in fact, killing poetry and that most of us just don't have anything really very interesting to say - because many of us are, well, just not very interesting and then, of course, elitest to boot, as they say? Just a question. AJ --- "Our best security, our only security, is in the world of ideas, and I sense a slight foreboding," he said.-- Justice Anthony Kennedy __________________________________________________ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com ========================================================================= Date: Sun, 8 Oct 2006 11:10:20 +0200 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Andrew Jones Subject: Re: Poetry: Do you ever get the feeling? In-Reply-To: <20061008040350.29973.qmail@web54603.mail.yahoo.com> MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline Poetry will die with the last person, but the rest is probably true. Maybe poetry should start from the premise "We have nothing to say." the soul is a happiness considered but the bread of philosophy molds with the fading of intentions there is so little to say the one tongue mistranslates the five senses On 10/8/06, AG Jorgensen wrote: > Does anyone ever get the feeling that we're, in fact, > killing poetry and that most of us just don't have > anything really very interesting to say - because many > of us are, well, just not very interesting and then, > of course, elitest to boot, as they say? Just a > question. > > AJ > > --- > "Our best security, our only security, is in the world of ideas, and I sense a slight foreboding," he said.-- Justice Anthony Kennedy > > __________________________________________________ > Do You Yahoo!? > Tired of spam? Yahoo! Mail has the best spam protection around > http://mail.yahoo.com > ========================================================================= Date: Sun, 8 Oct 2006 09:05:07 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jeffrey Side Subject: Can someone contact Kent Johnson for me? An email I sent to Kent Johnson in response to his query asking if I'd like to see an interview he did with John Bradley, was bounced back to me. Can someone tell him that I'm interested? Thanks. Jeff Side ========================================================================= Date: Sun, 8 Oct 2006 11:01:41 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Lori Emerson Subject: looking for John Havelda MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline If anyone has John Havelda's email address, could you please send it on to me? Thanks! - Lori ========================================================================= Date: Sun, 8 Oct 2006 11:00:09 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: AG Jorgensen Subject: Re: Poetry: Do you ever get the feeling? In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit how you like to say your sad giggling by that 1000 year old tree --- "Our best security, our only security, is in the world of ideas, and I sense a slight foreboding," he said.-- Justice Anthony Kennedy __________________________________________________ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com ========================================================================= Date: Sun, 8 Oct 2006 13:53:14 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Tom Beckett Subject: Unprotected Texts: Selected Poems (1978-2006) by Tom Beckett... MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit is available for purchase from Small Press Distribution. Go here: http://www.spdbooks.org/SearchResults.asp?AuthorTitle=unprotected+texts ========================================================================= Date: Sun, 8 Oct 2006 14:19:28 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jeffrey Side Subject: Regarding: "Can someone contact Kent Johnson for me?" Thanks for the responses. I think I can get through to him now. ========================================================================= Date: Sun, 8 Oct 2006 13:01:26 -0700 Reply-To: Tim Peterson Sender: UB Poetics discussion group From: Tim Peterson Subject: Walk Don't Destory Brooklyn: Two Weeks left =?ISO-8859-1?Q?=96?= would you sponsor me? MIME-Version: 1.0 Content-type: text/plain; charset=US-ASCII Walk Don't Destroy 2 is an opportunity to raise money and awareness for the Develop Don't Destroy Legal Fund -- won't you please help me? Dear Poetics List, On October 21st, I'm walking with Develop Don't Destroy Brooklyn to end eminent domain abuse, massive over-development and the destruction of the Brooklyn we know and love. Help me stop Forest City Ratner’s land grab and ensure a better future for our neighborhoods by raising money for the Develop Don't Destroy Legal Fund. DDDb's legal team is preparing for major litigation over eminent domain, environmental degradation and the misappropriation of publicly owned property. Some of the legal cases are already underway, thanks to the donations we received last year. There are just over two weeks left before my walk -- won't you please contribute to the effort by sponsoring me to raise money and awareness? Login to visit my personal web page and help me in my efforts to support Develop Don't Destroy Brooklyn ****************************************************************************** Some email systems do not support the use of links and therefore this link may not appear to work. If so, copy and paste the following into your browser: http://dddb.kintera.org/faf/r.asp?t=4&i=183560&u=183560-146559433&e=783173577 ****************************************************************************** Tim Peterson ========================================================================= Date: Sun, 8 Oct 2006 18:14:27 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Eric Yost Subject: Re: Poetry: Do you ever get the feeling? In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit >>Does anyone ever get the feeling that we're, in fact, killing poetry and that most of us just don't have anything really very interesting to say - because many of us are, well, just not very interesting and then, of course, elitest to boot, as they say? If you want real bores and louts, check the lives of famous poets. It's almost as though poetry has nothing to do with the lives of its creators. Take this excerpt from _Dream Song, The Life of John Berryman_, by Paul Mariani. It describes the way Roethke behaved at a party thrown by Edmund Wilson. _____ Soon Wilson was asking Berryman what he thought of Roethke's poetry. He had yet to meet the man, Berryman told him, but he had only praise for his poems. On the strength of that recommendation, Wilson invited Roethke to a party Christmas night. . . . . at nine o'clock that evening, Roethke's large 'aggressively sober' frame appeared in the doorway with several of his friends. When Wilson introduced Roethke to Berryman, Roethke acted as if he'd never heard the name. Roethke began by swilling tomato juice and flirting with the female guests. But when he saw Wilson sitting on the couch, he plopped down next to him, demanding that Wilson 'blow' the party and come upstairs so he could show him his poems. Wilson explained that as host he couldn't very well be expected to abandon his guests. Then Roethke was grabbing at Wilson's jowls and telling one of America's most powerful critics he was 'all blubber.' Wilson countered by calling Roethke a half-baked Bacchus and ordering him to leave. As he stormed toward the door, Roethke ran into Allen Tate's daughter, Nancy, and her husband, Dr. Wood. Mrs. Wilson, trying to make some introductions, awkward at best since Roethke was being thrown out, explained that Dr. Wood was a psychiatrist. Then, when Wood reached out to shake Roethke's hand, Roethke, thinking he was about to be restrained, lashed out and hit him. Roethke's friends hastily tried to explain that it was all a misunderstanding, that Roethke had never hit anyone before, even as they rushed him out the door and the tired year slammed shut behind them. ========================================================================= Date: Sun, 8 Oct 2006 21:37:34 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Dan Raphael Subject: Re: do you ever get the feeling Comments: To: david abel , Casey Bush , Willie Smith , margareta waterman In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit poetry, as ive seen it, is a reaction between language (as a cultural entity) and the poet's experience. as young writers we learn about language and others' experiences with it ('literature'). tempered by what reactions with the outside world our current selves/experiences allow. the angle of the relationship between personal experience and linguistic depth/knowledge may be factored in as vision or talent (which usually can't be explained). we work with language because of some craving/need, that language may or may not be a path toward solving > > ---------------------------------------------------------------------- > > Date: Sat, 7 Oct 2006 21:03:50 -0700 > From: AG Jorgensen > Subject: Poetry: Do you ever get the feeling? > > Does anyone ever get the feeling that we're, in fact, > killing poetry and that most of us just don't have > anything really very interesting to say - because many > of us are, well, just not very interesting and then, > of course, elitest to boot, as they say? Just a > question. > > AJ > > ========================================================================= Date: Mon, 9 Oct 2006 07:02:01 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Pierre Joris Subject: Recent posts on Nomadics Mime-Version: 1.0 (Apple Message framework v752.2) Content-Transfer-Encoding: quoted-printable Content-Type: text/plain; charset=WINDOWS-1252; format=flowed Recent Nomadics blog posts: Jerome Rothenberg in Albany Monday Night Experimental Cabaret Oskar Pastior (1927-2006) More from Meddeb Kingdom Come, 1000 buddhas, Walt & Mearsheimer book Twixt Art & Politics: the History of Pacifica New Media, Poetry & Poetics can be found at: http://pjoris.blogspot.com =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 "Fascism should more properly be called corporatism,since it is the merger of state and corporate power." =97 Benito Mussolini =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 Pierre Joris 244 Elm Street Albany NY 12202 h: 518 426 0433 c: 518 225 7123 o: 518 442 40 71 Euro cell: 011 33 6 79 368 446 email: joris@albany.edu http://pierrejoris.com Nomadics blog: http://pjoris.blogspot.com =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: Mon, 9 Oct 2006 05:08:06 -0700 Reply-To: rsillima@yahoo.com Sender: UB Poetics discussion group From: Ron Silliman Subject: Silliman's Blog, Silliman's Blurb MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit http://ronsilliman.blogspot.com/ RECENT POSTS A response to Elizabeth Treadwell Battlestar Galactica -- replaying Iraq on the colony of New Caprica Prose and verse seen not as oppositional poles in the new chapbook by Aaron Kunin Some links to visual arts and especially the issue of women visual artists The poems of Gael Turnbull a major “New American poet” who wasn’t American at all The coming closure of Coliseum Books Neo-modernism in the novellas of Debra Di Blasi John Ashbery reading in a coffee house in Providence R.I. A Flarf fest in Carlisle, PA The poetics of Minton Sparks Southern story teller The songs of Dave Carter (and the singer/songwriter tradition) The enigmatic poetics of Beverly Dahlen On poetry in Iran and Nigeria Who needs to read? Eileen Tabios channels Gabriela Silang Translating translation in the Mauve Desert by Nicole Brossard Lots of frosting on very little cake – Aaron Sorkin and Studio 60 Context as a material of art in the work of Hai Bo, Yoko Ono et al in the galleries of New York http://ronsilliman.blogspot.com/ ========================================================================= Date: Mon, 9 Oct 2006 08:52:38 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Dan Waber Subject: Synaesthesian Alphabet, by Amanda Earl Comments: To: announce@logolalia.com MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii As we wave goodbye to the z of Dan Waber's abecedarius cycle, it's time to wave hello to the a of the Synaesthesian Alphabet by Amanda Earl. New series starting today at: http://www.logolalia.com/abcdefghijklmnopqrstuvwxyz/ Regards, Dan Submissions of artworks based around the complete sequence of the roman alphabet which can be presented a letter at a time over the course of 26 days are invited. ========================================================================= Date: Mon, 9 Oct 2006 06:34:47 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Ram Devineni Subject: Rattapallax DVD the main feature at Zebra Film Festival, Berlin MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Dear Friends: Rattapallax DVD will be the main feature at the Zebra Poetry Film Festival in Berlin from October 11-14, 2006. A selection of past winners from the Zebra Poetry Film Festival is included on the DVD. More info at http://www.literaturwerkstatt.org/index.php?id=199 Rattapallax DVD is a fusion between contemporary writing and film. Featured in the DVD are films and audio works by Abbas Kiarostami, Takeshi Kitano, Joyce Carol Oates, Ishle Park, Paul Bowles, Sherman Alexie, Elvira Hernandez, Fabrício Carpinejar, Anne Waldman, Martín Espada, Arnaldo Antunes and many others. ONLY $6 More info at http://www.rattapallax.com/dvds.htm ---- AIC-CYPHER SALON Thursday, October 19, 2006 at 7pm. NY-born vocalist and poet Haale weaves Persian melodies through a lush soundscape. Screening of Abbas Kiarostami & Daniel Mitelpunkt's Forest Without Leaves, and Oscar nominated short, Little Terrorist & Contours of Staying by caraballo-farman. Also, a special screening of Tala Hadid's Your Dark Hair Ihsan. This event is co-sponsored by ArteEast. More info at http://www.rattapallax.com/salon_10192006.htm An innovative new series fusing renowned poets and writers with award-winning short films from leading international film festivals. The free series, AIC-CYPHER Salon, is organized by Academia Internacional de Cinema and Cypher. Occurs every third Thursday of the month at the Jonathan Shorr Gallery in SoHo, NYC and is sponsored by Filmmovement.com and Pampero Rum. All the events are FREE. Cheers Ram Please send future emails to devineni@rattapallax.com for press ========================================================================= Date: Mon, 9 Oct 2006 14:10:08 +0000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Edmund Hardy Subject: Peter Hughes - Berlioz In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; format=flowed Hello, "Intercapillary Space" would like to announce the online serial publication of a new sequence by Peter Hughes: 'Berlioz' http://intercapillaryspace.blogspot.com/2006/02/berlioz.html The cover illustration is 'Onset of inspiration: collapse of the wave function' by Peter Hughes 2. my eldest sister & I took first communion at the convent we left at six in the sacred spring morning trembling with family irritation in poplar leaves & fingers anticipation a speechless host young women in white the crass priest called me first as I was male but a deeper music had swung in around & through me all lacewinged mystical & glandular ========================================================================= Date: Mon, 9 Oct 2006 09:59:14 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Chris Stroffolino Subject: Re: Nickels on Laura Riding at SPT this Fri 10/6 In-Reply-To: Mime-Version: 1.0 (Apple Message framework v752.2) Content-Type: text/plain; charset=WINDOWS-1252; delsp=yes; format=flowed Content-Transfer-Encoding: quoted-printable > Coz of a health crisis I couldn't make this---Was anybody there? I'm =20 curious how it went....thanks, Chris > suppositions. In works such as Anarchism Is... Riding claims that =20 > the modernist ideals of authorial impersonality and formal =20 > experimentation are unconsciously derived from a capitalist public =20 > sphere characterized by economic anonymity, gratuitous innovation, =20 > and the inability to regulate social production. More than this, =20 > she claims that modernism=92s attempts to evoke the possibility of =20 > social change through literary modes of linguistic repatterning =20 > merely mirror the workings of ideology, in which the illusion of =20 > free choice is generated within a structure that is completely =20 > administered from above. Riding=92s critique, therefore, signals a =20 > crisis not merely in modernism=92s claims to be =91anti-systemic,=92 = but =20 > also in contemporary writing that accords anti-systemic =20 > significance to poetic bricolage, parataxis, and the =91free play=92 = of =20 > linguistic signification. On Oct 2, 2006, at 9:52 AM, Small Press Traffic wrote: > Small Press Traffic is pleased to present the first of our =20 > Predecessors Lectures > > Joel Nickels on Literature as Hypnosis: Laura Riding=92s Critique of =20= > Modernism > > Friday, October 6, 2006 at 7:30 p.m. > > Nickels writes: =93Among contemporary experimental poets, Laura =20 > Riding enjoys a measure of celebrity, in part because she is =20 > thought of as an =91anti-systemic=92 poet, in part because of her =20 > attempts to disperse writerly authority by calling attention to the =20= > instability of the linguistic sign. For these reasons, Riding is =20 > sometimes even considered a precursor to postmodern poetries that =20 > are defined by their attention to the =91materiality of the =20 > signifier.=92 In this talk I=92ll provide a critical introduction to =20= > Riding=92s poetics, focusing on what it can teach us about the =20 > methods and self-understandings of contemporary experimental =20 > writing. Central to my investigation will be Riding=92s relentless =20 > critique of modernism. Although she helped canonize many of the =20 > authors we now think of as =91modernist=92 in her 1927 A Survey of =20 > Modernist Poetry, Riding also provided one of the earliest, and =20 > most conceptually rich, indictments of modernism=92s epistemologies =20= > and political presuppositions. In works such as Anarchism Is Not =20 > Enough, The Telling, and The Word =91Woman=92 and Other Writings, =20 > Riding claims that the modernist ideals of authorial impersonality =20 > and formal experimentation are unconsciously derived from a =20 > capitalist public sphere characterized by economic anonymity, =20 > gratuitous innovation, and the inability to regulate social =20 > production. More than this, she claims that modernism=92s attempts to =20= > evoke the possibility of social change through literary modes of =20 > linguistic repatterning merely mirror the workings of ideology, in =20 > which the illusion of free choice is generated within a structure =20 > that is completely administered from above. Riding=92s critique, =20 > therefore, signals a crisis not merely in modernism=92s claims to be =20= > =91anti-systemic,=92 but also in contemporary writing that accords = anti-=20 > systemic significance to poetic bricolage, parataxis, and the =91free =20= > play=92 of linguistic signification. By positing a poetic agent who =20= > is everywhere and nowhere, who drifts impartially through social =20 > space, and who translates intuitions of political possibility into =20 > carefully orchestrated formal disjunctions, such poetries, she =20 > claims, merely reaffirm the logic of commodity-exchange and pseudo-=20 > democratic social hypnosis. But what resources are left, then, for =20 > those of us who still hope to find a place for political =20 > exploration and dissent in imaginative writing? By exploring =20 > Riding=92s poetry and prose, with special attention to her long, =20 > strange epistolary collaboration, The World and Ourselves, I =20 > propose a few new answers to this question. They stem from Riding=92s =20= > distinctions between disembedded vs. embedded poetic =20 > subjectivities, experimental vs. reciprocal modes of composition, =20 > and overproductionist vs. proportionate social economies. By =20 > revisiting these conceptual distinctions, which were born of the =20 > aesthetic and political crises of the 1930s, I aim to resuscitate =20 > one of the earliest and most powerful critiques of modernism, and =20 > ask to what extent it may be used to interrogate the forms of =20 > impersonalist, disembedded epistemology that are still at work in =20 > some contemporary writing.=94 > > Joel Nickels is a doctoral candidate at U. C. Berkeley, where he =20 > teaches English composition. He is currently completing a =20 > dissertation on the relationship between modernism=92s models of =20 > creative production and its figurations of political agency. He has =20= > served as editor of the interdisciplinary journal, Qui Parle, and =20 > founded the Townsend Center working group, Phenomenology Now. At =20 > the moment, he=92s also commuting to Fremont and San Francisco to =20 > teach high school enrichment classes in writing and critical thought. > > > $5-10 sliding scale, free to current SPT members & CCA community > directions & map: > http://www.sptraffic.org/html/fac_dir.html > > > > Elizabeth Treadwell, 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, 9 Oct 2006 13:45:48 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Michael Kelleher Subject: JUST BUFFALO E-NEWSLETTER 10-09-06 MIME-Version: 1.0 Content-Type: text/plain; format=flowed; charset=UTF-8 Content-Transfer-Encoding: quoted-printable There is a lot going down this week. Make sure to read all the way down, a= ttend. ON WORDS: A SYMPOSIUM ON THE LIFE AND WORK OF ROBERT CREELEY Buffalo, NY, October 12-14, 2006 READING Thursday October 12, 8 P.M. Rosmarie Waldrop and Robin Blaser. Trinity Church 371 Delaware Ave. TALKS Friday October 13. Poetry Collection 420 Capen Hall, UB NORTH CAMPUS 10 a.m. Benjamin Friedlander: =22What is Experience?=22 11 a.m. Alan Golding: =22Seriality in Creeley's Poetry.=22 1.30 p.m. Michael Gizzi: =22Robert Creeley: Music on Words.=22 2.30 p.m. Peter Middleton: =22Creeley Teaching.=22 3.30 p.m. Rachel Blau du Plessis: =22Death and Sexual Difference in later Creeley.=22 READING Friday October 13, 8 p.m. Susan Howe and John Ashbery. Trinity Church, 371 Delaware Ave. TALKS Saturday October 14. Trinity Church Chapel, 371 Delaware Ave. 10 a.m. Stephen Fredman: =22Talk as Action: Robert Creeley, Bob Dylan and the Art of the Interview.=22 11a.m. Michael Davidson: =22'the repeated / insistence': Creeley's Rage.= =22 1.30 p.m. Charles Altieri: =22Why does Echoes Echo?=22 2.30 p.m. Peter Quartermain: =22Momently.=22 3.30 p.m. Marjorie Perloff: =22Creeley as Radical Poet.=22 READING Saturday October 14, 8 p.m. Charles Bernstein and Ann Lauterbach. All events are free and open to the public. Parking in lot behind church. JUST BUFFALO INTERDISCIPLINARY EVENT Just Buffalo Interdisciplinary Event Dues Don=E2=80=99t Stop the Blues Video Screening/Poetry Reading: Arthur Taylor In person Saturday, October 14, 7 p.m. Hallwalls, 341 Delaware Avenue, Buffalo =245, =244 students/seniors/=243 Just Buffalo/Hallwalls members JUST BUFFALO OPEN READINGS Just Buffalo Open Reading Featured: Mary O'Herron Wednesday, October 11, 7 p.m. Carnegie Art Center 240 Goundry St., North Tonawanda 10 open slots: all readers welcome=21 Just Buffalo Open Reading Featured: Gene Grabiner Sunday, October 15, 7 p.m. Rust Belt Books, 202 Allen St., Buffalo 10 open slots: all readers welcome=21 FALL WORKSHOPS All workshops take place in Just Buffalo's Workshop/Conference Room At the historic Market Arcade, 617 Main St., First Floor -- right across fr= om Shea's The Market Arcade is climate-controlled and has a security guard on duty at= all times. To get here: Take the train to the Theatre stop and walk, or park and enter on Washingto= n Street. Free parking on Washington Street evenings and weekends. Two-dollar parking in fenced, guarded, M & T lot on Washington. Visit our website for detailed descriptions, instructor bios, and to regist= er online. UPCOMING WORKSHOPS: POETRY WRITING: Poetry and Memory A Poetry Workshop For Poets of All Levels Instructor: Barbara Cole Four Tuesday Evening Sessions: October 17, 24, 31; November 7, 7-9 p.m. In the Just Buffalo Workshop Room Market Arcade Building, 617 Main St., First Floor. =24100, =2480 memberS COLLEGE ESSAY WRITING: Writing Your Way Into Higher Education -- A Workshop on the College Essay Instructor: Gary Earl Ross=C2=A0 Wednesdays: Oct. 25, Nov. 1, 8, 15, 4:15-5:30 p.m. In the Just Buffalo Workshop Room Market Arcade Building, 617 Main St., First Floor.=C2=A0 =2470, =2450 members Registration Deadline: October 23 CREATIVITY: The Tao of Writing A Creativity Workshop for Writers of All Levels Instructor: Ralph Wahlstrom 4 Thursdays, November 2, 9, 16, and 30, 7-9 p.m. In the Just Buffalo Workshop Room Market Arcade Building, 617 Main St., First Floor. =24100, =2480 member SONG LYRICS: Turning Poems Into Song Lyrics A Special Session For Aspiring Songwriters and Poets Instructor: Grammy Award-Winning Poet/Lyricist Wyn Cooper Tentative Date: Tuesday, November14, 7-9 p.m. In the Just Buffalo Workshop Room Market Arcade Building, 617 Main St., First Floor. =2450. =2440 for members JOIN JUST BUFFALO ONLINE=21=21=21 If you would like to join Just Buffalo, or simply make a massive personal d= onation, you can do so online using your credit card. We have recently added the abilit= y to join online by paying with a credit card through PayPal. Simply click on the me= mbership level at which you would like to join, log in (or create a PayPal account u= sing your Visa/Amex/Mastercard/Discover), and voil=C3=A1, you will find yourself in l= iterary heaven. For more info, or to join now, go to our website: http://www.justbuffalo.org/membership/index.shtml JUST BUFFALO WRITER'S CRITIQUE GROUP Members of Just Buffalo are welcome to attend a free, bi-monthly writer cri= tique group in CEPA's Flux Gallery on the first floor of the historic Market Arca= de Building across the street from Shea's. Group meets 1st and 3rd Wednesday at 7 p.m. = Call Just Buffalo for details. LITERARY BUFFALO UB HUMANITIES INSTITUTE Oct. 11, 3:30 p.m., UB Poetry/Rare Books Room, 420 Capen Hall, North Campus Literary talks: 'Grief's Its Proper Mode': Robert Duncan Re-Enters Caesar's Gate in 1972 Stephen Fredman, Univ. Notre Dame & 2006 UB David Gray Fellow Poetic-In-Justice: 1960s U.S. Poetry in the Courtroom Susanne E. Hall, Univ. California, Irvine & UB Charles D. Abbott Fellow RUST BELT BOOKS ETHAN PAQUIN & MARTEN CLIBBENS Poetry Reading 7 p.m. Wednesday, October 11 Rust Belt Books 202 Allen Street HALLWALLS Earth's Daughters Collective's Gray Hair Reading Series Sally Fiedler and Ann Goldsmith Poetry Reading Wednesday, October 11, 7:30 p.m. Hallwalls Cinema at The Church, 342 Delaware (at Tupper) CANISIUS COLLEGE Second Annual Canisius College Writers Series Poetry and Fiction Readings by Mick Cochrane, Sandra Cookson, Janet McNally= , Barbara Porter Thursday, October 12, 2006, 7 p.m. Grupp Fireside Lounge, Winter Center, Canisius College TALKING LEAVES BOOKS ARTIST TO UNVEIL NEW COMIC BOOK AT TALKING LEAVES ELMWOOD Charmaine Wheatley, a Brooklyn based artist who held a residency through th= e SUNY =E2=80=93Buffalo Art Gallery this summer, will unveil her new comic book, = Beau Fleuve: the Heart of North America, on Saturday, October 14, at 11 am at Talking Leaves= =E2=80=A6 Elmwood, 951 Elmwood Avenue. The new comic is based on work done for the residency, and features a number of local residents. The book release and = the signing are being held in conjunction with an exhibition of her work at the Carnegi= e Art Center in North Tonawanda, curated by Sandra Q. Firmin, on view through October 20= =2E The book signing is free and open to the public. Copies of Beau Fleuve will be= available for purchase. NEW READING VENUE. BUDDIES 2 at the corner of Franklin & West Mohawk is now holding a poetry/short story= open mike nite regularly at 7:30- 9:30 the 4TH THURSDAY of every month=21=21=21=21 Th= is is a forum for GLBT readers & varied audiences to hear local GLBT voices writing, but perh= aps not reading, in the commmunity at large. Seating limited, arrive early for sign= up sheet . readers have a half hour per person -if they want it. Overflow readers will= be first on the program the following month. Visit our website to download a pdf of the October Literary Buffalo poster,= which list all of Buffalo's literary events. UNSUBSCRIBE If you would like to unsubscribe from this list, just say so and you will b= e immediately removed. _______________________________ Michael Kelleher Artistic Director Just Buffalo Literary Center Market Arcade 617 Main St., Ste. 202A Buffalo, NY 14203 716.832.5400 716.270.0184 (fax) www.justbuffalo.org mjk=40justbuffalo.org ========================================================================= Date: Mon, 9 Oct 2006 13:30:31 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Stephen Vincent Subject: Publication of Exploring The Bancroft Library - Spicer, Whalen, etc. Comments: To: UK POETRY , "Poetryetc provides a venue for a dialogue relating to poetry and poetics"@LISTSERV.BUFFALO.EDU, POETRYETC@JISCMAIL.AC.UK Mime-version: 1.0 Content-type: text/plain; charset="ISO-8859-1" Content-transfer-encoding: quoted-printable I am happy to announce =AD after four years of editorial work, no less! =AD the extraordinarily beautiful publication of: Exploring The Bancroft Library: The Centennial Guide to Its Extraordinary History, Spectacular Special Collections, Research Pleasures, Its Amazing Future, and How It All Works Charles B. Faulhaber and Stephen Vincent, Editors The Bancroft Library / Signature Books 188 pages/ 152 illustrations (paintings, photographs, letters, records, etc.)=20 $39.95 (cloth) / $29.95 (paper) Order via Signature Books (www.signaturebooks.com) or ask your bookstore to order the volume from Baker & Taylor. For poets unable to visit the Library, the chapter on Rare Books and Literary Manuscripts includes a unique look at a felt-tip color page from Philip Whalen=B9s 1969 =B3Kyoto=B2 notebook (in part of which he announces that =B3Rip Torn Is Alive and Well in Kansas.=B2) The chapter also offers an =B3At Work=B2 essay by Kevin Killian on the value of the recent, substantial acquisition of a new Jack Spicer archive (via Robin Blazer), including illustrations of a notebook page from the poet=B9s Beowulf translation, as well as an intriguing, handsome collage of a poster he constructed to advertise the 1958 publication of Billy The Kid. The full dope: With Contributions by curators, and "At Work" in the Collection essays by scholars, poets and artists: Western Americana - Theresa Salazar "At Work" - Serendipity by Gray Brechin Latin Americana - Walter Brem & Charles B. Faulhaber Mexican Inquisition Documents by Gillian Boal "At Work" - Colonial Mexico by William Taylor Pictorial Collection - Jack Von Euw "At Work" - Land Grant Research by Elise Brewster Rare Books and Literary Manuscripts - Anthon S. Bliss "At Work" - Jack Spicer by Kevin Killian History of Science and Technology - David Farrell "At Work" - Rube Goldberg Collection by Cathryn Carson University Archives - David Farrell "At Work" - Community Conflict by Robert M. Berdahl Center for the Papyri Project - Todd Hickey "At Work" - Sacred Crocodiles by Dorothy J.Thompson Mark Twain Papers and Project - Robert Hirst "At Work" - A View of the Nineteenth Century by Robert Middlekauff Regional Oral History Office - Richard Candida Smith "At Work" - Dorthea Lange and Paul Taylor by Sandra S. Phillips If you have questions, please be in touch. Enjoy,=20 Stephen Vincent http://stephenvincent.net/blog/ Where currently is an account of The Soundeye Poetry Festival Cork, July 6 - 9/. ========================================================================= Date: Mon, 9 Oct 2006 17:16:09 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Eric Yost Subject: Re: do you ever get the feeling In-Reply-To: <4529D20E.5040205@aracnet.com> MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Dan wrote: poetry, as ive seen it, is a reaction between language (as a cultural entity) and the poet's experience. as young writers we learn about language and others' experiences with it ('literature') I know this is fashionable theory, but language (as a cultural entity) only exists in particular people at particular times. There is no disembodied Platonic Idea "language" out there ... except in abstract theory. True, we acquire a sense of the narratives of others as we read more throughout our lives. Yet we're not having an encounter with an abstraction called "language." We're learning the story of being human -- by particular narratives encountered at particular times. Hence the most significant feature of poetry and prose--a reader's identification with the narrative or the lyricism--cannot be accounted for by summoning an abstraction called "language." Compounding matters, my reaction to your definition is itself a form of abstraction, even as it tries to point away from abstractions. Put another way, our ability to ride a horse is NOT the result of an encounter with something called "horse-ness"; rather it comes from riding particular horses at particular times. Wondering if I'm seeking an abstract argument about concrete things or merely advancing a concrete argument about abstractions, Eric ========================================================================= Date: Mon, 9 Oct 2006 20:46:02 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: noah eli gordon Subject: Eight Experiments in Artifice Mime-Version: 1.0 Content-Type: text/plain; format=flowed Eight Experiments in Artifice: http://www.conjunctions.com/webcon/gordon2.htm ========================================================================= Date: Mon, 9 Oct 2006 22:13:31 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Caroline Crumpacker Subject: Bilingual Reading Series Mime-Version: 1.0 (Apple Message framework v749.3) Content-Transfer-Encoding: quoted-printable Content-Type: text/plain; charset=ISO-8859-1; delsp=yes; format=flowed Please join us on Sunday October 15 at 4pm as the Bilingual Reading Series presents "His Majesty's Stomach" a play in two acts by Sony Labou Tansi translated by Kristin Prevallet presented in collaboration with Verse Theater Manhattan and featuring: Tony Torn Patricia Spears Jones Rodrigo Toscano Richard Ryan Gabrielle David Jim Milton Tisa Bryant Lee Ann Brown Kristin Prevallet All at the Bowery Poetry Club 310 Bowery at East 1st Street between Bleecker & East Houston Admission is $7. A discussion will follow the event. SONY LABOU TANSI (1947-95), Congolese novelist and playwright, was =20 born in Za=EFre (now Democratic Republic of Congo). Made famous by the =20= successes of the Rocado Zulu Th=E9=E0tre, a theatre company he formed in = =20 1979, he achieved critical and popular acclaim with numerous plays =20 and novels influential particularly for their vivacious, fearless =20 language. His plays include Conscience de tracteur (1979), La =20 Parenth=E8se de sang (1981; Parentheses of Blood, 1986), Je soussign=E9 =20= cardiaque (1981), Antoine m'a vendu son destin (1986), Moi, veuve de =20 l'empire (1987), Qui a mang=E9 Madame d'Avoine Berghota? (1989) and Une =20= chouette petite vie bien os=E9e (1992). Based on universal themes yet =20= going to the heart of the Congolese ambience, many of his plays were =20 popular in Africa as well as Europe, where he often toured. He is =20 also well known for his novels, which are challenging in their =20 narrative style and content and always critical of the 'barbaric =20 attitude of man against man'. They include La Vie et demie (1979), =20 L'=C9tat honteux (1981), L'Ant=E9peuple (1983; The Antipeople, 1988), = Les =20 Sept solitudes de Lorsa Lopez (1985; The Seven Solitudes of Lorsa =20 Lopez, 1995), and Les Yeux du volcan (1988). (http://people.africadatabase.org/en/profile/2812.html) *** And coming soon... November 17, 4 PM: A reading for Cole Swensen's La Presse = featuring =20 Sarah Riggs and Marie Bore...and special guests December & January: Off February 18, 4 PM: Louise Landes Levi reading her = translations of =20 Mira Bai and Henri Michaux March 18, 4 PM Diana Alvarez-Amell reading her = translations of =20 Ra=FAl Rivero April 15, 4 PM: Reading for Faraj Bayraqdar's = new collection "Dove =20 in Free Flight" edited by Ammiel Alcalay, with translations from the New York Translation = Collective May 20, 4 PM: TBA June 17, 4 PM: A reading for the Talisman Anthology of = Chinese =20 poetry, with editor Zhang Er As ever, please let me know if you would like to be removed from this =20= list or if you are getting these announcements more than once...= ========================================================================= Date: Mon, 9 Oct 2006 22:26:59 -0400 Reply-To: mnichol6@gmu.edu Sender: UB Poetics discussion group From: Mel Nichols Subject: DC, 10/14, Ben Doyle and Sandra Miller, Pyramid Atlantic Art Center MIME-Version: 1.0 Content-Type: text/plain; charset=WINDOWS-1252; format=flowed Content-Transfer-Encoding: quoted-printable Content-Disposition: inline R U T H L E S S G R I P P O E T R Y S E R I E S @ Pyramid Atlantic Art Center 8:00PM, October 14, 2006 BEN DOYLE and SANDRA MILLER Please join the Ruthless Grip Poetry Series for a reading by Ben Doyle and Sandra Miller at 8PM on Saturday, October 14th, at 8:00PM at Pyramid Atlantic Art Center. Ben Doyle's first collection of poems, Radio, Radio, won the 2000 Walt Whitman award. His poems can be found in current or forthcoming issues of Boston Review, Tin House, Denver Quarterly, and 1913. His new manuscript, Dead Ahead, has been called "clusterfucked" by a reputable national press. He lives with his wife, the poet Sandra Miller, and their canine in Roanoke, where he teaches Creative Expression to tough kids. Sandra Miller's first book, Oriflamme, was published by Ahsahta Press in 2005. Selections from her new work=97Chora=97keep popping up in Aufgabe, Ve= rse, Crowd, and Denver Quarterly. Miller teaches on one of those one-year things at Hollins University, where she lives on Maggie's Farm with her husband, the poet Ben Doyle, and their dog, the dog Ronald Johnson. We hope you can join us for the reading and the festivities afterwards. Pyramid Atlantic Art Center is located at 8230 Georgia Avenue in Silver Spring, MD, three blocks from the Metro red line. For directions: http://www.pyramidatlanticartcenter.org/about/contact.htm Letterpress Broadsides of the poets (made in collaboration with printmaker Val Lucas of Pyramid Atlantic) will be available at the reading. ========================================================================= Date: Mon, 9 Oct 2006 23:18:26 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "David A. Kirschenbaum" Subject: **NYC: Desperately Seeking Boog City Distributor** Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit Hi all, Boog City issue 37 is going to press later this week. We need someone with a car/van/pick-up who wants to make some extra $$ by distributing this issue to 44 drop spots, 36 in lower Manhattan (26 in the East Village) and eight in Williamsburg. The goal is for the paper to be distributed this Saturday, but there is some flexibility with that day. Email editor@boogcity.com or call (212) 842-BOOG (2664) for further details, including payment 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://boogcityevents.blogspot.com/ T: (212) 842-BOOG (2664) F: (212) 842-2429 ========================================================================= Date: Mon, 9 Oct 2006 21:33:12 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: kari edwards Subject: Submission Deadline for DISASTER3: November 15, 2006 MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline Submission Deadline for DISASTER3: November 15, 2006 DISASTER a journal of visual art, experimental poetics and radical politics DISASTER accepts: Text: send hard copy or e-mail attachments Multiples: send handmade or mass-produced multiples in editions of 100 Black and White Artwork: send originals for xeroxing or send digital files of black and white artwork for printout and xeroxing For all contributions, include: your name, mailing address, titles and layout instruction (if any) Size of journal pages: roughly 8.5 x 11inches or folded pieces Notes on xerox: Xeroxes will deviate from the media they copy; xeroxing will yield grainy quality especially in grayscale areas. Disaster is produced with low-tech printers and xerox machines Notes on formatting: Poems and text works may be slightly reformatted, unless otherwise specified by the author Notes on theme: DISASTER can be addressed in many ways: as a formal inquiry, a political statement, a personal incident, deadly, a memorial, sometimes with humor DISASTER3 will grow to an edition of 100 copies in order to accommodate increased participation! Submission deadline for DISASTER3: November 10, 2006 Send to Marcus Civin 3607 Pacific Avenue #4 Marina Del Rey CA 90292 Marcus_Civin@hotmail.com Contributors may participate repeatedly. As of yet, DISASTER does not have a web page. DISASTER is free. Past contributors: William Allegrezza, Amy Barkow, Dawn Blackman, Fran Blau, Amanda Bornstein, Taylor Brady, Joshua Churchill, Marcus Civin, Tyler Denmead, Johnny Dismal, Alan Duke, kari edwards, Ashlee Ferlito with Chris Vick, Maggie Foster, Molly Gage, Rob Halpern, Julia Hyde, Tanya Hollis, Arnold J. Kemp, Wendy Kramer, Josephy Lease, Joan MacDonald, Amanda Schweizer, J.W. Schweizer, Eleni Stecopoulos, Nico Vassilakis, Hannah Wade, Robert Worthy, Sonya Worthy DISASTER1 and DISASTER2 have been archived in the University of Buffalo Poetics Collection. All the extra copies have been distributed. To view a copy, contact Marcus Civin. Marcus Civin organizes DISASTER. Marcus is an MFA student at UC Irvine in Studio Art. His War and Peace transcriptions are included in "Many Happy Returns", a group show at High Energy Constructs Los Angeles opening October 21. -- transSubmutation http://transdada3.blogspot.com/ obedience Poetry Factory School. 2005. 86 pages, perfect bound, 6.5x9. ISBN: 1-60001-044-X $12 / $10 direct order Description: obedience, the fourth book by kari edwards, offers a rhythmic disruption of the relative real, a progressive troubling of the phenomenal world, from gross material to the infinitesimal. The book's intention is a transformative mantric dismantling of being. http://www.factoryschool.org/pubs/heretical/index.html http://www.spdbooks.org/SearchResults.asp?AuthorTitle=edwards%2C+kari ========================================================================= Date: Tue, 10 Oct 2006 09:29:21 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Aldon Nielsen Subject: Lorenzo Thomas panel at ASA Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed I'm taking off in the morning for Oakland, where the American Studies Association is meeting at the Oakland Marriott City Center. . . . where I'll be part of a panel in tribute to Lorenzo Thomas -- Friday, Oct. 13, 2:00 PM -- room CS 4. <<<<<<<<<<<<<<<<<<<<<<<<<<<<<>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> "I stand corrected, like a bishop of the obvious." --Robert Kelly Aldon Lynn Nielsen George and Barbara Kelly Professor of American Literature Department of English The Pennsylvania State University 112 Burrowes University Park, PA 16802-6200 (814) 865-0091 [office] (814) 863-7285 [Fax] ========================================================================= Date: Tue, 10 Oct 2006 13:18:25 -0400 Reply-To: tyrone williams Sender: UB Poetics discussion group From: tyrone williams Subject: Re: Lorenzo Thomas panel at ASA Mime-Version: 1.0 Content-Type: text/plain; charset="UTF-8" Content-Transfer-Encoding: 7Bit Wish I could be there..I'm in Oakland two week after you Aldon to do a reading with Stacy Doris. I intend to dedicate my reading to Lorenzo's memory. Tyrone -----Original Message----- >From: Aldon Nielsen >Sent: Oct 10, 2006 9:29 AM >To: POETICS@LISTSERV.BUFFALO.EDU >Subject: Lorenzo Thomas panel at ASA > >I'm taking off in the morning for Oakland, where the American Studies >Association is meeting at the Oakland Marriott City Center. > >. . . where I'll be part of a panel in tribute to Lorenzo Thomas -- >Friday, Oct. 13, 2:00 PM -- room CS 4. > ><<<<<<<<<<<<<<<<<<<<<<<<<<<<<>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > >"I stand corrected, like a bishop of the obvious." > --Robert Kelly > > >Aldon Lynn Nielsen >George and Barbara Kelly Professor of American Literature >Department of English >The Pennsylvania State University >112 Burrowes >University Park, PA 16802-6200 > >(814) 865-0091 [office] > >(814) 863-7285 [Fax] Tyrone Williams ========================================================================= Date: Tue, 10 Oct 2006 12:31:45 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: mIEKAL aND Subject: Fwd: A Companion to Slug: Frog Peak Music Newsletter #13 Comments: To: "Theory and Writing " Mime-Version: 1.0 (Apple Message framework v752.2) Content-Type: text/plain; charset=ISO-8859-1; delsp=yes; format=flowed Content-Transfer-Encoding: quoted-printable A wonderful account by Larry Polanksy on the life & work of James =20 Tenney... Begin forwarded message: > > =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 > FROG SPEAK: Larry Polansky on James Tenney > =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 > A Few Words about Jim Tenney > Larry Polansky > 4 October 2006 > > 1. > Our sadness at Jim Tenney's passing is combined with the awareness =20 > that > there is now a hole in the planet. Jim deeply understood something =20 > many > of us have trouble with -- that there are things "out there" that > deserve our serious attention. Music, ideas, beautiful work, =20 > friendship, > even the fate of the human race and the current status of the =20 > cosmos -- > these things equally concerned and impassioned him. And when Jim gave > something serious attention, he was, well, serious about it. He cared > and thought deeply about what we always hope there will be time to =20 > care > and think deeply about. He appeared to do that each day of his life, > every hour of every day. This was his nature. > 2. > In my opinion, Jim Tenney was the most important and brilliant > composer/theorist of the second half of the twentieth century. I =20 > usually > avoid statements like that: they're by definition fatuous, and it's =20= > not > a competition. But for Jim I'll make an exception. After Cage, no =20 > other > composer so elegantly and beautifully integrated ideas and music. =20 > No one > else's work, as a whole, is as profound, experimental, wide-ranging, > accomplished, or revolutionary. > > Jim wrote more text than most people realize. Starting with Meta + =20 > Hodos > and the computer music articles of the early 1960s; through his =20 > work on > "timbre," pitch, and other composers in the late 1960s and early =20 > 1970s; > his theoretical articles of the late 1970s (like the few but brilliant > essays in Perspectives... and the Journal of Music Theory); and > culminating with his wide-ranging work on pitch-space, intonation, and > perception in the last 25 years, he left an almost immeasurably broad > and important theoretical, aesthetic, intellectual and musical corpus. > His writing is poorly acknowledged, not widely read, and almost > completely misunderstood. In addition, it's mostly unavailable -- he > intentionally placed much of it in small, non-academic publications. > > His ideas delineate and explore the most important musical ideas of =20= > the > past 50 years: form, perception, timbre, harmony, and the nature of =20= > the > compositional process. When I teach courses in advanced musical =20 > theory, > I sometimes have to force myself to use writings by other theorists -- > not much other work seems quite as interesting, relevant or =20 > important as > Jim's. He wrote and thought about elementals: form, pitch, =20 > cognition and > perception (among other things). > > He meant things in a way that few others do, and we should take a =20 > lesson > from him in this. He cared little (in fact, not at all) for =20 > academic or > intellectual fashion. He was singularly focused on getting it =20 > right. He > wanted to know how the ear, the brain, and music worked (and might > work). He was among the first (if not the first) theorist (and =20 > composer) > to focus on ideas like the examination of deep musical processes > irrespective of style, the use of cognition and perception as the =20 > basis > for music theory, and a phenomenological understanding of our musical > perception. His investigations began at a much deeper level than what > passes for music theory (even today). I think we should revise our > definition: whatever Jim Tenney did, and however he did it, is music > theory. > > Jim never advanced an idea until he was convinced he could win an > argument about it with himself. His discussions were deep, brutal, and > lengthy, with the most exacting person he could find (himself). > Sometimes he checked in with a few others lucky enough to have =20 > earned a > bit of his confidence, but by then it was unlikely that anyone else > could help much. He did so much homework, and thought so hard, that > there was rarely a new idea, technique, or avenue he hadn't already > considered and probably discarded. > > 3. > All his life, Jim taught. As a teacher, he avoided the remedial. He =20= > had > little interest in, time (nor, I think, aptitude) for that kind of > pedagogy. As a theorist and composer, he had things to say and > investigate. He pursued ideas at a depth that was usually =20 > intimidating, > often a bit scary, always exciting. His teaching sprang from these > investigations, and he taught at a very high level, not some imagined > least common denominator. Jim believed, and acted upon the assumption > that the academy was a place of ideas, of search -- an intellectual =20= > and > artistic eden where everyone was more or less like him! > > Jim was a throwback: an artist and thinker whose love for teaching > emanated directly and completely from a love for ideas. He was =20 > happiest > when describing some new insight he'd had about harmonic space, =20 > gestalt > segregation, fundamental perception, the octave, Webern, cacti. His =20= > love > of art, the world and ideas was unfettered. I've encountered a very =20= > few > people like that in my life, and one of the saddest things about his > passing is that now there's one fewer. > > 4. > I always suspected that some deranged gods had granted Jim the gift of > eight extra clandestine hours a day to work, during which he calmly > entered an alternate dimension, read twenty books and articles =20 > (maybe in > Latin or German, languages he taught himself as he was doing =20 > research), > filled up several of his ubiquitous graph-paper pads, and returned to > the corporeal plane with what he needed. > > 5. > Reverent of history, Jim enjoyed it immensely, and was in it. He =20 > taught > (maybe "taught" is the wrong word: he inspired) his students to share > his respect and fascination for so many traditions, and to consider =20= > them > alive. He showed us that history was fluid, incomplete, not over: =20 > there > was work to be done. Schoenberg, Ruggles, Partch, Satie, Var=E8se, > Nancarrow, Cage, and Crawford Seeger (even, at various times in his > life, Wagner!) were his colleagues. > > Jim's immediate musical family consisted of composers of the past, > present, and future. He understood, collaborated, and conversed =20 > with all > at great length, built on their ideas the way a scientist does. He > never, ever disrespected them. They dwelled in his musical house along > with the rest of us. One learned from Jim how precisely and =20 > seriously to > cherish other composers, and all other artists, because he was so > careful, sincere, and active about it. He gave great credence to the > making of art and the life of the idea -- everyone who at was at least > nominally a fellow traveler got the benefit of the doubt, often more > than we perhaps deserved. > > 6. > In Meta + Hodos, and his later writings, Jim redesigned the =20 > architecture > of twentieth century music theory. In the Bell Labs pieces (like =20 > Phases, > Ergodos, Noise Study), he invented fundamental techniques for using > computers as compositional tools (creating the idea of a compositional > subroutine for synthesis environments). He freely moved between "art" > and "science," applying his engineering acuity and musical vision to > some of the philosophical insights he gained from his close =20 > association > with Cage (and Var=E8se). > > He sought connections, and had no patience for arbitrary =20 > distinctions. I > don't think it ever occurred to Jim that emotion, intellect, > spirituality, science, harmony, creativity, knowledge, curiosity were > all that different. Nor should they be parsimoniously doled out in > support of some strategic artistic agenda. They were all part of being > human, and an artist. His epiphanies often emerged as marriages of > ideas, what he called "bridges." He sought and found the profound > connections between the work of Hiller, Partch, Cage, Var=E8se and =20 > others. > He created new species from these breeding pairs -- not hybrids, but > fertile new organisms that reproduced again and again, evolving with > each generation. > > Jim's ideas were startling in their originality and scope, but because > they were great ideas, they had precursors. Each piece led and =20 > could be > traced to other pieces, and always to some fundamental idea. =20 > Somewhere, > somehow, Harry Partch led to Quintexts which led to Diapason and > eventually to his final string quartet, Arbor Vitae (which the young > composer Michael Winter helped him finish near the end of his life). > > Jim was intensely curious, but not restless. He asked, "What's next?" > not because he was bored, but because he was hard-wired for forward > motion. He remained in perpetual morphogenesis (to borrow a term =20 > roughly > meaning "evolving and changing in shape," from one of his favorite > writers, D'Arcy Thompson) until the end. The morphogenesis of his =20 > ideas > won't stop because he did: it will increase in strength like some kind > of electro-magnetic resonance -- steadily and exponentially. > > 7. > Over the years, one of my greatest pleasures was listening to Jim > describe seemingly fantastic theoretical speculations, some a =20 > little too > strange to talk about publicly, semi-cosmic ideas reserved for close > friends, late at night. Yet even the wackiest of these (his word, not > mine) seemed somehow believable. They were modulated by his =20 > intelligence > and refined in the crucible of his impatience with "just making stuff > up!" I always expect to pick up the New York Times Science section =20 > some > Tuesday morning and read the headline: "James Tenney's conjecture =20 > about > the cosmos verified by experimental result!" > > 8. > The homes that Jim and Lauren Pratt made over the past 20 years -- > whether in New York City, California, Toronto, or Berlin -- were =20 > always > full. They were places where art and ideas were welcome, there was no > need for pretense, and there was all the time in the world. Careerism, > gossip, gig-talk, pettiness and the like seemed inappropriate. His =20 > home > was a haven for art -- a safe and necessary respite from the =20 > quotidian. > Anyone and everyone was welcomed: his and Lauren's idea of the "open > house" (in Toronto) was among the most brilliant ideas he was ever > involved in. > > He listened with a singular intensity, imbued personal relationships > with deep gravity. You always felt that he considered you essential, > somehow, to the well being of the planet. You walked in to his and > Lauren's home, a beer appeared in your hand, and all of a sudden your > life, at least for the next few hours, was really about music. > > 9. > Like Cage, Partch, Var=E8se, Hiller, Harrison, Ruggles, and some of = the > other composers of his genus, Jim dealt with large ideas, systems of > thought, "embodiments of mind" (a phrase from another of his favorite > authors, Warren McCullough, whose work he was revisiting the last =20 > time I > spoke to him). His writings provide the foundation for a remarkable > edifice that we will spend a long time completing. > > For me, though, much of the joy in remembering Jim emanates from =20 > small, > often very practical notions, which seemed to arise almost =20 > incidentally, > like wildflowers. These musical and theoretical "volunteers" delighted > him as much as anything in his life, but he rarely talked about them, > except among friends. I think he thought of this stuff as part and > parcel of being a composer. When he'd casually show you something like > this, his tremendous glee in solving some "smaller" compositional or > theoretical dilemma was evident. He'd get a particular kind of grin on > his face, like he'd just solved a riddle rather than proved a theorem. > > All of this is in the music, sometimes deeply embedded, sometimes > immediately apparent. I remember the moment the compositional idea of > Chorales for Orchestra clarified itself to me: the vertical was the > horizontal; each was the primes of the harmonic series in a > crypto-palindromic-Jim-homage to the music of Ives, Stravinsky and > Ruggles -- and who knows what else!? Understanding Jim's techniques > reduced you to a kind of dumb, teenage-inflected "how cool is that?" > grin, wishing you'd thought of it yourself. > > He seldom published or formally described these intermediate > compositional ideas. Nor were they premeditated: he created them as he > went along; necessary pieces to some larger, cosmic-musical puzzle he > was forever trying to solve. It was as if while busy inventing the > wheel: at some point he realized he needed to come up with the idea =20= > of a > spoke, but didn't think it important enough to mention! It reminded me > of the way brilliant mathematicians sometimes invent entirely new > branches of mathematics en route to solving a theorem. Jim contributed > new concepts with nearly every piece. > > These ideas give a sense of Jim's playfulness and deep commitment to > compositional craft, something I think that is often overlooked =20 > when his > work is discussed. I believe that craft was the most important =20 > thing to > him, but his conception of it was unique. He loved music too much to > exploit it, enslave it to his own ends. His mode of expression was not > the liberation of himself but of other things -- ideas and sound -- > which he neither hamstrung to ordinary expectation, nor indentured to > "success." > > In a world increasingly obsessed with the super-saturation of the > immediate, Jim took a different approach. In the early 1960s he was > close to the great experimental psychologist Roger Shepard, who > pioneered a powerful technique called multi-dimensional scaling (MDS) > which allows a set of complex multi-variable differences between even > unrelated objects or concepts to be viewed in a simpler space, like =20= > the > plane. An MDS plot of the way a group of listeners perceive =20 > differences > between sonic events can illustrate what the most important =20 > "dimensions > of similarity" might be. One of the most fascinating concepts =20 > associated > with MDS is the idea of stress. If the mathematical reduction of the > complexity of some perceptual space produces too great a stress, it > means that the picture we're looking at isn't reliable, that there are > too many important dimensions: the fit is very bad. In this case, the > MDS algorithm automatically adds a dimension (from line to plane to > 3-space, etc.) so that the sets of differences will fit more > comfortably, be more meaningful. Jim consciously integrated this idea > into several pieces (like Changes), in which the prime =20 > dimensionality of > harmonic space was increased when things got too "ambiguous" at the > "next lower dimension." > > But I think this is a deeper metaphor for Jim's work. I often feel =20 > that > more and more, composers (and regrettably the rest of society) have > become like what mathematicians call fractals, functions which are > extremely complicated, but in a low dimensionality. We have so much > information readily at hand, things move so quickly, decisions are =20 > made > with such immediacy, that depth, ambiguity, taking time to explore =20 > ideas > is not generally tolerated, much less encouraged. Music is judged > quickly, often after being heard just once! Jim's music inhabits a =20 > very > different world. His ideas are of sufficient richness to be forced =20 > into > higher dimensions, and require more complex perceptual and aesthetic > geometries. > > 10. > In recent years Jim's work received far more attention than it had =20 > over > the previous thirty years. But this was not his goal. As a point of > honor, a measure of integrity, he sought far less attention than he > deserved. He made sure, though, that when someone did pay attention, > they would be rewarded by what was heard. Maybe Jim thought that it =20= > was, > in some literal way, good to leave the world in one's debt, and not =20= > vice > versa. He did. > > 11. > Many of our conversations over the years had little to do with =20 > music. In > Toronto, late at night, Jim would pull out a graph-paper pad on which > he'd been working out some odd idea. One night, I think, he showed =20 > me a > kind of universal theory of matter that he was considering. He was > trying, in his own way, and by the sheer power of his own deduction =20= > and > instinct, to explain "everything," at least to himself. I remember > nothing of the content of that graph-paper pad, but what I clearly > recall was that somewhere near the end, he said to me, with great > seriousness, that he'd very much like to be remembered as a "composer > and amateur cosmologist." That is, in fact, how I remember him. > > (Coda) > A few days before Jim died, in the hours after which he finally lost > consciousness, something odd happened at home here in New Hampshire, > three thousand miles away. > > Early that morning we came outside to find a Great Blue Heron =20 > perched on > top of our red minivan. I stood with neighbors for nearly an hour, > watching as the large bird made itself at home. The theory was that > construction on a small bridge over the Mink Brook, just a few yards > away from our house, had disturbed his nest. > > When I learned the chronology of his final days from Lauren, I =20 > realized > the coincidence and thought: "That's just the kind of thing Jim would > do!," and was glad that my old friend stopped in to say goodbye. > > But maybe Jim didn't pull off that stunt entirely on his own. Perhaps > the cosmos, being so firmly in his debt, was paying him back a little. > > =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D > The title of this newsletter is from > the text of a Shaker song. "Slug" > is one of many Shaker monikers > for the Devil. > =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D > We apologize if this message is > an intrusion or a duplication. > Email us at fp@frogpeak.org with > REMOVE in the subject to be > taken off this list. > =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D > > ========================================================================= Date: Tue, 10 Oct 2006 12:45:28 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: David-Baptiste Chirot Subject: Woodland Pattern Book Center: B. Downing & M. Card tomorrow! Mime-Version: 1.0 Content-Type: text/plain; format=flowed > >================================================= >BRANDON DOWNING & MACGREGOR CARD, OCTOBER 11 >================================================= > >Woodland Pattern Book Center presents: > >Brandon Downing and Macgregor Card > >Wednesday, October 11, 2006 at 7:00 >Woodland Pattern Book Center >720 East Locust Street, Milwaukee > >$8 general / $6 members / $7 students and seniors > >Wednesday, 10/11: Brandon Downing & Macgregor Card > >Brandon Downing is originally from San Francisco, California, where >he was co-founder and director of Blue Books, a non-profit literary >bookstore and performance space in that city's Mission District. >Since 2000 he has lived in New York City, nice place, where he works >as an exhibit designer and researcher and spends his time on planes. >A photographer, collagist and filmmaker as well as a poet, his books >include The Shirt Weapon (Germ Monographs, 2002) and Dark Brandon >(Faux Press, 2005). In addition to reading from the book and newer >work, Downing will screen a new video companion piece to Dark >Brandon. > >Check out the opening section of Dark Brandon here: > >http://www.woodlandpattern.org/poems/brandon_downing01.shtml > > >Macgregor Card is a poet, translator and editor living in Brooklyn. >Recent poems have appeared in The Recluse, Fence, The Columbia >Review, Arsenal, Poesie, Aufgabe and Puppyflowers. He is co-editing >with Olivier Brossard an anthology of New York School poets to be >published collaboratively in France (Joca Seria) and the U.S. >(Turtle Point Press). He was the subject of an archival installation >by the artist David Adamo entitled "Macgregor Card" (Swiss >Institute, 2005), who had followed him in secret for eight months. >He is currently finishing a collection of poems entitled Duties of >an English Foreign Secretary. > >Read a poem by Macgregor and check out links to his other current >projects here: > >http://www.woodlandpattern.org/poems/macgregor_card01.shtml > > >================================================= >UPCOMING EVENTS >================================================= > >Wednesday, 10/11: Brandon Downing & Macgregor Card > >Friday, 10/20: Redletter: Jayson Iwen & Chad Faries > >Saturday, 10/21: Ted Kooser at Wisconsin Book Festival > >Friday, 10/27: Film: In Part A Treatment of Success by Steve Wetzel > >Sunday, 10/29: Quincy Troupe & Patricia Spears Jones > >Saturday, 11/11: Dawn-Michelle Baude & Philip Jenks > >Friday, 11/17: Redletter: Eddie Kilowatt > >Sunday, 11/19: Tom Raworth, Peter Brotzmann, & Josh Abrams > > >http://www.woodlandpattern.org/ > >Woodland Pattern Book Center >720 E. Locust Street >Milwaukee, WI 53212 >phone 414.263.5001 >woodlandpattern.org > > > _________________________________________________________________ Share your special moments by uploading 500 photos per month to Windows Live Spaces http://clk.atdmt.com/MSN/go/msnnkwsp0070000001msn/direct/01/?href=http://www.get.live.com/spaces/features ========================================================================= Date: Tue, 10 Oct 2006 13:46:16 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Steve Dalachinsky Subject: Re: Poetry: Do you ever get the feeling? MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit yes ag you've got a good point there ========================================================================= Date: Tue, 10 Oct 2006 14:17:45 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Photios Giovanis Subject: self-publishing blog MIME-version: 1.0 Content-type: text/plain; charset=ISO-8859-1 Content-transfer-encoding: 7bit sounds redundant, but please have a look. photiosgiovanis.blogspot com ========================================================================= Date: Tue, 10 Oct 2006 15:02:33 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Rodney K Subject: MUSEE MECHANIQUE Release Party this TH in SF Mime-Version: 1.0 (Apple Message framework v624) Content-Transfer-Encoding: 7bit Content-Type: text/plain; charset=US-ASCII; format=flowed (this) THURSDAY, OCTOBER 12 @ 7:30 p.m. Modern Times Bookstore (888 Valencia bet. 19th & 20th) Ecstatic Monkey presents: RODNEY KOENEKE A Release Party in celebration of his new book of poems, Musee Mechanique with Ecstatic Monkey members KAYA OAKES and HL HAZUKA http://www.ecstaticmonkey.com/events.htm ========================================================================= Date: Tue, 10 Oct 2006 18:25:50 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: heidi arnold Subject: ricoeur/poetry MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline -- i am wondering if there are theological statements that might NOT just as easily be applied to poetry -- for example the following quote from Ricoeur seems just as aptly written of poetry as faith -- more concisely put, i think this is a matter of whether it is possible to say something of the uncaused cause, that it is not also possible to say of a poem -- with the exception of the fact, maybe that there can be/is an uncaused cause, but there cannot be an uncaused poem -- yet there is no point in saying where a poem comes from, would be my backwoods approach to the question -- since i didn't study symbolic logic, i wonder what others might say? from Ricoeur "Yet, it is in terms of one certain presupposition that I stand in the position of a listener to Christian preaching. I assume that this speaking is meaningful, that it is worthy of consideration, and that examining it may accompany and guide the transfer from the text to life where it will verify itself fully. Can I account for this presupposition? Alas, I stumble already. I do not know how to sort out what is here 'unravelable' situation, uncriticized custom, deliberate preference, or profound choice. I can only confess that my desire to hear more is all these things, and that it defies all these distinctions." [quoted by Mark I. Wallace] -- www.heidiarnold.org ========================================================================= Date: Tue, 10 Oct 2006 15:33:23 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: amy king Subject: Re: self-publishing blog In-Reply-To: <24011467.3543791160507865820.JavaMail.root@vms064.mailsrvcs.net> MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Ah ha! You've been busy with your own bloggedy blog no less! Yay for you, Photi~ Photios Giovanis wrote: sounds redundant, but please have a look. http://photiosgiovanis.blogspot.com/ --------------------------------- All-new Yahoo! Mail - Fire up a more powerful email and get things done faster. ========================================================================= Date: Tue, 10 Oct 2006 20:16:44 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Gary Sullivan Subject: 10,000 miles of TONGUE PUPPETS?!? Mime-Version: 1.0 Content-Type: text/plain; format=flowed No! Even BETTER! ****P*O*E*T*R*Y!**** Come to see hear and thrill to haunting sounds of SHANNA COMPTON and MICHAEL MAGEE Saturday October 14, 4:00 p.m. - 5:45 p.m. PLEASE ARRIVE BY 4:15! 308 BOWERY, just north of Houston, NYC $6 admission goes to support the readers Shanna Compton is the author of Down Spooky, a collection of poems published by Winnow Press in 2005, and the editor of GAMERS: Writers, Artists & Programmers on the Pleasures of Pixels, an anthology of essays on the theme of video games published by Soft Skull Press in 2004. Michael Magee is the author of Emancipating Pragmatism: Emerson, Jazz and Experimental Writing (winner of the 2004 Elizabeth Agee Prize) and four collections of poetry, including Morning Constitutional, MS, Mainstream, and My Angie Dickinson, which is due this fall from Zasterle. Combo Magazine, which Magee founded in 1998 while studying at Penn, recently released its 15th issue. Part of the Segue Series at the Bowery Poetry Club These events are made possible, in part, with public funds from The New York State Council on the Arts, a state agency. The Segue Reading Series is made possible by the support of The Segue Foundation. For more information, please visit www.segue.org, bowerypoetry.com/midsection.htm, or call (212) 614-0505. Curators: Oct.-Nov. by Nada Gordon & Gary Sullivan ========================================================================= Date: Wed, 11 Oct 2006 04:03:06 +0000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Tim Peterson Subject: Leonardo Electronic Almanac Discussion: New Media Poetry and Poetics Mime-Version: 1.0 Content-Type: text/plain; format=flowed These live LEA NMP chats are a lot of fun...faster and in some ways more intimate than a listserv, more stimulating than a conference or panel. I thought that tonight's with Loss Glazier went very well. Plenty of folks are participating already -- you are also invited to come join us ! Best, Tim * * * Leonardo Electronic Almanac Discussion (LEAD): New Media Poetry and Poetics Moderated by Sandy Baldwin This issue, we introduce the "Leonardo Electronic Almanac Discussion" (LEAD) accompanying our "New Media Poetics and Poetry" special issue and gallery edited by Tim Peterson. LEAD will have two components, a moderated discussion list for readers to engage with the special issue authors (see below for sign up information). If you miss the chats and forum, fret not, an abridged version of the discussions will be made available with the next issue of LEA. Chat Schedule: :: John Cayley - 9 Oct 2006 1400hrs EST :: Loss Glazier 10/10 1900hrs EST :: Stephanie Strickland 10/20 1pm EST :: MEZ – 17 Oct 2006 @ 0300hrs EST :: Jason Nelson – 24 Oct 2006 @ 1300hrs EST How to participate in the live chat? Live chats will use Jabber (http://www.jabber.org/), an open, secure, ad-free alternative to consumer IM services like AIM, ICQ, MSN, and Yahoo. The New Media Poetics chatroom is on the jabber.org public server under the name "leanmp" and the password "leoalmanac." Follow three easy steps and you are ready to join the chat: 1) Download and install a Jabber client. A list of recommended Jabber clients is available at the following url: http://www.jabber.org/software/clients.shtml. For Windows users, we recommend the Exodus client. For Macintosh users, please use Psi, as the other recommended clients do not consistently register on the Jabber server. For Linux, Psi is also available, but the other recommended clients should work as well. 2) Register as a user on the jabber.org public server. When you first open your Jabber client you will see a start screen. If you do not see this screen, or if you are not starting the client for the first time, the screen is also available in a pull down menu as Account Details or Preferences (depending on your Jabber client). Enter a username, password, and server. Use any username and password you choose. Enter “jabber.org” as the server. When you register, if your proposed username is taken, you need to choose another. Check the button for "new account" or to automatically register the account (depending on your client). Note: you may not be able to register if you are not using one of the recommended clients listed above. Hit OK or Login. Your Jabber client will then automatically register you and connect you to the jabber.org server. 3) At this point, you are ready to chat, but there is one more step: you must join the chatroom. Select "Join a Chat Room" from your client's pull down menu. Enter the name of the chat room: leanmp. Enter the password: leoalmanac. You can also specify a nickname or "handle" to use while in the chatroom. Hit "Finish" or "OK" to join the chat. The chat room window will open and you are ready to go! Note: the chat room may not be available outside of scheduled chat times. Additional information is available at the Jabber userguide: http://www.jabber.org/user/userguide/. How to sign up to the NMP Moderated List? Email: leanmp-subscribe@googlegroups.com LEA NMP URL: http://groups.google.com/group/leanmp About the moderator Sandy Baldwin (Ph.D, New York University) is Assistant Professor of English and Director of the Center for Literary Computing at West Virginia University. Further information or assistance info@leoalmanac.org ========================================================================= Date: Wed, 11 Oct 2006 13:27:49 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Steve Dalachinsky Subject: Fw: Re: brucey MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit at: Downtown Music Gallery 342 Bowery (between Great Jones & Bond St.) Sun Oct 22nd at 6pm - DOM MINASI & STEVE DALACHINSKY! Electric guitar & poetry! ________________________________________________________________ Sun Oct 29th at 6pm- LOUIE BELOGENIS & SHANIR EZRA BLUMENKRANZ! Tenor Sax & Contrabass Duo Extraordinaire! ========================================================================= Date: Wed, 11 Oct 2006 10:49:38 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mark Wallace Subject: creative writing job opening MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit California State University San Marcos invites applications for a tenure track position of Assistant Professor of Creative Writing, starting fall 2007. We are seeking a creative writer to teach undergraduate and graduate workshops in multiple genres, as well as literature and/or film courses. The successful candidate will help us achieve the multi-cultural values described in our departmental mission statement. Significant publication in a primary genre (area open) is essential; publication in a secondary genre is helpful. Given our plans for a film and literature concentration and our commitment to innovative technology, an interest in screenwriting, film studies, digital literature, and/or literature in performance would be a plus. We seek candidates committed to teaching excellence in general education and at all levels of the curriculum, including introductory, general education, graduate courses, and master's thesis supervision. Successful candidates will help us teach towards the values articulated in our departmental mission statement available at www.csusm.edu/ltwr. Interviews will be held at the 2006 MLA convention. Please send letter of application and vita to Dr. Kenneth Mendoza, LTWR Search Committee, CSU, San Marcos, CA 92096-0001 by November 1, 2006, for best consideration. Letters of recommendation and writing samples by request. CSUSM is an Equal Opportunity/Title IX Employer. The University has a strong commitment to diversity and, in that spirit, seeks a broad spectrum of candidates including women, members of minority groups, and people with disabilities. The position is contingent upon funding. __________________________________________________ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com ========================================================================= Date: Wed, 11 Oct 2006 14:00:30 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Steve Evans Subject: Poetry Radio Show Mime-Version: 1.0 (Apple Message framework v752.2) Content-Transfer-Encoding: quoted-printable Content-Type: text/plain; charset=ISO-8859-1; delsp=yes; format=flowed "Upper Limit Music" is a poetry radio show I've just started doing on =20= WMEB, 91.9 fm in Orono, Maine, and on the web at http://=20 wmeb.umaine.edu/. Each Thursday afternoon from 1-3pm the show will explore the sonic =20 landscape of modern and contemporary poetry. We'll mix live =20 recordings with studio and archival tracks, host local and visiting =20 poets when possible, and perhaps even play a song or two. All sets determined in the hot panic of real time, ultra-amateur =20 broadcasting, but tomorrow's show just might feature the work of Bob =20 Perelman, Jimmy Schuyler, Lydia Davis, Robert Duncan, Rosmarie =20 Waldrop, Frank O'Hara, Alice Notley, William Carlos Williams, Robert =20 Hayden, the Ninas Hagen and Simone, and the calypso singer Lord =20 Invader. Plus a smattering of Creeley tracks in honor of the "On =20 Words" conference. Give a listen, if you're in the mood. And if you've got sounds I =20 should know about, let me hear from you (steve dot evans at =20 thirdfactory dot net). Steve www.thirdfactory.net Playlist for debut show, 5 October 2006, 1-3pm, wmeb: Pale Horses by =20 John Vanderslice. "A"-11 by Louis Zukofsky. I Know a Man by Robert =20 Creeley. Kiss Me Deadly by Elizabeth Willis. Blue Notebook 4 by =20 Daniil Kharms (trans. and perf. by Matvei Yankelevich). Make It New =20 by Rae Armantrout. Alphabet Soup by Julie Patton. Phoneme Dance for =20 John Cage by Jackson Mac Low. Black Dada Nihilismus by Amiri Baraka =20 (DJ Spooky mix). Sound and Sentience by Nathaniel Mackey. Le Cou de =20 Lee Miller by Nicole Brossard. If I Told Him: A Completed Portrait of =20= Picasso by Gertrude Stein. Five poems by Frank O'Hara: Poem (Lana =20 Turner), Poem (Hate), Having a Coke with You, Adieu to Norman, Ave =20 Maria. Return of the Muses by Barbara Guest. Supermarket in =20 California by Allen Ginsberg. Opening the Cabinet by Brenda Coultas. =20 Oakland by Robert Grenier. Beyond Doo Wop by Paul Dutton. Basic =20 Science by Fanny Howe. London by William Blake (perf. by Ira Sadoff). =20= London by William Blake (sung by Steven Taylor). Return on Word by =20 Kit Robinson. DJ Spinoza Talks to Flipper by Eugene Ostashevsky. =20 Creation by James Weldon Johnson. Todesf=FCge by Paul Celan. At the Top =20= of My Voice by Vladimir Mayakofsky. Red Shift by Ted Berrigan. =20 February 18 by Joe Brainard. Bob Creeley Breakthrough by Ron Padgett. =20= They Dream Only of America by John Ashbery. So and So Reclining on =20 Her Couch by Wallace Stevens. A Panic That Can Still Come Upon Me by =20 Peter Gizzi. Concrete Central by Susan Howe. Divisions of Labor by =20 Adrienne Rich. Global Inequalities by Jayne Cortez. Acoustics by Linh =20= Dinh. No More Mosquitoes by Four Tet.= ========================================================================= Date: Wed, 11 Oct 2006 13:36:19 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "J.P. Craig" Subject: Re: Poetry Radio Show In-Reply-To: Mime-Version: 1.0 (Apple Message framework v752.2) Content-Transfer-Encoding: 7bit Content-Type: text/plain; charset=US-ASCII; delsp=yes; format=flowed Wow, Steve, this is pretty cool. I know you're just getting rolling on this, but will archived shows be available? JP On Oct 11, 2006, at 1:00 PM, Steve Evans wrote: > "Upper Limit Music" is a poetry radio show I've just started doing > on WMEB, 91.9 fm in Orono, Maine, and on the web at http:// > wmeb.umaine.edu/. JP Craig http://jpcraig.blogspot.com/ http://www.iowadsl.net/~jpcraig ========================================================================= Date: Wed, 11 Oct 2006 15:16:50 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: angela vasquez-giroux Subject: Re: Poetry Radio Show In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline you mentioned that there would be schuyler; which schuyler are you planning? i'll definitely be tuning in! angela On 10/11/06, J.P. Craig wrote: > > Wow, Steve, this is pretty cool. I know you're just getting rolling > on this, but will archived shows be available? JP > > On Oct 11, 2006, at 1:00 PM, Steve Evans wrote: > > > "Upper Limit Music" is a poetry radio show I've just started doing > > on WMEB, 91.9 fm in Orono, Maine, and on the web at http:// > > wmeb.umaine.edu/. > > > JP Craig > http://jpcraig.blogspot.com/ > http://www.iowadsl.net/~jpcraig > -- http://mother-of-light.blogspot.com ========================================================================= Date: Wed, 11 Oct 2006 12:58:04 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Stephen Vincent Subject: Re: Poetry Radio Show In-Reply-To: Mime-version: 1.0 Content-type: text/plain; charset="ISO-8859-1" Content-transfer-encoding: quoted-printable This looks great. Congrats d'effort! Not a small thing to do - I assume. Stephen V > "Upper Limit Music" is a poetry radio show I've just started doing on > WMEB, 91.9 fm in Orono, Maine, and on the web at http:// > wmeb.umaine.edu/. >=20 > Each Thursday afternoon from 1-3pm the show will explore the sonic > landscape of modern and contemporary poetry. We'll mix live > recordings with studio and archival tracks, host local and visiting > poets when possible, and perhaps even play a song or two. >=20 > All sets determined in the hot panic of real time, ultra-amateur > broadcasting, but tomorrow's show just might feature the work of Bob > Perelman, Jimmy Schuyler, Lydia Davis, Robert Duncan, Rosmarie > Waldrop, Frank O'Hara, Alice Notley, William Carlos Williams, Robert > Hayden, the Ninas Hagen and Simone, and the calypso singer Lord > Invader. Plus a smattering of Creeley tracks in honor of the "On > Words" conference. >=20 > Give a listen, if you're in the mood. And if you've got sounds I > should know about, let me hear from you (steve dot evans at > thirdfactory dot net). >=20 > Steve > www.thirdfactory.net >=20 >=20 > Playlist for debut show, 5 October 2006, 1-3pm, wmeb: Pale Horses by > John Vanderslice. "A"-11 by Louis Zukofsky. I Know a Man by Robert > Creeley. Kiss Me Deadly by Elizabeth Willis. Blue Notebook 4 by > Daniil Kharms (trans. and perf. by Matvei Yankelevich). Make It New > by Rae Armantrout. Alphabet Soup by Julie Patton. Phoneme Dance for > John Cage by Jackson Mac Low. Black Dada Nihilismus by Amiri Baraka > (DJ Spooky mix). Sound and Sentience by Nathaniel Mackey. Le Cou de > Lee Miller by Nicole Brossard. If I Told Him: A Completed Portrait of > Picasso by Gertrude Stein. Five poems by Frank O'Hara: Poem (Lana > Turner), Poem (Hate), Having a Coke with You, Adieu to Norman, Ave > Maria. Return of the Muses by Barbara Guest. Supermarket in > California by Allen Ginsberg. Opening the Cabinet by Brenda Coultas. > Oakland by Robert Grenier. Beyond Doo Wop by Paul Dutton. Basic > Science by Fanny Howe. London by William Blake (perf. by Ira Sadoff). > London by William Blake (sung by Steven Taylor). Return on Word by > Kit Robinson. DJ Spinoza Talks to Flipper by Eugene Ostashevsky. > Creation by James Weldon Johnson. Todesf=FCge by Paul Celan. At the Top > of My Voice by Vladimir Mayakofsky. Red Shift by Ted Berrigan. > February 18 by Joe Brainard. Bob Creeley Breakthrough by Ron Padgett. > They Dream Only of America by John Ashbery. So and So Reclining on > Her Couch by Wallace Stevens. A Panic That Can Still Come Upon Me by > Peter Gizzi. Concrete Central by Susan Howe. Divisions of Labor by > Adrienne Rich. Global Inequalities by Jayne Cortez. Acoustics by Linh > Dinh. No More Mosquitoes by Four Tet. ========================================================================= Date: Wed, 11 Oct 2006 16:52:56 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Bill Marsh Subject: blogs that aren't Mime-Version: 1.0 (Apple Message framework v624) Content-Transfer-Encoding: 7bit Content-Type: text/plain; charset=US-ASCII; format=flowed poeticizers, i'm looking to generate a list of blogs (links to) that aren't what blogs typically/conventionally are (diaries, daybooks, journals, self-publishing venues, news channels, zines or zine gateways, running collections of essay, commentary, review) blogs, then, that use the blog format/structure to unusual or unexpected ends that "log" differently or things not typically logged anti-blogs, avant-blogs, post-blogs, etc. if anything comes to mind -- or if that list or one like it is already out there -- please front- for back-channel at your discretion. [please back to bmarsh@factoryschool.org] thanks, bill ========================================================================= Date: Wed, 11 Oct 2006 13:39:35 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: amy king Subject: Only for Yankees' Fans [not poetry] In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit They think the four-seater plane that just hit the Manhattan highrise is owned by Cory Lidle. No confirmation that he was on it. "He is Cory Lidle, who has been a major league pitcher for nine years and a pilot for seven months. He earned his pilot’s license last off-season and bought a four-seat airplane for $187,000. It is a Cirrus SR20, built in 2002, with fewer than 400 hours in the air. A player-pilot is still a sensitive topic for the Yankees, whose captain, Thurman Munson, was killed in the crash of a plane he was flying in 1979. Lidle, acquired from the Philadelphia Phillies on July 30, said his plane was safe." http://www.nytimes.com/2006/09/08/sports/baseball/08yankees.html?ex=1315368000&en=f488e3344c30a4f4&ei=5090&partner=rssuserland&emc=rss --------------------------------- How low will we go? Check out Yahoo! Messenger’s low PC-to-Phone call rates. ========================================================================= Date: Wed, 11 Oct 2006 17:13:54 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Dan Coffey Subject: Re: Only for Yankees' Fans [not poetry] In-Reply-To: <20061011203935.82035.qmail@web83112.mail.mud.yahoo.com> MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline Yeah, it's been confirmed that he was on the plane. First time I ever turned to ESPN to get my news. On 10/11/06, amy king wrote: > > They think the four-seater plane that just hit the Manhattan highrise is > owned by Cory Lidle. No confirmation that he was on it. > > > "He is Cory Lidle, who has been a major league pitcher for nine years > and a pilot for seven months. He earned his pilot's license last off-season > and bought a four-seat airplane for $187,000. It is a Cirrus SR20, built in > 2002, with fewer than 400 hours in the air. > > A player-pilot is still a sensitive topic for the Yankees, whose > captain, Thurman Munson, was killed in the crash of a plane he was flying in > 1979. Lidle, acquired from the Philadelphia Phillies on July 30, said his > plane was safe." > > > > http://www.nytimes.com/2006/09/08/sports/baseball/08yankees.html?ex=1315368000&en=f488e3344c30a4f4&ei=5090&partner=rssuserland&emc=rss > > > > > --------------------------------- > How low will we go? Check out Yahoo! Messenger's low PC-to-Phone call > rates. > -- http://hyperhypo.org ========================================================================= Date: Wed, 11 Oct 2006 18:35:57 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Tom Beckett Subject: Fwd: for Bruna Mori's new poetry book MIME-Version: 1.0 Content-Type: multipart/mixed; boundary="part1_249.1248201e.325ecbcd_boundary" --part1_249.1248201e.325ecbcd_boundary Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit --part1_249.1248201e.325ecbcd_boundary Content-Type: multipart/alternative; boundary="part2_249.1248201e.325e7d9b_boundary" Content-Type: text/plain; charset="UTF-8" Content-Transfer-Encoding: base64 VG9tLApDb3VsZCBJIGFzayB5b3UgcGxzIHRvIGZvcndhcmQgdGhpcyBhbm5vdW5jZW1lbnQg dG8gQnVmZmFsbyBQb2V0aWNzPyAgClRoYW5rcywKRWlsZWVuCgorKysrKysrKysrCgoKCk1F UklUQUdFIFBSRVNTIEFOTk9VTkNFTUVOVAoKQSBTcGVjaWFsIFByZS1SZWxlYXNlIE9mZmVy 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charset=US-ASCII; delsp=yes; format=flowed Thanks for the encouraging word, Stephen. It's an effort of attention mostly, and at a surprisingly practical level. Listening differently-- and more often. Wondering if x might go with (or interestingly against) y. I'm trying it for a while at least, wishing I had more time to write out my impressions. Angela: I thought I'd do "Mood Indigo," which I'd never heard before finding it on PennSound earlier this week. Seeing as how you're a big Schuyler fan, you probably already know it--and the great Nina Simone cover of the Ellington tune I was thinking to follow or lead with. Maybe I'll work in "The Bluet" too (if I can figure out how to get the mostly ignored studio cassette deck to actually trickle onto the air--last week I couldn't figure out how to). JP: The show streams in real time (when all the stars are properly aligned: sometimes the server crashes for weeks on end), but there's no mechanism in place for archiving it. Backchannel me if a particular track especially interests you. All best, to all, Steve ========================================================================= Date: Thu, 12 Oct 2006 08:09:33 +0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Bob Marcacci Subject: More Poetry Radio Shows In-Reply-To: Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit if anyone's interested... you can check out the fine i-radio shows at MiPoRadio which has many fine podcasts, including mine own, The Countdown... and audio at the Subterranean Poets site which plays the International Open Mic at The Bookworm in Beijing... and we're looking for a few good blogs which post writing if you have any suggestions... -- Bob ========================================================================= Date: Wed, 11 Oct 2006 19:46:01 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Shin Yu Pai Subject: Publication Announcement: The Love Hotel Poems MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline I am pleased to announce the publication of my Love Hotel Poems series as a limited edition artist book of 150 copies available from Press Lorentz (www.presslorentz.com) in Chicago. Included bound into this volume is also the work of Chicago book artist Ray Martin. These books will be available directly from the publisher at the Press Lorentz website for $15 ($12 retail price plus $3 shipping charges) and can be purchased with either check or credit card. Contact the publisher via the website/email to place an order. To view images of this book, visit http://makura-no-soshi.blogspot.com/2006/09/love-hotel-poems.html Thanks! Shin Yu Pai http://shinyupai.com ========================================================================= Date: Thu, 12 Oct 2006 01:26:15 +0000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: reJennifer Bartlett Subject: New of Saint Elizabeth Street Blog Mime-Version: 1.0 Content-Type: text/plain; format=flowed Marxists with Trust Funds: a short history of Language Poetry Poetry and Visual Art The Pleasures of Photograghy www.saintelizabethstreet.com _________________________________________________________________ Be seen and heard with Windows Live Messenger and Microsoft LifeCams http://clk.atdmt.com/MSN/go/msnnkwme0020000001msn/direct/01/?href=http://www.microsoft.com/hardware/digitalcommunication/default.mspx?locale=en-us&source=hmtagline ========================================================================= Date: Wed, 11 Oct 2006 21:36:02 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jesse Crockett Subject: to synthesize the plot of Hesse's Steppenwolf MIME-version: 1.0 Content-type: text/plain; charset=ISO-8859-1 Content-transfer-encoding: 7BIT I have written a (poor, unpublished) novel a few years ago. My favorite novel is Hesse's Steppenwolf, and researching to write a second novel that would surely be better than my first, I want to attempt a synthesis of the plot of Steppenwolf into which structure I might translate my own experience. I am looking for interesting vantage points that others may offer, preferably without much thought, into certain moments in the text that, for instance, one would love to read in the context of comtemporary America, whose "bourgeois life" would be the projection of a working class individual. Briefly, what three instances are most pivotal in Steppenwolf? And if you had to take two books into permanent seclusion, one requisite being Steppenwolf, what would be its companion text? JWC ========================================================================= Date: Wed, 11 Oct 2006 22:47:18 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Kate Easton Subject: Re: to synthesize the plot of Hesse's Steppenwolf In-Reply-To: <452DAA12.9060103@listenlight.net> MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline d'ya mean, what part of STFU don't you understand? On 10/11/06, Jesse Crockett wrote: > > I have written a (poor, unpublished) novel a few years ago. My favorite > novel is Hesse's Steppenwolf, and researching to write a second novel > that would surely be better than my first, I want to attempt a synthesis > of the plot of Steppenwolf into which structure I might translate my own > experience. I am looking for interesting vantage points that others may > offer, preferably without much thought, into certain moments in the text > that, for instance, one would love to read in the context of > comtemporary America, whose "bourgeois life" would be the projection of > a working class individual. > > Briefly, what three instances are most pivotal in Steppenwolf? And if > you had to take two books into permanent seclusion, one requisite being > Steppenwolf, what would be its companion text? > > JWC > ========================================================================= Date: Wed, 11 Oct 2006 22:06:01 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jesse Crockett Subject: Re: to synthesize the plot of Hesse's Steppenwolf In-Reply-To: MIME-version: 1.0 Content-type: text/plain; charset=ISO-8859-1 Content-transfer-encoding: 7BIT Kate Easton wrote: > d'ya mean, what part of STFU don't you understand? > no, i don't mean that. maybe the opposite of that, the polar opposite. > On 10/11/06, Jesse Crockett wrote: >> >> I have written a (poor, unpublished) novel a few years ago. My favorite >> novel is Hesse's Steppenwolf, and researching to write a second novel >> that would surely be better than my first, I want to attempt a synthesis >> of the plot of Steppenwolf into which structure I might translate my own >> experience. I am looking for interesting vantage points that others may >> offer, preferably without much thought, into certain moments in the text >> that, for instance, one would love to read in the context of >> comtemporary America, whose "bourgeois life" would be the projection of >> a working class individual. >> >> Briefly, what three instances are most pivotal in Steppenwolf? And if >> you had to take two books into permanent seclusion, one requisite being >> Steppenwolf, what would be its companion text? >> >> JWC >> > ========================================================================= Date: Thu, 12 Oct 2006 00:02:06 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Eric Yost Subject: Re: to synthesize the plot of Hesse's Steppenwolf In-Reply-To: <452DAA12.9060103@listenlight.net> MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit >>what three instances are most pivotal in Steppenwolf? 1. When Haller is given the Treatise on the Steppenwolf. 2. When Haller meets Hermine. 3. When Mozart gives Haller a good talking to, and gets him to lighten up. ========================================================================= Date: Thu, 12 Oct 2006 01:08:54 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: David-Baptiste Chirot Subject: Why "Only for Yankees' Fans"? [not poetry] In-Reply-To: <750c78460610111513x59c64a0dsaa0448bfa9426269@mail.gmail.com> Mime-Version: 1.0 Content-Type: text/plain; format=flowed Why is this news "only for Yankees fans:?-- Cory Lidle played nine seasons in the Majors--of which only the last ten weeks were for the Yankees-- Baseball--and sports fans --from anywhere and everywhere mourned Lidle's death--his number was repeatedly honored and shown during the Tigers-A's game tonight--I was watching in the Polish Falcons' Club in Milwaukee and people were all tipping their hat to Lidle-- If he hadn't been a Yankee for ten weeks do you think you'd be paying attention? (Would you care if Cory Lidle were still a Phillie?) Let alone learning about Thurmon Munson who played his entire career for the Yankees?-- Have some respect for baseball and sports fans of the world who know about and care for players no matter where and who they play for, and knew about them longer them ten weeks. >From: Dan Coffey >Reply-To: UB Poetics discussion group >To: POETICS@LISTSERV.BUFFALO.EDU >Subject: Re: Only for Yankees' Fans [not poetry] >Date: Wed, 11 Oct 2006 17:13:54 -0500 > >Yeah, it's been confirmed that he was on the plane. First time I ever >turned >to ESPN to get my news. > >On 10/11/06, amy king wrote: >> >>They think the four-seater plane that just hit the Manhattan highrise is >>owned by Cory Lidle. No confirmation that he was on it. >> >> >> "He is Cory Lidle, who has been a major league pitcher for nine years >>and a pilot for seven months. He earned his pilot's license last >>off-season >>and bought a four-seat airplane for $187,000. It is a Cirrus SR20, built >>in >>2002, with fewer than 400 hours in the air. >> >> A player-pilot is still a sensitive topic for the Yankees, whose >>captain, Thurman Munson, was killed in the crash of a plane he was flying >>in >>1979. Lidle, acquired from the Philadelphia Phillies on July 30, said his >>plane was safe." >> >> >> >>http://www.nytimes.com/2006/09/08/sports/baseball/08yankees.html?ex=1315368000&en=f488e3344c30a4f4&ei=5090&partner=rssuserland&emc=rss >> >> >> >> >>--------------------------------- >>How low will we go? Check out Yahoo! Messenger's low PC-to-Phone call >>rates. >> > > > >-- >http://hyperhypo.org _________________________________________________________________ Share your special moments by uploading 500 photos per month to Windows Live Spaces http://clk.atdmt.com/MSN/go/msnnkwsp0070000001msn/direct/01/?href=http://www.get.live.com/spaces/features ========================================================================= Date: Thu, 12 Oct 2006 09:18:06 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: susan maurer Subject: feminists who changed the world Mime-Version: 1.0 Content-Type: text/plain; format=flowed i think it's interesting that atleast two that i know of from feminists with low cut blouses are featured in u. of illinois' FEMINISTS WHO CHANGED THE WORLD. susan maurer _________________________________________________________________ Search—Your way, your world, right now! http://imagine-windowslive.com/minisites/searchlaunch/?locale=en-us&FORM=WLMTAG ========================================================================= Date: Thu, 12 Oct 2006 06:56:57 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: amy king Subject: Re: Why "Only for Yankees' Fans"? [not poetry] In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Good grief! I wasn't limiting the message to per seYankees' fans; instead I was noting that I realize this is a list for POETICS and that I was toeing the line by posting unrelated news here. In fact, I haven't watched the Yankees play in quite sometime, nor have I seen him play (not even the other night), so I probably don't even count as an official fan based on your rant. If you want to debate the history of who played for what time when and how long it takes to call a team "home" and what consitutes a "fan" etc etc, then I'm sure there's a baseball listserv somewhere. I apologize to the list for posting non-related poetry info, esp since it seems David is willfully misreading the subject line of my post and attempting to create strife and dissension through his incredibly rude diatribe where certainly none was intended, a fact that is fairly obvious. But hasn't this kind of angry, presumptuous response become typical on this list over the past few years? It's one of the main reasons why discussions are no longer productively sustained, but instead fizzle out in an angry flurry of performance and pride. David-Baptiste Chirot wrote: Why is this news "only for Yankees fans:?-- Cory Lidle played nine seasons in the Majors--of which only the last ten weeks were for the Yankees-- Baseball--and sports fans --from anywhere and everywhere mourned Lidle's death--his number was repeatedly honored and shown during the Tigers-A's game tonight--I was watching in the Polish Falcons' Club in Milwaukee and people were all tipping their hat to Lidle-- If he hadn't been a Yankee for ten weeks do you think you'd be paying attention? (Would you care if Cory Lidle were still a Phillie?) Let alone learning about Thurmon Munson who played his entire career for the Yankees?-- Have some respect for baseball and sports fans of the world who know about and care for players no matter where and who they play for, and knew about them longer them ten weeks. >From: Dan Coffey >Reply-To: UB Poetics discussion group >To: POETICS@LISTSERV.BUFFALO.EDU >Subject: Re: Only for Yankees' Fans [not poetry] >Date: Wed, 11 Oct 2006 17:13:54 -0500 > >Yeah, it's been confirmed that he was on the plane. First time I ever >turned >to ESPN to get my news. > >On 10/11/06, amy king wrote: >> >>They think the four-seater plane that just hit the Manhattan highrise is >>owned by Cory Lidle. No confirmation that he was on it. >> >> >> "He is Cory Lidle, who has been a major league pitcher for nine years >>and a pilot for seven months. He earned his pilot's license last >>off-season >>and bought a four-seat airplane for $187,000. It is a Cirrus SR20, built >>in >>2002, with fewer than 400 hours in the air. >> >> A player-pilot is still a sensitive topic for the Yankees, whose >>captain, Thurman Munson, was killed in the crash of a plane he was flying >>in >>1979. Lidle, acquired from the Philadelphia Phillies on July 30, said his >>plane was safe." >> >> >> >>http://www.nytimes.com/2006/09/08/sports/baseball/08yankees.html?ex=1315368000&en=f488e3344c30a4f4&ei=5090&partner=rssuserland&emc=rss >> >> >> >> >>--------------------------------- >>How low will we go? Check out Yahoo! Messenger's low PC-to-Phone call >>rates. >> > > > >-- >http://hyperhypo.org _________________________________________________________________ Share your special moments by uploading 500 photos per month to Windows Live Spaces http://clk.atdmt.com/MSN/go/msnnkwsp0070000001msn/direct/01/?href=http://www.get.live.com/spaces/features --------------------------------- Yahoo! Messenger with Voice. Make PC-to-Phone Calls to the US (and 30+ countries) for 2¢/min or less. ========================================================================= Date: Thu, 12 Oct 2006 10:14:03 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Ward Tietz Subject: Royer, Tietz etc. @ DCAC Sunday 10/15 3pm Mime-Version: 1.0 (Apple Message framework v752.2) Content-Transfer-Encoding: 7bit Content-Type: text/plain; charset=US-ASCII; delsp=yes; format=flowed I N Y O U R E A R R E A D I N G S E R I E S @ District of Columbia Arts Center 3:00PM, Sunday, October 15, 2006 RIC ROYER WARD TIETZ & the "IS THAT WOOL HAT MY HAT?" PLAYERS Please join the In Your Ear Poetry Series for a performance by Ric Royer, Ward Tietz, and the "Is That Wool Hat My Hat?" Players on Sunday, October 15th, at 3:00PM. Ric Royer currently resides in Baltimore where he is an organizer of the Transmodern performance Festival (www.transmodernage.com). Ric is also a performer with the Performance Thanatology ResearchSociety, whose theatre piece, "Hystery of Heat", played at the Ontological- Hysteric Theatre in New York, The D.C. Arts Center in Washington D.C, and the Maryland Institue for Contemporary Art in the Spring/Summer of 2006. He is a founding editor of Ferrum Wheel and his poems, performance pieces, essays and reviews have appeared in publications such as Lost and Found Times, Plantarchy, Xtant, Performance Research Journal, Peek Review and Pataphysica. Many of his words on works can be found on his website: http://www.ricroyer.com Ward Tietz is best known for his installations of large, three- dimensional letters and words made from brick, wood, wax, ice and concrete. Since the late 1980s, he has exhibited and performed his work in public parks, museums, and art centers in the US and Europe. His commissions include Roosevelt Pond (a market) (a mine) (Providence, RI, 1988), the (you), a (man)(s), island (s) (Providence, RI, 1989), A Sound Education in collaboration with Scott Alburger (New American Radio, 1990), Five Kites (Allentown PA, 1991) and The Dream Leg of the "H" (Philadelphia, 1993). His performances include Underlined Reading, in collaboration with Guenther Ruch (Geneva,1993), Accompong, in collaboration with Mark McMorris (Geneva, 1996), DE L'EXPERIMENTATION SUR L'HOMME, in collaboration with Vincent Barras, (Geneva, 1997), and INOUI HM, in collaboration with Ambroise Barras (Geneva, 2001). Later this month, Ward's prints and sculptures will be featured in the show Raptured Browsers at Pyramid Atlantic, in Silver Spring, MD. We hope you can join us for the reading and the festivities afterwards. District of Columbia Arts Center is located at 2438 18th Street NW in Adams Morgan, Washington, DC, between the Dupont Circle and Woodley Park metro stations. For directions: ========================================================================= Date: Thu, 12 Oct 2006 09:15:37 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Tom W. Lewis" Subject: Re: Why "Only for Yankees' Fans"? [not poetry] In-Reply-To: <20061012135657.97993.qmail@web83111.mail.mud.yahoo.com> MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable first thing I thought of was: suicide? was Lidle despondent over the = Yankees' failure in the playoffs (stupid and simplistic reaction, but = can we prove it's wrong?)... so then where's the suicide note? and maybe = there are no answers, even with a note or other indication of "why". and = death mocks any striving for answers, anyway.=20 so: no desired answers. only forgetting=20 the desire for answers. in the air over East River=20 there are no questions. amen to Amy's statement: more poetics, less vitriol (but vitriolic = poetics? am willing to split the diff). (NB: no MN Twins have done themselves in following their defeat in = Oakland last week... not yet, anyway) -----Original Message----- From: UB Poetics discussion group [mailto:POETICS@LISTSERV.BUFFALO.EDU] = On Behalf Of amy king Sent: Thursday, October 12, 2006 8:57 To: POETICS@LISTSERV.BUFFALO.EDU Subject: Re: Why "Only for Yankees' Fans"? [not poetry] Good grief! I wasn't limiting the message to per seYankees' fans; = instead I was noting that I realize this is a list for POETICS and that = I was toeing the line by posting unrelated news here. In fact, I = haven't watched the Yankees play in quite sometime, nor have I seen him = play (not even the other night), so I probably don't even count as an = official fan based on your rant. =20 If you want to debate the history of who played for what time when and = how long it takes to call a team "home" and what consitutes a "fan" etc = etc, then I'm sure there's a baseball listserv somewhere. =20 =20 I apologize to the list for posting non-related poetry info, esp since = it seems David is willfully misreading the subject line of my post and = attempting to create strife and dissension through his incredibly rude = diatribe where certainly none was intended, a fact that is fairly = obvious.=20 =20 But hasn't this kind of angry, presumptuous response become typical on = this list over the past few years? It's one of the main reasons why = discussions are no longer productively sustained, but instead fizzle out = in an angry flurry of performance and pride. =20 =20 David-Baptiste Chirot wrote: Why is this news "only for Yankees fans:?-- Cory Lidle played nine seasons in the Majors--of which only the last ten = weeks were for the Yankees-- Baseball--and sports fans --from anywhere and everywhere mourned Lidle's = death--his number was repeatedly honored and shown during the Tigers-A's = game tonight--I was watching in the Polish Falcons' Club in Milwaukee = and=20 people were all tipping their hat to Lidle-- If he hadn't been a Yankee for ten weeks do you think you'd be paying=20 attention? (Would you care if Cory Lidle were still a Phillie?) Let = alone=20 learning about Thurmon Munson who played his entire career for the=20 Yankees?-- Have some respect for baseball and sports fans of the world who know = about=20 and care for players no matter where and who they play for, and knew = about=20 them longer them ten weeks. >From: Dan Coffey=20 >Reply-To: UB Poetics discussion group=20 >To: POETICS@LISTSERV.BUFFALO.EDU >Subject: Re: Only for Yankees' Fans [not poetry] >Date: Wed, 11 Oct 2006 17:13:54 -0500 > >Yeah, it's been confirmed that he was on the plane. First time I ever=20 >turned >to ESPN to get my news. > >On 10/11/06, amy king wrote: >> >>They think the four-seater plane that just hit the Manhattan highrise = is >>owned by Cory Lidle. No confirmation that he was on it. >> >> >> "He is Cory Lidle, who has been a major league pitcher for nine years >>and a pilot for seven months. He earned his pilot's license last=20 >>off-season >>and bought a four-seat airplane for $187,000. It is a Cirrus SR20, = built=20 >>in >>2002, with fewer than 400 hours in the air. >> >> A player-pilot is still a sensitive topic for the Yankees, whose >>captain, Thurman Munson, was killed in the crash of a plane he was = flying=20 >>in >>1979. Lidle, acquired from the Philadelphia Phillies on July 30, said = his >>plane was safe." >> >> >> >>http://www.nytimes.com/2006/09/08/sports/baseball/08yankees.html?ex=3D1= 315368000&en=3Df488e3344c30a4f4&ei=3D5090&partner=3Drssuserland&emc=3Drss= >> >> >> >> >>--------------------------------- >>How low will we go? Check out Yahoo! Messenger's low PC-to-Phone call >>rates. >> > > > >-- >http://hyperhypo.org _________________________________________________________________ Share your special moments by uploading 500 photos per month to Windows = Live=20 Spaces=20 http://clk.atdmt.com/MSN/go/msnnkwsp0070000001msn/direct/01/?href=3Dhttp:= //www.get.live.com/spaces/features =09 --------------------------------- Yahoo! Messenger with Voice. Make PC-to-Phone Calls to the US (and 30+ = countries) for 2=A2/min or less. ========================================================================= Date: Thu, 12 Oct 2006 07:43:54 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Thomas savage Subject: Reading w. Music 10/22/06 at Tribes MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Tom Savage and Merry Fortune will give a reading of their poems at Tribes Gallery. Sunday October 22nd at 5 PM. Also featured will be musical settings of four Tom Savage poems by the prodigy composer Oliver Hagen. Tom Savage has written eight published books of poetry including Bamiyan Poems, Brain Surgery Poems, and Political Conditions/Physical States. Merry Fortune is the author of Ghosts by Albert Ayler. Ghosts by Albert Ayler. Oliver Hagen studies at the Rochester Conservatory and is a student at the Societe Intercontemporain in Paris, also under Pierre Boulez. --------------------------------- Do you Yahoo!? Everyone is raving about the all-new Yahoo! Mail. ========================================================================= Date: Thu, 12 Oct 2006 10:44:12 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Ruth Lepson Subject: Re: feminists who changed the world In-Reply-To: Mime-version: 1.0 Content-type: text/plain; charset="ISO-8859-1" Content-transfer-encoding: quoted-printable a related note & a plug: u of illinois in 2004 published an anthology I edited, Poetry from Sojourner: A Feminist Anthology. I was a poetry ed at Sojourner, the feminist mag, for many yrs, & this collection is abt 1/10 of the poetry that appeared in the life of the mag. My happiest addition to th= e mag's pages & later the book were poets I solicited work from, like Lyn Hejinian, Leslie Scalapino, Kathleen Fraser, Rosmarie Waldrop & other innovative poets bec their work is feminist in its breaking the syntax. You can get the anthology from U of Illinois. ruth lepson On 10/12/06 9:18 AM, "susan maurer" wrote: > i think it's interesting that atleast two that i know of from feminists w= ith > low cut blouses are featured in u. of illinois' FEMINISTS WHO CHANGED THE > WORLD. susan maurer >=20 > _________________________________________________________________ > Search=97Your way, your world, right now! >=20 http://imagine-windowslive.com/minisites/searchlaunch/?locale=3Den-us&FORM=3DWL= MTA> G ========================================================================= Date: Thu, 12 Oct 2006 07:45:59 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Thomas savage Subject: Re: Reading w. Music 10/22/06 at Tribes In-Reply-To: <20061012144354.17719.qmail@web31107.mail.mud.yahoo.com> MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit I neglected to mention that Tribes Gallery is located at 285 E. 3rd St. between Aves. C & D in the East Village of Manhattan, New York City. Hope to see you there. Thomas savage wrote: Tom Savage and Merry Fortune will give a reading of their poems at Tribes Gallery. Sunday October 22nd at 5 PM. Also featured will be musical settings of four Tom Savage poems by the prodigy composer Oliver Hagen. Tom Savage has written eight published books of poetry including Bamiyan Poems, Brain Surgery Poems, and Political Conditions/Physical States. Merry Fortune is the author of Ghosts by Albert Ayler. Ghosts by Albert Ayler. Oliver Hagen studies at the Rochester Conservatory and is a student at the Societe Intercontemporain in Paris, also under Pierre Boulez. --------------------------------- Do you Yahoo!? Everyone is raving about the all-new Yahoo! Mail. --------------------------------- Get your email and more, right on the new Yahoo.com ========================================================================= Date: Thu, 12 Oct 2006 11:02:25 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mark Weiss Subject: Re: feminists who changed the world In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1"; format=flowed Content-Transfer-Encoding: quoted-printable What does "feminist in its breaking the syntax"=20 mean? A lot of us seem to have been doing this=20 for the past 60 or so years (in other languages=20 add quite a few more years), regardless of gender. Mark At 10:44 AM 10/12/2006, you wrote: >a related note & a plug: u of illinois in 2004 published an anthology I >edited, Poetry from Sojourner: A Feminist Anthology. I was a poetry ed at >Sojourner, the feminist mag, for many yrs, & this collection is abt 1/10 of >the poetry that appeared in the life of the mag. My happiest addition to= the >mag's pages & later the book were poets I solicited work from, like Lyn >Hejinian, Leslie Scalapino, Kathleen Fraser, Rosmarie Waldrop & other >innovative poets bec their work is feminist in its breaking the syntax. You >can get the anthology from U of Illinois. >ruth lepson > > >On 10/12/06 9:18 AM, "susan maurer" wrote: > > > i think it's interesting that atleast two=20 > that i know of from feminists with > > low cut blouses are featured in u. of illinois' FEMINISTS WHO CHANGED= THE > > WORLD. susan maurer > > > > _________________________________________________________________ > > Search=97Your way, your world, right now! > > >http://imagine-windowslive.com/minisites/searchlaunch/?locale=3Den-us&FORM= =3DWLMTA> >G ========================================================================= Date: Thu, 12 Oct 2006 08:18:49 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Wallis Leslie Subject: Re: to synthesize the plot of Hesse's Steppenwolf In-Reply-To: <452DB119.7030008@listenlight.net> MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Without much thought, a supreme bourgeois moment in Steppenwolf that has stuck with me lo these many years is the landlady polishing the leaves of a houseplant. yet another washday miracle, Wallis Leslie --- Jesse Crockett wrote: > Kate Easton wrote: > > d'ya mean, what part of STFU don't you understand? > > > > no, i don't mean that. maybe the opposite of that, > the polar opposite. > > > > On 10/11/06, Jesse Crockett > wrote: > >> > >> I have written a (poor, unpublished) novel a few > years ago. My favorite > >> novel is Hesse's Steppenwolf, and researching to > write a second novel > >> that would surely be better than my first, I want > to attempt a synthesis > >> of the plot of Steppenwolf into which structure I > might translate my own > >> experience. I am looking for interesting vantage > points that others may > >> offer, preferably without much thought, into > certain moments in the text > >> that, for instance, one would love to read in the > context of > >> comtemporary America, whose "bourgeois life" > would be the projection of > >> a working class individual. > >> > >> Briefly, what three instances are most pivotal in > Steppenwolf? And if > >> you had to take two books into permanent > seclusion, one requisite being > >> Steppenwolf, what would be its companion text? > >> > >> JWC > >> > > > __________________________________________________ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com ========================================================================= Date: Thu, 12 Oct 2006 11:21:57 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Michael Magee Subject: Shanna Compton & Michael Magee -- Segue Series in NYC this Saturday Comments: cc: Charles Bernstein MIME-Version: 1.0 Content-Type: text/plain; charset=utf-8 Content-Transfer-Encoding: 7bit Hi everyone, Just wanted to let those in the NY area know that I'll be reading with Shanna Compton this Saturday at 4 o'clock. Here are the details: Saturday, October 14 at 4:00 for the Segue Series in NYC Shanna Compton & Michael Magee Segue Series Hosted by Nada Gordon & Gary Sullivan Bowery Poetry Club 308 Bowery (between Houston & Bleecker) Hope to see you there! Michael ========================================================================= Date: Thu, 12 Oct 2006 11:38:26 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: angela vasquez-giroux Subject: Re: feminists who changed the world In-Reply-To: <7.0.1.0.1.20061012105713.00adcb88@earthlink.net> MIME-Version: 1.0 Content-Type: text/plain; charset=WINDOWS-1252; format=flowed Content-Transfer-Encoding: quoted-printable Content-Disposition: inline breaking the syntax seems to me to be another of those veiled or vague statements we are all guilty of using. like calling poetry "organic". as poets, or at least 'appreciators" of poetry, shouldn't we be more precis= e in our language? On 10/12/06, Mark Weiss wrote: > > What does "feminist in its breaking the syntax" > mean? A lot of us seem to have been doing this > for the past 60 or so years (in other languages > add quite a few more years), regardless of gender. > > Mark > > > At 10:44 AM 10/12/2006, you wrote: > >a related note & a plug: u of illinois in 2004 published an anthology I > >edited, Poetry from Sojourner: A Feminist Anthology. I was a poetry ed a= t > >Sojourner, the feminist mag, for many yrs, & this collection is abt 1/10 > of > >the poetry that appeared in the life of the mag. My happiest addition to > the > >mag's pages & later the book were poets I solicited work from, like Lyn > >Hejinian, Leslie Scalapino, Kathleen Fraser, Rosmarie Waldrop & other > >innovative poets bec their work is feminist in its breaking the syntax. > You > >can get the anthology from U of Illinois. > >ruth lepson > > > > > >On 10/12/06 9:18 AM, "susan maurer" wrote: > > > > > i think it's interesting that atleast two > > that i know of from feminists with > > > low cut blouses are featured in u. of illinois' FEMINISTS WHO CHANGED > THE > > > WORLD. susan maurer > > > > > > _________________________________________________________________ > > > Search=97Your way, your world, right now! > > > > > > http://imagine-windowslive.com/minisites/searchlaunch/?locale=3Den-us&FOR= M=3DWLMTA > > > >G > --=20 http://mother-of-light.blogspot.com ========================================================================= Date: Thu, 12 Oct 2006 13:03:37 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: heidi arnold Subject: Re: feminists who changed the world In-Reply-To: <8f6eafee0610120838x727ad03bk12497f08db22e722@mail.gmail.com> MIME-Version: 1.0 Content-Type: text/plain; charset=WINDOWS-1252; format=flowed Content-Transfer-Encoding: quoted-printable Content-Disposition: inline "the poet who is not in trouble with the king is in trouble with her work" -- who said that? Djuna Barnes? -- anyone here agree with it? On 10/12/06, angela vasquez-giroux wrote: > > breaking the syntax > > seems to me to be another of those veiled or vague statements we are all > guilty of using. > > like calling poetry "organic". > > as poets, or at least 'appreciators" of poetry, shouldn't we be more > precise > in our language? > > > > On 10/12/06, Mark Weiss wrote: > > > > What does "feminist in its breaking the syntax" > > mean? A lot of us seem to have been doing this > > for the past 60 or so years (in other languages > > add quite a few more years), regardless of gender. > > > > Mark > > > > > > At 10:44 AM 10/12/2006, you wrote: > > >a related note & a plug: u of illinois in 2004 published an anthology = I > > >edited, Poetry from Sojourner: A Feminist Anthology. I was a poetry ed > at > > >Sojourner, the feminist mag, for many yrs, & this collection is abt > 1/10 > > of > > >the poetry that appeared in the life of the mag. My happiest addition > to > > the > > >mag's pages & later the book were poets I solicited work from, like Ly= n > > >Hejinian, Leslie Scalapino, Kathleen Fraser, Rosmarie Waldrop & other > > >innovative poets bec their work is feminist in its breaking the syntax= . > > You > > >can get the anthology from U of Illinois. > > >ruth lepson > > > > > > > > >On 10/12/06 9:18 AM, "susan maurer" wrote: > > > > > > > i think it's interesting that atleast two > > > that i know of from feminists with > > > > low cut blouses are featured in u. of illinois' FEMINISTS WHO > CHANGED > > THE > > > > WORLD. susan maurer > > > > > > > > _________________________________________________________________ > > > > Search=97Your way, your world, right now! > > > > > > > > > > http://imagine-windowslive.com/minisites/searchlaunch/?locale=3Den-us&FOR= M=3DWLMTA > > > > > >G > > > > > > -- > http://mother-of-light.blogspot.com > --=20 www.heidiarnold.org ========================================================================= Date: Thu, 12 Oct 2006 12:26:01 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Kass Fleisher Subject: Re: feminists who changed the [word] In-Reply-To: <8f6eafee0610120838x727ad03bk12497f08db22e722@mail.gmail.com> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" mark and others, sure, lots of people have done it for even longer than 60 years even in english.... that said, one "breaks syntax" (i'm assuming we all know what we mean by that...) in different ways and for different reasons. althusser's "coupure" comes to mind...coupled with a line i'm tired of quoting, from hal foster in 1980 i think, about there being two types of postmodernism, one of resistance and one of reaction. of course, yes yes, oversimplified (esp. 20+ years later), but still a useful model in these discussions. it's quite possible to argue, i suppose, that the phrase "feminist in breaking the syntax" might be relevant only at the generative stage of writing, not at the level of reception---that is, one might sit down and intend to "break" to achieve a feminist end (process), while a reader might not see any feminism therein (product---another tired binary). we might see a resistor and a reactor utilizing very similar gestures, but whether a specific textual materiality accrues is hard for me to say---i haven't made a study of it. nonetheless, i feel that i grasp the *spirit* of ruth lepson's comment, and appreciate it. kass fleisher >breaking the syntax > >seems to me to be another of those veiled or vague statements we are all >guilty of using. > >like calling poetry "organic". > >as poets, or at least 'appreciators" of poetry, shouldn't we be more precise >in our language? > > > >On 10/12/06, Mark Weiss wrote: >> >>What does "feminist in its breaking the syntax" >>mean? A lot of us seem to have been doing this >>for the past 60 or so years (in other languages >>add quite a few more years), regardless of gender. >> >>Mark >> >>feminist in its breaking the syntax. >> >> >ruth lepson ========================================================================= Date: Thu, 12 Oct 2006 12:39:47 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Tom W. Lewis" Subject: Re: feminists who changed the world In-Reply-To: <11d43b500610121003u7ed7c9begff24a40d09fc904@mail.gmail.com> MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: quoted-printable I don't know who said it, but I do find myself agreeing with it.=20 however, is this equating grammar / syntax / normative language (as it were) with the King / Patriarchy / Nobodaddy that instigates our disenfranchisement?=20 just because you break syntax doesn't mean you're sticking it to the Man, I think.=20 I still don't get how breaking syntax becomes a specifically Feminist activity... -----Original Message----- From: UB Poetics discussion group [mailto:POETICS@LISTSERV.BUFFALO.EDU] On Behalf Of heidi arnold Sent: Thursday, October 12, 2006 12:04 To: POETICS@LISTSERV.BUFFALO.EDU Subject: Re: feminists who changed the world "the poet who is not in trouble with the king is in trouble with her work" -- who said that? Djuna Barnes? -- anyone here agree with it? ========================================================================= Date: Thu, 12 Oct 2006 13:41:20 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Romana Huk Subject: Bernstein to deliver UND Ward-Phillips Lectures MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Dear Poetics List, Below you'll find a full description of the Department of English's=20 Ward Phillips Lectures for 2006, at the University of Notre Dame,=20 which will be delivered by Charles Bernstein, Regan Professor of=20 English at the University of Pennsylvania. The three days of=20 lectures will take place this fall, just after Thanksgiving: November=20 27th, 28th and 29th. Please join us if you can; all are=20 welcome. There will be receptions after each of the lectures, a=20 poetry reading after the second lecture, and a panel discussion of=20 Bernstein's ideas -- with him in attendance -- on the last day (see=20 schedule below). Please address me directly with any questions: huk.1 AT nd.edu. Romana Huk The Ward Phillips Lectures, 2006 Charles Bernstein, November 27, 28, 29 **The Attack of the Difficult Poems: Poetics, Technology, Invention** Department of English University of Notre Dame (All events in the Hesburgh Center Auditorium on the UND campus) Monday, 5 pm: "The Task of Poetics, the Fate of Innovation, and the=20 Aesthetics of Criticism" Topics will include the role of close reading and poetry criticism=20 for contemporary writing; the relation of theory to poetics and=20 poetic practice; the professionalization of academic literary=20 scholarship; the role of aesthetics for poetry and scholarship. 6:30 pm: A reception at the Morris Inn will follow the lecture Tuesday, 5 pm: "The Poetics of Invention and the Art of Teaching" Is innovation a tired metaphor of modernist utopian thinking? Is it=20 possible to teach difficult poetic works to uninitiated students?=20 Includes some practical discussion of using the web and my own "poem=20 profiler," as well as the "wreading experiments" list in teaching. 7:00 pm: A reading by Charles Bernstein of his poetry will follow a=20 brief reception in the atrium of the Hesburgh Center Wednesday, 1:30 pm: Prior to the lecture, a public discussion of=20 ideas presented thus far will be led by UND professors, local=20 scholars and poets, inlcuding Stephen Fredman, Romana Huk, Gerald=20 Bruns, John Wilkinson, Joyelle McSweeney, Steve Tomasula, Johannes=20 Goransson, and Jennifer Scappettone (U Chicago) Wednesday, 5pm: "Objectivist Blues & the Art of Immemorability" How has language recording technology (from the alphabet to sound=20 recording to the digital archive) affected the development of=20 poetry? The lecture focuses on second wave modernist poets, tin pan=20 alley lyricists, and blues performers, with special reference to=20 their innovations in recording speech (in writing and song). Among=20 the artists discussed are Louis Zukofsky, James Weldon Johnson,=20 Vachel Lindsay, Ira Gershwin, Oscar Hammerstein II, Charley Patton,=20 Paul Robeson, and Cole Porter. A brief wine reception will follow the lecture. Charles Bernstein bio: http://epc.buffalo.edu/authors/bernstein/cb_bio.html ========================================================================= Date: Thu, 12 Oct 2006 11:59:48 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Julie Kizershot Subject: Re: feminists who changed the world In-Reply-To: <54AA9B41BC35F34EAD02E660901D8A5A07ACB5C8@TLRUSMNEAGMBX10.ERF.THOMSON.COM> Mime-Version: 1.0 (Apple Message framework v752.2) Content-Type: text/plain; charset=US-ASCII; delsp=yes; format=flowed Content-Transfer-Encoding: 7bit I think that one thinks of this kind of breaking of syntax in relation to Lacanian theory and the idea that one becomes a citizen, member of society and its orders, by speaking the Name of the Father-- this is both literal language and its inherent dominance and suppressions (a binary system) and the symbolic languages of how we order our worlds. Thus, writers who mess with such established orders are often those who experiment with the writing of feminist text (perhaps Cixous, certainly Theresa Cha or Monique WIttig, among others) Julie K On Oct 12, 2006, at 11:39 AM, Tom W. Lewis wrote: > I don't know who said it, but I do find myself agreeing with it. > > however, is this equating grammar / syntax / normative language (as it > were) with the King / Patriarchy / Nobodaddy that instigates our > disenfranchisement? > > just because you break syntax doesn't mean you're sticking it to the > Man, I think. > > I still don't get how breaking syntax becomes a specifically Feminist > activity... > > > -----Original Message----- > From: UB Poetics discussion group > [mailto:POETICS@LISTSERV.BUFFALO.EDU] > On Behalf Of heidi arnold > Sent: Thursday, October 12, 2006 12:04 > To: POETICS@LISTSERV.BUFFALO.EDU > Subject: Re: feminists who changed the world > > "the poet who is not in trouble with the king is in trouble with her > work" > > -- who said that? Djuna Barnes? > > -- anyone here agree with it? ========================================================================= Date: Thu, 12 Oct 2006 14:09:01 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: kevin thurston Subject: Re: feminists who changed the world In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline but that requires everyone buying in to Lacanian theory, Name of the Father etc. On 10/12/06, Julie Kizershot wrote: > > I think that one thinks of this kind of breaking of syntax in > relation to Lacanian theory and the idea that one becomes a citizen, > member of society and its orders, by speaking the Name of the > Father-- this is both literal language and its inherent dominance and > suppressions (a binary system) and the symbolic languages of how we > order our worlds. > Thus, writers who mess with such established orders are often those > who experiment with the writing of feminist text (perhaps Cixous, > certainly Theresa Cha or Monique WIttig, among others) > > Julie K > > > > On Oct 12, 2006, at 11:39 AM, Tom W. Lewis wrote: > > > I don't know who said it, but I do find myself agreeing with it. > > > > however, is this equating grammar / syntax / normative language (as it > > were) with the King / Patriarchy / Nobodaddy that instigates our > > disenfranchisement? > > > > just because you break syntax doesn't mean you're sticking it to the > > Man, I think. > > > > I still don't get how breaking syntax becomes a specifically Feminist > > activity... > > > > > > -----Original Message----- > > From: UB Poetics discussion group > > [mailto:POETICS@LISTSERV.BUFFALO.EDU] > > On Behalf Of heidi arnold > > Sent: Thursday, October 12, 2006 12:04 > > To: POETICS@LISTSERV.BUFFALO.EDU > > Subject: Re: feminists who changed the world > > > > "the poet who is not in trouble with the king is in trouble with her > > work" > > > > -- who said that? Djuna Barnes? > > > > -- anyone here agree with it? > -- http://www.angelfire.com/poetry/thepixelplus/nhdoublewide.html ========================================================================= Date: Thu, 12 Oct 2006 13:14:43 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Dan Coffey Subject: Re: Why "Only for Yankees' Fans"? [not poetry] In-Reply-To: <20061012135657.97993.qmail@web83111.mail.mud.yahoo.com> MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline Ms. King, I take exception to your appropriation of the time-honored and beloved "catch-phrase," if you will, perpetually uttered by Charlie Brown, creation of equally beloved cartoonist Charles M. Schulz, to further your point of the futility of trying to equate poetry with sports. Surely no parallel can be drawn between the mindset of those who practice and discuss the art of poetry with those who beller in the bleachers. As another infamous Charlie has said, "it's inapppropriate to appropriate." When Poetics list members start behaving like boorish sports "fans" that give their sport of choice a bad name, 'twill be a dark and stormy night indeed. Waiting for the Great Pumpkin, Dan On 10/12/06, amy king wrote: > Good grief! I wasn't limiting the message to per seYankees' fans ========================================================================= Date: Thu, 12 Oct 2006 14:44:48 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: kevin thurston Subject: Re: Why "Only for Yankees' Fans"? [not poetry] In-Reply-To: <750c78460610121114w101c538v11c67c21f298460a@mail.gmail.com> MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline NONE? so there isn't a single person who can practice and discuss the art of poetry with those who beller in the bleachers? On 10/12/06, Dan Coffey wrote: > > Ms. King, > > I take exception to your appropriation of the time-honored and beloved > "catch-phrase," if you will, perpetually uttered by Charlie Brown, > creation of equally beloved cartoonist Charles M. Schulz, to further > your point of the futility of trying to equate poetry with sports. > Surely no parallel can be drawn between the mindset of those who > practice and discuss the art of poetry with those who beller in the > bleachers. As another infamous Charlie has said, "it's inapppropriate > to appropriate." When Poetics list members start behaving like boorish > sports "fans" that give their sport of choice a bad name, 'twill be a > dark and stormy night indeed. > > Waiting for the Great Pumpkin, > > Dan > > On 10/12/06, amy king wrote: > > Good grief! I wasn't limiting the message to per seYankees' fans > -- http://www.angelfire.com/poetry/thepixelplus/nhdoublewide.html ========================================================================= Date: Thu, 12 Oct 2006 12:45:57 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Julie Kizershot Subject: Re: feminists who changed the world In-Reply-To: Mime-Version: 1.0 (Apple Message framework v752.2) Content-Type: text/plain; charset=US-ASCII; delsp=yes; format=flowed Content-Transfer-Encoding: 7bit In the case of what I wrote, certainly. Just as so many writers and speakers every day can "buy" in to the idea that language is transparent-- again, an idea many (but not all) hold on how the system of language "works". Though I must admit I only today began reading these posts, so I don't know what was discusses earlier in this thread. Julie K On Oct 12, 2006, at 12:09 PM, kevin thurston wrote: > but that requires everyone buying in to Lacanian theory, Name of > the Father > etc. > > On 10/12/06, Julie Kizershot wrote: >> >> I think that one thinks of this kind of breaking of syntax in >> relation to Lacanian theory and the idea that one becomes a citizen, >> member of society and its orders, by speaking the Name of the >> Father-- this is both literal language and its inherent dominance and >> suppressions (a binary system) and the symbolic languages of how we >> order our worlds. >> Thus, writers who mess with such established orders are often those >> who experiment with the writing of feminist text (perhaps Cixous, >> certainly Theresa Cha or Monique WIttig, among others) >> >> Julie K >> >> >> >> On Oct 12, 2006, at 11:39 AM, Tom W. Lewis wrote: >> >> > I don't know who said it, but I do find myself agreeing with it. >> > >> > however, is this equating grammar / syntax / normative language >> (as it >> > were) with the King / Patriarchy / Nobodaddy that instigates our >> > disenfranchisement? >> > >> > just because you break syntax doesn't mean you're sticking it to >> the >> > Man, I think. >> > >> > I still don't get how breaking syntax becomes a specifically >> Feminist >> > activity... >> > >> > >> > -----Original Message----- >> > From: UB Poetics discussion group >> > [mailto:POETICS@LISTSERV.BUFFALO.EDU] >> > On Behalf Of heidi arnold >> > Sent: Thursday, October 12, 2006 12:04 >> > To: POETICS@LISTSERV.BUFFALO.EDU >> > Subject: Re: feminists who changed the world >> > >> > "the poet who is not in trouble with the king is in trouble with >> her >> > work" >> > >> > -- who said that? Djuna Barnes? >> > >> > -- anyone here agree with it? >> > > > > -- > http://www.angelfire.com/poetry/thepixelplus/nhdoublewide.html ========================================================================= Date: Thu, 12 Oct 2006 15:13:06 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Eric Yost Subject: Re: feminists who changed the world In-Reply-To: <11d43b500610121003u7ed7c9begff24a40d09fc904@mail.gmail.com> MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit >>"the poet who is not in trouble with the king is in trouble with her work" Counter-example is Pushkin, who was associated with the Decembrist Revolutionaries. The king (Tsar)took it upon himself to edit/censor Pushkin's work, and keep him under house arrest until the Decembrists were quelled. Pushkin was in trouble with the government, but not with the king, who kept him safe so that his genius wouldn't be wasted in revolutionary politics, imprisonment, or execution. ========================================================================= Date: Thu, 12 Oct 2006 12:13:14 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Chris Stroffolino Subject: Oh, and thank you In-Reply-To: <20061012135657.97993.qmail@web83111.mail.mud.yahoo.com> Mime-Version: 1.0 (Apple Message framework v752.3) Content-Type: text/plain; charset=ISO-8859-1; delsp=yes; format=flowed Content-Transfer-Encoding: quoted-printable Oh, one more thing-- I did want to thank you for the INFORMATION by the way. I had heard =20 on the radio that a helicopter had crashed into a bldg, but didn't =20 know more details until I read your note---so in that sense it helped =20= too... Chris On Oct 12, 2006, at 6:56 AM, amy king wrote: > Good grief! I wasn't limiting the message to per seYankees' =20 > fans; instead I was noting that I realize this is a list for =20 > POETICS and that I was toeing the line by posting unrelated news =20 > here. In fact, I haven't watched the Yankees play in quite =20 > sometime, nor have I seen him play (not even the other night), so I =20= > probably don't even count as an official fan based on your rant. > > If you want to debate the history of who played for what time =20 > when and how long it takes to call a team "home" and what =20 > consitutes a "fan" etc etc, then I'm sure there's a baseball =20 > listserv somewhere. > > I apologize to the list for posting non-related poetry info, esp =20 > since it seems David is willfully misreading the subject line of my =20= > post and attempting to create strife and dissension through his =20 > incredibly rude diatribe where certainly none was intended, a fact =20 > that is fairly obvious. > > But hasn't this kind of angry, presumptuous response become =20 > typical on this list over the past few years? It's one of the main =20= > reasons why discussions are no longer productively sustained, but =20 > instead fizzle out in an angry flurry of performance and pride. > > > David-Baptiste Chirot wrote: > Why is this news "only for Yankees fans:?-- > Cory Lidle played nine seasons in the Majors--of which only the =20 > last ten > weeks were for the Yankees-- > Baseball--and sports fans --from anywhere and everywhere mourned =20 > Lidle's > death--his number was repeatedly honored and shown during the =20 > Tigers-A's > game tonight--I was watching in the Polish Falcons' Club in =20 > Milwaukee and > people were all tipping their hat to Lidle-- > If he hadn't been a Yankee for ten weeks do you think you'd be paying > attention? (Would you care if Cory Lidle were still a Phillie?) Let =20= > alone > learning about Thurmon Munson who played his entire career for the > Yankees?-- > Have some respect for baseball and sports fans of the world who =20 > know about > and care for players no matter where and who they play for, and =20 > knew about > them longer them ten weeks. > >> From: Dan Coffey >> Reply-To: UB Poetics discussion group > >> To: POETICS@LISTSERV.BUFFALO.EDU >> Subject: Re: Only for Yankees' Fans [not poetry] >> Date: Wed, 11 Oct 2006 17:13:54 -0500 >> >> Yeah, it's been confirmed that he was on the plane. First time I ever >> turned >> to ESPN to get my news. >> >> On 10/11/06, amy king wrote: >>> >>> They think the four-seater plane that just hit the Manhattan =20 >>> highrise is >>> owned by Cory Lidle. No confirmation that he was on it. >>> >>> >>> "He is Cory Lidle, who has been a major league pitcher for nine =20 >>> years >>> and a pilot for seven months. He earned his pilot's license last >>> off-season >>> and bought a four-seat airplane for $187,000. It is a Cirrus =20 >>> SR20, built >>> in >>> 2002, with fewer than 400 hours in the air. >>> >>> A player-pilot is still a sensitive topic for the Yankees, whose >>> captain, Thurman Munson, was killed in the crash of a plane he =20 >>> was flying >>> in >>> 1979. Lidle, acquired from the Philadelphia Phillies on July 30, =20 >>> said his >>> plane was safe." >>> >>> >>> >>> http://www.nytimes.com/2006/09/08/sports/baseball/08yankees.html?=20 >>> ex=3D1315368000&en=3Df488e3344c30a4f4&ei=3D5090&partner=3Drssuserland&= emc=3Drs=20 >>> s >>> >>> >>> >>> >>> --------------------------------- >>> How low will we go? Check out Yahoo! Messenger's low PC-to-Phone =20 >>> call >>> rates. >>> >> >> >> >> -- >> http://hyperhypo.org > > _________________________________________________________________ > Share your special moments by uploading 500 photos per month to =20 > Windows Live > Spaces > http://clk.atdmt.com/MSN/go/msnnkwsp0070000001msn/direct/01/?=20 > href=3Dhttp://www.get.live.com/spaces/features > > > =09 > --------------------------------- > Yahoo! Messenger with Voice. Make PC-to-Phone Calls to the US (and =20 > 30+ countries) for 2=A2/min or less. ========================================================================= Date: Thu, 12 Oct 2006 15:55:45 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Larissa Shmailo Subject: Re: feminists who changed the world In-Reply-To: <452E93C2.3070509@gmail.com> MIME-Version: 1.0 Content-Transfer-Encoding: 7bit Content-Type: text/plain; charset="us-ascii" Nicholas I was not that benevolent, Eric. Due to the Czar's censorship and bedroom jealousies, Pushkin could not travel and spent his last days before his final and mortal duel writing more histories than poetry. Note also early feminist Mahadevi-Akka's prolific Kannada vachunas to Siva after she had rejected king and wisemen of her 10th century Dravidian realm. Inspiration thrives in challenging the status quo, breaking syntax if you will. Larissa Shmailo larissashmailo.blogspot.com -----Original Message----- From: mr.eric.yost@GMAIL.COM To: POETICS@LISTSERV.BUFFALO.EDU Sent: Thu, 12 Oct 2006 3:13 PM Subject: Re: feminists who changed the world >>"the poet who is not in trouble with the king is in trouble with her work" Counter-example is Pushkin, who was associated with the Decembrist Revolutionaries. The king (Tsar)took it upon himself to edit/censor Pushkin's work, and keep him under house arrest until the Decembrists were quelled. Pushkin was in trouble with the government, but not with the king, who kept him safe so that his genius wouldn't be wasted in revolutionary politics, imprisonment, or execution. ________________________________________________________________________ Check out the new AOL. Most comprehensive set of free safety and security tools, free access to millions of high-quality videos from across the web, free AOL Mail and more. ========================================================================= Date: Thu, 12 Oct 2006 16:01:45 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: angela vasquez-giroux Subject: Re: Why "Only for Yankees' Fans"? [not poetry] In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline jack spicer, stephen dunn, robert coover (i know he's not a poet) are all great writers who are also great fans of sport (esp. baseball) and even make baseball the subject of their work. let's not pretend that those who enjoy sports are "bellering" idiots or swine. one reason the arts tend to be so marginalized is the perception that artists/poets/etc. are elitist snob, looking down our noses at the masses amused by their silly games while we sip cabernet and discuss plato. On 10/12/06, kevin thurston wrote: > > practice and discuss the art of poetry with those who beller in the > bleachers.> > > NONE? so there isn't a single person who can practice and discuss the art > of > poetry with those who beller in the bleachers? > > On 10/12/06, Dan Coffey wrote: > > > > Ms. King, > > > > I take exception to your appropriation of the time-honored and beloved > > "catch-phrase," if you will, perpetually uttered by Charlie Brown, > > creation of equally beloved cartoonist Charles M. Schulz, to further > > your point of the futility of trying to equate poetry with sports. > > Surely no parallel can be drawn between the mindset of those who > > practice and discuss the art of poetry with those who beller in the > > bleachers. As another infamous Charlie has said, "it's inapppropriate > > to appropriate." When Poetics list members start behaving like boorish > > sports "fans" that give their sport of choice a bad name, 'twill be a > > dark and stormy night indeed. > > > > Waiting for the Great Pumpkin, > > > > Dan > > > > On 10/12/06, amy king wrote: > > > Good grief! I wasn't limiting the message to per seYankees' fans > > > > > > -- > http://www.angelfire.com/poetry/thepixelplus/nhdoublewide.html > -- http://mother-of-light.blogspot.com ========================================================================= Date: Thu, 12 Oct 2006 16:25:31 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Marcus Bales Subject: Re: feminists who changed the world Comments: To: Larissa Shmailo In-Reply-To: <8C8BC4F8A92D85B-EAC-1163@WEBMAIL-MC03.sysops.aol.com> MIME-Version: 1.0 Content-type: text/plain; charset=US-ASCII Content-transfer-encoding: 7BIT On 12 Oct 2006 at 15:55, Larissa Shmailo wrote: > ... Inspiration thrives in challenging the status quo, > breaking syntax if you will. Homer. Virgil. Shakespeare. ========================================================================= Date: Thu, 12 Oct 2006 15:35:23 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: David-Baptiste Chirot Subject: an apology--"what we have here is a failure to communicate" Mime-Version: 1.0 Content-Type: text/plain; format=flowed Dear Amy: I apologize-- i think we have a failure to communicate. I hope i can perhaps explain a little and bring a peaceful understanding-- What I was writing about wasn't to create strife and dissension, angry presumptious diatribe etc --what I was expressing was that the header expresses a form of elitism and possesion, that Cory Lidle belongs only to New York, and that only New York mourns this tragedy. I was saying that on the contrary, baseball and sports fans everywhere mourn this event and know of Lidle's career not simply as a Yankee but also as a member of the six other teams he played for over nine years. It doesn't really have to do with the amount of baseball information, but with the attitude of elitism and sole possesion expressed in "Only for Yankees Fans". (Also people are being very generous to Lidle --just a few days ago he wasn't very popular with his teammates or many in NYC and the media as he had come out with criticisms of the Yankees not being prepared for their division series agsinst the Tigers and in 1995 he was a replacement player during the baseball players' strike--a scab in other words, making him not always the most popular guy in the clubhouse of the many teams he played for. None of this matters here of course, except that people on the list have quoted stories and mentioned news about him and speculated a bit about him, so these are a few more facts to contribute to the discussion of who he was.) (The question of suicide was raised--i seriously doubt re Lidle but this did really happen with a pitcher who was involved on a losing team in a divison series--the Angels who lost to the come-from behind Red Sox in 1986--i can't recall his name at the moment, very good relief pitcher, gave up dramatic home run to Dave Henderson and blamed himself for the Angels' loss--later committed suicide--never recovered from the event--)(George Bowering will know who i mean--) Personally I have tried in all my time on this list not to be a contributer to the sort of discourse you critique. I apologize that my emotions as a sports fan aren't as cool as they are in other regards but I did find the exclusiveness and elitism of the header offensive. I'm sorry that my reply was too hasty and overboard, I really should have phrased it far better, to say the least. I think your response shows the miscommunication i mention above. "I wasn't limiiting the message to per se Yankees fans"--then why write "for Yankees fans only"? I am not "willfully misreading" your message at all--I am reading what you wrote. I can't read what your intentions were, I can only read the words that appear on the screen. (During David Frost's interviews with Nixon, he played some of Nixon's own tapes of his conversations with his aides to Nixon, Nixon giving orders to do such and such--to which Nixon responded--"that is what I said, but that is not what I meant." Frost said--"Yes, but how can the listener know what you meant if you are not saying it?") Baseball and poetry aren't seperate subjects--there was just the announcement of the annual Boog City Baseball Poetry issue (I'm honored to have been chosen for inclusion in this in the past) and Marianne Moore for example was known for her baseball poems and devotion to her beloved Brooklyn Dodgers. There are a great number of anthologies of baseball writings by poets and writers. Think Jack Spicer for starters alone . . . the list is very long-- (And Virginia Woolf was a huge fan of Ring Lardner's great epistolary baseball novel You Know Me, Al--) Many poets on his list have written beautifully on baseball and can discuss it for hours on end with one, and know more than I do. I am sorry I phrased my response so poorly because I was thinking of how many baseball fans there are on this list whom I know of, and that a header such as "for Yankees fans only" in such a context is shall we say tactless and exclusive. I also deplore the "angry presumptuous responses" you do and apologize for giving such an impression. The elitism here and often displayed on the list does concern me. You introduced a topic, baseball, but for Yankess fans only. When I protest that other fans count also, you say you didn't mean Yankees fans only per se, (yet what you wrote is not apparently what you meant) and that "I'm sure there's a baseball listserv somewhere" where any further discussion can go. There's a hint of condescension--it's okay for you to bring the subject up--but for anyone to discuss it--take it outside the nice place. You also assert that it is "a fact that is fairly obvious" no strife and dissension is "intended" that this event being reported is "for Yankees fans only". (Though one would imagine if you follow baseball even a bit, you would know how much that would rile people up--not just outside NYC--what abt Mets fans!) Again it is the gulf between the intention and what is there in writing that is the miscommunication. I apologize but I can't read the intention on an email screen--what comes across is that a public event in which there is a great outpouring of sympathy and grief concerning a participant in the "National Pastime" is being roped off and made the possesion of the elite few. It's like Orwell's Animal Farm, in which all animals are equal, but some are more equal than others. For some strange reason, that bothers me. I hope this makes thing clearer? What I am trying to say is now that I understand what your intentions are behind the words, and that I have hopefully explained what I read as the words are printed--and one can see what the miscommunications are-- may we shake hands and say peace--or the sign of peace which you use? bring at least one misunderstanding on this list to understanding? all my best, david-bc >From: amy king >Reply-To: UB Poetics discussion group >To: POETICS@LISTSERV.BUFFALO.EDU >Subject: Re: Why "Only for Yankees' Fans"? [not poetry] >Date: Thu, 12 Oct 2006 06:56:57 -0700 > >Good grief! I wasn't limiting the message to per seYankees' fans; >instead I was noting that I realize this is a list for POETICS and that I >was toeing the line by posting unrelated news here. In fact, I haven't >watched the Yankees play in quite sometime, nor have I seen him play (not >even the other night), so I probably don't even count as an official fan >based on your rant. > > If you want to debate the history of who played for what time when and >how long it takes to call a team "home" and what consitutes a "fan" etc >etc, then I'm sure there's a baseball listserv somewhere. > > I apologize to the list for posting non-related poetry info, esp since >it seems David is willfully misreading the subject line of my post and >attempting to create strife and dissension through his incredibly rude >diatribe where certainly none was intended, a fact that is fairly obvious. > > But hasn't this kind of angry, presumptuous response become typical on >this list over the past few years? It's one of the main reasons why >discussions are no longer productively sustained, but instead fizzle out in >an angry flurry of performance and pride. > > >David-Baptiste Chirot wrote: > Why is this news "only for Yankees fans:?-- >Cory Lidle played nine seasons in the Majors--of which only the last ten >weeks were for the Yankees-- >Baseball--and sports fans --from anywhere and everywhere mourned Lidle's >death--his number was repeatedly honored and shown during the Tigers-A's >game tonight--I was watching in the Polish Falcons' Club in Milwaukee and >people were all tipping their hat to Lidle-- >If he hadn't been a Yankee for ten weeks do you think you'd be paying >attention? (Would you care if Cory Lidle were still a Phillie?) Let alone >learning about Thurmon Munson who played his entire career for the >Yankees?-- >Have some respect for baseball and sports fans of the world who know about >and care for players no matter where and who they play for, and knew about >them longer them ten weeks. > > >From: Dan Coffey > >Reply-To: UB Poetics discussion group > > >To: POETICS@LISTSERV.BUFFALO.EDU > >Subject: Re: Only for Yankees' Fans [not poetry] > >Date: Wed, 11 Oct 2006 17:13:54 -0500 > > > >Yeah, it's been confirmed that he was on the plane. First time I ever > >turned > >to ESPN to get my news. > > > >On 10/11/06, amy king wrote: > >> > >>They think the four-seater plane that just hit the Manhattan highrise is > >>owned by Cory Lidle. No confirmation that he was on it. > >> > >> > >> "He is Cory Lidle, who has been a major league pitcher for nine years > >>and a pilot for seven months. He earned his pilot's license last > >>off-season > >>and bought a four-seat airplane for $187,000. It is a Cirrus SR20, built > >>in > >>2002, with fewer than 400 hours in the air. > >> > >> A player-pilot is still a sensitive topic for the Yankees, whose > >>captain, Thurman Munson, was killed in the crash of a plane he was >flying > >>in > >>1979. Lidle, acquired from the Philadelphia Phillies on July 30, said >his > >>plane was safe." > >> > >> > >> > >>http://www.nytimes.com/2006/09/08/sports/baseball/08yankees.html?ex=1315368000&en=f488e3344c30a4f4&ei=5090&partner=rssuserland&emc=rss > >> > >> > >> > >> > >>--------------------------------- > >>How low will we go? Check out Yahoo! Messenger's low PC-to-Phone call > >>rates. > >> > > > > > > > >-- > >http://hyperhypo.org > >_________________________________________________________________ >Share your special moments by uploading 500 photos per month to Windows >Live >Spaces >http://clk.atdmt.com/MSN/go/msnnkwsp0070000001msn/direct/01/?href=http://www.get.live.com/spaces/features > > > >--------------------------------- >Yahoo! Messenger with Voice. Make PC-to-Phone Calls to the US (and 30+ >countries) for 2¢/min or less. _________________________________________________________________ Get today's hot entertainment gossip http://movies.msn.com/movies/hotgossip ========================================================================= Date: Thu, 12 Oct 2006 16:42:42 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Marcus Bales Subject: Re: feminists who changed the world Comments: To: Julie Kizershot In-Reply-To: MIME-Version: 1.0 Content-type: text/plain; charset=US-ASCII Content-transfer-encoding: 7BIT The problem with "breaking the syntax" is the same as the one with "breaking the pentameter" -- what do you propose to use instead? Are women going to invent a whole new language other than English to use in order to create a whole new literature? Will this language be accessible to men, or will it be as obdurately feminine as those who advocate breaking the syntax claim that the existing language is masculine? The "breaking the pentameter" folly ought to be a warning. The Ford/Lowell/Pound group who fought to break the pentameter hoped and dreamed that some new meter would emerge -- and it didn't. Instead we have prose lineated as poetry, as the majority of generation after generation of poets was taught to abandon meter and metaphor altogether in favor of trying to write philosophy, social commentary, private diaries, and essays with a ragged right edge. Where is poetry now because of it? Disparaged and marginalized -- no longer a force for anything in its own culture, except among an increasingly alienated elite who find it difficult to say just what it is they're doing, and why, to ordinary people. Why should your plumber or carpenter or car salesman care about "breaking the pentameter" or "breaking the syntax"? These are arcane issues the politics of which are so vicious because the stakes are so small, as Hutchins famously said of academic politics. Do any of you care about the debate about argon-filled as opposed to dessicated-air- filled insulated unit windows? About the debate about curatorial techniques for sustaining or restoring pieces of art? About whether black irises are really black or just dark red? About any of any number of other strongly-fought debates among the elites of any number of other small coteries of experts? I mean, except for as an article to read in the New Yorker that you don't even read all of because after a while you realize that it's all just the same sort of politics that you're reading the New Yorker to avoid thinking about in your own department? Do you really think "breaking the syntax" is going to change the world if there's no other syntax invented or available to replace it? What, exactly, is the point of this metaphor, "breaking the syntax"? What does it mean when it's at home? What are the consequences of "breaking the syntax" if you succeed? Are you really advocating inarticulate physical violence as a means of communication between humans because the syntax has bee "broken" and language is no longer possible? Marcus ========================================================================= Date: Thu, 12 Oct 2006 15:36:24 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Dan Coffey Subject: Re: Why "Only for Yankees' Fans"? [not poetry] In-Reply-To: <8f6eafee0610121301v3e99bdf3od5809d8e7f378b2c@mail.gmail.com> MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline On 10/12/06, angela vasquez-giroux wrote: > jack spicer, stephen dunn, robert coover (i know he's not a poet) are all > great writers who are also great fans of sport (esp. baseball) and even make > baseball the subject of their work. > > let's not pretend that those who enjoy sports are "bellering" idiots or > swine. one reason the arts tend to be so marginalized is the perception > that artists/poets/etc. are elitist snob, looking down our noses at the > masses amused by their silly games while we sip cabernet and discuss plato. > > Angela, did I say that those who enjoy sports are bellering idiots? No, in fact I didn't use the word idiots at all. Let alone swine. Are you projecting? I will stand by the fact that there are sports fans who behave boorishly, just as there are poetry fans who behave boorishly. I love me some football; I don't throw bottles at fans of the opposite team. I am a big fan of certain poets; I don't flame those who hold poetic opinions contrary to mine. Furthermore, I realize that my post was oblique, but it was meant to be tongue-in-cheek and sarcastic. Perhaps one of the reasons the arts tend to be so marginalized is that poets take themselves too seriously? > On 10/12/06, kevin thurston wrote: > > > > > practice and discuss the art of poetry with those who beller in the > > bleachers.> > > > > NONE? so there isn't a single person who can practice and discuss the art > > of > > poetry with those who beller in the bleachers? Kevin, try saying the word "surely" to yourself in an overstated kind of way, and see if any sentence that follows that word can possibly be taken seriously. I was joking. Not that the joke was necessarily funny. Come on, I was kidding Amy about using the phrase "Good Grief." Good grief! Oh and I prefer a good pale ale and Krazy Kat to Kab and Pluto. Dan > > > > On 10/12/06, Dan Coffey wrote: > > > > > > Ms. King, > > > > > > I take exception to your appropriation of the time-honored and beloved > > > "catch-phrase," if you will, perpetually uttered by Charlie Brown, > > > creation of equally beloved cartoonist Charles M. Schulz, to further > > > your point of the futility of trying to equate poetry with sports. > > > Surely no parallel can be drawn between the mindset of those who > > > practice and discuss the art of poetry with those who beller in the > > > bleachers. As another infamous Charlie has said, "it's inapppropriate > > > to appropriate." When Poetics list members start behaving like boorish > > > sports "fans" that give their sport of choice a bad name, 'twill be a > > > dark and stormy night indeed. > > > > > > Waiting for the Great Pumpkin, > > > > > > Dan > > > > > > On 10/12/06, amy king wrote: > > > > Good grief! I wasn't limiting the message to per seYankees' fans > > > > > > > > > > > -- > > http://www.angelfire.com/poetry/thepixelplus/nhdoublewide.html > > > > > > -- > http://mother-of-light.blogspot.com > -- http://hyperhypo.org ========================================================================= Date: Thu, 12 Oct 2006 18:06:10 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Poetry Project Subject: Events at the Poetry Project 10/13 - 10/18 In-Reply-To: Mime-version: 1.0 Content-type: text/plain; charset="UTF-8" Content-transfer-encoding: quoted-printable Dears, We have a lovely line-up chock-full of crazy programming for your visual, aural and mental charge and pleasure. Please come! Love, The Poetry Project Friday, October 13, 10:30 pm Dirty Movies Late at Night: Mike Hauser, Maureen Thorson & The Trusty Knife Rust Buckle and various simpaticos from disparate America celebrate the release of a new chapbook by Mike Hauser. Mike Hauser lives in Milwaukee. H= e posts his poems to dodo:(hubbahubbain78.blogspot.com). He publishes the magazine Dodo Bird on a very inconsistent basis. He still has copies of that, and of the chapbook Dirty Movies Late at Night (Rust Buckle), he can give you. Maureen Thorson is the author of two chapbooks, Novelty Act (Ugly Duckling Presse) and the forthcoming Mayport (Poetry Society of America). She lives in Washington, D.C., where she runs Big Game Books, the tiniest press in the world. Zack Pieper & The Trusty Knife are a band of basement/bathroom/garage/attic songsters from Milwaukee, WI who perform an array of eclectic rock & roll material & will be presenting their low-tech folk-rot album Sad Contraptions Unrehearsed. Dustin Williamson is the co-curator of this event. He edits the Rust Buckle magazine and chapbook series. He is the author of the chapbooks Heavy Panda (Goodbye Better), Gorilla Dust (forthcoming from Open 24 Hour Press), and Power Lunch, a collaboration with the poet Gina Myers. B.Y.O.D.M. Monday, October 16, 8:00 pm Maritime Ode=20 Stein said "If fishes were wishes the ocean would be all of our desire." Films that star the ocean by Stephanie Barber (shipfilm), David Gatten (Wha= t the Water Said, No. 4, What the Water Said, No. 5 and Shrimp Boat Log) and Matt McCormick (Going to the Ocean) prefaced by a choral reading of Fernand= o Pessoa's poem "Martime Ode" by Stephanie Barber, Marcella Durand, David Gatten, Murat Nemet-Nejat & Shanxing Wang. Stephanie Barber is a filmmaker and musician who has recently moved to Baltimore from Milwaukee, Wisconsin. She has had solo shows of her film wor= k at the Museum of Modern Art, NYC, the San Francisco Cinemateque, the Gene Siskel Theatre, Chicago Il. and various other venues. Over the last ten years David Gatten's films have explored the intersection of the printed word and the moving image, while investigating the shifting vocabularies of experience and representation within intimate spaces and historical documents. In 2005 he was awarded a Fellowship from Guggenheim Foundation t= o continue his work on the Secret History Of The Dividing Line, A True Accoun= t In Nine Parts film series. The first four films in the project were feature= d in "Views from the Avant Garde" at the 43rd New York Film Festival in Fall of 2005. Matt McCormick is an award winning filmmaker and director from Portland, Oregon. He is also the founder of the video label Peripheral Produce and is the director of the Portland Documentary and eXperimental Film Festival. McCormick makes films that combine found and original sounds and images to fashion abstract and witty observations of contemporary culture. A collection of his short films, From Tugboats to Polar Bears (which includes Going to the Ocean), can be purchased at www.peripheralproduce.com. Marcella Durand is the author of Western Capital Rhapsodies (Faux Press, 2001) and The Anatomy of Oil (Belladonna* Books, 2005). She swims with seals who only know her as "Clammie". Shanxing Wang was born in Jinzhong, Shanxi Province, China, and educated at Xi=E2=80=9A=C3=84=C3=B4an Jiaotong University. In 1991, he came to the U.S. to pursue a PhD in Mechanical Engineering at University of California at Berkeley. Mad Science in Imperial City is his first book. Murat Nemet-Nejat was born in Istanbul, Turkey, and has lived in the United States since 1959. His books and translations include the The Peripheral Space of Photography, The Blind Cat Black and Orthodoxies, I, Orhan Veli, and The Bridge. He recently edited Eda: An Anthology of Contemporary Turkish Poetry. Fernando Pessoa (1888-1935), born in Lisbon, Portugal, is seen by many as one of the most notable Portuguese authors of all time. Pessoa is unique as an author due t= o the prevalence of heteronyms in his writing, with few of his poems being signed by himself. The poem "Maritime Ode" was published under the heterony= m =C3=81lvaro de Campos. Wednesday, October 18, 8:00 pm John S. Hall & Aaron Kiely As a solo recording artist, and as lyricist and lead vocalist of King Missile ("Detachable Penis," "Sensitive Artist," "America Kicks Ass"), John S. Hall has recorded three CDs for Atlantic Records and eight independent CDs. He has appeared numerous times on MTV and was featured in PBS's The United States of Poetry and HBO's Def Poetry Jam. Soft Skull Press has published a book of his poetry, Jesus Was Way Cool, as well as his new book= , Daily Negations. His work has also appeared in many anthologies. Hall has toured extensively in North America and Europe, both as a spoken word artis= t and with his band. He lives in New York City. Aaron Kiely is 35 and lives i= n New York. His book, The Best of My Love, was published by Ugly Duckling Presse in 2005. He has work coming out in the Buffalo journal P-Queue. Aaro= n edits Torch Magazine. Issue #4 with Charles Bernstein, Tracey McTague and Sharon Mesmer is out. First Floor presents George Schneeman: Work 1968-2006 Collages, portraits, landscapes, collaborations, calendars, prints, collage paintings, frescos, posters and ceramics. Opening =E2=80=93 Friday October 13, 4-7pm 113 E. 2nd St (1st & A) 212-982-7682 Regular hours: Thurs =E2=80=93 Sun, 4-7pm, Oct. 13-29 FILMS BY STEPHANIE BARBER Tuesday October 17, 7:00 at Anthology Film Archives Barber will show a selection of her meticulously crafted, odd and imaginative films which, when screened together, lurch the viewer from formalism to ridiculousness, from tragedy to humor, and almost sneakily begin to make perfect sense. Her most recent works, CATALOG (2005) and TOTA= L POWER =E2=80=93 DEAD DEAD DEAD (2005), will be shown, along with a wide range of = her other films. Directions: Anthology Film Archives is located at 32 Second Ave. at Second Street and can be reached by the Second Avenue F and V train or the #6, Bleecker Street stop. Tickets: $8 for adults, $6 for students & seniors, and $5 for AFA members. John Hall September 1 (Example) =20 Observing a pure and innocent child reminds me how quickly I went bad, simply by emulating the behavior of others. Without even realizing it, my behavior will set an example for children--they may grow up as bitter and depressed as I am. It is sad to think about how life goes on. excerpt from "Daily Negations" Fernando Pessoa=20 from Maritime Ode =20 With great immediate and natural pleasure I follow with my soul All the commercial operations needed for a shipment of goods. My era is the rubber stamp appearing on all invoices, And I feel that all letters from all offices Should be addressed to me. =20 A bill of lading is so distinctive, And a ship captain=E2=80=99s signature so handsome and modern! The commercial formality at the beginning and end of letters: Dear Sirs=E2=80=94Messieurs=E2=80=94Amigos e Senhores, Yours faithfully=E2=80=94Nos salutations empress=C3=A9es... All of this isn=E2=80=99t only human and tidy but also beautiful, And it ultimately has a maritime destiny: a steamer on which are loaded The goods named in the letters and invoices. Fall Calendar: http://www.poetryproject.com/calendar.html 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. If you=E2=80=99d like to be unsubscribed from this mailing list, please drop a li= ne at info@poetryproject.com. ========================================================================= Date: Thu, 12 Oct 2006 15:38:56 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: amy king Subject: Re: an apology--"what we have here is a failure to communicate" In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Dear David, First, thanks very much for your thoughtful and generous reply - sincerely. Unfortunately, I am only going to be brief & hurried as I'm shortly off to my next night class, along with being miserably bogged down with a sinus infection that seems to be immune to three days of antibiotics. First, I'll clarify my post from yesterday quickly. In my haste to post real-time news, I clearly should have posted "baseball fans" instead of "Yankees fans" because I was trying to signal that this was a post for folks who were into baseball, which is not exclusive from folks who write poetry as someone mentioned in an earlier email otherwise I wouldn't have posted the note at all -- anyway, I apologize for that inadvertent error. To qualify: I was on the edge of my seat watching this event as it was happening right across the water from me and thought to share the sad news. I didn't think critically about the subject line as mentioned because I simply didn't imagine anyone would think I was implying that only Yankees' fans were allowed to mourn the death of Lindle. The idea is preposterous. My only concern was that I was not posting a note directly-related to poetics. I really was using "Yankees fans" to signify that this would be of interest to baseball folks. Again, I would certainly clarify "baseball fans" in retrospect and apologize for not doing so. Peace and any other signs of it are fully embraced and offered - thank you, David, for that gesture. Overall, this incident clearly raises a larger issue that David notes, though he's not alone, and has created storms on this list many times over and has possibly set a tenor that might deter folks from posting and discussing/debating poetics more freely here. Most of this listserv is made up of strangers, close to a thousand strong. It seems to me the problem really lies in our communal treatment of strangers. I ask myself, What should we assume about strangers? The tendency seems to be to assume the worst: that they are out to show off or shine more brightly than the next; they are trying to make 'me' look bad or stupid, want to exclude me, etc. instead of assuming that they might be decent people who could have flubbed or aren't expressing themselves as well as they'd like. We're language workers, after all. So our approach to people we (choose to?) assume mean us harm is varied: To attack. To lecture. To go on the defensive. To belittle. To illustrate our superiority and point out their own harmful intent, etc. One need only look through the archives for some of these knock-down punches. And so the story goes, discussions turn into less than productive, become meaningless threads to delete, and people stop participating. I'm an idealist, probably to a fault. Perhaps I create my own naivete. Nonetheless, I wonder if a more strategic and communal tact could be to assume that the strangers on this list have something in common and that they don't always mean everyone harm. Why don't we treat them as friends with that something in common (poetry/an interest in language, culture workers, etc) and just ask about intent -- I know, "asking" is the seemingly weaker approach (in that it's not aggressive, complete with an all knowing tone). Could we be more careful in our posts and consider the implications of our words? Yes. But that method is not foolproof. Even still, I do wish, and I'm addressing everyone here, that the showing off and "cutting" that occurs here and in other realms of poetic discourse could be kept to a minimum or annihilated altogether in order to create an environment that's more conducive to friendly discussion and less concerned with assuming the worst from the next stranger who posts on our shared turf. Finally, I guess a lot of this has to do with tone, which sometimes comes across quite clearly in these emails, whereas intent does not in all cases. I realize we like to state our beliefs and ideas firmly and strongly. But sometimes responses here seem to be overly and overtly nasty in tone -- the cause of which is due to the assumptions about strangers that I tried to dissect above. I don't have an answer, but rather another appeal: can we consider how and in what tone we're answering people before we hit that send button? I realize some on this list might thrive on making their points through sarcasm and other forms of expression; however, who ends up being excluded (or yes, removing themselves) because they don't thrive on such engagement and don't think it's worth their time to be combative in that fashion? I'm late and have gone on. I'd like to say thanks again to David for his kind and considerate response; it's refreshing and thought-provoking. Someone else has clarified backchannel that you were not alone in reading my subject line as I did not intend it, and I'm very glad you were open to discussing it. Amy p.s. I'm really not in the baseball club (the only game I've watched in the last few years was a Mets one someone took me to for my b-day in August) but David K. also invited me to be on the Boog City "Team" this year, so watch for that issue forthcoming! David-Baptiste Chirot wrote: Dear Amy: I apologize-- i think we have a failure to communicate. I hope i can perhaps explain a little and bring a peaceful understanding-- What I was writing about wasn't to create strife and dissension, angry presumptious diatribe etc --what I was expressing was that the header expresses a form of elitism and possesion, that Cory Lidle belongs only to New York, and that only New York mourns this tragedy. I was saying that on the contrary, baseball and sports fans everywhere mourn this event and know of Lidle's career not simply as a Yankee but also as a member of the six other teams he played for over nine years. It doesn't really have to do with the amount of baseball information, but with the attitude of elitism and sole possesion expressed in "Only for Yankees Fans". (Also people are being very generous to Lidle --just a few days ago he wasn't very popular with his teammates or many in NYC and the media as he had come out with criticisms of the Yankees not being prepared for their division series agsinst the Tigers and in 1995 he was a replacement player during the baseball players' strike--a scab in other words, making him not always the most popular guy in the clubhouse of the many teams he played for. None of this matters here of course, except that people on the list have quoted stories and mentioned news about him and speculated a bit about him, so these are a few more facts to contribute to the discussion of who he was.) (The question of suicide was raised--i seriously doubt re Lidle but this did really happen with a pitcher who was involved on a losing team in a divison series--the Angels who lost to the come-from behind Red Sox in 1986--i can't recall his name at the moment, very good relief pitcher, gave up dramatic home run to Dave Henderson and blamed himself for the Angels' loss--later committed suicide--never recovered from the event--)(George Bowering will know who i mean--) Personally I have tried in all my time on this list not to be a contributer to the sort of discourse you critique. I apologize that my emotions as a sports fan aren't as cool as they are in other regards but I did find the exclusiveness and elitism of the header offensive. I'm sorry that my reply was too hasty and overboard, I really should have phrased it far better, to say the least. I think your response shows the miscommunication i mention above. "I wasn't limiiting the message to per se Yankees fans"--then why write "for Yankees fans only"? I am not "willfully misreading" your message at all--I am reading what you wrote. I can't read what your intentions were, I can only read the words that appear on the screen.(During David Frost's interviews with Nixon, he played some of Nixon's own tapes of his conversations with his aides to Nixon, Nixon giving orders to do such and such--to which Nixon responded--"that is what I said, but that is not what I meant." Frost said--"Yes, but how can the listener know what you meant if you are not saying it?") Baseball and poetry aren't seperate subjects--there was just the announcement of the annual Boog City Baseball Poetry issue (I'm honored to have been chosen for inclusion in this in the past) and Marianne Moore for example was known for her baseball poems and devotion to her beloved Brooklyn Dodgers. There are a great number of anthologies of baseball writings by poets and writers. Think Jack Spicer for starters alone . . . the list is very long-- (And Virginia Woolf was a huge fan of Ring Lardner's great epistolary baseball novel You Know Me, Al--) Many poets on his list have written beautifully on baseball and can discuss it for hours on end with one, and know more than I do. I am sorry I phrased my response so poorly because I was thinking of how many baseball fans there are on this list whom I know of, and that a header such as "for Yankees fans only" in such a context is shall we say tactless and exclusive. I also deplore the "angry presumptuous responses" you do and apologize for giving such an impression. The elitism here and often displayed on the list does concern me. You introduced a topic, baseball, but for Yankess fans only. When I protest that other fans count also, you say you didn't mean Yankees fans only per se, (yet what you wrote is not apparently what you meant) and that "I'm sure there's a baseball listserv somewhere" where any further discussion can go. There's a hint of condescension--it's okay for you to bring the subject up--but for anyone to discuss it--take it outside the nice place. You also assert that it is "a fact that is fairly obvious" no strife and dissension is "intended" that this event being reported is "for Yankees fans only". (Though one would imagine if you follow baseball even a bit, you would know how much that would rile people up--not just outside NYC--what abt Mets fans!) Again it is the gulf between the intention and what is there in writing that is the miscommunication. I apologize but I can't read the intention on an email screen--what comes across is that a public event in which there is a great outpouring of sympathy and grief concerning a participant in the "National Pastime" is being roped off and made the possesion of the elite few. It's like Orwell's Animal Farm, in which all animals are equal, but some are more equal than others. For some strange reason, that bothers me. I hope this makes thing clearer? What I am trying to say is now that I understand what your intentions are behind the words, and that I have hopefully explained what I read as the words are printed--and one can see what the miscommunications are-- may we shake hands and say peace--or the sign of peace which you use? bring at least one misunderstanding on this list to understanding? all my best, david-bc --------------------------------- How low will we go? Check out Yahoo! Messenger’s low PC-to-Phone call rates. ========================================================================= Date: Thu, 12 Oct 2006 21:08:56 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Larissa Shmailo Subject: Re: feminists who changed the world MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit In a message dated 10/12/2006 4:26:22 P.M. Eastern Standard Time, marcus@DESIGNERGLASS.COM writes: On 12 Oct 2006 at 15:55, Larissa Shmailo wrote: > ... Inspiration thrives in challenging the status quo, > breaking syntax if you will. Homer. Virgil. Shakespeare. Odysseus. Carthage. Unusual queens. Larissa Shmailo larissashmailo.blogspot.com Listen to THE NO-NET WORLD on _http://www.cdbaby.com/cd/shmailo_ (http://www.cdbaby.com/cd/shmailo) and on iTUNES ========================================================================= Date: Thu, 12 Oct 2006 22:22:08 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Steve Petermeier Subject: baseball, poetry, Yankees & bloat In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Tom W. Lewis wrote: > (NB: no MN Twins have done themselves in following > their defeat in Oakland last week... not yet, anyway) > list in teaching. It was just reported on WCCO news that Justin Morneau is busy going to Minnesota Wild hockey games so that he doesn't have to think about the disappointing end to his wonderful season. The rest of us are waiting to find out if he'll need to make room for an MVP trophy next to his roommate Joe Mauer's silver bat. (Or perhaps he'll cart it back to British Columbia to show off to the locals and maybe George Bowering.) angela vasquez-giroux wrote: > jack spicer, stephen dunn, robert coover (i know > he's not a poet) are all great writers who are also > great fans of sport (esp. baseball) and even make > baseball the subject of their work. My favorite is Kenneth Patchen's "The Origin of Baseball," which mixes poetry, baseball and politics. David-Baptiste Chirot wrote: > (The question of suicide was raised--i seriously > doubt re Lidle but this did really happen with a > pitcher who was involved on a losing team in a > divison series--the Angels who lost to the come-from > behind Red Sox in 1986--i can't recall his name at > the moment, very good relief pitcher, gave up > dramatic home run to Dave Henderson and blamed > himself for the Angels' loss--later committed > suicide--never recovered from the event--) That was Donnie Moore who blew the lead in game 5 of the American League Championship Series. I can still picture Reggie Jackson in the dugout with his arm around Gene Mauch moments before the home run. Then, after he hit, Dave Henderson jumping about 10 feet in the air. Donnie Moore committed suicide in July, 1989 (see this link: http://en.wikipedia.org/wiki/Donnie_Moore), after his baseball career had come to an end. Getting cut by the Royals may have been done more to his spirit than the ALCS. Btw, where's that place in Milwaukee where folks were watching ball? I haven't been down there since they tore down County Stadium. Maybe I'll have to change that next summer. amy king wrote: > I really was using "Yankees fans" to signify that > this would be of interest to baseball folks. Many baseball folks, especially in the Midwest, chafe at the idea of "Yankees fans" being a generic term for "baseball fans." The Yankees have the biggest payroll, are always in prime time, and benefit from a massive hype machine. The rest of us are just playing out in the corn fields. But, it's alright. Though I had hoped the Twins would get the opportunity, the Tigers took care of business. Btw, I am a digest subscriber. It'd be nice if all poetry folks (baseball & non-baseball, Yankees fan or not) trimmed their posts. It'd cut down on the bloat. peace, love and understanding (never give up!) Steve Petermeier no man's land minneapolis, mn usa __________________________________________________ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com ========================================================================= Date: Fri, 13 Oct 2006 14:54:20 +0900 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jesse Glass Subject: Rothenberg Ahadada Reading A Great Success MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" My thanks to everyone who turned out on a beautiful autumn day to join us at the Bowery Poetry Club. We had a great time and a chance to meet Mike Heller and Mark Weiss in the flesh. The Bowery Poetry Club is, to put it quite frankly--cool. My thanks to Bob Holman for making that coolness happen. Jess ========================================================================= Date: Thu, 12 Oct 2006 23:32:53 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Andy Gricevich Subject: Re: feminists who changed the world MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Marcus, Your post seems to be in intentional bad faith... a bit of "straw man/woman" there. But, more importantly (I think): "Breaking" is "disrupting," interfering. Syntax and pentameter really aren't equivalent, and messing with the former isn't like disposing of the latter. Syntax is much bigger than pentameter. Syntax is an effect, and it happens even when syntax is "broken." Pentameter is a quantitative structure. <-- what do you propose to use instead?> One look at the work of the writers mentioned--Hejinian, Scalapino, others--shows pretty clearly, I think, that something new is produced when they "break the syntax." I do think there's a problem with just characterizing their techniques negatively, in terms of avoidance, precisely because it misses the main point, which is to create something. At the same time, I think the insistence that, every time someone wants to negate something, they immediately have something with which to replace it, is kind of insidious; it supports the preservation of what's bad, or worn out, or exclusively dominant, and sometimes nothing new can even breathe while those are in unquestioned place. ... Pound managed to write a great quantity of gorgeous verse based on accent patterns looser than the structure of five repeating iambic feet, patterns that took the (indeed, often iambic) rhythms of everyday speech into consideration, by ear. The "ear" is alive and well in poetry since then. Meter may have been largely abandoned, but only in the sense of regular, repeating pattern; loads of poetry is still concerned with rhythm and sonic richness. Aside from the question of the comprehensiveness of your characterization, why blame the abandonment of meter, and the forays into the areas you mention, for the marginal status of poetry? Mightn't it have more to do with the rather recent tendency for "carpenters and plumbers" (some of whom do indeed read poetry, maybe even contemporary experimental poetry) to be told repeatedly by the mainstream media how stupid they are, to have stupidity romanticized as some noble, essential quality of working people, until many perfectly quick-minded and inquisitive people, presented with a picture of social and economic reality in which thinking, even wily, practical, everyday inventiveness, is made to look like a useless and counterproductive waste of time? With the fact that "impractical" thinking is being devalued even in the "ivory tower" of the universities? My grandfather was an immigrant coal miner with no real education to speak of; he and a number of other coal miners in Benld, IL got together to read "Ulysses," Pound, Dostoevsky, Kafka. None of these writers' "breakings" of narrative conventions, meter, rhyme, linguistic orders marginalized their work with regard to these "ordinary people" (a rather condescending, classist term). Anyway, my guess is that most writers write for themselves, their friends, and "whoever else." And, yes, as a college-educated guy who's excited by many "syntax-breaking" writers, I'm also interested in hearing about things like those different types of windows, art restoration, the color of irises, and in hearing about them from people who actually work on them (more than I am in reading about them, and, oh god, much more than reading about them in the "New Yorker"). Many people still have a broad and genuine curiosity. Sure, "breaking the syntax" is a catch phrase, and it can be used to give a high political evaluation to writing without consideration of the specifics of that writing. But it might also be used by someone who may well have thought a lot about that writing, but didn't want to take the time to contribute an entire essay to the listserv. In any case, why the vitriolic battalion of cliches? Andy Date: Thu, 12 Oct 2006 16:42:42 -0400 From: Marcus Bales Subject: Re: feminists who changed the world The problem with "breaking the syntax" is the same as the one with "breaking the pentameter" -- what do you propose to use instead? Are women going to invent a whole new language other than English to use in order to create a whole new literature? Will this language be accessible to men, or will it be as obdurately feminine as those who advocate breaking the syntax claim that the existing language is masculine? The "breaking the pentameter" folly ought to be a warning. The Ford/Lowell/Pound group who fought to break the pentameter hoped and dreamed that some new meter would emerge -- and it didn't. Instead we have prose lineated as poetry, as the majority of generation after generation of poets was taught to abandon meter and metaphor altogether in favor of trying to write philosophy, social commentary, private diaries, and essays with a ragged right edge. Where is poetry now because of it? Disparaged and marginalized -- no longer a force for anything in its own culture, except among an increasingly alienated elite who find it difficult to say just what it is they're doing, and why, to ordinary people. Why should your plumber or carpenter or car salesman care about "breaking the pentameter" or "breaking the syntax"? These are arcane issues the politics of which are so vicious because the stakes are so small, as Hutchins famously said of academic politics. Do any of you care about the debate about argon-filled as opposed to dessicated-air- filled insulated unit windows? About the debate about curatorial techniques for sustaining or restoring pieces of art? About whether black irises are really black or just dark red? About any of any number of other strongly-fought debates among the elites of any number of other small coteries of experts? I mean, except for as an article to read in the New Yorker that you don't even read all of because after a while you realize that it's all just the same sort of politics that you're reading the New Yorker to avoid thinking about in your own department? Do you really think "breaking the syntax" is going to change the world if there's no other syntax invented or available to replace it? What, exactly, is the point of this metaphor, "breaking the syntax"? What does it mean when it's at home? What are the consequences of "breaking the syntax" if you succeed? Are you really advocating inarticulate physical violence as a means of communication between humans because the syntax has bee "broken" and language is no longer possible? Marcus --------------------------------- Stay in the know. Pulse on the new Yahoo.com. Check it out. ========================================================================= Date: Fri, 13 Oct 2006 06:36:44 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Ruth Lepson Subject: Re: feminists who changed the world In-Reply-To: <20061013063253.82262.qmail@web36212.mail.mud.yahoo.com> Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit To all who wrote about 'breaking the syntax,' it's been lively reading &, right, I didn't have time to go into a further description as I'm in the middle of moving. But let Lyn Hejinian & Leslie Scalapino speak for themselves. There's a brief interview w/ them in the book about their collaborative book-length poem Sight, from which there's an excerpt in the anthology. LH: "Poetry is a field of thought and information, and new modes of writing it provide not just new thoughts but also new ways of thinking." and "Strangeness is not at all the same as obscurity. Strangeness restores unusualness to familiar things--making them unfamiliar so that they come to our attention again and thus become visible. This is not a new idea--Tolstoy used 'defamiliarization techniques' in his writing...." "Although neither collaborations nor strangeness are feminist strategies per se, feminism can make use of them. The collaborative process redefines the ego in the course of redefining the nature of authorship....We are we--which is a great relief when one is so frequently when 'I' and is bullied and supervised as such, whether male or female....The 'we' of collaborations is not the we of a gang; instead it can be the we of supervention, the we of surprise." LS: "The project is feminist, I suppose, in sometimes raising issues of social seeing that creates boundaries of gender." Ask Gertrude Stein. On 10/13/06 2:32 AM, "Andy Gricevich" wrote: > Marcus, > > Your post seems to be in intentional bad faith... a bit of > "straw man/woman" there. But, more importantly (I think): > > one with "breaking the pentameter"> > > "Breaking" is "disrupting," interfering. Syntax and > pentameter really aren't equivalent, and messing with > the former isn't like disposing of the latter. Syntax > is much bigger than pentameter. Syntax is an effect, > and it happens even when syntax is "broken." Pentameter > is a quantitative structure. > > <-- what do you propose > to use instead?> > > One look at the work of the writers mentioned--Hejinian, > Scalapino, others--shows pretty clearly, I think, that > something new is produced when they "break the syntax." > I do think there's a problem with just characterizing > their techniques negatively, in terms of avoidance, > precisely because it misses the main point, which is > to create something. At the same time, I think the > insistence that, every time someone wants to negate > something, they immediately have something with which > to replace it, is kind of insidious; it supports the > preservation of what's bad, or worn out, or exclusively > dominant, and sometimes nothing new can even breathe > while those are in unquestioned place. > > ... > > Pound managed to write a great quantity of gorgeous > verse based on accent patterns looser than the structure > of five repeating iambic feet, patterns that took the > (indeed, often iambic) rhythms of everyday speech into > consideration, by ear. The "ear" is alive and well in > poetry since then. Meter may have been largely abandoned, > but only in the sense of regular, repeating pattern; > loads of poetry is still concerned with rhythm and sonic > richness. > > Aside from the question of the comprehensiveness of your > characterization, why blame the abandonment of meter, and > the forays into the areas you mention, for the marginal > status of poetry? Mightn't it have more to do with the > rather recent tendency for "carpenters and plumbers" (some > of whom do indeed read poetry, maybe even contemporary > experimental poetry) to be told repeatedly by the mainstream > media how stupid they are, to have stupidity romanticized > as some noble, essential quality of working people, until > many perfectly quick-minded and inquisitive people, > presented with a picture of social and economic reality in > which thinking, even wily, practical, everyday inventiveness, > is made to look like a useless and counterproductive waste > of time? With the fact that "impractical" thinking is being > devalued even in the "ivory tower" of the universities? > My grandfather was an immigrant coal miner with no real > education to speak of; he and a number of other coal miners > in Benld, IL got together to read "Ulysses," Pound, Dostoevsky, > Kafka. None of these writers' "breakings" of narrative conventions, > meter, rhyme, linguistic orders marginalized their work with > regard to these "ordinary people" (a rather condescending, > classist term). Anyway, my guess is that most writers write > for themselves, their friends, and "whoever else." > > And, yes, as a college-educated guy who's excited by many > "syntax-breaking" writers, I'm also interested in hearing > about things like those different types of windows, art > restoration, the color of irises, and in hearing about > them from people who actually work on them (more than I > am in reading about them, and, oh god, much more than > reading about them in the "New Yorker"). Many people > still have a broad and genuine curiosity. > > Sure, "breaking the syntax" is a catch phrase, and it can > be used to give a high political evaluation to writing > without consideration of the specifics of that writing. > But it might also be used by someone who may well have > thought a lot about that writing, but didn't want to > take the time to contribute an entire essay to the > listserv. > > In any case, why the vitriolic battalion of cliches? > > Andy > > > > > Date: Thu, 12 Oct 2006 16:42:42 -0400 > From: Marcus Bales > Subject: Re: feminists who changed the world > > The problem with "breaking the syntax" is the same as the one with > "breaking the pentameter" -- what do you propose to use instead? Are > women going to invent a whole new language other than English to use > in order to create a whole new literature? Will this language be > accessible to men, or will it be as obdurately feminine as those who > advocate breaking the syntax claim that the existing language is > masculine? > > The "breaking the pentameter" folly ought to be a warning. The > Ford/Lowell/Pound group who fought to break the pentameter hoped and > dreamed that some new meter would emerge -- and it didn't. Instead we > have prose lineated as poetry, as the majority of generation after > generation of poets was taught to abandon meter and metaphor > altogether in favor of trying to write philosophy, social commentary, > private diaries, and essays with a ragged right edge. Where is poetry > now because of it? Disparaged and marginalized -- no longer a force > for anything in its own culture, except among an increasingly > alienated elite who find it difficult to say just what it is they're > doing, and why, to ordinary people. > > Why should your plumber or carpenter or car salesman care about > "breaking the pentameter" or "breaking the syntax"? These are arcane > issues the politics of which are so vicious because the stakes are so > small, as Hutchins famously said of academic politics. Do any of you > care about the debate about argon-filled as opposed to dessicated-air- > filled insulated unit windows? About the debate about curatorial > techniques for sustaining or restoring pieces of art? About whether > black irises are really black or just dark red? About any of any > number of other strongly-fought debates among the elites of any > number of other small coteries of experts? I mean, except for as an > article to read in the New Yorker that you don't even read all of > because after a while you realize that it's all just the same sort of > politics that you're reading the New Yorker to avoid thinking about > in your own department? > > Do you really think "breaking the syntax" is going to change the > world if there's no other syntax invented or available to replace it? > What, exactly, is the point of this metaphor, "breaking the syntax"? > What does it mean when it's at home? What are the consequences of > "breaking the syntax" if you succeed? Are you really advocating > inarticulate physical violence as a means of communication between > humans because the syntax has bee "broken" and language is no longer > possible? > > Marcus > > > --------------------------------- > Stay in the know. Pulse on the new Yahoo.com. Check it out. ========================================================================= Date: Fri, 13 Oct 2006 11:27:17 +0000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: reJennifer Bartlett Subject: SES Mime-Version: 1.0 Content-Type: text/plain; format=flowed Saint Elizabeth Street has had technical difficulties - but is up and running! www.saintelizabethstreet.com _________________________________________________________________ Try the new Live Search today! http://imagine-windowslive.com/minisites/searchlaunch/?locale=en-us&FORM=WLMTAG ========================================================================= Date: Fri, 13 Oct 2006 07:18:02 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Chris Stroffolino Subject: Re: SES In-Reply-To: Mime-Version: 1.0 (Apple Message framework v752.3) Content-Type: text/plain; charset=US-ASCII; delsp=yes; format=flowed Content-Transfer-Encoding: 7bit On Oct 13, 2006, at 4:27 AM, reJennifer Bartlett wrote: > Saint Elizabeth Street has had technical difficulties - but is up > and running! > > www.saintelizabethstreet.com > > _________________________________________________________________ > Try the new Live Search today! http://imagine-windowslive.com/ > minisites/searchlaunch/?locale=en-us&FORM=WLMTAG ========================================================================= Date: Fri, 13 Oct 2006 09:45:33 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Charlie Rossiter Subject: poetry on iTunes MIME-Version: 1.0 Content-Type: text/plain;charset=iso-8859-1 Content-Transfer-Encoding: 8bit Greetings all, You, your students, colleagues, friends, even your mother, may be interested o know there's some poetry on iTunes--follow the link below to the AvantRetro cd that's available there. "Georgie" and "Planetary Report for the Little Guy" will be of particular interest to those with a political bent esp. as mid-term elections approach (complete with musical accompaniment) AvantRetro: AvantRetro http://phobos.apple.com/WebObjects/MZStore.woa/wa/viewAlbum?playListId=148018265 If you're wondering how to get your poetry on iTunes...make a cd and then put it on CDBaby--go to cdbaby.com for details on that. Then follow cdbaby procedures to have them put your work on itunes and numerous other sites that offer downloading for a small fee and by the way it's not too early to think about the persons on your (holiday) list who should get a cd or some poetry downloads this december Best to all...Keep the poems flowing Charlie ========================================================================= Date: Fri, 13 Oct 2006 10:47:56 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "David A. Kirschenbaum" Subject: Boog City 37 Available Saturday MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; DelSp="Yes"; format="flowed" Content-Disposition: inline Content-Transfer-Encoding: quoted-printable Please forward --------------- Boog City 37 Available Saturday **About this month's paper: Boog City 37 is the press's latest baseball issue. I assembled 25 =20 poets, the number of people on a baseball roster. Each poet was then =20 assigned a different position on the team and asked to pick anyone who =20 had ever played their position, be they in Major League Baseball, the =20 Negro Leagues, the All-American Girls Professional Baseball League, =20 the minor leagues, college, the schoolyard, or anywhere else, and =20 write a poem about them. **This issue is 50% larger than our usual size** Here's our team: Starters Pitcher George Bowering Satchel Paige Catcher Ammiel Alcalay Bob Tillman First Base Elinor Nauen Buck O?Neil Second Base Bill Luoma Robinson Cano Third Base Susan Schultz Albert Pujols Shortstop Douglas Rothschild Marty Marion Left Field Bob Holman Frank Robinson Center Field Anselm Berrigan Bernie Williams Right Field Marcella Durand Paul O'Neill Reserves Starting Pitcher Jim Behrle Fernando Valenzuela Starting Pitcher Basil King Sandy Koufax Starting Pitcher Jill Magi Laura Rose Relief Pitcher Joel Kuszai John Hiller Relief Pitcher Edmund Berrigan Jack Warhop Relief Pitcher Lee Ranaldo Hoyt Wilhelm Relief Pitcher Joanna Sondheim Steve Howe Relief Pitcher Alli Warren Rollie Fingers Closer Jean-Paul Pecqueur Kazuhiro Sasaki Catcher Spike Vrusho Jerry May 1B/OF Maureen Thorson John Olerud 2B/SS Amy King Dorothy ?Dottie? Schroeder 2B/SS/3B Lauren Russell Bud Fowler LF/CF David Hadbawnik Barry Bonds CF/RF Scott MX Turner Curt Flood OF Nathaniel Siegel Glenn Burke *And baseball-themed art from Melissa Zexter.* ----- And thanks to our copy editor, Joe Bates. ----- Please patronize our advertisers: Bowery Poetry Club * http://www.bowerypoetry.com Cy Press * http://www.cypresspoetry.com/ Olive Juice Music * http://www.olivejuicemusic.com Oxford Magazine * http://www.orgs.muohio.edu/oxmag/ Randi Russo * http://www.randirusso.com/ Study Abroad on the Bowery * http://www.boweryartsandscience.org Superba Graphics ----- Advertising or donation inquiries can be directed to editor@boogcity.com or by calling 212-842-BOOG (2664) ----- And a big thank you to the donor who also helped this issue see the light. ----- 2,000 copies of Boog City are distributed among, and available for =20 free at, the following locations: EAST VILLAGE Acme Underground Alt.coffee Angelika Film Center and Caf=E9 Anthology Film Archives Bluestockings Bowery Poetry Club Caf=E9 Pick Me Up CB's 313 Gallery CBGB's Lakeside Lounge Life Caf=E9 Mission Caf=E9 Nuyorican Poets Caf=E9 Pianos The Pink Pony St. Mark's Books St. Mark's Church Shakespeare & Co. Sidewalk Caf=E9 Sunshine Theater Tonic Trash and Vaudeville OTHER PARTS OF MANHATTAN Hotel Chelsea Poets House WILLIAMSBURG Bliss Caf=E9 Earwax Galapagos Northsix Sideshow Gallery Soundfix/Fix Cafe Supercore Caf=E9 GREENPOINT* Greenpoint Coffee House Lulu's Photoplay Thai Cafe The Pencil Factory *available early next week -- David A. Kirschenbaum, editor and publisher Boog City 330 W.28th St., Suite 6H NY, NY 10001-4754 For event and publication information: http://boogcityevents.blogspot.com/ T: (212) 842-BOOG (2664) F: (212) 842-2429 ========================================================================= Date: Fri, 13 Oct 2006 10:08:47 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Dan Coffey Subject: Re: baseball, poetry, Yankees & bloat In-Reply-To: <20061013052208.59330.qmail@web32915.mail.mud.yahoo.com> MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline I'm kind of partial to Anne Waldman's "Curt Flood." The Ferlinghetti one is not bad, either: http://www.writing.upenn.edu/~afilreis/88/baseball-canto.html On 10/13/06, Steve Petermeier wrote: > My favorite is Kenneth Patchen's "The Origin of > Baseball," which mixes poetry, baseball and politics. ========================================================================= Date: Fri, 13 Oct 2006 08:26:19 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Adam Fieled Subject: Upcoming Readings MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Readings in Chicago & Philly: http://www.adamfieled.blogspot.com. Home, Ballardini, Lundwall, others: http://www.artrecess.blogspot.com. --------------------------------- Get your email and more, right on the new Yahoo.com ========================================================================= Date: Fri, 13 Oct 2006 08:51:19 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Catherine Daly Subject: bad poems -- MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable BAD POETRY NEEDED!! Dig out your dogs (poems that never win or are just plain bad) and enter = our "Best of the Worst Contest" by 10-31-06.=A0 Fee: $1 per poem (limit to one-page length per poem). One male and one female winner will get a big chunk of the entry-fee pot--if there are enough entries to fill a pot. Send 2 copies, with name and address on only one copy. Make check = payable to, and send to: Amy's Contest, 1325 W. Sunshine St., #168, Springfield, = MO 65807. Enclose a #10 SASE. Winners to be announced in November and all others notified in December. ========================================================================= Date: Fri, 13 Oct 2006 11:28:20 -0500 Reply-To: dgodston@sbcglobal.net Sender: UB Poetics discussion group From: Daniel Godston Subject: Chicago Calling: A 24-Hour Arts Festival In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 8bit Chicago Calling: A 24-Hour Arts Festival In “Chicago Calling,” Chicago-based artists will showcase performances and projects that involve collaborations with artists living in other locations—here in the U.S. and in other countries worldwide. The collaborations between Chicago-based artists and those living elsewhere could be prepared, improvised, or a combination of both. For instance, a Chicago-based poet will be collaborating with a musician from Niger, a Chicago-based performance ensemble will be collaborating with a composer in New York, and so on. Some of the performances will involve live feeds between Chicago and elsewhere. The first “Chicago Calling” event will begin at 12 a.m. on Wednesday, October 25, and the final event will end at 11:59 p.m. on that day. October 25 was chosen as the date of “Chicago Calling” because it is Pablo Picasso’s birthday. This event is part of Chicago Artists’ Month, which is organized by Chicago’s Department of Cultural Affairs. For more more information about Chicago Artists' Month, please visit http://www.chicagoartistsmonth.org. Artists involved with Chicago Calling work in a range of media, including music, painting, photography, poetry, dance, and so on. The festival’s participants will include Mars Caulton, Fred Anderson, Daniele Cavallanti, Tiziano Tononi, Sadira Muhammad, Jim Baker, Alan Emerson Hicks, Pam Osbey, Eric Elshtain, Pauline Oliveros, Marian Hayes, Ed Roberson, Black Forest Theater, Joel Wanek, Susen James, Christopher Preissing, Mars Williams, Xianggang Delight, Jennifer Karmin, Bill MacKay, Weave Soundpainting Orchestra, Matthias Regan, Hamadal Issoufou, Amina Cain, Joshua Manchester, David Harrison Horton, Jayve Montgomery, Lisa Hemminger, Inouk Touzin, Daniel Godston, Elizabeth Marino, Eric Glick Rieman, Julie Downey, Dan Schwarzlose, Aguafuego, and others. Performances and presentations will occur in the following Chicago venues: Elastic, Bloom Yoga Studio, Peter Jones Gallery, Café Mestizo, WNUR, The Hyde Park Art Center, Muse Café, The Empty Bottle, Quimby’s, Mess Hall, The Zhou B Art Center, Loyola University, and The Meztli Gallery and Cultural Organization. Chicago Calling: A 24-Hour Arts Festival is being organized by Borderbend, an arts collective. Borderbend’s mission is to promote the arts, create opportunities for artists to explore new directions in and between art forms, and engage the community. The Chicago Calling Arts Festival is sponsored by The Chicago Moving Company, The Chicago Composers Forum, and WNUR. For more information about Chicago Calling: A 24-Hour Festival, please visit www.chicagocalling.org or contact chicagocalling@sbcglobal.net. ========================================================================= Date: Fri, 13 Oct 2006 12:33:26 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: susan maurer Subject: Anna siano hoboken studio tour 10-15 Mime-Version: 1.0 Content-Type: text/plain; format=flowed to say again there will be a reading and photography show of the poets reading at 307 willow ave not far from the path station in hoboken.reading from 2-4 reception in a little town house with a back garden to see some of annas poet work try gallery 2 at www.photoblu.com. they are great. if anyone from this list comes do come say hi. susan maurer _________________________________________________________________ Try the new Live Search today! http://imagine-windowslive.com/minisites/searchlaunch/?locale=en-us&FORM=WLMTAG ========================================================================= Date: Fri, 13 Oct 2006 12:40:03 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: susan maurer Subject: anna siaano reading and photography show Mime-Version: 1.0 Content-Type: text/plain; format=flowed there will be a reading and phorography show, shots of the poets reading as part of the 10-15 hoboken studio tour. the reading is at 307 willow avenue from 2-4 but come early to see the show , any time after 12. look up anna's poet shot atwww.photoblu.com, gallery 12. there isa slo a reception and th little back garden town house is cute 40 some poets. if anyone from this list come come say hi. it is walking distance from the path train. susan maurer _________________________________________________________________ Express yourself - download free Windows Live Messenger themes! http://clk.atdmt.com/MSN/go/msnnkwme0020000001msn/direct/01/?href=http://imagine-msn.com/themes/vibe/default.aspx?locale=en-us&source=hmtagline ========================================================================= Date: Fri, 13 Oct 2006 12:50:14 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Peter Ciccariello Subject: An Image Poem - Credible Report MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline Credible Report -- Peter Ciccariello http://invisiblenotes.blogspot.com/ ========================================================================= Date: Fri, 13 Oct 2006 13:00:12 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Marcus Bales Subject: Re: feminists who changed the world Comments: To: Andy Gricevich In-Reply-To: <20061013063253.82262.qmail@web36212.mail.mud.yahoo.com> MIME-Version: 1.0 Content-type: text/plain; charset=US-ASCII Content-transfer-encoding: 7BIT On 12 Oct 2006 at 23:32, Andy Gricevich wrote: > Marcus, > Your post seems to be in intentional bad faith... a bit of > "straw man/woman" there.< These are two very different things: the one is an accusation that you think I'm not arguing what I really believe, and the other is an assessment of whether a particular argument is sound or fallacious. The difference is that in discussion any of us may use a fallacious argument without deceit, but to argue in bad faith is to try to deceive. Marcus wrote: > one with "breaking the pentameter"> Andy Gricevich wrote: > "Breaking" is "disrupting," interfering. Syntax and > pentameter really aren't equivalent, and messing with > the former isn't like disposing of the latter.< I didn't even come close to even implying, much less saying, that syntax and pentameter are equivalent. I used the consequences of the arguments for "breaking the pentameter" as an example of why it is foolish to argue for "breaking they syntax". I pointed out that the hopes of those who wanted to "break the pentameter" were for a new meter, and the consequences of their attempts were to throw the baby of poetry out with the bathwater of pentameter, and no new meter resulted. Instead, we got prose organized into ragged right margins. I said that those who want to "break the syntax" ought to take a lesson from that: that if they want to "break the syntax" they ought to have a substitue readily available because, if merely breaking the pentameter doesn't produce an emergent new meter, you can't count on breaking the syntax to produce an emergent new syntax. And I asked, pointedly, whether those who want to "break the syntax" are really prepared for eliminating verbal and written language altogether and resorting to physical means to communicate. > Syntax > is much bigger than pentameter. Syntax is an effect, > and it happens even when syntax is "broken." Pentameter > is a quantitative structure.< Break the pentameter in English and you only ruin poetry for, I hope, a while -- it's been a hundred years, maybe the turn back to poetry from lineated prose has begun and we just can't see it, maybe it'll take longer, maybe it'll never come back, who knows, but at least we can still, more or less, talk to each other. Break the syntax, though, and you break the language -- you make it impossible to know what the other person means any more in even trivial ways, and certainly not in important ones. The question is: are those of you who want to "break the syntax" prepared for the consequences? Andy Gricevich wrote: > One look at the work of the writers mentioned--Hejinian, > Scalapino, others--shows pretty clearly, I think, that > something new is produced when they "break the syntax."< There is nothing new about Hejinian's or Scalapino's work that hasn't been done countless times before by other free verse writers. They are not breaking anything, they're just making associational leaps and word salads, lineating their prose arbitrarily, leaving the reader with nothing new at all. If that's "breaking the syntax", bring on "chopping the syntax into little bits and burning it and then flinging its ashes into the faces of the New Formalists" since that will probably entail leaving out a few more commas and perhaps adding in a few line breaks. Rah. Andy Gricevich wrote: > I do think there's a problem with just characterizing > their techniques negatively, in terms of avoidance, > precisely because it misses the main point, which is > to create something.< The people who want to break things are not trying to "create something" -- they are merely barbarians who, looking at an edifice they can neither duplicate nor appreciate, that they cannot even add to, enjoy breaking it because that's all they _can_ do. Not that they're very good at it if Lyn Hejinian is going to be your example, but still, I suppose the intent is there. This sheds an interesting light on the discussion about metaphorical thinking: about how low-level and non-rigorous it is. Here we are talking about "breaking the syntax", and we each have such different understandings about what that means or can be taken to mean, and of what the consequences may be, that we're really talking past each other almost completely. Andy Gricevich wrote: > At the same time, I think the > insistence that, every time someone wants to negate > something, they immediately have something with which > to replace it, is kind of insidious; it supports the > preservation of what's bad, or worn out, or exclusively > dominant, and sometimes nothing new can even breathe > while those are in unquestioned place.< Sure, it supports what's in place, but the example of how "breaking the pentameter" did _not_ produce an emergent new meter in the absence of a substitute devised by the breakers argues strongly that "breaking the syntax", precisely because "breaking the syntax" is a much bigger change, will have much bigger consequences, and no more likelihood of an emergent change in the absence of a devised one. The question I ask is: "Are you ready for that?" Andy Gricevich wrote: > Pound managed to write a great quantity of gorgeous > verse based on accent patterns looser than the structure > of five repeating iambic feet, patterns that took the > (indeed, often iambic) rhythms of everyday speech into > consideration, by ear. The "ear" is alive and well in > poetry since then. Meter may have been largely abandoned, > but only in the sense of regular, repeating pattern; > loads of poetry is still concerned with rhythm and sonic > richness.< Meter _is_ a regular repeating pattern. If there is no regular repeating pattern what you've got is prose. That's not to say that there isn't lots of stuff you can do with prose as an artist -- people have been getting wonderful effects with prose for thousands of years, complete with rhythm and sonic richness -- but prose is not poetry no matter how you lineate it. Andy Gricevich wrote: > Aside from the question of the comprehensiveness of your > characterization, why blame the abandonment of meter, and > the forays into the areas you mention, for the marginal > status of poetry? < For two reasons: first, because the marginal status of poetry followed the abandonment of meter, and, second, because in a hundred years the works that are the product of abandonment of meter have siimply failed to achieve any significant public support. People still snicker when they're told that some relineated newspaper column or diary entry is "poetry", and rightly suggest that there's nothing "poetic" about it -- however broken its pentameter. In fact, the more broken the pentameter the more they snicker. Andy Gricevich wrote: > Mightn't it have more to do with the > rather recent tendency for "carpenters and plumbers" (some > of whom do indeed read poetry, maybe even contemporary > experimental poetry) to be told repeatedly by the mainstream > media how stupid they are, to have stupidity romanticized > as some noble, essential quality of working people, until > many perfectly quick-minded and inquisitive people, > presented with a picture of social and economic reality in > which thinking, even wily, practical, everyday inventiveness, > is made to look like a useless and counterproductive waste > of time?< No, because carpenters and plumbers are widely admired for their useful and productive everyday wily practical inventiveness. Andy Gricevich wrote: > With the fact that "impractical" thinking is being > devalued even in the "ivory tower" of the universities? No, because devaluing "impractical" thinking is a consequence of postmodernity, not a cause. It was several generations ago that the avant garde decided to break things instead of make things, and taxpayers have, after quite a long time, actually, caught on: if there's no value to the 2500 years of "impractical" thinking as declared by the very people who have had the benefit of those high- class and expensive educations, then why should we send our kids to get such an education? Instead, teach them vocations and let them make money and ignore all the stuff that the intellectuals are breaking in the intellectual tradition. Essentially the taxpayers and parents have taken a pretty good long look at the disarray caused by intellectuals competing with one another to break things in the intellectual tradition and have said "We're not paying you to break things, and we're not going to send our kids to learn to break things. We want to pay to have our kids educated in how to MAKE things, so they have a better life than we had." Andy Gricevich wrote: > My grandfather was an immigrant coal miner with no real > education to speak of; he and a number of other coal miners > in Benld, IL got together to read "Ulysses," Pound, Dostoevsky, > Kafka. None of these writers' "breakings" of narrative > conventions, > meter, rhyme, linguistic orders marginalized their work with > regard to these "ordinary people" (a rather condescending, > classist term). Anyway, my guess is that most writers write > for themselves, their friends, and "whoever else."< There are always exceptions, and how nice for you that your grandfather was one of them. An intellectual is not someone who has an education; an intellectual is someone who has a certain cast of character and mind, irrespective of education. There are always some, and not all of them end up in academia. But the exception tests the rule. As for the four writers you mention, James Joyce certainly tests the patience. I'm of the opinion that as an Irishman Joyce enjoyed the hell out of perpetrating his fraud on the English, and that it's significant that no one else has continued his practice or even identified his theory. The consensus seems to be that Joyce is sui generis and we ought to leave it at that. But the other two prose writers are pretty traditional in their approaches to story-telling and prose writing in general. They were stylists within the tradition, though Joyce was not -- but I think Joyce was deliberately perpetrating a fraud on English: the Irish revenge. As for Pound, well, I think his work is like Moby Dick: everyone refers to it and almost no one reads it. I've struggled through a good bit of Pound, and it's a trial: the classic case of someone trying to blurt it out there who didn't care an iota whether it got across. If you don't like Joyce as a deliberate prankster, then how about Joyce as the same: someone who was so absorbed in his own blurt that he got lost in it, and ceased to care whether anything he was saying got across. Andy Gricevich wrote: > And, yes, as a college-educated guy who's excited by many > "syntax-breaking" writers, I'm also interested in hearing > about things like those different types of windows, art > restoration, the color of irises, and in hearing about > them from people who actually work on them (more than I > am in reading about them, and, oh god, much more than > reading about them in the "New Yorker"). Many people > still have a broad and genuine curiosity.< Sure, I'm interested in hearing about such things from the people who actually work on them, too -- but that's not what we're talking about, is it? We're talking about writing, not about conversations in life. Do you seek out the trade magazines in which the vicious political tempests of glass, restoration, or iris disagreements blow in their various teapots? Do you imagine there are little poetry magazines in which such experts rip one another in broken syntax? How does having a broad and genuine curiosity apply to the issue at hand. I grant you your broadness and your genuineness, and congratulations. Now, what's it have to do with my point that every coterie of experts has its share of petty politics viciously pursued? Are you disputing it? Andy Gricevich wrote: > Sure, "breaking the syntax" is a catch phrase, and it can > be used to give a high political evaluation to writing > without consideration of the specifics of that writing. > But it might also be used by someone who may well have > thought a lot about that writing, but didn't want to > take the time to contribute an entire essay to the > listserv. < No doubt -- but now I'm asking, and asking seriously, and pretty nicely, though not as nicely as at first, what does "breaking the syntax" mean when it's at home? If you don't want to write the essay for the listserv, do you have a reference to someone who has written an essay with which you mostly agree? Andy Gricevich wrote: > In any case, why the vitriolic battalion of cliches? You think that was vitriolic? Yeesh. But "ballation of cliches", now that wounds me. I thought I was criticising the cliche of "breaking the syntax", not deploying a battalion of cliches of my own. I'd be interested to have you list examples from what I've written that you call cliches. I don't say there are none, but a battalion? Marcus ========================================================================= Date: Fri, 13 Oct 2006 12:06:30 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: mIEKAL aND Subject: Re: poetry on iTunes In-Reply-To: <22270.65.79.22.226.1160750733.squirrel@www.poetrypoetry.org> Mime-Version: 1.0 (Apple Message framework v752.2) Content-Type: text/plain; charset=US-ASCII; delsp=yes; format=flowed Content-Transfer-Encoding: 7bit Anyone can publish a podcast to iTunes from their computer without sending a CD... Any number of programs will do this including iTunes. This seems like a lot of work. Not sure what the reason would be for going this route, other than collecting a few tokens here & there when someone downloads it. ~mIEKAL On Oct 13, 2006, at 9:45 AM, Charlie Rossiter wrote: > > If you're wondering how to get your poetry on iTunes...make a cd > and then > put it on CDBaby--go to cdbaby.com for details on that. Then follow > cdbaby procedures to have them put your work on itunes and numerous > other > sites that offer downloading for a small fee ========================================================================= Date: Fri, 13 Oct 2006 13:13:40 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Vireo Nefer Subject: Re: bad poems -- In-Reply-To: <002901c6eedf$6cc69870$6f01a8c0@CADALY> MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline Dear Catherine. i must confess that this announcement has been posted on multiple LiveJournal communities concerning Douglas Adams and or the Hitchhiker's Guide to the Galaxy. Please warn the appropriate persons. Vireo -- AIM: vireonefer LJ: http://www.livejournal.com/userinfo.bml?user=vireoibis VireoNyx Publications: http://www.vireonyxpub.org INK: http://www.inkemetic.org On 10/13/06, Catherine Daly wrote: > > BAD POETRY NEEDED!! > > Dig out your dogs (poems that never win or are just plain bad) and enter > our "Best of the Worst Contest" by 10-31-06. Fee: $1 per poem (limit to > one-page length per poem). One male and one female winner will get a big > chunk of the entry-fee pot--if there are enough entries to fill a pot. > > Send 2 copies, with name and address on only one copy. Make check payable > to, and send to: Amy's Contest, 1325 W. Sunshine St., #168, Springfield, MO > 65807. Enclose a #10 SASE. Winners to be announced in November and all > others notified in December. > ========================================================================= Date: Fri, 13 Oct 2006 14:27:47 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Ward Tietz Subject: Berssenbrugge & Hillman @ Georgetown U Thurs 10/19 Mime-Version: 1.0 (Apple Message framework v752.2) Content-Transfer-Encoding: 7bit Content-Type: text/plain; charset=US-ASCII; delsp=yes; format=flowed Georgetown University Poetry & Seminar Series Presents THURSDAY, OCTOBER 19 Brenda Hillman & Mei-mei Berssenbrugge Gender on the Lyric Edge Seminar: 5:30PM, 462 ICC Reading: 8:00PM, Copley Formal Lounge Mei-mei Berssenbrugge's mixed-media collaboration with artist Kiki Smith, Concordance, has been published by the Rutgers Center for Innovative Paper and Print. Her selected poems, I Love Artists, appeared in 2006. Among Brenda Hillman's recent books are Pieces of Air in the Epic and an edition of Emily Dickinson's poetry. She is active in the non-violent Code Pink Working Group in the San Francisco Bay Area. Copley Formal Lounge and ICC room 462 are located near the Georgetown University main gate at 37th and O Streets in Washington, DC. All events are free and open to the public. For more information, go to For campus maps, go to ========================================================================= Date: Fri, 13 Oct 2006 14:43:00 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: sandra de 1913 Subject: Ruthless Grip reading--SAT 10/14--Ben Doyle & Sandra Miller MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline http://www.dcpoetry.com/events/383 Saturday, October 14, 8:00 pm Ben Doyle & Sandra Miller @ *Ruthless Grip* *Ben Doyle*'s first collection of poems, Radio, Radio, won the 2000 Walt Whitman award. His poems can be found in current or forthcoming issues of Boston Review, Tin House, Denver Quarterly, and 1913. His new manuscript, Dead Ahead, has been called "clusterfucked" by a reputable national press. He lives with his wife, the poet Sandra Miller, and their canine in Roanoke, where he teaches Creative Expression to tough kids. Doyle edits Kuhl House Books contemporary poetry series for the University of Iowa Press. *Sandra Miller*'s first book, Oriflamme, was published by Ahsahta Press in 2005. Selections from her new work, Chora, keep popping up in Aufgabe, Verse, Crowd, and Denver Quarterly. Miller teaches on one of those one-year things at Hollins University, where she lives on Maggie's Farm with her husband, the poet Ben Doyle, and their dog, the dog Ronald Johnson. She is the secret founder & editrice of an international journal & press of some repute. Location: Pyramid Atlantic 8230 Georgia Avenue Silver Spring, Maryland http://www.dcpoetry.com/ -- http://www.journal1913.org ========================================================================= Date: Fri, 13 Oct 2006 15:12:37 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Sina Queyras Subject: Reading in Philly! In-Reply-To: <20061013152619.64264.qmail@web54503.mail.yahoo.com> MIME-Version: 1.0 Content-Type: text/plain;charset=iso-8859-1 Content-Transfer-Encoding: 8bit Philly Folk! If you're around (and not overbooked) I'm reading tonight with a.rawlings and another fine young writer whom I haven't yet met, and would love to meet Philly poets. Cheers, Sina lemonhound.blogspot.com Friday, October 13 7:30 PM Nexus Gallery 137 N 2nd Street (between Arch and Race) Philadelphia, Pennsylvania -- Sina Queyras Visiting Assistant Professor Department of English Woodside Cottage Haverford College 370 Lancaster Avenue Haverford, PA 19041-1392 (610) 896-1256 ========================================================================= Date: Fri, 13 Oct 2006 17:59:06 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: noah eli gordon Subject: Salt Lake City, Missoula, Boise / Oct 19th, 20th, & 21st Mime-Version: 1.0 Content-Type: text/plain; format=flowed Reading tour! PAUL FATTARUSO & NOAH ELI GORDON & JOSHUA MARIE WILKINSON Oct 19th, 20th, & 21st Salt Lake City, Missoula, Boise Info below: Thur. Oct. 19th @ 7:30pm The King's English Bookshop 1511 South 1500 East Salt Lake City, UT 84105 Tel: (801) 484-9100 Fri. Oct. 20th @ 7:30 p.m. the Museum 223 Railroad Street Missoula, Montana http://thenewlakes.blogspot.com/ Sat. Oct. 21st @ 5 p.m. Liberal Arts Building Room 106 Boise State University Boise, ID PAUL FATTARUSO is the author of the novel Travel in the Mouth of the Wolf (Soft Skull Press). His poems have appeared in Fence, Volt, Jubilat, and elsewhere. He has published translations in The Germ and Poetry. He lives in Denver. NOAH ELI GORDON'S forthcoming books include: Novel Pictorial Noise (selected by John Ashbery for the 2006 National Poetry Series); A Fiddle Pulled From the Throat of a Sparrow (New Issues, 2007); and Inbox (BlazeVOX, 2006). He is the author of The Area of Sound Called the Subtone (Ahsahta Press, 2004); and The Frequencies (Tougher Disguises, 2003). Ugly Duckling Presse recently published That We Come To A Consensus, a chapbook written in collaboration with Sara Veglahn. He writes a chapbook review column for Rain Taxi, teaches creative writing at the University of Colorado at Denver, and publishes the Braincase chapbook series. JOSHUA MARIE WILKINSON'S family hails from Saskatchewan, Great Falls, and Missoula, Montana (among other places) where his father graduated in 196-something from U of Montana. His paternal grandmother, Marie Wilkinson, was a poet and graduated in the 30s from a college in Helena or Havre that later burned down. Joshua was born and raised in Seattle and is the author of two books: Suspension of a Secret in Abandoned Rooms and Lug Your Careless Body out of the Careful Dusk which won the 2005 Iowa Poetry Prize. His work has appeared in many journals and two new chapbooks and a film about the band Califone are forthcoming. He makes his home in Denver where he teaches at Rocky Mountain College of Art & Design and is completing a PhD at University of Denver. ========================================================================= Date: Fri, 13 Oct 2006 18:37:06 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Eric Yost Subject: Re: bad poems -- In-Reply-To: <002901c6eedf$6cc69870$6f01a8c0@CADALY> MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit >>Dig out your dogs Here's a deliberate dog, gratis, for the List's dyspepsia. _____ "Queasy in Indian Summer Unkissed" Queasy in Indian Summer unkissed, Surveilled by wraiths and in pretend By Homeland Security past dumpsters Brimming with bleached hamburgers, Dead indigo buntings, apple turnovers, Shredded paperwork, old Fruit of the Looms, My thoughts from fumes turned to you, your Sunny look when last in dooryard bloomers Your notice of protection was served me. The heart rages like crowds at stupid umpires! But no! This is not our love's last flight, Which shines through midnight starlight And the hollow look of the village poor, Finding no consummation or calm coda In an inflatable doll named Rhoda. Alackaday no, hottie, significant other, you, My heart is profaned by an angelic chorus, Storming the dormers of time's stagecraft Like the lark ascending nigh the 12-gauge Where you lay your sleeping head, gentle, Mine, echo, mine, all mine, forever--eternity! And in this parti pris myself despairing O damaged plastic Cupid beyond repairing With an echo you will come back to me, Under the bridge where the sound is good, Under the bridge in my neighborhood, With the echo you will come back to me, Echo...echo...echo...this is an echo...echo Hello! Hello! Hello! Hello! Hello! Hello! Echo...echo...echo...this is an echo...echo Echo echo echo echo echo echo echo Echo echo echo echo echo echo echo ... huh? And the rest the angels know as silence. -Paris, 1937 ========================================================================= Date: Fri, 13 Oct 2006 20:09:36 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jesse Crockett Subject: Re: bad poems -- In-Reply-To: <002901c6eedf$6cc69870$6f01a8c0@CADALY> MIME-version: 1.0 Content-type: text/plain; charset=ISO-8859-1 Content-transfer-encoding: 7BIT Send me one hundred dollars to win the contest. Feel the love, poeps, feel it! Catherine Daly wrote: > BAD POETRY NEEDED!! > > Dig out your dogs (poems that never win or are just plain bad) and enter our > "Best of the Worst Contest" by 10-31-06. Fee: $1 per poem (limit to > one-page length per poem). One male and one female winner will get a big > chunk of the entry-fee pot--if there are enough entries to fill a pot. > > Send 2 copies, with name and address on only one copy. Make check payable > to, and send to: Amy's Contest, 1325 W. Sunshine St., #168, Springfield, MO > 65807. Enclose a #10 SASE. Winners to be announced in November and all > others notified in December. > > ========================================================================= Date: Fri, 13 Oct 2006 19:13:19 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group Comments: Resent-From: Bill Berkson Comments: Originally-From: Bill Berkson From: Bill Berkson Subject: FO'H AT 80 Mime-version: 1.0 Content-type: text/plain; charset="ISO-8859-1" Content-transfer-encoding: quoted-printable As The Great Earth Rolls On: Frank O=B9Hara=B9s 80th Birthday with Bill Berkson, Mac McGinnes, films, and more Friday November 17 7:30 pm @ Timken Theater, California College of Arts $8 ($5 members, students, seniors) Presented with San Francisco Cinematheque To celebrate what would have been poet Frank O=B9Hara=B9s 80th birthday, we present a mix of film and poetry in several permutations. =80 Poet and essayist Bill Berkson discusses and reads O=B9Hara=B9s work. =80 The American Poetry Archives at SFSU contributes rare footage of the poet in his milieu shadowed and interviewed for a National Educational Television profile. =80 Theater director Mac McGinnes has collaged text selected from O=B9Hara=B9s play= s into an alternate subversive dialog for a scene from Trouble in Paradise, one of O=B9Hara=B9s favorite films. Dan Fisher and Julian Brolaski will perfor= m it live to the film. =80 We=B9ll also screen The Last Clean Shirt, the poet=B9s 1964 film collaboration with artist Alfred Leslie. ========================================================================= Date: Fri, 13 Oct 2006 18:22:58 -1000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Susan Webster Schultz Subject: baseball on t he list MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit There's been some, so let me say it now: GO CARDS!!! aloha, Susan PS What everyone seems to forget about Donnie Moore, the Angels reliever, is that he not only killed himself, he also shot his wife, three times. She lived, but that alters the sadness of the event in my eyes. ========================================================================= Date: Fri, 13 Oct 2006 21:48:48 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Andy Gricevich Subject: Re: feminists who changed the world Comments: To: marcus@designerglass.com In-Reply-To: <452F8DDC.31505.10B0E74@marcus.designerglass.com> MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Dear Marcus, Thanks for this great response. First off: sorry about the hyperbolic ending. It did seem like your intitial message had an angry tone, but it's always easy to read emotional connotations into email; in any case, you're right: "battalion of cliches" is a definite overstatement. I used "straw man/woman" for the following reason: you seem to be setting up an opponent for whom "breaking the syntax" equals a hostility to all syntax, inside or outside of poetry; for whom this disruption is a destructive activity (admittedly, this is implied by "breaking," but that's Ruth's term in her post, and not necessarily the term favored by the writers in question); who has popularity/a wide readership as her goal; who want to "do away with spoken and written language." I don't think you can assume that any of these are the positions taken by writers interested in poetry that takes unconventional approaches to syntax, often to the point of dispensing with it as a primary frame. Do you really think these writers want to do away with all syntax in all poetry? It's simply not true. You set up an analogic relationship between the abandonment of pentameter and the disruption of syntax. Maybe you didn't claim that P and S are identical, but you drew a parallel between two processes. My claim is simply that the analogy is false. As far as most of the rest of your post is concerned, all I can say is that I disagree. Many, many contemporary poets have focused on the line as a way of setting up sonic and cognitive rhythms, of moving between interruption and continuity, of bringing out the inner complexities of sentences and other strings of words, and plenty of other wonders. If you don't want to call it poetry, fine--who cares? I find a lot more than "word salad" and "chopped-up prose" in Hejinian's and Scalapino's work. LH's last bunch of books are full of precise observation, significant line breaks, moves between different levels of thought I find exhilirating, and modes of philosophical thinking that couldn't be practiced outside poetry (because of the strictures of philosophical prose and the failure of most philosophy that tries to break them by becoming "poetic"). Probably right. Your first point doesn't prove anything, logically speaking. As to the second: cummings? Whitman? Williams? much of Frost? Billy Collins? People used to read poetry widely... even unmetered poetry--even weird unmetered poetry. I don't think this is true; I think intelligence is ascribed to people who do manual labor only in a very restricted sense. So, no place for imagination, flexibility of thought, uses of thinking that don't always apply to immediate practical needs? I just find this anti- human, cold and cruel. Most of the best of human culture (and I don't just mean "high," literary culture) has had to do with thinking beyond \ immediate "value," which especially means monetary value. Don't be so sarcastic. Not "how nice for me"--how nice for my grandfather, and lots of other people (I never met the guy). Anyway, there were an awful lot of "exceptions." Look at the history, man. Look at some high- school exit exams from the 'thirties and 'forties. You're simply wrong. "Moby Dick" is great (and hilarious). Joyce is a fine prankster. Pound at his best is gorgeous, at his worst dead boring, in the middle questionable and often obnoxious. My opinions. Don't be so sarcastic. I'm not trying to make myself look good. I misunderstood your point, apparently; I was trying to say that people who are interested in innovative poetry can be interested in what goes on between specialists in other areas. So, no, I wasn't disputing your point, which is obviously true, as stated above. Yes, I don't have the time to write a little essay here. I do think Hejinian's stuff in "The Language of Inquiry" is good throughout, especially the later things. Silliman's "The New Sentence" is really sharp, clear critical writing that touches on this often (I particularly like his essay on Jack Spicer). Given more leisure time, I could come up with others... so, I'm sure, could others on this list. But now to bed. Thanks for the reply. cheers, Andy marcus@designerglass.com wrote: On 12 Oct 2006 at 23:32, Andy Gricevich wrote: > Marcus, > Your post seems to be in intentional bad faith... a bit of > "straw man/woman" there.< These are two very different things: the one is an accusation that you think I'm not arguing what I really believe, and the other is an assessment of whether a particular argument is sound or fallacious. The difference is that in discussion any of us may use a fallacious argument without deceit, but to argue in bad faith is to try to deceive. Marcus wrote: > > one with "breaking the pentameter"> Andy Gricevich wrote: > "Breaking" is "disrupting," interfering. Syntax and > pentameter really aren't equivalent, and messing with > the former isn't like disposing of the latter.< I didn't even come close to even implying, much less saying, that syntax and pentameter are equivalent. I used the consequences of the arguments for "breaking the pentameter" as an example of why it is foolish to argue for "breaking they syntax". I pointed out that the hopes of those who wanted to "break the pentameter" were for a new meter, and the consequences of their attempts were to throw the baby of poetry out with the bathwater of pentameter, and no new meter resulted. Instead, we got prose organized into ragged right margins. I said that those who want to "break the syntax" ought to take a lesson from that: that if they want to "break the syntax" they ought to have a substitue readily available because, if merely breaking the pentameter doesn't produce an emergent new meter, you can't count on breaking the syntax to produce an emergent new syntax. And I asked, pointedly, whether those who want to "break the syntax" are really prepared for eliminating verbal and written language altogether and resorting to physical means to communicate. > Syntax > is much bigger than pentameter. Syntax is an effect, > and it happens even when syntax is "broken." Pentameter > is a quantitative structure.< Break the pentameter in English and you only ruin poetry for, I hope, a while -- it's been a hundred years, maybe the turn back to poetry from lineated prose has begun and we just can't see it, maybe it'll take longer, maybe it'll never come back, who knows, but at least we can still, more or less, talk to each other. Break the syntax, though, and you break the language -- you make it impossible to know what the other person means any more in even trivial ways, and certainly not in important ones. The question is: are those of you who want to "break the syntax" prepared for the consequences? Andy Gricevich wrote: > One look at the work of the writers mentioned--Hejinian, > Scalapino, others--shows pretty clearly, I think, that > something new is produced when they "break the syntax."< There is nothing new about Hejinian's or Scalapino's work that hasn't been done countless times before by other free verse writers. They are not breaking anything, they're just making associational leaps and word salads, lineating their prose arbitrarily, leaving the reader with nothing new at all. If that's "breaking the syntax", bring on "chopping the syntax into little bits and burning it and then flinging its ashes into the faces of the New Formalists" since that will probably entail leaving out a few more commas and perhaps adding in a few line breaks. Rah. Andy Gricevich wrote: > I do think there's a problem with just characterizing > their techniques negatively, in terms of avoidance, > precisely because it misses the main point, which is > to create something.< The people who want to break things are not trying to "create something" -- they are merely barbarians who, looking at an edifice they can neither duplicate nor appreciate, that they cannot even add to, enjoy breaking it because that's all they _can_ do. Not that they're very good at it if Lyn Hejinian is going to be your example, but still, I suppose the intent is there. This sheds an interesting light on the discussion about metaphorical thinking: about how low-level and non-rigorous it is. Here we are talking about "breaking the syntax", and we each have such different understandings about what that means or can be taken to mean, and of what the consequences may be, that we're really talking past each other almost completely. Andy Gricevich wrote: > At the same time, I think the > insistence that, every time someone wants to negate > something, they immediately have something with which > to replace it, is kind of insidious; it supports the > preservation of what's bad, or worn out, or exclusively > dominant, and sometimes nothing new can even breathe > while those are in unquestioned place.< Sure, it supports what's in place, but the example of how "breaking the pentameter" did _not_ produce an emergent new meter in the absence of a substitute devised by the breakers argues strongly that "breaking the syntax", precisely because "breaking the syntax" is a much bigger change, will have much bigger consequences, and no more likelihood of an emergent change in the absence of a devised one. The question I ask is: "Are you ready for that?" Andy Gricevich wrote: > Pound managed to write a great quantity of gorgeous > verse based on accent patterns looser than the structure > of five repeating iambic feet, patterns that took the > (indeed, often iambic) rhythms of everyday speech into > consideration, by ear. The "ear" is alive and well in > poetry since then. Meter may have been largely abandoned, > but only in the sense of regular, repeating pattern; > loads of poetry is still concerned with rhythm and sonic > richness.< Meter _is_ a regular repeating pattern. If there is no regular repeating pattern what you've got is prose. That's not to say that there isn't lots of stuff you can do with prose as an artist -- people have been getting wonderful effects with prose for thousands of years, complete with rhythm and sonic richness -- but prose is not poetry no matter how you lineate it. Andy Gricevich wrote: > Aside from the question of the comprehensiveness of your > characterization, why blame the abandonment of meter, and > the forays into the areas you mention, for the marginal > status of poetry? < For two reasons: first, because the marginal status of poetry followed the abandonment of meter, and, second, because in a hundred years the works that are the product of abandonment of meter have siimply failed to achieve any significant public support. People still snicker when they're told that some relineated newspaper column or diary entry is "poetry", and rightly suggest that there's nothing "poetic" about it -- however broken its pentameter. In fact, the more broken the pentameter the more they snicker. Andy Gricevich wrote: > Mightn't it have more to do with the > rather recent tendency for "carpenters and plumbers" (some > of whom do indeed read poetry, maybe even contemporary > experimental poetry) to be told repeatedly by the mainstream > media how stupid they are, to have stupidity romanticized > as some noble, essential quality of working people, until > many perfectly quick-minded and inquisitive people, > presented with a picture of social and economic reality in > which thinking, even wily, practical, everyday inventiveness, > is made to look like a useless and counterproductive waste > of time?< No, because carpenters and plumbers are widely admired for their useful and productive everyday wily practical inventiveness. Andy Gricevich wrote: > With the fact that "impractical" thinking is being > devalued even in the "ivory tower" of the universities? No, because devaluing "impractical" thinking is a consequence of postmodernity, not a cause. It was several generations ago that the avant garde decided to break things instead of make things, and taxpayers have, after quite a long time, actually, caught on: if there's no value to the 2500 years of "impractical" thinking as declared by the very people who have had the benefit of those high- class and expensive educations, then why should we send our kids to get such an education? Instead, teach them vocations and let them make money and ignore all the stuff that the intellectuals are breaking in the intellectual tradition. Essentially the taxpayers and parents have taken a pretty good long look at the disarray caused by intellectuals competing with one another to break things in the intellectual tradition and have said "We're not paying you to break things, and we're not going to send our kids to learn to break things. We want to pay to have our kids educated in how to MAKE things, so they have a better life than we had." Andy Gricevich wrote: > My grandfather was an immigrant coal miner with no real > education to speak of; he and a number of other coal miners > in Benld, IL got together to read "Ulysses," Pound, Dostoevsky, > Kafka. None of these writers' "breakings" of narrative > conventions, > meter, rhyme, linguistic orders marginalized their work with > regard to these "ordinary people" (a rather condescending, > classist term). Anyway, my guess is that most writers write > for themselves, their friends, and "whoever else."< There are always exceptions, and how nice for you that your grandfather was one of them. An intellectual is not someone who has an education; an intellectual is someone who has a certain cast of character and mind, irrespective of education. There are always some, and not all of them end up in academia. But the exception tests the rule. As for the four writers you mention, James Joyce certainly tests the patience. I'm of the opinion that as an Irishman Joyce enjoyed the hell out of perpetrating his fraud on the English, and that it's significant that no one else has continued his practice or even identified his theory. The consensus seems to be that Joyce is sui generis and we ought to leave it at that. But the other two prose writers are pretty traditional in their approaches to story-telling and prose writing in general. They were stylists within the tradition, though Joyce was not -- but I think Joyce was deliberately perpetrating a fraud on English: the Irish revenge. As for Pound, well, I think his work is like Moby Dick: everyone refers to it and almost no one reads it. I've struggled through a good bit of Pound, and it's a trial: the classic case of someone trying to blurt it out there who didn't care an iota whether it got across. If you don't like Joyce as a deliberate prankster, then how about Joyce as the same: someone who was so absorbed in his own blurt that he got lost in it, and ceased to care whether anything he was saying got across. Andy Gricevich wrote: > And, yes, as a college-educated guy who's excited by many > "syntax-breaking" writers, I'm also interested in hearing > about things like those different types of windows, art > restoration, the color of irises, and in hearing about > them from people who actually work on them (more than I > am in reading about them, and, oh god, much more than > reading about them in the "New Yorker"). Many people > still have a broad and genuine curiosity.< Sure, I'm interested in hearing about such things from the people who actually work on them, too -- but that's not what we're talking about, is it? We're talking about writing, not about conversations in life. Do you seek out the trade magazines in which the vicious political tempests of glass, restoration, or iris disagreements blow in their various teapots? Do you imagine there are little poetry magazines in which such experts rip one another in broken syntax? How does having a broad and genuine curiosity apply to the issue at hand. I grant you your broadness and your genuineness, and congratulations. Now, what's it have to do with my point that every coterie of experts has its share of petty politics viciously pursued? Are you disputing it? Andy Gricevich wrote: > Sure, "breaking the syntax" is a catch phrase, and it can > be used to give a high political evaluation to writing > without consideration of the specifics of that writing. > But it might also be used by someone who may well have > thought a lot about that writing, but didn't want to > take the time to contribute an entire essay to the > listserv. < No doubt -- but now I'm asking, and asking seriously, and pretty nicely, though not as nicely as at first, what does "breaking the syntax" mean when it's at home? If you don't want to write the essay for the listserv, do you have a reference to someone who has written an essay with which you mostly agree? Andy Gricevich wrote: > In any case, why the vitriolic battalion of cliches? You think that was vitriolic? Yeesh. But "ballation of cliches", now that wounds me. I thought I was criticising the cliche of "breaking the syntax", not deploying a battalion of cliches of my own. I'd be interested to have you list examples from what I've written that you call cliches. I don't say there are none, but a battalion? Marcus --------------------------------- Do you Yahoo!? Everyone is raving about the all-new Yahoo! Mail. ========================================================================= Date: Sat, 14 Oct 2006 00:12:42 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jesse Crockett Subject: Re: bad poems -- In-Reply-To: <453038D0.50301@listenlight.net> MIME-version: 1.0 Content-type: text/plain; charset=ISO-8859-1 Content-transfer-encoding: 7BIT and students, take this down, for the test. don't confuse bad for poor. does everyone get that? good. you're a smart class. Jesse Crockett wrote: > Send me one hundred dollars to win the contest. > > Feel the love, poeps, feel it! > > Catherine Daly wrote: > >> BAD POETRY NEEDED!! >> >> Dig out your dogs (poems that never win or are just plain bad) and enter our >> "Best of the Worst Contest" by 10-31-06. Fee: $1 per poem (limit to >> one-page length per poem). One male and one female winner will get a big >> chunk of the entry-fee pot--if there are enough entries to fill a pot. >> >> Send 2 copies, with name and address on only one copy. Make check payable >> to, and send to: Amy's Contest, 1325 W. Sunshine St., #168, Springfield, MO >> 65807. Enclose a #10 SASE. Winners to be announced in November and all >> others notified in December. >> >> >> > > ========================================================================= Date: Sat, 14 Oct 2006 01:24:23 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Steve Dalachinsky Subject: Re: feminists who changed the [word] MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit sin tax any one out there want to publish the poems of pisnist cecil taylor? ========================================================================= Date: Sat, 14 Oct 2006 06:07:52 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Adam Clay Subject: THE WASH is now available In-Reply-To: <731b97510610130426p6604fdd9rc402747c72ec317d@mail.gmail.com> MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline Dear Friends, At last, my first book of poems, THE WASH, is now available from Parlor Press. To order a copy, please visit the Parlor Press online store: http://parlorpress.com/catalog/product_info.php?products_id=130 best, --Adam ========================================================================= Date: Sat, 14 Oct 2006 05:58:08 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Haas Bianchi Subject: NEW POETIC PROFILES OF RACHEL LEVITSKY AND MICHELLE TARANSKY AND A PLEA TO THE U OF CHICAGO MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit DEAR FRIENDS OF CHICAGOPOSTMODERNPOETRY.COM Please check out our new profiles this month of poets Rachel Levitsky and Michelle Taransky and please indulge me by sending an email to jklein@unchicago.edu with the following message that needs to be sent the U of Chicago. An Open Plea to the University of Chicago Poem Present Series and the U of C Creative Writing Department. Every year the U of C has fabulous readings by the world's great poets and they schedule these readings at 5:30 PM on a Thursday or 1:30 in the afternoon on a Tuesday so that the 9 million Chicagoans who don't work in Hyde Park are unable to attend. I would ask the University to rethink its policy and have one reading at night so that the Chicago poetry community and general readers can have the gift of hearing the great poets that they invite. Raymond L Bianchi, Editor chicagopostmodernpoetry.com/ collagepoetchicago.blogspot.com/ ========================================================================= Date: Sat, 14 Oct 2006 05:55:01 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alexander Dickow Subject: marcus' ranting In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Marcus, Your dismissive attitude is offensive, from the perspective of someone unconcerned with the stakes of this argument. It also comes across as awfully arrogant: there might be people who love Joyce who are likely to find you unbelievably presumptuous (not me: I've never read Ulysses, and didn't care much for Dubliners/Portrait). You're not dealing in sweeping generalizations, here: more like bulldozing ones, or something. Apparently you write in meter? I'd love to hear who's working in meter these days, and am genuinely curious and pleased to hear it. But I must take exception to the prose vs. verse war: that's a "battalion" of cliches right there. I also don't think people are nearly as hostile to non-metric verse as you think they are. In fact, I think most people (the ones you mention who scoff & scorn) probably have a harder time reading Keats or Wordsworth than any 20th-c "free verse". Oh, and admittedly, I feel the same way about Pound. But Moby Dick is a simply fabulous book. Anyway, stop being so presumptuous, it's making you look bad. Amy King, can you come to the rescue, here? Alex "Ce dont le poete souffre le plus dans ses rapports avec le monde, c'est du manque de justice _interne_. La vitre-cloaque de Caliban derriere laquelle les yeux tout-puissants et sensibles d'Ariel s'irritent." Rene Char, _Partage Formel_, fragment II ========================================================================= Date: Sat, 14 Oct 2006 09:09:33 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Marcus Bales Subject: Re: marcus' ranting Comments: To: Alexander Dickow In-Reply-To: <20061014125501.29038.qmail@web35505.mail.mud.yahoo.com> MIME-Version: 1.0 Content-type: text/plain; charset=US-ASCII Content-transfer-encoding: 7BIT On 14 Oct 2006 at 5:55, Alexander Dickow wrote: > Marcus, Your dismissive attitude is offensive, from the > perspective of someone unconcerned with the stakes of > this argument.< You think _that_ is offensive? Yeesh. Ask around. I can be lots more offensive than that. > It also comes across as awfully arrogant:< No foolin'? > there might be people who love Joyce who are > likely to find you unbelievably presumptuous < Great! Let's hear from _them_. > ... You're not dealing in sweeping > generalizations, here: more like bulldozing ones, or > something. < Nice metaphor; consider it stolen. > ... I must take exception to > the prose vs. verse war: that's a "battalion" of > cliches right there. < Well, you've gotten it wrong right at the start: it's not between "prose and verse" but "prose and poetry", as I see it. I hold that poetry must be in meter. Not a particular meter, but in meter. There are lots of kinds of meter, but "free verse" specifically excludes meter as a tool, and I think that that makes it "prose", not a species of poetry, irrespective of how its lineated. "Verse" (all by itself, not as a part of "free verse") is merely a dismissive word for "bad poetry in meter" for the most part, and I reject it as a useful term in this discussion. > I also don't think people are > nearly as hostile to non-metric verse as you think > they are. In fact, I think most people (the ones you > mention who scoff & scorn) probably have a harder time > reading Keats or Wordsworth than any 20th-c "free > verse".< Sure, that's why they have Keats and Wordsworth and Swinburne memorized. Oh, not all of the poems, but poems by them. > Oh, and admittedly, I feel the same way about Pound. > But Moby Dick is a simply fabulous book. > Anyway, stop being so presumptuous,< Sorry, I like being presumptuous. It prompts people to write back and make their own cases for their own views, and I find other peoples' views very interesting. > it's making you look bad.< If true, it's me making me look bad; what's that to you? > Amy King, can you come to the rescue, here? What's Amy King got to do with it? Is she someone who has made herself look bad and now regrets it and goes around giving advice on how not to make yourself look bad -- or recover from it? Some kind of intervention? Advice on being a Recovered Bad-Looker? Marcus ========================================================================= Date: Sat, 14 Oct 2006 09:13:13 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Tony Trigilio Organization: http://www.starve.org Subject: Maggie Nelson/Martha Collins, October 25, Columbia College Chicago MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit *Maggie Nelson / Martha Collins Poetry Reading* * * *Wednesday, October 25 (5:30 p.m.) Columbia College Chicago Concert Hall* *1014 South Michigan Avenue*** *Free & open to the public For more information, call (312) 344-8138* *Maggie Nelson* is most recently the author of JANE: A MURDER (Soft Skull Press, 2005), a mixed-genre book which was named a Finalist for the 2006 PEN/Martha Albrand Award for the Art of the Memoir. Her other books of poetry include THE LATEST WINTER (2003), SHINER (2001), and the forthcoming collection SOMETHING BRIGHT, THEN HOLES. A nonfiction book about her family and criminal justice will be published by the Free Press/Simon & Schuster in March 2007. She holds a Ph.D. in English Literature from the City University of New York, and has taught creative writing and literature at the Graduate Writing Program of the New School, Pratt Institute of Art, and Wesleyan University. Currently she teaches on the faculty of the School of Critical Studies at CalArts in Valencia, California, and lives in Los Angeles. *Martha Collins* is the author of the book-length poem /Blue Front/ (Graywolf, 2006). She has published four earlier collections of poems and a recent chapbook, /Gone So Far/ (Barnwood, 2005), and has co-translated two collections of poetry from the Vietnamese, most recently /Green Rice/ by Lam Thi My Da (Curbstone, 2005, with Thuy Dinh). Her awards include fellowships from the NEA, the Bunting Institute, the Witter Bynner Foundation, and the Ingram Merrill Foundation, as well as three Pushcart Prizes and a Lannan Foundation residency fellowship. She founded the Creative Writing Program at UMass-Boston, and since 1997 has taught at Oberlin College, where she is Pauline Delaney Professor of Creative Writing. She lives in Cambridge, Massachusetts and Oberlin, Ohio. ========================================================================= Date: Sat, 14 Oct 2006 10:38:34 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Nicholas Ruiz III Subject: book release: The Metaphysics of Capital MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit New titles: 2006-2007 The Metaphysics of Capital Nicholas Ruiz III ISBN: 097899020X Release date: intertheory press, November 1, 2006 available at amazon Nicholas Ruiz III, Ph.D. Editor, Kritikos http://intertheory.org ========================================================================= Date: Sat, 14 Oct 2006 10:02:04 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Haas Bianchi Subject: Michael Palmer Reading that we can all atend MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit Dear Friends of Chicagopostmodernpoetry.com John Tipton who produces the Chicagopoetryproject reading series just informed me that Michael Palmer will be reading on the date below. Everyone please come Ray _____ From: JOHN TIPTON [mailto:JOHN.TIPTON@morningstar.com] Sent: Saturday, October 14, 2006 6:53 AM To: Haas Bianchi Subject: RE: NEW POETIC PROFILES OF RACHEL LEVITSKY AND MICHELLE TARANSKY AND A PLEA TO THE U OF CHICAGO Ray, Just so you know. Michael Palmer will be reading in Poem Present this month and then is reading in CPP on Saturday, October 28 at 3:00 PM. Yours truly will be reading with him. That's one you should be able to catch. Spread the word. -John _____ From: Haas Bianchi [mailto:saudade@comcast.net] Sent: Sat 10/14/2006 5:58 AM To: UB Poetics discussion group Subject: NEW POETIC PROFILES OF RACHEL LEVITSKY AND MICHELLE TARANSKY AND A PLEA TO THE U OF CHICAGO DEAR FRIENDS OF CHICAGOPOSTMODERNPOETRY.COM Please check out our new profiles this month of poets Rachel Levitsky and Michelle Taransky and please indulge me by sending an email to jklein@unchicago.edu with the following message that needs to be sent the U of Chicago. An Open Plea to the University of Chicago Poem Present Series and the U of C Creative Writing Department. Every year the U of C has fabulous readings by the world's great poets and they schedule these readings at 5:30 PM on a Thursday or 1:30 in the afternoon on a Tuesday so that the 9 million Chicagoans who don't work in Hyde Park are unable to attend. I would ask the University to rethink its policy and have one reading at night so that the Chicago poetry community and general readers can have the gift of hearing the great poets that they invite. Raymond L Bianchi, Editor chicagopostmodernpoetry.com/ collagepoetchicago.blogspot.com/ ========================================================================= Date: Sat, 14 Oct 2006 10:21:07 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Joe Amato Subject: Re: feminists who changed the world In-Reply-To: <452F8DDC.31505.10B0E74@marcus.designerglass.com> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" This is such a tired discussion. I feel as if Marcus wants us all to revisit 1965 or some such, and I'm not esp. eager to engage in a discussion with someone who seems to feel that his (that's yours, Marcus) proper aim here is to parse each and every snippet written in response to him. That kind of attention kills active exchange, b/c it's difficult to see the forest for the trees, finally, but also b/c it treats dogged scrutiny as a virtue, and lists such as this have never been esp. well suited to micro-analysis of that sort. So I'm sorry but I simply must wax bibliographic: First: To my way of thinking, Fredman's Poet's Prose: The Crisis in American Verse ought to be essential reading wrt this question of prose v. poetry. I don't get the impression that Marcus has troubled himself with Fredman's argument, and again, as Andy suggests, we can't very well rehearse entire booklength discussions in this space. Secondly: Rasula, in The American Poetry Wax Museum, rather ably demonstrates what social criteria are at stake in forcing poetry underground, within academe at least. Those forces have little to do with meter and the like, and what happens in the fifties in academe has much to say as to where we are now. Read Rasula's chapter two, which is something like 250 pp long, as I recall. Thirdly: Antin, by the early seventies, had helpfully pushed the prose/poetry applecart in the other direction, viz., that we ought perhaps to consider poetry as the larger of the two categories, to which (grammatical, mechanical) rules are applied that yield prose. Now if this latter is agreed upon -- I wrote IF, but we can at the very least entertain it, yes? -- then we might similarly consider the application of metrical rules to language as yet another subset of poetry, which latter (admittedly) begins to make of poetry (aside from the connotation of poiesis) something akin to that fuzzy term, "language." But I'd rather risk collapsing/conflating the two domains (i.e., poetry and language) than restrict poetic license to the application of accentual-syllabic ya-yas. The fact remains (and it is a fact) that much "prose" has been written in the past century that simply doesn't work like SVO prose, and this departure from grammatical convention has often drawn more attention from poets (and poetry outlets) than from prose (narrative or fiction) writers. File that under "the social mechanics of publishing," and we can talk about this, if you like. Ergo the thread around here, TODAY, on "breaking the syntax" (shorthand, certainly) which nobody to my knowledge is hallucinating as meaning "throwing syntax out the door" (one is always writing against something, with resistance *to* something) or "changing our social/cultural institutions simply by the stroke of a keyboard." For one, to suggest as much would be to mistake short-term, incremental change for long-term change. At the same time, to deny the (artistic and social) achievements of radical modernism or feminism or -- would require considerably more wattage than is implied in a discussion of syntax and meter. That some have argued at times somewhat too vigorously for the correlation twixt social change and artisic innovation tends to be (this is the view from afar, as it were) an aspect of the types of social ferment in which such changes tend (I say tend) emerge. Now we can argue that a prose is a prose is a prose, but I for one would rather that we imagine such innovative/experimental/unconventional/hybrid work, at the very least, as troubling a distinction that will, I daresay, not be resolved by said ya-yas, above. Again, I would myself prefer a discussion of marketplace dynamics, say -- the materialities of publishing -- b/c we'd at least then be grounded, collectively, in something tangible. Please don't parse me, Marcus -- I don't think I can bear it. And if you do, I can't guarantee I'll even read it, b/c ars longa, old chap. Best, Joe ========================================================================= Date: Sat, 14 Oct 2006 13:16:37 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Christopher Leland Winks Subject: Re: marcus' ranting In-Reply-To: <4530A94D.32111.55E3FEC@marcus.designerglass.com> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Disposition: inline Content-Transfer-Encoding: 7bit When syntax breaks, Marcus bails ========================================================================= Date: Sat, 14 Oct 2006 12:37:46 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: amy king Subject: Re: marcus' ranting In-Reply-To: <20061014125501.29038.qmail@web35505.mail.mud.yahoo.com> MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Hi Alex, There’s usually a time and place for an effective agent provocateur; in this listserv setting though, declaring one’s self such, even indirectly, is typically not about promoting discourse so much as it is a guise that gives the “provocateur” license to behave badly, making bawdy and rude statements without concern for who he offends and what he misrepresents (I also liked your bulldozer metaphor, by the way). There are a few in the poetry community who play the A.P. strategically well and with decent results (to call the Bad Guys out ultimately), but on listservs, it’s mostly a ruse and an ego-driven routine. I think the easiest response is to disengage, since the provocateur isn’t so interested, as he puts it, in what you think, but rather, is interested in setting the terms of the discussion so that his position seems advanced, a position that is usually reactionary and relies on you expending your energy to thrive and get notice. But what Marcus claims is true: he can be worse and has been. If you don’t want to wade through the archives, click on this link for a small but telling historical account of one “discussion” he provoked and a sample of his self-professed notoriety: http://cipherjournal.blogspot.com/2006/06/i-will-name-names-marcus-bales-doesnt.html I’m starting to sound like “Dear Abby,” so I’ll sign off now and get back to grading essays and an ongoing sinus infection I just can’t seem to shake— Be well, Amy --------------------------------- Talk is cheap. Use Yahoo! Messenger to make PC-to-Phone calls. Great rates starting at 1¢/min. ========================================================================= Date: Sat, 14 Oct 2006 13:30:05 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alexander Dickow Subject: blog In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit All, Blog now up and running at www.alexdickow.net/blog/. Not much there, but will post more shortly: some poems I don't know what to do with, and other things. A website will also soon be open for bizness. Amicalement, Alex "Ce dont le poete souffre le plus dans ses rapports avec le monde, c'est du manque de justice _interne_. La vitre-cloaque de Caliban derriere laquelle les yeux tout-puissants et sensibles d'Ariel s'irritent." Rene Char, _Partage Formel_, fragment II ========================================================================= Date: Sat, 14 Oct 2006 16:37:44 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: heidi arnold Subject: Re: feminists who changed the world In-Reply-To: <452F8DDC.31505.10B0E74@marcus.designerglass.com> MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline -- this is a belated reply to Marcus' thought-provoking post -- belated because i'm pretty ill today, which has kicked my brain off-gear -- it seems to me to be a little bit of a waste to characterize this debate about "breaking the syntax" in terms of the personalities involved, it sort of cloaks the issue of what's at stake in breaking or dismantling things if nothing is readily available to replace what's broken as Marcus wrote "those who want to 'break the syntax' ought to take a lesson from [free verse]: that if they want to 'break the syntax' they ought to have a substitute readily available because, if merely breaking the pentameter doesn't produce an emergent new meter, you can't count on breaking the syntax to produce an emergent new syntax. And I asked, pointedly, whether those who want to 'break the syntax' are really preparing for eliminating verbal and written language altogether and resorting to physical means to communicate." -- anyone can relate to the concept of broken health and that's as good a place to refer as any i guess -- in illness, one doesn't generally "get" something to serve as a kind of crutch in place of the lost health -- or on the other hand through medicine and kin networks you do, but there is a real distance between the crutch and the lost health -- instead you get a kind of void, and it may take years to learn what's in that void -- if a knee injury takes you out of cross country running for example -- not unlike the void of silence, what is in silence, well, no one can tell you, but it's possible to go to silent places and spend days, weeks, for some lucky people even longer, listening, to find out -- but these are kind of obvious things -- it's just that it's possible to engage in a dialogue with absence and this in itself is an important dialogue to have, and to do that, you have to create a void -- or have one thrust on you, depending on the circumstances -- so i wonder why there is such momentum to get to what replaces what's broken -- except maybe that the professional machine means that we need to point to products of our productivity or whatever -- but what if there is nothing to put in place of what's broken -- really, nothing -- does that mean not to break a kind of aesthetic for example -- i don't think so -- i think the void still holds the memory of what was before it and in that you get a certain kind of void -- US education is interested in producing students who make a good living -- why on earth has everybody let poetry get coopted into that -- anyone can see what it's done -- we are making products and that at least threatening to become more important than thinking about what's there -- at least in the minimal terms if you characterize the kind of professional trends that go into most careers -- if things are getting broken and there's nothing to replace them -- that's what's there and that can be thought through -- if for example a government destroys peace in a nation -- something has been lost -- that condition of peace -- without taking seriously that there is a void of some type instead of peace, and not simply violence as the next and inevitable step, it seems to me that thinking about the vacuum that follows the destruction is closer to the peace that once existed than simply moving right along to the next thing -- so i'm kind of trying to say that there can be things to say about a destroyed place when nothing comes to fill the void -- and maybe it's not relevant to anything at all and quite cold but in fact it is worth thinking about as in how far can you go to get inside nothingness -- can you sit alone and go to the moon and no one can say it's not possible or it's just imagination no one knows what's there because the things we are looking at is the new products rather than the possibilities of places where there are no products -- as in places where there are no jobs, or fields where there are no crops -- what is a void -- it is not possible in our capitalist system for such an inquiry to become a dominant view because it takes seriously the possibility that as Boethius said where there is nothing, nothing comes, -- but it is also possible that Boethius was wrong -- it matters a great deal if you dismantle something what you mean by that and this is why i wrote in, with apologies since i think this is probably a little foggy -- but as everyone who has contributed to this conversation has said something to the effect that breaking the syntax is important to deal with in some way -- and i just felt i should chime in that yes it is but why is there so much attention to the next product when there may be other elements to consider in terms of what is going on -- -- this is not a comprehensive response to Marcus' post but at least it takes issue with a small part of it -- now i'm off to lurking, peace, heidi -- www.heidiarnold.org ========================================================================= Date: Sat, 14 Oct 2006 16:46:32 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Eric Yost Subject: feminists who changed their words In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit I have sympathy with Marcus' argument because I hate lazy or self-congratulatory writing. Rather than dismiss his claims as antiprogressive or emblematic of an oppressive master narrative, we'd all benefit by considering the ways his opinion is spot on, and possibly so progressive it seems antique. Sure there's a lot of superb "innovative/experimental/unconventional/hybrid work," as Joe called it, and women are not the privileged gatekeepers of it. (Consider _Forge_ by Ted Mathys.) There's also the tedious "old spontaneous me" of Whitman imitation, those who congratulate themselves on their innovative or democratic style as a way of hiding technical deficiencies. Get out the old bongo drums, snap your fingers, then walk home amid the blowing trash and waste of a million egotists who never can be wrong. In part we are all victims of the Enlightenment myth where progress is an overthrow of tradition. We overly value people who innovate and "think outside of the box," missing the fact that most progress has been built on tradition, as science builds on other science. Different is usually not better, contrary to our desire for it to be otherwise, and for every Copernicus there are hundreds of crackpot cosmologists with theories of hidden time-eating planets and angry thinking cyclopean stars. Yet wouldn't it be swell if we were the misunderstood genius who changes language? Such a pleasant narcissistic fantasy! So much easier to entertain than a life of honest and passionate writing. Best wishes to all, Eric ========================================================================= Date: Sat, 14 Oct 2006 23:12:12 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Andrew Lundwall Subject: melancholia's tremulous dreadlocks issue 6 Comments: To: mtdmagazine@gmail.com Mime-Version: 1.0 Content-Type: text/plain; format=flowed The sixth issue of melancholia's tremulous dreadlocks is online now, featuring work by: Barbara Jane Reyes - Jeanne Marie Beaumont - John Most - John Sakkis - Justin Marks - Kaya Oakes - Kira Henehan - Mark Young - Mike Young - Sandra Beasley - Vernon Frazer - The Pines Art by Lena Hades melancholia's tremulous dreadlocks is an online bi-weekly journal of poetry and curious bits, co-edited by Andrew Lundwall and François Luong. http://mtd.celaine.com/ _________________________________________________________________ Express yourself - download free Windows Live Messenger themes! http://clk.atdmt.com/MSN/go/msnnkwme0020000001msn/direct/01/?href=http://imagine-msn.com/themes/vibe/default.aspx?locale=en-us&source=hmtagline ========================================================================= Date: Sat, 14 Oct 2006 23:19:26 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Dan Wilcox Subject: Third Thursday Open Mic for Poets in Albany, NY Mime-Version: 1.0 (Apple Message framework v624) Content-Transfer-Encoding: quoted-printable Content-Type: text/plain; charset=WINDOWS-1252; format=flowed the Poetry Motel Foundation presents Third Thursday Open Mic for Poets now at the Social Justice Center 33 Central Ave., Albany, NY Thursday, October 19, 2006 7:00 sign up; 7:30 start Featured Poet: Bob Wrightformer President of the Woodstock Poetry Society. He has produced a 2-CD volume of his=20= poems, =93Legacy=94. Check it out & bring a poem to read during the = open=20 mic. $3.00 donation.=A0 Your host: Dan Wilcox. ========================================================================= Date: Sat, 14 Oct 2006 20:28:08 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jennifer Karmin Subject: Red Rover Series / Experiment #9 MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Red Rover Series {readings that play with reading} Experiment #9: Stand Close to the Machine Featuring: Gnoetry 7pm Saturday, October 21 suggested donation $3 at LOCUS 2114 W. Grand, corner of Grand & Hoyne -- Chicago, IL (enter via the alley behind the building at Hoyne) new home of the SpareRoom http://www.spareroomchicago.org **An Evening of Computational Poetics** End-users at their "poetry stations" on a Gnoetic Assembly Line will compose poems in collaboration with Gnoetry0.2, a poetry-generating software, and will clock the poems in to be read outloud by our Recitation Managers. Throughout the evening, the compositional process will be animated on the wall--written out in light, written on the fly, written without bathos, a new form of objective poetry will be created by our poetry factory workers before your very eyes. ERIC ELSHTAIN is the editor of Chicago's on-line Beard of Bees Press, http://www.beardofbees.com. His work can be found in journals such as McSweeney's, Skanky Possum, Notre Dame Review, Ploughshares, Interim, Salt Hill, GutCult and others. His latest chapbook, The Cheaper the Crook, the Gaudier the Patter, appeared last year from Transparent Tiger Press. JON TROWBRIDGE is a software engineer at Google. Red Rover Series is curated bi-monthly by Amina Cain and Jennifer Karmin Got ideas for reading instructions & experiments? Email us at redroverseries@yahoogroups.com Coming in December Experiment #10 __________________________________________________ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com ========================================================================= Date: Sat, 14 Oct 2006 22:06:14 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alexander Dickow Subject: poetry, free verse, etc: Amy, Marcus et al In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit "Agent provocateur", I see...Why not, this time around? In any event, I'm pleased at the stimulating discussion and exchange this has sparked on all sides of these issues. So, all's well. Sela, beuvons. Finally got a few posts up on the ol' blog-o. Yours, Alex www.alexdickow.net/blog/ les mots! ah quel désert à la fin merveilleux. -- Henri Droguet ========================================================================= Date: Sat, 14 Oct 2006 23:21:28 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Andy Gricevich Subject: absences MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit This is in reply to Heidi Arnold's post. Heidi, right on. A thought that I find particularly interesting in what you wrote (assuming you meant it, and it's not just me reading into it), could be stated as follows: When something's negated, the absence that's left isn't just indeterminate, vague; it's an absence/void with a particular shape--the shape of what was there, which is, at the same time, the shape of the environment of what was there, without that thing in it. Three reflections in relation to this, continuing to play (and there is a playfulness here)with the spatial metaphor: 1) If something's negated, and something does replace it, the new thing might be in a different place. 2) There might be many instances of a thing, in many different places, and some might be negated, others not. 3) There's not just negation, but also displacement, overlap and melding. 'Zat's all. cheers, Andy --------------------------------- Get your own web address for just $1.99/1st yr. We'll help. Yahoo! Small Business. ========================================================================= Date: Sun, 15 Oct 2006 11:31:31 +0100 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Robin Hamilton Subject: Re: marcus' ranting MIME-Version: 1.0 Content-Type: text/plain; format=flowed; charset="iso-8859-1"; reply-type=original Content-Transfer-Encoding: 7bit > Well, you've gotten it wrong right at the start: it's not between > "prose and verse" but "prose and poetry", as I see it. I hold that > poetry must be in meter. Sheesh, Marcus, that rules out a large hunk of the world and history, those who use or used an ideographic alphabet. Good going, son -- you've just nuked more than half of the human race with one strike. > Not a particular meter, but in meter. There > are lots of kinds of meter, but "free verse" specifically excludes > meter as a tool, and I think that that makes it "prose", not a > species of poetry, irrespective of how its lineated. "Verse" (all by > itself, not as a part of "free verse") is merely a dismissive word > for "bad poetry in meter" for the most part, and I reject it as a > useful term in this discussion. Reread Aristotles poetics. And Sidney's Defence/Apology for poetry. Both distinguish the poetry/prose opposition from the prose/verse opposition, and proffer a poetry/verse one. Those who disagree with your statement above (if such intellectually benighted figures exist) disagree in august company. Robin ========================================================================= Date: Sun, 15 Oct 2006 04:51:35 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Nun Zilla Subject: the test begins... In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit test. it's late. i'm up late. check 1-2. the test begins, NOW))))))) )))) ))))) --- POETICS automatic digest system wrote: --------------------------------- POETICS Digest - 13 Oct 2006 to 14 Oct 2006 (#2006-288) LISTSERV® archives at LISTSERV.BUFFALO.EDU POETICS Digest - 13 Oct 2006 to 14 Oct 2006 (#2006-288) Table of contents: baseball on t he list feminists who changed the world (3) bad poems -- feminists who changed the [word] THE WASH is now available NEW POETIC PROFILES OF RACHEL LEVITSKY AND MICHELLE TARANSKY AND A PLEA TO THE U OF CHICAGO marcus' ranting (4) Maggie Nelson/Martha Collins, October 25, Columbia College Chicago book release: The Metaphysics of Capital Michael Palmer Reading that we can all atend blog feminists who changed their words melancholia's tremulous dreadlocks issue 6 Third Thursday Open Mic for Poets in Albany, NY Red Rover Series / Experiment #9 baseball on t he list baseball on t he list (10/13) From: Susan Webster Schultz feminists who changed the world Re: feminists who changed the world (10/13) From: Andy Gricevich Re: feminists who changed the world (10/14) From: Joe Amato Re: feminists who changed the world (10/14) From: heidi arnold bad poems -- Re: bad poems -- (10/14) From: Jesse Crockett feminists who changed the [word] Re: feminists who changed the [word] (10/14) From: Steve Dalachinsky THE WASH is now available THE WASH is now available (10/14) From: Adam Clay NEW POETIC PROFILES OF RACHEL LEVITSKY AND MICHELLE TARANSKY AND A PLEA TO THE U OF CHICAGO NEW POETIC PROFILES OF RACHEL LEVITSKY AND MICHELLE TARANSKY AND A PLEA TO THE U OF CHICAGO (10/14) From: Haas Bianchi marcus' ranting marcus' ranting (10/14) From: Alexander Dickow Re: marcus' ranting (10/14) From: Marcus Bales Re: marcus' ranting (10/14) From: Christopher Leland Winks Re: marcus' ranting (10/14) From: amy king Maggie Nelson/Martha Collins, October 25, Columbia College Chicago Maggie Nelson/Martha Collins, October 25, Columbia College Chicago (10/14) From: Tony Trigilio book release: The Metaphysics of Capital book release: The Metaphysics of Capital (10/14) From: Nicholas Ruiz III Michael Palmer Reading that we can all atend Michael Palmer Reading that we can all atend (10/14) From: Haas Bianchi blog blog (10/14) From: Alexander Dickow feminists who changed their words feminists who changed their words (10/14) From: Eric Yost melancholia's tremulous dreadlocks issue 6 melancholia's tremulous dreadlocks issue 6 (10/14) From: Andrew Lundwall Third Thursday Open Mic for Poets in Albany, NY Third Thursday Open Mic for Poets in Albany, NY (10/14) From: Dan Wilcox Red Rover Series / Experiment #9 Red Rover Series / Experiment #9 (10/14) From: Jennifer Karmin --------------------------------- Browse the POETICS online archives.> Date: Fri, 13 Oct 2006 18:22:58 -1000 > From: Susan Webster Schultz > > Subject: baseball on t he list > > There's been some, so let me say it now: > > GO CARDS!!! > > aloha, Susan > > PS What everyone seems to forget about Donnie > Moore, the Angels > reliever, is that he not only killed himself, he > also shot his wife, > three times. She lived, but that alters the sadness > of the event in my > eyes. > > Date: Fri, 13 Oct 2006 21:48:48 -0700 > From: Andy Gricevich > Subject: Re: feminists who changed the world > > Dear Marcus, > > Thanks for this great response. > > First off: sorry about the hyperbolic ending. It did > seem like your intitial > message had an angry tone, but it's always easy to > read emotional > connotations into email; in any case, you're right: > "battalion of cliches" > is a definite overstatement. > > I used "straw man/woman" for the following reason: > you seem to be > setting up an opponent for whom "breaking the > syntax" equals a hostility > to all syntax, inside or outside of poetry; for whom > this disruption is a > destructive activity (admittedly, this is implied by > "breaking," but that's > Ruth's term in her post, and not necessarily the > term favored by the > writers in question); who has popularity/a wide > readership as her goal; > who want to "do away with spoken and written > language." > I don't think you can assume that any of these are > the positions taken > by writers interested in poetry that takes > unconventional approaches > to syntax, often to the point of dispensing with it > as a primary frame. > > Do you really think these writers want to do away > with all syntax in > all poetry? It's simply not true. > > You set up an analogic relationship between the > abandonment of > pentameter and the disruption of syntax. Maybe you > didn't claim > that P and S are identical, but you drew a parallel > between two processes. > My claim is simply that the analogy is false. > > As far as most of the rest of your post is > concerned, all I can say is > that I disagree. > > Many, many contemporary poets have focused on the > line as a way > of setting up sonic and cognitive rhythms, of moving > between interruption > and continuity, of bringing out the inner > complexities of sentences and > other strings of words, and plenty of other wonders. > If you don't want > to call it poetry, fine--who cares? > > I find a lot more than "word salad" and "chopped-up > prose" in Hejinian's > and Scalapino's work. LH's last bunch of books are > full of precise observation, > significant line breaks, moves between different > levels of thought I find > exhilirating, and modes of philosophical thinking > that couldn't be practiced > outside poetry (because of the strictures of > philosophical prose and the > failure of most philosophy that tries to break them > by becoming "poetic"). > > about metaphorical > thinking: about how low-level and non-rigorous it > is. Here we are > talking about "breaking the syntax", and we each > have such different > understandings about what that means or can be taken > to mean, and of > what the consequences may be, that we're really > talking past each > other almost completely. > > > Probably right. > > followed the abandonment of meter, and, second, > because in a hundred > years the works that are the product of abandonment > of meter have > siimply failed to achieve any significant public > support.> > > Your first point doesn't prove anything, logically > speaking. As to the > second: cummings? Whitman? Williams? much of Frost? > Billy Collins? > People used to read poetry widely... even unmetered > poetry--even weird > unmetered poetry. > > their > useful and productive everyday wily practical > inventiveness> > > I don't think this is true; I think intelligence is > ascribed to people who do > manual labor only in a very restricted sense. > > caught on: if > there's no value to the 2500 years of "impractical" > thinking as > declared by the very people who have had the benefit > of those high- > class and expensive educations, then why should we > send our kids to > get such an education?> > > So, no place for imagination, flexibility of > thought, uses of thinking that > don't always apply to immediate practical needs? I > just find this anti- > human, cold and cruel. Most of the best of human > culture (and I don't > just mean "high," literary culture) has had to do > with thinking beyond \ > immediate "value," which especially means monetary > value. > > that your > grandfather was one of them. An intellectual is not > someone who has > an education; an intellectual is someone who has a > certain cast of > character and mind, irrespective of education. There > are always some, > and not all of them end up in academia. But the > exception tests the > rule.> > > Don't be so sarcastic. Not "how nice for me"--how > nice for my grandfather, > and lots of other people (I never met the guy). > Anyway, there were an > awful lot of "exceptions." Look at the history, man. > Look at some high- > school exit exams from the 'thirties and 'forties. > You're simply > wrong. > > "Moby Dick" is great (and hilarious). Joyce is a > fine prankster. Pound at > his best is gorgeous, at his worst dead boring, in > the middle questionable > and often obnoxious. My opinions. > > and congratulations. > Now, what's it have to do with my point that every > coterie of experts > has its share of petty politics viciously pursued? > Are you disputing > it? > > > Don't be so sarcastic. I'm not trying to make myself > look good. I misunderstood your point, apparently; I > was trying to say that people who are interested in > innovative poetry can be interested in what goes on > between specialists in > other areas. So, no, I wasn't disputing your point, > which is obviously true, > as stated above. > > pretty > nicely, though not as nicely as at first, what does > "breaking the > syntax" mean when it's at home? If you don't want to > write the essay > for the listserv, do you have a reference to someone > who has written > an essay with which you mostly agree?> > > Yes, I don't have the time to write a little essay > here. I do think Hejinian's > stuff in "The Language of Inquiry" is good > throughout, especially the later > things. Silliman's "The New Sentence" is really > sharp, clear critical writing > that touches on this often (I particularly like his > essay on Jack Spicer). > Given more leisure time, I could come up with > others... so, I'm sure, > could others on this list. > > But now to bed. Thanks for the reply. > > === message truncated ===> Date: Sat, 14 Oct 2006 00:12:42 -0500 > From: Jesse Crockett > Subject: Re: bad poems -- > > and students, take this down, for the test. don't > confuse bad for poor. > does everyone get that? good. you're a smart class. > > > Jesse Crockett wrote: > > Send me one hundred dollars to win the contest. > > > > Feel the love, poeps, feel it! > > > > Catherine Daly wrote: > > > >> BAD POETRY NEEDED!! > >> > >> Dig out your dogs (poems that never win or are > just plain bad) and enter our > >> "Best of the Worst Contest" by 10-31-06. Fee: $1 > per poem (limit to > >> one-page length per poem). One male and one > female winner will get a big > >> chunk of the entry-fee pot--if there are enough > entries to fill a pot. > >> > >> Send 2 copies, with name and address on only one > copy. Make check payable > >> to, and send to: Amy's Contest, 1325 W. Sunshine > St., #168, Springfield, MO > >> 65807. Enclose a #10 SASE. Winners to be > announced in November and all > >> others notified in December. > >> > >> > >> > > > > > > Date: Sat, 14 Oct 2006 01:24:23 -0400 > From: Steve Dalachinsky > Subject: Re: feminists who changed the [word] > > sin tax > > any one out there want to publish the poems of > pisnist cecil taylor? > > Date: Sat, 14 Oct 2006 06:07:52 -0400 > From: Adam Clay > Subject: THE WASH is now available > > Dear Friends, > > At last, my first book of poems, THE WASH, is now > available from Parlor Press. > > To order a copy, please visit the Parlor Press > online store: > http://parlorpress.com/catalog/product_info.php?products_id=130 > > best, > --Adam > > Date: Sat, 14 Oct 2006 05:58:08 -0500 > From: Haas Bianchi > Subject: NEW POETIC PROFILES OF RACHEL LEVITSKY AND > MICHELLE TARANSKY AND A PLEA TO THE U OF CHICAGO > > DEAR FRIENDS OF CHICAGOPOSTMODERNPOETRY.COM > > Please check out our new profiles this month of > poets Rachel Levitsky and > Michelle Taransky and please indulge me by sending > an email to > jklein@unchicago.edu with the following message that > needs to be sent the U > of Chicago. > > An Open Plea to the University of Chicago Poem > Present Series and the U of C > Creative Writing Department. > > Every year the U of C has fabulous readings by the > world's great poets and > they schedule these readings at 5:30 PM on a > Thursday or 1:30 in the > afternoon on a Tuesday so that the 9 million > Chicagoans who don't work in > Hyde Park are unable to attend. I would ask the > University to rethink its > policy and have one reading at night so that the > Chicago poetry community > and general readers can have the gift of hearing the > great poets that they > invite. > > > Raymond L Bianchi, Editor > chicagopostmodernpoetry.com/ > collagepoetchicago.blogspot.com/ > > Date: Sat, 14 Oct 2006 05:55:01 -0700 > From: Alexander Dickow > Subject: marcus' ranting > > Marcus, > Your dismissive attitude is offensive, from the > perspective of someone unconcerned with the stakes > of > this argument. It also comes across as awfully > arrogant: there might be people who love Joyce who > are > likely to find you unbelievably presumptuous (not > me: > I've never read Ulysses, and didn't care much for > Dubliners/Portrait). You're not dealing in sweeping > generalizations, here: more like bulldozing ones, or > something. > Apparently you write in meter? I'd love to hear > who's > working in meter these days, and am genuinely > curious > and pleased to hear it. But I must take exception to > the prose vs. verse war: that's a "battalion" of > cliches right there. I also don't think people are > nearly as hostile to non-metric verse as you think > they are. In fact, I think most people (the ones you > mention who scoff & scorn) probably have a harder > time > reading Keats or Wordsworth than any 20th-c "free > verse". > Oh, and admittedly, I feel the same way about Pound. > But Moby Dick is a simply fabulous book. > Anyway, stop being so presumptuous, it's making you > look bad. Amy King, can you come to the rescue, > here? > Alex > > "Ce dont le poete souffre le plus dans ses rapports > avec le monde, c'est du manque de justice _interne_. > La vitre-cloaque de Caliban derriere laquelle les > yeux tout-puissants et sensibles d'Ariel > s'irritent." > Rene Char, _Partage Formel_, fragment II > > Date: Sat, 14 Oct 2006 09:09:33 -0400 > From: Marcus Bales > Subject: Re: marcus' ranting > > On 14 Oct 2006 at 5:55, Alexander Dickow wrote: > > Marcus, Your dismissive attitude is offensive, > from the > > perspective of someone unconcerned with the stakes > of > > this argument.< > > You think _that_ is offensive? Yeesh. Ask around. I > can be lots more > offensive than that. > > > It also comes across as awfully arrogant:< > > No foolin'? > > > there might be people who love Joyce who are > > likely to find you unbelievably presumptuous < > > Great! Let's hear from _them_. > > > ... You're not dealing in sweeping > > generalizations, here: more like bulldozing ones, > or > > something. < > > Nice metaphor; consider it stolen. > > > ... I must take exception to > > the prose vs. verse war: that's a "battalion" of > > cliches right there. < > > Well, you've gotten it wrong right at the start: > it's not between > "prose and verse" but "prose and poetry", as I see > it. I hold that > poetry must be in meter. Not a particular meter, but > in meter. There > are lots of kinds of meter, but "free verse" > specifically excludes > meter as a tool, and I think that that makes it > "prose", not a > species of poetry, irrespective of how its lineated. > "Verse" (all by > itself, not as a part of "free verse") is merely a > dismissive word > for "bad poetry in meter" for the most part, and I > reject it as a > useful term in this discussion. > > > I also don't think people are > > nearly as hostile to non-metric verse as you think > > they are. In fact, I think most people (the ones > you > > mention who scoff & scorn) probably have a harder > time > > reading Keats or Wordsworth than any 20th-c "free > > verse".< > > Sure, that's why they have Keats and Wordsworth and > Swinburne > memorized. Oh, not all of the poems, but poems by > them. > > > Oh, and admittedly, I feel the same way about > Pound. > > But Moby Dick is a simply fabulous book. > > Anyway, stop being so presumptuous,< > > Sorry, I like being presumptuous. It prompts people > to write back and > make their own cases for their own views, and I find > other peoples' > views very interesting. > > > it's making you look bad.< > > If true, it's me making me look bad; what's that to > you? > > > Amy King, can you come to the rescue, here? > > What's Amy King got to do with it? Is she someone > who has made > herself look bad and now regrets it and goes around > giving advice on > how not to make yourself look bad -- or recover from > it? Some kind of > intervention? Advice on being a Recovered > Bad-Looker? > > Marcus > > Date: Sat, 14 Oct 2006 09:13:13 -0500 > From: Tony Trigilio > Subject: Maggie Nelson/Martha Collins, October 25, > Columbia College Chicago > > *Maggie Nelson / Martha Collins Poetry Reading* * > * > > *Wednesday, October 25 (5:30 p.m.) > Columbia College Chicago Concert Hall* > *1014 South Michigan Avenue*** > > *Free & open to the public > For more information, call (312) 344-8138* > > > *Maggie Nelson* is most recently the author of JANE: > A MURDER (Soft > Skull Press, 2005), a mixed-genre book which was > named a Finalist for > the 2006 PEN/Martha Albrand Award for the Art of the > Memoir. Her other > books of poetry include THE LATEST WINTER (2003), > SHINER (2001), and the > forthcoming collection SOMETHING BRIGHT, THEN HOLES. > A nonfiction book > about her family and criminal justice will be > published by the Free > Press/Simon & Schuster in March 2007. She holds a > Ph.D. in English > Literature from the City University of New York, and > has taught creative > writing and literature at the Graduate Writing > Program of the New > School, Pratt Institute of Art, and Wesleyan > University. Currently she > teaches on the faculty of the School of Critical > Studies at CalArts in > Valencia, California, and lives in Los Angeles. > > > *Martha Collins* is the author of the book-length > poem /Blue Front/ > (Graywolf, 2006). She has published four earlier > collections of poems > and a recent chapbook, /Gone So Far/ (Barnwood, > 2005), and has > co-translated two collections of poetry from the > Vietnamese, most > recently /Green Rice/ by Lam Thi My Da (Curbstone, > 2005, with Thuy > Dinh). Her awards include fellowships from the NEA, > the Bunting > Institute, the Witter Bynner Foundation, and the > Ingram Merrill > Foundation, as well as three Pushcart Prizes and a > Lannan Foundation > residency fellowship. She founded the Creative > Writing Program at > UMass-Boston, and since 1997 has taught at Oberlin > College, where she is > Pauline Delaney Professor of Creative Writing. She > lives in Cambridge, > Massachusetts and Oberlin, Ohio. > > > > Date: Sat, 14 Oct 2006 10:38:34 -0400 > From: Nicholas Ruiz III > Subject: book release: The Metaphysics of Capital > > New titles: 2006-2007 > > The Metaphysics of Capital > Nicholas Ruiz III > > ISBN: 097899020X > > Release date: intertheory press, November 1, 2006 > > available at amazon > r=1-1/qid=1158585520/ref=sr_1_1/104-3741351-0411916?ie=UTF8&s=books> > > > > > > > > > > > > > > > Nicholas Ruiz III, Ph.D. > > Editor, Kritikos > > http://intertheory.org > > > > Date: Sat, 14 Oct 2006 10:02:04 -0500 > From: Haas Bianchi > Subject: Michael Palmer Reading that we can all > atend > > Dear Friends of Chicagopostmodernpoetry.com > > John Tipton who produces the Chicagopoetryproject > reading series just > informed me that Michael Palmer will be reading on > the date below. Everyone > please come > > Ray > > _____ > > From: JOHN TIPTON > [mailto:JOHN.TIPTON@morningstar.com] > Sent: Saturday, October 14, 2006 6:53 AM > To: Haas Bianchi > Subject: RE: NEW POETIC PROFILES OF RACHEL LEVITSKY > AND MICHELLE TARANSKY > AND A PLEA TO THE U OF CHICAGO > > > Ray, > > Just so you know. Michael Palmer will be reading in > Poem Present this month > and then is reading in CPP on Saturday, October 28 > at 3:00 PM. Yours truly > will be reading with him. That's one you should be > able to catch. Spread > the word. > > -John > > _____ > > From: Haas Bianchi [mailto:saudade@comcast.net] > Sent: Sat 10/14/2006 5:58 AM > To: UB Poetics discussion group > Subject: NEW POETIC PROFILES OF RACHEL LEVITSKY AND > MICHELLE TARANSKY AND A > PLEA TO THE U OF CHICAGO > > > > DEAR FRIENDS OF CHICAGOPOSTMODERNPOETRY.COM > > Please check out our new profiles this month of > poets Rachel Levitsky and > Michelle Taransky and please indulge me by sending > an email to > jklein@unchicago.edu with the following message that > needs to be sent the U > of Chicago. > > An Open Plea to the University of Chicago Poem > Present Series and the U of C > Creative Writing Department. > > Every year the U of C has fabulous readings by the > world's great poets and > they schedule these readings at 5:30 PM on a > Thursday or 1:30 in the > afternoon on a Tuesday so that the 9 million > Chicagoans who don't work in > Hyde Park are unable to attend. I would ask the > University to rethink its > policy and have one reading at night so that the > Chicago poetry community > and general readers can have the gift of hearing the > great poets that they > invite. > > > Raymond L Bianchi, Editor > chicagopostmodernpoetry.com/ > collagepoetchicago.blogspot.com/ > > Date: Sat, 14 Oct 2006 10:21:07 -0500 > From: Joe Amato > Subject: Re: feminists who changed the world > > This is such a tired discussion. I feel as if > Marcus wants us all to > revisit 1965 or some such, and I'm not esp. eager to > engage in a > discussion with someone who seems to feel that his > (that's yours, > Marcus) proper aim here is to parse each and every > snippet written in > response to him. That kind of attention kills > active exchange, b/c > it's difficult to see the forest for the trees, > finally, but also b/c > it treats dogged scrutiny as a virtue, and lists > such as this have > never been esp. well suited to micro-analysis of > that sort. > > So I'm sorry but I simply must wax bibliographic: > > First: To my way of thinking, Fredman's Poet's > Prose: The Crisis in > American Verse ought to be essential reading wrt > this question of > prose v. poetry. I don't get the impression that > Marcus has troubled > himself with Fredman's argument, and again, as Andy > suggests, we > can't very well rehearse entire booklength > discussions in this space. > > Secondly: Rasula, in The American Poetry Wax > Museum, rather ably > demonstrates what social criteria are at stake in > forcing poetry > underground, within academe at least. Those forces > have little to do > with meter and the like, and what happens in the > fifties in academe > has much to say as to where we are now. Read > Rasula's chapter two, > which is something like 250 pp long, as I recall. > > Thirdly: Antin, by the early seventies, had > helpfully pushed the > prose/poetry applecart in the other direction, viz., > that we ought > perhaps to consider poetry as the larger of the two > categories, to > which (grammatical, mechanical) rules are applied > that yield prose. > > Now if this latter is agreed upon -- I wrote IF, but > we can at the > very least entertain it, yes? -- then we might > similarly consider the > application of metrical rules to language as yet > another subset of > poetry, which latter (admittedly) begins to make of > poetry (aside > from the connotation of poiesis) something akin to > that fuzzy term, > "language." But I'd rather risk > collapsing/conflating the two > domains (i.e., poetry and language) than restrict > poetic license to > the application of accentual-syllabic ya-yas. > > The fact remains (and it is a fact) that much > "prose" has been > written in the past century that simply doesn't work > like SVO prose, > and this departure from grammatical convention has > often drawn more > attention from poets (and poetry outlets) than from > prose (narrative > or fiction) writers. File that under "the social > mechanics of > publishing," and we can talk about this, if you > like. Ergo the > thread around here, TODAY, on "breaking the syntax" > (shorthand, > certainly) which nobody to my knowledge is > hallucinating as meaning > "throwing syntax out the door" (one is always > writing against > something, with resistance *to* something) or > "changing our > social/cultural institutions simply by the stroke of > a keyboard." > For one, to suggest as much would be to mistake > short-term, > incremental change for long-term change. At the > same time, to deny > the (artistic and social) achievements of radical > modernism or > feminism or -- would require considerably more > wattage than is > implied in a discussion of syntax and meter. That > some have argued > at times somewhat too vigorously for the correlation > twixt social > change and artisic innovation tends to be (this is > the view from > afar, as it were) an aspect of the types of social > ferment in which > such changes tend (I say tend) emerge. > > Now we can argue that a prose is a prose is a prose, > but I for one > would rather that we imagine such > innovative/experimental/unconventional/hybrid work, > at the very > least, as troubling a distinction that will, I > daresay, not be > resolved by said ya-yas, above. Again, I would > myself prefer a > discussion of marketplace dynamics, say -- the > materialities of > publishing -- b/c we'd at least then be grounded, > collectively, in > something tangible. > > Please don't parse me, Marcus -- I don't think I can > bear it. And if > you do, I can't guarantee I'll even read it, b/c ars > longa, old chap. > > Best, > > Joe > > Date: Sat, 14 Oct 2006 13:16:37 -0400 > From: Christopher Leland Winks > Subject: Re: marcus' ranting > > When > syntax > breaks, > Marcus > bails > > Date: Sat, 14 Oct 2006 12:37:46 -0700 > From: amy king > Subject: Re: marcus' ranting > > Hi Alex, > > There’s usually a time and place for an effective > agent provocateur; in this listserv setting though, > declaring one’s self such, even indirectly, is > typically not about promoting discourse so much as > it is a guise that gives the “provocateur” license > to behave badly, making bawdy and rude statements > without concern for who he offends and what he > misrepresents (I also liked your bulldozer metaphor, > by the way). There are a few in the poetry > community who play the A.P. strategically well and > with decent results (to call the Bad Guys out > ultimately), but on listservs, it’s mostly a ruse > and an ego-driven routine. > > I think the easiest response is to disengage, > since the provocateur isn’t so interested, as he > puts it, in what you think, but rather, is > interested in setting the terms of the discussion so > that his position seems advanced, a position that is > usually reactionary and relies on you expending your > energy to thrive and get notice. > > But what Marcus claims is true: he can be worse > and has been. If you don’t want to wade through the > archives, click on this link for a small but telling > historical account of one “discussion” he provoked > and a sample of his self-professed notoriety: > http://cipherjournal.blogspot.com/2006/06/i-will-name-names-marcus-bales-doesnt.html > > > I’m starting to sound like “Dear Abby,” so I’ll > sign off now and get back to grading essays and an > ongoing sinus infection I just can’t seem to shake— > > Be well, > > Amy > > > > --------------------------------- > Talk is cheap. Use Yahoo! Messenger to make > PC-to-Phone calls. Great rates starting at 1¢/min. > > Date: Sat, 14 Oct 2006 13:30:05 -0700 > From: Alexander Dickow > Subject: blog > > All, > Blog now up and running at www.alexdickow.net/blog/. > Not much there, but will post more shortly: some > poems > I don't know what to do with, and other things. A > website will also soon be open for bizness. > Amicalement, > Alex > > > "Ce dont le poete souffre le plus dans ses rapports > avec le monde, c'est du manque de justice _interne_. > La vitre-cloaque de Caliban derriere laquelle les > yeux tout-puissants et sensibles d'Ariel > s'irritent." > Rene Char, _Partage Formel_, fragment II > > Date: Sat, 14 Oct 2006 16:37:44 -0400 > From: heidi arnold > Subject: Re: feminists who changed the world > > -- this is a belated reply to Marcus' > thought-provoking post -- belated > because i'm pretty ill today, which has kicked my > brain off-gear -- it seems > to me to be a little bit of a waste to characterize > this debate about > "breaking the syntax" in terms of the personalities > involved, it sort of > cloaks the issue of what's at stake in breaking or > dismantling things if > nothing is readily available to replace what's > broken > > as Marcus wrote > "those who want to 'break the syntax' ought to take > a lesson from [free > verse]: that if they want to 'break the syntax' they > ought to have a > substitute readily available because, if merely > breaking the pentameter > doesn't produce an emergent new meter, you can't > count on breaking the > syntax to produce an emergent new syntax. And I > asked, pointedly, whether > those who want to 'break the syntax' are really > preparing for eliminating > verbal and written language altogether and resorting > to physical means to > communicate." > > > -- anyone can relate to the concept of broken > health and that's as good a > place to refer as any i guess -- in illness, one > doesn't generally "get" > something to serve as a kind of crutch in place of > the lost health -- or on > the other hand through medicine and kin networks you > do, but there is a real > distance between the crutch and the lost health -- > instead you get a kind of > void, and it may take years to learn what's in that > void -- if a knee injury > takes you out of cross country running for example > -- not unlike the void of > silence, what is in silence, well, no one can tell > you, but it's possible to > go to silent places and spend days, weeks, for some > lucky people even > longer, listening, to find out -- but these are kind > of obvious things -- > it's just that it's possible to engage in a dialogue > with absence and this > in itself is an important dialogue to have, and to > do that, you have to > create a void -- or have one thrust on you, > depending on the circumstances > -- so i wonder why there is such momentum to get to > what replaces what's > broken -- except maybe that the professional machine > means that we need to > point to products of our productivity or whatever -- > but what if there is > nothing to put in place of what's broken -- really, > nothing -- does that > mean not to break a kind of aesthetic for example -- > i don't think so -- i > think the void still holds the memory of what was > before it and in that you > get a certain kind of void -- US education is > interested in producing > students who make a good living -- why on earth has > everybody let poetry get > coopted into that -- anyone can see what it's done > -- we are making products > and that at least threatening to become more > important than thinking about > what's there -- at least in the minimal terms if you > characterize the kind > of professional trends that go into most careers -- > if things are getting > broken and there's nothing to replace them -- that's > what's there and that > can be thought through -- if for example a > government destroys peace in a > nation -- something has been lost -- that condition > of peace -- without > taking seriously that there is a void of some type > instead of peace, and not > simply violence as the next and inevitable step, it > seems to me that > thinking about the vacuum that follows the > destruction is closer to the > peace that once existed than simply moving right > along to the next thing -- > so i'm kind of trying to say that there can be > things to say about a > destroyed place when nothing comes to fill the void > -- and maybe it's not > relevant to anything at all and quite cold but in > fact it is worth thinking > about as in how far can you go to get inside > nothingness -- can you sit > alone and go to the moon and no one can say it's not > possible or it's just > imagination no one knows what's there because the > things we are looking at > is the new products rather than the possibilities of > places where there are > no products -- as in places where there are no jobs, > or fields where there > are no crops -- what is a void -- it is not possible > in our capitalist > system for such an inquiry to become a dominant view > because it takes > seriously the possibility that as Boethius said > where there is nothing, > nothing comes, -- but it is also possible that > Boethius was wrong -- it > matters a great deal if you dismantle something what > you mean by that and > this is why i wrote in, with apologies since i think > this is probably a > little foggy -- but as everyone who has contributed > to this conversation has > said something to the effect that breaking the > syntax is important to deal > with in some way -- and i just felt i should chime > in that yes it is but why > is there so much attention to the next product when > there may be other > elements to consider in terms of what is going on -- > > -- this is not a comprehensive response to Marcus' > post but at least it > takes issue with a small part of it > -- now i'm off to lurking, > > peace, > > heidi > > -- > www.heidiarnold.org > > Date: Sat, 14 Oct 2006 16:46:32 -0400 > From: Eric Yost > Subject: feminists who changed their words > > I have sympathy with Marcus' argument because I hate > lazy or > self-congratulatory writing. Rather than dismiss his > claims > as antiprogressive or emblematic of an oppressive > master > narrative, we'd all benefit by considering the ways > his > opinion is spot on, and possibly so progressive it > seems > antique. > > Sure there's a lot of superb > "innovative/experimental/unconventional/hybrid > work," as Joe > called it, and women are not the privileged > gatekeepers of > it. (Consider _Forge_ by Ted Mathys.) > > There's also the tedious "old spontaneous me" of > Whitman > imitation, those who congratulate themselves on > their > innovative or democratic style as a way of hiding > technical > deficiencies. Get out the old bongo drums, snap your > > fingers, then walk home amid the blowing trash and > waste of > a million egotists who never can be wrong. > > In part we are all victims of the Enlightenment myth > where > progress is an overthrow of tradition. We overly > value > people who innovate and "think outside of the box," > missing > the fact that most progress has been built on > tradition, as > science builds on other science. Different is > usually not > better, contrary to our desire for it to be > otherwise, and > for every Copernicus there are hundreds of crackpot > cosmologists with theories of hidden time-eating > planets and > angry thinking cyclopean stars. > > Yet wouldn't it be swell if we were the > misunderstood genius > who changes language? Such a pleasant narcissistic > fantasy! > So much easier to entertain than a life of honest > and > passionate writing. > > Best wishes to all, > Eric > > Date: Sat, 14 Oct 2006 23:12:12 -0400 > From: Andrew Lundwall > > Subject: melancholia's tremulous dreadlocks issue 6 > > The sixth issue of melancholia's tremulous > dreadlocks is online now, > featuring work by: > > Barbara Jane Reyes - Jeanne Marie Beaumont - John > Most - John Sakkis - > Justin Marks - > Kaya Oakes - Kira Henehan - Mark Young - Mike Young > - Sandra Beasley - > Vernon Frazer - The Pines > > Art by Lena Hades > > melancholia's tremulous dreadlocks is an online > bi-weekly journal of poetry > and curious bits, co-edited by Andrew Lundwall and > François Luong. > > http://mtd.celaine.com/ > > _________________________________________________________________ > Express yourself - download free Windows Live > Messenger themes! > http://clk.atdmt.com/MSN/go/msnnkwme0020000001msn/direct/01/?href=http://imagine-msn.com/themes/vibe/default.aspx?locale=en-us&source=hmtagline > > Date: Sat, 14 Oct 2006 23:19:26 -0400 > From: Dan Wilcox > Subject: Third Thursday Open Mic for Poets in > Albany, NY > > the Poetry Motel Foundation > presents > > Third Thursday Open Mic for Poets > now at > the Social Justice Center > 33 Central Ave., Albany, NY > > Thursday, October 19, 2006 > 7:00 sign up; 7:30 start > > Featured Poet: Bob Wrightformer President > of the Woodstock Poetry Society. He has produced a > 2-CD volume of his > poems, “Legacy”. Check it out & bring a poem to > read during the open > mic. > > $3.00 donation. > > Your host: Dan Wilcox. > > Date: Sat, 14 Oct 2006 20:28:08 -0700 > From: Jennifer Karmin > Subject: Red Rover Series / Experiment #9 > > Red Rover Series > {readings that play with reading} > > Experiment #9: > Stand Close to the Machine > > Featuring: > Gnoetry > > 7pm Saturday, October 21 > suggested donation $3 > > at LOCUS > 2114 W. Grand, corner of Grand & Hoyne -- Chicago, > IL > (enter via the alley behind the building at Hoyne) > new home of the SpareRoom > http://www.spareroomchicago.org > > **An Evening of Computational Poetics** > End-users at their "poetry stations" on a Gnoetic > Assembly Line will compose poems in collaboration > with > Gnoetry0.2, a poetry-generating software, and will > clock the poems in to be read outloud by our > Recitation Managers. Throughout the evening, the > compositional process will be animated on the > wall--written out in light, written on the fly, > written without bathos, a new form of objective > poetry > will be created by our poetry factory workers before > your very eyes. > > ERIC ELSHTAIN is the editor of Chicago's on-line > Beard > of Bees Press, http://www.beardofbees.com. His work > can be found in journals such as McSweeney's, Skanky > Possum, Notre Dame Review, Ploughshares, Interim, > Salt > Hill, GutCult and others. His latest chapbook, The > Cheaper the Crook, the Gaudier the Patter, appeared > last year from Transparent Tiger Press. > > JON TROWBRIDGE is a software engineer at Google. > > Red Rover Series is curated bi-monthly > by Amina Cain and Jennifer Karmin > > Got ideas for reading instructions & experiments? > Email us at redroverseries@yahoogroups.com > > Coming in December > Experiment #10 > > __________________________________________________ > Do You Yahoo!? > Tired of spam? Yahoo! Mail has the best spam > protection around > http://mail.yahoo.com > __________________________________________________ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com ========================================================================= Date: Sun, 15 Oct 2006 08:36:56 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Joey Madia Subject: October update at www.newmystics.com MIME-Version: 1.0 Content-Type: text/plain;charset=iso-8859-1 Content-Transfer-Encoding: 8bit FEATURING: Poetry by Joey Madia, Ric Carfagna, George Lennon, Ryan Smith, Joey West, and Claudia Beechman A new essay by Claudia Beechman Chapters 5 and 6 of Joey Madia's liquid morphing novel "Minor Confessions of an Often Failing Antichrist," now available with a Lexicon of Fictional, Mythological, and Historical Characters In the spooky spirit? Be sure to read archived stories by Joey Madia, Tonya Madia, and Marina Boccuzzi. Visit our links page to visit fellow literary sites Nocturnal Dirge, World of Myth and others! www.newmystics.com, Infinite Possibilities in Poetry, Theatre, Plays, and Prose ========================================================================= Date: Sun, 15 Oct 2006 06:50:58 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Bob Grumman Subject: Re: marcus' ranting In-Reply-To: <4530A94D.32111.55E3FEC@marcus.designerglass.com> MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Hey, Marcus, glad to see you've found a new place to have fun! Your friend, Bob ========================================================================= Date: Sun, 15 Oct 2006 07:02:29 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Bob Grumman Subject: Request for Text of Stein Poem In-Reply-To: <20061015135058.67910.qmail@web51408.mail.yahoo.com> MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit I'm putting together old thoughts of mine about various poems, one of which is Gertrude Stein's "incline." For some reason, I didn't quote the poem in my thoughts about it. I was sure it was one of her buttons but couldn't find it among them--or anywhere else. I'm fairly sure it's short. Anyone have the text? Much thanx to anyone who could post it. --Bob G. ========================================================================= Date: Sun, 15 Oct 2006 11:48:58 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: cris cheek Subject: e and eye Mime-Version: 1.0 (Apple Message framework v624) Content-Transfer-Encoding: 7bit Content-Type: text/plain; charset=US-ASCII; delsp=yes; format=flowed Hi all, TNWK (cris cheek and Kirsten Lavers) gives a talk / presentation / reading--performance at Tate Modern in a series curated by Penny Mathews, Tim Florence and John Cayley, alongside work by Alan Sondheim and Bjorn Magnhilden. The title of the series is : e and eye art and poetry between the electronic and the visual In collaboration with the Slade School of Fine Art, SCHEMFA and the Department of French, University College London. There's a website for the series: http://www.tate.org.uk/modern/eventseducation/talksdiscussions/6703.htm and there's a blog: http://web.mac.com/shadoof/iWeb/eandeye/e%20and%20eye%20discussion/ e%20and%20eye%20discussion.html featuring Sandy Baldwin's wide ranging mini-essay discussing the presentations and associated material for Oct 16 'Mediacy and Rupture in Protocological Domains' u can contribute to the growing archive archive of discussion in the wake of these events via that site as ever, love and love cris www.tnwk.net ========================================================================= Date: Sun, 15 Oct 2006 15:07:57 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Murat Nemet-Nejat Subject: Re: marcus' ranting In-Reply-To: <20061015135058.67910.qmail@web51408.mail.yahoo.com> MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline "it's not between "prose and verse" but "prose and poetry", as I see it. I hold that poetry must be in meter. Not a particular meter, but in meter. There are lots of kinds of meter," What exactly does this mean? Could you give me the "meter" of Whitman or Dickinson or Creeley, etc.,beyond some generalities. In fact, one of the essences of American poetry, maybe from its very beginning, is its subversion of the distinction between poetry and prose. There is a greater connection between Dickinson, Hawthorne, Melville, and Thoreau, for example, than any of them to Longfellow. Have you not fallen for the chestnut that the iambic is the "natural" beat of English, having even an additional, even religious absoluteness,"because it imitates the rhythm of the heartbeat? I used to hear this nonsense thirty, forty years ago. I would even say, the iambic is the most "unnatural," the most "poetic" of speech. You should read D. H. Lawrence (a very "bad" English poet) on American Literature. Ciao, Murat ========================================================================= Date: Sun, 15 Oct 2006 13:15:52 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: George Bowering Subject: Re: marcus' ranting In-Reply-To: <1dec21ae0610151207r48bf7db2m63392e23ba1ee527@mail.gmail.com> MIME-version: 1.0 (Apple Message framework v619) Content-type: text/plain; charset=US-ASCII; format=flowed Content-transfer-encoding: 7bit > "it's not between > "prose and verse" but "prose and poetry", as I see it. I hold that > poetry must be in meter. Not a particular meter, but in meter. There > are lots of kinds of meter," Wow! The Japanese have never written poetry! George Harry Bowering Hat size: 8 ========================================================================= Date: Sun, 15 Oct 2006 13:23:49 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Stephen Vincent Subject: Poetry Anthology query - Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit I am putting together a poetry workshop description for relatively sophisticated folks who are 50 and over. Can anyone - whether you have led workshops on this level or not - suggest a good 'broadband' and affordable anthology? I will be most appreciative. Unless you want to make your knowledge available to a larger swathe, I will happily take info and ideas back channel. Thanks so much, Stephen V http://stephenvincent.net/blog/ ========================================================================= Date: Sun, 15 Oct 2006 16:41:55 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Eric Yost Subject: Re: feminists who changed the world In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit >>Nicholas I was not that benevolent, Eric. Well I defer to your superior knowledge of the subject, Larissa; in fact, I'm happy to be corrected by you. For List members who may not know it, Larissa Shmailo is one of the best translators of Russian poetry. I won't argue with her. Don't take my word for it. Go to page 4 of http://www.ata-divisions.org/SLD/PDF/SlavFile-Fall-99.pdf and read how her translation of Pushkin's "I loved you once ..." compares with better known translators like Babette Deutsch, Walter Arndt, and Mark Suino. (I've only had a couple years of college Russian, maybe enough to sound out the words, but enough to see that her translation sings while others clatter.) ========================================================================= Date: Sun, 15 Oct 2006 16:48:10 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: heidi arnold Subject: Re: absences In-Reply-To: <20061015062128.68194.qmail@web36212.mail.mud.yahoo.com> MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline Andy, Thanks for your post -- sure, i'll play -- tho maybe with a littel more Guinness this would be more coherent -- the extent to which something is meant -- to talk about the intentionality of statements -- they have a life of their own regardless of intentionality -- this could really go off the rails i imagine because there are so many ways to mean or sort of mean or not mean or misintend something -- to put that under scrutiny -- well as Daley would say, go ahead and scrutin it -- -- so yeah i did mean what i posted, that a void retains the shape of what was before it -- that as you put it, 'when something's negated, the void has a particular shape' -- but does 'shape' need to mean spatiality? -- just playing with these ideas -- in deference to your post which was clearer than mine i think -- but i'd be interested to hear why the void has to be associated with a spatial metaphor, maybe it's an obvious question -- still i would say that your spatial metaphor has explanatory power -- this seems to me to be the nature of peace, when peace is negated, the site of violence retains the shape of peace -- in a geographical sense -- so i mean it in the strong sense that the void has an ontological existence on the terms of what existed before it-- i have to test this in point of fact and i'm working on that one -- your formulation suggests that the void does not allow the new thing in the same space, whereas my formulation would say the void does allow for the new thing, but the new thing never occupies the ontology of the void itself -- i simply question whether hosting the new thing is the purpose of the void -- -- i agree with your point that the binaries around negation can exclude "many instances" and "overlap and melding" -- to play with these ideas a little more, should deserts be left empty, and forests undeveloped -- should governments at peace, however different from democracy they may be, be left alone -- if the desert knows things, how is it possible to find out what the wilderness knows if it gets filled with other things -- then it knows the new things, and not the old things -- maybe this is clearer on my blog -- well anyway everyone feel free to drop by, and let me know if you have comments --www.peaceraptor.blogspot.com back to work, -heidi www.heidiarnold.org http://peaceraptor.blogspot.com/ On 10/15/06, Andy Gricevich < ndm_g@yahoo.com> wrote: > > This is in reply to Heidi Arnold's post. > > Heidi, right on. > > A thought that I find particularly interesting in what you wrote > (assuming you meant it, > and it's not just me reading into it), could be stated as follows: > > When something's negated, the absence that's left isn't just > indeterminate, vague; > it's an absence/void with a particular shape--the shape of what was > there, which is, > at the same time, the shape of the environment of what was there, > without that > thing in it. > > Three reflections in relation to this, continuing to play (and there is > a playfulness here)with the spatial metaphor: > 1) If something's negated, and something does replace it, the new thing > might be in > a different place. > 2) There might be many instances of a thing, in many different places, > and some might be negated, others not. > 3) There's not just negation, but also displacement, overlap and > melding. > > 'Zat's all. > > cheers, > > Andy > > > > --------------------------------- > Get your own web address for just $1.99/1st yr. We'll help. Yahoo! Small > Business. > -- www.heidiarnold.org http://peaceraptor.blogspot.com/ ========================================================================= Date: Sun, 15 Oct 2006 16:51:29 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mark Weiss Subject: Re: marcus' ranting In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed Nor the Spanish. At 04:15 PM 10/15/2006, you wrote: >>"it's not between >>"prose and verse" but "prose and poetry", as I see it. I hold that >>poetry must be in meter. Not a particular meter, but in meter. There >>are lots of kinds of meter," > >Wow! The Japanese have never written poetry! > > > >George Harry Bowering >Hat size: 8 ========================================================================= Date: Sun, 15 Oct 2006 21:47:31 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jim Andrews Subject: Spastext and Seattle Drift in Finnish MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Marko Niemi has translated two of my poems/programs into Finnish: Spastext http://vispo.com/StirFryTexts/2.html Seattle Drift http://vispo.com/animisms/SeattleDrift.html Both of these are now available in Finnish, Chinese, and English. Actually Marko has done two different translations of Seattle Drift, both of which are at the above URL. ja http://vispo.com ========================================================================= Date: Mon, 16 Oct 2006 04:21:42 -0700 Reply-To: rsillima@yahoo.com Sender: UB Poetics discussion group From: Ron Silliman Subject: Silliman's Blog - UK syllables, American ears Comments: To: Brit Po , New Po MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit http://ronsilliman.blogspot.com/ RECENT POSTS U.K. syllables, American ears The Age of Huts (compleat) The Collected Poems of Robert Creeley now in two volumes A novel in the form of blurbs? Lunar Follies by Gilbert Sorrentino Style guides and long lines on the web A response to Elizabeth Treadwell Battlestar Galactica -- replaying Iraq on the colony of New Caprica Prose and verse seen not as oppositional poles in the new chapbook by Aaron Kunin Some links to visual arts and especially the issue of women visual artists The poems of Gael Turnbull a major “New American poet” who wasn’t American at all The coming closure of Coliseum Books Neo-modernism in the novellas of Debra Di Blasi John Ashbery reading in a coffee house in Providence R.I. A Flarf fest in Carlisle, PA The poetics of Minton Sparks Southern story teller The songs of Dave Carter (and the singer/songwriter tradition) The enigmatic poetics of Beverly Dahlen http://ronsilliman.blogspot.com/ ========================================================================= Date: Mon, 16 Oct 2006 09:53:26 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: susan maurer Subject: feminists who changed the world Mime-Version: 1.0 Content-Type: text/plain; format=flowed just to clarify the above named book which just came out by u. of illinois is not about just poets. my aproach to feminism and poetry is rather formulaic. i just count the number of woman pulished and the number of men published in any journal. on another topic the poetry reading reception and phography show (pics of the featured readers) organized by anna siano as part of the hoboken studio tour was whizbang. susan maurer _________________________________________________________________ All-in-one security and maintenance for your PC. Get a free 90-day trial! http://clk.atdmt.com/MSN/go/msnnkwlo0050000002msn/direct/01/?href=http://www.windowsonecare.com/?sc_cid=msn_hotmail ========================================================================= Date: Mon, 16 Oct 2006 10:27:02 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Richard Jeffrey Newman Subject: Up on It's All Connected MIME-version: 1.0 Content-type: text/plain; charset=US-ASCII Content-transfer-encoding: 7bit "In Progress" on It's All Connected (http://itsallconnected.wordpress.com): "The Cunt Poem, First Movement." Richard Jeffrey Newman Associate Professor, English Nassau Community College One Education Drive Garden City, NY 11530 O: (516) 572-7612 F: (516) 572-8134 Department Office: (516) 572-7185 newmanr@ncc.edu ========================================================================= Date: Mon, 16 Oct 2006 10:42:37 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Pierre Joris Subject: Recent Nomadics blog post Mime-Version: 1.0 (Apple Message framework v752.2) Content-Transfer-Encoding: 7bit Content-Type: text/plain; charset=US-ASCII; format=flowed Recent Nomadics posts: Weekend Noticings Hannah Arendt JR Came Through Orhan Pamuk Larry Polansky on James Tenney Anna Politkovskaia you can read them here: http://pjoris.blogspot.com Pierre ================================================= "As democracy is perfected, the office of president represents, more and more closely, the inner soul of the people. On some great and glorious day the plain folks of the land will reach their heart's desire at last, and the White House will be adorned by a downright moron." -- H.L. Mencken (1880-1956) ================================================= For updates on readings, etc. check my current events page: http://albany.edu/~joris/CurrentEvents.html ================================================= Pierre Joris 244 Elm Street Albany NY 12202 h: 518 426 0433 c: 518 225 7123 o: 518 442 40 71 Euro cell: 011 33 6 79 368 446 email: joris@albany.edu http://pierrejoris.com Nomadics blog: http://pjoris.blogspot.com ================================================= ========================================================================= Date: Mon, 16 Oct 2006 10:55:27 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "St. Thomasino" Subject: E=?ISO-8859-1?Q?=B7ratio?= call for poetry Mime-Version: 1.0 (Apple Message framework v619) Content-Transfer-Encoding: quoted-printable Content-Type: text/plain; charset=ISO-8859-1; format=flowed E=B7 E=B7ratio http://www.eratiopostmodernpoetry.com E=B7ratio is reading for accomplished poetry for issue eight, the Fall=20= 2006 issue. The deadline is November 27, 2006. See the Contact Page for guidelines before sending (and have a peek at=20= E=B7ratio's new design): http://www.eratiopostmodernpoetry.com/contact.html No simultaneous submissions, please. You can expect a prompt reply. Every submission receives a response. E=B7ratio is edited by Gregory Vincent St. Thomasino. Visit the e=B7ratio blog-auxiliary: http://eratio.blogspot.com E=B7ratio http://www.eratiopostmodernpoetry.com "The noise of them that sing I do hear." E=B7 ========================================================================= Date: Mon, 16 Oct 2006 07:57:56 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Thomas savage Subject: Re: Poetry Anthology query - In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Kenneth Koch wrote and edited a book about teaching poetry to older people. He did it in a nursing home. Unfortunately, I don't remember the title, although it was published by Teachers and Writers so you could contact them. It's very useful. I used it when teaching at a senior center some years ago. It includes poems by the participants in Kenneth's workshop. Regards, Tom Savage Stephen Vincent wrote: I am putting together a poetry workshop description for relatively sophisticated folks who are 50 and over. Can anyone - whether you have led workshops on this level or not - suggest a good 'broadband' and affordable anthology? I will be most appreciative. Unless you want to make your knowledge available to a larger swathe, I will happily take info and ideas back channel. Thanks so much, Stephen V http://stephenvincent.net/blog/ --------------------------------- How low will we go? Check out Yahoo! Messenger’s low PC-to-Phone call rates. ========================================================================= Date: Mon, 16 Oct 2006 10:08:43 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Nate Pritts Subject: Nate Pritts' BIG CRISIS: MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: quoted-printable Everyone-- My new new book is just out, BIG CRISIS. Here's a link to the publisher's page about the book with a shot of the cover, a sample poem & blurbs: http://www.hubcapart.com/ink/chapnate.htm BIG CRISIS is a series of ekphrastic/collage poems, each responding to 4 or 5 different visual sources, either riffing on particular visual elements of the pieces, or through trying to create/force a narrative...all as a kind of backdrop for other aims. In all cases, the source material is not referenced directly - but just so you know, I'm talking about 1960's comic book covers! Please check it out. Nate ******************************************** Dr. Nate Pritts Northwestern State University Dept. of Language & Communication Natchitoches, LA 71497 (318) 357-5574 http://hngmn.squarespace.com/nate-pritts/ http://www.nsureadings.blogspot.com ========================================================================= Date: Mon, 16 Oct 2006 08:12:37 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Thomas savage Subject: Re: feminists who changed the world In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit I'm glad you finally clarified that this is the title of a book. Only the book, fortunately. Feminists haven't changed the world yet, as anyone who has visited the developing world could tell you regarding the status of women in poor countries. What feminists have accomplished, so far as I can see, is to make life slightly better for middle class women in American and possibly Europe and allowed them to call themselves ms. if they don't want to call themselves miss or mrs. As the problems of women generally are compounded by class, mere gender mobilization doesn't solve their problems. susan maurer wrote: just to clarify the above named book which just came out by u. of illinois is not about just poets. my aproach to feminism and poetry is rather formulaic. i just count the number of woman pulished and the number of men published in any journal. on another topic the poetry reading reception and phography show (pics of the featured readers) organized by anna siano as part of the hoboken studio tour was whizbang. susan maurer _________________________________________________________________ All-in-one security and maintenance for your PC. Get a free 90-day trial! http://clk.atdmt.com/MSN/go/msnnkwlo0050000002msn/direct/01/?href=http://www.windowsonecare.com/?sc_cid=msn_hotmail --------------------------------- Do you Yahoo!? Everyone is raving about the all-new Yahoo! Mail. ========================================================================= Date: Mon, 16 Oct 2006 11:43:22 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "David A. Kirschenbaum" Subject: Boog City Baseball Poetry Issue Reading/World Series Party MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; DelSp="Yes"; format="flowed" Content-Disposition: inline Content-Transfer-Encoding: quoted-printable please forward --------------------- Boog City 37 is the press's latest baseball issue. We assembled 25 =20 poets, the number of people on a baseball roster. Each poet was then =20 assigned a different position on the team and asked to pick anyone who =20 had ever played their position, be they in Major League Baseball, the =20 Negro Leagues, the All-American Girls Professional Baseball League, =20 the minor leagues, college, the schoolyard, or anywhere else. Copies =20 will be available for free at the event and throughout the East =20 Village, and Greenpoint and Williamsburg, Brooklyn. --------------- Boog City Baseball Poetry Issue Reading/World Series Party Sun., Oct. 22, 8:00 p.m., $3 Mo Pitkin's House of Satisfaction 34 Ave. A NYC With a flat screen TV showing Game 2 of the World Series. And their baseball poems read by contributors, including: Ammiel Alcalay Anselm Berrigan Edmund Berrigan Bob Holman Amy King Basil King Joel Kuszai Elinor Nauen Jean-Paul Pecqueur Lauren Russell Nathaniel Siegel Scott MX Turner and music from I Feel Tractor Hosted by Boog City editor and publisher David Kirschenbaum Directions: F train to Second Avenue. Venue is between 2nd and 3rd sts. For further information: 212-842-BOOG(2664) * editor@boogcity.com * http://www.mopitkins.com http://www.myspace.com/ifeeltractor artist bios are at the end of this email --=20 David A. Kirschenbaum, editor and publisher Boog City 330 W.28th St., Suite 6H NY, NY 10001-4754 For event and publication information: http://boogcityevents.blogspot.com/ T: (212) 842-BOOG (2664) F: (212) 842-2429 bios: *Boog City is a New York City-based small press now in its 16th year =20 and East Village community newspaper of the same name. It has also =20 published 35 volumes of poetry and various magazines, featuring work =20 by Allen Ginsberg and Lawrence Ferlinghetti among others, and theme =20 issues on baseball, women's writing, and Louisville, KY. It hosts and =20 curates two regular performance series--d.a. levy lives: celebrating =20 the renegade press, where each month a non-NYC small press and its =20 writers and a musical act of their choosing is hosted at Chelsea's ACA =20 Galleries; and Classic Albums Live, where 5-13 local musical acts =20 perform a classic album live at venues including The Bowery Poetry =20 Club, CBGB's, and The Knitting Factory. Past albums have included =20 Elvis Costello, My Aim is True; Nirvana, Nevermind; and Liz Phair, =20 Exile in Guyville. *Ammiel Alcalay has played for Singing Horse, City Lights, Beyond =20 Baroque, and numerous other franchises. After some time on the DL, =20 2006 promises to be quite a season for Alcalay, with A Little History =20 due out from Beyond Baroque, and scrapmetal from the Heretical Texts =20 series at Factory School. *Anselm Berrigan is Artistic Director of the Poetry Project at St =20 Mark's Church. His latest collection, Some Notes on My Programming, is =20 just out from Edge. *Edmund Berrigan is a pillow for quadrupeds. *Bob Holman's eighth book is A Couple of Ways of Doing Something, a =20 collaboration with Chuck Close (Aperture), released fall 2006. He was =20 a founder of Mouth Almighty/Mercury Records, the first major label =20 devoted to poetry, and created The United States of Poetry for PBS. He =20 is Chief Curator of the People's Poetry Gathering, Poetry Guide at =20 About.com, and Proprietor of the Bowery Poetry Club =20 (bowerypoetry.com). He was recently appointed Visiting Professor of =20 Writing at Columbia University, and received the 2003 Barnes & Noble =20 "Writers for Writers" Award. *I feel tractor's full-length CD, "Once I had an Earthquake," was =20 recently released on Goodbye Better Records. *Amy King is the author of the poetry collection, Antidotes for an =20 Alibi (Blazevox Books 2005), and the chapbook, The People Instruments =20 (Pavement Saw Press Chapbook Award 2002). She currently teaches =20 Creative Writing and English at Nassau Community College and is the =20 managing editor for the literary arts journal, MiPOesias =20 (www.mipoesias.com). Her second full-length collection, I'm the Man =20 Who Loves You, will appear in 2007. Please visit www.amyking.org for =20 more. *Basil King is currently painting "Basil's Arc," a cycle of paintings =20 in oil, paste, chalks, and pastel, creating graphics in many media, =20 and continuing work on his next book, Learning to Draw. *Joel Kuszai has been involved in independent publishing for 20 years. =20 After living in Southern California, Central New York and Western =20 Pennsylvania, he now resides in New York City, where he teaches =20 cultural rhetoric and researches student writing cultures. *Elinor Nauen edited Diamonds Are a Girl's Best Friend: Women writers =20 on baseball (Faber & Faber, 1994). Her baseball poetry and prose have =20 appeared in many anthologies and magazines including Up Late: American =20 Poetry Since 1970, Cult Baseball Players, Line Drives:100 contemporary =20 baseball poems, for which she also wrote the foreword, Baseball Diary, =20 Elysian Fields Quarterly, Aethlon, Sports Illustrated for Women and =20 Nine. She has thrown out the first pitch (a strike!) at a St. Paul =20 (MN) Saints game. Among her other books are American Guys (Hanging =20 Loose, 1997), Ladies, Start Your Engines: Women writers on cars & the =20 road (Faber & Faber, 1997) and CARS & Other Poems (o.o.p.). *Jean-Paul Pecqueur is an unapologetic Mariners and Sonics fan from =20 Tacoma, WA. His first book, The Case Against Happiness, is due later =20 this year from Alice James Books. *Lauren Russell is a poet and cat-companion who dislikes baseball. Her =20 work may be found in the most recent issues of The Recluse and Van =20 Gogh's Ear. *Nathaniel Siegel's attempts at little league resulted in a left field =20 position with the Mattapoisett Wanderers. To save himself and his =20 younger brother embarrassment(s) he was happily moved to scorekeeper, =20 a bench position. *Scott M.X. Turner is the usual dime-a-dozen amalgam of punk rock =20 musician/political caterwauler/graphic designer. He runs Superba =20 Graphics and lives near Green-Wood Cemetery with his wife, Diane, and =20 two dogs, Sirius and Tikkanen. And yes, he thinks Semtex is too good =20 for the Atlantic Yards project. ========================================================================= Date: Mon, 16 Oct 2006 12:20:31 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Daniel f. Bradley" Subject: Re: feminists who changed In-Reply-To: <20061016151238.6159.qmail@web31102.mail.mud.yahoo.com> MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit isn't that the point of the career feminist to make sure that everyone understands that they are more important than the coffee lad or shop girl that they are free of the confines of class and customs that they can behave as badly and carefree as their male yuppie/academic/ counterpart and they deserve it cuz you know their female or middle class or both you go girl! Thomas savage wrote: I'm glad you finally clarified that this is the title of a book. Only the book, fortunately. Feminists haven't changed the world yet, as anyone who has visited the developing world could tell you regarding the status of women in poor countries. What feminists have accomplished, so far as I can see, is to make life slightly better for middle class women in American and possibly Europe and allowed them to call themselves ms. if they don't want to call themselves miss or mrs. As the problems of women generally are compounded by class, mere gender mobilization doesn't solve their problems. susan maurer wrote: just to clarify the above named book which just came out by u. of illinois is not about just poets. my aproach to feminism and poetry is rather formulaic. i just count the number of woman pulished and the number of men published in any journal. on another topic the poetry reading reception and phography show (pics of the featured readers) organized by anna siano as part of the hoboken studio tour was whizbang. susan maurer _________________________________________________________________ All-in-one security and maintenance for your PC. Get a free 90-day trial! http://clk.atdmt.com/MSN/go/msnnkwlo0050000002msn/direct/01/?href=http://www.windowsonecare.com/?sc_cid=msn_hotmail --------------------------------- Do you Yahoo!? Everyone is raving about the all-new Yahoo! Mail. helping to kill your literati star since 2004 http://fhole.blogspot.com/ ========================================================================= Date: Mon, 16 Oct 2006 09:39:38 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Nick LoLordo Subject: Re: feminists who changed In-Reply-To: <20061016162031.26317.qmail@web88113.mail.re2.yahoo.com> MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 8bit Quoting "Daniel f. Bradley" : > isn't that the point of the career feminist to make sure that > everyone understands that they are more important than the coffee > lad or shop girl > > that they are free of the confines of class and customs > > that they can behave as badly and carefree as their male > yuppie/academic/ counterpart > > and they deserve it cuz you know their female or middle class or > both > > you go girl! > > Thomas savage wrote: > I'm glad you finally clarified that this is the title of a book. > Only the book, fortunately. Feminists haven't changed the world > yet, as anyone who has visited the developing world could tell you > regarding the status of women in poor countries. What feminists > have accomplished, so far as I can see, is to make life slightly > better for middle class women in American and possibly Europe and > allowed them to call themselves ms. if they don't want to call > themselves miss or mrs. As the problems of women generally are > compounded by class, mere gender mobilization doesn't solve their > problems. > o for ______'s sake! you guys really think this problem has never occurred to those who identify as feminists? no doubt you spend all your time helping the women of the developing world (except the time you put aside to criticize feminism)...go read some spivak or something, get up to speed.... ---------- V. Nicholas LoLordo Assistant Professor University of Nevada-Las Vegas Department of English 4504 Maryland Parkway Las Vegas, NV 89154-5011 (702) 895-3623 ========================================================================= Date: Mon, 16 Oct 2006 12:49:31 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Daniel f. Bradley" Subject: Re: feminists who tip In-Reply-To: <1161016778.4533b5ca5b694@webmail.scsv.nevada.edu> MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit nicky - be sure to tip well the drinkys are always free for you player types Nick LoLordo wrote: o for ______'s sake! you guys really think this problem has never occurred to those who identify as feminists? no doubt you spend all your time helping the women of the developing world (except the time you put aside to criticize feminism)...go read some spivak or something, get up to speed.... ---------- V. Nicholas LoLordo Assistant Professor University of Nevada-Las Vegas Department of English 4504 Maryland Parkway Las Vegas, NV 89154-5011 (702) 895-3623 helping to kill your literati star since 2004 http://fhole.blogspot.com/ ========================================================================= Date: Mon, 16 Oct 2006 13:24:11 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Gwyn McVay Subject: anti-feminists who fear change In-Reply-To: <20061016162031.26317.qmail@web88113.mail.re2.yahoo.com> MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Daniel f. Bradley wrote: > isn't that the point of the career feminist to make sure that everyone understands that they are more important than the coffee lad or shop girl > I guess it's the point of the career anti-feminist to make sure everyone understands that they are more hip than those old outdated feminists -- that it's okay that Bukowski punched an occasional disposable female in the face because, you know, he was *working-class* and everybody knows there's no such thing as a working-class feminist anyway. I am going to say this very, very slowly so that some of you will understand: Feminism is also about stopping violence against women. Like rape. One in six US women -- and yes, this is certainly even worse in the developing world -- has been the victim of an attempted or completed rape. Like me. 67% of us knew our assailants. Feminism says: We are not your fucktoys. Poor women are not your practice grounds for sadism. Rich women are not your practice grounds for sadism. Fuck "Soul on Ice." Fuck "A Clockwork Orange" (the movie in popular culture). NO MEANS NO. That is feminism too. Get it? Access to health care for poor women. That is feminism. Time off from Wal-Mart or whatever for new mothers so the "squat in the fields, give birth, go back to work" paradigm is no longer dominant. That is feminism. No more genital cutting to ensure female "purity." That is feminism. No more honor killings. That is feminism. And yeah, no more default assumptions that poet = man, that's feminism too. Gwyn, a woman, McVay ========================================================================= Date: Mon, 16 Oct 2006 13:35:22 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: kevin thurston Subject: Re: anti-feminists who fear change In-Reply-To: <4533C03B.6060806@patriot.net> MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline Gwyn, Appreciate your thoughts, I would like to add, tho: Access to health care for poor women. That is feminism. Time off from Wal-Mart or whatever for new mothers so the "squat in the fields, give birth, go back to work" paradigm is no longer dominant. these also loop into class issues (which i think you are aware of "everybody knows there's no such thing as a working-class feminist anyway") which also need to be discussed, especially in the art/poetry world as it seems class is more neglected then what generally qualifies as 'identity politics'. removing trees from my driveway in buffalo, On 10/16/06, Gwyn McVay wrote: > > Daniel f. Bradley wrote: > > isn't that the point of the career feminist to make sure that everyone > understands that they are more important than the coffee lad or shop girl > > > I guess it's the point of the career anti-feminist to make sure everyone > understands that they are more hip than those old outdated feminists -- > that it's okay that Bukowski punched an occasional disposable female in > the face because, you know, he was *working-class* and everybody knows > there's no such thing as a working-class feminist anyway. > > I am going to say this very, very slowly so that some of you will > understand: Feminism is also about stopping violence against women. Like > rape. One in six US women -- and yes, this is certainly even worse in > the developing world -- has been the victim of an attempted or completed > rape. Like me. 67% of us knew our assailants. Feminism says: We are not > your fucktoys. Poor women are not your practice grounds for sadism. Rich > women are not your practice grounds for sadism. Fuck "Soul on Ice." Fuck > "A Clockwork Orange" (the movie in popular culture). NO MEANS NO. That > is feminism too. Get it? > > Access to health care for poor women. That is feminism. Time off from > Wal-Mart or whatever for new mothers so the "squat in the fields, give > birth, go back to work" paradigm is no longer dominant. That is > feminism. No more genital cutting to ensure female "purity." That is > feminism. No more honor killings. That is feminism. > > And yeah, no more default assumptions that poet = man, that's feminism > too. > > Gwyn, a woman, McVay > -- http://www.angelfire.com/poetry/thepixelplus/nhdoublewide.html ========================================================================= Date: Mon, 16 Oct 2006 13:40:11 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Phil Primeau Subject: Re: anti-feminists who fear change In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline Bukowski punched an occasional disposable male in the face, too. PP ========================================================================= Date: Mon, 16 Oct 2006 13:50:57 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Christopher Leland Winks Subject: Re: anti-feminists who fear change In-Reply-To: <9d8f23110610161040u77b0974i2bf940872dc77544@mail.gmail.com> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Disposition: inline Content-Transfer-Encoding: 7bit Wow, I'm like really impressed -- and all along I thought Bukowski was just like one of those loudmouth drunks who sidles up to you in a bar when you're trying to drink in peace and yammers away at you about how interesting and deliciously degrading his day was and never notices that you're trying your best not to pay attention to his boring rants that he seems to think are pearls of wisdom because he's used to throngs of wannabe and far-gone drunks alike drooling over his every word. Now it turns out he, like, punched people out like a REAL MAN, and not only that, he didn't discriminate. Golly gee! That sure is something to emulate -- why, even listening to it sends a delicious frisson up my little middle-class spine right into my tiny little middle-class mind! I think I'll go back and drink a gallon of cheap wine and puke the results onto my notebook. Just like Bukowski! And anyone who doesn't like it -- well, I'll beat his ass, or preferably hers (no political correctness here, believe you me, yes siree). Thanks, Mr. Primeau, you made my goddamn day. I'm feeling more macho already. ========================================================================= Date: Mon, 16 Oct 2006 13:20:04 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: David-Baptiste Chirot Subject: Re: anti-feminists who fear change In-Reply-To: <4533C03B.6060806@patriot.net> Mime-Version: 1.0 Content-Type: text/plain; format=flowed Before an illness has made it impossible for her to do so, my sister was a very long time activist with the concerns Gwyn writes of --her main concern along with physical vioence was economic violence--namely--ERA--she believes that until women are equally paid for the same work all the nice new words in the world from men are meaningless. "Talk is cheap"--i.e. free--what counts at the end of the day is the money you have earned to live on. And when you take home less than a man for the same work--what does this tell you? To her it is another form of continaul physical violence--because it affects your daily physical life--what you can afford to eat, pay for where you live, how much heat you have, your electircity, transportation, health care, education, clothing, children's needs, everything is affected. Being paid less is being physcially beaten down and in turn psychologially beaten down. No matter how high you may rise on the stairway to the stars, you are always the lower class. "Equality ain't just a word--it's a number, too" she says. >From: Gwyn McVay >Reply-To: UB Poetics discussion group >To: POETICS@LISTSERV.BUFFALO.EDU >Subject: anti-feminists who fear change >Date: Mon, 16 Oct 2006 13:24:11 -0400 > >Daniel f. Bradley wrote: >>isn't that the point of the career feminist to make sure that everyone >>understands that they are more important than the coffee lad or shop girl >I guess it's the point of the career anti-feminist to make sure everyone >understands that they are more hip than those old outdated feminists -- >that it's okay that Bukowski punched an occasional disposable female in the >face because, you know, he was *working-class* and everybody knows there's >no such thing as a working-class feminist anyway. > >I am going to say this very, very slowly so that some of you will >understand: Feminism is also about stopping violence against women. Like >rape. One in six US women -- and yes, this is certainly even worse in the >developing world -- has been the victim of an attempted or completed rape. >Like me. 67% of us knew our assailants. Feminism says: We are not your >fucktoys. Poor women are not your practice grounds for sadism. Rich women >are not your practice grounds for sadism. Fuck "Soul on Ice." Fuck "A >Clockwork Orange" (the movie in popular culture). NO MEANS NO. That is >feminism too. Get it? > >Access to health care for poor women. That is feminism. Time off from >Wal-Mart or whatever for new mothers so the "squat in the fields, give >birth, go back to work" paradigm is no longer dominant. That is feminism. >No more genital cutting to ensure female "purity." That is feminism. No >more honor killings. That is feminism. > >And yeah, no more default assumptions that poet = man, that's feminism too. > >Gwyn, a woman, McVay _________________________________________________________________ Stay in touch with old friends and meet new ones with Windows Live Spaces http://clk.atdmt.com/MSN/go/msnnkwsp0070000001msn/direct/01/?href=http://spaces.live.com/spacesapi.aspx?wx_action=create&wx_url=/friends.aspx&mkt=en-us ========================================================================= Date: Mon, 16 Oct 2006 13:22:19 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Joe Amato Subject: Re: anti-feminists who fear change In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" Yeah, this is just beautiful: First we get the adolescent or post-adolescent yawns about feminism -- "career feminists" and the like, and this coming on the back of an assertion that feminism hasn't "changed the world" b/c it hasn't changed every fucking square inch of the planet. As if feminists and other like-minded souls who are trying to contribute to such, what, change, who are aware of their own liabilities and have been activating over them (and writing about them) for decades now, need to be told such things. Or as if those who march solely under the banner of economic class or ecological awareness or what have you don't bring to the table their own ideological or pragmatic shortcomings. Or maybe, this list has become so intellectually bankrupt that IT needs to be the place to air such truisms? Next, b/c a self-avowed feminist argues in defense of feminism to say that men shouldn't be hitting women, and has the unmitigated gall (right?) of bringing in Bukowski, a man rushes in (where angels fear to tread) to suggest that Bukowski's behavior was, after all, doled out both to women AND men. I take it this points to a sort of equal opportunity form of abuse, which (one can only guess) is meant to debunk the claim that Bukowski, like Cleaver, ought to be held accountable for his misogyny. Or are we to presume that there's no such thing as misogyny? I'm all over class issues myself, but why would anyone imagine that feminists haven't been all over class issues? Nick is right -- READ A BOOK by a feminist published in the last, oh, two decades. We're getting very close here to the point at which someone will pipe up to say that, heck, career feminists in particular should be slapped around a bit for being, in particular, career feminists. Does it need to be said that a discussion of feminism isn't reducible to the masculinist claim that some people could profit from having their asses jacked (both metaphorically and otherwise)? I "come from a place" where I can get behind such a questionable notion (i.e., ass-jacking) -- but that notion has little to do with discussions about feminism. And honestly, to be a bit testy, or testicular, about it, there would seem to be ample candidates on this list for ass-jacking (metaphorically and, one can only surmise, otherwise). At any rate, I'm just stunned at the intellectual depths embodied in this list of late. Read carefully: depths. Some people around here should be ashamed of themselves, really, but shame around here seems at times to be as scarce a commodity as sustained thought. And what to do about *that* is anyone's guess. /// Joe ========================================================================= Date: Mon, 16 Oct 2006 14:23:17 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Phil Primeau Subject: Re: anti-feminists who fear change In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline Don't be a prick, Chris. I was just pointing out a truth: Bukowski was a violent -- and, as you so bluntly pointed out, wet-brained -- individual. I wasn't excusing his actions, or even trying to explain them. Additionally, I don't find much value in his laughable bar room machismo, I haven't read his work in ages, and unless I was a half a dozen beers under, I don't imagine I would have had very much pleasure chewing the fat with him in real life. In other words, I'm not defending the guy. Far from it. He was a mediocre poet with a mediocre mind -- but a decent sense of humor, which is something rare amongst men of words. And that's why he's so attractive to many people, and I can't really fault it. Now quit the strawmen. K thnx bye. PP ========================================================================= Date: Mon, 16 Oct 2006 11:26:35 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Small Press Traffic Subject: Poets in Need benefit at SPT this Friday 10/20 MIME-Version: 1.0 Content-Type: text/plain; charset="ISO-8859-1"; format="flowed" Content-Transfer-Encoding: 8bit Poets In Need Benefit at Small Press Traffic Friday, October 20, 2006 at 7:30 p.m. Small Press Traffic is pleased to host a reading and reception benefiting Poets In Need’s Philip Whalen Memorial Grants. Featured readers are PIN Board members Norman Fischer, Lyn Hejinian, and Michael Rothenberg. Norman Fischer’s books include Slowly But Dearly from Chax Press. Lyn Hejinian’s books include The Fatalist from Omnidawn. Michael Rothenberg is the editor of Philip Whalen’s Selected Poems and Collected Poems. Leslie Scalapino’s books include Zither & Autobiography from Wesleyan UP. Poets In Need is a non-profit organization providing emergency assistance to poets who have an established presence in the literary community as innovators in the field and a substantive body of published work. Assistance is given only in cases of current financial need that is in excess of and unrelated to the recipient’s normal economic situation and that is the result of recent emergency (due, for example, to fire, flood, eviction, or a medical crisis). Refreshments will be available. All of this evening's proceeds will benefit Poets in Need. directions & map: http://www.sptraffic.org/html/fac_dir.html Elizabeth Treadwell, 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, 16 Oct 2006 14:32:58 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Eric Yost Subject: Re: anti-feminists who fear change In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit >>Being paid less is being physcially beaten down and in turn psychologially beaten down. No matter how high you may rise on the stairway to the stars, you are always the lower class. Yet surely the greatest offenses against women are being perpetrated under Sharia law in Islamic states? And surely the eradication of institutional oppression of women by fundamentalist Islamic theocracies should be the prime concern of thoughtful feminists? I noticed Gwyn mentioned honor killings en passant ... but what about all the other horrors women face under Islamic fundamentalism? Or does a subverted multiculturalism mean we ignore the beam in our neighbor's eye to concentrate on the mote in our own? On rape, for example, Islamic fundamentalist states like Iran mandate forced marriages between 12 year old girls and 40+ year old men. For other horrors, consult Nafisi's _Reading Lolita in Tehran_ as a feminist tract. ========================================================================= Date: Mon, 16 Oct 2006 13:32:50 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Tom W. Lewis" Subject: Re: (anti-)feminists who have change In-Reply-To: <9d8f23110610161123m12cc901cw9fab6a77f265d6c1@mail.gmail.com> MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: quoted-printable "on this list for ass-jacking" wasn't the=20 conversation about breaking syntax? now breaking balls (I have a crowbar and I'm looking your way, Boy Mechanics) or arms or anyway "ass-jacking".=20 this is about as exciting as Alex Dickow thinks reading Ulysses must be. which it is=20 (exciting), and so's breaking syntax if you're woman enough or poet enough or barking dog enough to give up the claptrap 'n' cult of violence=20 and get back=20 to working at it.=20 -----Original Message----- From: UB Poetics discussion group [mailto:POETICS@LISTSERV.BUFFALO.EDU] On Behalf Of Phil Primeau Sent: Monday, October 16, 2006 13:23 To: POETICS@LISTSERV.BUFFALO.EDU Subject: Re: anti-feminists who fear change Don't be a prick, Chris. I was just pointing out a truth: Bukowski was a violent -- and, as you so bluntly pointed out, wet-brained -- individual. I wasn't excusing his actions, or even trying to explain them. Additionally, I don't find much value in his laughable bar room machismo, I haven't read his work in ages, and unless I was a half a dozen beers under, I don't imagine I would have had very much pleasure chewing the fat with him in real life. In other words, I'm not defending the guy. Far from it. He was a mediocre poet with a mediocre mind -- but a decent sense of humor, which is something rare amongst men of words. And that's why he's so attractive to many people, and I can't really fault it. Now quit the strawmen. K thnx bye. PP ========================================================================= Date: Mon, 16 Oct 2006 13:53:56 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: David-Baptiste Chirot Subject: Re: anti-feminists who fear change In-Reply-To: <4533D05A.40908@gmail.com> Mime-Version: 1.0 Content-Type: text/plain; format=flowed Why the moment people begin to speak of conditions in the United States are they swfitly told horrors are much worse under Islam? Mimimize mothers, duaghter, sisters here and maximize horrors in countries who regimes we are at war with or support or do nothing about--and are Islamic only? Here in Milwaukee on Labor Day an eleven year old girl was raped by 19 men--the girl had already been sexually abused since very young by her father. Every six seconds there is violence to women in this country. Rape and violence towards women is a prime concern everywhere it happens--every instance of it--next door, down the street, all over the world. To tell people to divert their attention and direct it elsewhere far away where they can have little immediate effect --let alone only in Islamic countries only-- Do you see/hear the implications of what you write? >From: Eric Yost >Reply-To: UB Poetics discussion group >To: POETICS@LISTSERV.BUFFALO.EDU >Subject: Re: anti-feminists who fear change >Date: Mon, 16 Oct 2006 14:32:58 -0400 > > >>Being paid less is being physcially beaten down and in turn >psychologially beaten down. No matter how high you may rise on the >stairway to the stars, you are always the lower class. > > >Yet surely the greatest offenses against women are being perpetrated under >Sharia law in Islamic states? And surely the eradication of institutional >oppression of women by fundamentalist Islamic theocracies should be the >prime concern of thoughtful feminists? I noticed Gwyn mentioned honor >killings en passant ... but what about all the other horrors women face >under Islamic fundamentalism? > >Or does a subverted multiculturalism mean we ignore the beam in our >neighbor's eye to concentrate on the mote in our own? > >On rape, for example, Islamic fundamentalist states like Iran mandate >forced marriages between 12 year old girls and 40+ year old men. For other >horrors, consult Nafisi's _Reading Lolita in Tehran_ as a feminist tract. _________________________________________________________________ Get FREE company branded e-mail accounts and business Web site from Microsoft Office Live http://clk.atdmt.com/MRT/go/mcrssaub0050001411mrt/direct/01/ ========================================================================= Date: Mon, 16 Oct 2006 12:09:18 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Catherine Daly Subject: Re: anti-feminists who fear change In-Reply-To: <4533C03B.6060806@patriot.net> MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: quoted-printable what is a career feminist -- a feminist with a career? someone who = makes money from feminism? I suppose maybe someone who teaches women studies = or writes some of that really lucrative feminist poetry is actually what = was meant? what if a "shop girl" were important -- anyway, clerks used to have to = sleep in the stores -- up to the 30's, I think, my husband's (quite = patriarchal, thank you very much) grandfather still slept at a jewelry store during = busy periods, because he couldn't buy a car or afford a room at the Y and he couldn't get home after the streetcar stopped running -- this sort of = thing made for obviously not very woman friendly workplaces (although analysts = and programmers still sleep under their desks now...) scripture is the *complete* library of not just the poor, but those not knowing there are other options, religion is the philosophy, recitation = / public speaking is the literature what if islam hadn't picked up cliterodectomy from African = anti-matriarchal cultural practices? this is all about reading culture (hey, and some of = the same infibulation's done in the west, and by "hip and cool" folks) what if islamists actually followed the Koran instead of the hadith? = what if Christian fundamentalists actually read the entire bible? this is = all about textual interpretation and canonicity what if mohammed had stopped his recitation after his (first) wife died; even his wife Aisha said that some of his later recitations were = certainly very convenient for his current marital and political situations, he is known to have recanted several such during his lifetime, and a lot of = these he said only applied to "prophet's wives" -- this is all about what is recited, what is revealed, sexual politics as thinking and hearing and culture becomes writing what if women were able to recite, or pray (sorta close to poetry, that) without inciting their own rapes, for which they would be executed,=20 to pray in public, to speak, to "have their names in public" -- female writers and artists publishing, displaying, or signing works are in = danger of having done something which dishonors the men in their family -- why? because it is not safe to reveal *anything* even thoughts or feelings, = if you are female -- how is that not a poetry-related issue? having just listened to a lot of AZ religious radio ranting against the ACLU, how is free speech not a poetry related issue? does anyone see how private/institutional/corporate spaces, such as malls, Wal Mart, etc., = are now "safer" for "woman and children" because there are different = standards of acceptable (to the men who are "responsible for them") speech in them = as opposed to oh, a park? and in this particular situation, this is very much different than Anne Bradstreet's publication history or the modesty topos of many women = writers (there's also a reverse effect, in which western female scholars tend to list their awards and degrees -- to "super-professionalize" their accomplishments -- and now not being "casual" about these hard-won = career markers can work against them) -- how is publication, public = dissemination, and accomplishment not a poetry-related issue? these are not class issues so much; there's long been interesting work investigating the ways in which women have more economic and social = class mobility because their childbearing and marital status and family = position has such a direct effect on this, as opposed to men's class status, = which tends to be relatively independent of these, and comparatively static if you consider feminism to be a philosophy, the ways in which it deals = with social advocacy directly don't seem quite as central to the thing;=20 of course feminism has a history, and a large part of that history has = to do with just this sort of "isn't animal rights a lot more important than feminism *right now*, isn't abolition *more important* than equal rights = for women and men for the time being; "how can feminism be right if = individual women have prejudices"; "how can feminism be right if not all women = _want_ equal rights" -- and many of these considerations have been under = discussion -- as far as poetry is concerned -- on this list -- which has a history of course the lack of women's voices here has always been deeply problematic, and has led to the founding of two other lists, one which = men joined and tend to over-post on, but there's also been a lot of = discussion about what "important" poetry is or could possible mean All best, Catherine Daly working on my 2000 page hysteria poem... ========================================================================= Date: Mon, 16 Oct 2006 15:25:47 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Michael Kelleher Subject: JUST BUFFALO E-NEWSLETTER 10-16-06 MIME-Version: 1.0 Content-Type: text/plain; format=flowed; charset=UTF-8 Content-Transfer-Encoding: quoted-printable JUST BUFFALO AND CEPA GALLERY SPECIAL EVENT =22Intersex, Disability Theory, Medical Paradigms and the Regulation of Dev= iant Bodies.=22 A lecture by Emi Koyama, Director of the Intersex Initiative, Portland, Ore= gon Thursday, October 19, 7 p.m. In conjunction with CEPA=E2=80=99s Deviant Bodies Exhibition At Just Buffalo, 617 Main Street in The Market Arcade (enter from Washingto= n St.) A self-identified Multi-Issue Social Justice Slut, Emi Koyama synthesizes f= eminist, Asian, survivor, dyke, queer, sex worker, intersex, genderqueer, and crip p= olitics into a new kind of activism. Emi has toured the country speaking at conferences, c= olleges and universities and service organizations. She was the keynote speaker fo= r The Translating Identity conference and the Western Regional LGBTQIA Colle= ge Conference in 2006. She has presented workshops at the National Gay and Les= bian Task Force's Creating Change and the New Mexico Coalition Against Domestic Violence statewide meeting. She is currently the Director of the Intersex I= nitiative, a Portland; Oregon based national activist and advocacy organization for peop= le born with intersex conditions. JUST BUFFALO OPEN READINGS Lockport Brewhaus Featured: Dan Sicoli and Terry Godbey Thursday, October 19, 7 p.m. Lockport Brewhaus, 112 Chestnut St., Lockport 10 open slots: all readers welcome=21 FALL WORKSHOPS All workshops take place in Just Buffalo's Workshop/Conference Room At the historic Market Arcade, 617 Main St., First Floor -- right across fr= om Shea's The Market Arcade is climate-controlled and has a security guard on duty at= all times. To get here: Take the train to the Theatre stop and walk, or park and enter on Washingto= n Street. Free parking on Washington Street evenings and weekends. Two-dollar parking in fenced, guarded, M & T lot on Washington. Visit our website for detailed descriptions, instructor bios, and to regist= er online. UPCOMING WORKSHOPS: STARTING NEXT WEEK: COLLEGE ESSAY WRITING Writing Your Way Into Higher Education -- A Workshop on the College Essay Instructor: Gary Earl Ross=C2=A0 Wednesdays: Oct. 25, Nov. 1, 8, 15, 4:15-5:30 p.m. In the Just Buffalo Workshop Room Market Arcade Building, 617 Main St., First Floor.=C2=A0 =2470, =2450 members Registration Deadline: October 23 CREATIVITY: The Tao of Writing A Creativity Workshop for Writers of All Levels Instructor: Ralph Wahlstrom 4 Thursdays, November 2, 9, 16, and 30, 7-9 p.m. In the Just Buffalo Workshop Room Market Arcade Building, 617 Main St., First Floor. =24100, =2480 member SONG LYRICS: Turning Poems Into Song Lyrics A Special Session For Aspiring Songwriters and Poets Instructor: Grammy Award-Winning Poet/Lyricist Wyn Cooper Tentative Date: Tuesday, November14, 7-9 p.m. In the Just Buffalo Workshop Room Market Arcade Building, 617 Main St., First Floor. =2450. =2440 for members JOIN JUST BUFFALO ONLINE=21=21=21 If you would like to join Just Buffalo, or simply make a massive personal d= onation, you can do so online using your credit card. We have recently added the abilit= y to join online by paying with a credit card through PayPal. Simply click on the me= mbership level at which you would like to join, log in (or create a PayPal account u= sing your Visa/Amex/Mastercard/Discover), and voil=C3=A1, you will find yourself in l= iterary heaven. For more info, or to join now, go to our website: http://www.justbuffalo.org/membership/index.shtml JUST BUFFALO WRITER'S CRITIQUE GROUP Members of Just Buffalo are welcome to attend a free, bi-monthly writer cri= tique group in CEPA's Flux Gallery on the first floor of the historic Market Arca= de Building across the street from Shea's. Group meets 1st and 3rd Wednesday at 7 p.m. = Call Just Buffalo for details. LITERARY BUFFALO TALKING LEAVES BOOKS John Roche, Anne Coon, Vincent Golphin Poetry Reading Wednesday, October 18, 7 p.m. Talking Leaves Books Main St. Store Rose Brewer Booksigning for: United for a Fair Economy, The Color of Wealth: The Story= Behind the US Racial Wealth Divide. Saturday, October 21, 3 pm, THE WRITE THING READING SERIES MEDAILLE COLLEGE Kent Johnson Poetry Reading Thursday, October 19, 7 p.m. The Library at Huber Hall, Medaille College, 18 Agassiz Cir. BURCHFIELD-PENNEY Burchfield-Penney Poets & Writers Charles Bachman Poetry Reading Sunday, October 22, 2 p.m. Burchfield-Penney Arts Center, Buffalo State College BUDDIES OPEN MIC LITERARY HOUR Poems and short stories by local GLBT writers, every 4th Thursday =40 7:PM NEXT PROGRAM: Thursday Oct. 26th Featured writers: Bob Murphy, Craig R.L. Keller and others to be announced= =2E Local GLBT writers interested in reading contact ldvoices=40yahoo.com Visit our website to download a pdf of the October Literary Buffalo poster,= which list all of Buffalo's literary events. UNSUBSCRIBE If you would like to unsubscribe from this list, just say so and you will b= e immediately removed. _______________________________ Michael Kelleher Artistic Director Just Buffalo Literary Center Market Arcade 617 Main St., Ste. 202A Buffalo, NY 14203 716.832.5400 716.270.0184 (fax) www.justbuffalo.org mjk=40justbuffalo.org ========================================================================= Date: Mon, 16 Oct 2006 15:47:45 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Gwyn McVay Subject: Re: anti-feminists who fear change In-Reply-To: <4533D05A.40908@gmail.com> MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Eric Yost wrote: > Or does a subverted multiculturalism mean we ignore the beam in our > neighbor's eye to concentrate on the mote in our own? Eric, if you seriously, for one moment, think that the issues facing women in *just* the US today (and our trade neighbors -- think of women maquiladora laborers, if only once) are merely a "mote," then I submit that you are the Kaspar Hauser of the 21st century and have, until recently, been living in a cave. Congratulations on your release. Man, oh, man, today seems to be the logical-phallacy day on Poetics. Because feminist women and men have not fixed every scrap of the totality of world culture by ourselves, we are told we have made *no* difference. Because I explain that yes, feminism has to do with issues such as health and bodily safety that affect all classes of women (access to health care, safety measures, and good lawyers, one notes, is exponentially harder for poor women) I am told I have just accused a male in the conversation of himself being a rapist. Surprise -- you may already *be* a feminist, if not a "career" one (whatever that means -- I guess one who has the temerity to do feminist things and/or write a book about people doing feminist things). Do you respect the rights of women to be safe, healthy, respected, and equally paid for the same amount and competency of labor? Are you not particularly uneasy to be operated on by a woman surgeon, or guarded by a woman cop? If asked your opinion of a new female co-worker, would your response be likelier to be something job-related than "I'd hit that"? Congratulations! Gooble-gobble, we accept you, one of us! Yes, we want each. and. every. damn. woman. to. be. free. Yes, it chaps our bras (you didn't think we wore them, did you?) about women in sweatshops, women in occupied Tibet, women being denied asylum for fleeing genital cutting. If your particular area of concern, like that of Mr. Yost, is girls suffering forced marriage at or before puberty, then for fuck's sake do something about it! Help come up with ideas for what to do about traditional crap treatment of women under religious fundamentalism. Then help carry them out. Then, bada-bing, you're a practical feminist, without even having to listen to any Ani DiFranco records. But to sit on your ass at a computer in the US and moan because bombing the shit out of Afghanistan has not abolished the burqa... please. R-E-S-P-E-C-T, find out what it means to me, Gwyn (THE world is not the same as YOUR world) McVay ========================================================================= Date: Mon, 16 Oct 2006 15:52:04 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Steve Dalachinsky Subject: Re: Poetry Anthology query - MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit there's the one for kids why the roses are red or something like that is there one for older folks too ========================================================================= Date: Mon, 16 Oct 2006 16:33:20 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mark Weiss Subject: Re: feminists (anti-feminists) who changed (fear change) In-Reply-To: <4533E1E1.7060901@patriot.net> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed I started this thread because I was perplexed by the phrase "feminist in its breaking the syntax," which I thought claimed rather more than it delivered while appealing to a theory that all constraints reflect a patriarchal prehistory. Mildly provocative on my part, at best. What's unfolded from that is pretty astounding--we've apparently not arrived at a moment when civil discussion about gender issues is possible. OK, here's what I think. Modern feminism arrived on the scene in middle class Europe and America (including, by the way, much of Latin America) at a propitious historical moment. Within the middle class the traditional division of labor and the power that goes with it had become manifestly obsolete by WWII, despite the reaction of the late 40s and 50s. As a result, massive social change within the middle class happened, in historic terms, with astonishing speed and lack of violence. Compare with the empowerment of the middle class (French Revolution), colonies (US and Latin American Revolutions, and into the present day), and the ending of slavery (US civil war, for one). In a bit more than a generation middle class women have come to be a majority of university students, new PHDs, new LLDs and MDs, and are quickly approaching at least parity in MBAs. The places that hire people with those degrees haven't notably lowered their payscales. And we will likely have a viable woman candidate for president of the US (to join the women who have been heads of state in make your own list of countries). I'm not implying that there were no sacrifices and no struggle, just that the situation could have been a lot worse with less success in another place and time. As it remains in other social classes in the industrialized and post-industrial world, and as it does in much of Latin America, Africa, and Asia. Simply, feminism has been less successful in places where the resistance is greater. And the resistance is greater in places where for many people traditional divisions of labor are, or at least seem to be, still functional. So by all means we should do everything in our power to aid in the empowerment of women wherever they are. But that empowerment will hit a wall of resistance as long as larger social conditions remain static. Muhammad Yunus and his Grameen Bank (winners of this year's Nobel Peace Prize) is a case in point. Most of his microloans have been to home-based businesses run by women. The women have disproportionally invested their earnings in schooling for their daughters as well as their sons, who will become advocates for more of same. The relief from the most grinding of poverty and the creation of disposable income, and the increase in education of both men and women, are likely to have an impact on all of the horrors we all know about. And it will of course expose more people to feminist ideas. Maybe in 20 or a hundred years we will no longer be able to separate the impact of feminist political action and thought from this kind of change in the lives of the poorest. Which would be fine by me--if things improve the argument will be academic anyway. But I doubt that there will be much improvement in the lives of women, whether in working class America or among the destitute in Bangladesh, without the socioeconomic change I'm talking about. Mark At 03:47 PM 10/16/2006, you wrote: >Eric Yost wrote: >>Or does a subverted multiculturalism mean we ignore the beam in our >>neighbor's eye to concentrate on the mote in our own? >Eric, if you seriously, for one moment, think that the issues facing >women in *just* the US today (and our trade neighbors -- think of >women maquiladora laborers, if only once) are merely a "mote," then >I submit that you are the Kaspar Hauser of the 21st century and >have, until recently, been living in a cave. Congratulations on your release. > >Man, oh, man, today seems to be the logical-phallacy day on Poetics. >Because feminist women and men have not fixed every scrap of the >totality of world culture by ourselves, we are told we have made >*no* difference. Because I explain that yes, feminism has to do with >issues such as health and bodily safety that affect all classes of >women (access to health care, safety measures, and good lawyers, one >notes, is exponentially harder for poor women) I am told I have just >accused a male in the conversation of himself being a rapist. > >Surprise -- you may already *be* a feminist, if not a "career" one >(whatever that means -- I guess one who has the temerity to do >feminist things and/or write a book about people doing feminist >things). Do you respect the rights of women to be safe, healthy, >respected, and equally paid for the same amount and competency of >labor? Are you not particularly uneasy to be operated on by a woman >surgeon, or guarded by a woman cop? If asked your opinion of a new >female co-worker, would your response be likelier to be something >job-related than "I'd hit that"? Congratulations! Gooble-gobble, we >accept you, one of us! > >Yes, we want each. and. every. damn. woman. to. be. free. Yes, it >chaps our bras (you didn't think we wore them, did you?) about women >in sweatshops, women in occupied Tibet, women being denied asylum >for fleeing genital cutting. If your particular area of concern, >like that of Mr. Yost, is girls suffering forced marriage at or >before puberty, then for fuck's sake do something about it! Help >come up with ideas for what to do about traditional crap treatment >of women under religious fundamentalism. Then help carry them out. >Then, bada-bing, you're a practical feminist, without even having to >listen to any Ani DiFranco records. > >But to sit on your ass at a computer in the US and moan because >bombing the shit out of Afghanistan has not abolished the burqa... please. > >R-E-S-P-E-C-T, find out what it means to me, >Gwyn (THE world is not the same as YOUR world) McVay ========================================================================= Date: Mon, 16 Oct 2006 13:39:12 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Stephen Vincent Subject: Re: Poetry Anthology query - In-Reply-To: <20061016145756.3719.qmail@web31109.mail.mud.yahoo.com> Mime-version: 1.0 Content-type: text/plain; charset="ISO-8859-1" Content-transfer-encoding: quoted-printable Yes, Kenneth Koch's: I Never Told Anybody / Teaching Poetry Writing in a Nursing Home Which was after, Wishes, Dreams and Lies / Teaching Poetry to Children. The Nursing Home has some good stuff for people in the context of a Nursing Home. The place where I will be teaching is a University 'extended learning= ' program for folks over 50. That don't mean for the incapacitated (tho some might variously be). It can mean very bright, physically vigorous et al! Ironically - or not - some institutions are discovering the reading and making of 'literature' - including poetry - is just as,or much more alive for folks letting go of family and career obsessions, in addition to those in the twenties' bracket. Not that one is better than the other, it's just as important.=20 Alert! Baby boomer demographics =3D extended and various lit job careers on the PhD horizon. Retirement - as was such - is dead! Or the eternity of adjunct teaching!=20 Thanks all for the front and back channel anthology suggestions. Stephen V http://stephenvincent.net/blog/ > Kenneth Koch wrote and edited a book about teaching poetry to older peopl= e. > He did it in a nursing home. Unfortunately, I don't remember the title, > although it was published by Teachers and Writers so you could contact th= em. > It's very useful. I used it when teaching at a senior center some years = ago. > It includes poems by the participants in Kenneth's workshop. Regards, Tom > Savage >=20 > Stephen Vincent wrote: I am putting together a po= etry > workshop description for relatively > sophisticated folks who are 50 and over. > Can anyone - whether you have led workshops on this level or not - sugges= t a > good 'broadband' and affordable anthology? > I will be most appreciative. Unless you want to make your knowledge > available to a larger swathe, I will happily take info and ideas back > channel. >=20 > Thanks so much, >=20 > Stephen V > http://stephenvincent.net/blog/ >=20 >=20 >=20 > --------------------------------- > How low will we go? Check out Yahoo! Messenger=92s low PC-to-Phone call ra= tes. ========================================================================= Date: Mon, 16 Oct 2006 13:48:51 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jason Quackenbush Subject: Re: anti-feminists who fear change In-Reply-To: <000801c6f156$948ba8e0$6901a8c0@KASIA> MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII; format=flowed Catherine, I wanted to respond to this because I have had any number of interesting discussions about feminism and with feminists over the years and to date I still don't know what to do about it or how to think about it. Part of my problem is that so many highly vocal people who want to call themselves feminist represent feminism as a sort of monolithic thing that's perfectly synchronized to their political point of view and who characterize anyone who disagrees with them as Backlashers or anti-feminists or masculinists. I find it very difficult to talk to such people who live in such a black and white political world. Tangentially that's been a problem with all sorts of identity politics for me, and I think it's just a side effect of the marginalization of political extremes. I think you get the same attitude from reactionary right wing evangelical christians as you do from radical left wing gyno-centric anarchists. Which is a shame, because to me feminism in part means open discourse and mutual respect of all people. Which is a lot easier to talk about than it is to put in to practice. So I'm writing this because you seem reasonable and informed and because for the life of me I can't work out in my brain where the hostility in all this comes from. I've me feminists whose idea of radical action was to go to hard core punk rock bands performances, occupy the stage and then stand immobile on the dance floor in order to stop the "macho bullshit" slam dancing going on in order to create a "safe space." At the same time, I've had my mind blown by the theories of radical feminist philosophers like Lynn Hankinson, who is the one professor i had as a philosophy undergrad who i had the distinct impression was a thinker i could never hope to catch up to. I've also met young women in their late teens and early twenties who were so turned off by the brand of feminism that they'd encountered in intro to women studies courses that they had stopped self-identifying as feminists, despite the fact that they still believed strongly in the values that they once toook to be core ideals of the feminists they once believed they were. I'd very much like to describe myself as a feminist, but am wary about doing so having been told by several different women on different occasions that because of my skin color and the structure of my reproductive organs i have no claim to the term. What I'm wondering, and I'm sorry this is such a long way of getting to the question, is their room in 21st century feminism for self-criticism? Can a person, like me, who thinks that: the fact our society has not done more to curb the incidence of rape is the greatest shame of our civilization; that men and women should get equal pay for equal work; that the sexist assumptions made by the tax code and social security administration should be gender neutralized; and that access to reproductive health care including birth control and safe, legal abortion is any woman's right and that the state should stay out of the issue altogether, still be a feminist? Even though I disagree with the analyses of culture that invoke such ideas as "patriarchy" and "male oppression" as rhetorically and philosophically unsound? And why isn't there a way for me and people like me to raise those concerns without being accused of anti-feminism, masculinism, or allegiance to the political ideas of Camille Paglia or Christina Hoff Sommers? Not to run them down, both have their good and bad points, as do all thinkers, but I disagree with both of them much more often than I agree with them. I guess what I'm asking is why is the discussion of feminism and what feminism means so apparently doomed to vitriol and venom? If we have learned anything from the victories of feminism, it seems to me that one of the most valuable lessons has to be the importance of listening to marginalized voices. I know a great many women who are very much committed to that point. But it seems like whenever a discussion becomes politicized as this one has, that value is one of the first to be sacrificed. hrm. I'm not sure i've expressed myself clearly at all, but I hope you get the gist, I very much liked what you had to say in the email below. On Mon, 16 Oct 2006, Catherine Daly wrote: > what is a career feminist -- a feminist with a career? someone who makes > money from feminism? I suppose maybe someone who teaches women studies or > writes some of that really lucrative feminist poetry is actually what was > meant? > > what if a "shop girl" were important -- anyway, clerks used to have to sleep > in the stores -- up to the 30's, I think, my husband's (quite patriarchal, > thank you very much) grandfather still slept at a jewelry store during busy > periods, because he couldn't buy a car or afford a room at the Y and he > couldn't get home after the streetcar stopped running -- this sort of thing > made for obviously not very woman friendly workplaces (although analysts and > programmers still sleep under their desks now...) > > scripture is the *complete* library of not just the poor, but those not > knowing there are other options, religion is the philosophy, recitation / > public speaking is the literature > > what if islam hadn't picked up cliterodectomy from African anti-matriarchal > cultural practices? this is all about reading culture (hey, and some of the > same infibulation's done in the west, and by "hip and cool" folks) > > what if islamists actually followed the Koran instead of the hadith? what > if Christian fundamentalists actually read the entire bible? this is all > about textual interpretation and canonicity > > what if mohammed had stopped his recitation after his (first) wife died; > even his wife Aisha said that some of his later recitations were certainly > very convenient for his current marital and political situations, he is > known to have recanted several such during his lifetime, and a lot of these > he said only applied to "prophet's wives" -- this is all about what is > recited, what is revealed, sexual politics as thinking and hearing and > culture becomes writing > > what if women were able to recite, or pray (sorta close to poetry, that) > without inciting their own rapes, for which they would be executed, > > to pray in public, to speak, to "have their names in public" -- female > writers and artists publishing, displaying, or signing works are in danger > of having done something which dishonors the men in their family -- why? > because it is not safe to reveal *anything* even thoughts or feelings, if > you are female -- how is that not a poetry-related issue? having just > listened to a lot of AZ religious radio ranting against the ACLU, how is > free speech not a poetry related issue? does anyone see how > private/institutional/corporate spaces, such as malls, Wal Mart, etc., are > now "safer" for "woman and children" because there are different standards > of acceptable (to the men who are "responsible for them") speech in them as > opposed to oh, a park? > > and in this particular situation, this is very much different than Anne > Bradstreet's publication history or the modesty topos of many women writers > (there's also a reverse effect, in which western female scholars tend to > list their awards and degrees -- to "super-professionalize" their > accomplishments -- and now not being "casual" about these hard-won career > markers can work against them) -- how is publication, public dissemination, > and accomplishment not a poetry-related issue? > > these are not class issues so much; there's long been interesting work > investigating the ways in which women have more economic and social class > mobility because their childbearing and marital status and family position > has such a direct effect on this, as opposed to men's class status, which > tends to be relatively independent of these, and comparatively static > > if you consider feminism to be a philosophy, the ways in which it deals with > social advocacy directly don't seem quite as central to the thing; > > of course feminism has a history, and a large part of that history has to do > with just this sort of "isn't animal rights a lot more important than > feminism *right now*, isn't abolition *more important* than equal rights for > women and men for the time being; "how can feminism be right if individual > women have prejudices"; "how can feminism be right if not all women _want_ > equal rights" -- and many of these considerations have been under discussion > -- as far as poetry is concerned -- on this list -- which has a history > > of course the lack of women's voices here has always been deeply > problematic, and has led to the founding of two other lists, one which men > joined and tend to over-post on, but there's also been a lot of discussion > about what "important" poetry is or could possible mean > > All best, > Catherine Daly > working on my 2000 page hysteria poem... > ========================================================================= Date: Mon, 16 Oct 2006 16:55:00 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mark Weiss Subject: Fwd: apartment swap Paris/SF 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 good base for a San Franciscan going to Paris. >To: junction@earthlink.net >From: Aurelie Brame >Subject: home swap from Aurelie >Date: Mon, 16 Oct 2006 22:42:39 +0200 >X-Mailer: Apple Mail (2.622) >X-ELNK-Info: spv=3D0; >X-ELNK-AV: 0 >X-ELNK-Info: sbv=3D0; sbrc=3D.0; sbf=3D00; sbw=3D000; > > >Hi Mark > > >How are you? > >Please could you transfer the posting below to=20 >anyone you know who could be interested... > >Take care > > >Aur=E9lie > >---------------------------------------------------------------------------= -------------------------------------------=20 > > > >HOME SWAP Paris/San Francisco > > >Our large studio for 1 or 2 people in Paris=20 >available for 2 weeks in february 2007 for your=20 >home in the City of San Francisco. > >137 rue Pelleport 75020 PARIS. > > >45 square meters (150 square feet). A very=20 >spacious living space, very sunny all the=20 >afternoon, great view of Paris and the Eiffel=20 >tower(glittering at night!), gorgeous sunset sight. >Large windows with balcony. Small furnished=20 >kitchen, bathroom with tub. High speed internet. >On second floor in a clean and safe buiding (digicode, lift). >Quiet neighborhood, public garden, coin laundry,=20 >convenient stores, supermarkets nearby. > > >Metro "Telegraphe"( line 11) down the road; it=20 >takes 15 minutes to get to Chatelet. > >Bus number 96 (towards Le Marais, Chatelet, gare Montparnasse), >Bus number 60 ( towards 18e arrondissement/ district, Montmartre), >Bus number 26 ( towards Haussmann-St Lazare-Galeries Lafayette >Opera ). > > >Futon bed. Non smoking, no pets please. > > >Pics:=20 >http://dan.digital.free= .fr/home_in_paris/index.htm=20 > > > >Contact: aurelie.brame@free.fr ========================================================================= Date: Mon, 16 Oct 2006 16:19:16 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Steve Dalachinsky Subject: Re: anti-feminists who fear change MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit i loved when he kicked his wife in the shroeder doc video ========================================================================= Date: Mon, 16 Oct 2006 16:36:11 -0500 Reply-To: dgodston@sbcglobal.net Sender: UB Poetics discussion group From: Daniel Godston Subject: Lower & Upper Limits tomorrow In-Reply-To: <20061016.160658.-397271.6.skyplums@juno.com> MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit Poets and fiction writers involved with the Neighborhood Writing Alliance will perform with The Ways & Means Trio at Muse Cafe - 8-10 p.m. on Tuesday, October 17 as part of the Lower & Upper Limits series The Neighborhood Writing Alliance (NWA) provides opportunities for adults to reflect on, discuss, and write about their personal histories and everyday experiences. We host weekly writing workshops in Bronzeville, Douglas, Uptown, West Englewood, East Garfield Park, Hyde Park/Woodlawn, the Near West Side, and South Lawndale. The Neighborhood Writing Alliance believes that writing about personal experiences and one's neighborhood-and sharing those experiences-can lead to increased community involvement. Workshop participants read and perform their work at public venues throughout Chicago. Participants are published in our quarterly magazine, the Journal of Ordinary Thought(JOT), with its motto, Every Person Is a Philosopher. Lower & Upper Limits is a series at Muse Cafe that explores collaborations between poets and musicians and relationships between language and music. The Ways & Means Trio is Jayve Montgomery (reeds, percussion, electronics), Joel Wanek (upright bass, cello), and Daniel Godston (trumpet, percussion). The title of this series is taken from Louis Zukofsky's "A-12": "I'll tell you. / About my poetics -- music / speech / An integral / Lower limit speech / Upper limit music." Lower & Upper Limits happens at Muse Cafe on the third Tuesday of the month. Ways & Means will be performing with Toni Asante Lightfoot on Tuesday, August 15. The Neighborhood Writing Alliance will be joining us on October 17. Muse Cafe is at 817 N. Milwaukee Ave. in Chicago, and the phone number is 312.850.2233. The Chicago station on the CTA blue line is a half a block away. This event is free and open to the public, donations appreciated. For more information about the Neighborhood Writing Alliance, please contact (773) 684-2742 or editors@jot.org, or visit their website at www.jot.org. For more information, visit these websites: www.musecafechicago.com & http://jayvejohnmontgomery.com/. ========================================================================= Date: Mon, 16 Oct 2006 17:37:56 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Charles Bernstein Subject: Richard Foreman's new blog Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed ... has extensive working notes on his upcoming production Wake Up Mr. Sleepy! Your Unconscious Mind Is Dead! I've included some excerpts and the links at http://epc.buffalo.edu/authors/bernstein/blog/ where you will also find links to Susan Bee's new paintings & PennSound's first podcast ========================================================================= Date: Mon, 16 Oct 2006 14:48:03 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Dodie Bellamy Subject: Cameraworks: Dodie Bellamy and Donal Mosher Comments: To: ampersand@yahoogroups.com Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" Donal, looks great. I made a couple of teeny punctuation changes, and will send it out ASAP. xox, Dodie An evening of text and image perfomance by Dodie Bellamy and Donal Mosher October 21 7:00 p.m. $4 SF Camerawork 657 Mission Street, 2nd Floor San Francisco, CA 94105 415-512-2020 ext: 105 Dodie Bellamy will present "Digging Through Kathy Acker's Stuff" Kathy Acker, the novelist and theorist, died from breast cancer in 1998. Her papers are at Duke, but her clothes and accessories remain in the possession of her executor, Matias Viegener. Last February while visiting Viegener in Los Angeles, author Dodie Bellamy rummaged through Acker's extravagant designer wardrobe and wheedled one of her Gautier dresses, and a couple pieces of jewelry from him. Possessing such intimate effects of a woman she was in awe of, Bellamy felt compelled to write about it. "In Digging Through Kathy Acker's Stuff," Bellamy meditates upon relics, ghosts, compulsive shopping, archives, make-up, our drive to mythologize the dead, Acker's own self-mythologizing, the struggle among followers to define Acker, bitch fights, and the numina of DNA. Accompanying her reading will be images of Acker's clothes. Donal Mosher will present "October Country" Donal Mosher's October Country is part of an ongoing record of Upstate New York. Shot each Halloween, this record now covers six years and three generations. This latest work is based on the ghost hunting notebooks kept by Denise Brown, Mosher's aunt, as part of her paranormal investigations. Though Donal's idea of the ghostly incorporates the living as well as the dead, these images were shot according to his aunt's rules for spirit photography. Many of these shotswere taken with a disposable camera during and official investigation of the Middleville cemetery. ========================================================================= Date: Tue, 17 Oct 2006 10:25:56 +1000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alison Croggon Subject: Re: anti-feminists who fear change In-Reply-To: <20061016.163922.-397271.20.skyplums@juno.com> MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline What depresses me this morning is receiving a book called Ideas: A History from Fire to Freud, in which "feminism" (or gender or anything similar) doesn't even exist in the index. No Mary Wollstonecroft among the Romantics, no suffragettes among the modernists, etc etc etc. From a quick scan of this (very ambitious and fascinating-looking book) one realises that "ideas" are something that only happen to men, and that feminism, unlike romanticism or secularism or nationalism, is not an "idea". It's all very self confirming. Best A -- Editor, Masthead: http://www.masthead.net.au Blog: http://theatrenotes.blogspot.com Home page: http://www.alisoncroggon.com ========================================================================= Date: Mon, 16 Oct 2006 17:37:28 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jason Quackenbush Subject: Re: anti-feminists who fear change In-Reply-To: MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII; format=flowed Are Hypatia of Alexadria or Miriam the Jewess in it? On Tue, 17 Oct 2006, Alison Croggon wrote: > What depresses me this morning is receiving a book called Ideas: A > History from Fire to Freud, in which "feminism" (or gender or anything > similar) doesn't even exist in the index. No Mary Wollstonecroft among > the Romantics, no suffragettes among the modernists, etc etc etc. From > a quick scan of this (very ambitious and fascinating-looking book) one > realises that "ideas" are something that only happen to men, and that > feminism, unlike romanticism or secularism or nationalism, is not an > "idea". > > It's all very self confirming. > > Best > > A > > > > -- > Editor, Masthead: http://www.masthead.net.au > Blog: http://theatrenotes.blogspot.com > Home page: http://www.alisoncroggon.com > ========================================================================= Date: Mon, 16 Oct 2006 19:14:59 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Stephen Baraban Subject: Creeley conference / a failure to mourn? MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit It seems weird to me that's there's no mention on this List, or anywhere else I can find, of the sad collapse of the anticipated Creeley conference in Buffalo due to the swift, intense snowstorm of Thursday evening that snapped all too many trees and branches thereof and knocked out the city's electricity. I arrived from NYC by Amtrak on Thursday night at Exchange Street around 10PM...well let me cut out the rest of story since the latest version of the Welcome Message presumably still cautions against the "diaristic"...but let me make the suggestion, please, can as many of the papers as possible that were to be presented be posted somewhere on the Net? Thanks. __________________________________________________ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com ========================================================================= Date: Mon, 16 Oct 2006 22:35:37 -0400 Reply-To: Martha Deed Sender: UB Poetics discussion group From: Martha Deed Subject: Re: Creeley conference / a failure to mourn? MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit I, too, would appreciate reading the papers. I drove to the Church Thursday evening anticipating Blaser and Waldrop -- unaware of the weather that was unfolding. The church dark and uninformative. The drive home with lightning, thunder, branches dropping into the road in front of me -- the snow, the silly snow. Would I die for poetry? Not willingly. I sat in my house with no electricity, no internet, no telephone all weekend and wondered if everyone else was gathered somewhere, while I . . . but no? Today I expected to find a trail of emails informing me of what I had missed but they had somehow found. But perhaps all of us were silenced by this storm. The anticipation the disappointment oh Martha Deed ========================================================================= Date: Mon, 16 Oct 2006 20:09:18 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Elizabeth Treadwell Subject: new mints Comments: To: wom-PO@lists.usm.maine.edu Mime-Version: 1.0 Content-Type: text/plain; format=flowed New & used at my newish blog, Secret Mint: an exposition [http://secretmint.blogspot.com] --- Survivance: Diane Glancy & some contexts Of slate tabs and ma-mas. The Blurbcage: my comments on Crouse, Russo & Cox PLUS CS Perez's illustrated history of Miss Belinda Blurb Hubbubs & Heloises Today...Vine Deloria, Jr. Fragments...Laura Riding My Hello Kitty Rulebook: hello The Gender of Seriously: seriously The poem as tending measure. (Myung Mi Kim) 7 Femmes I Heart Language: it's trusty Researching the Mud-flap The Dollmap: Jane Austen & the others Elizabeth Treadwell http://secretmint.blogspot.com http://elizabethtreadwell.com ========================================================================= Date: Mon, 16 Oct 2006 20:14:23 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Stephen Baraban Subject: Re: Creeley conference / a failure to mourn? In-Reply-To: <03e901c6f194$ee4bb2b0$0401a8c0@Martha> MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Martha, I walked from my Niagara Falls Blvd motel to the Amherst Campus on Sunday (on Saturday I wasn't knowledgeable of what the route would be--Maple Avenue) but found at Capen Hall, rather unsuprisingly, that nothing was going on and there was no further information. Then I was really glad that the intercampus bus to Main Street was running because I certainly did not want to cross the "bridge" part of Maple Avenue again--and the reverse of my original direction looked quite a bit more dangerous. Stephen > > Would I die for poetry? Not willingly. > > I sat in my house with no electricity, no internet, > no telephone all weekend > and wondered if everyone else was gathered > somewhere, while I . . . but no? __________________________________________________ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com ========================================================================= Date: Tue, 17 Oct 2006 13:21:48 +1000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alison Croggon Subject: Re: anti-feminists who fear change In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline No and no. Nor Christine de Pisan nor Madame Curie nor Hildegard von Bingen nor Susan Sontag nor Simone Weil. Not even Sappho. But we do get Edward Said and Sir Peter Hall (no Ariane Mncouchkine) and Socrates and Karl Popper. William Wordsworth but no Virginia Woolf or Gertrude Stein. And so it goes. Actually, in my adventures in the index I haven't seen _one_ woman. It doesn't mean that none are there. But it's quite possible. This book was published in 2005. If feminism changed the world, a bunch of men are busy changing it right back. A On 10/17/06, Jason Quackenbush wrote: > Are Hypatia of Alexadria or Miriam the Jewess in it? > > On Tue, 17 Oct 2006, Alison Croggon wrote: > > > What depresses me this morning is receiving a book called Ideas: A > > History from Fire to Freud, in which "feminism" (or gender or anything > > similar) doesn't even exist in the index. No Mary Wollstonecroft among > > the Romantics, no suffragettes among the modernists, etc etc etc. From > > a quick scan of this (very ambitious and fascinating-looking book) one > > realises that "ideas" are something that only happen to men, and that > > feminism, unlike romanticism or secularism or nationalism, is not an > > "idea". > > > > It's all very self confirming. > > > > Best > > > > A > > > > > > > > -- > > Editor, Masthead: http://www.masthead.net.au > > Blog: http://theatrenotes.blogspot.com > > Home page: http://www.alisoncroggon.com > > > -- Editor, Masthead: http://www.masthead.net.au Blog: http://theatrenotes.blogspot.com Home page: http://www.alisoncroggon.com ========================================================================= Date: Mon, 16 Oct 2006 20:36:44 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: George Bowering Subject: Re: Creeley conference / a failure to mourn? Comments: To: Martha Deed In-Reply-To: <03e901c6f194$ee4bb2b0$0401a8c0@Martha> MIME-version: 1.0 (Apple Message framework v619) Content-type: text/plain; charset=US-ASCII; format=flowed Content-transfer-encoding: 7bit I was in Port Colborne, 18 miles west of Buffalo; we got hit too, but maybe not as hard. I had forgotten the Creeley conference. Is Robin all right? gb On 16-Oct-06, at 7:35 PM, Martha Deed wrote: > I, too, would appreciate reading the papers. > > I drove to the Church Thursday evening anticipating Blaser and Waldrop > -- > unaware of the weather that was unfolding. The church dark and > uninformative. The drive home with lightning, thunder, branches > dropping > into the road in front of me -- the snow, the silly snow. > > Would I die for poetry? Not willingly. > > I sat in my house with no electricity, no internet, no telephone all > weekend > and wondered if everyone else was gathered somewhere, while I . . . > but no? > > Today I expected to find a trail of emails informing me of what I had > missed > but they had somehow found. But perhaps all of us were silenced by > this > storm. > > The anticipation > the disappointment > oh > > Martha Deed > > Geo Bowering Has turned over a new leaf. ========================================================================= Date: Mon, 16 Oct 2006 23:41:23 -0400 Reply-To: Martha Deed Sender: UB Poetics discussion group From: Martha Deed Subject: Re: Creeley conference / a failure to mourn? MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Stephen requests the following corrections to his second post: He took his long walk on Saturday -- did not know how to get to the conference on foot on Friday, and on Sunday, he was headed back to the order of New York City. (I added the last bit.) He did find some good pizza near the Main Street campus where Just Pizza remained open and offered tasty pizza throughout the storm. George, I wanted very much to hear Blaser read -- had looked forward to it for months. I hope he and the others were OK, that no one connected with the conference got stuck on the Thruway for 12 hours or on the tarmac at Buffalo International Airport for many hours as well. Unfortunately, this is not hyperbole. As for me, I hope that once the organizers have regained their internet voices that they speak to us -- Martha ----- Original Message ----- From: "Stephen Baraban" To: Sent: Monday, October 16, 2006 11:14 PM Subject: Re: Creeley conference / a failure to mourn? > Martha, > > I walked from my Niagara Falls Blvd motel to the > Amherst Campus on Sunday (on Saturday I wasn't > knowledgeable of what the route would be--Maple > Avenue) but found at Capen Hall, rather unsuprisingly, > that nothing was going on and there was no further > information. Then I was really glad that the > intercampus bus to Main Street was running because I > certainly did not want to cross the "bridge" part of > Maple Avenue again--and the reverse of my original > direction looked quite a bit more dangerous. > > Stephen > > > > Would I die for poetry? Not willingly. > > > > I sat in my house with no electricity, no internet, > > no telephone all weekend > > and wondered if everyone else was gathered > > somewhere, while I . . . but no? > > > > __________________________________________________ > Do You Yahoo!? > Tired of spam? Yahoo! Mail has the best spam protection around > http://mail.yahoo.com > ========================================================================= Date: Tue, 17 Oct 2006 00:06:40 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Charles Bernstein Subject: Creeley in darkness and light Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed From what I have heard, from several people who were at the Buffalo Creeley conference, the events went on, sometimes in make-shift locations, in spite of the storm and its devastation. Over half the houses and business in the Buffalo region lost their power -- and many, perhaps as many as 200,000, were still without power as of early this evening. The schools in Buffalo and the suburbs are expected to be closed throughout the week. The storm, coming before the leaves had fallen, caused extensive damage to the trees, many of which, if not most, lost branches, which crashed into the power lines and roadways. On Friday, the UB campus had to be closed due to the weather conditions, one of the few times the campus has ever been shut down. (The campus is about 14 miles from downtown Buffalo and on Friday the city and county declared a state of emergency, banning all but essential traffic from the roadways.) The airport lost power during the first day of the storm and was closed Friday. As I heard the story, the conference participants made the best of it, commandeering a meeting room in their downtown hotel and carrying on as best they could. As far I know, Saturday's events took place at the church, as scheduled, since the church did have electrical power. The hotel where the conference participants were staying did have electrical power and there were no problems with the group returning home safely on Sunday. It was a great disappointment to me -- and many others -- not to be able to get to conference. But I think most of the scheduled speakers/readers were there & continued on as best they could -- forming a pool of light against a surrounding darkness. For those who managed to come together on this past woe-beset Buffalo weekend, I do believe Bob Creeley was celebrated and mourned. Charles Bernstein ========================================================================= Date: Mon, 16 Oct 2006 21:44:18 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alexander Dickow Subject: Gwyn and feminism In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Gwyn, Bravo, Gwyn, I'm with you. And David BC, with his customary compassion and common sense. But I admit to sharing Jason Quackenbush's discomfort with the charged theoretical rhetoric and its tendancy to promote exclusivity and unproductive hostility. I like how you bring it back to the real issues: not "patriarchy" (although issues of canon, etc certainly deserve attention) but the real violence and injustice. So here I am, sitting at my computer, and I have an earnest question for you: what can I do? I give to charities (and responsibly -- I find out about them before giving -- and plan on doing so on a much more regular basis), I try and live an ideal of respect and non-violence, I support -- verbally or in writing -- those whose missions I believe in. But here's the rub: I'm very skeptical about "traditional" activism (rallies, pamphlets, posters and the like) as an effective means of political action, and I'm looking for some political imagination. Before we get into another silly flame-war among people who mostly agree about what's most important, maybe we should talk about what people think are viable and efficacious means of political engagement. Including poetry, why not (although, once again, very skeptical...). Especially in a country whose possibilities for "civic involvement" in government is so tragically, so laughably, so unjustly limited (ie, voting, jury duty, and citizen initiative legislation :( ). Help me, Gwyn. I'm with you, here. Yours, Alex www.alexdickow.net/blog/ les mots! ah quel désert à la fin merveilleux. -- Henri Droguet ========================================================================= Date: Tue, 17 Oct 2006 02:06:37 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Eric Yost Subject: Re: anti-feminists who fear change In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit D-B: Why the moment people begin to speak of conditions in the United States are they swfitly told horrors are much worse under Islam? Eric: Why is it that the moment someone fingers the worst offenders against any aspect of basic human rights, they are immediately reminded that the purpose of the discussion is to excoriate American or Western society? Reflexive masochism perhaps? D-B: To tell people to divert their attention and direct it elsewhere far away where they can have little immediate effect --let alone only in Islamic countries only-- Eric: Ah, at last, your points: (a) it is a diversion solely because you feel we can't do anything about it, and (b) to even mention the worst offenders is to criticize them alone, and ignore the West. First, are you incapable of imagining Western feminists strongly engaging women who live under Islamic Sharia oppression? Do you really think the majority gender so powerless to work change where the worst offense is? If it is a diversion to mention Sharia's crimes against women, then it was equally a diversion for people in the 1940s to alert the West to the Nazi's genocidal intent. Second, to mention the worst offenders in the world is not to ignore the lesser offenders at home. What would make you think that? To go back to a historical analogy, it was precisely the defeat of Nazism (and all the societal structural changes incumbent to that defeat, i.e., women workers in defense plants, African-American valor in combat) that highlighted our own domestic inequalities and set the stage for their gradual institutional remedy. ========================================================================= Date: Mon, 16 Oct 2006 23:11:24 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Andy Gricevich Subject: Re: anti-feminists who fear change MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit 1) The view of feminism as "monolithic" is one that many feminists detest, particularly because of the lack of class-consciousness in the kind of feminism of which many anti-feminists construct a caricature to beef up their complaints (which would be, in some ways, just, if they had any idea who their targets were--something they could learn by, say, talking to more women). Feminism is, in fact, probably the LEAST monolithic "ism" around. There are Marxist feminisms, black feminisms, queer feminisms, Islamic feminisms, and on and on, most of them nonexclusive in seeing connections between each others concerns (whereas there's no coherent "feminist Marxism," etc.). Nowhere else does one find a comparable consciousness of the crucial nature of ALL the problems brought up by those who incessantly complain, "your stance can't be worthwhile--it doesn't solve THIS problem." Many feminists see their project as oriented toward the goal of ending all oppression, aware that poverty, misogyny, racism, intellectual repression, etc. all support each other. There are countless problems to be solved in countless places; those that are less hard to solve (less resistance) still need to be solved, and so do those that are harder to solve. Luckily, there are a lot of people (not enough) who want to solve them, and some will work on one cluster of problems, some on another; some will primarily consider problems that are geographically far away from them, and some will consider what's closer. This diversity is necessary, and provides, I think, some reason for--if I may be permitted the word--hope. 2) It might be too generous to talk about the "fear" of anti-feminists like the guys who have set off the latest phase of this strand; a smug, self-satisfied dismissal, a jaded, seen-it-all attitude, is one of the most successful available means of flight from fear into acceptance of whatever little bits of socially sanctioned power fall to such a guy. "Change" is probably not an effective word in their vocabulary; if they're afraid of anything, it's probably ever losing face--and fear of losing face is something everybody needs to get over pretty fucking quickly. 3) Men, like many other social groups, get some power and privilege they may never have asked for. The redistribution of power (or maybe its dissolution) demanded by feminists is going to be uncomfortable for men in some ways. Duh. That doesn't mean that a feminist guy has to be constantly consumed by guilt and shame. But it does mean some work, some reconsideration, some self-critique that doesn't incessantly demand some immediate profit from it. This paragraph is an incomplete thought. Andy --------------------------------- Stay in the know. Pulse on the new Yahoo.com. Check it out. ========================================================================= Date: Mon, 16 Oct 2006 23:17:35 -0700 Reply-To: editor@pavementsaw.org Sender: UB Poetics discussion group From: David Baratier Subject: Re: feminists who changed In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit My 2 cents. The thing is those of us who knew or met "Mr." Bukowski could easily dispel most of this claptrap appearing on this list but what fun would that be-- with your pet promos pissed into hopelessness as who has time to write a few books of poetry and a book or two worth of fiction every year and be drunk every moment? I don't myself, but tommorrow when I have dinner with Amy Tan maybe I will find out that she does. None of the bunch of award winning folks I find myself in truck with lately do-- So you believe "Mr." B was drunk each day? What should I tell you next, about what revelations Morgan Spurlock told me when in Columbus making me pizza & following my orders? Should I further impound revelations about Wal mart, or Bill Shields or Mc Donalds? Please-- you are a bunch of dumb fucks who do exactly what the hegemony expects. Even you foreigners,like daniel-- yr the next Canadian Donald Hall I know yr writing about birds & beavers & shits right now-- sucking establishment ass for postition & some day Rob will need to compete with you because of your oh so "outsider" status If it were not for people like Gwen & Joe and their opinion I would dump this whole list right in the pooper like a pint of Jack after a day at the races-- Be well David Baratier, Editor Pavement Saw Press PO Box 6291 Columbus, OH 43206 http://pavementsaw.org ========================================================================= Date: Tue, 17 Oct 2006 03:49:28 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Eric Yost Subject: Re: anti-feminists who fear change In-Reply-To: <4533E1E1.7060901@patriot.net> MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Gwyn: if you seriously, for one moment, think that the issues facing women in *just* the US today . . . are merely a "mote," then I submit that you are the Kaspar Hauser of the 21st century and have, until recently, been living in a cave. Congratulations on your release. Eric: You're revealing your ignorance of what a 2004 UN report called "the worst ongoing genocide in history." Never mind the Sudanese famine caused by the Islamist butcher Omar al-Bashir, the trafficking in female slaves throughout North Africa and the Middle East, the execution of rape victims in Pakistan, Dubai, Sudan and Nigeria; the brutal treatment brutal of Iranian women who resist mandatory Hijab and sexual apartheid; the acid attacks in Bangladesh; "dowry killings" of women; or the abuse of female immigrants by their own communities -- you, Gwyn, would rather initiate a personal attack on a stranger than admit global perspective or sense of context. And you write about "living in a cave"? Must be chilly in there for you. _____ http://www.iht.com/articles/2006/03/24/opinion/edali.php Women go 'missing' by the millions by Ayaan Hirsi Ali http://www.city-journal.org/html/13_1_why_feminism.html Why Feminism is AWOL on Islam http://www.middleastwomen.org/ Committee to Defend Women's Rights in the Middle East ========================================================================= Date: Tue, 17 Oct 2006 05:21:02 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: kari edwards Subject: HIGH ENERGY CONSTRUCTS MIME-Version: 1.0 Content-Type: text/plain; charset=WINDOWS-1252; format=flowed Content-Transfer-Encoding: quoted-printable Content-Disposition: inline HIGH ENERGY CONSTRUCTS =09 More options=09 12:20 am (4 hours ago) Many Happy Returns October 21 - November 25, 2006 Opening Reception: Saturday, October 21, 6 pm Featuring a store-front performance by Juliacks, with musical composition by Ben Bigelow, from 6-9 pm High Energy Constructs presents "Many Happy Returns" -- a large-scale exhibition that evokes the field(s) of verbal and visual interplay -- bringing together a unique array artworks that arrive -- out of literary influence, tradition, and community -- in art since the 1960s. Participants in the exhibition include: Marc Bell, Jen Bervin, Ed Bowes, Joe Brainard, Jeff Karl Butler, Andrew Choate, Marcus Civin, Zoe Crosher, kari edwards, Thomas Evans, Derek Fenner, Coryander Friend, Ryan Gallagher, Granary Books, Jack Greene, Doug Harvey, Fran Herndon, August Highland, Jen Hofer, Tanya Hollis, Jane Dalrymple-Hollo, Colter Jacobsen, Lisa Jarnot, Juliacks, Mary Kite, Joanne Kyger, David Larsen, Donal Mosher, Kevin Opstedal, Amy Robinson, Christopher Russell, George Schneeman, David E. Stone, Deborah Stratman, Mathew Timmons, Cat Tyc, Ugly Duckling Presse, Anne Waldman, Will Yackulic, John Yau, and many others. _________________ For further information: www.highenergyconstructs.com info@highenergyconstructs.com High Energy Constructs 990 North Hill Street #180 Los Angeles, CA 90012 323.227.7920 Gallery Hours: Thursday =96 Saturday, 11am =96 6pm --=20 transSubmutation http://transdada3.blogspot.com/ transdada http://transdada.blogspot.com/ in words http://transdada2.blogspot.com/ obedience Poetry Factory School. 2005. 86 pages, perfect bound, 6.5x9. ISBN: 1-60001-044-X $12 / $10 direct order Description: obedience, the fourth book by kari edwards, offers a rhythmic disruption of the relative real, a progressive troubling of the phenomenal world, from gross material to the infinitesimal. The book's intention is a transformative mantric dismantling of being. http://www.factoryschool.org/pubs/heretical/index.html http://www.spdbooks.org/SearchResults.asp?AuthorTitle=3Dedwards%2C+kari ========================================================================= Date: Tue, 17 Oct 2006 10:06:23 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Vernon Frazer Subject: The Legacy of Jack Kerouac: a Three-Part Radio Broadcast MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit Hard-hitting political reporter Mike DeRosa turns his attention to Jack Kerouac in a three-part series that discusses Kerouac's legacy, his literary estate, and the effect of publishing or not publishing Kerouac's unpublished work on other writers' work. The first episode airs Wednesday October 18 at 8:30 P.M. on www.whus.org . The second half-hour episode will air Friday, October 20 at 12:00 noon on www.wwuh.org and at 5:00 P.M. on www.whus.org . It will replay the following Wednesday at 8:30 P.M. on www.wwuh.org . The final installment will appear a week later in the same designated time slots. For those of you who aren't familiar with DeRosa's New Focus program and its progressive challenge to the Bush administration, his radio interview are archived at the www.newfocusradio.org site for listening and downloading. Vernon Frazer http://vernonfrazer.com ========================================================================= Date: Tue, 17 Oct 2006 11:08:16 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Vernon Frazer Subject: The Legacy of Jack Kerouac will appear on the New Focus radio show (post previously rejected for reasons unclear) MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit Hard-hitting political reporter Mike DeRosa turns his attention to Jack Kerouac in a three-part series that discusses Kerouac's legacy, his literary estate, and the effect of publishing or not publishing Kerouac's unpublished work on other writers' work. The first episode airs Wednesday October 18 at 8:30 P.M. on www.whus.org . The second half-hour episode will air Friday, October 20 at 12:00 noon on www.wwuh.org and at 5:00 P.M. on www.whus.org . It will replay the following Wednesday at 8:30 P.M. on www.wwuh.org . The final installment will appear a week later in the same designated time slots. For those of you who aren't familiar with DeRosa's New Focus program and its progressive challenge to the Bush administration's policies, his radio interviews are archived at the www.newfocusradio.org site for listening and downloading. Vernon Frazer http://vernonfrazer.com ========================================================================= Date: Tue, 17 Oct 2006 11:07:06 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Gwyn McVay Subject: Re: anti-feminists who fear change In-Reply-To: <45348B08.5040204@gmail.com> MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 8bit Eric Yost wrote: > You're revealing your ignorance of [snippity snip -- long list of worldwide atrocities] Um, no. I'm revealing no such thing. Also, Kaspar Hauser was a *prisoner,* kept in a basement *against his will,* but if you want to see that as an attack, you go right ahead. Yes, US-based feminists know about these ghastly atrocities. Some of us are even working with international organizations, both open (e.g. Amnesty International, Médecins sans Frontières) and covert, to help stop them. But... help me with your logic here, or explain it in terms of Earth logic. Because horrible things are happening around the globe, it is bad to be a feminist in the US and to work on issues facing women in the US... why? Or, put a bit more bluntly: Does the fact that I haven't actually been killed, or had acid thrown in my face, following my rape diminish its atrocity? (Murder and disfigurement happen to women here too, or don't we get to think about that?) I suffer seizures because of traumatic brain damage from that attack. Is that insufficiently atrocious for you? Is it just an ordinary, boring rape because my then-boyfriend, the perpetrator, failed to murder me afterwards, or wasn't a Muslim? I'm so sorry not to be dead enough for you, Eric. But I seriously thought this list was beyond "my atrocity is more atrocious than your atrocity." Alex Dickow, may Buddhas follow his every step, asks a much more sensible question: how to help the women around whom he lives, as a first step toward freeing all women AND all men -- I believe I said that status-quo gender roles around the world are disabling to the intelligent participation of men in daily life and the world community, too. By his own account, he's already doing some of that -- living with respect for all, and researching, and then giving to, particular charities. One could help almost any organization meant to serve the poor, as poverty in the US is disproportionately female right now. My university's most recent production of Eve Ensler's _The Vagina Monologues_ was able to present a sizable check to each of two beneficiaries: a shelter for homeless women with children, and the county domestic violence services agency. Although, as Alex points out, the civic system in this country puts the "mental" in "governmental," one can put up flyers for, hand out leaflets for, work phone banks for, vote for, candidates for office who support and respect women in various ways. Hell, Alex could run for office his ownself. It's beautifully crazy enough to work. But "think globally, act locally" isn't just a bumper sticker. It's hard to recruit international relief workers from a population demoralized by its own poverty, vulnerability to violence, and general powerlessness. Gwyn "V for Volunteerism" McVay ========================================================================= Date: Tue, 17 Oct 2006 08:10:53 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Thomas savage Subject: Re: feminists (anti-feminists) who changed (fear change) In-Reply-To: <7.0.1.0.1.20061016155638.055be818@earthlink.net> MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Thank you for your intelligent and well-thought out posting relating to what I put out yesterday. Also, thank you for not calling me an anti-feminist since I am nothing of the sort. I merely suggested that feminism had not yet achieved its larger aims. One of the operative words here is "yet". I have no idea whether feminism will ever achieve these aims. But to call me anti-feminist because I suggested the fact that the whole world has not been changed in the way some changes have occurred here in the developed world is brain-dead and insulting. Also, what is "broken syntax" anyway?As for this discussion as a whole, my apologies for starting it. And, although Charles Bukowski, whose work has nothing in common with mine, abused women or said he did in his stories, some of his poetry is quite good. Enough said, I hope. But probably not. Regards, Tom Savage Mark Weiss wrote: I started this thread because I was perplexed by the phrase "feminist in its breaking the syntax," which I thought claimed rather more than it delivered while appealing to a theory that all constraints reflect a patriarchal prehistory. Mildly provocative on my part, at best. What's unfolded from that is pretty astounding--we've apparently not arrived at a moment when civil discussion about gender issues is possible. OK, here's what I think. Modern feminism arrived on the scene in middle class Europe and America (including, by the way, much of Latin America) at a propitious historical moment. Within the middle class the traditional division of labor and the power that goes with it had become manifestly obsolete by WWII, despite the reaction of the late 40s and 50s. As a result, massive social change within the middle class happened, in historic terms, with astonishing speed and lack of violence. Compare with the empowerment of the middle class (French Revolution), colonies (US and Latin American Revolutions, and into the present day), and the ending of slavery (US civil war, for one). In a bit more than a generation middle class women have come to be a majority of university students, new PHDs, new LLDs and MDs, and are quickly approaching at least parity in MBAs. The places that hire people with those degrees haven't notably lowered their payscales. And we will likely have a viable woman candidate for president of the US (to join the women who have been heads of state in make your own list of countries). I'm not implying that there were no sacrifices and no struggle, just that the situation could have been a lot worse with less success in another place and time. As it remains in other social classes in the industrialized and post-industrial world, and as it does in much of Latin America, Africa, and Asia. Simply, feminism has been less successful in places where the resistance is greater. And the resistance is greater in places where for many people traditional divisions of labor are, or at least seem to be, still functional. So by all means we should do everything in our power to aid in the empowerment of women wherever they are. But that empowerment will hit a wall of resistance as long as larger social conditions remain static. Muhammad Yunus and his Grameen Bank (winners of this year's Nobel Peace Prize) is a case in point. Most of his microloans have been to home-based businesses run by women. The women have disproportionally invested their earnings in schooling for their daughters as well as their sons, who will become advocates for more of same. The relief from the most grinding of poverty and the creation of disposable income, and the increase in education of both men and women, are likely to have an impact on all of the horrors we all know about. And it will of course expose more people to feminist ideas. Maybe in 20 or a hundred years we will no longer be able to separate the impact of feminist political action and thought from this kind of change in the lives of the poorest. Which would be fine by me--if things improve the argument will be academic anyway. But I doubt that there will be much improvement in the lives of women, whether in working class America or among the destitute in Bangladesh, without the socioeconomic change I'm talking about. Mark At 03:47 PM 10/16/2006, you wrote: >Eric Yost wrote: >>Or does a subverted multiculturalism mean we ignore the beam in our >>neighbor's eye to concentrate on the mote in our own? >Eric, if you seriously, for one moment, think that the issues facing >women in *just* the US today (and our trade neighbors -- think of >women maquiladora laborers, if only once) are merely a "mote," then >I submit that you are the Kaspar Hauser of the 21st century and >have, until recently, been living in a cave. Congratulations on your release. > >Man, oh, man, today seems to be the logical-phallacy day on Poetics. >Because feminist women and men have not fixed every scrap of the >totality of world culture by ourselves, we are told we have made >*no* difference. Because I explain that yes, feminism has to do with >issues such as health and bodily safety that affect all classes of >women (access to health care, safety measures, and good lawyers, one >notes, is exponentially harder for poor women) I am told I have just >accused a male in the conversation of himself being a rapist. > >Surprise -- you may already *be* a feminist, if not a "career" one >(whatever that means -- I guess one who has the temerity to do >feminist things and/or write a book about people doing feminist >things). Do you respect the rights of women to be safe, healthy, >respected, and equally paid for the same amount and competency of >labor? Are you not particularly uneasy to be operated on by a woman >surgeon, or guarded by a woman cop? If asked your opinion of a new >female co-worker, would your response be likelier to be something >job-related than "I'd hit that"? Congratulations! Gooble-gobble, we >accept you, one of us! > >Yes, we want each. and. every. damn. woman. to. be. free. Yes, it >chaps our bras (you didn't think we wore them, did you?) about women >in sweatshops, women in occupied Tibet, women being denied asylum >for fleeing genital cutting. If your particular area of concern, >like that of Mr. Yost, is girls suffering forced marriage at or >before puberty, then for fuck's sake do something about it! Help >come up with ideas for what to do about traditional crap treatment >of women under religious fundamentalism. Then help carry them out. >Then, bada-bing, you're a practical feminist, without even having to >listen to any Ani DiFranco records. > >But to sit on your ass at a computer in the US and moan because >bombing the shit out of Afghanistan has not abolished the burqa... please. > >R-E-S-P-E-C-T, find out what it means to me, >Gwyn (THE world is not the same as YOUR world) McVay --------------------------------- How low will we go? Check out Yahoo! Messenger’s low PC-to-Phone call rates. ========================================================================= Date: Tue, 17 Oct 2006 11:41:35 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: angela vasquez-giroux Subject: Re: anti-feminists who fear change In-Reply-To: <4534F19A.7050109@patriot.net> MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: quoted-printable Content-Disposition: inline this is the struggle as i see it--when we focus on making a change, it is difficult to do it without the tag of class in mind. for example, many of the institutionalized opressions facing women in the us tend to be concentrated on the lower economic classes--ie access to health care, which necessarily negates any real access to reproductive rights, etc. i am sure we can all count thousands of these examples. it seems to me that we can address the issue from hundreds of vantage points, but if the lowest common denominator is economic, and if economic reforms and changes are what will have the greatest effect, we need to at the very least be working on both fronts. i think here in the us a group like planned parenthood is doing some good work to that end. i don't mean to sound like a bastardly revolutionary, but it is hard for me to imagine any rich women being oppressed. (i am not a rich woman, so i suppose that explains it). within the subset of working poor/uninsured/underinsured/poverty stricken rates for all kinds of horrible things jump--murder, crime, infant mortality, unwanted pregnancy, etc. it's a self-perpetuating and reinforcing cycle. for me, as a novice scholar of feminism, it has been most difficult to reconcile what i know of feminism and feminist theory with what i see in my neighboorhood, my family, my life. i suppose access is the key, then--access to the same things women with much more money have. i know i'm rambling. angela On 10/17/06, Gwyn McVay wrote: > > Eric Yost wrote: > > You're revealing your ignorance of > [snippity snip -- long list of worldwide atrocities] > > Um, no. I'm revealing no such thing. Also, Kaspar Hauser was a > *prisoner,* kept in a basement *against his will,* but if you want to > see that as an attack, you go right ahead. > > Yes, US-based feminists know about these ghastly atrocities. Some of us > are even working with international organizations, both open (e.g. > Amnesty International, M=E9decins sans Fronti=E8res) and covert, to help > stop them. But... help me with your logic here, or explain it in terms > of Earth logic. Because horrible things are happening around the globe, > it is bad to be a feminist in the US and to work on issues facing women > in the US... why? > > Or, put a bit more bluntly: Does the fact that I haven't actually been > killed, or had acid thrown in my face, following my rape diminish its > atrocity? (Murder and disfigurement happen to women here too, or don't > we get to think about that?) I suffer seizures because of traumatic > brain damage from that attack. Is that insufficiently atrocious for you? > Is it just an ordinary, boring rape because my then-boyfriend, the > perpetrator, failed to murder me afterwards, or wasn't a Muslim? I'm so > sorry not to be dead enough for you, Eric. But I seriously thought this > list was beyond "my atrocity is more atrocious than your atrocity." > > Alex Dickow, may Buddhas follow his every step, asks a much more > sensible question: how to help the women around whom he lives, as a > first step toward freeing all women AND all men -- I believe I said that > status-quo gender roles around the world are disabling to the > intelligent participation of men in daily life and the world community, > too. By his own account, he's already doing some of that -- living with > respect for all, and researching, and then giving to, particular > charities. One could help almost any organization meant to serve the > poor, as poverty in the US is disproportionately female right now. My > university's most recent production of Eve Ensler's _The Vagina > Monologues_ was able to present a sizable check to each of two > beneficiaries: a shelter for homeless women with children, and the > county domestic violence services agency. Although, as Alex points out, > the civic system in this country puts the "mental" in "governmental," > one can put up flyers for, hand out leaflets for, work phone banks for, > vote for, candidates for office who support and respect women in various > ways. Hell, Alex could run for office his ownself. It's beautifully > crazy enough to work. But "think globally, act locally" isn't just a > bumper sticker. It's hard to recruit international relief workers from a > population demoralized by its own poverty, vulnerability to violence, > and general powerlessness. > > Gwyn "V for Volunteerism" McVay > --=20 http://mother-of-light.blogspot.com ========================================================================= Date: Tue, 17 Oct 2006 12:06:19 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mark Weiss Subject: Re: anti-feminists who fear change In-Reply-To: <8f6eafee0610170841n6aae1b90v9473fa9bd9e3dcbf@mail.gmail.co m> Mime-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1"; format=flowed Content-Transfer-Encoding: quoted-printable Some form of universal health care (preferably=20 socialized medicine) would be a good start, and=20 the endless crisis in health care in the US=20 begins to bring it within reach. One impact in=20 countries where it exists is that the percentage=20 of teenage pregnancies and teeenagers giving birth has plummeted. A change in the way school systems are funded=20 would be a good start, tho less likely. Local=20 funding based on real estate taxes guarantees=20 lousy, overcrowded schools in less affluent towns. Mark At 11:41 AM 10/17/2006, you wrote: >this is the struggle as i see it--when we focus on making a change, it is >difficult to do it without the tag of class in mind. for example, many of >the institutionalized opressions facing women in the us tend to be >concentrated on the lower economic classes--ie access to health care, which >necessarily negates any real access to reproductive rights, etc. i am sure >we can all count thousands of these examples. >it seems to me that we can address the issue from hundreds of vantage >points, but if the lowest common denominator is economic, and if economic >reforms and changes are what will have the greatest effect, we need to at >the very least be working on both fronts. i think here in the us a group >like planned parenthood is doing some good work to that end. > >i don't mean to sound like a bastardly revolutionary, but it is hard for me >to imagine any rich women being oppressed. (i am not a rich woman, so i >suppose that explains it). > >within the subset of working poor/uninsured/underinsured/poverty stricken >rates for all kinds of horrible things jump--murder, crime, infant >mortality, unwanted pregnancy, etc. it's a self-perpetuating and >reinforcing cycle. > >for me, as a novice scholar of feminism, it has been most difficult to >reconcile what i know of feminism and feminist theory with what i see in my >neighboorhood, my family, my life. i suppose access is the key, >then--access to the same things women with much more money have. > >i know i'm rambling. > >angela > > >On 10/17/06, Gwyn McVay wrote: >> >>Eric Yost wrote: >> > You're revealing your ignorance of >>[snippity snip -- long list of worldwide atrocities] >> >>Um, no. I'm revealing no such thing. Also, Kaspar Hauser was a >>*prisoner,* kept in a basement *against his will,* but if you want to >>see that as an attack, you go right ahead. >> >>Yes, US-based feminists know about these ghastly atrocities. Some of us >>are even working with international organizations, both open (e.g. >>Amnesty International, M=E9decins sans Fronti=E8res) and covert, to help >>stop them. But... help me with your logic here, or explain it in terms >>of Earth logic. Because horrible things are happening around the globe, >>it is bad to be a feminist in the US and to work on issues facing women >>in the US... why? >> >>Or, put a bit more bluntly: Does the fact that I haven't actually been >>killed, or had acid thrown in my face, following my rape diminish its >>atrocity? (Murder and disfigurement happen to women here too, or don't >>we get to think about that?) I suffer seizures because of traumatic >>brain damage from that attack. Is that insufficiently atrocious for you? >>Is it just an ordinary, boring rape because my then-boyfriend, the >>perpetrator, failed to murder me afterwards, or wasn't a Muslim? I'm so >>sorry not to be dead enough for you, Eric. But I seriously thought this >>list was beyond "my atrocity is more atrocious than your atrocity." >> >>Alex Dickow, may Buddhas follow his every step, asks a much more >>sensible question: how to help the women around whom he lives, as a >>first step toward freeing all women AND all men -- I believe I said that >>status-quo gender roles around the world are disabling to the >>intelligent participation of men in daily life and the world community, >>too. By his own account, he's already doing some of that -- living with >>respect for all, and researching, and then giving to, particular >>charities. One could help almost any organization meant to serve the >>poor, as poverty in the US is disproportionately female right now. My >>university's most recent production of Eve Ensler's _The Vagina >>Monologues_ was able to present a sizable check to each of two >>beneficiaries: a shelter for homeless women with children, and the >>county domestic violence services agency. Although, as Alex points out, >>the civic system in this country puts the "mental" in "governmental," >>one can put up flyers for, hand out leaflets for, work phone banks for, >>vote for, candidates for office who support and respect women in various >>ways. Hell, Alex could run for office his ownself. It's beautifully >>crazy enough to work. But "think globally, act locally" isn't just a >>bumper sticker. It's hard to recruit international relief workers from a >>population demoralized by its own poverty, vulnerability to violence, >>and general powerlessness. >> >>Gwyn "V for Volunteerism" McVay > > > >-- >http://mother-of-light.blogspot.com ========================================================================= Date: Tue, 17 Oct 2006 13:28:42 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Steve Evans Subject: Next Up on Poetry Radio Show Mime-Version: 1.0 (Apple Message framework v752.2) Content-Transfer-Encoding: 7bit Content-Type: text/plain; charset=US-ASCII; delsp=yes; format=flowed The third installment of Upper Limit Music, a weekly radio show exploring the sonic landscape of modern and contemporary poetry, will stream online live this Thursday from 1-3pm, courtesy of the WMEB server at http://wmeb.umaine.edu/ The first hour of the new show will feature soundfiles by Bernadette Mayer, Erica Hunt, Elizabeth Willis, Lydia Davis, Juliana Spahr, Joan Retallack, and Barbara Guest; in the second hour you'll hear Gertrude Stein, Nicole Brossard, Maggie O'Sullivan, Lyn Hejinian, Lee Ann Brown, Rachel Blau DuPlessis, Rae Armantrout, Jennifer Moxley, and Susan Howe. I'll mix some John Godfrey, James Schuyler, bp Nichol, Ernst Jandl, John Wieners, and Edwin Denby in there too. So have a listen, if you're in the mood. Playlist for the second show is here http://www.thirdfactory.net/lipstick.html#oct12 And first here http://www.thirdfactory.net/lipstick.html#oct6 No online archive, I'm sorry to say, but you can hear many of the tracks on PENNsound at http://www.writing.upenn.edu/pennsound/ Steve www.thirdfactory.net ========================================================================= Date: Tue, 17 Oct 2006 10:29:14 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jason Quackenbush Subject: Chuck B In-Reply-To: <20061017061735.4151.qmail@web83108.mail.mud.yahoo.com> MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII; format=flowed i never met charles bukowski. He died when I was like fifteen or something. but i do know teddy haggerty, and teddy knew charles bukowski, and based on the stories teddy tells, i get the impression that charles bukowski's reputation for being a violent and belligerent drunk isn't at all undeserved. that having been said, as a mellow and jabbering drunk, i have to say that there are worse things in the world to be than a violent and belligerent drunk. and also i'd like to point out that being a person with emotional problems does not make someone a bad person. or a bad poet. or a good poet for that matter. I like bukowskis poetry. He was one of the first 20th century American poets I read whose work really sang for me. this at seventeen after discovering that i didn't understand what ginsberg was talking about and coming to the conclusion that jack kerouac was wildly over rated. there was something in the vernacular and the top heavy weight of his lines that made something click in my brain and all of a sudden i was a poetry junkie. I know there are a lot of people who have had similar experiences with chuck b, and i think that that in itself is a pretty remarkable achievement. so credit where credit is due. On Mon, 16 Oct 2006, David Baratier wrote: > My 2 cents. > > The thing is > those of us who knew or met "Mr." Bukowski > could easily dispel most of this claptrap > appearing on this list > > but what fun would that be-- > with your pet promos pissed into hopelessness > > as who has time to write a few books of poetry > and a book or two worth of fiction every year > and be drunk every moment? > > I don't myself, but tommorrow when I have dinner with Amy Tan > maybe I will find out that she does. > None of the bunch of award winning folks > I find myself in truck with lately do-- > > So you believe "Mr." B was drunk each day? > What should I tell you next, > about what revelations > Morgan Spurlock told me > when in Columbus > making me pizza > & following my orders? > Should I further impound revelations > about Wal mart, > or Bill Shields > or Mc Donalds? > > Please-- > you are a bunch of dumb fucks > who do exactly what the hegemony expects. > > Even you foreigners,like daniel-- > yr the next Canadian Donald Hall > I know yr writing about birds & beavers & shits right now-- > sucking establishment ass for postition > & some day Rob will need to compete with you > because of your oh so "outsider" status > > If it were not for people like Gwen & Joe > and their opinion > I would dump this whole list > right in the pooper > like a pint of Jack > after a day at the races-- > > > > > > Be well > > David Baratier, Editor > > Pavement Saw Press > PO Box 6291 > Columbus, OH 43206 > http://pavementsaw.org > ========================================================================= Date: Tue, 17 Oct 2006 13:52:57 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: heidi arnold Subject: Re: anti-feminists who fear change In-Reply-To: <7.0.1.0.1.20061017115927.059a5c18@earthlink.net> MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: quoted-printable Content-Disposition: inline -- what's wrong with America for the Americans -- what's wrong with Feminism for the Feminists -- i just don't see how violence against all women differs from the violenc= e leveled against all men -- the violence against men just gets less press, i= n part i think because men still are the primary breadwinners in our society, they don't by and large have the time to tend their wounds, but they live i= n the same world women do -- people are human, whether male or female --people are human first, and more alike, than different -- in my case i don't think the road to a theory for peace is particularly feminist -- it i= s a human road -- you can't get peace through "self" -- because peace is abou= t the "other" the "thou" -- peace is about the people with the bombs as much as the people on the receiving end -- if you start getting selective and putting certain injustices in the foreground and other injustices in the background based on who's in charge, i don't think you can get to peace, because you will always have those people in the background who got there because of the foregrounding actions of selective identity politics -- when it chooses to demonize men feminism makes peace a goal much farther away -- it is a theory about social polarization as i understand it, correct me if this is not the case -- -- i don't see the point of embracing a theory that holds half the human race responsible for our problems -- we are all responsible -- -- this is intended to see feminism from a different vantage point, and i don't think that can be done from inside the feminist camp, for the reasons above -h On 10/17/06, Mark Weiss wrote: > > Some form of universal health care (preferably > socialized medicine) would be a good start, and > the endless crisis in health care in the US > begins to bring it within reach. One impact in > countries where it exists is that the percentage > of teenage pregnancies and teeenagers giving birth has plummeted. > > A change in the way school systems are funded > would be a good start, tho less likely. Local > funding based on real estate taxes guarantees > lousy, overcrowded schools in less affluent towns. > > Mark > > > At 11:41 AM 10/17/2006, you wrote: > >this is the struggle as i see it--when we focus on making a change, it i= s > >difficult to do it without the tag of class in mind. for example, many > of > >the institutionalized opressions facing women in the us tend to be > >concentrated on the lower economic classes--ie access to health care, > which > >necessarily negates any real access to reproductive rights, etc. i am > sure > >we can all count thousands of these examples. > >it seems to me that we can address the issue from hundreds of vantage > >points, but if the lowest common denominator is economic, and if economi= c > >reforms and changes are what will have the greatest effect, we need to a= t > > >the very least be working on both fronts. i think here in the us a grou= p > >like planned parenthood is doing some good work to that end. > > > >i don't mean to sound like a bastardly revolutionary, but it is hard for > me > >to imagine any rich women being oppressed. (i am not a rich woman, so i > >suppose that explains it). > > > >within the subset of working poor/uninsured/underinsured/poverty stricke= n > >rates for all kinds of horrible things jump--murder, crime, infant > >mortality, unwanted pregnancy, etc. it's a self-perpetuating and > >reinforcing cycle. > > > >for me, as a novice scholar of feminism, it has been most difficult to > >reconcile what i know of feminism and feminist theory with what i see in > my > >neighboorhood, my family, my life. i suppose access is the key, > >then--access to the same things women with much more money have. > > > >i know i'm rambling. > > > >angela > > > > > >On 10/17/06, Gwyn McVay wrote: > >> > >>Eric Yost wrote: > >> > You're revealing your ignorance of > >>[snippity snip -- long list of worldwide atrocities] > >> > >>Um, no. I'm revealing no such thing. Also, Kaspar Hauser was a > >>*prisoner,* kept in a basement *against his will,* but if you want to > >>see that as an attack, you go right ahead. > >> > >>Yes, US-based feminists know about these ghastly atrocities. Some of us > >>are even working with international organizations, both open (e.g. > >>Amnesty International, M=E9decins sans Fronti=E8res) and covert, to hel= p > >>stop them. But... help me with your logic here, or explain it in terms > >>of Earth logic. Because horrible things are happening around the globe, > >>it is bad to be a feminist in the US and to work on issues facing women > >>in the US... why? > >> > >>Or, put a bit more bluntly: Does the fact that I haven't actually been > >>killed, or had acid thrown in my face, following my rape diminish its > >>atrocity? (Murder and disfigurement happen to women here too, or don't > >>we get to think about that?) I suffer seizures because of traumatic > >>brain damage from that attack. Is that insufficiently atrocious for you= ? > >>Is it just an ordinary, boring rape because my then-boyfriend, the > >>perpetrator, failed to murder me afterwards, or wasn't a Muslim? I'm so > >>sorry not to be dead enough for you, Eric. But I seriously thought this > >>list was beyond "my atrocity is more atrocious than your atrocity." > >> > >>Alex Dickow, may Buddhas follow his every step, asks a much more > >>sensible question: how to help the women around whom he lives, as a > >>first step toward freeing all women AND all men -- I believe I said tha= t > > >>status-quo gender roles around the world are disabling to the > >>intelligent participation of men in daily life and the world community, > >>too. By his own account, he's already doing some of that -- living with > >>respect for all, and researching, and then giving to, particular > >>charities. One could help almost any organization meant to serve the > >>poor, as poverty in the US is disproportionately female right now. My > >>university's most recent production of Eve Ensler's _The Vagina > >>Monologues_ was able to present a sizable check to each of two > >>beneficiaries: a shelter for homeless women with children, and the > >>county domestic violence services agency. Although, as Alex points out, > >>the civic system in this country puts the "mental" in "governmental," > >>one can put up flyers for, hand out leaflets for, work phone banks for, > >>vote for, candidates for office who support and respect women in variou= s > >>ways. Hell, Alex could run for office his ownself. It's beautifully > >>crazy enough to work. But "think globally, act locally" isn't just a > >>bumper sticker. It's hard to recruit international relief workers from = a > >>population demoralized by its own poverty, vulnerability to violence, > >>and general powerlessness. > >> > >>Gwyn "V for Volunteerism" McVay > > > > > > > >-- > >http://mother-of-light.blogspot.com > --=20 www.heidiarnold.org http://peaceraptor.blogspot.com/ ========================================================================= Date: Tue, 17 Oct 2006 14:50:14 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Michael Kelleher Subject: Creeley Conference Mime-Version: 1.0 (Apple Message framework v752.2) Content-Transfer-Encoding: 7bit Content-Type: text/plain; charset=US-ASCII; delsp=yes; format=flowed Hi All, Here's a brief rundown on the Creeley Conference. First, a note to Martha and others who may have gone to "The Church." The event did not take place at "The" Church, i.e. the church recently rehabbed by Ani DiFranco, where Just Buffalo held the Creeley birthday celebration in May. It was held at "a" Church, specifically Trinity Church, which is about a half a block north of "The Church" on Delaware avenue. My cell was ringing off the hook with calls from people who went to the wrong place. 10/12 Robin Blaser and Rosmarie Waldrop read first, a massive thunder and snowstorm occurring outside. About 75 people attended, the largest attendance of the event. Unfortunately, the sound system left a little to be desired, making it extremely difficult to here either of the readers. Rosmarie read some new work and also from Reproduction of Profiles (newly re-released with the other two parts of the trilogy). When Robin first opened his mouth, a massive thunderclap shook the church. I don't think anyone, atheist, agnostic or believer, didn't pause to wonder the source. He read Creeley's "The Plan is the Body," and then launched into a reading of his own work. It was very difficult to hear him, as the mic would only pick him up when his mouth was directly in front of it. Unfortunately, I remember the technical difficulties more than I remember the content of his reading. Someone else will have to fill in the details. He seemed quite healthy, even spry, for those who were asking. Driving home that night around midnight, the destruction wrought by the storm became apparent as we drove up Richmond Avenue toward our home in the Black Rock neighborhood of Buffalo (we live about two blocks from the Creeley's old firehouse) -- trees split right down the middle, or tipped over on their sides, having pulled their roots right out of the ground, limbs everywhere forming labyrinths in the streets, total darkness. When we arrived at our house, the 150 year old Chestnut tree out front had lost five limbs, knocking out the power lines, phone lines and cable lines. We were awakened several times during the night by the sound of limbs snapping and falling on top of houses, cars, and whatever else was in the way. We still have no power on our side of the street. 10/13 The university closed, and the event would have been cancelled, but since all of the scholars in attendance were at the same hotel, they chose to borrow a conference room and to read their papers there. There was a complete travel ban throughout the region, so there was no way anyone could get to the university to post a note about the change of plans. Also, many of us had lost internet connections and/ or were trapped in our houses (I had to climb over torn power lines, tie up a cut phone line and remove half a tree just to get the car out of the garage (which I had to open and close manually). Around noon, word started to filter out through text messages and cellphone calls that papers were being read at the hotel. Many of us ignored the travel ban, hopped in our cars, and headed down to the hotel. In the morning, Ben Friedlander read his paper, called, "What is Experience." Also, Robin and Rosmarie gave brief readings so people could actually hear them. I missed all this, so someone else will need to fill you in. After lunch, Michael Gizzi gave a presentation about Creeley and Jazz, juxtaposing readings by Creeley with certain jazz recordings. You'll have to ask Michael what the recordings were, but they perfectly exemplified Creeley's breathline in music. Having only ever made the comparison myself in the abstract, it was amazing to listen to them side by side like that and really hear the rhythms. peter Middleton gave a talk on Creeley's teaching, which drew partly from his experience as Creeley's student at Buffalo in the 70's. Rachel Blau du Plessis finished with a paper on re- gendering in Creeley. She told a moving anecdote about Creeley that nearly brought her (and us) to tears, then gave a really strong reading of gender in Creeley's work. In the evening, John Ashbery and Susan Howe gave a reading at Trinity Church. About 45 people were in attendance. They had a better mic and so were able to better be heard. Susan read a few older pieces focused on Buffalo, then continued with newer work, which sounded great. With Ashbery, I was struck for the first time by the rhythmic complexity of his work. I have never thought of his work in terms of its sound before, but this time, perhaps because of the booming echo of the 150 year old church, the sound struck me more than the content. His work is some of the most polyrhythmic work I recall hearing, with incredibly subtle modulation among the different patternings of sound. No thunderclaps this night. 10/14 Papers were given in the morning and the afternoon in the church chapel at Trinity. Morning papers by Michael Davidson ("Creeley's Rage") and Stephen Fredman (on Creeley and the Interview) were both fantastic. In the middle of one of them a boombox sitting on the steps to the altar sudden let out a shriek of feedback, at which point I felt certain Bob's ghost was hiding behind an arras somewhere. Charles' Altieri gave a paper I did not understand, during which he read several of Creeley's poems out loud, giving the impression a non-musician blowing on a tuba. Unfortunately, I had to go home for a spell to attend to some branches and wires and quickly deteriorating food, so I missed papers by Peter Quartermain and Alan Golding. Marjorie Perloff didn't make it, nor did Charles Berntein. Ann Lauterbach and Rachel BdP (in place of Charles) read in the evening. The sound was fine and there were probably 65 or so people in attendance. Rachel read one of her long "drafts," a kind of tract on Adorno's comment on poetry after Auschwitz. Ann read mostly from her book Hum, and also some new work, inlcuding something called "Alice in the Wasteland." Ann is amazing to see read, as she has this kind mesmerizing, if affected, way of waving her left hand around as though she were conducting a symphony. And then everyone went to the Founding Father's Pub to tie on a good load. ========================================================================= Date: Tue, 17 Oct 2006 12:44:02 -0700 Reply-To: r_loden@sbcglobal.net Sender: UB Poetics discussion group From: Rachel Loden Subject: shameless flog MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Forgive this brief fit of shamelessness but wanted to say that I'm interviewed in Kate Greenstreet's terrific series today and tomorrow (and I guess in the archives with lots of interesting people after that): http://www.kickingwind.com/ Tossed about are the law of unintended consequences, Foetry, "Auction of the Mind," Vermont and snow, Randolph Healy, The Year's Best Fantasy and Horror, the Ontological-Hysteric Incubator, hideous baby aliens, the HumPo list, chaos theory, and much more. Rachel Loden P.S. Apologies for cross postings and for annoying ones as well. ========================================================================= Date: Tue, 17 Oct 2006 15:08:15 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: David-Baptiste Chirot Subject: Re: anti-feminists who fear change Mime-Version: 1.0 Content-Type: text/plain; format=flowed estimado eric yost- I think you've --willfully or not--misunderstood what I'm writing. (and i may well have not made it sufficiently clear as well . . . ) I am not excoriating American or Western soceity, what I am saying is that for example a person in my position, (ie. survival level) the place to start activism is where I have a direct presence, voice, etc--my community. Where I live is very high rate of prostitution, violence against women, teen pregnancy, homeless women, single mothers below the poverty level, crack flowing down the streets, alcoholism, roving bands of violent kids aged ten to 14 attacking people when they feel like it. (Killed a friend of mine two summers ago.) I'm not excoriating this world or society, I care deeply for it, I'm part of it. I'll do anything I can for it. It's been my home for several years now. By diverting attention I mean that this is a tactic often used by (usually right wing) talk radio and tv--bring up a problem in the USA such as rape, violent mistreatment of women, and the host will scream what about Sharia, Muslim countries????? Isn't that just like feminists, attacking their own country and ignoring the far greater evils throughout the Muslim world? It's a form of distortion in which you place your opponent in the position of looking anti-American, pro-Muslim (and Nazi in your equation below) and you feel as though you have exposed feminism as just another anti-American "ism" to be done away because it doesn't go after what should be its "prime concern"--what goes on in Muslim countries. In the current climate of being at war with Muslim countries, this has a lot of the ring of the "either you're for us or you're against us" pronunciamentos of G. W. Bush and Company. What I hear in your posts isn't a compassion for Muslim women, but rather a fear and hatred of Muslims--you equate them with Nazis. Rather than understand that I mean to accomplish something constructive in the world where I can, here in the USA, that not all of us can begin with work abroad, your hysteria continually has you focused on this anti-Muslim agenda. If I am not part of that, then I must be against it. Therefore anti-American, anti-Western, etc. What do you propose? Further wars? There are women's movements and organizations world wide working to end the practicies you write of, and they have been for some time and they are slowly making a difference. In many countries, these practices began even before Islam came. It is going to take very hard work to overcome over thousand years and more of traditions, taboos, "honor"--just as in this society the same can be said in other ways one sees daily, that it is very hard work to change behaviours considered as "natural" or as "rights" or "privileges" to be granted without question. It sounds like you are not so much concerned with the Sharia as with the eradication or defeat in some catastrophic manner of Islam, as Nazism was defeated. And if Sharia/Islam were defeated, we would all be more liberated at home. Yet so far the wars against Islamic countries and terrorist organizations have been the cause given for the attack on civil liberties at home. And more and more cuts in any form of aid to programs and people at home in desperate need of bare essentials--a meal, a place to sleep that's safe-- let alone medical care, education, proper nutrition, heating, electric, water, transporation, day care, counseling, job training, much else-- I suggest you look into all the organizations around the world working to change the practices you write of. I think you'll find it far larger than you may have had any idea. If you truly do care so much about Sharia, why not contact one of these organizations and find out what you can do for/with them? I don't do things out of a theory or because i'm a "good person" --I've lived the life around me and people helped me when I was at the very bottom of it. It may sound corny but you want to give back--and do what you can for someone else what others did for you. And the place where one can do the best is the one one knows that others can't learn about in a course or training program, the one one lives in, and , in my case, doesnt have the means to go beyond. That doesn't mean that I don't care deeply about Sharia or know nothng about it. It means simply that I am accepting and working within my limitations. And I also believe if this country is going to go around the world preaching its superior way of life, morality, justice, democracy, and all the rest, then it should practice what it preaches. Katrina a year ago revealed for a while the tip of the iceberg of an America left ever more uncared for in large part because of the wars abroad. How much have those wars improved life for women in Iraq and Afghanistan? For women in America? I can tell you a wonderful effect they are having on the streets and in the suburbs of America--bonanza time in the heroin tarde, the most and best heroin ever seen flooding the market, an outbreak of overdoses among even old addicts, treatment places filling up with young addicts in truly terrible shape due to the potency of the new stocks--and each crop of opium poppies bigger than the last. More addicts--more prostitution, more abusisive relationships, sexually transmitted diseases, etc etc more children born with developmental problems, more people living in poverty, more crime, more probelms for the addicts' families, an endless series of ripples expanding outwards into society. Three losing Wars now intersect daily: the War on Poverty, the War on Drugs and the War on Terrorism. "Think globally and act locally" today means very much that to work in interventions in one's neighborhood and work for changes at the simplest daily level, is also linked very much with events happening abroad. You write that people ignored Nazism from abroad. Nazism was ignored first by people at home. While being aware of things aboard, one needs to be aware of them at home also, before they happen to one unawares. Look how much already has happened to this country in the last five years. As an Upton Sinclair novel of the Thirties has it "It Could Happen Here". "Oh say can you see"--your civil rights shrinking?-- There are a great many woman and people of all countries world wide working to chamge Sharia. And there are people working to change things here at home also. Both are needed. Why not give a hand, there's more than enough to do. >From: Eric Yost >Reply-To: UB Poetics discussion group >To: POETICS@LISTSERV.BUFFALO.EDU >Subject: Re: anti-feminists who fear change >Date: Tue, 17 Oct 2006 02:06:37 -0400 > >D-B: Why the moment people begin to speak of conditions in the United >States are they swfitly told horrors are much worse under Islam? > >Eric: Why is it that the moment someone fingers the worst offenders against >any aspect of basic human rights, they are immediately reminded that the >purpose of the discussion is to excoriate American or Western society? >Reflexive masochism perhaps? > >D-B: To tell people to divert their attention and direct it elsewhere far >away where they can have little immediate effect --let alone only in >Islamic countries only-- > >Eric: Ah, at last, your points: (a) it is a diversion solely because you >feel we can't do anything about it, and (b) to even mention the worst >offenders is to criticize them alone, and ignore the West. > >First, are you incapable of imagining Western feminists strongly engaging >women who live under Islamic Sharia oppression? Do you really think the >majority gender so powerless to work change where the worst offense is? If >it is a diversion to mention Sharia's crimes against women, then it was >equally a diversion for people in the 1940s to alert the West to the Nazi's >genocidal intent. > >Second, to mention the worst offenders in the world is not to ignore the >lesser offenders at home. What would make you think that? To go back to a >historical analogy, it was precisely the defeat of Nazism (and all the >societal structural changes incumbent to that defeat, i.e., women workers >in defense plants, African-American valor in combat) that highlighted our >own domestic inequalities and set the stage for their gradual institutional >remedy. _________________________________________________________________ Use your PC to make calls at very low rates https://voiceoam.pcs.v2s.live.com/partnerredirect.aspx ========================================================================= Date: Tue, 17 Oct 2006 13:09:49 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Bruce Covey Subject: lubasch / mark reading in Atlanta In-Reply-To: <8F30E800-A67D-4F2A-8CE3-E7F014E519E1@justbuffalo.org> MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit The second reading of the Fall 2006 What's New in Poetry Series will feature Lisa Lubasch and Sabrina Orah Mark this Thursday, October 19, 7:30pm, Dobbs Hall Parlor, Emory University, Atlanta, GA. Refreshments will be served. ========================================================================= Date: Tue, 17 Oct 2006 13:17:54 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: George Bowering Subject: Re: Chuck B In-Reply-To: MIME-version: 1.0 (Apple Message framework v619) Content-type: text/plain; charset=US-ASCII; format=flowed Content-transfer-encoding: 7bit On 17-Oct-06, at 10:29 AM, Jason Quackenbush wrote: > I like bukowskis poetry. He was one of the first 20th century American > poets I read whose work really sang for me. this at seventeen after > discovering that i didn't understand what ginsberg was talking about > and coming to the conclusion that jack kerouac was wildly over rated. > there was something in the vernacular and the top heavy weight of his > lines that made something click in my brain and all of a sudden i was > a poetry junkie. I know there are a lot of people who have had similar > experiences with chuck b, and i think that that in itself is a pretty > remarkable achievement. so credit where credit is due. > Yr right. There must be a lot of 17-year-olds that like Bukowski's poetry. ========================================================================= Date: Tue, 17 Oct 2006 15:26:30 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: mIEKAL aND Subject: Re: Chuck B In-Reply-To: <92A2560E-5E1C-11DB-83E3-000A95C34F08@sfu.ca> Mime-Version: 1.0 (Apple Message framework v752.2) Content-Type: text/plain; charset=US-ASCII; delsp=yes; format=flowed Content-Transfer-Encoding: 7bit Only if Bukowski has a myspace page. On Oct 17, 2006, at 3:17 PM, George Bowering wrote: > On 17-Oct-06, at 10:29 AM, Jason Quackenbush wrote: > >> I like bukowskis poetry. He was one of the first 20th century >> American poets I read whose work really sang for me. this at >> seventeen after discovering that i didn't understand what ginsberg >> was talking about and coming to the conclusion that jack kerouac >> was wildly over rated. there was something in the vernacular and >> the top heavy weight of his lines that made something click in my >> brain and all of a sudden i was a poetry junkie. I know there are >> a lot of people who have had similar experiences with chuck b, and >> i think that that in itself is a pretty remarkable achievement. so >> credit where credit is due. >> > Yr right. There must be a lot of 17-year-olds that like Bukowski's > poetry. ========================================================================= Date: Tue, 17 Oct 2006 13:36:45 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jason Quackenbush Subject: Chuck B and Agism In-Reply-To: <92A2560E-5E1C-11DB-83E3-000A95C34F08@sfu.ca> MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII; format=flowed Content-Transfer-Encoding: QUOTED-PRINTABLE hahahahahahaha. see what's funny about that is that you write "there must be a lot of seven= teen year olds who like bukowskis poetry" as if to say that bukowski writes= at the "level" of seventeen year olds. Which is bashing both me and bukows= ki because we're at that "level" and that a more mature "level" exists wher= e one would see through the transparent sham that is bukowski. hoo boy. tha= t's funny. but what's even more funny is that we've been going around and around on th= e list these last few days about feminism and the lack of sexual inequality= , when this sort of blatant agism goes completely unchecked, and probably w= ould go unnoticed if I wasn't pointing it out right now. age discrimination= is one of the few forms of bigotry that's socially acceptable in our socie= ty, and I'm tired of how blind people who i think should be more sensitive = to it often are. What if Mr. Bowering, someone had said in a similarly dism= issive manner "yes, I'm sure there are lots of black people who like charle= s bukowski" or "yes, I'm sure there are lots of women who like charles buko= wski?" Both statements are undoubtedly true, Charles Bukowski is very popul= ar, and there are lots of PEOPLE who like him. But your singling out a grou= p as a method of ridiculing him says nothing about him, or about that group= , it only says something about you, as I think the thought experiment above= succinctly demonstrates. On Tue, 17 Oct 2006, George Bowering wrote: > On 17-Oct-06, at 10:29 AM, Jason Quackenbush wrote: > >> I like bukowskis poetry. He was one of the first 20th century American p= oets=20 >> I read whose work really sang for me. this at seventeen after discoverin= g=20 >> that i didn't understand what ginsberg was talking about and coming to t= he=20 >> conclusion that jack kerouac was wildly over rated. there was something = in=20 >> the vernacular and the top heavy weight of his lines that made something= =20 >> click in my brain and all of a sudden i was a poetry junkie. I know ther= e=20 >> are a lot of people who have had similar experiences with chuck b, and i= =20 >> think that that in itself is a pretty remarkable achievement. so credit= =20 >> where credit is due. >>=20 > Yr right. There must be a lot of 17-year-olds that like Bukowski's poetry= =2E > ========================================================================= Date: Tue, 17 Oct 2006 16:41:32 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Christopher Leland Winks Subject: Re: anti-feminists who fear change In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=utf-8 Content-Disposition: inline Content-Transfer-Encoding: quoted-printable Great one=2C David=2E I=27d recommend that el estimado se=E2=98=BAor Yo= st read = Fatima Mernissi=2C Leila Ahmed=2C Nawal el-Saadawi (feminists all)=2C an= d = visit the Revolutionary Association of the Women of Afghanistan = website=3A www=2Erawa=2Eorg And from my standpoint=2C I think anybody who points fingers at the = (actually very diverse) =22Muslim world=22 should ponder very carefully = the recent killings by a gunman of 10 young Amish girls (deliberately = targeted) in Nickel Mine=2C Pennsylvania and think about what this says = of the hideous misogyny raging in our very own =22democratic and = enlightened=22 society=2E Even a New York Times columnist=2C Bob Herber= t=2C = was moved to raise some questions in this regard=2E ========================================================================= Date: Tue, 17 Oct 2006 14:08:03 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Nick LoLordo Subject: Re: Chuck B and Agism In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 8bit there must be a lot of 87 yr olds who like Allen Tate's poetry... Quoting Jason Quackenbush : > hahahahahahaha. > > see what's funny about that is that you write "there must be a lot > of seventeen year olds who like bukowskis poetry" as if to say that > bukowski writes at the "level" of seventeen year olds. Which is > bashing both me and bukowski because we're at that "level" and that > a more mature "level" exists where one would see through the > transparent sham that is bukowski. hoo boy. that's funny. > > but what's even more funny is that we've been going around and > around on the list these last few days about feminism and the lack > of sexual inequality, when this sort of blatant agism goes > completely unchecked, and probably would go unnoticed if I wasn't > pointing it out right now. age discrimination is one of the few > forms of bigotry that's socially acceptable in our society, and I'm > tired of how blind people who i think should be more sensitive to > it often are. What if Mr. Bowering, someone had said in a similarly > dismissive manner "yes, I'm sure there are lots of black people who > like charles bukowski" or "yes, I'm sure there are lots of women > who like charles bukowski?" Both statements are undoubtedly true, > Charles Bukowski is very popular, and there are lots of PEOPLE who > like him. But your singling out a group as a method of ridiculing > him says nothing about him, or about that group, it only says > something about you, as I think the thought experiment above > succinctly demonstrates. > > On Tue, 17 Oct 2006, George Bowering wrote: > > > On 17-Oct-06, at 10:29 AM, Jason Quackenbush wrote: > > > >> I like bukowskis poetry. He was one of the first 20th century > American poets > >> I read whose work really sang for me. this at seventeen after > discovering > >> that i didn't understand what ginsberg was talking about and > coming to the > >> conclusion that jack kerouac was wildly over rated. there was > something in > >> the vernacular and the top heavy weight of his lines that made > something > >> click in my brain and all of a sudden i was a poetry junkie. I > know there > >> are a lot of people who have had similar experiences with chuck > b, and i > >> think that that in itself is a pretty remarkable achievement. so > credit > >> where credit is due. > >> > > Yr right. There must be a lot of 17-year-olds that like > Bukowski's poetry. > > > ---------- V. Nicholas LoLordo Assistant Professor University of Nevada-Las Vegas Department of English 4504 Maryland Parkway Las Vegas, NV 89154-5011 (702) 895-3623 ========================================================================= Date: Tue, 17 Oct 2006 17:38:06 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: heidi arnold Subject: Re: anti-feminists who fear change In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline Gwyn, and all, i apologize if i offended anyone in my earlier post -- sort of -- it wasn't intended to silence anyone simply to disagree as a matter of discussion regards, heidi > > -- www.heidiarnold.org http://peaceraptor.blogspot.com/ ========================================================================= Date: Tue, 17 Oct 2006 18:41:35 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Margaret Konkol Subject: Robert Creeley Conference Oct 12th-14th 2006 MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 8bit As the snow fell over Buffalo Thursday night Rosemarie Waldrop and Robin Blaser read their work to the assembled crowd at Trinity Church in downtown Buffalo. This was the first of three nights of readings and two full days of talks at "On Words: A Conference on the Life and Work of Robert Creeley." For those that were able to attend it was a memorable and wonderful occasion. -Margaret Konkol ========================================================================= Date: Tue, 17 Oct 2006 22:29:06 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Peter Ciccariello Subject: study war no more MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline study war no more -- Peter Ciccariello http://invisiblenotes.blogspot.com/ ========================================================================= Date: Tue, 17 Oct 2006 23:20:06 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: ALDON L NIELSEN Subject: Coming to Brooklyn MIME-Version: 1.0 Content-Type: text/plain; charset=utf-8 So now it's back to the East Coast. I'll be speaking Thursday afternoon at Brooklyn College as part of a conference on the life and works of Larry Neal. Drop on by. For more information on the conference and its schedule, visit this url: http://english.rutgers.edu/conferences/larryneal/ ========================================================================= Date: Tue, 17 Oct 2006 21:17:01 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Matt Henriksen Subject: Two Burning Chair Readings This Weekend MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Live Like You Want to Live, Baby, w/ The Burning Chair Readings Lee Ann Brown, Joanna Fuhrman, & Erica Kaufman Friday, October 20th, 7PM The Fall Café, 307 Smith Street, between Union & President F or G to Carroll Street Adam Clay & Kate Greentreet In celebration of their books The Wash & case sensitive Saturday, October 21st, 8PM Pierogi Gallery, North 9th Street, between Bedford & Driggs L to Bedford or B61 Bus BYOB Contact matthenriksen@yahoo.com or 917-478-5682 Bios Born in Japan on October 11th, 1963, Lee Ann Brown is a poet, filmmaker, performer who now divides her time between New York City and Marshall, North Carolina in the Blue Ridge mountains. She is Assistant Professor of English at St. John’s University, and occasionally teaches as part of Naropa University's Writing and Poetics Program. She is also founder and editor of Tender Buttons Press. Her books include The Sleep That Changed Everything (Wesleyan), Polyverse (Sun & Moon Press), and she just got back from the southern portions of the 2006 Wave Book Tour. Joanna Fuhrman is the author of three books of poetry published by Hanging Loose Press, Freud in Brooklyn (2000), Ugh Ugh Ocean (2003) and Moraine (2006). Her poems have appeared in all the usual places: New American Writing. Conduit, Lit, Court Green, American Letters and Commentary, and in anthologies published by Carnegie Mellon Press, HarperCollins and Soft Skull Press. She works as a private tutor, and teaches creative writing in the NYC public schools. Erica Kaufman co-curates the belladonna* reading series/small press and is the author of the chapbooks: from the two coat syndrome , the kickboxer suite, and a familiar album (winner of the 2003 New School Chapbook Contest). Her poems have appeared in or are forthcoming in Puppy Flowers, Bombay Gin, The Mississippi Review, jubilat, Good Foot, CARVE, and elsewhere. Other things are also coming soon from different places. Adam Clay lives in Kalamazoo, Michigan. Parlour Press recently released his first book, The Wash. Recent poems appear in Denver Quarterly, CutBank, and Barrow Street. Kate Greenstreet's chapbook, Learning the Language, was published by Etherdome Press in 2005. Her first full-length book, case sensitive, is newly available from Ahsahta Press. Her blog, Every Other Day, lives at __________________________________________________ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com ========================================================================= Date: Wed, 18 Oct 2006 00:28:43 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jonathan Skinner Subject: Creeley Conference Comments: To: "UB Poetics discussion group "@LISTSERV.BUFFALO.EDU In-Reply-To: Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit Four Days in Vermont Window's tree trunk's predominant face a single eye-leveled hole where limb's torn off another larger contorts to swell growing in around imploding wound beside a clutch of thin twigs hold to one two three four five six dry twisted yellowish brown leaves flat against the other grey trees in back stick upright then the glimpse of lighter still greyish sky behind the close welted solid large trunk with clumps of grey-green lichen seen in boxed glass squared window back of two shaded lamps on brown chiffonier between two beds echo in mirror on far wall of small room. (Robert Creeley, Life & Death) Some reports on Buffalo's trees . . . JS http://www.buffalonews.com/editorial/20061015/1035840.asp Parks' treasures badly battered "Psychologically, . . . we've lost a lot of wealth." By GENE WARNER News Staff Reporter 10/15/2006 John Hickey/Buffalo News Frederick Law Olmsted would be devastated. The jewels of his vision, the stately maples, oaks and ash trees lining Buffalo's parkways and parks have been clobbered, and recovery might take generations. A preliminary estimate has found that roughly 90 percent of the 5,700 trees in Delaware Park and its three nearby parkways were damaged in the 16-hour snowstorm that hit Thursday. A similar percentage was damaged in the system's five other parks - Riverside, Front, Martin Luther King, Cazenovia and South - Olmsted Parks officials suspect, although they said they hoped the smaller snowfalls in South Buffalo left fewer problems. Just like homeowners across the metro area mourning the loss of their favorite trees, Olmsted Parks officials are bemoaning the long-term effects of the storm - except they agonize over thousands of trees. "Our greatest fear is that this single event may have wrought as much damage to Buffalo's treasured Olmsted parks and parkway system as the past 100 years of man's intrusion on these parklands," said Johnathan Holifield, chief executive officer of the Olmsted Parks Conservancy. "It's that big a deal." How would Olmsted have responded to the carnage? "Olmsted would say that this great city is a little poorer on Oct. 14, both literally and figuratively, than it was on the morning of Oct. 12," Holifield said. "Psychologically, in what these trees add to the heart and soul of this community, we've lost a lot of wealth." But a preliminary canvass of Delaware Park's trees also produced some fairly good news. "I would think 85 to 90 percent of the trees are savable," said Jeff Brett, the parks' tree-care supervisor. "That's a figure of what will live through the storm. But some of them, even though they're still standing and living, may have suffered a large split or structural defect, and they may have to be taken down." The Olmsted Parks have a total of 10,889 trees, including about 5,200 in Delaware Park and another 520 on Lincoln, Chapin and Bidwell parkways. Following his own tour of Delaware Park, Brett estimated that 90 percent of all trees there were harmed in some way. "Everything that still had leaves on them was damaged," he said. "They weren't built to support the weight of the leaves and the heavy snow load." The best news came out of Buffalo's parkways. While downed branches with their green leaves still covered the parkway islands on Lincoln, Chapin and Bidwell on Saturday, Brett said he believed virtually all of these smooth-leaf elms were savable. According to his preliminary estimate, Rumsey Woods, near the Delaware Park Rose Garden, had the greatest damage. Brett saw more trees uprooted or split in half, especially when the ground already was soft from the recent wet weather. "Any tree that was leaning already, when you add the snow load, that was just too much for the roots to hold," he said. During a brief tour of Delaware Park, Holifield spotted a tree off the ring road with what seemed like minimal damage, with a few split branches some 10 or 15 feet above the ground. "Look at this one tree," he said. "This is not a 10-minute job. This may be a four- or five-hour job. And this is a tree with minimal damage. We have thousands of trees that require attention." That cleanup may cost hundreds of thousands of dollars, perhaps more than $1 million. "But that's just the beginning," Holifield added. "Our challenge is to restore and rehabilitate this wonderful community asset. That's going to require planning and additional resources." Elsewhere Saturday, the painstaking job of removing downed trees, limbs and branches continued, as homeowners assessed their loss. The number of damaged trees continues to be staggering. In the Town of Tonawanda alone, the number could exceed 50,000, according to estimates provided by Cal Champlin, town clerk. "You go down any street, and you can barely find a house that doesn't have significant loss of tree limbs, branches or, in some cases, trees themselves," Champlin said. After Supervisor Ronald H. Moline met Saturday with National Grid officials, town officials said they believe 90 percent to 95 percent of their residents have lost electric power and heat. "There seemed to be a sense that the Town of Tonawanda was close to ground zero in terms of the people without power and [with] tree damage," Champlin said. One town official said that except for the snow, the town would appear to have been hit by a hurricane. Holifield had a different take: "I'm a Midwestern guy. It looks like a tornado came through, not a snowstorm." * http://www.buffalonews.com/editorial/20061014/1020463.asp STORM AFTERMATH Killer storm devastated region's trees Trees: Tens of thousands of trees damaged By GENE WARNER, JAY TOKASZ and JOHN F. BONFATTI NEWS STAFF REPORTERS 10/14/2006 Charles Lewis/Buffalo News The region's wooded landscape has been forever changed. Tens of thousands of trees are down or doomed. "This is going to be called the Columbus Day massacre, in local tree parlance," said Buffalo attorney David J. Colligan, a local tree expert. "The trees are massacred, no question." Perhaps, though, an even larger number can be saved with careful pruning and patience, experts say. Rough estimates pegged the number of lost trees at 10,000 to 15,000 in the city, and that's just the "street trees" located between the sidewalks and curbs. That number could be doubled once front-lawn and backyard trees are added. Add trees lost in the suburbs, and the total could be almost doubled again. Some might quibble with those numbers, but it's clear the doomed trees would fill a small forest. One official said the downed or doomed trees would fill about a 250-acre forest - more than two-thirds the size of Delaware Park. "This is going to change the look and landscape of the city for 20 years," said Buffalo Public Works Commissioner Joseph N. Giambra. "Certain neighborhoods just aren't going to look the same." The sight of downed trees, snapped limbs and split trunks will forever be the snapshot of a heavy snowfall that brought down leaf-bearing branches and trees, especially throughout North Buffalo, Buffalo's West Side, Kenmore, Snyder, Eggertsville, Clarence and the city's northern suburbs. If that was the snapshot, the eeriest sound may have been the cracking of branches and limbs in rapid-fire succession late Thursday night. "It sounded like firecrackers going off," said Scott Czamara of Westmoreland Road, Amherst, where tree limbs started coming down at about 10 p.m. Thursday. That was followed Friday by the sad sound of chain saws and manual saws cutting through downed trunks and limbs. Czamara was cutting a tree that blocked his driveway Friday, using a handsaw with his friend Tripp Higgins, also a Westmoreland resident. Westmoreland was passable, but cars had to dodge downed tree limbs. Most of the side streets that ran into it were not passable, with large tree limbs blocking the way through. "I guess," said Higgins, "it's Mother Nature's way of pruning." In much of Buffalo and its northern suburbs, the scene was remarkably similar, and the effects were like that of any crippling snowstorm, with many main streets passable but side streets choked. In this storm, though, the side streets were blocked not with snow, but with wood. Soaring old growth trees in some of the area's wealthiest neighborhoods took the brunt of the storm. On High Park Boulevard in Eggertsville, some residents marveled at the disappearance of the canopy of foliage that had made their street seem like living in a park. The next street over, Le Brun Road also was hit hard, as were streets such as Chapin and Lincoln parkways and Nottingham Terrace in Buffalo's Delaware District. "I think our property values just dropped 10 percent," said Frank Robertson, only half joking about the damage on Argonne Drive, a Kenmore street long noted for its lovely treescape. Silver maples seemed particularly susceptible to damage, some residents noted. "The tops of these trees are dead, so it doesn't take a lot for them to snap off," said Frank Killian, a Town of Tonawanda homeowner. This natural disaster had one odd sight for a snowstorm: Anyone driving on a main thoroughfare like Elmwood Avenue could look down a side street and see a combination of snow and green-leaf-bearing branches - on the ground. "The devastation is just unbelievable in some places," Giambra said. "There are lots where there are 10 trees, and all of them are destroyed." Colligan, chairman of the Reforest Buffalo Committee and known as the "tree man," referred to the "perfect storm" elements of the Columbus Day massacre: a southwestern wind roaring across Lake Erie toward a community with trees that still had their foliage. "It was like a perfect 100-mile-long bowling lane, with the Buffalo trees as the bowling pins," he said. "It's a devastating event." e-mail: gwarner@buffnews.com * COMMENTARY Storm leaves scars on face of Buffalo 10/15/2006 By DONN ESMONDE The dig-out is different this time. It is not like any other time before. The legacy of this storm will linger like no other. Buffalo got back on its knees Saturday. Signs of early stage recovery were everywhere. Traffic lights blinked back on, roads were cleared of tree limbs, electrical juice surged back into thousands of homes. Joggers appeared on streets, cars returned to roads, the area staggered back towards normal. This is what we see after every big storm. We have done this drill countless times. This time, in one large way, it is different. A freak early October storm dropped nearly 2 feet of wet snow Thursday and Friday. Trees still adorned with leaves caught the weight of it, bore the load for hours, then snapped under the strain. Cars were crushed, fences felled, garages obliterated, houses hurt. The city and region were not just blanketed, but assaulted. This storm leaves us not just cleanups, but scars. Limbs and branches - forestry's body parts - litter streets, lawns and sidewalks. Surviving trees are torn and wounded, some fatally. Anyone visiting today would think we were hit not by a snowstorm, but by a hurricane. Limbs cracking in the crux of the storm sounded like bones breaking. It was the grand old bones of our glorious wealth of old-growth trees, snapped and maimed. We were helpless to stop it, we could only witness the destruction. Some even wept at the sight of it. Nothing like this ever happened before. The infamous Blizzard of '77 did not deliver this sort of damage. It was as if a giant stomped down every street, the B-movie "Attack of the 50-Foot Woman" come to life. Steve Bernstein has spent all of his 52 years in Buffalo, the past 23 in his house overlooking Bidwell Parkway. It is part of Frederick Law Olmsted's grand streetscape, a tree-lined strip of nature amidst the urban swirl. Bernstein piled fallen branches at the curb Saturday afternoon and surveyed the natural wreckage. "Bidwell looks like a war zone," said Bernstein. "Things come back to life, Buffalo has a way of making that happen. But you wonder what it will take to make it happen this time." It is unsettling, driving down the damaged streets. There is a sense of unbalance, the psychological equivalent of walking on ice. Snow comes and goes. The twisted wreckage of maimed trees makes it seem like we were attacked. The natural order of things was violated. This storm did not just inconvenience us for a few days. It ripped the fabric of the region. Bernstein remembers the Blizzard of '77. "You had cars buried [under snow], you had damage from plows, but nothing like this," he said. "This damage you can't just plow away." Over the next few days, power will come back, curbsides will be cleared of tons of downed foliage, folks will return to work, school buses again will roll. But evidence of the Freaky Friday the 13th storm will remain in broken limbs and scarred trunks. "The whole landscape will change now," said John Manyon of Buffalo. "All of these beautiful trees, damaged. It's an eerie feeling, just looking at it." A visitor from Manhattan grasped the sense of unreality. Julie Sexany, 35, was jogging Saturday on Elmwood Avenue. "There is something not normal about it, all these branches with green leaves lying in the snow," she said. "There is a sense that things have gone against nature. And now so many of these beautiful trees will be dying." There will be other storms, storms that bring more wind or drop more snow. They will batter us and leave us weary. They will not, like this storm, break our limbs. They will not, like this storm, rip a piece of our hearts. ========================================================================= Date: Wed, 18 Oct 2006 00:30:58 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Steven McCaffery Subject: Re: POETICS Digest - 16 Oct 2006 to 17 Oct 2006 (#2006-291) Comments: To: POETICS automatic digest system In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain Content-Transfer-Encoding: 8bit Re: CREELEY IN DARKNESS AND LIGHT As coordinator of this Conference I want to reassure all of you as to the true account of what happened will be posted shortly when I have the time to do so. Electricity was only restored to my home on Monday and my life is a Benjaminian scenario of gathering the shards of what were previous unities. Suffice to say that Charles Bernstein's response does not convey an in situ account of these memorable three days. A full account will follow shortly. Steve McCaffery Quoting POETICS automatic digest system : > There are 29 messages totalling 1756 lines in this issue. > > Topics of the day: > > 1. Creeley in darkness and light > 2. Gwyn and feminism > 3. anti-feminists who fear change (10) > 4. feminists who changed > 5. HIGH ENERGY CONSTRUCTS > 6. The Legacy of Jack Kerouac: a Three-Part Radio Broadcast > 7. The Legacy of Jack Kerouac will appear on the New Focus radio > show (post > previously rejected for reasons unclear) > 8. feminists (anti-feminists) who changed (fear change) > 9. Next Up on Poetry Radio Show > 10. Chuck B (3) > 11. Creeley Conference > 12. shameless flog > 13. lubasch / mark reading in Atlanta > 14. Chuck B and Agism (2) > 15. Robert Creeley Conference Oct 12th-14th 2006 > 16. study war no more > 17. Coming to Brooklyn > > ---------------------------------------------------------------------- > > Date: Tue, 17 Oct 2006 00:06:40 -0400 > From: Charles Bernstein > Subject: Creeley in darkness and light > > From what I have heard, from several people who were at the Buffalo > > Creeley conference, the events went on, sometimes in make-shift > locations, in spite of the storm and its devastation. > > Over half the houses and business in the Buffalo region lost their > power -- and many, perhaps as many as 200,000, were still without > power as of early this evening. The schools in Buffalo and the > suburbs are expected to be closed throughout the week. The storm, > coming before the leaves had fallen, caused extensive damage to the > trees, many of which, if not most, lost branches, which crashed into > > the power lines and roadways. > > On Friday, the UB campus had to be closed due to the weather > conditions, one of the few times the campus has ever been shut down. > > (The campus is about 14 miles from downtown Buffalo and on Friday the > > city and county declared a state of emergency, banning all but > essential traffic from the roadways.) The airport lost power during > the first day of the storm and was closed Friday. > > As I heard the story, the conference participants made the best of > it, commandeering a meeting room in their downtown hotel and carrying > > on as best they could. As far I know, Saturday's events took place at > > the church, as scheduled, since the church did have electrical > power. > > The hotel where the conference participants were staying did have > electrical power and there were no problems with the group returning > > home safely on Sunday. > > It was a great disappointment to me -- and many others -- not to be > able to get to conference. But I think most of the scheduled > speakers/readers were there & continued on as best they could > -- forming a pool of light against a surrounding darkness. > > For those who managed to come together on this past woe-beset Buffalo > > weekend, I do believe Bob Creeley was celebrated and mourned. > > Charles Bernstein > > ------------------------------ > > Date: Mon, 16 Oct 2006 21:44:18 -0700 > From: Alexander Dickow > Subject: Gwyn and feminism > > Gwyn, > Bravo, Gwyn, I'm with you. And David BC, with his > customary compassion and common sense. But I admit to > sharing Jason Quackenbush's discomfort with the > charged theoretical rhetoric and its tendancy to > promote exclusivity and unproductive hostility. I like > how you bring it back to the real issues: not > "patriarchy" (although issues of canon, etc certainly > deserve attention) but the real violence and > injustice. So here I am, sitting at my computer, and I > have an earnest question for you: what can I do? I > give to charities (and responsibly -- I find out about > them before giving -- and plan on doing so on a much > more regular basis), I try and live an ideal of > respect and non-violence, I support -- verbally or in > writing -- those whose missions I believe in. But > here's the rub: I'm very skeptical about "traditional" > activism (rallies, pamphlets, posters and the like) as > an effective means of political action, and I'm > looking for some political imagination. Before we get > into another silly flame-war among people who mostly > agree about what's most important, maybe we should > talk about what people think are viable and > efficacious means of political engagement. Including > poetry, why not (although, once again, very > skeptical...). Especially in a country whose > possibilities for "civic involvement" in government is > so tragically, so laughably, so unjustly limited (ie, > voting, jury duty, and citizen initiative legislation > :( ). > Help me, Gwyn. I'm with you, here. > Yours, > Alex > > > www.alexdickow.net/blog/ > > les mots! ah quel désert à la fin > merveilleux. -- Henri Droguet > > ------------------------------ > > Date: Tue, 17 Oct 2006 02:06:37 -0400 > From: Eric Yost > Subject: Re: anti-feminists who fear change > > D-B: Why the moment people begin to speak of conditions in > the United States are they swfitly told horrors are much > worse under Islam? > > Eric: Why is it that the moment someone fingers the worst > offenders against any aspect of basic human rights, they are > immediately reminded that the purpose of the discussion is > to excoriate American or Western society? Reflexive > masochism perhaps? > > D-B: To tell people to divert their attention and direct it > elsewhere far away where they can have little immediate > effect --let alone only in Islamic countries only-- > > Eric: Ah, at last, your points: (a) it is a diversion solely > because you feel we can't do anything about it, and (b) to > even mention the worst offenders is to criticize them alone, > and ignore the West. > > First, are you incapable of imagining Western feminists > strongly engaging women who live under Islamic Sharia > oppression? Do you really think the majority gender so > powerless to work change where the worst offense is? If it > is a diversion to mention Sharia's crimes against women, > then it was equally a diversion for people in the 1940s to > alert the West to the Nazi's genocidal intent. > > Second, to mention the worst offenders in the world is not > to ignore the lesser offenders at home. What would make you > think that? To go back to a historical analogy, it was > precisely the defeat of Nazism (and all the societal > structural changes incumbent to that defeat, i.e., women > workers in defense plants, African-American valor in combat) > that highlighted our own domestic inequalities and set the > stage for their gradual institutional remedy. > > ------------------------------ > > Date: Mon, 16 Oct 2006 23:11:24 -0700 > From: Andy Gricevich > Subject: Re: anti-feminists who fear change > > 1) The view of feminism as "monolithic" is one that many feminists > detest, particularly because of the lack of class-consciousness in > the kind of feminism of which many anti-feminists construct a > caricature to beef up their complaints (which would be, in some ways, > just, if they had any idea who their targets were--something they > could learn by, say, talking to more women). Feminism is, in fact, > probably the LEAST monolithic "ism" around. There are Marxist > feminisms, black feminisms, queer feminisms, Islamic feminisms, and > on and on, most of them nonexclusive in seeing connections between > each others concerns (whereas there's no coherent "feminist Marxism," > etc.). Nowhere else does one find a comparable consciousness of the > crucial nature of ALL the problems brought up by those who > incessantly complain, "your stance can't be worthwhile--it doesn't > solve THIS problem." Many feminists see their project as oriented > toward the goal of ending all oppression, aware that poverty, > misogyny, racism, intellectual repression, etc. all support each > other. There are countless problems to be solved in countless places; > those that are less hard to solve (less resistance) still need to be > solved, and so do those that are harder to solve. Luckily, there are > a lot of people (not enough) who want to solve them, and some will > work on one cluster of problems, some on another; some will primarily > consider problems that are geographically far away from them, and > some will consider what's closer. This diversity is necessary, and > provides, I think, some reason for--if I may be permitted the > word--hope. > > 2) It might be too generous to talk about the "fear" of > anti-feminists like the guys who have set off the latest phase of > this strand; a smug, self-satisfied dismissal, a jaded, seen-it-all > attitude, is one of the most successful available means of flight > from fear into acceptance of whatever little bits of socially > sanctioned power fall to such a guy. "Change" is probably not an > effective word in their vocabulary; > if they're afraid of anything, it's probably ever losing face--and > fear of losing face is something everybody needs to get over pretty > fucking quickly. > > 3) Men, like many other social groups, get some power and privilege > they may never have asked for. The redistribution of power (or maybe > its dissolution) demanded by feminists is going to be uncomfortable > for men in some ways. Duh. That doesn't mean that a feminist guy has > to be constantly consumed by guilt and shame. But it does mean some > work, some reconsideration, some self-critique that doesn't > incessantly demand some immediate profit from it. This paragraph is > an incomplete thought. > > Andy > > > --------------------------------- > Stay in the know. Pulse on the new Yahoo.com. Check it out. > > ------------------------------ > > Date: Mon, 16 Oct 2006 23:17:35 -0700 > From: David Baratier > Subject: Re: feminists who changed > > My 2 cents. > > The thing is > those of us who knew or met "Mr." Bukowski > could easily dispel most of this claptrap > appearing on this list > > but what fun would that be-- > with your pet promos pissed into hopelessness > > as who has time to write a few books of poetry > and a book or two worth of fiction every year > and be drunk every moment? > > I don't myself, but tommorrow when I have dinner with Amy Tan > maybe I will find out that she does. > None of the bunch of award winning folks > I find myself in truck with lately do-- > > So you believe "Mr." B was drunk each day? > What should I tell you next, > about what revelations > Morgan Spurlock told me > when in Columbus > making me pizza > & following my orders? > Should I further impound revelations > about Wal mart, > or Bill Shields > or Mc Donalds? > > Please-- > you are a bunch of dumb fucks > who do exactly what the hegemony expects. > > Even you foreigners,like daniel-- > yr the next Canadian Donald Hall > I know yr writing about birds & beavers & shits right now-- > sucking establishment ass for postition > & some day Rob will need to compete with you > because of your oh so "outsider" status > > If it were not for people like Gwen & Joe > and their opinion > I would dump this whole list > right in the pooper > like a pint of Jack > after a day at the races-- > > > > > > Be well > > David Baratier, Editor > > Pavement Saw Press > PO Box 6291 > Columbus, OH 43206 > http://pavementsaw.org > > ------------------------------ > > Date: Tue, 17 Oct 2006 03:49:28 -0400 > From: Eric Yost > Subject: Re: anti-feminists who fear change > > Gwyn: if you seriously, for one moment, think that the > issues facing women in *just* the US today . . . are merely > a "mote," then I submit that you are the Kaspar Hauser of > the 21st century and have, until recently, been living in a > cave. Congratulations on your release. > > > Eric: You're revealing your ignorance of what a 2004 UN > report called "the worst ongoing genocide in history." Never > mind the Sudanese famine caused by the Islamist butcher Omar > al-Bashir, the trafficking in female slaves throughout North > Africa and the Middle East, the execution of rape victims in > Pakistan, Dubai, Sudan and Nigeria; the brutal treatment > brutal of Iranian women who resist mandatory Hijab and > sexual apartheid; the acid attacks in Bangladesh; "dowry > killings" of women; or the abuse of female immigrants by > their own communities -- you, Gwyn, would rather initiate a > personal attack on a stranger than admit global perspective > or sense of context. And you write about "living in a cave"? > Must be chilly in there for you. > > > > > _____ > > http://www.iht.com/articles/2006/03/24/opinion/edali.php > Women go 'missing' by the millions > by Ayaan Hirsi Ali > > http://www.city-journal.org/html/13_1_why_feminism.html > Why Feminism is AWOL on Islam > > http://www.middleastwomen.org/ > Committee to Defend Women's Rights in the Middle East > > ------------------------------ > > Date: Tue, 17 Oct 2006 05:21:02 -0700 > From: kari edwards > Subject: HIGH ENERGY CONSTRUCTS > > HIGH ENERGY CONSTRUCTS =09 > More options=09 12:20 am (4 hours ago) > Many Happy Returns > October 21 - November 25, 2006 > > Opening Reception: Saturday, October 21, 6 pm > Featuring a store-front performance by Juliacks, with musical > composition by Ben Bigelow, from 6-9 pm > > > High Energy Constructs presents "Many Happy Returns" -- a > large-scale > exhibition that evokes the field(s) of verbal and visual interplay > -- > bringing together a unique array artworks that arrive -- out of > literary influence, tradition, and community -- in art since the > 1960s. > > Participants in the exhibition include: Marc Bell, Jen Bervin, Ed > Bowes, Joe Brainard, Jeff Karl Butler, Andrew Choate, Marcus Civin, > Zoe Crosher, kari edwards, Thomas Evans, Derek Fenner, Coryander > Friend, Ryan Gallagher, Granary Books, Jack Greene, Doug Harvey, > Fran > Herndon, August Highland, Jen Hofer, Tanya Hollis, Jane > Dalrymple-Hollo, Colter Jacobsen, Lisa Jarnot, Juliacks, Mary Kite, > Joanne Kyger, David Larsen, Donal Mosher, Kevin Opstedal, Amy > Robinson, Christopher Russell, George Schneeman, David E. Stone, > Deborah Stratman, Mathew Timmons, Cat Tyc, Ugly Duckling Presse, > Anne > Waldman, Will Yackulic, John Yau, and many others. > > _________________ > > For further information: > www.highenergyconstructs.com > info@highenergyconstructs.com > > High Energy Constructs > 990 North Hill Street #180 > Los Angeles, CA 90012 > 323.227.7920 > > Gallery Hours: Thursday =96 Saturday, 11am =96 6pm > > > --=20 > transSubmutation > http://transdada3.blogspot.com/ > > transdada > http://transdada.blogspot.com/ > > in words > http://transdada2.blogspot.com/ > > > obedience > Poetry > Factory School. 2005. 86 pages, perfect bound, 6.5x9. > ISBN: 1-60001-044-X > $12 / $10 direct order > > Description: obedience, the fourth book by kari edwards, offers a > rhythmic disruption of the relative real, a progressive troubling of > the phenomenal world, from gross material to the infinitesimal. The > book's intention is a transformative mantric dismantling of being. > > http://www.factoryschool.org/pubs/heretical/index.html > > http://www.spdbooks.org/SearchResults.asp?AuthorTitle=3Dedwards%2C+kari > > ------------------------------ > > Date: Tue, 17 Oct 2006 10:06:23 -0400 > From: Vernon Frazer > Subject: The Legacy of Jack Kerouac: a Three-Part Radio Broadcast > > Hard-hitting political reporter Mike DeRosa turns his attention to > Jack > Kerouac in a three-part series that discusses Kerouac's legacy, his > literary > estate, and the effect of publishing or not publishing Kerouac's > unpublished > work on other writers' work. > > > > The first episode airs Wednesday October 18 at 8:30 P.M. on > www.whus.org > . The second half-hour episode will air > Friday, > October 20 at 12:00 noon on www.wwuh.org and > at 5:00 > P.M. on www.whus.org . It will replay the > following > Wednesday at 8:30 P.M. on www.wwuh.org . > > > > The final installment will appear a week later in the same designated > time > slots. > > > > For those of you who aren't familiar with DeRosa's New Focus program > and its > progressive challenge to the Bush administration, his radio interview > are > archived at the www.newfocusradio.org > site > for listening and downloading. > > > > Vernon Frazer > > http://vernonfrazer.com > > > > ------------------------------ > > Date: Tue, 17 Oct 2006 11:08:16 -0400 > From: Vernon Frazer > Subject: The Legacy of Jack Kerouac will appear on the New Focus > radio show (post previously rejected for reasons unclear) > > Hard-hitting political reporter Mike DeRosa turns his attention to > Jack > Kerouac in a three-part series that discusses Kerouac's legacy, his > literary > estate, and the effect of publishing or not publishing Kerouac's > unpublished > work on other writers' work. > > > > The first episode airs Wednesday October 18 at 8:30 P.M. on > www.whus.org > . The second half-hour episode will air > Friday, > October 20 at 12:00 noon on www.wwuh.org and > at 5:00 > P.M. on www.whus.org . It will replay the > following > Wednesday at 8:30 P.M. on www.wwuh.org . > > > > The final installment will appear a week later in the same designated > time > slots. > > > > For those of you who aren't familiar with DeRosa's New Focus program > and its > progressive challenge to the Bush administration's policies, his > radio > interviews are archived at the www.newfocusradio.org > site for listening and downloading. > > > > Vernon Frazer > > http://vernonfrazer.com > > > > > > ------------------------------ > > Date: Tue, 17 Oct 2006 11:07:06 -0400 > From: Gwyn McVay > Subject: Re: anti-feminists who fear change > > Eric Yost wrote: > > You're revealing your ignorance of > [snippity snip -- long list of worldwide atrocities] > > Um, no. I'm revealing no such thing. Also, Kaspar Hauser was a > *prisoner,* kept in a basement *against his will,* but if you want to > > see that as an attack, you go right ahead. > > Yes, US-based feminists know about these ghastly atrocities. Some of > us > are even working with international organizations, both open (e.g. > Amnesty International, Médecins sans Frontières) and covert, to help > > stop them. But... help me with your logic here, or explain it in > terms > of Earth logic. Because horrible things are happening around the > globe, > it is bad to be a feminist in the US and to work on issues facing > women > in the US... why? > > Or, put a bit more bluntly: Does the fact that I haven't actually > been > killed, or had acid thrown in my face, following my rape diminish its > > atrocity? (Murder and disfigurement happen to women here too, or > don't > we get to think about that?) I suffer seizures because of traumatic > brain damage from that attack. Is that insufficiently atrocious for > you? > Is it just an ordinary, boring rape because my then-boyfriend, the > perpetrator, failed to murder me afterwards, or wasn't a Muslim? I'm > so > sorry not to be dead enough for you, Eric. But I seriously thought > this > list was beyond "my atrocity is more atrocious than your atrocity." > > Alex Dickow, may Buddhas follow his every step, asks a much more > sensible question: how to help the women around whom he lives, as a > first step toward freeing all women AND all men -- I believe I said > that > status-quo gender roles around the world are disabling to the > intelligent participation of men in daily life and the world > community, > too. By his own account, he's already doing some of that -- living > with > respect for all, and researching, and then giving to, particular > charities. One could help almost any organization meant to serve the > > poor, as poverty in the US is disproportionately female right now. My > > university's most recent production of Eve Ensler's _The Vagina > Monologues_ was able to present a sizable check to each of two > beneficiaries: a shelter for homeless women with children, and the > county domestic violence services agency. Although, as Alex points > out, > the civic system in this country puts the "mental" in "governmental," > > one can put up flyers for, hand out leaflets for, work phone banks > for, > vote for, candidates for office who support and respect women in > various > ways. Hell, Alex could run for office his ownself. It's beautifully > crazy enough to work. But "think globally, act locally" isn't just a > > bumper sticker. It's hard to recruit international relief workers > from a > population demoralized by its own poverty, vulnerability to violence, > > and general powerlessness. > > Gwyn "V for Volunteerism" McVay > > ------------------------------ > > Date: Tue, 17 Oct 2006 08:10:53 -0700 > From: Thomas savage > Subject: Re: feminists (anti-feminists) who changed (fear change) > > Thank you for your intelligent and well-thought out posting relating > to what I put out yesterday. Also, thank you for not calling me an > anti-feminist since I am nothing of the sort. I merely suggested > that feminism had not yet achieved its larger aims. One of the > operative words here is "yet". I have no idea whether feminism will > ever achieve these aims. But to call me anti-feminist because I > suggested the fact that the whole world has not been changed in the > way some changes have occurred here in the developed world is > brain-dead and insulting. Also, what is "broken syntax" anyway?As > for this discussion as a whole, my apologies for starting it. And, > although Charles Bukowski, whose work has nothing in common with > mine, abused women or said he did in his stories, some of his poetry > is quite good. Enough said, I hope. But probably not. Regards, Tom > Savage > > Mark Weiss wrote: I started this thread > because I was perplexed by the phrase "feminist > in its breaking the syntax," which I thought claimed rather more than > > it delivered while appealing to a theory that all constraints reflect > > a patriarchal prehistory. Mildly provocative on my part, at best. > What's unfolded from that is pretty astounding--we've apparently not > > arrived at a moment when civil discussion about gender issues is > possible. > > OK, here's what I think. Modern feminism arrived on the scene in > middle class Europe and America (including, by the way, much of Latin > > America) at a propitious historical moment. Within the middle class > the traditional division of labor and the power that goes with it > had become manifestly obsolete by WWII, despite the reaction of the > late 40s and 50s. As a result, massive social change within the > middle class happened, in historic terms, with astonishing speed and > > lack of violence. Compare with the empowerment of the middle class > (French Revolution), colonies (US and Latin American Revolutions, and > > into the present day), and the ending of slavery (US civil war, for > one). In a bit more than a generation middle class women have come to > > be a majority of university students, new PHDs, new LLDs and MDs, and > > are quickly approaching at least parity in MBAs. The places that hire > > people with those degrees haven't notably lowered their payscales. > And we will likely have a viable woman candidate for president of the > > US (to join the women who have been heads of state in make your own > list of countries). > > I'm not implying that there were no sacrifices and no struggle, just > > that the situation could have been a lot worse with less success in > another place and time. As it remains in other social classes in the > > industrialized and post-industrial world, and as it does in much of > Latin America, Africa, and Asia. Simply, feminism has been less > successful in places where the resistance is greater. And the > resistance is greater in places where for many people traditional > divisions of labor are, or at least seem to be, still functional. > > So by all means we should do everything in our power to aid in the > empowerment of women wherever they are. But that empowerment will hit > > a wall of resistance as long as larger social conditions remain > static. > > Muhammad Yunus and his Grameen Bank (winners of this year's Nobel > Peace Prize) is a case in point. Most of his microloans have been to > > home-based businesses run by women. The women have disproportionally > > invested their earnings in schooling for their daughters as well as > their sons, who will become advocates for more of same. The relief > from the most grinding of poverty and the creation of disposable > income, and the increase in education of both men and women, are > likely to have an impact on all of the horrors we all know about. And > > it will of course expose more people to feminist ideas. Maybe in 20 > or a hundred years we will no longer be able to separate the impact > of feminist political action and thought from this kind of change in > > the lives of the poorest. Which would be fine by me--if things > improve the argument will be academic anyway. But I doubt that there > > will be much improvement in the lives of women, whether in working > class America or among the destitute in Bangladesh, without the > socioeconomic change I'm talking about. > > Mark > > > > At 03:47 PM 10/16/2006, you wrote: > >Eric Yost wrote: > >>Or does a subverted multiculturalism mean we ignore the beam in our > > >>neighbor's eye to concentrate on the mote in our own? > >Eric, if you seriously, for one moment, think that the issues facing > > >women in *just* the US today (and our trade neighbors -- think of > >women maquiladora laborers, if only once) are merely a "mote," then > > >I submit that you are the Kaspar Hauser of the 21st century and > >have, until recently, been living in a cave. Congratulations on your > release. > > > >Man, oh, man, today seems to be the logical-phallacy day on Poetics. > > >Because feminist women and men have not fixed every scrap of the > >totality of world culture by ourselves, we are told we have made > >*no* difference. Because I explain that yes, feminism has to do with > > >issues such as health and bodily safety that affect all classes of > >women (access to health care, safety measures, and good lawyers, one > > >notes, is exponentially harder for poor women) I am told I have just > > >accused a male in the conversation of himself being a rapist. > > > >Surprise -- you may already *be* a feminist, if not a "career" one > >(whatever that means -- I guess one who has the temerity to do > >feminist things and/or write a book about people doing feminist > >things). Do you respect the rights of women to be safe, healthy, > >respected, and equally paid for the same amount and competency of > >labor? Are you not particularly uneasy to be operated on by a woman > > >surgeon, or guarded by a woman cop? If asked your opinion of a new > >female co-worker, would your response be likelier to be something > >job-related than "I'd hit that"? Congratulations! Gooble-gobble, we > > >accept you, one of us! > > > >Yes, we want each. and. every. damn. woman. to. be. free. Yes, it > >chaps our bras (you didn't think we wore them, did you?) about women > > >in sweatshops, women in occupied Tibet, women being denied asylum > >for fleeing genital cutting. If your particular area of concern, > >like that of Mr. Yost, is girls suffering forced marriage at or > >before puberty, then for fuck's sake do something about it! Help > >come up with ideas for what to do about traditional crap treatment > >of women under religious fundamentalism. Then help carry them out. > >Then, bada-bing, you're a practical feminist, without even having to > > >listen to any Ani DiFranco records. > > > >But to sit on your ass at a computer in the US and moan because > >bombing the shit out of Afghanistan has not abolished the burqa... > please. > > > >R-E-S-P-E-C-T, find out what it means to me, > >Gwyn (THE world is not the same as YOUR world) McVay > > > > --------------------------------- > How low will we go? Check out Yahoo! Messenger’s low PC-to-Phone > call rates. > > ------------------------------ > > Date: Tue, 17 Oct 2006 11:41:35 -0400 > From: angela vasquez-giroux > Subject: Re: anti-feminists who fear change > > this is the struggle as i see it--when we focus on making a change, > it is > difficult to do it without the tag of class in mind. for example, > many of > the institutionalized opressions facing women in the us tend to be > concentrated on the lower economic classes--ie access to health care, > which > necessarily negates any real access to reproductive rights, etc. i > am sure > we can all count thousands of these examples. > it seems to me that we can address the issue from hundreds of > vantage > points, but if the lowest common denominator is economic, and if > economic > reforms and changes are what will have the greatest effect, we need > to at > the very least be working on both fronts. i think here in the us a > group > like planned parenthood is doing some good work to that end. > > i don't mean to sound like a bastardly revolutionary, but it is hard > for me > to imagine any rich women being oppressed. (i am not a rich woman, > so i > suppose that explains it). > > within the subset of working poor/uninsured/underinsured/poverty > stricken > rates for all kinds of horrible things jump--murder, crime, infant > mortality, unwanted pregnancy, etc. it's a self-perpetuating and > reinforcing cycle. > > for me, as a novice scholar of feminism, it has been most difficult > to > reconcile what i know of feminism and feminist theory with what i see > in my > neighboorhood, my family, my life. i suppose access is the key, > then--access to the same things women with much more money have. > > i know i'm rambling. > > angela > > > On 10/17/06, Gwyn McVay wrote: > > > > Eric Yost wrote: > > > You're revealing your ignorance of > > [snippity snip -- long list of worldwide atrocities] > > > > Um, no. I'm revealing no such thing. Also, Kaspar Hauser was a > > *prisoner,* kept in a basement *against his will,* but if you want > to > > see that as an attack, you go right ahead. > > > > Yes, US-based feminists know about these ghastly atrocities. Some > of us > > are even working with international organizations, both open (e.g. > > Amnesty International, M=E9decins sans Fronti=E8res) and covert, to > help > > stop them. But... help me with your logic here, or explain it in > terms > > of Earth logic. Because horrible things are happening around the > globe, > > it is bad to be a feminist in the US and to work on issues facing > women > > in the US... why? > > > > Or, put a bit more bluntly: Does the fact that I haven't actually > been > > killed, or had acid thrown in my face, following my rape diminish > its > > atrocity? (Murder and disfigurement happen to women here too, or > don't > > we get to think about that?) I suffer seizures because of > traumatic > > brain damage from that attack. Is that insufficiently atrocious for > you? > > Is it just an ordinary, boring rape because my then-boyfriend, the > > perpetrator, failed to murder me afterwards, or wasn't a Muslim? > I'm so > > sorry not to be dead enough for you, Eric. But I seriously thought > this > > list was beyond "my atrocity is more atrocious than your > atrocity." > > > > Alex Dickow, may Buddhas follow his every step, asks a much more > > sensible question: how to help the women around whom he lives, as > a > > first step toward freeing all women AND all men -- I believe I said > that > > status-quo gender roles around the world are disabling to the > > intelligent participation of men in daily life and the world > community, > > too. By his own account, he's already doing some of that -- living > with > > respect for all, and researching, and then giving to, particular > > charities. One could help almost any organization meant to serve > the > > poor, as poverty in the US is disproportionately female right now. > My > > university's most recent production of Eve Ensler's _The Vagina > > Monologues_ was able to present a sizable check to each of two > > beneficiaries: a shelter for homeless women with children, and the > > county domestic violence services agency. Although, as Alex points > out, > > the civic system in this country puts the "mental" in > "governmental," > > one can put up flyers for, hand out leaflets for, work phone banks > for, > > vote for, candidates for office who support and respect women in > various > > ways. Hell, Alex could run for office his ownself. It's > beautifully > > crazy enough to work. But "think globally, act locally" isn't just > a > > bumper sticker. It's hard to recruit international relief workers > from a > > population demoralized by its own poverty, vulnerability to > violence, > > and general powerlessness. > > > > Gwyn "V for Volunteerism" McVay > > > > > > --=20 > http://mother-of-light.blogspot.com > > ------------------------------ > > Date: Tue, 17 Oct 2006 12:06:19 -0400 > From: Mark Weiss > Subject: Re: anti-feminists who fear change > > Some form of universal health care (preferably=20 > socialized medicine) would be a good start, and=20 > the endless crisis in health care in the US=20 > begins to bring it within reach. One impact in=20 > countries where it exists is that the percentage=20 > of teenage pregnancies and teeenagers giving birth has plummeted. > > A change in the way school systems are funded=20 > would be a good start, tho less likely. Local=20 > funding based on real estate taxes guarantees=20 > lousy, overcrowded schools in less affluent towns. > > Mark > > > At 11:41 AM 10/17/2006, you wrote: > >this is the struggle as i see it--when we focus on making a change, > it is > >difficult to do it without the tag of class in mind. for example, > many of > >the institutionalized opressions facing women in the us tend to be > >concentrated on the lower economic classes--ie access to health > care, which > >necessarily negates any real access to reproductive rights, etc. i > am sure > >we can all count thousands of these examples. > >it seems to me that we can address the issue from hundreds of > vantage > >points, but if the lowest common denominator is economic, and if > economic > >reforms and changes are what will have the greatest effect, we need > to at > >the very least be working on both fronts. i think here in the us a > group > >like planned parenthood is doing some good work to that end. > > > >i don't mean to sound like a bastardly revolutionary, but it is hard > for me > >to imagine any rich women being oppressed. (i am not a rich woman, > so i > >suppose that explains it). > > > >within the subset of working poor/uninsured/underinsured/poverty > stricken > >rates for all kinds of horrible things jump--murder, crime, infant > >mortality, unwanted pregnancy, etc. it's a self-perpetuating and > >reinforcing cycle. > > > >for me, as a novice scholar of feminism, it has been most difficult > to > >reconcile what i know of feminism and feminist theory with what i > see in my > >neighboorhood, my family, my life. i suppose access is the key, > >then--access to the same things women with much more money have. > > > >i know i'm rambling. > > > >angela > > > > > >On 10/17/06, Gwyn McVay wrote: > >> > >>Eric Yost wrote: > >> > You're revealing your ignorance of > >>[snippity snip -- long list of worldwide atrocities] > >> > >>Um, no. I'm revealing no such thing. Also, Kaspar Hauser was a > >>*prisoner,* kept in a basement *against his will,* but if you want > to > >>see that as an attack, you go right ahead. > >> > >>Yes, US-based feminists know about these ghastly atrocities. Some > of us > >>are even working with international organizations, both open (e.g. > >>Amnesty International, M=E9decins sans Fronti=E8res) and covert, to > help > >>stop them. But... help me with your logic here, or explain it in > terms > >>of Earth logic. Because horrible things are happening around the > globe, > >>it is bad to be a feminist in the US and to work on issues facing > women > >>in the US... why? > >> > >>Or, put a bit more bluntly: Does the fact that I haven't actually > been > >>killed, or had acid thrown in my face, following my rape diminish > its > >>atrocity? (Murder and disfigurement happen to women here too, or > don't > >>we get to think about that?) I suffer seizures because of > traumatic > >>brain damage from that attack. Is that insufficiently atrocious for > you? > >>Is it just an ordinary, boring rape because my then-boyfriend, the > >>perpetrator, failed to murder me afterwards, or wasn't a Muslim? > I'm so > >>sorry not to be dead enough for you, Eric. But I seriously thought > this > >>list was beyond "my atrocity is more atrocious than your > atrocity." > >> > >>Alex Dickow, may Buddhas follow his every step, asks a much more > >>sensible question: how to help the women around whom he lives, as > a > >>first step toward freeing all women AND all men -- I believe I said > that > >>status-quo gender roles around the world are disabling to the > >>intelligent participation of men in daily life and the world > community, > >>too. By his own account, he's already doing some of that -- living > with > >>respect for all, and researching, and then giving to, particular > >>charities. One could help almost any organization meant to serve > the > >>poor, as poverty in the US is disproportionately female right now. > My > >>university's most recent production of Eve Ensler's _The Vagina > >>Monologues_ was able to present a sizable check to each of two > >>beneficiaries: a shelter for homeless women with children, and the > >>county domestic violence services agency. Although, as Alex points > out, > >>the civic system in this country puts the "mental" in > "governmental," > >>one can put up flyers for, hand out leaflets for, work phone banks > for, > >>vote for, candidates for office who support and respect women in > various > >>ways. Hell, Alex could run for office his ownself. It's > beautifully > >>crazy enough to work. But "think globally, act locally" isn't just > a > >>bumper sticker. It's hard to recruit international relief workers > from a > >>population demoralized by its own poverty, vulnerability to > violence, > >>and general powerlessness. > >> > >>Gwyn "V for Volunteerism" McVay > > > > > > > >-- > >http://mother-of-light.blogspot.com > > ------------------------------ > > Date: Tue, 17 Oct 2006 13:28:42 -0400 > From: Steve Evans > Subject: Next Up on Poetry Radio Show > > The third installment of Upper Limit Music, a weekly radio show > exploring the sonic landscape of modern and contemporary poetry, will > > stream online live this Thursday from 1-3pm, courtesy of the WMEB > server at > > http://wmeb.umaine.edu/ > > The first hour of the new show will feature soundfiles by Bernadette > > Mayer, Erica Hunt, Elizabeth Willis, Lydia Davis, Juliana Spahr, Joan > > Retallack, and Barbara Guest; in the second hour you'll hear Gertrude > > Stein, Nicole Brossard, Maggie O'Sullivan, Lyn Hejinian, Lee Ann > Brown, Rachel Blau DuPlessis, Rae Armantrout, Jennifer Moxley, and > Susan Howe. I'll mix some John Godfrey, James Schuyler, bp Nichol, > Ernst Jandl, John Wieners, and Edwin Denby in there too. So have a > listen, if you're in the mood. > > Playlist for the second show is here > > http://www.thirdfactory.net/lipstick.html#oct12 > > And first here > > http://www.thirdfactory.net/lipstick.html#oct6 > > No online archive, I'm sorry to say, but you can hear many of the > tracks on PENNsound at > > http://www.writing.upenn.edu/pennsound/ > > Steve > www.thirdfactory.net > > ------------------------------ > > Date: Tue, 17 Oct 2006 10:29:14 -0700 > From: Jason Quackenbush > Subject: Chuck B > > i never met charles bukowski. He died when I was like fifteen or > something. but i do know teddy haggerty, and teddy knew charles > bukowski, and based on the stories teddy tells, i get the impression > that charles bukowski's reputation for being a violent and > belligerent drunk isn't at all undeserved. > > that having been said, as a mellow and jabbering drunk, i have to say > that there are worse things in the world to be than a violent and > belligerent drunk. and also i'd like to point out that being a person > with emotional problems does not make someone a bad person. or a bad > poet. or a good poet for that matter. > > I like bukowskis poetry. He was one of the first 20th century > American poets I read whose work really sang for me. this at > seventeen after discovering that i didn't understand what ginsberg > was talking about and coming to the conclusion that jack kerouac was > wildly over rated. there was something in the vernacular and the top > heavy weight of his lines that made something click in my brain and > all of a sudden i was a poetry junkie. I know there are a lot of > people who have had similar experiences with chuck b, and i think > that that in itself is a pretty remarkable achievement. so credit > where credit is due. > > > On Mon, 16 Oct 2006, David Baratier wrote: > > > My 2 cents. > > > > The thing is > > those of us who knew or met "Mr." Bukowski > > could easily dispel most of this claptrap > > appearing on this list > > > > but what fun would that be-- > > with your pet promos pissed into hopelessness > > > > as who has time to write a few books of poetry > > and a book or two worth of fiction every year > > and be drunk every moment? > > > > I don't myself, but tommorrow when I have dinner with Amy Tan > > maybe I will find out that she does. > > None of the bunch of award winning folks > > I find myself in truck with lately do-- > > > > So you believe "Mr." B was drunk each day? > > What should I tell you next, > > about what revelations > > Morgan Spurlock told me > > when in Columbus > > making me pizza > > & following my orders? > > Should I further impound revelations > > about Wal mart, > > or Bill Shields > > or Mc Donalds? > > > > Please-- > > you are a bunch of dumb fucks > > who do exactly what the hegemony expects. > > > > Even you foreigners,like daniel-- > > yr the next Canadian Donald Hall > > I know yr writing about birds & beavers & shits right now-- > > sucking establishment ass for postition > > & some day Rob will need to compete with you > > because of your oh so "outsider" status > > > > If it were not for people like Gwen & Joe > > and their opinion > > I would dump this whole list > > right in the pooper > > like a pint of Jack > > after a day at the races-- > > > > > > > > > > > > Be well > > > > David Baratier, Editor > > > > Pavement Saw Press > > PO Box 6291 > > Columbus, OH 43206 > > http://pavementsaw.org > > > > ------------------------------ > > Date: Tue, 17 Oct 2006 13:52:57 -0400 > From: heidi arnold > Subject: Re: anti-feminists who fear change > > -- what's wrong with America for the Americans > > -- what's wrong with Feminism for the Feminists > > -- i just don't see how violence against all women differs from the > violenc= > e > leveled against all men -- the violence against men just gets less > press, i= > n > part i think because men still are the primary breadwinners in our > society, > they don't by and large have the time to tend their wounds, but they > live i= > n > the same world women do -- people are human, whether male or female > --people are human first, and more alike, than different -- in my > case i > don't think the road to a theory for peace is particularly feminist > -- it i= > s > a human road -- you can't get peace through "self" -- because peace > is abou= > t > the "other" the "thou" -- peace is about the people with the bombs as > much > as the people on the receiving end -- if you start getting selective > and > putting certain injustices in the foreground and other injustices in > the > background based on who's in charge, i don't think you can get to > peace, > because you will always have those people in the background who got > there > because of the foregrounding actions of selective identity politics > -- when > it chooses to demonize men feminism makes peace a goal much farther > away -- > it is a theory about social polarization as i understand it, correct > me if > this is not the case -- > > -- i don't see the point of embracing a theory that holds half the > human > race responsible for our problems -- we are all responsible -- > -- this is intended to see feminism from a different vantage point, > and i > don't think that can be done from inside the feminist camp, for the > reasons > above > > -h > > > > On 10/17/06, Mark Weiss wrote: > > > > Some form of universal health care (preferably > > socialized medicine) would be a good start, and > > the endless crisis in health care in the US > > begins to bring it within reach. One impact in > > countries where it exists is that the percentage > > of teenage pregnancies and teeenagers giving birth has plummeted. > > > > A change in the way school systems are funded > > would be a good start, tho less likely. Local > > funding based on real estate taxes guarantees > > lousy, overcrowded schools in less affluent towns. > > > > Mark > > > > > > At 11:41 AM 10/17/2006, you wrote: > > >this is the struggle as i see it--when we focus on making a > change, it i= > s > > >difficult to do it without the tag of class in mind. for example, > many > > of > > >the institutionalized opressions facing women in the us tend to > be > > >concentrated on the lower economic classes--ie access to health > care, > > which > > >necessarily negates any real access to reproductive rights, etc. > i am > > sure > > >we can all count thousands of these examples. > > >it seems to me that we can address the issue from hundreds of > vantage > > >points, but if the lowest common denominator is economic, and if > economi= > c > > >reforms and changes are what will have the greatest effect, we > need to a= > t > > > > >the very least be working on both fronts. i think here in the us > a grou= > p > > >like planned parenthood is doing some good work to that end. > > > > > >i don't mean to sound like a bastardly revolutionary, but it is > hard for > > me > > >to imagine any rich women being oppressed. (i am not a rich > woman, so i > > >suppose that explains it). > > > > > >within the subset of working poor/uninsured/underinsured/poverty > stricke= > n > > >rates for all kinds of horrible things jump--murder, crime, > infant > > >mortality, unwanted pregnancy, etc. it's a self-perpetuating and > > >reinforcing cycle. > > > > > >for me, as a novice scholar of feminism, it has been most > difficult to > > >reconcile what i know of feminism and feminist theory with what i > see in > > my > > >neighboorhood, my family, my life. i suppose access is the key, > > >then--access to the same things women with much more money have. > > > > > >i know i'm rambling. > > > > > >angela > > > > > > > > >On 10/17/06, Gwyn McVay wrote: > > >> > > >>Eric Yost wrote: > > >> > You're revealing your ignorance of > > >>[snippity snip -- long list of worldwide atrocities] > > >> > > >>Um, no. I'm revealing no such thing. Also, Kaspar Hauser was a > > >>*prisoner,* kept in a basement *against his will,* but if you > want to > > >>see that as an attack, you go right ahead. > > >> > > >>Yes, US-based feminists know about these ghastly atrocities. Some > of us > > >>are even working with international organizations, both open > (e.g. > > >>Amnesty International, M=E9decins sans Fronti=E8res) and covert, > to hel= > p > > >>stop them. But... help me with your logic here, or explain it in > terms > > >>of Earth logic. Because horrible things are happening around the > globe, > > >>it is bad to be a feminist in the US and to work on issues facing > women > > >>in the US... why? > > >> > > >>Or, put a bit more bluntly: Does the fact that I haven't actually > been > > >>killed, or had acid thrown in my face, following my rape diminish > its > > >>atrocity? (Murder and disfigurement happen to women here too, or > don't > > >>we get to think about that?) I suffer seizures because of > traumatic > > >>brain damage from that attack. Is that insufficiently atrocious > for you= > ? > > >>Is it just an ordinary, boring rape because my then-boyfriend, > the > > >>perpetrator, failed to murder me afterwards, or wasn't a Muslim? > I'm so > > >>sorry not to be dead enough for you, Eric. But I seriously > thought this > > >>list was beyond "my atrocity is more atrocious than your > atrocity." > > >> > > >>Alex Dickow, may Buddhas follow his every step, asks a much more > > >>sensible question: how to help the women around whom he lives, as > a > > >>first step toward freeing all women AND all men -- I believe I > said tha= > t > > > > >>status-quo gender roles around the world are disabling to the > > >>intelligent participation of men in daily life and the world > community, > > >>too. By his own account, he's already doing some of that -- > living with > > >>respect for all, and researching, and then giving to, particular > > >>charities. One could help almost any organization meant to serve > the > > >>poor, as poverty in the US is disproportionately female right > now. My > > >>university's most recent production of Eve Ensler's _The Vagina > > >>Monologues_ was able to present a sizable check to each of two > > >>beneficiaries: a shelter for homeless women with children, and > the > > >>county domestic violence services agency. Although, as Alex > points out, > > >>the civic system in this country puts the "mental" in > "governmental," > > >>one can put up flyers for, hand out leaflets for, work phone > banks for, > > >>vote for, candidates for office who support and respect women in > variou= > s > > >>ways. Hell, Alex could run for office his ownself. It's > beautifully > > >>crazy enough to work. But "think globally, act locally" isn't > just a > > >>bumper sticker. It's hard to recruit international relief workers > from = > a > > >>population demoralized by its own poverty, vulnerability to > violence, > > >>and general powerlessness. > > >> > > >>Gwyn "V for Volunteerism" McVay > > > > > > > > > > > >-- > > >http://mother-of-light.blogspot.com > > > > > > --=20 > www.heidiarnold.org > http://peaceraptor.blogspot.com/ > > ------------------------------ > > Date: Tue, 17 Oct 2006 14:50:14 -0400 > From: Michael Kelleher > Subject: Creeley Conference > > Hi All, > > Here's a brief rundown on the Creeley Conference. > > First, a note to Martha and others who may have gone to "The > Church." The event did not take place at "The" Church, i.e. the > church recently rehabbed by Ani DiFranco, where Just Buffalo held the > > Creeley birthday celebration in May. It was held at "a" Church, > specifically Trinity Church, which is about a half a block north of > > "The Church" on Delaware avenue. My cell was ringing off the hook > with calls from people who went to the wrong place. > > 10/12 > > Robin Blaser and Rosmarie Waldrop read first, a massive thunder and > > snowstorm occurring outside. About 75 people attended, the largest > attendance of the event. Unfortunately, the sound system left a > little to be desired, making it extremely difficult to here either of > > the readers. Rosmarie read some new work and also from Reproduction > > of Profiles (newly re-released with the other two parts of the > trilogy). When Robin first opened his mouth, a massive thunderclap > > shook the church. I don't think anyone, atheist, agnostic or > believer, didn't pause to wonder the source. He read Creeley's "The > > Plan is the Body," and then launched into a reading of his own work. > > It was very difficult to hear him, as the mic would only pick him up > > when his mouth was directly in front of it. Unfortunately, I > remember the technical difficulties more than I remember the content > > of his reading. Someone else will have to fill in the details. He > seemed quite healthy, even spry, for those who were asking. > > Driving home that night around midnight, the destruction wrought by > > the storm became apparent as we drove up Richmond Avenue toward our > > home in the Black Rock neighborhood of Buffalo (we live about two > blocks from the Creeley's old firehouse) -- trees split right down > the middle, or tipped over on their sides, having pulled their roots > > right out of the ground, limbs everywhere forming labyrinths in the > > streets, total darkness. When we arrived at our house, the 150 year > > old Chestnut tree out front had lost five limbs, knocking out the > power lines, phone lines and cable lines. We were awakened several > > times during the night by the sound of limbs snapping and falling on > > top of houses, cars, and whatever else was in the way. We still have > > no power on our side of the street. > > 10/13 > > The university closed, and the event would have been cancelled, but > > since all of the scholars in attendance were at the same hotel, they > > chose to borrow a conference room and to read their papers there. > There was a complete travel ban throughout the region, so there was > > no way anyone could get to the university to post a note about the > change of plans. Also, many of us had lost internet connections and/ > > or were trapped in our houses (I had to climb over torn power lines, > > tie up a cut phone line and remove half a tree just to get the car > out of the garage (which I had to open and close manually). Around > noon, word started to filter out through text messages and cellphone > > calls that papers were being read at the hotel. Many of us ignored > the travel ban, hopped in our cars, and headed down to the hotel. > > In the morning, Ben Friedlander read his paper, called, "What is > Experience." Also, Robin and Rosmarie gave brief readings so people > > could actually hear them. I missed all this, so someone else will > need to fill you in. After lunch, Michael Gizzi gave a presentation > > about Creeley and Jazz, juxtaposing readings by Creeley with certain > > jazz recordings. You'll have to ask Michael what the recordings > were, but they perfectly exemplified Creeley's breathline in music. > > Having only ever made the comparison myself in the abstract, it was > > amazing to listen to them side by side like that and really hear the > > rhythms. peter Middleton gave a talk on Creeley's teaching, which > drew partly from his experience as Creeley's student at Buffalo in > the 70's. Rachel Blau du Plessis finished with a paper on re- > gendering in Creeley. She told a moving anecdote about Creeley that > > nearly brought her (and us) to tears, then gave a really strong > reading of gender in Creeley's work. > > In the evening, John Ashbery and Susan Howe gave a reading at Trinity > > Church. About 45 people were in attendance. They had a better mic > > and so were able to better be heard. Susan read a few older pieces > > focused on Buffalo, then continued with newer work, which sounded > great. With Ashbery, I was struck for the first time by the rhythmic > > complexity of his work. I have never thought of his work in terms of > > its sound before, but this time, perhaps because of the booming echo > > of the 150 year old church, the sound struck me more than the > content. His work is some of the most polyrhythmic work I recall > hearing, with incredibly subtle modulation among the different > patternings of sound. > > No thunderclaps this night. > > 10/14 > > Papers were given in the morning and the afternoon in the church > chapel at Trinity. Morning papers by Michael Davidson ("Creeley's > Rage") and Stephen Fredman (on Creeley and the Interview) were both > > fantastic. In the middle of one of them a boombox sitting on the > steps to the altar sudden let out a shriek of feedback, at which > point I felt certain Bob's ghost was hiding behind an arras > somewhere. Charles' Altieri gave a paper I did not understand, > during which he read several of Creeley's poems out loud, giving the > > impression a non-musician blowing on a tuba. Unfortunately, I had to > > go home for a spell to attend to some branches and wires and quickly > > deteriorating food, so I missed papers by Peter Quartermain and Alan > > Golding. Marjorie Perloff didn't make it, nor did Charles Berntein. > > Ann Lauterbach and Rachel BdP (in place of Charles) read in the > evening. The sound was fine and there were probably 65 or so people > > in attendance. Rachel read one of her long "drafts," a kind of tract > > on Adorno's comment on poetry after Auschwitz. Ann read mostly from > > her book Hum, and also some new work, inlcuding something called > "Alice in the Wasteland." Ann is amazing to see read, as she has this > > kind mesmerizing, if affected, way of waving her left hand around as > > though she were conducting a symphony. > > And then everyone went to the Founding Father's Pub to tie on a good > > load. > > ------------------------------ > > Date: Tue, 17 Oct 2006 12:44:02 -0700 > From: Rachel Loden > Subject: shameless flog > > Forgive this brief fit of shamelessness but wanted to say that I'm > interviewed in Kate Greenstreet's terrific series today and tomorrow > (and I > guess in the archives with lots of interesting people after that): > > http://www.kickingwind.com/ > > Tossed about are the law of unintended consequences, Foetry, "Auction > of the > Mind," Vermont and snow, Randolph Healy, The Year's Best Fantasy and > Horror, > the Ontological-Hysteric Incubator, hideous baby aliens, the HumPo > list, > chaos theory, and much more. > > Rachel Loden > > P.S. Apologies for cross postings and for annoying ones as well. > > ------------------------------ > > Date: Tue, 17 Oct 2006 15:08:15 -0500 > From: David-Baptiste Chirot > Subject: Re: anti-feminists who fear change > > estimado eric yost- > > I think you've --willfully or not--misunderstood what I'm writing. > (and i > may well have not made it sufficiently clear as well . . . ) I am not > > excoriating American or Western soceity, what I am saying is that for > > example a person in my position, (ie. survival level) the place to > start > activism is where I have a direct presence, voice, etc--my community. > Where > I live is very high rate of prostitution, violence against women, > teen > pregnancy, homeless women, single mothers below the poverty level, > crack > flowing down the streets, alcoholism, roving bands of violent kids > aged ten > to 14 attacking people when they feel like it. (Killed a friend of > mine two > summers ago.) I'm not excoriating this world or society, I care > deeply for > it, I'm part of it. I'll do anything I can for it. It's been my > home for > several years now. > > By diverting attention I mean that this is a tactic often used by > (usually > right wing) talk radio and tv--bring up a problem in the USA such as > rape, > violent mistreatment of women, and the host will scream what about > Sharia, > Muslim countries????? Isn't that just like feminists, attacking > their own > country and ignoring the far greater evils throughout the Muslim > world? > It's a form of distortion in which you place your opponent in the > position > of looking anti-American, pro-Muslim (and Nazi in your equation > below) and > you feel as though you have exposed feminism as just another > anti-American > "ism" to be done away because it doesn't go after what should be its > "prime > concern"--what goes on in Muslim countries. In the current climate > of being > at war with Muslim countries, this has a lot of the ring of the > "either > you're for us or you're against us" pronunciamentos of G. W. Bush and > > Company. > > What I hear in your posts isn't a compassion for Muslim women, but > rather a > fear and hatred of Muslims--you equate them with Nazis. Rather than > > understand that I mean to accomplish something constructive in the > world > where I can, here in the USA, that not all of us can begin with work > > abroad, your hysteria continually has you focused on this anti-Muslim > > agenda. If I am not part of that, then I must be against it. > Therefore > anti-American, anti-Western, etc. > What do you propose? Further wars? > There are women's movements and organizations world wide working to > end the > practicies you write of, and they have been for some time and they > are > slowly making a difference. In many countries, these practices > began even > before Islam came. It is going to take very hard work to overcome > over > thousand years and more of traditions, taboos, "honor"--just as in > this > society the same can be said in other ways one sees daily, that it is > very > hard work to change behaviours considered as "natural" or as "rights" > or > "privileges" to be granted without question. > > It sounds like you are not so much concerned with the Sharia as with > the > eradication or defeat in some catastrophic manner of Islam, as Nazism > was > defeated. > And if Sharia/Islam were defeated, we would all be more liberated at > home. > Yet so far the wars against Islamic countries and terrorist > organizations > have been the cause given for the attack on civil liberties at home. > And more and more cuts in any form of aid to programs and people at > home in > desperate need of bare essentials--a meal, a place to sleep that's > safe-- > let alone medical care, education, proper nutrition, heating, > electric, > water, transporation, day care, counseling, job training, much > else-- > > I suggest you look into all the organizations around the world > working to > change the practices you write of. I think you'll find it far larger > than > you may have had any idea. > If you truly do care so much about Sharia, why not contact one of > these > organizations and find out what you can do for/with them? > > I don't do things out of a theory or because i'm a "good person" > --I've > lived the life around me and people helped me when I was at the very > bottom > of it. It may sound corny but you want to give back--and do what you > can > for someone else what others did for you. And the place where one > can do > the best is the one one knows that others can't learn about in a > course or > training program, the one one lives in, and , in my case, doesnt have > the > means to go beyond. > That doesn't mean that I don't care deeply about Sharia or know > nothng about > it. It means simply that I am accepting and working within my > limitations. > And I also believe if this country is going to go around the world > preaching > its superior way of life, morality, justice, democracy, and all the > rest, > then it should practice what it preaches. > Katrina a year ago revealed for a while the tip of the iceberg of an > America > left ever more uncared for in large part because of the wars abroad. > How > much have those wars improved life for women in Iraq and Afghanistan? > For > women in America? I can tell you a wonderful effect they are having > on the > streets and in the suburbs of America--bonanza time in the heroin > tarde, the > most and best heroin ever seen flooding the market, an outbreak of > overdoses > among even old addicts, treatment places filling up with young > addicts in > truly terrible shape due to the potency of the new stocks--and each > crop of > opium poppies bigger than the last. More addicts--more prostitution, > more > abusisive relationships, sexually transmitted diseases, etc etc more > > children born with developmental problems, more people living in > poverty, > more crime, more probelms for the addicts' families, an endless > series of > ripples expanding outwards into society. > Three losing Wars now intersect daily: the War on Poverty, the War > on Drugs > and the War on Terrorism. "Think globally and act locally" today > means very > much that to work in interventions in one's neighborhood and work for > > changes at the simplest daily level, is also linked very much with > events > happening abroad. > You write that people ignored Nazism from abroad. Nazism was ignored > first > by people at home. > While being aware of things aboard, one needs to be aware of them at > home > also, before they happen to one unawares. Look how much already has > > happened to this country in the last five years. As an Upton > Sinclair novel > of the Thirties has it "It Could Happen Here". > "Oh say can you see"--your civil rights shrinking?-- > > There are a great many woman and people of all countries world wide > working > to chamge Sharia. And there are people working to change things here > at > home also. Both are needed. > Why not give a hand, there's more than enough to do. > > > > > > > > >From: Eric Yost > >Reply-To: UB Poetics discussion group > > >To: POETICS@LISTSERV.BUFFALO.EDU > >Subject: Re: anti-feminists who fear change > >Date: Tue, 17 Oct 2006 02:06:37 -0400 > > > >D-B: Why the moment people begin to speak of conditions in the > United > >States are they swfitly told horrors are much worse under Islam? > > > >Eric: Why is it that the moment someone fingers the worst offenders > against > >any aspect of basic human rights, they are immediately reminded that > the > >purpose of the discussion is to excoriate American or Western > society? > >Reflexive masochism perhaps? > > > >D-B: To tell people to divert their attention and direct it > elsewhere far > >away where they can have little immediate effect --let alone only in > > >Islamic countries only-- > > > >Eric: Ah, at last, your points: (a) it is a diversion solely because > you > >feel we can't do anything about it, and (b) to even mention the > worst > >offenders is to criticize them alone, and ignore the West. > > > >First, are you incapable of imagining Western feminists strongly > engaging > >women who live under Islamic Sharia oppression? Do you really think > the > >majority gender so powerless to work change where the worst offense > is? If > >it is a diversion to mention Sharia's crimes against women, then it > was > >equally a diversion for people in the 1940s to alert the West to the > Nazi's > >genocidal intent. > > > >Second, to mention the worst offenders in the world is not to ignore > the > >lesser offenders at home. What would make you think that? To go back > to a > >historical analogy, it was precisely the defeat of Nazism (and all > the > >societal structural changes incumbent to that defeat, i.e., women > workers > >in defense plants, African-American valor in combat) that > highlighted our > >own domestic inequalities and set the stage for their gradual > institutional > >remedy. > > _________________________________________________________________ > Use your PC to make calls at very low rates > https://voiceoam.pcs.v2s.live.com/partnerredirect.aspx > > ------------------------------ > > Date: Tue, 17 Oct 2006 13:09:49 -0700 > From: Bruce Covey > Subject: lubasch / mark reading in Atlanta > > The second reading of the Fall 2006 What's New in Poetry Series will > feature Lisa Lubasch and Sabrina Orah Mark this Thursday, October 19, > 7:30pm, Dobbs Hall Parlor, Emory University, Atlanta, GA. > Refreshments will be served. > > ------------------------------ > > Date: Tue, 17 Oct 2006 13:17:54 -0700 > From: George Bowering > Subject: Re: Chuck B > > On 17-Oct-06, at 10:29 AM, Jason Quackenbush wrote: > > > I like bukowskis poetry. He was one of the first 20th century > American > > poets I read whose work really sang for me. this at seventeen after > > > discovering that i didn't understand what ginsberg was talking > about > > and coming to the conclusion that jack kerouac was wildly over > rated. > > there was something in the vernacular and the top heavy weight of > his > > lines that made something click in my brain and all of a sudden i > was > > a poetry junkie. I know there are a lot of people who have had > similar > > experiences with chuck b, and i think that that in itself is a > pretty > > remarkable achievement. so credit where credit is due. > > > Yr right. There must be a lot of 17-year-olds that like Bukowski's > poetry. > > ------------------------------ > > Date: Tue, 17 Oct 2006 15:26:30 -0500 > From: mIEKAL aND > Subject: Re: Chuck B > > Only if Bukowski has a myspace page. > > > On Oct 17, 2006, at 3:17 PM, George Bowering wrote: > > > On 17-Oct-06, at 10:29 AM, Jason Quackenbush wrote: > > > >> I like bukowskis poetry. He was one of the first 20th century > >> American poets I read whose work really sang for me. this at > >> seventeen after discovering that i didn't understand what ginsberg > > >> was talking about and coming to the conclusion that jack kerouac > > >> was wildly over rated. there was something in the vernacular and > > >> the top heavy weight of his lines that made something click in my > > >> brain and all of a sudden i was a poetry junkie. I know there are > > >> a lot of people who have had similar experiences with chuck b, and > > >> i think that that in itself is a pretty remarkable achievement. so > > >> credit where credit is due. > >> > > Yr right. There must be a lot of 17-year-olds that like Bukowski's > > > poetry. > > ------------------------------ > > Date: Tue, 17 Oct 2006 13:36:45 -0700 > From: Jason Quackenbush > Subject: Chuck B and Agism > > hahahahahahaha. > > see what's funny about that is that you write "there must be a lot of > seven= > teen year olds who like bukowskis poetry" as if to say that bukowski > writes= > at the "level" of seventeen year olds. Which is bashing both me and > bukows= > ki because we're at that "level" and that a more mature "level" > exists wher= > e one would see through the transparent sham that is bukowski. hoo > boy. tha= > t's funny. > > but what's even more funny is that we've been going around and around > on th= > e list these last few days about feminism and the lack of sexual > inequality= > , when this sort of blatant agism goes completely unchecked, and > probably w= > ould go unnoticed if I wasn't pointing it out right now. age > discrimination= > is one of the few forms of bigotry that's socially acceptable in our > socie= > ty, and I'm tired of how blind people who i think should be more > sensitive = > to it often are. What if Mr. Bowering, someone had said in a > similarly dism= > issive manner "yes, I'm sure there are lots of black people who like > charle= > s bukowski" or "yes, I'm sure there are lots of women who like > charles buko= > wski?" Both statements are undoubtedly true, Charles Bukowski is very > popul= > ar, and there are lots of PEOPLE who like him. But your singling out > a grou= > p as a method of ridiculing him says nothing about him, or about that > group= > , it only says something about you, as I think the thought experiment > above= > succinctly demonstrates. > > On Tue, 17 Oct 2006, George Bowering wrote: > > > On 17-Oct-06, at 10:29 AM, Jason Quackenbush wrote: > > > >> I like bukowskis poetry. He was one of the first 20th century > American p= > oets=20 > >> I read whose work really sang for me. this at seventeen after > discoverin= > g=20 > >> that i didn't understand what ginsberg was talking about and > coming to t= > he=20 > >> conclusion that jack kerouac was wildly over rated. there was > something = > in=20 > >> the vernacular and the top heavy weight of his lines that made > something= > =20 > >> click in my brain and all of a sudden i was a poetry junkie. I > know ther= > e=20 > >> are a lot of people who have had similar experiences with chuck b, > and i= > =20 > >> think that that in itself is a pretty remarkable achievement. so > credit= > =20 > >> where credit is due. > >>=20 > > Yr right. There must be a lot of 17-year-olds that like Bukowski's > poetry= > =2E > > > > ------------------------------ > > Date: Tue, 17 Oct 2006 16:41:32 -0400 > From: Christopher Leland Winks > Subject: Re: anti-feminists who fear change > > Great one=2C David=2E I=27d recommend that el estimado se=E2=98=BAor > Yo= > st read = > > Fatima Mernissi=2C Leila Ahmed=2C Nawal el-Saadawi (feminists all)=2C > an= > d = > > visit the Revolutionary Association of the Women of Afghanistan = > > website=3A www=2Erawa=2Eorg > > And from my standpoint=2C I think anybody who points fingers at the > = > > (actually very diverse) =22Muslim world=22 should ponder very > carefully = > > the recent killings by a gunman of 10 young Amish girls (deliberately > = > > targeted) in Nickel Mine=2C Pennsylvania and think about what this > says = > > of the hideous misogyny raging in our very own =22democratic and = > > enlightened=22 society=2E Even a New York Times columnist=2C Bob > Herber= > t=2C = > > was moved to raise some questions in this regard=2E > > > ------------------------------ > > Date: Tue, 17 Oct 2006 14:08:03 -0700 > From: Nick LoLordo > Subject: Re: Chuck B and Agism > > there must be a lot of 87 yr olds who like Allen Tate's poetry... > > Quoting Jason Quackenbush : > > > hahahahahahaha. > > > > see what's funny about that is that you write "there must be a lot > > of seventeen year olds who like bukowskis poetry" as if to say > that > > bukowski writes at the "level" of seventeen year olds. Which is > > bashing both me and bukowski because we're at that "level" and > that > > a more mature "level" exists where one would see through the > > transparent sham that is bukowski. hoo boy. that's funny. > > > > but what's even more funny is that we've been going around and > > around on the list these last few days about feminism and the lack > > of sexual inequality, when this sort of blatant agism goes > > completely unchecked, and probably would go unnoticed if I wasn't > > pointing it out right now. age discrimination is one of the few > > forms of bigotry that's socially acceptable in our society, and > I'm > > tired of how blind people who i think should be more sensitive to > > it often are. What if Mr. Bowering, someone had said in a > similarly > > dismissive manner "yes, I'm sure there are lots of black people > who > > like charles bukowski" or "yes, I'm sure there are lots of women > > who like charles bukowski?" Both statements are undoubtedly true, > > Charles Bukowski is very popular, and there are lots of PEOPLE who > > like him. But your singling out a group as a method of ridiculing > > him says nothing about him, or about that group, it only says > > something about you, as I think the thought experiment above > > succinctly demonstrates. > > > > On Tue, 17 Oct 2006, George Bowering wrote: > > > > > On 17-Oct-06, at 10:29 AM, Jason Quackenbush wrote: > > > > > >> I like bukowskis poetry. He was one of the first 20th century > > American poets > > >> I read whose work really sang for me. this at seventeen after > > discovering > > >> that i didn't understand what ginsberg was talking about and > > coming to the > > >> conclusion that jack kerouac was wildly over rated. there was > > something in > > >> the vernacular and the top heavy weight of his lines that made > > something > > >> click in my brain and all of a sudden i was a poetry junkie. I > > know there > > >> are a lot of people who have had similar experiences with chuck > > b, and i > > >> think that that in itself is a pretty remarkable achievement. > so > > credit > > >> where credit is due. > > >> > > > Yr right. There must be a lot of 17-year-olds that like > > Bukowski's poetry. > > > > > > > > > > ---------- > > V. Nicholas LoLordo > Assistant Professor > > University of Nevada-Las Vegas > Department of English > 4504 Maryland Parkway > Las Vegas, NV 89154-5011 > > (702) 895-3623 > > ------------------------------ > > Date: Tue, 17 Oct 2006 17:38:06 -0400 > From: heidi arnold > Subject: Re: anti-feminists who fear change > > Gwyn, and all, > > i apologize if i offended anyone in my earlier post -- sort of -- it > wasn't > intended to silence anyone simply to disagree as a matter of > discussion > > regards, > > heidi > > > > > -- > www.heidiarnold.org > http://peaceraptor.blogspot.com/ > > ------------------------------ > > Date: Tue, 17 Oct 2006 18:41:35 -0400 > From: Margaret Konkol > Subject: Robert Creeley Conference Oct 12th-14th 2006 > > As the snow fell over Buffalo Thursday night Rosemarie Waldrop and > Robin > Blaser read their work to the assembled crowd at Trinity Church in > downtown Buffalo. This was the first of three nights of readings and > two > full days of talks at "On Words: A Conference on the Life and Work > of > Robert Creeley." > > For those that were able to attend it was a memorable and wonderful > occasion. > > -Margaret Konkol > > ------------------------------ > > Date: Tue, 17 Oct 2006 22:29:06 -0400 > From: Peter Ciccariello > Subject: study war no more > > study war no > more > > > > > > > -- Peter Ciccariello > http://invisiblenotes.blogspot.com/ > > ------------------------------ > > Date: Tue, 17 Oct 2006 23:20:06 -0400 > From: ALDON L NIELSEN > Subject: Coming to Brooklyn > > So now it's back to the East Coast. I'll be speaking Thursday > afternoon at Brooklyn College as part of a conference on the life and > works of Larry Neal. Drop on by. > > For more information on the conference and its schedule, visit this > url: > > > http://english.rutgers.edu/conferences/larryneal/ > > ------------------------------ > > End of POETICS Digest - 16 Oct 2006 to 17 Oct 2006 (#2006-291) > ************************************************************** > > > ========================================================================= Date: Wed, 18 Oct 2006 03:28:22 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Eric Yost Subject: Re: anti-feminists who fear change In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Maybe there's an alternative to trying to outdo each other in self-righteousness? Somebody'll have to start first and it may not be me. When D-B writes, "What I hear in your posts isn't a compassion for Muslim women, but rather a fear and hatred of Muslims--you equate them with Nazis. . . . .your hysteria continually has you focused on this anti-Muslim agenda," I can't even spot a shadow of my views. "Hysteria" is probably a bad thing that people who disagree with D-B often display, but as an actual word denoting mental agitation or excessive fear, it's out of place. First, there's the elementary difference between Islamism and the Islamic faith. D-B is conflating the two, and that doesn't make for a clear discussion. Islamism is an aggressive, murderous, fascist, empire-building belief system, derived from the writings of Sayed Qutb. Islam is the traditional monotheistic religion. (Islamism is to Islam what bombing abortion clinics is to Christianity. Granted, bombing abortion clinics is not as quantitatively murderous an enterprise as those undertaken by Islamists, but the comparison does make the point.) Islam cannot be compared to Nazism; Islamism however can be compared to Nazism. To repeat an earlier post, highlighting the worst offenders against basic human rights does not distract from the problems of our own society. If D-B wants to characterize me as a Republican, he is mistaken. Maybe he is used to arguments that vet circular partisan talking-points, and imagining me a partisan, creates a construct that he can argue against. You've got the wrong guy for that. I agree with everything D-B says about our domestic situation. The USA needs all the help it can get. D-B: Why not give a hand, there's more than enough to do. And what makes you think I don't already give a hand? That was patronizing, David, but I think you may have intended that as a general rhetorical appeal rather than a specific proposal for me. It's surprising that so many people would jump on me for pointing out the capacious elephant in the room. Maybe too many people have been narcotized by Spivak's one-pony show. Or maybe some other animals are involved, like Wild Bill Blake's "A dog starv'd at his Master's Gate / Predicts the ruin of the State." Christopher wrote, "nybody who points fingers at the (actually very diverse) 'Muslim world' should ponder very carefully the recent killings by a gunman of 10 young Amish girls (deliberately targeted) in Nickel Mine, Pennsylvania and think about what this says of the hideous misogyny raging in our very own 'democratic and enlightened' society." Actually it's Nickel Mines, Pennsylvania. I grew up not too far from there. Not much hideous misogyny raging there, but what with the limits of attention span, I could be wrong. However, there is no valid comparison between the psychopathic rampage at the Amish schoolhouse and institutionalized murder. (Consider the notorious incident in Mecca, where members of the Commission for the Promotion of Virtue pushed fleeing students back into a burning school because they weren't wearing abayas. Fifteen girls died there.) To ignore the difference between an individual psychopathy and a socially legitimized psychopathy is fuzzy thinking. Yet Christopher is dead right to suggest RAWA, an example of committed Islamic intellectual feminists working to change their societies. In the post that fingered me for attacks here, I suggested that Western feminists could actively engage groups like RAWA in the interest of making a better world. By the way, RAWA writers insist that the US ousting of the Taliban has only replaced one brutal patriarchy with another, and rectifying this gross error in US policy could also be a touchstone for feminist commitment. They are soliciting our support: http://www.rawa.org/rawa.html Whenever fundamentalists exist as a military and political force in our injured land, the problem of Afghanistan will not be solved. Today RAWA's mission for women's rights is far from over and we have to work hard for establishment of an independent, free, democratic and secular Afghanistan. We need the solidarity and support of all people around the world. ========================================================================= Date: Wed, 18 Oct 2006 19:29:33 +0900 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jesse Glass Subject: An Ahadada Books Triple-Header: Jerome Rothenberg, Jim Daniels, Shin Yu Pai MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Check it out at: www.ahadadabooks.com. Jess ========================================================================= Date: Wed, 18 Oct 2006 09:30:17 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Gary Sullivan Subject: MEREDITH & PETER QUARTERMAIN SATURDAY Mime-Version: 1.0 Content-Type: text/plain; format=flowed A rare appearance in New York by the Quartermains ... don't miss it! See photos and reports of past readings at http://segueseries.blogspot.com Saturday, Oct 21, 4:00 p.m. (please come on time!) Segue Series @ Bowery Poetry Club 308 Bowery, just north of Houston, NYC $6 admission goes to support the readers Meredith Quartermain’s most recent book is Vancouver Walking, which won the 2006 BC Book Award for Poetry. Other books include A Thousand Mornings, and, with Robin Blaser, Wanders. Her work has appeared in Chain, Sulfur, Tinfish, Prism International, The Capilano Review, West Coast Line, Raddle Moon, and many other magazines. With Peter Quartermain she runs Nomados Literary Publishers in Vancouver. Peter Quartermain’s poems have recently appeared in Golden Handcuffs Review. His books include Basil Bunting: Poet of the North and Disjunctive Poetics. With the English poet Richard Caddel he edited Other: British and Irish Poetry Since 1970, and, with Rachel Blau DuPlessis, The Objectivist Nexus: Essays in Cultural Poetics. These events are made possible, in part, with public funds from The New York State Council on the Arts, a state agency. The Segue Reading Series is made possible by the support of The Segue Foundation. For more information, please visit www.segue.org, bowerypoetry.com/midsection.htm, or call (212) 614-0505. Curators: Oct.-Nov. by Nada Gordon & Gary Sullivan. _________________________________________________________________ All-in-one security and maintenance for your PC. Get a free 90-day trial! http://clk.atdmt.com/MSN/go/msnnkwlo0050000002msn/direct/01/?href=http://www.windowsonecare.com/?sc_cid=msn_hotmail ========================================================================= Date: Wed, 18 Oct 2006 09:34:28 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: susan maurer Subject: feminists who changed america,l963-l975 ed.barbara j. love foreward bynf cott Mime-Version: 1.0 Content-Type: text/plain; format=flowed particullarly rich and interesting discussion about feminism. i was pleased with the number of men who responded and were knowledgable. i have to say i spread initially some msinformation and the correct title of the university of illinois press book is above'. susan maurer _________________________________________________________________ All-in-one security and maintenance for your PC. Get a free 90-day trial! http://clk.atdmt.com/MSN/go/msnnkwlo0050000002msn/direct/01/?href=http://www.windowsonecare.com/?sc_cid=msn_hotmail ========================================================================= Date: Wed, 18 Oct 2006 10:05:44 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Steve Halle Subject: Andrew Lundwall @ Seven Corners Comments: To: Adam Fieled , Alex Frankel , Andrew Lundwall , Anne Waldman , Becky Hilliker , Bhisham Bherwani , Bill Garvey , Bob Archambeau , "Bowen, Kristy" , brandihoman@hotmail.com, cahnmann@uga.edu, Chad Carroll , chard deNiord , Cheryl Keeler , Chris Goodrich , Christian Dufour , Craig Halle , Dan Pedersen , ela kotkowska , Eric Markey , "f.lord@snhu.edu" , Garin Cycholl , James DeFrain , Jacqueline Gens , Jay Rubin , jeremy@invisible-city.com, John Krumberger , Judith Vollmer , Jules Gibbs , Julianna McCarthy , "K. R." , Kate Doane , "Lea C. Deschenes" , "lesliesysko@hotmail.com" , Malia Hwang-Carlos , Margaret Doane , Marie U , Mark Tardi , MartinD , Matt Gruenfeld , Monica Halle , "Odelius, Kristy L." , pba1@surewest.net, Peter Sommers , Rick Wishcamper , Ross Gay , Simone Muench , Truth Thomas MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline After a bit of a break, *Seven Corners* (www.sevencornerspoetry.blogspot.com) is back and featuring new poems by *Andrew Lundwall*. Please stop by soon. Best, Steve Halle Editor, *7C* ========================================================================= Date: Wed, 18 Oct 2006 09:18:10 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Catherine Daly Subject: some definitions, and broken syntax In-Reply-To: <4535D796.8020806@gmail.com> MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: quoted-printable It fascinates me that most of the women who have posted on this thread = post in all lower case, because I don't understand it. I have asked a number = of lower-casers about this, and it seems a mix of desire to make writing = about poetry as well as writing poetry more intimate and informal, sheer = laziness about hitting the shift key (my parrot literally chewed mine on my = laptop, so I know -- I have to hit it extra hard), and, of course, a desire to = not write in Standard English (a la bell hooks, or perhaps Audre Lord's = "you'll not win using men's tools"). It reads to me like low self-esteem.=20 What is "broken syntax." Well, everybody knows it is programming jargon = for incorrect syntax sorta. There, if the format (not form) includes = syntactic conventions, and you've not followed them, the stupid machine's not = going to be able to do anything with your stuff. But, it goes without saying = (and has been mostly unsaid here) that as an order, syntax is, well, an = order. There are lots of very good reasons to break and reconstruct, just smash = up, subvert and pervert, blah blah, any order. And language order, well, we = are poets. L=3DA=3D blah blah. Those are letters. Anyway. Beyond that, = there is the question -- is syntax gendered? And if so, is male syntax, or = Standard English, patriarchal? On the word level, even the OED says that certain words are "syntactically male" for example, when to refer to non-males, = a prefix or suffix must be appended.=20 Hysteria. Chris Stroffolino has suggested including these posts in my = poem. I have thought about including the correspondence around the poem, but = am only including the research of the text and sources. It is a poem which consists of all the versions of the poem, so the pre-writing or writing around could logically be included. Hysteria is psycho-sexual, as is = most of the resistance to feminism. While it is a word that got applied to a certain set of behaviors a long while back, I would suggest that = hysteria is now called IBS (there are a couple of other dis-eases and syndromes, but this is the biggie). You know, the whole "tummy" thing. The meaning of = the word has wandered from merely "uterus"? Hysteria is a word applied dismissively, generally to women; its definition constantly changes, and there is no treatment or cure. It is also the title of a Def Leppard = album. Armageddon it? All best, Catherine Daly ========================================================================= Date: Wed, 18 Oct 2006 12:49:16 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Charles Bernstein Subject: A Tribute to Barbara Guest in NY 10/21 Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed A Tribute to Barbara Guest ... Saturday, October 21 2pm - 4pm Bowery Poetry Club 308 Bowery (between Bleeker & Houston) Featuring her daughter Hadley Haden Guest along with Charles Bernstein Marcella Durand Tonya Foster Erica Kaufman Charles North Kristin Prevallet Evelyn Reilly Frances Richard Lytle Shaw Lewis Warsh Africa Wayne organized by Kristen Prevallet ***** Note that immediately following this event, there will be a reading by Peter Quartermain and Meredith Quartermain in the Segue/BPC series, 4pm -- as just announced on the list by Gary Sullivan. ========================================================================= Date: Wed, 18 Oct 2006 11:50:57 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Dan Coffey Subject: Re: some definitions, and broken syntax In-Reply-To: <000101c6f2d1$014b0c20$6901a8c0@KASIA> MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline Great post! Now I remember why I signed up for the Poetics list again. On 10/18/06, Catherine Daly wrote: > Hysteria. > While it is a word that got applied to a > certain set of behaviors a long while back, I would suggest that hysteria is > now called IBS (there are a couple of other dis-eases and syndromes, but > this is the biggie). You know, the whole "tummy" thing. The meaning of the > word has wandered from merely "uterus"? Hysteria is a word applied > dismissively, generally to women; its definition constantly changes, and > there is no treatment or cure. This makes me wonder where hysterical veered off its original definition-path to mean "wildly funny." (My own on-the-spot definition.) No hell for humor. >It is also the title of a Def Leppard album. > Armageddon it? We must keep trudging On Through the Night in our quest to understand our own use of language. Until then, and perhaps even then, we'll simply be High and Dry. Dan ========================================================================= Date: Wed, 18 Oct 2006 13:12:04 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mark Weiss Subject: Re: some definitions, and broken syntax In-Reply-To: <000101c6f2d1$014b0c20$6901a8c0@KASIA> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed Three things. 1. Certain words are "patriarchal," to use a contested term, as are the indefinite pronouns he, his to mean one, one's. That doesn't mean that standard syntax is gendered. Though I rather like the idea that when I break syntax I'm in linguistic drag, I don't think it's true. 2. There are many feminisms. Is resistance to any one of them, but not to all of them, "psycho-sexual"? How about to an aspect of any one of them? Is it equally so in men and women? 3. Hysteria, as I understand it, to the extent that the term is used clinically at all (there was a recent article in the Times, I think, about a revival among a few clinicians), has lost its gender identification. In my dialect the more casual uses of the term have long since lost gender, as well as the sense of unexplained disability. Men and women can behave hysterically (i.e., over-the-top, out of control), and male, female and neutral things can be hysterically funny and reduce one to hysterics. I suspect that this is true in other dialects. Mark At 12:18 PM 10/18/2006, you wrote: >It fascinates me that most of the women who have posted on this thread post >in all lower case, because I don't understand it. I have asked a number of >lower-casers about this, and it seems a mix of desire to make writing about >poetry as well as writing poetry more intimate and informal, sheer laziness >about hitting the shift key (my parrot literally chewed mine on my laptop, >so I know -- I have to hit it extra hard), and, of course, a desire to not >write in Standard English (a la bell hooks, or perhaps Audre Lord's "you'll >not win using men's tools"). It reads to me like low self-esteem. > >What is "broken syntax." Well, everybody knows it is programming jargon for >incorrect syntax sorta. There, if the format (not form) includes syntactic >conventions, and you've not followed them, the stupid machine's not going to >be able to do anything with your stuff. But, it goes without saying (and >has been mostly unsaid here) that as an order, syntax is, well, an order. >There are lots of very good reasons to break and reconstruct, just smash up, >subvert and pervert, blah blah, any order. And language order, well, we are >poets. L=A= blah blah. Those are letters. Anyway. Beyond that, there is >the question -- is syntax gendered? And if so, is male syntax, or Standard >English, patriarchal? On the word level, even the OED says that certain >words are "syntactically male" for example, when to refer to non-males, a >prefix or suffix must be appended. > >Hysteria. Chris Stroffolino has suggested including these posts in my poem. >I have thought about including the correspondence around the poem, but am >only including the research of the text and sources. It is a poem which >consists of all the versions of the poem, so the pre-writing or writing >around could logically be included. Hysteria is psycho-sexual, as is most >of the resistance to feminism. While it is a word that got applied to a >certain set of behaviors a long while back, I would suggest that hysteria is >now called IBS (there are a couple of other dis-eases and syndromes, but >this is the biggie). You know, the whole "tummy" thing. The meaning of the >word has wandered from merely "uterus"? Hysteria is a word applied >dismissively, generally to women; its definition constantly changes, and >there is no treatment or cure. It is also the title of a Def Leppard album. >Armageddon it? > >All best, >Catherine Daly ========================================================================= Date: Wed, 18 Oct 2006 13:29:38 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Marcus Bales Subject: Re: some definitions, and broken syntax Comments: To: Catherine Daly In-Reply-To: <000101c6f2d1$014b0c20$6901a8c0@KASIA> MIME-Version: 1.0 Content-type: text/plain; charset=US-ASCII Content-transfer-encoding: 7BIT On 18 Oct 2006 at 9:18, Catherine Daly wrote: > What is "broken syntax." Well, everybody knows it is programming > jargon for > incorrect syntax sorta. There, if the format (not form) includes > syntactic > conventions, and you've not followed them, the stupid machine's not > going to > be able to do anything with your stuff. < Yes, so the desire to break the syntax is the desire to make sure that the program doesn't run; that the brains that process the syntax are not able to do anything with your stuff. As I said. The goal of breaking the syntax is the goal of breaking the language so that the language program doesn't run in human brains. That's contemporary poetry for you. Nice. On 18 Oct 2006 at 9:18, Catherine Daly wrote: > There are lots of very good reasons to break and reconstruct, just > smash up, > subvert and pervert, blah blah, any order. < How about a list of those reasons that are "good to break" any order? >On 18 Oct 2006 at 9:18, Catherine Daly wrote: > ... Beyond that, > there is > the question -- is syntax gendered? And if so, is male syntax, or > Standard > English, patriarchal? On the word level, even the OED says that > certain > words are "syntactically male" for example, when to refer to > non-males, a > prefix or suffix must be appended. As I said before, the notion of breaking something without having something to replace it doesn't seem to be the very smartest thing -- particularly considering the potential problems breaking the syntax would have if it were really broken. So, again, what does "breaking the syntax" really mean? Marcus ========================================================================= Date: Wed, 18 Oct 2006 12:44:27 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Joe Amato Subject: Hysteria... Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" Re hysteria: I can't think of a better place to explore the latter than the following, which blew my mind when I first came across the article that preceded the book (which article appeared, in all places, in the IEEE Technology and Society mag!): The Technology of Orgasm: "Hysteria," the Vibrator, and Women's Sexual Satisfaction by Rachel T. Maines (new ed. Johns Hopkins UP, 2001) If you think you've heard everything re hysteria, think again. Best, Joe ========================================================================= Date: Wed, 18 Oct 2006 14:04:22 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Christopher Leland Winks Subject: Re: some definitions, and broken syntax In-Reply-To: <45362C42.1011.502862C@marcus.designerglass.com> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Disposition: inline Content-Transfer-Encoding: 7bit I understand that, in the spirit of our latter-day Minutemen, Mister Bales has been burnishing his "English-only credentials" to a fare- thee-well. For him, it seems, syntax is English, just as contemporary poetry is written only in English. Who the hell cares about those furriners anyway who probably have been breaking syntax for a while (all the more reason to expel them from our well-policed po-borders)? You know, French guys (oops, I used the F word in the presence of a red-blooded Murican) like Stephane Mallarme, 17th century Spaniards (hell, they're almost like A-rabs, aren't they, so who cares) like Gongora and Mexicans like Sor Juana Ines de la Cruz (a woman, and you know these feminists, they hate men and syntax almost in that order) and neo-baroque writers like Jose Lezama Lima (but wasn't he from Cuba and aren't they all Commies there out to subvert everything we hold most dear, like syntax?). Or the Japanese (we beat their asses in WWII, so later for them). Or Caribbean poets like Louise Bennett and Kamau Brathwaite. Or dub poets in general. Or Nuyorican poets. Or African-American experimental poets. Or visual poets. Hell with them anyway. It was all downhill after Philip Freneau. It's true. The barbarians have stormed Mister Bales's barbed-wire fence quite some time ago, but armed with his lethal syntax, he's ready to make a last stand, Custer-style (by the way, no telling what those Indians might have perpetrated on our holy syntax without having anything to replace it with). He's going to make damn sure that the unwashed, syntactically-challenged mob read and take as a model genres like cowboy poetry, which has absolutely no syntactical issues at all, is comprehensible to the generality (you know, regular folks, at least Mister Bales's type of regular folks), and rhymes even! Ah, monolingualism. What crimes -- and how many poetry listserves -- are committed in thy name. ========================================================================= Date: Wed, 18 Oct 2006 11:37:48 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jason Quackenbush Subject: Re: some definitions, and broken syntax In-Reply-To: <45362C42.1011.502862C@marcus.designerglass.com> MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII; format=flowed On Wed, 18 Oct 2006, Marcus Bales wrote: > On 18 Oct 2006 at 9:18, Catherine Daly wrote: >> What is "broken syntax." Well, everybody knows it is programming >> jargon for >> incorrect syntax sorta. There, if the format (not form) includes >> syntactic >> conventions, and you've not followed them, the stupid machine's not >> going to >> be able to do anything with your stuff. < > > Yes, so the desire to break the syntax is the desire to make sure > that the program doesn't run; that the brains that process the syntax > are not able to do anything with your stuff. As I said. The goal of > breaking the syntax is the goal of breaking the language so that the > language program doesn't run in human brains. That's contemporary > poetry for you. Nice. Marcus, seriously, natural language is not equivalent to machine language so your analogy doesn't hold up. Human brains, being very good at language processing in particular and at parsing and assigning meaning to signs in general, have no trouble "running" a program that doesn't strictly adhere to rules of grammar. More importantly, it's far from settled among the linguists who study such things just what syntax is, and among the literature you will find many writers saying things like some sentence p is well-formed in such and such a dialect, and not well-formed in another. What well-formed means is determined solely by the intuitions of native speakers and any attempt to formalize syntax begins by trying to capture all of the well-formed sentences in a dialect while excluding those that are not well-formed. This is a difficult task and again, there is disagreement among linguists as to what is the best and most naturalistic way of going about doing it. To that end, the idea that syntax can be "broken" at all is just a sort of shorthand for using sentences that are not well-formed as a poetic device. As such, what determines how well it is done are the same criteria for how well the any device is deployed. It can be done well, like how i do it, or it can be done poorly, as Joseph Massey does occasionally. So to answer your long running question, for me at least, as a writer who finds a lot of room for creativity in working with sentences that are not well-formed, what "breaking the syntax" can mean is anything from mixing dialects to creating ambiguities of meaning by denying a specificity to a subject or object within a sentence, to various paratactical structures, to intentionally creating nonsense poetry (jabberwocky for ie) that forces a reader to focus on the sounds of words rather than their grammatical function, to creating sentences where homonyms with different grammatical functions can coexist at the same point in a sentence and thereby take on a bivalence not generally available in well-formed sentences. All of these things and more are possible when a writer is not handcuffed to the syntactical rules of Standard English and is willing to explore what meanings can occur if those rules are ignored, or replaced by other rules. which is another way of breaking syntax, simply making up a sentence structure that did not exist previously. People are good at finding the meaning in such things, and it simply requires a certain amount of open mindedness for a person to understand such devices, particularly when they are employed with skill.+ ========================================================================= Date: Wed, 18 Oct 2006 15:04:46 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: heidi arnold Subject: feminist, unfeminist MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline [for those of you having a bad day, or a stressful day, i'll understand if you skip the below -- in undergrad we sometimes would meet at midnight outside the library for a primal scream, so there it is, and for the record i only pick fights with people i respect] -- i appreciate the gains of feminism, but in my limited experience as a young poet i tend to distrust professional sympathy -- apart from the fact that there are some feminists i would cut off my right arm to talk to -- BUT i tend to distrust professional sympathy, because the poetry machine seems to be about box-trapping young poets and slapping labels on them so they'll behave -- like rats in a maze -- you know, they'll say, you're a feminist so how does your poetry align with feminism -- well, who said that was even the right question -- doesn't matter, we've set it up so that those will be the questions asked -- so that the community will function predictably -- and so that, if you ask me, the possibility of asking different questions or thinking about things apart from all the little box traps -- and womanization or whatever is a box trap too -- feminist masculinist genderist patriarchalist -- doesn't matter -- and what you get is box trap poetry -- follower of xxxxxxxxxxxxxxxxx -- ex-follower of xxxxxxxxxx, since we get predictability that way -- well last i heard when a poet sits down they really can write anything they damn well please, even if there are whatever controls to try to make sure they don't -- and in this boxy environment and i'm sure feminism isn't the last box trap out there for young women poets -- all the box traps make free inquiry less likely, or less intrusive, which in a way is the same thing -- keeps the powers that be, the powers that be, that way -- i think if the poets in charge, whoever they are, can't handle willfullness and bad behavior and what have you then they're in the wrong business -- can you believe an art that tells its young generation 'do what you're told?' do what you're fucking told -- pay us money for tuition and sit still in class for awhile now -- this IS NOT the young poets' problem at all !!!!!!!!! -- don't tell me what camp my poetry belongs in, if you wait, i will tell you -- i won't probably know for 5 years or even more and so don't fix it for me i'm gonna do it myself -- and don't tell me that knowing what was in my parents checking account determines the path of my career -- and that the fucking limits everyone is so eager to fence around everyone else are actually benefitting our art -- what if these fences are robbing it blind -- and if indeterminacy is so offensive to people i wonder what kind of business everyone thinks they're in -- -- i would be the last person to slap labels on other poets work in order to keep the machine cranking -- i suspect the mfa programs are promoting in Stasi fashion the box trapping tendencies of the poetry machine -- how's that for paranoia, for starters -- with repeated apologies to Gwyn and Catherine and others -- i have work to do and i'm going offlist, for awhile -- www.heidiarnold.org http://peaceraptor.blogspot.com/ ========================================================================= Date: Wed, 18 Oct 2006 14:04:46 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: David-Baptiste Chirot Subject: Re: anti-feminists who fear change/definitions of (mass) hysteria In-Reply-To: <4535D796.8020806@gmail.com> Mime-Version: 1.0 Content-Type: text/plain; format=flowed dear eric: Oh--I'll gladly award and present you with the crown of self-righteousness. It's all yours! And decorated, too! (email can't show i am saying this in a friendly tone) Thank you for making the distinctions you have among Islam and Islamism. By the word hysteria I meant its definition as mass hysteria--since I had brought up talk radio and tv hosts what I was talking about is the form of mass hysteria these intend/hope to provoke. (And at times, do. It's also the aim of a lot of propaganda--and often wittingly or not of the "news".) Mass hysteria: "mass public near-reactions . . . Hysteria is often associated with movements like the Salem Witch Trials, Mc Carthyism the Red Scare, Terrorism and Satanic ritual abuse, where it is better understood through the related sociological term of moral panic." It is this last definition of Wikipedia's that I had in mind and hoped would have been suggested by the context. Since I do a lot of reading about mass hysteria and those who attempt to incite it by various means, that is the meaning of it I carry with me in thinking on this subject. I associate it with a tone of voice, word choice, and yes syntax often, and the choice of targets within the climate of the time period and within the community in which it is being addressed. (Adorno wrote some very good essays on this regarding the Nazis' use of radio.) Sometimes as persons come to words from various disciplines where they have different meanings and connotations, unfortunately unnecessary confusions do arise. The one I have used for so long is this one yet obviously others know mainly only the other definition, which I know also, yet thought others would know the one I referred to as well, hence this misapprehension. Something to try to recall for future reference perhaps to make clear when using a technical word is in which discipline's context one is using it. (the chemical use of "sublime" or the Romantic sublime for example--) So, forgive the confusion it has caused for people who saw the word at the expense of the context--I should have made this clearer. I was having a very excited conversation in French this morning with one of my favorite writers, Roberto Bolano--never mind that he died three years ago--because I had suddenly some good short story ideas from this discussion. Some things cropped up I thought he'd appreciate as a bit up his alley. I think we are on to something. Sometimes writing email one feels as though essaying to type while in a strait jacket, to find the keys while blindfolded. By the time a mangled text manages to make it to a screen and through cyber space, it has already begun to assume a ceratin deformity. Upon its reception, further deformities take place. From the start so many screening and self/censoring processes are involved--it reminds me of the kilometer long tube you used to have to put your pass port etc in to be sent forward to the guards and polizei etc at the entrance to Berlin, by the Wall. Are you really you? (In Poland where I went next they decided I wasn't--until a military tribunal cleared things up some weeks later.) You said this--here--what does this mean? No, this is not right. Etc. I thought of it because reading your idea of me I couldn't help burst out laughing. It's about the exact opposite of who I am as could be. Which means that I didn't do a good enough job of writing and perhpas you didn't do a good enough one of reading. But I'll just stick to my part. Back to the drawing board so to speak. I think there is another elephant in the room, but this is between Roberto Bolano and I. Speaking of elephants the mother of my oldest son just wrote from Thailand--they just moved overlooking the Mekong River--and were eating dinner outside--an elephant came up and serenaded them playing the harmonica! I shall apply myself to the study of the posts of those who just posted for example and many others in order to understand the exact nature of communication for the correct presentation of les mots et les choses. And as a gesture of good will in the style of m. l'elephant--a little song on the harmonica--a jazz for New Orleans-- since it is music--no words--hopefully the conveyance of an atmosphere of good will may be felt by all-- onwo/ards!! david-bc >From: Eric Yost >Reply-To: UB Poetics discussion group >To: POETICS@LISTSERV.BUFFALO.EDU >Subject: Re: anti-feminists who fear change >Date: Wed, 18 Oct 2006 03:28:22 -0400 > >Maybe there's an alternative to trying to outdo each other in >self-righteousness? Somebody'll have to start first and it may not be me. > >When D-B writes, "What I hear in your posts isn't a >compassion for Muslim women, but rather a fear and hatred of >Muslims--you equate them with Nazis. . . . .your hysteria >continually has you focused on this anti-Muslim agenda," I >can't even spot a shadow of my views. > >"Hysteria" is probably a bad thing that people who disagree with D-B often >display, but as an actual word denoting mental agitation or excessive fear, >it's out of place. > >First, there's the elementary difference between Islamism and the Islamic >faith. D-B is conflating the two, and that doesn't make for a clear >discussion. Islamism is an aggressive, murderous, fascist, empire-building >belief system, derived from the writings of Sayed Qutb. Islam is the >traditional monotheistic religion. (Islamism is to Islam what bombing >abortion clinics is to Christianity. Granted, bombing abortion clinics is >not as quantitatively murderous an enterprise as those undertaken by >Islamists, but the >comparison does make the point.) Islam cannot be compared to >Nazism; Islamism however can be compared to Nazism. > >To repeat an earlier post, highlighting the worst offenders >against basic human rights does not distract from the >problems of our own society. If D-B wants to characterize me >as a Republican, he is mistaken. Maybe he is used to arguments that vet >circular partisan talking-points, and imagining me a partisan, creates a >construct that he can argue against. You've got the wrong guy for that. I >agree with everything D-B says about our domestic situation. The USA needs >all the help it can get. > >D-B: Why not give a hand, there's more than enough to do. > >And what makes you think I don't already give a hand? That >was patronizing, David, but I think you may have intended >that as a general rhetorical appeal rather than a specific proposal for me. > >It's surprising that so many people would jump on me for >pointing out the capacious elephant in the room. Maybe too >many people have been narcotized by Spivak's one-pony show. >Or maybe some other animals are involved, like Wild Bill >Blake's "A dog starv'd at his Master's Gate / Predicts the >ruin of the State." > > >Christopher wrote, "nybody who points fingers at the >(actually very diverse) 'Muslim world' should ponder very >carefully the recent killings by a gunman of 10 young Amish >girls (deliberately targeted) in Nickel Mine, Pennsylvania >and think about what this says of the hideous misogyny >raging in our very own 'democratic and enlightened' society." > >Actually it's Nickel Mines, Pennsylvania. I grew up not too >far from there. Not much hideous misogyny raging there, but what with the >limits of attention span, I could be wrong. > >However, there is no valid comparison between the psychopathic rampage at >the Amish schoolhouse and institutionalized murder. (Consider the notorious >incident in Mecca, where members of the Commission for the Promotion of >Virtue pushed fleeing students back into a burning school because they >weren't wearing abayas. Fifteen girls died there.) To ignore the difference >between an individual psychopathy and a socially legitimized psychopathy is >fuzzy thinking. > >Yet Christopher is dead right to suggest RAWA, an example >of committed Islamic intellectual feminists working to >change their societies. In the post that fingered me for >attacks here, I suggested that Western feminists could >actively engage groups like RAWA in the interest of making >a better world. By the way, RAWA writers insist that the US >ousting of the Taliban has only replaced one brutal >patriarchy with another, and rectifying this gross error in >US policy could also be a touchstone for feminist >commitment. They are soliciting our support: > > >http://www.rawa.org/rawa.html >Whenever fundamentalists exist as a military and political >force in our injured land, the problem of Afghanistan will >not be solved. Today RAWA's mission for women's rights is >far from over and we have to work hard for establishment of >an independent, free, democratic and secular Afghanistan. We >need the solidarity and support of all people around the world. _________________________________________________________________ Get today's hot entertainment gossip http://movies.msn.com/movies/hotgossip?icid=T002MSN03A07001 ========================================================================= Date: Wed, 18 Oct 2006 15:41:40 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Marcus Bales Subject: Re: some definitions, and broken syntax Comments: To: Christopher Leland Winks In-Reply-To: MIME-Version: 1.0 Content-type: text/plain; charset=US-ASCII Content-transfer-encoding: 7BIT On 18 Oct 2006 at 14:04, Christopher Leland Winks wrote: > I understand that, in the spirit of our latter-day Minutemen, Mister > Bales has been burnishing his "English-only credentials" to a > fare-thee-well.< To a fare-thee-well, really! Where do you get these? What original language use! Golly! But nowhere do I say anything about "English only" -- English is the language of this listserv and of the poems and phrases and such that have been offered and discussed. On 18 Oct 2006 at 14:04, Christopher Leland Winks wrote: > For him, it seems, syntax is English, just as > contemporary > poetry is written only in English. Who the hell cares about those > furriners anyway who probably have been breaking syntax for a while > (all the more reason to expel them from our well-policed > po-borders)? < Breaking syntax, irrespective of language, is making that language incomprehensible. The phrase is taken, as someone has already pointed out, from computer programming, where when the syntax is broken the program, and the machine, won't run. To take that metaphorically into the language in general, breaking the syntax in any language is to ensure that the brains (machines) can't understand (run) the poem (program). It doesn't matter what language you're talking about, if you break its syntax, you make it incomprehensible. That's the metaphor. You don't like it? Make another metaphor. Marcus ========================================================================= Date: Wed, 18 Oct 2006 16:00:09 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Christopher Leland Winks Subject: Re: some definitions, and broken syntax In-Reply-To: <45364B34.24888.57B652A@marcus.designerglass.com> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Disposition: inline Content-Transfer-Encoding: 7bit Well, I could have said "hasta mas no poder" instead of "fare-thee- well." But I thought, in deference to the reigning monolingualism, that I would add a slight archaizing touch. It seemed somehow, you know, comme il faut. Gongora, Sor Juana, Mallarme, Lezama Lima -- yes, they take some work to figure out (if all one reads poetry for is to "figure it out") because of their syntactical experiments. They aren't plain-spoken. They're "artificial." They warp the programming and short-circuit the machine, even before notions of "programming" came into existence. Think of Huidobro in the early years of the 20th century: "All the languages are dead." Sound poetry, scat singing, lettrism -- there are more things in language and poems, Marcus, than are dreamt of in your linguistic orreries. ========================================================================= Date: Wed, 18 Oct 2006 17:37:16 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Murat Nemet-Nejat Subject: Re: anti-feminists who fear change/definitions of (mass) hysteria In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline David, Here is to "e-mail juste." To paraphrase a favorite writer, "I have to struggle all day long for a correct e-mail." Ciao, Murat On 10/18/06, David-Baptiste Chirot wrote: > > dear eric: > > Oh--I'll gladly award and present you with the crown of > self-righteousness. > It's all yours! And decorated, too! > > (email can't show i am saying this in a friendly tone) > > Thank you for making the distinctions you have among Islam and Islamism. > > By the word hysteria I meant its definition as mass hysteria--since I had > brought up talk radio and tv hosts what I was talking about is the form of > mass hysteria these intend/hope to provoke. (And at times, do. It's also > the aim of a lot of propaganda--and often wittingly or not of the "news".) > Mass hysteria: "mass public near-reactions . . . > Hysteria is often associated with movements like the Salem Witch Trials, > Mc > Carthyism the Red Scare, Terrorism and Satanic ritual abuse, where it is > better understood through the related sociological term of moral panic." > > It is this last definition of Wikipedia's that I had in mind and hoped > would > have been suggested by the context. Since I do a lot of reading about > mass > hysteria and those who attempt to incite it by various means, that is the > meaning of it I carry with me in thinking on this subject. I associate it > with a tone of voice, word choice, and yes syntax often, and the choice of > targets within the climate of the time period and within the community in > which it is being addressed. (Adorno wrote some very good essays on this > regarding the Nazis' use of radio.) > Sometimes as persons come to words from various disciplines where they > have > different meanings and connotations, unfortunately unnecessary confusions > do > arise. The one I have used for so long is this one yet obviously others > know mainly only the other definition, which I know also, yet thought > others > would know the one I referred to as well, hence this misapprehension. > Something to try to recall for future reference perhaps to make clear when > using a technical word is in which discipline's context one is using it. > (the chemical use of "sublime" or the Romantic sublime for example--) > > So, forgive the confusion it has caused for people who saw the word at the > expense of the context--I should have made this clearer. > > I was having a very excited conversation in French this morning with one > of > my favorite writers, Roberto Bolano--never mind that he died three years > ago--because I had suddenly some good short story ideas from this > discussion. Some things cropped up I thought he'd appreciate as a bit up > his alley. I think we are on to something. > > Sometimes writing email one feels as though essaying to type while in a > strait jacket, to find the keys while blindfolded. By the time a mangled > text manages to make it to a screen and through cyber space, it has > already > begun to assume a ceratin deformity. Upon its reception, further > deformities take place. From the start so many screening and > self/censoring > processes are involved--it reminds me of the kilometer long tube you used > to > have to put your pass port etc in to be sent forward to the guards and > polizei etc at the entrance to Berlin, by the Wall. Are you really you? > (In Poland where I went next they decided I wasn't--until a military > tribunal cleared things up some weeks later.) You said this--here--what > does this mean? No, this is not right. Etc. > > I thought of it because reading your idea of me I couldn't help burst out > laughing. It's about the exact opposite of who I am as could be. > Which means that I didn't do a good enough job of writing and perhpas you > didn't do a good enough one of reading. > But I'll just stick to my part. > > Back to the drawing board so to speak. > > I think there is another elephant in the room, but this is between Roberto > Bolano and I. > > Speaking of elephants the mother of my oldest son just wrote from > Thailand--they just moved overlooking the Mekong River--and were eating > dinner outside--an elephant came up and serenaded them playing the > harmonica! > > I shall apply myself to the study of the posts of those who just posted > for > example and many others in order to understand the exact nature of > communication for the correct presentation of les mots et les choses. > > And as a gesture of good will in the style of m. l'elephant--a little song > on the harmonica--a jazz for New Orleans-- > since it is music--no words--hopefully the conveyance of an atmosphere of > good will may be felt by all-- > > onwo/ards!! > david-bc > > > > > > > > > > >From: Eric Yost > >Reply-To: UB Poetics discussion group > >To: POETICS@LISTSERV.BUFFALO.EDU > >Subject: Re: anti-feminists who fear change > >Date: Wed, 18 Oct 2006 03:28:22 -0400 > > > >Maybe there's an alternative to trying to outdo each other in > >self-righteousness? Somebody'll have to start first and it may not be me. > > > >When D-B writes, "What I hear in your posts isn't a > >compassion for Muslim women, but rather a fear and hatred of > >Muslims--you equate them with Nazis. . . . .your hysteria > >continually has you focused on this anti-Muslim agenda," I > >can't even spot a shadow of my views. > > > >"Hysteria" is probably a bad thing that people who disagree with D-B > often > >display, but as an actual word denoting mental agitation or excessive > fear, > >it's out of place. > > > >First, there's the elementary difference between Islamism and the Islamic > >faith. D-B is conflating the two, and that doesn't make for a clear > >discussion. Islamism is an aggressive, murderous, fascist, > empire-building > >belief system, derived from the writings of Sayed Qutb. Islam is the > >traditional monotheistic religion. (Islamism is to Islam what bombing > >abortion clinics is to Christianity. Granted, bombing abortion clinics is > >not as quantitatively murderous an enterprise as those undertaken by > >Islamists, but the > >comparison does make the point.) Islam cannot be compared to > >Nazism; Islamism however can be compared to Nazism. > > > >To repeat an earlier post, highlighting the worst offenders > >against basic human rights does not distract from the > >problems of our own society. If D-B wants to characterize me > >as a Republican, he is mistaken. Maybe he is used to arguments that vet > >circular partisan talking-points, and imagining me a partisan, creates a > >construct that he can argue against. You've got the wrong guy for that. I > >agree with everything D-B says about our domestic situation. The USA > needs > >all the help it can get. > > > >D-B: Why not give a hand, there's more than enough to do. > > > >And what makes you think I don't already give a hand? That > >was patronizing, David, but I think you may have intended > >that as a general rhetorical appeal rather than a specific proposal for > me. > > > >It's surprising that so many people would jump on me for > >pointing out the capacious elephant in the room. Maybe too > >many people have been narcotized by Spivak's one-pony show. > >Or maybe some other animals are involved, like Wild Bill > >Blake's "A dog starv'd at his Master's Gate / Predicts the > >ruin of the State." > > > > > >Christopher wrote, "nybody who points fingers at the > >(actually very diverse) 'Muslim world' should ponder very > >carefully the recent killings by a gunman of 10 young Amish > >girls (deliberately targeted) in Nickel Mine, Pennsylvania > >and think about what this says of the hideous misogyny > >raging in our very own 'democratic and enlightened' society." > > > >Actually it's Nickel Mines, Pennsylvania. I grew up not too > >far from there. Not much hideous misogyny raging there, but what with the > >limits of attention span, I could be wrong. > > > >However, there is no valid comparison between the psychopathic rampage at > >the Amish schoolhouse and institutionalized murder. (Consider the > notorious > >incident in Mecca, where members of the Commission for the Promotion of > >Virtue pushed fleeing students back into a burning school because they > >weren't wearing abayas. Fifteen girls died there.) To ignore the > difference > >between an individual psychopathy and a socially legitimized psychopathy > is > >fuzzy thinking. > > > >Yet Christopher is dead right to suggest RAWA, an example > >of committed Islamic intellectual feminists working to > >change their societies. In the post that fingered me for > >attacks here, I suggested that Western feminists could > >actively engage groups like RAWA in the interest of making > >a better world. By the way, RAWA writers insist that the US > >ousting of the Taliban has only replaced one brutal > >patriarchy with another, and rectifying this gross error in > >US policy could also be a touchstone for feminist > >commitment. They are soliciting our support: > > > > > >http://www.rawa.org/rawa.html > >Whenever fundamentalists exist as a military and political > >force in our injured land, the problem of Afghanistan will > >not be solved. Today RAWA's mission for women's rights is > >far from over and we have to work hard for establishment of > >an independent, free, democratic and secular Afghanistan. We > >need the solidarity and support of all people around the world. > > _________________________________________________________________ > Get today's hot entertainment gossip > http://movies.msn.com/movies/hotgossip?icid=T002MSN03A07001 > ========================================================================= Date: Wed, 18 Oct 2006 17:40:26 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Murat Nemet-Nejat Subject: Re: feminist, unfeminist In-Reply-To: <11d43b500610181204g6f5330achaab2c64bc42c1575@mail.gmail.com> MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline Heidi, I like the phrase "box trap." Murat On 10/18/06, heidi arnold wrote: > > [for those of you having a bad day, or a stressful day, i'll understand if > you skip the below -- in undergrad we sometimes would meet at midnight > outside the library for a primal scream, so there it is, and for the > record > i only pick fights with people i respect] > > > -- i appreciate the gains of feminism, but in my limited experience as a > young poet i tend to distrust professional sympathy -- apart from the fact > that there are some feminists i would cut off my right arm to talk to -- > BUT > i tend to distrust professional sympathy, because the poetry machine seems > to be about box-trapping young poets and slapping labels on them so > they'll > behave -- like rats in a maze -- you know, they'll say, you're a feminist > so > how does your poetry align with feminism -- well, who said that was even > the > right question -- doesn't matter, we've set it up so that those will be > the > questions asked -- so that the community will function predictably -- and > so > that, if you ask me, the possibility of asking different questions or > thinking about things apart from all the little box traps -- and > womanization or whatever is a box trap too -- feminist masculinist > genderist > patriarchalist -- doesn't matter -- and what you get is box trap poetry -- > follower of xxxxxxxxxxxxxxxxx -- ex-follower of xxxxxxxxxx, since we get > predictability that way -- well last i heard when a poet sits down they > really can write anything they damn well please, even if there are > whatever > controls to try to make sure they don't -- and in this boxy environment > and > i'm sure feminism isn't the last box trap out there for young women poets > -- > all the box traps make free inquiry less likely, or less intrusive, which > in > a way is the same thing -- keeps the powers that be, the powers that be, > that way -- i think if the poets in charge, whoever they are, can't handle > willfullness and bad behavior and what have you then they're in the wrong > business -- can you believe an art that tells its young generation 'do > what > you're told?' do what you're fucking told -- pay us money for tuition and > sit still in class for awhile now -- this IS NOT the young poets' problem > at > all !!!!!!!!! -- don't tell me what camp my poetry belongs in, if you > wait, > i will tell you -- i won't probably know for 5 years or even more and so > don't fix it for me i'm gonna do it myself -- and don't tell me that > knowing > what was in my parents checking account determines the path of my career > -- > and that the fucking limits everyone is so eager to fence around everyone > else are actually benefitting our art -- what if these fences are robbing > it > blind -- and if indeterminacy is so offensive to people i wonder what kind > of business everyone thinks they're in -- > > -- i would be the last person to slap labels on other poets work in order > to > keep the machine cranking > > -- i suspect the mfa programs are promoting in Stasi fashion the box > trapping tendencies of the poetry machine -- how's that for paranoia, for > starters > > -- with repeated apologies to Gwyn and Catherine and others > -- i have work to do and i'm going offlist, for awhile > > > -- > www.heidiarnold.org > http://peaceraptor.blogspot.com/ > ========================================================================= Date: Wed, 18 Oct 2006 17:53:00 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Tom Beckett Subject: A Century of Writing Filipino America MIME-Version: 1.0 Content-Type: text/plain; charset="ISO-8859-1" Content-Transfer-Encoding: quoted-printable Eileen Tabios asked that I forward this announcement to the List. Pls Forward -- Nov. 7 deadline for RSVP! For immediate release: =A0=A0=A0=A0=A0=A0=20 Moving Archipelago: A Century Of Writing Filipino America=20 at the historic Woolworth Building=20 Date: Friday and Saturday, November 10-11, 2006=20 Location: Reception and conference at New York University, SCPS Conference=20 Center, 2nd Floor, Woolworth Building, 15 Barclay Street, New York, NY 10038= =A0=20 =A0=A0 Readings and discussion by Luis H. Francia, Sabina Murray, Eugene Gloria,=20 Bino A. Realuyo, Eileen Tabios, Brian Ascalon Roley, Nerissa S. Balce, Nick=20 Carbo, Luisa A. Igloria, Lara Stapleton, Sarah Gambito, Rick Barot and other= s!=20 =A0=A0 Join A/P/A Institute at New York University in collaboration with Kundiman=20 and the Centennial Planning Committee, on Friday night for an evening of=20 readings and celebration of 100 years of Filipino immigration to the =A0U.S.= =20 =A0 Kick-off Reception =A0Friday, Nov. 10th, 7:00 PM - 9:00 PM=20 Panel Discussions =A0Saturday, Nov. 11th, 10:00 AM - 5:00 PM, reception foll= ows=20 with readings =A0 The kick-off reception on Friday and series of panels on Saturday will=20 feature readings from some of the major Filipino writers across the =A0=A0U.= S. and from=20 New York City to exchange =A0stories, discuss ideas, and explore the varied=20 meanings of literary =A0texts. Just as importantly, the distinguished gather= ing will=20 celebrate what has preceded us and the rich but ambivalent promise of what=20 lies ahead. =A0=20 =A0=A0 RSVP by Tuesday, November 7 for the reception and conference separately to=20 apa.rsvp@nyu.edu or by phone 212-992-9653. For more information, visit=20 www.apa.nyu.edu Schedule of panels:=20 November 10th Readings & Reception: 7-9pm=20 Brian Ascalon Roley, Peter Bacho, Rick Barot, Nick Carbo, Fidelito Cortes,=20 Luisa A. Igloria, Lara Stapleton & Luis H. Francia=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=A0=A0=A0=A0=A0=A0 =A0=A0 =A0=A0 November 11th Panels: 10:00am-5pm=20 Panel 1: Where Have We Been?=20 Luis H. Francia, moderator; Nerissa S. Balce, Peter Bacho, Luisa A. Igloria,= =20 Lara Stapleton=20 =A0=A0 Panel 2: From Manong to Hip-Hop: Immigrant Stories Bino A. Realuyo, moderator; Sarah Gambito, Leslieann Hobayan, Brian Ascalon=20 Roley, and Oscar Penaranda=20 =A0=A0 Panel 3: Rendering the Invisible Visible Joseph O. Legaspi, moderator; Rick Barot, Eugene Gloria, Elda Rotor, and=20 Eileen R. Tabios =A0=20 =A0=A0 Panel 4: Where Are We Going? Allan Isaac, moderator; Nick Carbo, Andrew Hsiao, Sabina Murray,=20 R.A.Villanueva=20 =A0=A0 Reception and Closing Reading to follow panels until 7:30pm Readings by: Eugene Gloria, Sabina Murray, Oscar Penaranda, Bino A. Realuyo,= =20 Ninotcha Rosca & Eileen Tabios=20 Co-sponsored by The Reginald F. Lewis Foundation, The Smithsonian Asian=20 Pacific American Program, and NYU History Department.=20 =A0=A0 Supported by the Asian American Writers' Workshop, Asia Society and NYU=20 International Filipino Association. =A0 Media Sponsorship by Asiance Magazine. Beer provided by Carlsberg. Food=20 sponsors Cendrillon and Elvie's. =A0 ========================================================================= Date: Wed, 18 Oct 2006 22:07:35 +0000 Reply-To: editor@fulcrumpoetry.com Sender: UB Poetics discussion group From: Fulcrum Annual Subject: Fulcrum's Latest: Fifth Issue out, New Website up MIME-Version: 1.0 Content-Type: text/plain; charset="utf-8" Content-Transfer-Encoding: quoted-printable For immediate release and forwarding. FULCRUM is proud to announce the publication of its fifth annual issue an= d the launch of its brand-new website. FULCRUM: an annual of poetry and aesthetics, Number Five, 2006, edited by= Philip Nikolayev and Katia Kapovich * 544 pp., perfectbound, exquisitely= designed, cheaply priced * SPECIAL FEATURES: "Poets and Philosophers"; "= Poetry and Harvard in the 1920s" * POETRY BY Stephen Sturgeon, Ben Mazer,= Jeet Thayil, Vivek Narayanan, Glyn Maxwell, Joe Green, Landis Everson, D= an Sofaer, Billy Collins, John Tranter, Andrea Zanzotto, Don Share, Sean = O Riordain, Greg Delanty, Michael Palmer, Kit Robinson, Brian Henry, Pam = Brown, David Lehman, John Hennessy, Charles Bernstein, Charles Baudelaire= , Guillaume Apollinaire, Carlos Drummond de Andrade, Arthur Rimbaud, X.J.= Kennedy, John Crowe Ransom, Alex To, Fiona Sampson, Fan Ogilvie, Richard= Fein, Joyelle McSweeney, Justin Marks, Gerard Malanga, Alexei Tsvetkov, = George Bilgere, John Wheelwright, Malcolm Cowley, R.P. Blackmur, Dudley F= itts... * ESSAYS BY Eliot Weinberger, Peter H. Hare, Simon Critchley, Mar= jorie Perloff, Lisa Goldfarb, Pierre Joris, Raymond Barfield... * ART Est= her Pullman, e.e. cummings * INTERVIEW: Andrea Zanzotto * ...AND MUCH MOR= E! Find more information, view samples or subscribe at http://fulcrumpoetry.= com! ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Philip Nikolayev and Katia Kapovich, Editors FULCRUM: AN ANNUAL OF POETRY AND AESTHETICS 334 Harvard Street, Suite D-2 Cambridge, MA 02139, USA http://fulcrumpoetry.com phone 617-864-7874 e-mail editor{AT}fulcrumpoetry.com ========================================================================= Date: Wed, 18 Oct 2006 22:24:51 +0000 Reply-To: editor@fulcrumpoetry.com Sender: UB Poetics discussion group From: Fulcrum Annual Subject: Praise for Fulcrum MIME-Version: 1.0 Content-Type: text/plain; charset="utf-8" Content-Transfer-Encoding: quoted-printable From out of nowhere, Fulcrum has in only a few years established itself a= s a must-read journal, a unique annual of literary and intellectual subst= ance positioned on the cutting edge of culture. --Billy Collins A proper poetry journal should be run by proper poets, not by "well-inten= tioned" committees or genteel "lovers of poetry" along the lines of who's= admitted to the social register and who is not. Nikolayev and Kapovich a= re smart, curious and up to the job. Keep your eye on Fulcrum. --August Kleinzahler Fulcrum is quite simply the most exciting literary magazine I know of--it= 's got the largest scope of any journal, and room for the most depth. In = an age of jaded readers, Fulcrum gives joyous illumination. Each issue is= a treasure. --Don Share, Poetry Editor, Harvard Review, and Curator, G. E. Woodberry Poetry Room, Harvard University One of the liveliest, most challenging poetry journals now on the market,= Fulcrum is notable for its non-sectarianism, its free-wheeling, wide-ran= ging presentation of different poetries, candid interviews, and unusual c= ritical prose. --Marjorie Perloff The reach and variety of Fulcrum is very welcome: from fresh new voices t= o old and valued ones, with no leaning towards a particular school or cli= que. Every issue is ample, vigorous and eclectic. No wonder people are ta= king notice. --John Tranter Fulcrum... where intelligence refuses to die. --Charles Bernstein Poetry in the UK and the US is notorious for its vendettas, closed commun= ities and border disputes. In contrast, Fulcrum displays an exemplary hos= pitality to a wide range of poetry and practices. It reminds us why and h= ow poetry can matter by opening a literal and conceptual space in which a= ttention can rest on language being brought into activation. Fulcrum is t= he future. --David Kennedy A poetry journal open to a wider range of philosophical interests than an= y other, Fulcrum is doing as much to advance philosophy as it is to advan= ce poetry. --Peter Hare, Editor, Transactions of the C. S. Peirce Society: A Quarterly Journal in American Philosophy Fulcrum... is a stroke of luck for us readers, for it offers an unprecede= nted project in American letters today. --Ilya Kaminsky in Jacket Prepare to be surprised. Literature should be surprising, and in Fulcrum,= it is. --Rosanna Warren By its capacious, non-ideological, yet uniquely informed perspective on A= merican and international poetry, Fulcrum performs an essential role amon= g the literary magazines of our time. It is packed with the news, both go= od and bad, that poetry has to offer. Revelations abound in each issue. --Michael Palmer Fulcrum is a state of flux--takes risks, open doors, and doesn't try to f= ix poetry to any one set of ideas. Challenging nationalist agendas, its i= nternationalism is never strained. It is a space without fences--and that= is to be respected and celebrated. --John Kinsella Returning to Calcutta, I carried Fulcrum with me on the flight: a poetry = journal from America. Half of this issue [#4] was devoted to anthologisin= g Indian poetry in English, and I was reading this section... with deep p= leasure. What interested me was that a different idea of cross-cultural c= ontact was at work in the journal from the one we're indoctrinated with t= oday, to do with globalisation and diaspora... Internationalism became si= gnificant because it brought different literatures together, and addresse= d, in a new way, the primacy of literature... Reading the anthology, I be= came aware of what should be obvious: some of the best writing in English= in India is being done by poets. --Amit Chaudhuri in The Times of India The Poetry Foundation awarded Mr. [Landis] Everson its newly created priz= e... the Emily Dickinson First Book Award... with publication of his book= underwritten by the Foundation... [Everson] said, "I was waiting to die,= very patiently, very agreeably, when the phone rang." It was [Fulcrum's = contributing editor] Ben Mazer, a poet and editor writing an essay on the= Berkeley Renaissance for the poetry annual, Fulcrum. Mr. Mazer had trace= d Mr. Everson and asked if he had any unpublished poems. He did, and Mr. = Mazer published them in Fulcrum. With Mr. Mazer's encouragement, Mr. Ever= son began writing again... Unbeknownst to Mr. Everson, Mr. Mazer submitte= d his poems for the Poetry Foundation prize. He won, and Mr. Mazer will e= dit the book to be published by Graywolf Press. --The New York Times (October 17, 2005) A truly international annual of diverse poetry and cogent aesthetic enqui= ry, Fulcrum is an essential component of every contemporary English langu= age poet's working library. If your vertical bookshelves are already cram= med and bulging, let Fulcrum take a well-deserved place on the top of you= r horizontal stack. It's a distinctive and indispensable publication. --Pam Brown, associate editor, Jacket magazine Actually, what you need to do is to get the latest Fulcrum. --Joe Green I lack the qualifications to review Fulcrum 3 properly, but the more I th= ink about its density and mass, the more I realize, oh give up trying to = be Solomon, evaluating Fulcrum 3 is like--trying to hold a moonbeam with = your hand. A big heavy 500 page behemoth of a moonbeam. --Kevin Killian in Jacket At once international and local in its scope, broadly informed, philosoph= ic and lyric, Fulcrum is capable of serious lifting! --Peter Gizzi Luckily, Fulcrum comes out only once a year, otherwise there wouldn't be = much time left to do anything else. --S. K. Kelen Fulcrum is an elegant little poetry magazine published from "a room in Bo= ston," already seen as one of the most significant of its kind. --The Hindu I'd say it blows away just about any print poetry publication out there. = ...It merits comparisons to John Tranter's Jacket and outdoes Jacket in = some significant ways (fortunately it isn't a competition...). Fulcrum i= s no mere experiment but instead the polished delivery of a swirl of so m= any influences... --Patrick Herron on the Buffalo Poetics list Russian expats Katia Kapovich and Philip Nikolayev have launched in the U= S a poetry annual called Fulcrum. These two =C3=A9migr=C3=A9s have succee= ded at the kind of project that has of late proven to be beyond the power= of American and British lovers of literature, who are well grounded in W= estern culture, at home in its institutions, educated at prestigious univ= ersities, well-connected in literary circles, and skilled at dealing with= foundations that support cultural initiatives. --Inostrannaia Literatura ("Foreign Literature," Moscow) ...Katia Kapovich, che con il marito Philip Nikolayev sta emergendo sulla= scena americana grazie alla rivista Fulcrum di cui sono editori. --Alto Adige: Cultura & Societ=C3=A0 Why does poetry have the power to lift us, enlighten us, and, yes, comfor= t us? I mulled over this question with Katia Kapovich and Philip Nikolaye= v. Poets originally from the former Soviet Union, they now live in Cambri= dge and edit Fulcrum, a journal of English language poetry from around th= e world. --The Boston Globe [Fulcrum] will fill days in your life in a most gratifying way. --www.FieraLingue.it Fulcrum... arose a well-connected giant out of nowhere. --Foetry.com Fulcrum is probably the best poetry magazine currently available in the U= S. --Mumbai Mirror Find more information, view samples or subscribe at http://fulcrumpoetry.= com! ========================================================================= Date: Wed, 18 Oct 2006 20:12:25 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Barrett Watten Subject: Announcing *The Grand Piano* Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed Publication announcement and subscription offer! THE GRAND PIANO An Experiment in Collective Autobiography San Francisco, 1975-1980 by Bob Perelman, Barrett Watten, Steve Benson, Carla Harryman, Tom Mandel, Ron Silliman, Kit Robinson, Lyn Hejinian, Rae Armantrout, and Ted Pearson THE GRAND PIANO is an on-going experiment in collective autobiography by ten writers identified with Language Poetry in San Francisco. It takes its name from a coffeehouse at 1607 Haight Street, where from 1976-79 the authors took part in a reading and performance series. The writing project was undertaken as an online collaboration, first via an interactive web site and later through a listserv. When completed, THE GRAND PIANO will comprise ten parts, in each of which the ten authors will appear in a difference sequence. "Like the early avant-gardes, the people who gathered at the Grand Piano developed not only an exacting and liberating poetics, but also a way of living-in-art. Its chronicle here is many things, among them a deeply human and amusing map to building community through literature in this most unlikely of times. --Cole Swenson Part 1 is scheduled to appear November 2006, with subsequent volumes to be published at three-month intervals. Subscription to the entire series of ten volumes is now available for $90 (individual volumes for $12.95 each) directly from Lyn Hejinian, 2639 Russell Street, Berkeley, CA 94705. For subscription order form: http://www.english.wayne.edu/fac%5Fpages/ewatten/pdfs/gporder.pdf (color) http://www.english.wayne.edu/fac%5Fpages/ewatten/pdfs/gporderbw.pdf (black and white) Designed and published by Barrett Watten, Mode A/This Press (Detroit), 6885 Cathedral Drive, Bloomfield Twp., MI 48301. Distributed (individual orders and trade) by Small Press Distribution, Inc., 1341 Seventh Street, Berkeley, CA 94710-1408. ISBN 978-0-9790198-0-X (part 1), 80 pp., wrappers. ========================================================================= Date: Wed, 18 Oct 2006 20:21:51 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Barrett Watten Subject: New Directions in Poetics/MSA Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed "New Directions in Poetics" A panel session at the Modernist Studies Association, University of Tulsa Friday, October 20, 5:30-7:00 PM, Manchester Room Organizer and chair: Barrett Watten, Wayne State University for the National Poetry Foundation and *Paideuma: Studies in Modernist Poetics* Maria Damon (U Minnesota), "Modernist Precursors in Cultural Studies and Poetics" George Hartley (Ohio U), "The Hydroelectric Negro Power Company: Negotiating the Politics of Progress in New Negro Politics" Joel Tyler Nickels (UC Berkeley), "Sexuality and Surplus Value: The Libidinal Economy of *Paterson*" Sarah Ruddy (Wayne State U), "Bad Genealogies" The program for the conference can be found at: http://www.utulsa.edu/jjq/msa8/program.htm. ========================================================================= Date: Wed, 18 Oct 2006 20:32:34 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Tisa Bryant Subject: Contacts Mime-Version: 1.0 (Apple Message framework v624) Content-Transfer-Encoding: 7bit Content-Type: text/plain; charset=US-ASCII; format=flowed Hi there, I'm seeking email/postal mail contacts for Lyn Heijinian Carla Harryman Fanny Howe Fred D'Aguiar C.S. Giscombe Fred Moten Denis Johnson thanks! Tisa #################### Digital circuits are made from analog parts ################## ========================================================================= Date: Wed, 18 Oct 2006 21:00:35 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Steven McCaffery Subject: Creeley in Darkness and in Light MIME-Version: 1.0 Content-Type: text/plain Content-Transfer-Encoding: 8bit CREELEY IN DARKNESS AND IN LIGHT I think Mike Kelleher touched on most of the major points in his generously detailed posting. But, by way of addition (or maybe repetition), I want to mention that only the Friday campus events were effected. Mercifully the two downtown venues remained fully functioning and events went on according to schedule with only two participants absent (Charles Bernstein and Marjorie Perloff). One ironic phenomenon was the intense camaraderie and improvisatory determination to make this important event happen and happen it did. My thanks to Charles for his posting from the outsider position and I merely want to clarify that the Conference was neither a festschrift, a celebration, nor a mourning. The “mourning” occurred here in Buffalo in UB’s Poetry Collection a few days after Bob’s death when I called an impromptu and informal gathering of local friends and colleagues; 284 people turned up for that including Penelope Creeley, and her children Wil and Hannah. The celebration took place in May in Buffalo and this October event was designed from the beginning as an international conference of significance, convened to address, for the first time, the entire corpus of Creeley’s work. I asked all participants (excluding the poets) to produce unpublished but publishable new essays on Creeley’s life and/ or work and all came through with stellar contributions. The next step will be publication. I already have one university press interested and the consensus of participants that I spoke to preferred a book gathering over an on-line gathering. I want to close by mentioning the yeoman work done by the grad student volunteers in the UB Poetics Program who wrote uniformly admirable introductions to the poets and speakers and provided essential services in transportation et al. Thanks to all and God Bless global warming. Steve McCaffery UB Poetics Program ========================================================================= Date: Thu, 19 Oct 2006 12:44:47 +1000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Pam Brown Subject: more deletions MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit more entries on 'the deletions' : FULCRUM and SYNCITY Vernal stirrings SIEV X In Australia, we're talking about Why is Michael Farrell grinning ? Does he know about Van Gogh's Ear ? Christian Bök in Sydney Laurie Duggan on nzepc Spring things to do http://thedeletions.blogspot.com Pam Brown ___________________________________ _________________________________________________________________ Blog : http://thedeletions.blogspot.com/ Web site : Pam Brown - http://www.geocities.com/p.brown/ Associate editor : Jacket - http://jacketmagazine.com/index.html _________________________________________________________________ ____________________________________________________ Do you Yahoo!? Cars: Buy and sell, news, reviews, videos and more http://yahoo.drive.com.au/ ========================================================================= Date: Wed, 18 Oct 2006 19:57:04 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Stephen Baraban Subject: speaking of elephants In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit --- David-Baptiste Chirot digressed: > Speaking of elephants the mother of my oldest son > just wrote from > Thailand--they just moved overlooking the Mekong > River--and were eating > dinner outside--an elephant came up and serenaded > them playing the > harmonica! Did this incident occur anywhere near the Thai Elephant Conservation Center, near the town of Lampang (or near another elephant conservation center, because apparently at least one other camp in 2000 was contemplating starting a music project?) The ellies there have been granted access to "sturdier versions of traditional Thai instruments" & indeed harmonicas are amongst the instruments mentioned In the New York Times article copied below, one of the various commentaries to be found at: http://www.mulatta.org/Thaielephantorch.html It's pretty funny & delilcious if elephants are wandering away from their camp during their "free time" and serenading those persons (& animals?) they encounter, or even giving away harmonicas to elephants who live outside the camp after brief lessons on how to play them. Try to listen to the sound samples at the mulatta.org site, you'll see it's good improvisation. I keep meaning to order one of the CDs: NEW YORK TIMES December 16, 2000 THINK TANK A Band With a Lot More to Offer Than Talented Trumpeters ERIC SCIGLIANO In the 20 years since a Syracuse zookeeper first encouraged an elephant's artistic impulses, pachyderm paintings have become fundraising fixtures at zoos. So it was probably only a matter of time before someone decided to try these highly intelligent animals out on another creative endeavor: music. Now the debut CD of the Thai Elephant Orchestra is scheduled for release this month. The band is the brainchild of Richard Lair, an American expatriate who has worked with elephants for 23 years and written an encyclopedic United Nations study of Asia's captive elephants, and David Sulzer, a neurologist who heads Columbia University's Sulzer Laboratory and works as a composer and producer under the name Dave Soldier. Together they organized six young pachyderm at the Thai Elephant Conservation Center, a former government logging camp near the town of Lampang, where elephants now earn their keep by giving rides, demonstrating logging skills and painting pictures for tourists. Elephants are natural candidates for music-making. Their hearing is much keener than their sight, and they employ a vast range of vocalizations, many of which are heard on their CD, to be released by the New York-based Mulatta Records. Ancient Romans and Asian mahouts, or elephant handlers, have noted elephants' ability to distinguish melodies, and today's circus elephants follow musical cues. In 1957, a German scientist, Bernard Rensch, reported in Scientific American that his test elephant could distinguish 12 musical tones and could remember simple melodies even when played on different instruments, at different pitches, timbres and meters. She still recognized the tones a year and a half later. There have been commercial ventures, too. In the 1850's a circus elephant named Romeo cranked a hand organ while "Juliet" danced, and the Adam Forepaugh and Barnum & Bailey circuses later fielded "elephant bands." These "probably sounded like a herd of angry Buicks," said Fred Dahlinger, research director for the Circus World Museum in Baraboo, Wis. "They were all novelty acts, characteristic of their times." The Thai Elephant Orchestra attempts something different. Its members play sturdier versions of traditional Thai instruments - slit drums, a gong hammered from a sawmill blade, a diddly-bow bass and xylophone-like renats - and a thundersheet and harmonicas. Mr. Sulzer said he and Mr. Lair merely showed the elephants how to make the sounds, cued them to start and stop, and let them play as they wished. After five practice sessions, they started recording. Mr. Sulzer admits he was skeptical at first. "I thought we would just train elephants to hit something, and I would tape that and have to paste it together with other things." Instead, he recorded the performances intact, without overdubbing, in a teak grove, pausing only when outside noises intruded. The players improvise distinct meters and melodic lines, and vary and repeat them. The results, at once meditative and deliberate, delicate and insistently thrumming, strike some Western listeners as haunting, others as monotonous. Mr. Sulzer wondered whether Prathida, a 7-year- old orchestra member whom he called "the Fritz Kreisler of elephants," would recognize dissonance. "I put one bad note in the middle of her xylophone. She avoided playing that note - until one day she started playing it and wouldn't stop. Had she discovered dissonance, and discovered that she liked it? She outsmarted the researchers." Mr. Lair worked out a set of hand signals for the mahouts to cue the elephants while he was conducting. He discovered that some "figured out the meaning of the signals on their own, with no teaching whatsoever." But is it music? Mr. Sulzer insists it is. "I have no doubt they're improvising - and composing, which is the same thing," he declared. To test out the proposition, he suggested something like the Turing test of artificial intelligence: play the CD without disclosing the performers' identity and then ask listeners the question. For Mr. Lair, it's simply a matter of interpretation, as in all art: "Just as there are a lot things they don't understand about our music, I am sure there are things we will never understand about theirs." The proceeds from the CD will go to a milk bank for orphaned elephants and a school to improve mahout training - although Mr. Lair concedes that "profits are highly theoretical at this point." Nonetheless, Mr. Lair, who not only advises the Conservation Center but also trained the elephants for the Disney movie "Dumbo Drop," is sensitive to any charges of exploitation. Elephants should not be "incarcerated and made to do slave labor," he writes in the new CD's liner notes. With habitat vanishing and logging banned in Thailand, however, there's little alternative to tourist-camp work. At least, he says, making "gorgeous noises of their own volition" is light and pleasurable duty: "What better job than to be in the prison band?" Mr. Lair and Mr. Sulzer are devising new instruments and seeking new talent. They say one 3-year-old has already proved a prodigy, and another elephant camp is trying to develop an orchestra. Meanwhile, a second, "easy-listening" recording, "code-named the `Schlock CD," is on the way, Mr. Lair writes, mixed to be accessible to a wider audience. __________________________________________________ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com ========================================================================= Date: Thu, 19 Oct 2006 00:01:14 -0400 Reply-To: patrick@proximate.org Sender: UB Poetics discussion group From: "patrick@proximate.org" Subject: automated response Mime-Version: 1.0 Content-Type: text/plain; charset=us-ascii The following is an automated response. Until 18 November 2006 I may be unable to respond to your email due to numerous obligations and contraints. Please forgive me in advance if I fail to respond. Thank you for your email. Patrick ========================================================================= Date: Thu, 19 Oct 2006 05:08:43 +0000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: P Ganick Subject: small chapbook project this is to announce the continuation of the reading period for the current publication schedule on october 31, 2006. a summary of guidelines can be had by writing peter ganick at: pganick@comcast.net or at his new snail address: peter ganick small chapbook project 45 ravenwood road west hartford, ct 06107-1539 usa also, a list of previous publications still avail- able can be had by writing e- or snail-. ========================================================================= Date: Thu, 19 Oct 2006 02:51:08 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Chris Stroffolino Subject: GRAND PIANO blurb possibility Mime-Version: 1.0 (Apple Message framework v752.3) Content-Transfer-Encoding: 7bit Content-Type: text/plain; charset=US-ASCII; delsp=yes; format=flowed (feel free to excerpt) The Grand Piano is an amazing machine. "Grand" like an old high flying flag, or a street or avenue in a neighborhood that used to be a central hub called downtown. Often it crosses Broadway. Broadway may have more songs, just like Georgia gets more songs than Houston, but "Funky Grand" doesn't have to sound (or mean) funky bland, especially if James Booker could play it. There's a picture of Booker playing one on my refrigerator. I don't know if it's a baby. At what point does it become a toddler? But more importantly, at what point will there be more public access to grand pianos, when even a good upright is hard to find buried beneath the karaoke machines. It's much more difficult to see the pianist's face (and more difficult for the pianist to see your face) over an upright than it is over a grand. But a grand also takes up more room. It's a grand accident that this book and the authors it writes have more room and thus recognizable faces, and also that it's upright enough not to be wheeled out from the cafe and into the chilly wind near the corner of what used to be called Love and what is still called Haight. ========================================================================= Date: Thu, 19 Oct 2006 03:40:35 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Ram Devineni Subject: Join the party tonight: Music, Poetry & Short Films for free! MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit AIC-CYPHER SALON Thursday, October 19, 2006 at 7pm. NY-born vocalist and poet Haale weaves Persian melodies through a lush soundscape. Screening of Abbas Kiarostami & Daniel Mitelpunkt's Forest Without Leaves, and Oscar nominated short, Little Terrorist & Contours of Staying by caraballo-farman. Also, a special screening of Tala Hadid's Your Dark Hair Ihsan. Jonathan Shorr Gallery, 109 Crosby St. (off Prince St.) in SOHO, New York City POETRY/MUSIC: NY-born vocalist and poet Haale weaves Persian melodies through a lush soundscape that pays homage to Sufi musical traditions and pschedelic rock FILM: Forest Without Leaves. In spring 2005 filmmaker and artist Abbas Kiarostami presented his installation Forest Without Leaves at the V&A museum in London. His interest in people's response to his work led to this short film with Daniel Mitelpunkt. Abbas Kiarostami is considered the most influential and controversial post-revolutionary Iranian filmmaker. He won the Palme d'or at Cannes Film Festival for Taste of Cherry. FILM: Everyday, members of the group Falun Gong gather in front of the Chinese consulate on 42nd St. to protest & meditate. Contours of Staying by caraballo-farman captures this superhuman resilience during a major snow blizzard in New York City. caraballo-farman is a two-person team based in NYC and made up of L. Caraballo (Argentina) and A. Farman (Iran-Canada). FILM: Little Terrorist. A 10 year old Muslim Pakistani boy crosses the border into Hindu Brahim, with no way of getting back. Jamal's only hope is the humanity shared by a people separated by artificial boundaries. Directed by Ashvin Kumar, the film was nominated for Academy Award (2005) and won first prizes at the Montreal World Film Festival, Manhattan Short Film Festival, Flanders Intl Film Festival and Grand Prize at the Tehran Intl Short Film Festival. Film provided by Filmmovement.com FILM: Tala Hadid's Your Dark Hair Ihsan. A man returns from Europe to his native-city in North Africa after being notified of his mother’s death. As he rediscovers his city he navigates through the waters of the past and the present, between dream and memory and remembers his mother who he lost as a child. Received an Oscar in the Student Academy Awards and the Panorama Best short Film Award at the Berlin Film Festival. Presented by ArteEast. Cosponsored with Academia Internacional de Cinema, Pampero Rum, ArteEast & Filmmovement.com Celebrate NYC Mayor's Office of Film, Theatre and Broadcasting's 40th anniversary. ------- Tarnish and Masquerade LAUNCH READING: Roger Bonair-Agard's Tarnish and Masquerade Launch Party. Sol, 609 West 29th St., New York, NY. October 20, 2006, 7PM, Free. Special guests & hosts: Hallie Hobson, Patricia Smith, Patrick Rosal, Lynne Procope, & Marty McConnell. Co-sponsored with Terra Nova Collective. A veteran of the spoken-word scene, two-time National Slam Champion Roger Bonair-Agard releases his debut book, Tarnish and Masquerade, with accompanying CD full of spellbinding poems. These poems chart an exile's coming-of-age and an increasingly relevant immigrant's experience. Whether set in Trinidad, Washington Heights, Texas, Brooklyn or other less-fixed locales, these poems written (and spoken) with equal parts joy and fury are full of clarity, compassion and unsentimentality. Please send future emails to devineni@rattapallax.com for press ========================================================================= Date: Thu, 19 Oct 2006 07:34:14 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Tom Beckett Subject: An Erotics of Thought MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Check out Geof's Huth review of my _Unprotected Texts: Selected Poems (1978~2006)_ at: http://dbqp.blogspot.com/2006/10/erotics-of-thought.html ========================================================================= Date: Thu, 19 Oct 2006 06:56:58 -0500 Reply-To: dgodston@sbcglobal.net Sender: UB Poetics discussion group From: Daniel Godston Subject: Chicago Udu Calls with Ed Roberson tonight In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit You are invited to this special performance tonight -- Ed Roberson will be joining Chicago Udu Calls at Elastic, in Chicago. SET ONE::BRANCH/SEXTON/RIORDAN Jaimie Branch - trumpet Joe Sexton - saxophone Marc Riordan - drums SET TWO::CHICAGO UDU CALLS with Ed Roberson (Ways & Means Trio with Daniele Cavallanti & Tiziano Tononi) Ed Roberson - poetry Daniele Cavallanti - saxophones Jayve Montgomery - reeds Dan Godston - trumpet Joel Wanek - bass Tiziano Tononi - drums $6 requested donation @ ELASTIC 2830 N. Milwaukee 2nd floor ELASTIC is the home of the not-for-profit Elastic Arts Foundation, dedicated to fostering the local community of art and culture by developing and producing creative, non-commercial performances and art events. Elastic is BYOB, enjoys plenty of street parking, and is only 3 blocks north of the Logan Square stop on the Blue Line. For more information about the series or the space, check out www.elasticarts.org, or call the space at 773-772-3616. This series is produced in conjunction with UMBRELLA MUSIC, a group of Chicago musicians and presenters working to provide performance opportunities for creative and improvising musicians. More information on the group and on the events they coordinate is available at www.umbrellamusic.org ========================================================================= Date: Thu, 19 Oct 2006 08:54:56 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Tom Beckett MIME-Version: 1.0 Content-Transfer-Encoding: 7bit Content-Type: text/plain; charset="us-ascii" Uhh.. make that "Geof Huth's" review of my book. Geeze. ________________________________________________________________________ Check out the new AOL. Most comprehensive set of free safety and security tools, free access to millions of high-quality videos from across the web, free AOL Mail and more. ========================================================================= Date: Thu, 19 Oct 2006 09:46:33 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Dan Waber Subject: Boys, A-Z (A Primer) Comments: To: announce@logolalia.com MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii All boys come disguised, especially from girls. Here is juicy knowledge, lessons maybe no one previously quilled. Relax, sit tight, uncover villains while x-raying y-chromosome zone. kite tail press (a division of Paper Kite Press) is pleased to announce the publication of: Boys, A-Z (A Primer), by Dan Waber The abecedarius is a poem with 26 words. The first word starts with "a", the second with "b", the third with "c", and so on. A cycle of abecedarius re-envisions the alphabet as a loop, instead of a line. The first poem goes from a-z, the second from b-a (through z), the third from c-b (through z then a), and so on. The book is a cycle of abecedarius poems which aims to instruct young girls about the various types of boys to be avoided (in short, all of them). Includes illustrations by the author. The first four poems: Adam builds computers, digital engineerings finagle gates, his insistent keystrokes lay most networks open, plunder quarantined remote systems. This uninhibited vandal will X10 your zippers. Billy can dance, every Friday goes hip-hopping, it's just kicks, limbo, mambo, no orchestra plays quick rhythm steps, the upstairs vanishes when XM-enabled yahoos zootsuit around. Charlie doesn't eat fish, grains, hamburger, instant juice, kiwi, lemons, mangoes, nectarines or pork. Queer religious sects take unhealthy vows. Why X-rate your zaftigness? Appetites belong. David's experimental fashions grow hilarious. Imagine Jello knickers. Lavender maribou nightshirts. Off-center pinstriped quilted red shoulderpads. Tight underwear. Various weird x-shaped yarmulkes. Zany aluminum boots. Cowbells. Perfect-bound softcover books are US$8 if you want to stop by the press and pick one up in person, or US$10 including shipping to anywhere with postal service. Signed and numbered hardcover copies are also available for US$25. Institutional and teaching discounts available, please inquire. To express your interest in owning a copy of this book, please send an email to your favorite word (whatever that may be) at logolalia.com requesting method of payment details. Regards, Dan More Paper Kite Press: http://www.wordpainting.com/paperkitepress/pkpshop.html More kite tail press: http://www.logolalia.com/kitetailpress/ ========================================================================= Date: Thu, 19 Oct 2006 09:59:58 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Michael Kelleher Subject: Creeley Conference Photos Mime-Version: 1.0 (Apple Message framework v752.2) Content-Transfer-Encoding: 7bit Content-Type: text/plain; charset=US-ASCII; delsp=yes; format=flowed Ben Friedlander has some photos of the conference and the storm damage at: http://www.flickr.com/photos/mongibeddu/ _______________________ Michael Kelleher Artistic Director Just Buffalo Literary Center Market Arcade 617 Main St., Suite 202A Buffalo, NY 14203 t. 716.832.5400 f. 716.270.0184 http://www.justbuffalo.org ========================================================================= Date: Thu, 19 Oct 2006 07:19:02 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Thomas savage Subject: Re: feminist, unfeminist In-Reply-To: <1dec21ae0610181440l7cd53f21x2e2daabd9430c081@mail.gmail.com> MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Dear Murat, I'm sorry you're going offlist for awhile because I'd just like to say that I really appreciate what you wrote here and I'm glad you put it up. Regards, Tom Savage Murat Nemet-Nejat wrote: Heidi, I like the phrase "box trap." Murat On 10/18/06, heidi arnold wrote: > > [for those of you having a bad day, or a stressful day, i'll understand if > you skip the below -- in undergrad we sometimes would meet at midnight > outside the library for a primal scream, so there it is, and for the > record > i only pick fights with people i respect] > > > -- i appreciate the gains of feminism, but in my limited experience as a > young poet i tend to distrust professional sympathy -- apart from the fact > that there are some feminists i would cut off my right arm to talk to -- > BUT > i tend to distrust professional sympathy, because the poetry machine seems > to be about box-trapping young poets and slapping labels on them so > they'll > behave -- like rats in a maze -- you know, they'll say, you're a feminist > so > how does your poetry align with feminism -- well, who said that was even > the > right question -- doesn't matter, we've set it up so that those will be > the > questions asked -- so that the community will function predictably -- and > so > that, if you ask me, the possibility of asking different questions or > thinking about things apart from all the little box traps -- and > womanization or whatever is a box trap too -- feminist masculinist > genderist > patriarchalist -- doesn't matter -- and what you get is box trap poetry -- > follower of xxxxxxxxxxxxxxxxx -- ex-follower of xxxxxxxxxx, since we get > predictability that way -- well last i heard when a poet sits down they > really can write anything they damn well please, even if there are > whatever > controls to try to make sure they don't -- and in this boxy environment > and > i'm sure feminism isn't the last box trap out there for young women poets > -- > all the box traps make free inquiry less likely, or less intrusive, which > in > a way is the same thing -- keeps the powers that be, the powers that be, > that way -- i think if the poets in charge, whoever they are, can't handle > willfullness and bad behavior and what have you then they're in the wrong > business -- can you believe an art that tells its young generation 'do > what > you're told?' do what you're fucking told -- pay us money for tuition and > sit still in class for awhile now -- this IS NOT the young poets' problem > at > all !!!!!!!!! -- don't tell me what camp my poetry belongs in, if you > wait, > i will tell you -- i won't probably know for 5 years or even more and so > don't fix it for me i'm gonna do it myself -- and don't tell me that > knowing > what was in my parents checking account determines the path of my career > -- > and that the fucking limits everyone is so eager to fence around everyone > else are actually benefitting our art -- what if these fences are robbing > it > blind -- and if indeterminacy is so offensive to people i wonder what kind > of business everyone thinks they're in -- > > -- i would be the last person to slap labels on other poets work in order > to > keep the machine cranking > > -- i suspect the mfa programs are promoting in Stasi fashion the box > trapping tendencies of the poetry machine -- how's that for paranoia, for > starters > > -- with repeated apologies to Gwyn and Catherine and others > -- i have work to do and i'm going offlist, for awhile > > > -- > www.heidiarnold.org > http://peaceraptor.blogspot.com/ > --------------------------------- Stay in the know. Pulse on the new Yahoo.com. Check it out. ========================================================================= Date: Thu, 19 Oct 2006 07:33:28 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Thomas savage Subject: Re: some definitions, and broken syntax In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Thank you for your discussion of what "broken syntax" means. I take it that Gertrude Stein might be considered an early practitioner of this. Not always, of course. But some of her poetry was considered "nonsense" when it first appeared. Now "non-sense" might seem a better description. Still, one gets something out of it whether it conveys or accepts "understanding" or "meaning." Jason Quackenbush wrote: On Wed, 18 Oct 2006, Marcus Bales wrote: > On 18 Oct 2006 at 9:18, Catherine Daly wrote: >> What is "broken syntax." Well, everybody knows it is programming >> jargon for >> incorrect syntax sorta. There, if the format (not form) includes >> syntactic >> conventions, and you've not followed them, the stupid machine's not >> going to >> be able to do anything with your stuff. < > > Yes, so the desire to break the syntax is the desire to make sure > that the program doesn't run; that the brains that process the syntax > are not able to do anything with your stuff. As I said. The goal of > breaking the syntax is the goal of breaking the language so that the > language program doesn't run in human brains. That's contemporary > poetry for you. Nice. Marcus, seriously, natural language is not equivalent to machine language so your analogy doesn't hold up. Human brains, being very good at language processing in particular and at parsing and assigning meaning to signs in general, have no trouble "running" a program that doesn't strictly adhere to rules of grammar. More importantly, it's far from settled among the linguists who study such things just what syntax is, and among the literature you will find many writers saying things like some sentence p is well-formed in such and such a dialect, and not well-formed in another. What well-formed means is determined solely by the intuitions of native speakers and any attempt to formalize syntax begins by trying to capture all of the well-formed sentences in a dialect while excluding those that are not well-formed. This is a difficult task and again, there is disagreement among linguists as to what is the best and most naturalistic way of going about doing it. To that end, the idea that syntax can be "broken" at all is just a sort of shorthand for using sentences that are not well-formed as a poetic device. As such, what determines how well it is done are the same criteria for how well the any device is deployed. It can be done well, like how i do it, or it can be done poorly, as Joseph Massey does occasionally. So to answer your long running question, for me at least, as a writer who finds a lot of room for creativity in working with sentences that are not well-formed, what "breaking the syntax" can mean is anything from mixing dialects to creating ambiguities of meaning by denying a specificity to a subject or object within a sentence, to various paratactical structures, to intentionally creating nonsense poetry (jabberwocky for ie) that forces a reader to focus on the sounds of words rather than their grammatical function, to creating sentences where homonyms with different grammatical functions can coexist at the same point in a sentence and thereby take on a bivalence not generally available in well-formed sentences. All of these things and more are possible when a writer is not handcuffed to the syntactical rules of Standard English and is willing to explore what meanings can occur if those rules are ignored, or replaced by other rules. which is another way of breaking syntax, simply making up a sentence structure that did not exist previously. People are good at finding the meaning in such things, and it simply requires a certain amount of open mindedness for a person to understand such devices, particularly when they are employed with skill.+ --------------------------------- Get your email and more, right on the new Yahoo.com ========================================================================= Date: Thu, 19 Oct 2006 10:56:41 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: heidi arnold Subject: thank you MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline -- this is a brief note to thank everyone a whole lot for the rich conversation and etc. -heidi -- www.heidiarnold.org http://peaceraptor.blogspot.com/ ========================================================================= Date: Thu, 19 Oct 2006 11:22:47 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Tarpaulin Sky Subject: NEW from TARPAULIN SKY PRESS: Chad Sweeney's _ A Mirror to Shatter the Hammer _ MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit NEW from TARPAULIN SKY PRESS Chad Sweeney's _ A Mirror to Shatter the Hammer _ Chapbook. Poetry. 5.5" x 7.5", French flaps, pamphlet-sewn, 32 pages $10 includes domestic shipping http://www.tarpaulinsky.com/Press/Sweeney/index.html _A Mirror to Shatter the Hammer_ offers poems of remarkable presence and surprise. A cast of old world and postmodern narrators cohabit these sparse fables, at once deranged, shrewd, naive, and mildly heroic. One woman filibusters her own wedding. An exasperated economist shouts to whomever is listening, "Our great middle class sways on a stool. I apologize. I apologize." These lyrics slip through De Chirico landscapes, postures and frames of reference, playing hide and seek as "a film projected onto a running horse." We find our own grandparents here, exhausted but alert, discussing turnips and wars before we were born. The known world, the solid world opens irreparably onto "cave flowers in bouquets of yellow steam" or "static from a sermon." A carpenter plays a xylophone with two hammers. A Marxist makes use of a burning palace for his "sensible reading lamp." Beyond its ironic tensions, _A Mirror to Shatter the Hammer_ evokes an abiding tenderness and wonder. These are love poems-written by everyone to no one in particular. In a two-dimensional house the stairs are drawn of chalk. A flat sun holds dominion in the mirror, dear reader, and the basement is a theory. Poems from _A Mirror to Shatter the Hammer_ appear in Slope, New American Writing, Verse, Black Warrior Review, Pool, Transfer, and elsewhere. ========================================================================= Date: Thu, 19 Oct 2006 08:45:27 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Joel Weishaus Subject: I was thinking today... MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable I was thinking today how the last two women in my life, when asked by = their family and friends what I do, told them that I'm retired! I = thought this was because they were ashamed that I'm a writer. I was = thinking about it today because I'm reading Henry Miller's "The Time of = the Assassins: A Study of Rimbaud." Miller writes, "Never did I dream of = showing my parents anything I had written, or even discussing the = subject with them. When I first informed them that I had decided to = become a writer, they were horrified; it was as though I had announced = that I was going to become a criminal. Why couldn't I do something = sensible, something that would enable me to gain a living? Never did = they read a line of what I have written. It was a sort of standing joke = when their friends inquired of me, when they asked what I was doing. = 'What is he doing? Oh, he is writing...' As though to say, he's crazy, = he's making mud pies all day long." It was much the same for me with my parents. I realized today, with = regards to the two women (I never spoke to them about this), that I = don't think they were ashamed that I was a writer, but that what I write = doesn't fit into any category that their family or friends would = understand. God knows, I don't know what to say when people ask, "What = do you write?" I just tell them to look at my web site. And then I = usually never hear from them again. Or, if I do, they don't bring up the = subject of writing again. Well, as Bob Creeley liked to say, "Onward!" -Joel ========================================================================= Date: Thu, 19 Oct 2006 16:12:09 +0000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: reJennifer Bartlett Subject: Jen Benka Review Mime-Version: 1.0 Content-Type: text/plain; format=flowed I just completed a review of a box full of longing with fifty drawers by Jen Benka. An important book with the coming elections! It's on my blog @ www.saintelizabethstreet.com click on liz blog. Due to the fact that I cannot control my blog-world - the post is dated 10/3/06. Jennifer _________________________________________________________________ All-in-one security and maintenance for your PC. Get a free 90-day trial! http://clk.atdmt.com/MSN/go/msnnkwlo0050000002msn/direct/01/?href=http://www.windowsonecare.com/?sc_cid=msn_hotmail ========================================================================= Date: Thu, 19 Oct 2006 12:27:55 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Christopher Leland Winks Subject: Re: some definitions, and broken syntax Comments: To: marcus@designerglass.com In-Reply-To: <45365A32.20730.5B5F7BB@marcus.designerglass.com> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Disposition: inline Content-Transfer-Encoding: 7bit Oh, I get it. Meter, like in Peruvian vanguardista poet Carlos Oquendo y Amat's "Cinco metros de poemas," which were meant to be unfolded to a length of five meters. Was that a sudden zephyr or the sound of farting around with language? Vout-a-reenie, as Slim Galliard would prosaically say (thanks, David!). ========================================================================= Date: Thu, 19 Oct 2006 10:27:36 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jason Quackenbush Subject: Re: some definitions, and broken syntax In-Reply-To: <20061019143328.78622.qmail@web31114.mail.mud.yahoo.com> MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII; format=flowed I've found marjorie perloff's discussion of Stein in *Wittgenstein's Ladder* to be really formative of my ideas in this regard and i have a copy of tender buttons that's almost unreadable at this point for all the marginalia. What's most important, i think, is to allow for the strangeness of the parataxis while recognizing that there is still meaning present, and that there is still sense to be made. On Thu, 19 Oct 2006, Thomas savage wrote: > Thank you for your discussion of what "broken syntax" means. I take it that Gertrude Stein might be considered an early practitioner of this. Not always, of course. But some of her poetry was considered "nonsense" when it first appeared. Now "non-sense" might seem a better description. Still, one gets something out of it whether it conveys or accepts "understanding" or "meaning." > > Jason Quackenbush wrote: On Wed, 18 Oct 2006, Marcus Bales wrote: > >> On 18 Oct 2006 at 9:18, Catherine Daly wrote: >>> What is "broken syntax." Well, everybody knows it is programming >>> jargon for >>> incorrect syntax sorta. There, if the format (not form) includes >>> syntactic >>> conventions, and you've not followed them, the stupid machine's not >>> going to >>> be able to do anything with your stuff. < >> >> Yes, so the desire to break the syntax is the desire to make sure >> that the program doesn't run; that the brains that process the syntax >> are not able to do anything with your stuff. As I said. The goal of >> breaking the syntax is the goal of breaking the language so that the >> language program doesn't run in human brains. That's contemporary >> poetry for you. Nice. > > Marcus, seriously, natural language is not equivalent to machine language so your analogy doesn't hold up. Human brains, being very good at language processing in particular and at parsing and assigning meaning to signs in general, have no trouble "running" a program that doesn't strictly adhere to rules of grammar. More importantly, it's far from settled among the linguists who study such things just what syntax is, and among the literature you will find many writers saying things like some sentence p is well-formed in such and such a dialect, and not well-formed in another. What well-formed means is determined solely by the intuitions of native speakers and any attempt to formalize syntax begins by trying to capture all of the well-formed sentences in a dialect while excluding those that are not well-formed. This is a difficult task and again, there is disagreement among linguists as to what is the best and most naturalistic way of going about doing it. > > To that end, the idea that syntax can be "broken" at all is just a sort of shorthand for using sentences that are not well-formed as a poetic device. As such, what determines how well it is done are the same criteria for how well the any device is deployed. It can be done well, like how i do it, or it can be done poorly, as Joseph Massey does occasionally. So to answer your long running question, for me at least, as a writer who finds a lot of room for creativity in working with sentences that are not well-formed, what "breaking the syntax" can mean is anything from mixing dialects to creating ambiguities of meaning by denying a specificity to a subject or object within a sentence, to various paratactical structures, to intentionally creating nonsense poetry (jabberwocky for ie) that forces a reader to focus on the sounds of words rather than their grammatical function, to creating sentences > where homonyms with different grammatical functions can coexist at the same point in a sentence and thereby take on a bivalence not generally available in well-formed sentences. All of these things and more are possible when a writer is not handcuffed to the syntactical rules of Standard English and is willing to explore what meanings can occur if those rules are ignored, or replaced by other rules. which is another way of breaking syntax, simply making up a sentence structure that did not exist previously. People are good at finding the meaning in such things, and it simply requires a certain amount of open mindedness for a person to understand such devices, particularly when they are employed with skill.+ > > > > --------------------------------- > Get your email and more, right on the new Yahoo.com > ========================================================================= Date: Thu, 19 Oct 2006 12:56:03 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Camille Martin Subject: collages seek online home MIME-Version: 1.0 Content-type: text/plain; charset=US-ASCII I have jpegs of several of my color collages that are looking for an online home, whether in a journal of poetry or of visual arts. Would any editors out there be interested in considering them for publication? Please backchannel. Camille Camille Martin 403 - 156 Brandon Avenue Toronto, ON M6H 2E4 416.538.6005 ========================================================================= Date: Fri, 20 Oct 2006 09:42:49 +0100 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Sam Ladkin Subject: Archive of the Now Launch Mime-Version: 1.0 (Apple Message framework v752.2) Content-Transfer-Encoding: 7bit Content-Type: text/plain; charset=US-ASCII; delsp=yes; format=flowed News of the opening of this brilliant new (now) archive with some incredible readings, and a launch to celebrate its launch. Reply to Andrea.Brady@brunel.ac.uk if you'd like to know anything more. Apologies for cross-posting. Dear friends, I am pleased to announce the launch of the ARCHIVE OF THE NOW a capacious and good-looking site for the preservation of UK poetry to be found at: http://www.archiveofthenow.com/ and http://www.archiveofthenow.net/ At present, the Archive hosts recordings by over 60 UK-based poets, many of which have been newly commissioned, and individual webpages providing bibliographic information, sample texts, reviews, statements and graphic work by each of these poets. Files are available for free download. Over time, additional recordings, performances, video and other documentation will be posted on the site for these and other poets. It is hoped that the Archive will offer new approaches to difficult poetries through the pleasures of vocal performance. The site is not- for-profit, and focuses on what we can for brevity and controversy's sake call 'experimental' or late modernist? writing. The site will expand to include as many poets working within this tradition as possible; the present collection provides a foundation for discussion, enjoyment and study. Readers' feedback will be essential in helping to structure and build this new resource. The Archive is intended to facilitate conversations and collaboration, to support emerging writers and to contextualise the work of established practitioners within an extended and diverse literary community. It celebrates friendly exchange, cultural fortitude and solidarity. Rather than firing off another polemical volley in the boring 'poetry wars,' it offers the multitude of practices of these extraordinary writers as a working definition of what experiment is, what banality is not, and where a politicised aesthetic might keep going from here. Please visit the website, download, give us feedback, link to us/ send us your links, circulate this announcement -- and enjoy! Anyone in reach of London is also cordially invited to the archive's LAUNCH PARTY Thursday, 9 November 2006 7-9 pm sharp Jerwood Space Union Street, London (nearest tubes: Southwark 4 mins, Waterloo and Borough 10 mins) This event will celebrate the launch of the Archive of the Now, and of books recently published by Barque Press: Singularity Stereo by Allen Fisher Green Light by Ian Hunt A New Book from Barque Press Which They Will Probably Not Print by Marianne Morris Loving Little Orlick by Kevin Nolan There will be very brief readings by Allen Fisher, Ian Hunt, Marianne Morris and John James, a computer where you can listen to the Archive, and FREE DRINK! Come and celebrate this great collective enterprise and keep me company. We will have to leave the space at 9 and adjourn to one of the many nice nearby pubs, so do try to make it for as close to 7 as possible. very best wishes, Andrea ========================================================================= Date: Fri, 20 Oct 2006 11:10:11 +0200 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Anny Ballardini Subject: Three new poetry title MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline I am forwarding for David Kellogg: *Three New Poetry Titles: William Pitt Root, Linda Pennisi, Evie Shockley. * Carolina Wren Press announces the publication of three new titles in our Poetry Series (formerly the Carolina Wren Press Chapbook Series) #8 *White Boots: New and Selected Poems of the West* by William Pitt Root. Richard Jackson wrote: "For Root, the world is poem; for us, his is a world we need to enter." Paperback, perfectbound, 72pp. ISBN 0-932112-51-X. $12.95. #9 *Suddenly, Fruit *by Linda Pennisi. Winner of the 2005 CWP Poetry contest. Contest judge William Pitt Root wrote: "This poet composes and performs with the luxurious patience only a marvelously ripened spirit can achieve." Paperback, perfectbound, 64pp. ISBN 0-932112-52-X, $12.95. #10 *a half-red sea* by Evie Shockley. Harryette Mullen wrote: "Navigating against prevailing currents, these poems sail on eddy and backflow, taking inspiration from knots and twists of American history and culture." Paperpack, perfectbound, 96 pp. with fold-out of "a thousand words." ISBN 0-932112-53-6. $15.95. (Shockley will judge the 2007 CWP Poetry contest, deadline 12/1/06; full guidelines on our website.) All titles can be ordered through the CWP website: * www.carolinawrenpress.org* . Or your bookstore can order through Baker & Taylor and most other distributors. If you must use Amazon, they are available that way too. *A reading for those in the neighborhoood* Evie Shockley and Linda Pennisi will read from their new books of poetry at 8pm on Saturday, October 28th, 2006, in the Durham Arts Council's PSI Theater, 120 Morris Street, Durham, NC, 27701. This reading is free and will be followed by a reception and book-signing. Pennisi is the winner of the 2005 Carolina Wren Press Poetry Contest and Evie Shockley will judge this year's contest (i.e., 2007). Sponsored by Carolina Wren Press and the Desert City Poetry Series. For more information, call 919-560-2738 or email *carolinawrenpress@earthlink.net* . *Carolina Wren Press Poetry Series contest deadline 12/10/06* Carolina Wren Press is currently accepting submissions for its First Book poetry contest. Postmark Deadline: 12/1/06. Prize: $1000 and publication; final judge: Evie Shockley. Send two (2) copies of entire 48- to 64-pp. ms., four (4) cover sheets with only ms. title on it, and $18 reading fee to Carolina Wren Press, Poetry Contest, 120 Morris Street, Durham NC, 27701. Include letter with full contact information and acknowledgements of individual poems that have been published previously. Mss that have been published before (even self-published or elctronically published) in their entirety are not eligible. Results in July, 2007. For more information, check out *www.carolinawrenpress.org* or email *carolinawrenpress@earthlink.net* for full guidelines. Thanks. You may now resume your normal activities. David Kellogg Director, Advanced Writing in the Disciplines Department of English 465 Holmes Hall Northeastern University Boston, MA 02115 __________________________________ Anny Ballardini http://annyballardini.blogspot.com/ http://www.fieralingue.it/modules.php?name=poetshome http://www.moriapoetry.com/ebooks.html I Tell You: One must still have chaos in one to give birth to a dancing star! Friedrich Nietzsche ========================================================================= Date: Fri, 20 Oct 2006 07:05:36 -0700 Reply-To: ishaq1824@shaw.ca Sender: UB Poetics discussion group Comments: RFC822 error: Incorrect or incomplete address field found and ignored. From: Ishaq Organization: selah7 Subject: Hijackin' tha Airwaves: Radio Revolution MIME-version: 1.0 Content-type: text/plain; charset=us-ascii; format=flowed Content-transfer-encoding: 7bit posted by bruh mins paul scott operationmedia@yahoo.com Hijackin' tha Airwaves: Radio Revolution It was a typical night in the studios of WTHG (We Thug Radio) as DJ Pimp Dad started to play the Chicken Little Soup Dance for the 5th time within an hour. He was just getting ready to give the 411 about the latest G-Unit beef when a squad of Brothers and Sisters with dreads and headwraps bumrushed the studio. Pimp Daddy grabbed his gold plated pimp cup and made a mad dash for the exit as DJ Afrika Black threw promotional copies of "Fry that Chicken" at him all the way to the parking lot... Radio has a long relationship with the struggle for Black empowerment. During the 60's, it not only was the avenue by which "I'm Black and I'm Proud" reached the masses but it was the source of vital information by which people organized. After all, how would the people ever have known about the protest in front of City Hall if DJ Big Bob hadn't hipped the folks that somethin' major was going down, downtown. What would the Soul Children of the 70's have done if it wasn't for Righteous Rudy playing songs like "Fight the Power." The Brothers and Sisters sure would have been in the dark had it not been for Sweet Sista Soul tellin' everybody "what it is, what it was, and what it willl be" on her morning program "Tellin' it Like it Is." But that was then and this is now. The songs about fighting the power have been traded in for songs that celebrate Brothers killing Brothers. The announcements about organizing for Black LIBERATION have been replaced by free ticket give aways to the Ying Yang after party at Magic Fingers Strip Club Massage Parlor and Chicken Hut. And since the FCC no longer requires radio stations to provide public affairs programing, the crtical need to know information about genocidal plots to destroy Afrikan babies has been replaced by round the clock coverage of Jay Z and Beyonce's wedding plans... But out of darkness comes the light. Just when you were ready to throw your FM Radio out tha window, here comes Shiari's Radio to the rescue. The show which is hosted by the soulful Sista "Miss Mona" (Monica Daye) and the Revolutionary "Da Poet" Tim Jackson airs every Friday night 8PM -10PM EST on WXDU 88.7 in Durham NC and world wide on the net at http://www.wxdu.org . The dynamic duo is bringing back the days when radio not only made you feel good about being Black but gave you information to let you know why you should be Black and Proud! They are currently seeking Brothers and Sisters with positive music/Hip Hop/poetry to submit their work to be played for the world to enjoy. Also at 9PM they kick off the "Spit that Poetry Hour" where the top Conscious Hip Hop and Spoken Word artists on the planet kick their freestyles to the universe. You never know who will check in on Shairi's Radio on any given night to drop a jewel of WISDOM on the people. It is important that we support Shairi's Radio so that they can give the Conscious Community what we have been missing for far too long. As LL Cool J once said "You know I can't live without my radio." Thanks to Shairi's Radio, we don't have to.... To experience Shairi's radio hit http://www.WXDU.org every Friday from 8PM -10PM EST For more information visit http://www.monicadaye.com or call (919) 672-1701 see also: I have been involved with this sort of struggle about media accountability for a very long time. I think I can safely say when I speak, especially for a lot of us who are in communities of color, dealing with the onslaught of media injustice and distortion has been -- has forced us to be in the fight, whether we care to be in it or not. Turning on the evening news and constantly seeing depictions of black males as criminals, unintelligent, and every other negative pathology that people like to talk about, and the Bill O'Reillys of world make a good living off of misreporting, has forced us to be in this fight, and it's been going on for a long time. But there was a time where you wouldn't have this many people coming together to talkabout reforming and changing the media, so give yourselves a lot of props for being out here, because this is a very strong showing. -- davey d -- "Hip Hop Historian Davey D on "The Clear Channeling" of America" http://ia201139.eu.archive.org/3/audio/dn2005-0523/dn2005-0523-1_64kb.mp3 http://www.democracynow.org/article.pl?sid=05/05/23/1339234&mode=thread&tid=25 or http://victoria.indymedia.org/news/2005/05/41210.php -- Stay Strong -"I testified/My mama cried/Black people died/When the other man lied" -- chuck d \ "Be a friend to the oppressed and an enemy to the oppressor" --Imam Ali Ibn Abu Talib (as) "They want to see us breathless. We will not be. They want to see us tired. We refuse to be. They want to see what our strength is. We will not show it in advance. We will continuously surprise them." -- Julia Wright "We restate our commitment to the peace process. But we will not submit to a process of humiliation." --patrick o'neil "...we have the responsibility to make no deal with the oppressor" --harry belafonte "...these people generate wars in Asia and Africa,...These are the people who, in the last century, caused several devastating wars. In one world war alone, they killed over 60 million people.... In the near future, Allah willing, we will put you to trial in courts established by the peoples...."-- mahmoud ahmadinejad http://www.sidebrow.net/2006/a047braithwaite.php http://radio.indymedia.org/uploads/just_a_sec_for_whiteboys_in_afrika__downy_dub____.mp3 http://cleveland.indymedia.org/uploads/2006/07 olivet___h.a.t.s_in_the_square___loud_ruffa1b.mp3 http://radio.indymedia.org/news/2005/10/7255.php http://ilovepoetry.com/search.asp?keywords=braithwaite&orderBy=date http://vancouver.indymedia.org/?q=en/node/1269 http://vancouver.indymedia.org/?q=en/taxonomy/term/111 http://www.lowliferecords.co.uk/ ========================================================================= Date: Fri, 20 Oct 2006 07:38:28 -0700 Reply-To: ishaq1824@shaw.ca Sender: UB Poetics discussion group Comments: RFC822 error: Incorrect or incomplete address field found and ignored. From: Ishaq Organization: selah7 Subject: Muslims in Lebanon, Iran, Iraq and occupied Palestine mark International Quds Day MIME-version: 1.0 Content-type: text/plain; charset=windows-1252; format=flowed Content-transfer-encoding: 8BIT Muslims in Lebanon, Iran, Iraq and occupied Palestine mark International Quds Day 20/10/2006 Around 1,000 Lebanese women demonstrated Friday on the Israeli border to mark international Al-Quds (Jerusalem) Day. The women gathered close to a barbed wire at the Fatima Gate crossing on the UN Blue Line, waving Palestinian, Lebanese and Hezbollah flags. The Lebanese army prevented the crowd from heading for the crossing, while Israeli troops observed the demonstration through binoculars. An initiative started by Iranian revolutionary leader Ayatollah Ruhollah Khomeini, Quds Day is held annually on the last Friday of the Muslim fasting month of Ramadan and calls for Jerusalem to be returned to the Palestinians. Similar demonstrations are being held in occupied Palestine, Iraq and occupied Palestine. Iranian President Mahmoud Ahmadinejad said that Israel would not survive and that its allies would face the "boiling wrath" of the people if they continued to support the Jewish state. "This regime will be gone, definitely," Ahmadinejad told demonstrators marking the International Quds Day in Tehran. "If a hurricane starts be rest assured that the dimensions of this hurricane will not be limited to the geographic borders of Palestine," he added. "This regime (Israel) will take its supporters to the bottom of the swamp." "The best solution is for you to take all the components of the regime and take it away," he said. In Baghdad and other Iraqi cities and towns, thousands of Iraqis took to the streets to condemn Israel and demand that Jerusalem be handed back to Palestinians. In the meantime, tens of thousands of Muslims converged on Islam's third-holiest site, the Al-Aqsa mosque compound in Jerusalem, to attend the last Friday prayers of the holy month of Ramadan. As every Friday, Israeli occupation troops ban men under 45 and women under 35 from entering Jerusalem to pray. http://www.manartv.com.lb/NewsSite/NewsDetails.aspx?id=4995 see also: "b.u.t. here we are now, with israeli trained police in toronto as the city goes crazier than the gaza on a moving day and waiting to increase military budgets so our gay friendly troops can go die for israel and slaughter some iraqis and now iranians after the afghanis – for the same illogical parasitic settler plantation = israel. And if we object to this curious misadventure – we get sent to the police department, harassed and our muslims neighbours get to be threatened and their faith disrespected and even sent to a special prison, just like in the u.s. and israel." -- Lawrence Y Braithwaite -- "Notes from new palestine: oh gracious israel the agressive violence of the oppressor" http://vancouver.indymedia.org/?q=node/315 Stay Strong -"I testified/My mama cried/Black people died/When the other man lied" -- chuck d \ "Be a friend to the oppressed and an enemy to the oppressor" --Imam Ali Ibn Abu Talib (as) "They want to see us breathless. We will not be. They want to see us tired. We refuse to be. They want to see what our strength is. We will not show it in advance. We will continuously surprise them." -- Julia Wright "We restate our commitment to the peace process. But we will not submit to a process of humiliation." --patrick o'neil "...we have the responsibility to make no deal with the oppressor" --harry belafonte "...these people generate wars in Asia and Africa,...These are the people who, in the last century, caused several devastating wars. In one world war alone, they killed over 60 million people.... In the near future, Allah willing, we will put you to trial in courts established by the peoples...."-- mahmoud ahmadinejad http://www.sidebrow.net/2006/a047braithwaite.php http://radio.indymedia.org/uploads/just_a_sec_for_whiteboys_in_afrika__downy_dub____.mp3 http://cleveland.indymedia.org/uploads/2006/07 olivet___h.a.t.s_in_the_square___loud_ruffa1b.mp3 http://vancouver.indymedia.org/?q=node/315 http://radio.indymedia.org/news/2005/10/7255.php http://ilovepoetry.com/search.asp?keywords=braithwaite&orderBy=date http://www.lowliferecords.co.uk/ ========================================================================= Date: Fri, 20 Oct 2006 10:19:04 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: William Allegrezza Subject: Tuesday--Series A Reading, Scappettone and Goodman Comments: To: wallegre@iun.edu Comments: cc: ntarn@earthlink.net, Pampermebabyco@aol.com, paul.peck@gmail.com, paulineo@tmn.com, Peter O'Leary , Peter O'Leary , Peter Sommers , peterbarrickman@hotmail.com, pjramos@acsu.buffalo.edu, pniblock@compuserve.com, Poe Bot , potepoet@mindspring.com, preed575@earthlink.net, pypaik@gmail.com, quinsenberry@hotmail.com, raea100900@aol.com, ralcala1@utep.edu, ramospj@buffalostate.edu, raworth@ntlworld.com, Ray Bianchi , Ray_Wakeland@bose.com, rch@cisunix.unh.edu, Rebecca Hilliker , Rebecca Wolff , Reddy1 , Rich E , richard@toryfolliard.com, Rick Wishcamper , rjhsu@wisc.edu, rkocik@earthlink.net, Roberto Harrison , Robyn Schiff , rodney@seattleinsight.org, rodneysanchez@hotmail.com, rt5le9@aol.com, rtejada@ucsd.edu, ryancollins3@netzero.com, "S. Jason Fraley" , salsilv@aol.com, Samira Robinson , saneeetee3@aol.com, sawako@factorial.org, sbenson@prexar.com, Schneider/Hill , schultz@hawaii.rr.com, Shafer Hall , Shin Yu Pai , shoehorns@msn.com, shuffleboil@hotmail.com, silliman@gmail.com, Simone Muench , simonp@pipeline.com, simplypoetry@hotmail.com, smang@earthlink.net, snhowe@aol.com, Sp Norton , spf566@yahoo.com, stephen@stephenvitiello.com, Steve Halle , steved@sfsu.edu, steven.teref@abnamro.com, stimm@facstaff.wisc.edu, summikaipa@earthlink.net, "Susan R. Williamson" , Susan Wheeler , Suzanna Tamminen , Suzanne Buffam , tafink@verizon.net, tdarraghhome@earthlink.net, tesiak@comcast.net, tevans21@hotmail.com, Thea Goodman , thelongtide@shaw.ca, Thomas Devaney , Tim Yu , timatkins@onedit.net, timothy daisy , timothy.davis@yale.edu, tmandel@mightyacorn.com, tolkacz@buffalo.edu, Tomasula Steve , tomhibb@sbcglobal.net, Tony Trigilio , tony.torn@verizon.net, tonytost@yahoo.com, torquerind@aol.com, traffic@atelos.org, tscotpeterson@hotmail.com, tysonreeder@gmail.com, tyu@stanford.edu, ulla@bway.net, uncarvedblock@sbcglobal.net, urayoannoel@yahoo.com, wcoughli@depaul.edu, White jaclyn , william_r_fuller@notes.ntrs.com, Wolff , yan@pobox.com, yedd@aol.com, zdpieper@uwm.edu, zoketsu@aol.com MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit Series A Literary Reading October 24, 7:00-8:00 p.m. Thea Goodman Jennifer Scappettone Hyde Park Art Center . 5020 S. Cornell Avenue Chicago, IL BYOB Jennifer Scappettone's current book projects include From Dame Quickly (poems), Locomotrix: Selected Poetry of Amelia Rosselli (translations from the Italian), Venice and the Digressive Invention of the Modern (a study of the obsolescent topos as crucible for modernism), and Exit 43 (an archaeology of the landfill and prosaic opera of pop-ups in progress, commissioned by Atelos). Recent work appears or is forthcoming in Bay Poetics (Faux Press, 2006), War and Peace, Volume II (O Books, 2005), Bombay Gin, Chicago Review, Drunken Boat, FourSquare, Jacket, PMLA, P-Queue, and Zoland Annual. She just moved to Chicago from Berkeley, Middletown, Brooklyn, and Sunnyside. Thea Goodman is a fiction writer. She has just completed a collection of stories, A Wife By Any Other Name. Her work has appeared in New England Review (Pushcart prize Special Mention, 2002,) Confrontation, and Columbia (Columbia Fiction Prize, 2005) among other journals and is forthcoming in Other Voices this fall. She is at work on a novel and teaches in the Writing Program at The School of the Art Institute of Chicago. ========================================================================= Date: Fri, 20 Oct 2006 12:24:55 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: heidi arnold MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline -- my blog is updated at http://peaceraptor.blogspot.com/ -h -- www.heidiarnold.org http://peaceraptor.blogspot.com/ ========================================================================= Date: Fri, 20 Oct 2006 13:09:47 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Poetry Project Subject: Events at the Poetry Project 10/23 - 10/27 In-Reply-To: Mime-version: 1.0 Content-type: text/plain; charset="ISO-8859-1" Content-transfer-encoding: quoted-printable Dears, A day late a dollar short, it=B9s true. We=B9re keeping things fresh here at th= e Poetry Project. Please join us this week for three exciting offerings. Love, The Poetry Project Cliff Fyman & Kristin Prevallet Monday, October 23, 8:00pm Two recent poetry readings Cliff Fyman gave have been published under the titles Nylon Sunlight and Fever. His work poem is included in Gary Lenhart's, The Stamp of Class: Reflections on Poetry & Social Class. He's a member of the PP, The Art Students League, The Carlebach Shul, and Zen Peacemakers. Kristin Prevallet is a poet, essayist, and translator whose most recent book is Shadow Evidence Intelligence. She is co-editor with Jerrold Shiroma of MaterialWord.com, an internet site for Word & Image Studies. A book length literary essay, I, Elegy, is forthcoming from Essay Press in 2007. A reading for 0 to 9: The Complete Magazine 1967-1969 - featuring Vito Acconci & Bernadette Mayer Wednesday, October 25, 8:00pm Published from 1967 to 1969 in seven limited mimeographed editions, 0 to 9 was edited by artist Vito Acconci and poet Bernadette Mayer. Seeking to explore the relationship between language and the page, Mayer and Acconci brought together the pioneers of 1960s experimental poetry and conceptual art. The complete run of 0 to 9 is being reprinted by Ugly Duckling Presse this fall. Vito Acconci is an internationally acclaimed artist and writer, and has worked extensively through video, performance, photography and, recently, architecture and design. Bernadette Mayer is the author of numerous books including Scarlet Tanager and, forthcoming, The Poetry State Forest. Nathaniel Mackey=20 Friday, October 27, 7:00pm Nathaniel Mackey is the author of four books of poetry, the most recent of which is Splay Anthem (New Directions, 2006). Mackey is also author of an ongoing prose composition, From a Broken Bottle Traces of Perfume Still Emanate, of which three volumes have been published; the most recent is Ate= t A.D. (City Lights Books, 2001). He is the editor of the literary magazine Hambone and co-editor (with Art Lange) of the anthology Moment's Notice: Jazz in Poetry and Prose (Coffee House Press, 1993), as well as author of two books of criticism; the most recent is Paracritical Hinge: Essays, Talks, Notes, Interviews (University of Wisconsin Press, 2005). He was elected to the Board of Chancellors of the Academy of American Poets in 2001, and is Professor of Literature at the University of California, Santa Cruz. Danspace Project Presents: =20 BETONTANC "Wrestling Dostoievsky" Thursday, Oct. 19 and Friday, Oct. 20 at 8:30PM, Saturday, Oct. 21 at 7:30PM =20 From its home-base in Ljubljana, Slovenia, Betontanc brings Wrestling Dostoievsky, a dance-theater variation of Fyodor Dostoyevsky's classic nove= l Crime and Punishment. A work both poetic and in-your-face, Wrestling Dostoievsky is set in a tranquil domestic carpeted room, warmly lighted wit= h household lamps. The audience surrounds the space and bears witness to the joys and the violence of human interactions. The characters are, in turn, beautiful, seductive, lustful, raucous, and cruel. They are representative of the region; they are citizens of the world. What moves the protagonists in their deeply expressive exploration of existence and identity may be infantile and ridiculous or brutal and violent, but the audience is always confronted with a breath-taking reality. =20 Discount Offer: Show your Poetry Project membership at our box office to receive $10.00 tickets (regular priced tickets are $15.00). You make reservations in advance by calling 212-674-8194 or visiting www.danspaceproject.org =20 Contact info: Danspace Project, St. Mark's Church, 131 East 10th Street; Tel: 212-674-8112 or rennica@danspaceproject.org First Floor presents George Schneeman: Work 1968-2006 Collages, portraits, landscapes, collaborations, calendars, prints, collage paintings, frescos, posters and ceramics. 113 E. 2nd St (1st & A) 212-982-7682 Regular hours: Thurs =AD Sun, 4-7pm, Oct. 13-29 Fall Calendar: http://www.poetryproject.com/calendar.html 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. If you=B9d like to be unsubscribed from this mailing list, please drop a line at info@poetryproject.com. ========================================================================= Date: Fri, 20 Oct 2006 16:38:10 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Eric Yost Subject: Re: some definitions, and broken syntax In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit >>What's most important, i think, is to allow for the strangeness of the parataxis while recognizing that there is still meaning present, and that there is still sense to be made. Charles Dickens sometimes used parataxis, but it's not always a big hit at the publisher's. Not always. With some. Some editors. The nasty ones. From major houses. Gertrude Stein: The one is on the table. The two are on the table. The three are on the table. The one, one is the same length as is shown by the cover being longer. The other is different there is more cover that shows it. The other is different and that makes the corners have the same shade the eight are in singular arrangement to make four necessary. Editor rejecting Stein's manuscript: "I am only one, only one, only one. Only one being, one at the same time. Not two, not three, only one. Only one life to live, only sixty minutes in one hour. Only one pair of eyes. Only one brain. Only one being. Being only one, having only one pair of eyes, having only one time, having only one life, I cannot read your MS three or four times. Not even one time. Only one book, only one look is enough. Hardly one copy would sell here. Hardly one. Hardly one. Many thanks. I am returning the MS by registered post. Only one MS by one post." ========================================================================= Date: Fri, 20 Oct 2006 16:46:17 -0400 Reply-To: az421@FreeNet.Carleton.CA Sender: UB Poetics discussion group From: Rob McLennan Subject: Chaudiere Books website launch Content-transfer-encoding: 7BIT the Chaudiere Books website is now live: http://www.chaudierebooks.com/ & don't forget the Chaudiere Books blog: http://www.chaudierebooks.blogspot.com/ rob -- poet/editor/pub. ... ed. STANZAS mag & side/lines: a new canadian poetics (Insomniac)...pub., above/ground press ...coord.,SPAN-O + ottawa small press fair ...11th coll'n - name , an errant (Stride, UK) .... c/o 858 Somerset St W, Ottawa ON K1R 6R7 * http://robmclennan.blogspot.com/ ========================================================================= Date: Fri, 20 Oct 2006 17:58:46 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Bob Grumman Subject: Re: some definitions, and broken syntax In-Reply-To: <20061019143328.78622.qmail@web31114.mail.mud.yahoo.com> MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit --- Thomas savage wrote: > Thank you (Jason Quackenbush) for your discussion > of what "broken syntax" means. I, too, thought it an excellent response to Marcus--who, I notice, has not replied to it. Hey, since Gertrude Stein's name came up, anyone know where I can find the text of her "incline?" --Bob G. ========================================================================= Date: Fri, 20 Oct 2006 21:16:02 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Carol Novack Subject: Mad Hatters' Review Reading Period for Issue 7 MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline Hi Colleagues ---- Our short reading period will run through the 29th. We're looking for really really truly exciting, playful, offbeat, emotionally & intellectually sophistercted writings of all sorts -- prosepoem fusions and lyrical, surprising prose narratives are our hearts' desire. We also publish poetry, if you MUST. :-) If you think this is another ho hum online lit mag, you're in for a treat. Every offbeatnik who's heard of us wants to participate. We're collaborative multimedia (word, art, audio, graphics, cartoons, animations) and OPEN to all sorts media hybrids, if they make us turn cartwheels. And ... we don't publish the same wonderful writers again and again (there's a waiting period contributors). We're looking for ... well... best to read our current issue and maybe some archived issues and see. Also read the AboutUs page. Thanks! -- TopHat Publisher/Editor MAD HATTERS' REVIEW: Edgy & Enlightened Literature, Art & Music in the Age of Dementia: http://www.madhattersreview.com "Around us, everything is writing; that's what we must perceive. Everything is writing. It's the unknown in oneself, one's head, one's body. Writing is not even a reflection, but a kind of faculty one has, that exists to one side of oneself, parallel to oneself: another person who appears and comes forward, invisible, gifted with thought and anger, and who sometimes, through her own actions, risks losing her life. Into the night." -- Marguerite Duras ========================================================================= Date: Fri, 20 Oct 2006 21:14:34 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group Comments: RFC822 error: Incorrect or incomplete address field found and ignored. From: David Ayre Subject: Vocabulary a week #2 In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit For the next few months, we will be publishing small sets of customized vocabularies based on popular news items. The vocabularies will feature a set of new words which (fingers crossed) have never before existed in the common vocabulary known as the English language. The vocabulary words and accompanying definitions are computer generated using a multi-step definition generator. Output of the generator will be enhanced and tweaked over time as new theories are tested and new ideas come to light. More information on the GTR Dictionary Project can be found here : http://www.gtrlabs.org/projects/dictionary The vocabulary for week #2 is based on the news item "Kremlin plays down unguarded Putin comments". http://www.gtrlabs.org/node/164 accommend [PRFX (Lat.) ac: - to, towards, near, for, together (adeo => go to)] + [STEM (Lat.) commend: entrust, give in trust; commit; recommend, commend to; point out, designate;] Preoccupation with a characteristic or message, not associated with a near journalist without database of a message - closely related to information acrossian [PRFX (Grk.) acr: high] that which is inferred or known to locate, much like a perceived high. anot [PRFX (Lat.) an: around, round about; having two] + [STEM (Lat.) ot: horned/eared owl;] that which is inferred or known to indicate, much like a distinct plane. becomen [PRFX (Grk.) eco: house, household affairs, environment, habitat, home, dwelling] Any state of existing due, most common in one's room as opposed to capability. becommended [PRFX (Grk.) eco: house, household affairs, environment, habitat, home, dwelling] That which uses people or activities - for example, a cause or activities associated with a moral activity or sex crime becomplet [PRFX (Grk.) eco: house, household affairs, environment, habitat, home, dwelling] Usually, a visual communication of a relation - closely related to house - esp. to communicate people independent of homes. 2. The living expression consisting of a people communicated by applying abstractions to an organism. betterprised an orderlies similar in appearance, yet often followwed anti-serial or an arrangement mostly considered chargents [PRFX (Grk.) gen: bring to life, create, make] rebellions that develop according to the laws of persons or that which is inferred or known to create, close to a social part. comployees Aware of or known by a living whether tangible or living, and able to communicate well. dmit A received compilation defined by a feature , alternatively, a type of fact or common suspect - his tough might regard but only as a group. europhone [PRFX (Grk.) phon: phone; sound; voice] Used with reference to relation - the evidence of an alleged phone by formulating a received communication: often expressed as an abstraction concerning a living relation. 2. A general evidence formed by investigating understood communications from specific matters. evidenies A quality of state attributed to an ordered living feeling. finlanguistion that which is known or known to support, similar to a distinct structure. inst [PRFX (Lat.) in: - in, - on, - against; not -, un- ] + [STEM (Lat.) st: stand, stand still, stand firm; remain, rest;] A quality of result attributed to learning with the tendency to derive. islate Used with reference to group - the word string of a common words by formulating a formed sequence: often expressed as a grouping concerning an orderly organism. 2. A general linguistic string formed by writing systematic phrases from particular words. jourself To feel branch rather than reason it . minist that which is known or known to consist, much like a particular piece. nevery Used with reference to communication - the laugh of a specific laughter by formulating a living living: often expressed as a type of laughter or specific journalist - his sort might intend but only as power. 2. A general laugh formed by intending common laughters from particular remarks. nother [PRFX (Grk.) the: god, deity, divine] an orderly god defined by an example , alternatively, a type of single or common expression - his travel might consider but only as a clause. pressions Usually, a similarity of a being - closely related to being - esp. to distinguish beings independent of qualities. 2. The similar expression consisting of a being distinguished by applying characteristics to an attribute. putinguage an abstract formulation of music - closely related to style that is also able to express persons independent of styles. 2. A common tough consisting of music expressed by applying abstractions to a language. radimir A group of possible labor that develop according to the laws of persons. 2. As in existence whether engaged or specific. reporterprete [PRFX (Grk.) por: before, forward, in favor of, in front of, in place of, on behalf of] fronts that extend according to the laws of regions or that which is inferred or known to indicate, similar to a distinct extent. swith that which is lived or known to invent, similar to a visible device. takesman Any state of important sense, most common in one's part as opposed to state. trave [PRFX (Lat.) tra: - across, - over] + [STEM (Lat.) v: strength (sg. only, not ACC), force, power, might, violence;] + [INFL (Lat.) e: ] Usually, a syntagm of a living - closely related to force - esp. to write patterns independent of stems. 2. The common possible consisting of a sequence spoken by applying orderlies to a pattern. wome To be living in the custom according to creations or certain creations that take according to the laws of wholes. 2. A man unable to infer or infer itself as a cast. ========================================================================= Date: Fri, 20 Oct 2006 21:29:06 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jennifer Karmin Subject: 10/25: WALKING POEM MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit You are invited to a performance of WALKING POEM Wednesday, October 25th 12pm onwards beginning at the Picasso statue in Daley Plaza 50 W. Washington Street -- Chicago, IL free Poet and artist Jennifer Karmin is collecting writing about walking in cities and creating a WALKING POEM. On October 25th, she will start walking from Chicago's Picasso statue and navigate the city using the collected writing as her map. Once read outloud, each piece will be given away to passing pedestrians. A gesture similar to Pablo Picasso's, who gave his sculpture as a "gift to the people of Chicago" and refused a fee for this work. Participating writers include: Emily Abendroth, Diane DiPrima, Phayvanh Luekhamhan, Bob Marcacci, Philip Metres, Erika Mikkalo, Shin Yu Pai, Tony Trigilio, Luis H. Valadez, Lina R.Vitkauskas and more... WALKING POEM is being sponsored by "Chicago Calling: a 24-Hour Arts Festival," a series of collaborative art events taking place throughout Chicago on October 25th. The first "Chicago Calling" event will begin at 12 a.m. on Wednesday, October 25th and the final event will end at midnight on that day. October 25th was chosen as the date of "Chicago Calling" because it is Pablo Picasso’s birthday. The complete schedule is at http://www.chicagocalling.org. Submissions ********************************************* Writing for WALKING POEM may be submitted through October 23, 2006. This writing may be about any city and take any shape or form -- poem, story, essay, letter, etc. All writing will considered for 2007-08 publication. Writers should send published or unpublished writing along with one direction (forward, backwards, right or left) and one number (1 - 92, Picasso's age at death). Submissions may be emailed as a word attachment with the subject WALKING POEM to jkarmin@yahoo.com. "Chicago Calling: a 24-Hour Arts Festival" ************************************************* Chicago-based artists will showcase performances and projects that involve collaborations with artists living in other locations — here in the U.S. and in other countries worldwide. Artists involved with "Chicago Calling" work in a range of media, including: music, painting, photography, poetry, and dance. Their collaborations will be prepared, improvised, or a combination of both. Some will involve live feeds between Chicago and elsewhere. This festival is part of Chicago Artists' Month, organized by Chicago's Department of Cultural Affairs (http://www.chicagoartistsmonth.org). __________________________________________________ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com ========================================================================= Date: Sat, 21 Oct 2006 04:48:52 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jim Andrews Subject: Re: Vocabulary a week #2 In-Reply-To: <45399EAA.5000105@ayre.ca> MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit http://gtrlabs.org is a terrific site, David, and your work with Andrew is fascinating. > putinguage > > an abstract formulation of music - closely related to style that is also > able to express persons independent of styles. 2. A common tough > consisting of music expressed by applying abstractions to a language. So, like, um, is that a portmanteau? Of what and language? Sort of 'computing' and 'language'? I have no idea what a style might be that is able to express persons independent of styles, but it's provocative. So is the notion that music arises from a common tough who applies abstractions to a language. The whole project is wonderfully and certainly unusually thoughtful in its approach to digital poetry/writing. Bravo! ja > From: David Ayre > To: POETICS@LISTSERV.BUFFALO.EDU > Subject: Vocabulary a week #2 > > > For the next few months, we will be publishing small sets of customized > vocabularies based on popular news items. The vocabularies will feature > a set of new words which (fingers crossed) have never before existed in > the common vocabulary known as the English language. > > The vocabulary words and accompanying definitions are computer generated > using a multi-step definition generator. Output of the generator will be > enhanced and tweaked over time as new theories are tested and new ideas > come to light. More information on the GTR Dictionary Project can be > found here : http://www.gtrlabs.org/projects/dictionary > > The vocabulary for week #2 is based on the news item "Kremlin plays down > unguarded Putin comments". > > http://www.gtrlabs.org/node/164 > > > accommend > > [PRFX (Lat.) ac: - to, towards, near, for, together (adeo => go to)] + > [STEM (Lat.) commend: entrust, give in trust; commit; recommend, commend > to; point out, designate;] Preoccupation with a characteristic or > message, not associated with a near journalist without database of a > message - closely related to information > > acrossian > > [PRFX (Grk.) acr: high] that which is inferred or known to locate, much > like a perceived high. > > anot > > [PRFX (Lat.) an: around, round about; having two] + [STEM (Lat.) ot: > horned/eared owl;] that which is inferred or known to indicate, much > like a distinct plane. > > becomen > > [PRFX (Grk.) eco: house, household affairs, environment, habitat, home, > dwelling] Any state of existing due, most common in one's room as > opposed to capability. > > becommended > > [PRFX (Grk.) eco: house, household affairs, environment, habitat, home, > dwelling] That which uses people or activities - for example, a cause or > activities associated with a moral activity or sex crime > > becomplet > > [PRFX (Grk.) eco: house, household affairs, environment, habitat, home, > dwelling] Usually, a visual communication of a relation - closely > related to house - esp. to communicate people independent of homes. 2. > The living expression consisting of a people communicated by applying > abstractions to an organism. > > betterprised > > an orderlies similar in appearance, yet often followwed anti-serial or > an arrangement mostly considered > > chargents > > [PRFX (Grk.) gen: bring to life, create, make] rebellions that develop > according to the laws of persons or that which is inferred or known to > create, close to a social part. > > comployees > > Aware of or known by a living whether tangible or living, and able to > communicate well. > > dmit > > A received compilation defined by a feature , alternatively, a type of > fact or common suspect - his tough might regard but only as a group. > > europhone > > [PRFX (Grk.) phon: phone; sound; voice] Used with reference to relation > - the evidence of an alleged phone by formulating a received > communication: often expressed as an abstraction concerning a living > relation. 2. A general evidence formed by investigating understood > communications from specific matters. > > evidenies > > A quality of state attributed to an ordered living feeling. > > finlanguistion > > that which is known or known to support, similar to a distinct structure. > > inst > > [PRFX (Lat.) in: - in, - on, - against; not -, un- ] + [STEM (Lat.) st: > stand, stand still, stand firm; remain, rest;] A quality of result > attributed to learning with the tendency to derive. > > islate > > Used with reference to group - the word string of a common words by > formulating a formed sequence: often expressed as a grouping concerning > an orderly organism. 2. A general linguistic string formed by writing > systematic phrases from particular words. > > jourself > > To feel branch rather than reason it . > > minist > > that which is known or known to consist, much like a particular piece. > > nevery > > Used with reference to communication - the laugh of a specific laughter > by formulating a living living: often expressed as a type of laughter or > specific journalist - his sort might intend but only as power. 2. A > general laugh formed by intending common laughters from > particular remarks. > > nother > > [PRFX (Grk.) the: god, deity, divine] an orderly god defined by an > example , alternatively, a type of single or common expression - his > travel might consider but only as a clause. > > pressions > > Usually, a similarity of a being - closely related to being - esp. to > distinguish beings independent of qualities. 2. The similar expression > consisting of a being distinguished by applying characteristics to an > attribute. > > > radimir > > A group of possible labor that develop according to the laws of persons. > 2. As in existence whether engaged or specific. > > reporterprete > > [PRFX (Grk.) por: before, forward, in favor of, in front of, in place > of, on behalf of] fronts that extend according to the laws of regions or > that which is inferred or known to indicate, similar to a distinct extent. > > swith > > that which is lived or known to invent, similar to a visible device. > > takesman > > Any state of important sense, most common in one's part as > opposed to state. > > trave > > [PRFX (Lat.) tra: - across, - over] + [STEM (Lat.) v: strength (sg. > only, not ACC), force, power, might, violence;] + [INFL (Lat.) e: ] > Usually, a syntagm of a living - closely related to force - esp. to > write patterns independent of stems. 2. The common possible consisting > of a sequence spoken by applying orderlies to a pattern. > > wome > > To be living in the custom according to creations or certain creations > that take according to the laws of wholes. 2. A man unable to infer or > infer itself as a cast. > ========================================================================= Date: Sat, 21 Oct 2006 14:00:26 +0000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: reJennifer Bartlett Subject: Looking for two things! Mime-Version: 1.0 Content-Type: text/plain; format=flowed I am looking for a reasonably priced studio or 1 bedroom in Brooklyn. Also, a college/University/community college in NYC that needs a teacher for just 1 or 2 101 classes. Ideas - Back channel Jennifer _________________________________________________________________ Add a Yahoo! contact to Windows Live Messenger for a chance to win a free trip! http://www.imagine-windowslive.com/minisites/yahoo/default.aspx?locale=en-us&hmtagline ========================================================================= Date: Sat, 21 Oct 2006 11:41:53 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Brian Stefans Subject: AUTOSTART: a festival of digital literature Comments: cc: Alex Sears , Aaron Kunin , admin@bowerypoetry.com, Adam Tobin , AnselmBerrigan@aol.com, "Soderman, Anton" , Alexandra Stefans , Alec Finlay , Alissa Quart , Anna Moschovakis , "aya::karpinska" , Andrea Brady , Abigail Child , Bill Marsh , Brian Evenson , "Bloodworth, Penelope" , Brooke O'Harra , Brandon Downing , bernstei@bway.net, Ben Friedlander , Brendan Lorber , Cindy Stefans , Chris Hamilton-Emery , "Whitbeck, Caroline" , John Cayley , "Carpenter, James" , cbergvall , Catherine Daly , Walter Lew , Corina Copp , c_wertheim@hotmail.com, Craig Dworkin , Carolina Maugeri , "Crofts, Thomas H." , Craig Watson , Charles Bernstein , Corina Copp , "Daley, Ryan" , Darren Wershler-Henry , "Daniel C. Howe" , drewgardner9@hotmail.com, "David G. Durand" , giselle beiguelman , Dee Morris , drothsch@jjay.cuny.edu, EJStef@aol.com, Everywitchway9@aol.com, Edrex Fontanilla , "E. Critchley" , John Tranter , Ellen Vincent , esvec@mail.com, Forrest Gander , "Funkhouser, Chris" , judith goldman , Gale Nelson , Gary Sullivan , Mara Galvez , Helen Thorington , Hazel Smith , "House, Jane" , Ira Lightman , Poetry Project , Jason Szep , Juliette Lee , Jason Pontius , Jocelyn Saidenberg , Jennifer Haley , John D Zuern , Joseph Butch Rovan , Jibade-Khalil Huffman , Judd Morrissey , Jesse Huisken , John Wilkinson , Jenny Nichols , Jennifer Moxley , Jenelle Troxell , J Reeves , Kiersten Figurski , Kevin Killian , Ken Wark , Kenneth Goldsmith , Kate Schatz , Kristin Prevallet , Kelli Auerbach , karenmacc@verizon.net, Lindsay Stefans , "Xu, Lynn" , lisa sanditz , lynhejinian@earthlink.net, Le Quartanier , "Long, Nathan" , ljarnot@gmail.com, Miles Champion , Moosepolka@aol.com, Matias Viegener , Mark Tribe , Melissa Reeder , Michael , Michael Scharf , Michael Gizzi , "Miranda F. Mellis" , Mel Nichols , Michael Magee , =?iso-8859-1?Q?'M=F3nica_de_la_Torre'?= , madelyn kent , Marjorie Welish , matt derby , Mairead Byrne , Michael Tod Edgerton , Molly Rice , Mark Mendoza , nwf@brown.edu, nickm@nickm.com, Helen Thorington , Nicholas Musurca , Peter Segerstrom , Peli Greitzer , Katherine Parrish , Scott Rettberg , Robert Coover , Robert M Fitterman , RT5LE9@aol.com, James T Sherry , "S. Ngai" , Stephanie Young , Stephanie Sanditz , "Soderman, Anton" , Stan Mir , Sam Marks , swiss , "Schapira, Kate" , "Jonathan E. Skinner" , Dan Hoy , strickla@mail.slc.edu, Schlesinger Kyle , shark@erols.com, sharon harris , Stacy Szymaszek , Susan Wheeler , Stephen Benson , Tim Ellis , Tim Davis , Tom Raworth , travis ortiz , Torn Tony , Tan Lin , Keith Tuma , TMediodia@aol.com, Todd_Winkler@brown.edu, tevans21@hotmail.com, Tyler Carter , tisa bryant , talan@memmott.org, timatkins@onedit.net, ubuweb@yahoogroups.com, udp_mailbox@yahoo.com, William Gillespie , willa carroll , Young Jean Lee , Brenda Iijima , zwoll@verizon.net MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit .: .. . :. . =.: .: . := : .. .: . . . . . . . . .=.. = : . :.: .:. ... = = : =.:.=.= ... .. .. . =. ... . .=.##:.:..:..#:=##:..:##.#.:##=:=#==.#.##=#==:.=...##.::.::.##=.:..#:.# #..#=:..:##=.:.#.:#..:#:#=. ###..=#:#:.==...#.=:=...:=: :=...==..:=..::#..===:=.#. AU7OST^RT ::.:.#.:..=#:==#=##:...#:= :.#==.=#:.=##...=.:=#:...:: =.##.:..:=.=:=#..=#===#.... .=.#.:.=.=#:.=.#=...:#..#=.#:#:.#:==...=.=...#.:=.:=:....#...=#.:..:...: .=.. = : . :.: .:. ... = = : =.:.=.= ... .. .. . =. ... . := : : =.=.. == . . = : = . . ... . : . : :.. = .= ..: d1scuss1on - open house - workshop - read1ng - tour - jam : . : AUTOSTART - A Festival of Digital Literature : . Kelly Writers House, October 26 & 27 : Celebrating the Electronic Literature Collection, volume 1 : MACHINE series # Electronic Literature Organization : http://writing. upenn.edu/wh/autostart.html : :=:#=:.#=::==.=....:...> Charles Bernstein .#.=..=:#.=::===...:.:.> Jim Carpenter ::.=.==...::==:.=#:...#> Mary Flanagan :#.:...:.:=#..=.=.=:==:> N. Katherine Hayles :.=#:.===.:.:::.=..#..=> Daniel C. Howe :=#:::=:.#:=.=.=....=..> Aya Karpinska ..:.==#==::#==:......:.> Aaron Levy :#=.=..:..=.::=::#..==.> Marjorie Luesebrink ::=:=:...:=..#.==#.=.:.> Nick Montfort .....:==::.=.#:.=.==#.:> Stuart Moulthrop :=...=#:...:::=#===..:.> Jason Nelson :#..=.==..:=.=..:#.=:::> Jena Osman :..=.=.=.=#:=:#.:...=::> Bob Perelman :....:.:.===#=.:=:#=..:> Scott Rettberg .==:.=...:..#.::=:.=.=#> Ron Silliman .=...:=#.=:..=:..#.==::> Brian Kim Stefans :#.::...=:.:.==.==:..#=> Stephanie Strickland ...=..=#=::=.=..:.:=:.#> Noah Wardrip-Fruin : : All events except the tour of Slought take place at the : Kelly Writers House, 3805 Locust Walk, University of Pennsylvania, . Philadelphia, PA : : THURSDAY Oct 26 : : 1:00-2:30 pm Discussion (Arts Cafe) . A conversation about writing and literature in the digital . age, featuring four prominent poets: : > Charles Bernstein - University of Pennsylvania : > Jena Osman - Temple University : > Bob Perelman - University of Pennsylvania : > Ron Silliman - Silliman's Blog : : 2:30-5:30 pm The Open Machine Open House : Electronic literature available for reading and discussion : throughout the downstairs area, with guided tours at . 3:30 pm & 4:30 pm by two Electronic Literature Collection, : volume 1 edtitors: : > Stephanie Strickland - New York City : > Nick Montfort - University of Pennsylvania : : 4:00-5:30 pm Wet Digits Workshop : An introductory workshop for those new to HTML and digital : writing, led by the editors of The New Media Reader: . > Noah Wardrip-Fruin - University of California, San Diego : > Nick Montfort - University of Pennsylvania : [[[ RSVP REQUIRED: contact wh@writing.upenn. edu ]]] : : 5:30-7:30 pm Reading (Arts Cafe) : Presentations of electronic literature by Electronic : Literature Collection, volume 1 contributors: : > Mary Flanagan - Hunter College : > Aya Karpinska - Brown University : > Stuart Moulthrop - University of Baltimore . > Noah Wardrip-Fruin - University of California, San Diego . : FRIDAY Oct 27 : : 10:30-11:30 am Tour of Slought Foundation (4017 Walnut St) . Slought Foundation broadly encourages new futures for : contemporary life through public programs featuring : international artists and theorists. : > Aaron Levy - Slought Foundation Executive Director : . 1:00-4:00 pm Electronic Writing Jam (Room 202) : A time to write collaboratively and to discuss forms, : techniques, and technologies, hosted by: : > Jim Carpenter - University of Pennsylvania : Participants include readers and editors from AUTOSTART's : Thursday program as well as: : > Daniel C. Howe - Brown University : > Brian Kim Stefans - Richard Stockton College of New Jersey : Participants by videoconference include two editors of : the Electronic Literature Collection, volume 1: . > N. Katherine Hayles - University of California, Los Angeles : > Scott Rettberg - University of Bergen, Norway : An editor of volume 2 and volume 1 contributor: : > Marjorie Luesebrink - Irvine Valley College : And volume 1 contributor: . > Jason Nelson - Griffith University, Australia : [[[ RSVP REQUIRED: contact wh@writing.upenn. edu ]]] : :::::::.:::::.::::...::::::::.:::::.::::.:::::::.:::::::.:.:::::::::::: : : The Electronic Literature Collection, volume 1 is edited by : N. Katherine Hayes # Nick Montfort : Scott Rettberg # Stephanie Strickland : This volume features 60 digital selections by : Jim Andrews # Ingrid Ankerson # babel # Giselle Beiguelman : Philippe Bootz # Patrick-Henri Burgaud # J.R. Carpenter : John Cayley # M.D. Coverley (Marjorie Luesebrink) # Martha Deed . David Durand # escha # Damien Everett # Sharif Ezzat : Edward Falco # Mary Flanagan # Marcel Fr'emiot : Elaine Froehlich # geniwate # Loss Peque~no Glazier : Kenneth Goldmith # Tim Guthrie # Richard Holeton : Daniel C. Howe # Jon Ingold # Shelley Jackson # Michael Joyce : Aya Karpinska # Robert Kendall # Deena Larsen : Kerry Lawrynovicz # Donna Leishman # Bill Marsh # Talan Memmott : Maria Mencia # Judd Morrissey # Brion Moss # Stuart Moulthrop . Jason Nelson # Marko Niemi # Millie Niss # Lance Olsen : Jason Pimble # William Poundstone # Kate Pullinger : Melinda Rackham # Aaron A. Reed # Shawn Rider # Jim Rosenberg : Megan Sapnar # Dan Shiovitz # Emily Short # Alan Sondheim : Brian Kim Stefans # Reiner Strasser # Dan Waber : Noah Wardrip-Fruin # Rob Wittig # Nanette Wylde : The Collection will be available on the web and on CD-ROM under a : Creative Commons license - see http://eliterature. org : :.=.=##.##=:.#.##:#=.##:.#.:..=.::.##.:=:.=#=:.#.....#=#.:.#...:##....=: ========================================================================= Date: Sat, 21 Oct 2006 15:26:49 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Poetics List Subject: Postdoc Announcement: U of MN MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline NEW POSTDOCTORAL FELLOWSHIP PROGRAM is a U-wide, multidisciplinary effort to recruit promising scholars with strong potential to pursue future faculty positions, advancing the U's intellectual agenda and enhancing the cultural diversity of the U community. Up to three fellowships for at least one year will be awarded to begin in September 2007. Nominations will be accepted through Nov. 1, 2006; application deadline is Dec. 1. For more information, see http://www.grad.umn.edu/postdocfellowship. from Maria Damon ========================================================================= Date: Sat, 21 Oct 2006 15:32:01 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Poetics List Subject: Fwd: Mark Nowak in Cleveland and Michigan In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline Mark Nowak in Michigan & Cleveland Friday, November 3, 2006 Michigan State University Museum, Lansing Lecture: Writing in the First Person Plural: The Ford/NUMSA Worker-poets of Pretoria and Port Elizabeth" 12:15 PM, MSU Museum Auditorium (part of the show "Workers Culture in Two Nations: South Africa and the United States," http://www.museum.msu.edu/Exhibitions/Current/WorkersCultureinTwoNations.html) Thursday November 2-Sunday November 5, 2006 Cleveland Public Theatre staging of "Capitalization" (Nowak will be speaking on a post-performance panel on Saturday, November 4) http://www.cptonline.org/seasoncalendar/event.cfm?eventid=250&eventdateid=1742 From Maria Damon ========================================================================= Date: Sat, 21 Oct 2006 12:47:23 -0700 Reply-To: Del Ray Cross Sender: UB Poetics discussion group From: Del Ray Cross Subject: SHAMPOO 28 MIME-Version: 1.0 Content-Type: text/plain; charset="utf-8" Content-Transfer-Encoding: quoted-printable Content-Disposition: inline Dear SHAMPOO Philosophe, The new blue SHAMPOO issue 28 is now on sale for absolutely free: www.ShampooPoetry.com You never knew such angelic fluff-enhancing ingredients as Katie Uva,=20 Kate Schapira, KL Monahan, John Clair, Jessica Reed, Jeff Harrison, Jason Koo, James Davies, Farid Matuk, Elisabeth Blair, Dan Thomas- Glass, Dan Brodnitz, Catherine Meng, CAConrad, Brian Dean Bollman, Brane Mozetic (translated by Elizabeta Zarga and Timothy Liu), Ashley VanDoorn, Annette Hakiel, Amy Berkowitz, Amanda Laughtland, Yuri=20 Hospodar, William Corbett, Tim Shaner, Tim J Brennan, Ronald Palmer, Rodney Koeneke, Robyn Art, Rebecca Hazelton, Nicole Mauro, Nico=20 Alvarado-Greenwood, Michael Comstock, Nicholas Manning, Morgan Lucas Schuldt, Mike Topp, Michelle McMahon, Maricela Ramirez,=20 Malaika King Albrecht, M. Mara-Ann, Lauren Haldeman, Kristine Snodgrass, and Kimberly Lojek, along with psycho ShampooArt by=20 Ronald Palmer and Otto Chan. Thanks as always for shimmying with SHAMPOO. Latherish, Del Ray Cross, Editor SHAMPOO Clean Hair / Good Poetry www.ShampooPoetry.com (If you=E2=80=99d prefer not to receive these announcement, just let me kno= w) ========================================================================= Date: Sat, 21 Oct 2006 15:35:24 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jesse Crockett Subject: listenlight new issue MIME-version: 1.0 Content-type: text/plain; charset=ISO-8859-1 Content-transfer-encoding: 7BIT Visual Poetics John Bennett David-Baptiste Chirot Sharon Harris Geof Huth Karl Kempton Jukka-Pekka Kervinen Marton Koppany Sheila Murphy Andrew Topel Nico Vassilakis http://listenlight.net ========================================================================= Date: Sat, 21 Oct 2006 18:13:15 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: Performance with Incidences in Geneva 10/20/06: INTERFERENCE MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII; format=flowed [This may be of interest here - I've been doing a series of multi media performances and working with Foofwa and his dancegroup; last night Incidences was first performed (I did video/audio); then I performed; the following is the transcript which was improvised/typed live for the most part (not all, hence the interference) in relation to the sea of sight/sound pre- sented.] Performance with Incidences in Geneva 10/20/06: INTERFERENCE (after Incidences, Foofwa d'Imobilite & Co.) INTERFERENCE I have no idea how to begin. These pieces are explorations of dance-movement translated into alien spaces. This is sound bounced from New York to Chicago then back to West Virgnia then back to New York using Internet 2. Everything is out of sync. Thiis is Foofwa's dance troop doing a synchronized exercise from "swimming." It's difficult to figure how to get into this material for me. For one thing the laptop was acting up. We found a toy gun in California and scanned it in West Virginia - deconstructing it atthe same time. Ok we did this with a tree as well This will go on until I stop it. Sometimes you get up in the morning and its not the right thing to say. Do you know the United States is at WAR with Iraq!? I found out today - that's really bad. They were looking for illegal immigrants and look what they came up with - WEAPOONS OF MASSSSSSSSSSSSSSSSSSS DESTRUCTION~! I knew my United States MY UNITED STATES!!!!!!!!!!!!!!! would come through in the end. And everybody thought that Bush was a two bit terrorist who was anti-gay? Whatever happened to his daughters? They're probably fucking Rumseld. I look on this as therapy. While I'm playiing with software programs (the very latest!_ (not really)) - there are a numbetr of species going extinct per hour. But they can all move to the Arcitic. By the way polar bears have turned cannibal and elephants are raping other species - this is true - as animals find their habitat disappiearing. What these abstract imags ar - the body is divided into 17 segments and these are then captured while a dancer moves - the movements are captured - and then - then you can map them on to for example people - These people practiced for weeks to get it right and I had to pay them to get naked. Now we can take this mapping of figures onto figures - dancers onto avatar dancers - and we can map into entirely new spaces and content - So this is a dancer transformed. Well hell this has no use whatsoever but I'm fascinated by the extentions of the body - When you play around with software like this you can enter the world of dreams so quickly... I can't find my way outshide this world. Dance. How can I make this entertaining? We shall witness men and women amputated at the brain! They cannot think! They can only dance! Dansez Dansez! O Here is Azure being scanned. The laser destroyed one of my cameras. I have learned not to work in the real world. ui, c'est tout! Pourquoi? They are ne real pas, ils dansez le "reel." I make a map of this dance. Je fabrique un plan von der Unterwelt. They have no Now in order to get away from legs I have moved into the interior of avatars... So this is what it looks like from inside - They have no arms. Quel dommage! Pourqoi? POURQUOI? Parceque ce'st mois! La Divine! Ceas vrai! Wirklich! I will make their interieures! Inside them! You will see! I forgot the trees. Here is a tree being scanned by a laser sending the signal out - From here you can move deep into the dtree .. there are other things to see.... You can see the laser burn. The best way to proceed I think is to hmmm... Is to go into the real world as little as possible... and then bring back whatever you need like going to a 7-11 or something - Is this going ok Foofwa? Uh it seems to lack coherency. I wish I was home making new avatars on my computer to fuck with. Later no earlier in 2006 I don't know what happened, I showed work - real pieces of things and computers - in Los Angels - you can actually stumble over wires once you leave home. One absolutely has to know how to inhabit theoretical digital space. Every other space will become poisonous. This space now this space here - this space is a ruler being taken apart by a laser - you can study it and see how measurement began. I keep thinking I've got some terrible disease and am just about to die (SOB!) so I need your sympathy vote! This is my partner Azure Azul being deconstructed on a bad hair day. So I'm thinking of war and extinctions and the nightmare the world is turning into and atomic bombs going off and being unable to sleep and I can't help making stupid jokes. Like the maarx brothers - it's a kind of immigrant fever - More mapping of dancers. Foofwa is the only person I know who could dance this. The advantage of a dancer: You'll have your body at the end of the world. The disadvantage of a dancer: You'll have your body at the end of the world. And you will send signals to yourself. You will send signals to yourself. You'll look in the mirror and say hello world. And nothing will say anything back. Not even you. Susan Sontag I think wrote about the tens of thousand of birds that died at 9/11. In New York they erected a memorial of lights. The lights went high in the sky and interacted with migrating flocks of birds. Ten thousand birds died because of the memorial. So the question is: How do you make art - not after Auschwitz - but IN Auschwitz? Because we are at the gates and work arbeit does nothing for us. Dance, alas, how can I ever make sense? Together we shall see human beings with brains and minds cut out! They can't think! They never could! All they can do is dance! Well, really, is that all? Why for the Sake of God! They're not real now, are they? They dance the reel! They dance the jig! I'll make a pretty picture of this dance! I'll make a map of the Underworld! They have no legs! They don't have arms either! If I could dance - if I could really dance - I wouldn't be doing any of this - why bother? You have your body on your back and your back on your body and that's all you'd need. When you look at the world correctly, on what basis can you do anything at all? Hello I am the world. I don't have anything at al. They don't have brains either! They don't have minds either! This is terrible damage! I am a cheese! Why, WHY? For the love of the Dear Lord! Because it's me! I made them! I'm the Author of the World! The Divine! The Divine Sarah Bernhardt! The Jew! It's True! Really! I will make their interiors! We'll go inside them! You and I, we'll go inside their bellies! We'll wear the Pubic Hair! You'll see! Just wait! You'll see! Bonjour, salaam, shalom, hello! I will kill myself! Why is this night different from all other nights? Because I am here? These are my people! My little people! They run around the room! I play my harmonica for you. A little aire, a tiny aire, surely something you have heard before? Because we can bounce sound around the world like this. But we can't stop trade in rhino horns. Azure struggles with the avatar. The avatar has to avoid the swords. The swords make the avatar angry. Azure writhes in pain. If she moves she will be cut by the swords.The swords are dream sword.s They do not exist in reality. In reality I am home at the moment comfortably seated in front of my computer. And Im working on new exciting software programs called RHINO WEAPONS OF MASS DESTRUCTION ABU GHARAYB (fun to play!) Guantanamo Afghanistan North Korea Pakistan United States China This is how I imagine EMPIRE - something in the form of a dream. And if EMPIRE stays a dream then everything then everything will be then everything will be okay. Then everything will be okay. Thank you. ========================================================================= Date: Sat, 21 Oct 2006 22:29:22 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Poetics List Subject: ))))(( ZINC BAR ))(((( 10/29: CORRINE FITZPATRICK & CACONRAD hope to see you !!! MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline SUNDAY, October 29th, 7pm ZINC BAR 90 West Houston (for COMPLETE details click: http://CAConradEVENTS.blogspot.com) from CAConrad ========================================================================= Date: Sat, 21 Oct 2006 22:38:18 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Poetics List Subject: 1111 Call for Work In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: quoted-printable Content-Disposition: inline "Eleven Eleven," the annual publication of the Graduate Writing Program at California College of the Arts, seeks work in all genres (or work that challenges genre) for its fourth issue, which will be published in the Spring of 2007. Please send submissions, along with an SASE to: Eleven Eleven California College of the Arts 1111 Eighth Street San Francisco, CA 94107 THE READING PERIOD ENDS DECEMBER FIFTEENTH. "Eleven Eleven" publishes exceptional text and images regardless of coterie or school. Past contributors include Michael Harper, Opal Palmer Adisa, Daniel Alarc=F3n, and Eileen Tabios, among many others. Sincerely, The Editors eleveneleven@cca.edu ========================================================================= Date: Sun, 22 Oct 2006 02:16:12 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Murat Nemet-Nejat Subject: Re: Performance with Incidences in Geneva 10/20/06: INTERFERENCE In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline Alan, From a dream into another. Welcome. Murat On 10/21/06, Alan Sondheim wrote: > > [This may be of interest here - I've been doing a series of multi media > performances and working with Foofwa and his dancegroup; last night > Incidences was first performed (I did video/audio); then I performed; the > following is the transcript which was improvised/typed live for the most > part (not all, hence the interference) in relation to the sea of > sight/sound pre- sented.] > > > > Performance with Incidences in Geneva 10/20/06: INTERFERENCE > (after Incidences, Foofwa d'Imobilite & Co.) > > > INTERFERENCE > I have no idea how to begin. These pieces are explorations > of dance-movement translated into alien spaces. This is sound bounced from > New York to Chicago then back to West Virgnia then back to New York using > Internet 2. Everything is out of sync. Thiis is Foofwa's dance troop doing > a synchronized exercise from "swimming." > > It's difficult to figure how to get into this material for me. For one > thing the laptop was acting up. We found a toy gun in California and > scanned it in West Virginia - deconstructing it atthe same time. Ok we did > this with a tree as well > > This will go on until I stop it. > > Sometimes you get up in the morning and its not the right thing to say. Do > you know the United States is at WAR with Iraq!? I found out today - > that's really bad. They were looking for illegal immigrants and look what > they came up with - WEAPOONS OF MASSSSSSSSSSSSSSSSSSS DESTRUCTION~! I knew > my United States > > MY UNITED STATES!!!!!!!!!!!!!!! > > would come through in the end. And everybody thought that Bush was a two > bit terrorist who was anti-gay? Whatever happened to his daughters? > They're probably fucking Rumseld. I look on this as therapy. While I'm > playiing with software programs (the very latest!_ (not really)) - there > are a numbetr of species going extinct per hour. But they can all move to > the Arcitic. By the way polar bears have turned cannibal and elephants are > raping other species - this is true - as animals find their habitat > disappiearing. What these abstract imags ar - the body is divided into 17 > segments and these are then captured while a dancer moves - the movements > are captured - and then - then you can map them on to for example people - > These people practiced for weeks to get it right and I had to pay them to > get naked. Now we can take this mapping of figures onto figures - dancers > onto avatar dancers - and we can map into entirely new spaces and content > - So this is a dancer transformed. Well hell this has no use whatsoever > but I'm fascinated by the extentions of the body - When you play around > with software like this you can enter the world of dreams so quickly... I > can't find my way outshide this world. > > Dance. How can I make this entertaining? We shall witness > men and women amputated at the brain! They cannot think! > They can only dance! Dansez Dansez! O Here is Azure being scanned. The > laser destroyed one of my cameras. I have learned not to work in the real > world. ui, c'est tout! Pourquoi? > > They are ne real pas, ils dansez le "reel." I make a map of this dance. Je > fabrique un plan von der Unterwelt. They have no Now in order to get away > from legs I have moved into the interior of avatars... So this is what it > looks like from inside - > > They have no arms. Quel dommage! Pourqoi? POURQUOI? > Parceque ce'st mois! La Divine! Ceas vrai! Wirklich! I will make > their interieures! Inside them! You will see! > > I forgot the trees. Here is a tree being scanned by a laser sending the > signal out - From here you can move deep into the dtree .. there are other > things to see.... You can see the laser burn. > > The best way to proceed I think is to hmmm... Is to go into the real world > as little as possible... and then bring back whatever you need like going > to a 7-11 or something - Is this going ok Foofwa? Uh it seems to lack > coherency. I wish I was home making new avatars on my computer to fuck > with. > > Later no earlier > in 2006 I don't know what happened, I showed work - real pieces of things > and computers - in Los Angels - you can actually stumble over wires once > you leave home. One absolutely has to know how to inhabit theoretical > digital space. Every other space will become poisonous. This space now > this space here - this space is a ruler being taken apart by a laser - you > can study it and see how measurement began. I keep thinking I've got some > terrible disease and am just about to die (SOB!) so I need your sympathy > vote! This is my partner Azure Azul being deconstructed on a bad hair day. > So I'm thinking of war and extinctions and the nightmare the world is > turning into and atomic bombs going off and being unable to sleep and I > can't help making stupid jokes. Like the maarx brothers - it's a kind of > immigrant fever - More mapping of dancers. Foofwa is the only person I > know who could dance this. > > The advantage of a dancer: You'll have your body at the end of the world. > The disadvantage of a dancer: You'll have your body at the end of the > world. > > And you will send signals to yourself. > You will send signals to yourself. > You'll look in the mirror and say hello world. > And nothing will say anything back. > Not even you. > > Susan Sontag I think wrote about the tens of thousand of birds that died > at 9/11. > In New York they erected a memorial of lights. The lights went high in the > sky and interacted with migrating flocks of birds. > Ten thousand birds died because of the memorial. > So the question is: How do you make art - not after Auschwitz - > but IN Auschwitz? Because we are at the gates and work arbeit does nothing > for us. > > Dance, alas, how can I ever make sense? Together we shall see > human beings with brains and minds cut out! They can't think! > They never could! All they can do is dance! Well, really, is > that all? Why for the Sake of God! They're not real now, are > they? They dance the reel! They dance the jig! I'll make a > pretty picture of this dance! I'll make a map of the Underworld! > They have no legs! They don't have arms either! If I could dance - if I > could really dance - I wouldn't be doing any of this - why bother? You > have your body on your back and your back on your body and that's all > you'd need. > > When you look at the world correctly, on what basis can you do anything > at all? > > Hello I am the world. I don't have anything at al. They don't have > brains either! They don't have minds either! This is terrible > damage! I am a cheese! Why, WHY? For the love of the Dear Lord! > Because it's me! I made them! I'm the Author of the World! The > Divine! The Divine Sarah Bernhardt! The Jew! It's True! Really! > I will make their interiors! We'll go inside them! You and I, > we'll go inside their bellies! We'll wear the Pubic Hair! You'll > see! Just wait! You'll see! > > Bonjour, salaam, shalom, hello! I will kill myself! Why is this > night different from all other nights? Because I am here? These > are my people! My little people! They run around the room! I > play my harmonica for you. A little aire, a tiny aire, surely > something you have heard before? > Because we can bounce sound around the world like this. > But we can't stop trade in rhino horns. > > Azure struggles with the avatar. The avatar has to avoid the swords. The > swords make the avatar angry. Azure writhes in pain. If she moves she will > be cut by the swords.The swords are dream sword.s They do not exist in > reality. In reality I am home at the moment comfortably seated in front of > my computer. And Im working on new exciting software programs called > > RHINO > WEAPONS OF MASS DESTRUCTION > ABU GHARAYB (fun to play!) > Guantanamo > Afghanistan > North Korea > Pakistan > United States > China > This is how I imagine EMPIRE - something in the form of a dream. And if > EMPIRE stays a dream then everything then everything will be then > everything will be okay. Then everything will be okay. > > Thank you. > ========================================================================= Date: Sun, 22 Oct 2006 02:23:10 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Dan Machlin Subject: Laura Mullen's MURMUR 11/14 Mime-Version: 1.0 (Apple Message framework v624) Content-Transfer-Encoding: 7bit Content-Type: text/plain; charset=US-ASCII; format=flowed Book party for MURMUR by Laura Mullen (Futurepoem books) With an introduction by Charles Bernstein And readings by Rachel Levitsky Carol Snow Dan Machlin (Other surprise guests) Tuesday, November 14th 6:30-8:30 p.m., FREE (Books will be available for purchase) Teachers and Writers Collaborative NOTE NEW ADDRESS: 520 Eighth Avenue (at 37th Street) Suite 2020 (20th floor) New York City Guests must sign in downstairs at front desk For further information, call (212) 691-6590. Visit Futurepoem.com for more information on the press and to join our mailing list. ========================================================================= Date: Sun, 22 Oct 2006 07:37:25 +0100 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: biloxi andersen Subject: Her Lust is Wiser, Disposable Scripture, and Sonja: Life Passes By MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline Her Lust is Wiser, Disposable Scripture, and Sonja: Life Passes By are books of verse by Biloxi Andersen and Ziad Noureddine (heteronyms: be lax in understanding and abundance of eternal light). Biloxi is a young Nordic European female. Ziad is a young male from Bedouin Arab roots. The pieces in these books are placed in England and are concerned with their relationship to each other and to life. These books are part of an ongoing series of diaries in verse. A fourth book is currently being edited. http://inkatthedevil.blogspot.com/ ========================================================================= Date: Sun, 22 Oct 2006 07:49:24 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Elizabeth Treadwell Subject: James & Scalapino on the Cambridge Festival Comments: To: wom-PO@lists.usm.maine.edu Mime-Version: 1.0 Content-Type: text/plain; format=flowed two reports, from Elizabeth James and Leslie Scalapino, on the Cambridge Experimental Women's Poetry Festival, are up now at secretmint: http://secretmint.blogspot.com/2006/10/leslie-scalapino-elizabeth-james.html Cheers, Elizabeth Treadwell http://secretmint.blogspot.com http://elizabethtreadwell.com _________________________________________________________________ Stay in touch with old friends and meet new ones with Windows Live Spaces http://clk.atdmt.com/MSN/go/msnnkwsp0070000001msn/direct/01/?href=http://spaces.live.com/spacesapi.aspx?wx_action=create&wx_url=/friends.aspx&mkt=en-us ========================================================================= Date: Sun, 22 Oct 2006 11:49:59 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Poetics List Subject: AOL Subscription Issues Comments: To: CAConrad9@aol.com, Austinwja@aol.com, depot2000@aol.com MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline AOL has chosen to block mail from our listserv and has not provided us any easy way to correct the problem. Therefore, the list cannot support direct mail to AOL subscribers. Please subscribe with a different email account if you wish to get the list sent directly to you. You also have the option of complaining to AOL that they are blocking mail to which you have subscribed. The Poetics List Editors ========================================================================= Date: Sun, 22 Oct 2006 12:24:25 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: cris cheek Subject: Re: AOL Subscription Issues In-Reply-To: Mime-Version: 1.0 (Apple Message framework v752.2) Content-Type: text/plain; charset=US-ASCII; format=flowed Content-Transfer-Encoding: 7bit ah so that's what they mean by america online ;) felt it always was all about blocking On Oct 22, 2006, at 11:49 AM, Poetics List wrote: > AOL has chosen to block mail from our listserv and has not provided > us any easy way to correct the problem. Therefore, the list cannot > support direct mail to AOL subscribers. Please subscribe with a > different email account if you wish to get the list sent directly to > you. You also have the option of complaining to AOL that they are > blocking mail to which you have subscribed. > > The Poetics List Editors ========================================================================= Date: Sun, 22 Oct 2006 13:29:53 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jeffrey Side Subject: New post on Jeffrey Side's blog Comments: To: british-poets@jiscmail.ac.uk, wryting-l@listserv.wvu.edu Critical comment on Neil Astley's recent New Statesman article, "Give Poetry Back to People". http://jeffreyside.tripod.com/ ========================================================================= Date: Sun, 22 Oct 2006 14:16:34 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mike Luster Subject: Re: AOL Subscription Issues MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit I'm getting my list mail via AOL just fine. Does your announcement mean that you will remove me or are you just alerting me to a potential problem via AOL? mike J. Michael Luster, Ph.D. Arkansas Folklife Program Arkansas State University PO Box 102 Mammoth Spring, AR 72554 417-938-4633 ========================================================================= Date: Sun, 22 Oct 2006 14:26:22 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Poetics List Admin Subject: Re: AOL Subscription Issues In-Reply-To: <263.4cf63750.326d0f82@aol.com> MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline It's an alert to a potential problem with AOL. If you aren't currently having a problem, you should have nothing to worry about. -- Poetics List Intern On 10/22/06, Mike Luster wrote: > > I'm getting my list mail via AOL just fine. Does your announcement mean > that > you will remove me or are you just alerting me to a potential problem via > AOL? > > mike > > J. Michael Luster, Ph.D. > Arkansas Folklife Program > Arkansas State University > PO Box 102 > Mammoth Spring, AR 72554 > > 417-938-4633 > ========================================================================= Date: Sun, 22 Oct 2006 14:38:06 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Lori Emerson Subject: Re: AOL Subscription Issues In-Reply-To: <263.4cf63750.326d0f82@aol.com> MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline Mike and all - the note is just to alert you to a potential problem with your subscription to the list. If a sub through an AOL account isn't working then you will have to try receiving the list with an different email account. - Lori On 10/22/06, Mike Luster wrote: > I'm getting my list mail via AOL just fine. Does your announcement mean that > you will remove me or are you just alerting me to a potential problem via AOL? > > mike > > J. Michael Luster, Ph.D. > Arkansas Folklife Program > Arkansas State University > PO Box 102 > Mammoth Spring, AR 72554 > > 417-938-4633 > ========================================================================= Date: Sun, 22 Oct 2006 14:40:38 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mike Luster Subject: Re: AOL Subscription Issues MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Good deal. Although I guess if I were having a problem I wouldn't have gotten the message alerting me to the problem. mike In a message dated 10/22/06 1:38:30 PM, lori.emerson@GMAIL.COM writes: >Mike and all - the note is just to alert you to a potential problem > >with your subscription to the list. If a sub through an AOL account > >isn't working then you will have to try receiving the list with an > >different email account. ========================================================================= Date: Sun, 22 Oct 2006 17:57:53 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Andrea Selch Subject: New Titles from Carolina Wren Press, including Evie Shockley's half-red sea In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Carolina Wren Press announces the publication of three new titles in our Poetry Series (formerly known as the Carolina Wren Press Chapbook Series) #8 _White Boots: New and Selected Poems of the West_ by William Pitt Root. Richard Jackson wrote: "For Root, the world is poem; for us, his is a world we need to enter." Paperback, perfectbound, 72pp. ISBN 0-932112-51-X. $12.95. #9 _Suddenly, Fruit_ by Linda Pennisi. Winner of the 2005 CWP Poetry contest. Contest judge William Pitt Root wrote: "This poet composes and performs with the luxurious patience only a marvelously ripened spirit can achieve." Paperback, perfectbound, 64pp. ISBN 0-932112-52-X, $12.95. #10 _a half-red sea_ by Evie Shockley. Harryette Mullen wrote: "Navigating against prevailing currents, these poems sail on eddy and backflow, taking inspiration from knots and twists of American history and culture." Paperpack, perfectbound, 96 pp. with fold-out of "a thousand words." ISBN 0-932112-53-6. $15.95. (Shockley will judge the 2007 CWP Poetry contest, deadline 12/1/06; full guidelines on our website.) All titles can be ordered through the CWP website: www.carolinawrenpress.org Or your bookstore can order through Baker & Taylor and most other distributors. If you must use Amazon, they are available that way too. ********************************************************* ========================================================================= Date: Sun, 22 Oct 2006 18:03:13 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Andrea Selch Subject: Shockley and Pennisi to read in Durham, NC, on 10/28/06 MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Evie Shockley and Linda Pennisi will read from their new books of poetry at 8pm on Saturday, October 28th, 2006, in the Durham Arts Council's PSI Theater, 120 Morris Street, Durham, NC, 27701. This reading is free and will be followed by a reception and book-signing. Pennisi is the winner of the 2005 Carolina Wren Press Poetry Contest and Evie Shockley will judge this year's contest (i.e., 2007). Sponsored by Carolina Wren Press and the Desert City Poetry Series. For more information, call 919-560-2738 or email carolinawrenpress@earthlink.net. ========================================================================= Date: Sun, 22 Oct 2006 19:35:11 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Richard Jeffrey Newman Subject: "Poetry into Print" seminar at Morgan Library Oct. 27, 2-4 (Free-reservations necessary) MIME-version: 1.0 Content-type: text/plain; charset=us-ascii Content-transfer-encoding: 7bit A conference of interest to people here; if it's not too late to reserve space. Richard ************************************* Inaugural meeting of the New York City Book Culture Seminar Fri., Oct. 27, 2-4 p.m. The Morgan Library and Museum, Educ. Center 225 Madison Ave., NY NY 10016 Poetry into Print Panel and discussion of design issues Jerry Kelly, graphic designer Mindy Belloff, Intima Press and Studio on the Square Alicia Martinez and Richar Kuczkowski, Poetry in Motion [subway project] Tea and cookies to follow. Reservations are necessary since the seminar is limited to 44 participants. Reserve by email to deirdre.stam@liu.edu. You will receive a confirmation of your registration. [No admission charge.] The New APHA poetry portfolio, Verse into Type, will be available for viewing. Sponsored by the American Printing History Asso., with assistance from the Bibliog. Society of America, The Morgan Library and Museum, and the Palmer School of Library and Information Science of Long Island Univ. _____________ Deirdre C. Stam Associate Professor,Palmer School of Library and Information Science, Long Island University Address of the Manhattan program: Palmer School LIU, Bobst Library NYU #707, 70 Washington Square South, New York NY 10012 Tel.: 212-998-2681; FAX: 212-995-4072; Email: deirdre.stam@liu.edu; web page: www.newyorkbooks.org/stam. Web page for the Rare Book and Special Collections concentration at Palmer: http://palmer.cwpost.liu.edu/mslis/mslisrbsc.html. Note: The main office for the Palmer School is at the C.W. Post Campus, 720 Northern Boulevard, Brookville, NY 11548-1300. Web page: palmer.cwpost.liu.edu; email: palmer@cwpost.liu.edu; tel.: 516-299-2487. __________ NYLINE: since 1985! PLEASE EDIT YOUR REPLIES! Any reply containing the "header" of the original message (including the list address) will be rejected by Listserv. Too much e-mail? 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Contact the Listowner at ========================================================================= Date: Mon, 23 Oct 2006 00:02:57 +0000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: P Ganick Subject: DIGITAL LITERATURE at blue lion books MIME-Version: 1.0 Content-Type: multipart/mixed; boundary="NextPart_Webmail_9m3u9jl4l_10916_1161561777_0" --NextPart_Webmail_9m3u9jl4l_10916_1161561777_0 Content-Type: text/plain Content-Transfer-Encoding: 8bit for those folks attending ::: A FESTIVAL OF DIGITAL LITERATURE ::: dont forget that blue lion books is open to submissions of digital literature! information about blue lion books' offer- ings and submission guidelines, please visit: www.cafepress.com/bluelionbooks66 http://bluelionbooks.info also, today marks blue lion books' first year of publishing experimental poetry and fiction, texts 250pp +. we have published 18 full-length books and are always reading new manuscripts. blue lion books is a juried 'print-on- demand' publisher who uses cafepress.com as its printer. for more information, please back-channel: --NextPart_Webmail_9m3u9jl4l_10916_1161561777_0 Content-Type: Multipart/mixed; boundary="NextPart_Webmail_9m3u9jl4l_10916_1161561777_1" --NextPart_Webmail_9m3u9jl4l_10916_1161561777_1 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit For the next few months, we will be publishing small sets of customized vocabularies based on popular news items. The vocabularies will feature a set of new words which (fingers crossed) have never before existed in the common vocabulary known as the English language. The vocabulary words and accompanying definitions are computer generated using a multi-step definition generator. Output of the generator will be enhanced and tweaked over time as new theories are tested and new ideas come to light. More information on the GTR Dictionary Project can be found here : http://www.gtrlabs.org/projects/dictionary The vocabulary for week #2 is based on the news item "Kremlin plays down unguarded Putin comments". http://www.gtrlabs.org/node/164 accommend [PRFX (Lat.) ac: - to, towards, near, for, together (adeo => go to)] + [STEM (Lat.) commend: entrust, give in trust; commit; recommend, commend to; point out, designate;] Preoccupation with a characteristic or message, not associated with a near journalist without database of a message - closely related to information acrossian [PRFX (Grk.) acr: high] that which is inferred or known to locate, much like a perceived high. anot [PRFX (Lat.) an: around, round about; having two] + [STEM (Lat.) ot: horned/eared owl;] that which is inferred or known to indicate, much like a distinct plane. becomen [PRFX (Grk.) eco: house, household affairs, environment, habitat, home, dwelling] Any state of existing due, most common in one's room as opposed to capability. becommended [PRFX (Grk.) eco: house, household affairs, environment, habitat, home, dwelling] That which uses people or activities - for example, a cause or activities associated with a moral activity or sex crime becomplet [PRFX (Grk.) eco: house, household affairs, environment, habitat, home, dwelling] Usually, a visual communication of a relation - closely related to house - esp. to communicate people independent of homes. 2. The living expression consisting of a people communicated by applying abstractions to an organism. betterprised an orderlies similar in appearance, yet often followwed anti-serial or an arrangement mostly considered chargents [PRFX (Grk.) gen: bring to life, create, make] rebellions that develop according to the laws of persons or that which is inferred or known to create, close to a social part. comployees Aware of or known by a living whether tangible or living, and able to communicate well. dmit A received compilation defined by a feature , alternatively, a type of fact or common suspect - his tough might regard but only as a group. europhone [PRFX (Grk.) phon: phone; sound; voice] Used with reference to relation - the evidence of an alleged phone by formulating a received communication: often expressed as an abstraction concerning a living relation. 2. A general evidence formed by investigating understood communications from specific matters. evidenies A quality of state attributed to an ordered living feeling. finlanguistion that which is known or known to support, similar to a distinct structure. inst [PRFX (Lat.) in: - in, - on, - against; not -, un- ] + [STEM (Lat.) st: stand, stand still, stand firm; remain, rest;] A quality of result attributed to learning with the tendency to derive. islate Used with reference to group - the word string of a common words by formulating a formed sequence: often expressed as a grouping concerning an orderly organism. 2. A general linguistic string formed by writing systematic phrases from particular words. jourself To feel branch rather than reason it . minist that which is known or known to consist, much like a particular piece. nevery Used with reference to communication - the laugh of a specific laughter by formulating a living living: often expressed as a type of laughter or specific journalist - his sort might intend but only as power. 2. A general laugh formed by intending common laughters from particular remarks. nother [PRFX (Grk.) the: god, deity, divine] an orderly god defined by an example , alternatively, a type of single or common expression - his travel might consider but only as a clause. pressions Usually, a similarity of a being - closely related to being - esp. to distinguish beings independent of qualities. 2. The similar expression consisting of a being distinguished by applying characteristics to an attribute. putinguage an abstract formulation of music - closely related to style that is also able to express persons independent of styles. 2. A common tough consisting of music expressed by applying abstractions to a language. radimir A group of possible labor that develop according to the laws of persons. 2. As in existence whether engaged or specific. reporterprete [PRFX (Grk.) por: before, forward, in favor of, in front of, in place of, on behalf of] fronts that extend according to the laws of regions or that which is inferred or known to indicate, similar to a distinct extent. swith that which is lived or known to invent, similar to a visible device. takesman Any state of important sense, most common in one's part as opposed to state. trave [PRFX (Lat.) tra: - across, - over] + [STEM (Lat.) v: strength (sg. only, not ACC), force, power, might, violence;] + [INFL (Lat.) e: ] Usually, a syntagm of a living - closely related to force - esp. to write patterns independent of stems. 2. The common possible consisting of a sequence spoken by applying orderlies to a pattern. wome To be living in the custom according to creations or certain creations that take according to the laws of wholes. 2. A man unable to infer or infer itself as a cast. --NextPart_Webmail_9m3u9jl4l_10916_1161561777_1 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit You are invited to a performance of WALKING POEM Wednesday, October 25th 12pm onwards beginning at the Picasso statue in Daley Plaza 50 W. Washington Street -- Chicago, IL free Poet and artist Jennifer Karmin is collecting writing about walking in cities and creating a WALKING POEM. On October 25th, she will start walking from Chicago's Picasso statue and navigate the city using the collected writing as her map. Once read outloud, each piece will be given away to passing pedestrians. A gesture similar to Pablo Picasso's, who gave his sculpture as a "gift to the people of Chicago" and refused a fee for this work. Participating writers include: Emily Abendroth, Diane DiPrima, Phayvanh Luekhamhan, Bob Marcacci, Philip Metres, Erika Mikkalo, Shin Yu Pai, Tony Trigilio, Luis H. Valadez, Lina R.Vitkauskas and more... WALKING POEM is being sponsored by "Chicago Calling: a 24-Hour Arts Festival," a series of collaborative art events taking place throughout Chicago on October 25th. The first "Chicago Calling" event will begin at 12 a.m. on Wednesday, October 25th and the final event will end at midnight on that day. October 25th was chosen as the date of "Chicago Calling" because it is Pablo Picasso’s birthday. The complete schedule is at http://www.chicagocalling.org. Submissions ********************************************* Writing for WALKING POEM may be submitted through October 23, 2006. This writing may be about any city and take any shape or form -- poem, story, essay, letter, etc. All writing will considered for 2007-08 publication. Writers should send published or unpublished writing along with one direction (forward, backwards, right or left) and one number (1 - 92, Picasso's age at death). Submissions may be emailed as a word attachment with the subject WALKING POEM to jkarmin@yahoo.com. "Chicago Calling: a 24-Hour Arts Festival" ************************************************* Chicago-based artists will showcase performances and projects that involve collaborations with artists living in other locations — here in the U.S. and in other countries worldwide. Artists involved with "Chicago Calling" work in a range of media, including: music, painting, photography, poetry, and dance. Their collaborations will be prepared, improvised, or a combination of both. Some will involve live feeds between Chicago and elsewhere. This festival is part of Chicago Artists' Month, organized by Chicago's Department of Cultural Affairs (http://www.chicagoartistsmonth.org). __________________________________________________ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com --NextPart_Webmail_9m3u9jl4l_10916_1161561777_1 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit http://gtrlabs.org is a terrific site, David, and your work with Andrew is fascinating. > putinguage > > an abstract formulation of music - closely related to style that is also > able to express persons independent of styles. 2. A common tough > consisting of music expressed by applying abstractions to a language. So, like, um, is that a portmanteau? Of what and language? Sort of 'computing' and 'language'? I have no idea what a style might be that is able to express persons independent of styles, but it's provocative. So is the notion that music arises from a common tough who applies abstractions to a language. The whole project is wonderfully and certainly unusually thoughtful in its approach to digital poetry/writing. Bravo! ja > From: David Ayre > To: POETICS@LISTSERV.BUFFALO.EDU > Subject: Vocabulary a week #2 > > > For the next few months, we will be publishing small sets of customized > vocabularies based on popular news items. The vocabularies will feature > a set of new words which (fingers crossed) have never before existed in > the common vocabulary known as the English language. > > The vocabulary words and accompanying definitions are computer generated > using a multi-step definition generator. Output of the generator will be > enhanced and tweaked over time as new theories are tested and new ideas > come to light. More information on the GTR Dictionary Project can be > found here : http://www.gtrlabs.org/projects/dictionary > > The vocabulary for week #2 is based on the news item "Kremlin plays down > unguarded Putin comments". > > http://www.gtrlabs.org/node/164 > > > accommend > > [PRFX (Lat.) ac: - to, towards, near, for, together (adeo => go to)] + > [STEM (Lat.) commend: entrust, give in trust; commit; recommend, commend > to; point out, designate;] Preoccupation with a characteristic or > message, not associated with a near journalist without database of a > message - closely related to information > > acrossian > > [PRFX (Grk.) acr: high] that which is inferred or known to locate, much > like a perceived high. > > anot > > [PRFX (Lat.) an: around, round about; having two] + [STEM (Lat.) ot: > horned/eared owl;] that which is inferred or known to indicate, much > like a distinct plane. > > becomen > > [PRFX (Grk.) eco: house, household affairs, environment, habitat, home, > dwelling] Any state of existing due, most common in one's room as > opposed to capability. > > becommended > > [PRFX (Grk.) eco: house, household affairs, environment, habitat, home, > dwelling] That which uses people or activities - for example, a cause or > activities associated with a moral activity or sex crime > > becomplet > > [PRFX (Grk.) eco: house, household affairs, environment, habitat, home, > dwelling] Usually, a visual communication of a relation - closely > related to house - esp. to communicate people independent of homes. 2. > The living expression consisting of a people communicated by applying > abstractions to an organism. > > betterprised > > an orderlies similar in appearance, yet often followwed anti-serial or > an arrangement mostly considered > > chargents > > [PRFX (Grk.) gen: bring to life, create, make] rebellions that develop > according to the laws of persons or that which is inferred or known to > create, close to a social part. > > comployees > > Aware of or known by a living whether tangible or living, and able to > communicate well. > > dmit > > A received compilation defined by a feature , alternatively, a type of > fact or common suspect - his tough might regard but only as a group. > > europhone > > [PRFX (Grk.) phon: phone; sound; voice] Used with reference to relation > - the evidence of an alleged phone by formulating a received > communication: often expressed as an abstraction concerning a living > relation. 2. A general evidence formed by investigating understood > communications from specific matters. > > evidenies > > A quality of state attributed to an ordered living feeling. > > finlanguistion > > that which is known or known to support, similar to a distinct structure. > > inst > > [PRFX (Lat.) in: - in, - on, - against; not -, un- ] + [STEM (Lat.) st: > stand, stand still, stand firm; remain, rest;] A quality of result > attributed to learning with the tendency to derive. > > islate > > Used with reference to group - the word string of a common words by > formulating a formed sequence: often expressed as a grouping concerning > an orderly organism. 2. A general linguistic string formed by writing > systematic phrases from particular words. > > jourself > > To feel branch rather than reason it . > > minist > > that which is known or known to consist, much like a particular piece. > > nevery > > Used with reference to communication - the laugh of a specific laughter > by formulating a living living: often expressed as a type of laughter or > specific journalist - his sort might intend but only as power. 2. A > general laugh formed by intending common laughters from > particular remarks. > > nother > > [PRFX (Grk.) the: god, deity, divine] an orderly god defined by an > example , alternatively, a type of single or common expression - his > travel might consider but only as a clause. > > pressions > > Usually, a similarity of a being - closely related to being - esp. to > distinguish beings independent of qualities. 2. The similar expression > consisting of a being distinguished by applying characteristics to an > attribute. > > > radimir > > A group of possible labor that develop according to the laws of persons. > 2. As in existence whether engaged or specific. > > reporterprete > > [PRFX (Grk.) por: before, forward, in favor of, in front of, in place > of, on behalf of] fronts that extend according to the laws of regions or > that which is inferred or known to indicate, similar to a distinct extent. > > swith > > that which is lived or known to invent, similar to a visible device. > > takesman > > Any state of important sense, most common in one's part as > opposed to state. > > trave > > [PRFX (Lat.) tra: - across, - over] + [STEM (Lat.) v: strength (sg. > only, not ACC), force, power, might, violence;] + [INFL (Lat.) e: ] > Usually, a syntagm of a living - closely related to force - esp. to > write patterns independent of stems. 2. The common possible consisting > of a sequence spoken by applying orderlies to a pattern. > > wome > > To be living in the custom according to creations or certain creations > that take according to the laws of wholes. 2. A man unable to infer or > infer itself as a cast. > --NextPart_Webmail_9m3u9jl4l_10916_1161561777_1 Content-Type: text/plain; format=flowed I am looking for a reasonably priced studio or 1 bedroom in Brooklyn. Also, a college/University/community college in NYC that needs a teacher for just 1 or 2 101 classes. Ideas - Back channel Jennifer _________________________________________________________________ Add a Yahoo! contact to Windows Live Messenger for a chance to win a free trip! http://www.imagine-windowslive.com/minisites/yahoo/default.aspx?locale=en-us&hmtagline --NextPart_Webmail_9m3u9jl4l_10916_1161561777_1 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit .: .. . :. . =.: .: . := : .. .: . . . . . . . . .=.. = : . :.: .:. ... = = : =.:.=.= ... .. .. . =. ... . .=.##:.:..:..#:=##:..:##.#.:##=:=#==.#.##=#==:.=...##.::.::.##=.:..#:.# #..#=:..:##=.:.#.:#..:#:#=. ###..=#:#:.==...#.=:=...:=: :=...==..:=..::#..===:=.#. AU7OST^RT ::.:.#.:..=#:==#=##:...#:= :.#==.=#:.=##...=.:=#:...:: =.##.:..:=.=:=#..=#===#.... .=.#.:.=.=#:.=.#=...:#..#=.#:#:.#:==...=.=...#.:=.:=:....#...=#.:..:...: .=.. = : . :.: .:. ... = = : =.:.=.= ... .. .. . =. ... . := : : =.=.. == . . = : = . . ... . : . : :.. = .= ..: d1scuss1on - open house - workshop - read1ng - tour - jam : . : AUTOSTART - A Festival of Digital Literature : . Kelly Writers House, October 26 & 27 : Celebrating the Electronic Literature Collection, volume 1 : MACHINE series # Electronic Literature Organization : http://writing. upenn.edu/wh/autostart.html : :=:#=:.#=::==.=....:...> Charles Bernstein .#.=..=:#.=::===...:.:.> Jim Carpenter ::.=.==...::==:.=#:...#> Mary Flanagan :#.:...:.:=#..=.=.=:==:> N. Katherine Hayles :.=#:.===.:.:::.=..#..=> Daniel C. Howe :=#:::=:.#:=.=.=....=..> Aya Karpinska ..:.==#==::#==:......:.> Aaron Levy :#=.=..:..=.::=::#..==.> Marjorie Luesebrink ::=:=:...:=..#.==#.=.:.> Nick Montfort .....:==::.=.#:.=.==#.:> Stuart Moulthrop :=...=#:...:::=#===..:.> Jason Nelson :#..=.==..:=.=..:#.=:::> Jena Osman :..=.=.=.=#:=:#.:...=::> Bob Perelman :....:.:.===#=.:=:#=..:> Scott Rettberg .==:.=...:..#.::=:.=.=#> Ron Silliman .=...:=#.=:..=:..#.==::> Brian Kim Stefans :#.::...=:.:.==.==:..#=> Stephanie Strickland ...=..=#=::=.=..:.:=:.#> Noah Wardrip-Fruin : : All events except the tour of Slought take place at the : Kelly Writers House, 3805 Locust Walk, University of Pennsylvania, . Philadelphia, PA : : THURSDAY Oct 26 : : 1:00-2:30 pm Discussion (Arts Cafe) . A conversation about writing and literature in the digital . age, featuring four prominent poets: : > Charles Bernstein - University of Pennsylvania : > Jena Osman - Temple University : > Bob Perelman - University of Pennsylvania : > Ron Silliman - Silliman's Blog : : 2:30-5:30 pm The Open Machine Open House : Electronic literature available for reading and discussion : throughout the downstairs area, with guided tours at . 3:30 pm & 4:30 pm by two Electronic Literature Collection, : volume 1 edtitors: : > Stephanie Strickland - New York City : > Nick Montfort - University of Pennsylvania : : 4:00-5:30 pm Wet Digits Workshop : An introductory workshop for those new to HTML and digital : writing, led by the editors of The New Media Reader: . > Noah Wardrip-Fruin - University of California, San Diego : > Nick Montfort - University of Pennsylvania : [[[ RSVP REQUIRED: contact wh@writing.upenn. edu ]]] : : 5:30-7:30 pm Reading (Arts Cafe) : Presentations of electronic literature by Electronic : Literature Collection, volume 1 contributors: : > Mary Flanagan - Hunter College : > Aya Karpinska - Brown University : > Stuart Moulthrop - University of Baltimore . > Noah Wardrip-Fruin - University of California, San Diego . : FRIDAY Oct 27 : : 10:30-11:30 am Tour of Slought Foundation (4017 Walnut St) . Slought Foundation broadly encourages new futures for : contemporary life through public programs featuring : international artists and theorists. : > Aaron Levy - Slought Foundation Executive Director : . 1:00-4:00 pm Electronic Writing Jam (Room 202) : A time to write collaboratively and to discuss forms, : techniques, and technologies, hosted by: : > Jim Carpenter - University of Pennsylvania : Participants include readers and editors from AUTOSTART's : Thursday program as well as: : > Daniel C. Howe - Brown University : > Brian Kim Stefans - Richard Stockton College of New Jersey : Participants by videoconference include two editors of : the Electronic Literature Collection, volume 1: . > N. Katherine Hayles - University of California, Los Angeles : > Scott Rettberg - University of Bergen, Norway : An editor of volume 2 and volume 1 contributor: : > Marjorie Luesebrink - Irvine Valley College : And volume 1 contributor: . > Jason Nelson - Griffith University, Australia : [[[ RSVP REQUIRED: contact wh@writing.upenn. edu ]]] : :::::::.:::::.::::...::::::::.:::::.::::.:::::::.:::::::.:.:::::::::::: : : The Electronic Literature Collection, volume 1 is edited by : N. Katherine Hayes # Nick Montfort : Scott Rettberg # Stephanie Strickland : This volume features 60 digital selections by : Jim Andrews # Ingrid Ankerson # babel # Giselle Beiguelman : Philippe Bootz # Patrick-Henri Burgaud # J.R. Carpenter : John Cayley # M.D. Coverley (Marjorie Luesebrink) # Martha Deed . David Durand # escha # Damien Everett # Sharif Ezzat : Edward Falco # Mary Flanagan # Marcel Fr'emiot : Elaine Froehlich # geniwate # Loss Peque~no Glazier : Kenneth Goldmith # Tim Guthrie # Richard Holeton : Daniel C. Howe # Jon Ingold # Shelley Jackson # Michael Joyce : Aya Karpinska # Robert Kendall # Deena Larsen : Kerry Lawrynovicz # Donna Leishman # Bill Marsh # Talan Memmott : Maria Mencia # Judd Morrissey # Brion Moss # Stuart Moulthrop . Jason Nelson # Marko Niemi # Millie Niss # Lance Olsen : Jason Pimble # William Poundstone # Kate Pullinger : Melinda Rackham # Aaron A. Reed # Shawn Rider # Jim Rosenberg : Megan Sapnar # Dan Shiovitz # Emily Short # Alan Sondheim : Brian Kim Stefans # Reiner Strasser # Dan Waber : Noah Wardrip-Fruin # Rob Wittig # Nanette Wylde : The Collection will be available on the web and on CD-ROM under a : Creative Commons license - see http://eliterature. org : :.=.=##.##=:.#.##:#=.##:.#.:..=.::.##.:=:.=#=:.#.....#=#.:.#...:##....=: --NextPart_Webmail_9m3u9jl4l_10916_1161561777_1 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit NEW POSTDOCTORAL FELLOWSHIP PROGRAM is a U-wide, multidisciplinary effort to recruit promising scholars with strong potential to pursue future faculty positions, advancing the U's intellectual agenda and enhancing the cultural diversity of the U community. Up to three fellowships for at least one year will be awarded to begin in September 2007. Nominations will be accepted through Nov. 1, 2006; application deadline is Dec. 1. For more information, see http://www.grad.umn.edu/postdocfellowship. from Maria Damon --NextPart_Webmail_9m3u9jl4l_10916_1161561777_1 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Mark Nowak in Michigan & Cleveland Friday, November 3, 2006 Michigan State University Museum, Lansing Lecture: Writing in the First Person Plural: The Ford/NUMSA Worker-poets of Pretoria and Port Elizabeth" 12:15 PM, MSU Museum Auditorium (part of the show "Workers Culture in Two Nations: South Africa and the United States," http://www.museum.msu.edu/Exhibitions/Current/WorkersCultureinTwoNations.html) Thursday November 2-Sunday November 5, 2006 Cleveland Public Theatre staging of "Capitalization" (Nowak will be speaking on a post-performance panel on Saturday, November 4) http://www.cptonline.org/seasoncalendar/event.cfm?eventid=250&eventdateid=1742 From Maria Damon --NextPart_Webmail_9m3u9jl4l_10916_1161561777_1 Content-Type: text/plain; charset="utf-8" Content-Transfer-Encoding: quoted-printable Dear SHAMPOO Philosophe, The new blue SHAMPOO issue 28 is now on sale for absolutely free: www.ShampooPoetry.com You never knew such angelic fluff-enhancing ingredients as Katie Uva,=20 Kate Schapira, KL Monahan, John Clair, Jessica Reed, Jeff Harrison, Jason Koo, James Davies, Farid Matuk, Elisabeth Blair, Dan Thomas- Glass, Dan Brodnitz, Catherine Meng, CAConrad, Brian Dean Bollman, Brane Mozetic (translated by Elizabeta Zarga and Timothy Liu), Ashley VanDoorn, Annette Hakiel, Amy Berkowitz, Amanda Laughtland, Yuri=20 Hospodar, William Corbett, Tim Shaner, Tim J Brennan, Ronald Palmer, Rodney Koeneke, Robyn Art, Rebecca Hazelton, Nicole Mauro, Nico=20 Alvarado-Greenwood, Michael Comstock, Nicholas Manning, Morgan Lucas Schuldt, Mike Topp, Michelle McMahon, Maricela Ramirez,=20 Malaika King Albrecht, M. Mara-Ann, Lauren Haldeman, Kristine Snodgrass, and Kimberly Lojek, along with psycho ShampooArt by=20 Ronald Palmer and Otto Chan. Thanks as always for shimmying with SHAMPOO. Latherish, Del Ray Cross, Editor SHAMPOO Clean Hair / Good Poetry www.ShampooPoetry.com (If you=E2=80=99d prefer not to receive these announcement, just let me kno= w) --NextPart_Webmail_9m3u9jl4l_10916_1161561777_1 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 7BIT Visual Poetics John Bennett David-Baptiste Chirot Sharon Harris Geof Huth Karl Kempton Jukka-Pekka Kervinen Marton Koppany Sheila Murphy Andrew Topel Nico Vassilakis http://listenlight.net --NextPart_Webmail_9m3u9jl4l_10916_1161561777_1 Content-Type: TEXT/PLAIN; charset=US-ASCII; format=flowed [This may be of interest here - I've been doing a series of multi media performances and working with Foofwa and his dancegroup; last night Incidences was first performed (I did video/audio); then I performed; the following is the transcript which was improvised/typed live for the most part (not all, hence the interference) in relation to the sea of sight/sound pre- sented.] Performance with Incidences in Geneva 10/20/06: INTERFERENCE (after Incidences, Foofwa d'Imobilite & Co.) INTERFERENCE I have no idea how to begin. These pieces are explorations of dance-movement translated into alien spaces. This is sound bounced from New York to Chicago then back to West Virgnia then back to New York using Internet 2. Everything is out of sync. Thiis is Foofwa's dance troop doing a synchronized exercise from "swimming." It's difficult to figure how to get into this material for me. For one thing the laptop was acting up. We found a toy gun in California and scanned it in West Virginia - deconstructing it atthe same time. Ok we did this with a tree as well This will go on until I stop it. Sometimes you get up in the morning and its not the right thing to say. Do you know the United States is at WAR with Iraq!? I found out today - that's really bad. They were looking for illegal immigrants and look what they came up with - WEAPOONS OF MASSSSSSSSSSSSSSSSSSS DESTRUCTION~! I knew my United States MY UNITED STATES!!!!!!!!!!!!!!! would come through in the end. And everybody thought that Bush was a two bit terrorist who was anti-gay? Whatever happened to his daughters? They're probably fucking Rumseld. I look on this as therapy. While I'm playiing with software programs (the very latest!_ (not really)) - there are a numbetr of species going extinct per hour. But they can all move to the Arcitic. By the way polar bears have turned cannibal and elephants are raping other species - this is true - as animals find their habitat disappiearing. What these abstract imags ar - the body is divided into 17 segments and these are then captured while a dancer moves - the movements are captured - and then - then you can map them on to for example people - These people practiced for weeks to get it right and I had to pay them to get naked. Now we can take this mapping of figures onto figures - dancers onto avatar dancers - and we can map into entirely new spaces and content - So this is a dancer transformed. Well hell this has no use whatsoever but I'm fascinated by the extentions of the body - When you play around with software like this you can enter the world of dreams so quickly... I can't find my way outshide this world. Dance. How can I make this entertaining? We shall witness men and women amputated at the brain! They cannot think! They can only dance! Dansez Dansez! O Here is Azure being scanned. The laser destroyed one of my cameras. I have learned not to work in the real world. ui, c'est tout! Pourquoi? They are ne real pas, ils dansez le "reel." I make a map of this dance. Je fabrique un plan von der Unterwelt. They have no Now in order to get away from legs I have moved into the interior of avatars... So this is what it looks like from inside - They have no arms. Quel dommage! Pourqoi? POURQUOI? Parceque ce'st mois! La Divine! Ceas vrai! Wirklich! I will make their interieures! Inside them! You will see! I forgot the trees. Here is a tree being scanned by a laser sending the signal out - From here you can move deep into the dtree .. there are other things to see.... You can see the laser burn. The best way to proceed I think is to hmmm... Is to go into the real world as little as possible... and then bring back whatever you need like going to a 7-11 or something - Is this going ok Foofwa? Uh it seems to lack coherency. I wish I was home making new avatars on my computer to fuck with. Later no earlier in 2006 I don't know what happened, I showed work - real pieces of things and computers - in Los Angels - you can actually stumble over wires once you leave home. One absolutely has to know how to inhabit theoretical digital space. Every other space will become poisonous. This space now this space here - this space is a ruler being taken apart by a laser - you can study it and see how measurement began. I keep thinking I've got some terrible disease and am just about to die (SOB!) so I need your sympathy vote! This is my partner Azure Azul being deconstructed on a bad hair day. So I'm thinking of war and extinctions and the nightmare the world is turning into and atomic bombs going off and being unable to sleep and I can't help making stupid jokes. Like the maarx brothers - it's a kind of immigrant fever - More mapping of dancers. Foofwa is the only person I know who could dance this. The advantage of a dancer: You'll have your body at the end of the world. The disadvantage of a dancer: You'll have your body at the end of the world. And you will send signals to yourself. You will send signals to yourself. You'll look in the mirror and say hello world. And nothing will say anything back. Not even you. Susan Sontag I think wrote about the tens of thousand of birds that died at 9/11. In New York they erected a memorial of lights. The lights went high in the sky and interacted with migrating flocks of birds. Ten thousand birds died because of the memorial. So the question is: How do you make art - not after Auschwitz - but IN Auschwitz? Because we are at the gates and work arbeit does nothing for us. Dance, alas, how can I ever make sense? Together we shall see human beings with brains and minds cut out! They can't think! They never could! All they can do is dance! Well, really, is that all? Why for the Sake of God! They're not real now, are they? They dance the reel! They dance the jig! I'll make a pretty picture of this dance! I'll make a map of the Underworld! They have no legs! They don't have arms either! If I could dance - if I could really dance - I wouldn't be doing any of this - why bother? You have your body on your back and your back on your body and that's all you'd need. When you look at the world correctly, on what basis can you do anything at all? Hello I am the world. I don't have anything at al. They don't have brains either! They don't have minds either! This is terrible damage! I am a cheese! Why, WHY? For the love of the Dear Lord! Because it's me! I made them! I'm the Author of the World! The Divine! The Divine Sarah Bernhardt! The Jew! It's True! Really! I will make their interiors! We'll go inside them! You and I, we'll go inside their bellies! We'll wear the Pubic Hair! You'll see! Just wait! You'll see! Bonjour, salaam, shalom, hello! I will kill myself! Why is this night different from all other nights? Because I am here? These are my people! My little people! They run around the room! I play my harmonica for you. A little aire, a tiny aire, surely something you have heard before? Because we can bounce sound around the world like this. But we can't stop trade in rhino horns. Azure struggles with the avatar. The avatar has to avoid the swords. The swords make the avatar angry. Azure writhes in pain. If she moves she will be cut by the swords.The swords are dream sword.s They do not exist in reality. In reality I am home at the moment comfortably seated in front of my computer. And Im working on new exciting software programs called RHINO WEAPONS OF MASS DESTRUCTION ABU GHARAYB (fun to play!) Guantanamo Afghanistan North Korea Pakistan United States China This is how I imagine EMPIRE - something in the form of a dream. And if EMPIRE stays a dream then everything then everything will be then everything will be okay. Then everything will be okay. Thank you. --NextPart_Webmail_9m3u9jl4l_10916_1161561777_1 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit SUNDAY, October 29th, 7pm ZINC BAR 90 West Houston (for COMPLETE details click: http://CAConradEVENTS.blogspot.com) from CAConrad --NextPart_Webmail_9m3u9jl4l_10916_1161561777_1 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: quoted-printable "Eleven Eleven," the annual publication of the Graduate Writing Program at California College of the Arts, seeks work in all genres (or work that challenges genre) for its fourth issue, which will be published in the Spring of 2007. Please send submissions, along with an SASE to: Eleven Eleven California College of the Arts 1111 Eighth Street San Francisco, CA 94107 THE READING PERIOD ENDS DECEMBER FIFTEENTH. "Eleven Eleven" publishes exceptional text and images regardless of coterie or school. Past contributors include Michael Harper, Opal Palmer Adisa, Daniel Alarc=F3n, and Eileen Tabios, among many others. Sincerely, The Editors eleveneleven@cca.edu --NextPart_Webmail_9m3u9jl4l_10916_1161561777_1-- --NextPart_Webmail_9m3u9jl4l_10916_1161561777_0-- ========================================================================= Date: Mon, 23 Oct 2006 02:22:03 +0000 Reply-To: editor@fulcrumpoetry.com Sender: UB Poetics discussion group From: Fulcrum Annual Subject: concact query MIME-Version: 1.0 Content-Type: text/plain; charset="utf-8" Content-Transfer-Encoding: 7bit Hello, list! I need contact info for Elizabeth Robinson, last known to teach at the University of Colorabo, Boulder. Please backchannel. Best, Philip ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Philip Nikolayev & Katia Kapovich, Editors FULCRUM: AN ANNUAL OF POETRY AND AESTHETICS 334 Harvard Street, Suite D-2 Cambridge, MA 02139, USA http://fulcrumpoetry.com phone (+1)617.864.7874 e-mail editor{AT}fulcrumpoetry.com ========================================================================= Date: Sun, 22 Oct 2006 22:55:25 -0700 Reply-To: editor@pavementsaw.org Sender: UB Poetics discussion group From: David Baratier Subject: Re: AOL Subscription Issues In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Dear Brit on Line-- We thought about blocking that post. Be well American on Line ========================================================================= Date: Mon, 23 Oct 2006 06:57:30 -0400 Reply-To: clwnwr@earthlink.net Sender: UB Poetics discussion group From: Bob Heman Subject: first ever CLWN WR/Clown War reading MIME-Version: 1.0 Content-type: text/plain; charset=US-ASCII Hi Folks - as some of you know this thursday, October 26, will be the first ever reading for CLWN WR which i founded with Stephen Fairhurst as CLOWN WAR back in 1971 there will be a big reading with R. Nemo Hill, Basil King and Jean Lehrman featuring and Alex Caldiero, Evie Ivy, Mindy Levokove, Jane Ormerod and Nathan Whiting making special guest appearances plus Rochelle Ratner reading from her translations of the Belgian surrealist Paul Colinet the first new issue in seven years (#40) will appear at the reading (featuring small poems by Alex Caldiero, Paul Pines, Irina Peris, Jean Lehrman, Jane Ormerod, Steve Dalachinsky, John Levy, R. Nemo Hill, Amy Ouzoonian, F.A. Nettelbeck, Nathan Whiting and Francine Witte) - during the following month two more small poem issues are scheduled to appear (which will include work by Leonard Gontarek, Larissa Shmailo, Bob Holman, Basil King, Roy Arenella, Craig Czury, Brian Johnson, Matvei Yankelevich, David Giannini, Judy Kamilhor, Vassilis Zambaras, Halvard Johnson, Peter Schwartz, Tom Savage, Mike Topp, Sparrow, Bruce Weber, Thomas Fucaloro, Michael Andre, Evie Ivy, Joel Dailey, Andy Comess and others) the reading will start around 7:00 on Thursday October 26 at the SAFE-T-GALLERY at 111 Front Street, Brooklyn (D.U.M.B.O.), Gallery 214. (Take the F train to York Street, walk downhill to Front and turn left under the Manhattan Bridge. For more information and alternative directions (from other subway lines) please check the Gallery website at http://www.safetgallery.com i hope you all can come be well, Bob ========================================================================= Date: Mon, 23 Oct 2006 05:16:27 -0700 Reply-To: rsillima@yahoo.com Sender: UB Poetics discussion group From: Ron Silliman Subject: Silliman's Blog Comments: To: Brit Po , New Po , UK Poetry MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit http://ronsilliman.blogspot.com/ RECENT POSTS Elizabeth Willis and Erasmus Darwin Meteoric Flowers AU70ST^RT A conference on digital writing Picking winners on Project Runway The Grand Piano An experiment in collective autobiography Found Objects The career of Louis Zukofsky the moment before he became widely famous The death of Gerry Studds and the use of new noun phrases A poets’ Encyclopedia versus A Poets’ Encyclopedia (déjà vu all over again) U.K. syllables, American ears The Age of Huts (compleat) The Collected Poems of Robert Creeley now in two volumes A novel in the form of blurbs? Lunar Follies by Gilbert Sorrentino Style guides and long lines on the web A response to Elizabeth Treadwell Battlestar Galactica -- replaying Iraq on the colony of New Caprica Prose and verse seen not as oppositional poles in the new chapbook by Aaron Kunin Some links to visual arts and especially the issue of women visual artists The poems of Gael Turnbull a major “New American poet” who wasn’t American at all http://ronsilliman.blogspot.com/ ========================================================================= Date: Mon, 23 Oct 2006 08:47:10 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Pierre Joris Subject: Recent Nomadics blog posts Comments: cc: BRITISH-POETS@JISCMAIL.AC.UK, Poetryetc provides a venue for a dialogue relating to poetry and poetics Mime-Version: 1.0 (Apple Message framework v752.2) Content-Type: text/plain; charset=ISO-8859-1; delsp=yes; format=flowed Content-Transfer-Encoding: quoted-printable Check out these recent Nomadics blog posts at http://=20 pjoris.blogspot.com: Pastior Prize & Interview My French Mexico City Blues Good News for the Living Theatre Michail Ryklin on Russia post-Politkovskaya Ra=FAl Zurita's INRI Weekend Noticings & have a great week! Pierre =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D= =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D "As democracy is perfected, the office of president represents, more and more closely, the inner soul of the people. On some great and glorious day the plain folks of the land will reach their heart's desire at last, and the White House will be adorned by a downright moron." -- H.L. Mencken (1880-1956) =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D= =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D For updates on readings, etc. check my current events page: http://albany.edu/~joris/CurrentEvents.html =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D= =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D Pierre Joris 244 Elm Street Albany NY 12202 h: 518 426 0433 c: 518 225 7123 o: 518 442 40 71 Euro cell: 011 33 6 79 368 446 email: joris@albany.edu http://pierrejoris.com Nomadics blog: http://pjoris.blogspot.com =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D= =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D ========================================================================= Date: Mon, 23 Oct 2006 08:04:17 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Tony Trigilio Organization: http://www.starve.org Subject: This Wednesday, Maggie Nelson/Martha Collins, Columbia College Chicago MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Maggie Nelson / Martha Collins Poetry Reading Wednesday, October 25 (5:30 p.m.) Columbia College Chicago Concert Hall 1014 South Michigan Avenue Free & open to the public For more information, (312) 344-8138 Maggie Nelson is most recently the author of JANE: A MURDER (Soft Skull Press, 2005), a mixed-genre book which was named a Finalist for the 2006 PEN/Martha Albrand Award for the Art of the Memoir. Her other books of poetry include THE LATEST WINTER (2003), SHINER (2001), and the forthcoming collection SOMETHING BRIGHT, THEN HOLES. A nonfiction book about her family and criminal justice will be published by the Free Press/Simon & Schuster in March 2007. She holds a Ph.D. in English Literature from the City University of New York, and has taught creative writing and literature at the Graduate Writing Program of the New School, Pratt Institute of Art, and Wesleyan University. Currently she teaches on the faculty of the School of Critical Studies at CalArts in Valencia, California, and lives in Los Angeles. Martha Collins is the author of the book-length poem BLUE FRONT (Graywolf, 2006). She has published four earlier collections of poems and a recent chapbook, GONE SO FAR (Barnwood, 2005), and has co-translated two collections of poetry from the Vietnamese, most recently GREEN RICE by Lam Thi My Da (Curbstone, 2005, with Thuy Dinh). Her awards include fellowships from the NEA, the Bunting Institute, the Witter Bynner Foundation, and the Ingram Merrill Foundation, as well as three Pushcart Prizes and a Lannan Foundation residency fellowship. She founded the Creative Writing Program at UMass-Boston, and since 1997 has taught at Oberlin College, where she is Pauline Delaney Professor of Creative Writing. She lives in Cambridge, Massachusetts and Oberlin, Ohio. ========================================================================= Date: Mon, 23 Oct 2006 08:03:04 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: vulture protein Subject: Re: AOL Subscription Issues In-Reply-To: <20061023055525.8828.qmail@web83114.mail.mud.yahoo.com> MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline Hello, For anyone interested - here is a copy of AOL's "Member Retention Manual": http://cache.consumerist.com/assets/resources/consumerist.comaolmanual.pdf (Useful for any AOL user who may be considering canceling their account.) Tony On 10/23/06, David Baratier wrote: > > Dear Brit on Line-- > > We thought about blocking that post. > > Be well > > American on Line > ========================================================================= Date: Mon, 23 Oct 2006 10:55:16 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Michael Kelleher Subject: JUST BUFFALO E-NEWSLETTER 10-16-06 MIME-Version: 1.0 Content-Type: text/plain; format=flowed; charset=ISO-8859-1 Content-Transfer-Encoding: quoted-printable JUST BUFFALO SMALL PRESS POETRY SERIES, hosted by Kevin Thurston Daniel F. Bradley & Gustave Morin Poetry Reading Thursday, October 26, 7 p.m. Rust Belt Books, 202 Allen St., Buffalo Daniel F. Bradley says of himself: =22I live in Toronto with my kid and gir= lfriend. i have a bunch of books which include Books of Blue Frit (Outlands), The Sharp Cor= ners (The Expert Press), you will wait for me mid step for my arrival with the slow= of arms and fire the ring fingered sky reached come on big boy (Lyricalmyrical Press), = and A Boy's First Book of Chlamydia: Poems 1996-2002 (Bookthug). i have a little zine= thing called fhole that publishes poems, visual and not.=22 Gustave Morin's various written works, graphic constructions & reluctant pe= rformances have been appearing scattershot hither & yon for the past 15 years. his 5th= book, THE ETC BBQ, recently (2006) materialized through BOOKTHUG of toronto. he resid= es at Chez Gargoyle in an anonymous frontiertown in canada where he ekes out a mo= dest existence working in the arts. FALL WORKSHOPS All workshops take place in Just Buffalo's Workshop/Conference Room At the historic Market Arcade, 617 Main St., First Floor -- right across fr= om Shea's The Market Arcade is climate-controlled and has a security guard on duty at= all times. To get here: Take the train to the Theatre stop and walk, or park and enter on Washingto= n Street. Free parking on Washington Street evenings and weekends. Two-dollar parking in fenced, guarded, M & T lot on Washington. Visit our website for detailed descriptions, instructor bios, and to regist= er online. UPCOMING WORKSHOPS: STARTING WEDNESDAY: COLLEGE ESSAY WRITING Writing Your Way Into Higher Education -- A Workshop on the College Essay Instructor: Gary Earl Ross=A0 Wednesdays: Oct. 25, Nov. 1, 8, 15, 4:15-5:30 p.m. In the Just Buffalo Workshop Room Market Arcade Building, 617 Main St., First Floor.=A0 =2470, =2450 members Registration Deadline EXTENDED UNTIL CLOSE OF BUSINESS WEDNESDAY=21 CREATIVITY: The Tao of Writing A Creativity Workshop for Writers of All Levels Instructor: Ralph Wahlstrom 4 Thursdays, November 2, 9, 16, and 30, 7-9 p.m. In the Just Buffalo Workshop Room Market Arcade Building, 617 Main St., First Floor. =24100, =2480 member SONG LYRICS: Turning Poems Into Song Lyrics A Special Session For Aspiring Songwriters and Poets Instructor: Grammy Award-Winning Poet/Lyricist Wyn Cooper Tentative Date: Tuesday, November14, 7-9 p.m. In the Just Buffalo Workshop Room Market Arcade Building, 617 Main St., First Floor. =2450. =2440 for members JOIN JUST BUFFALO ONLINE=21=21=21 If you would like to join Just Buffalo, or simply make a massive personal d= onation, you can do so online using your credit card. We have recently added the abilit= y to join online by paying with a credit card through PayPal. Simply click on the me= mbership level at which you would like to join, log in (or create a PayPal account u= sing your Visa/Amex/Mastercard/Discover), and voil=E1, you will find yourself in lite= rary heaven. For more info, or to join now, go to our website: http://www.justbuffalo.org/membership/index.shtml JUST BUFFALO WRITER'S CRITIQUE GROUP Members of Just Buffalo are welcome to attend a free, bi-monthly writer cri= tique group in CEPA's Flux Gallery on the first floor of the historic Market Arca= de Building across the street from Shea's. Group meets 1st and 3rd Wednesday at 7 p.m. = Call Just Buffalo for details. LITERARY BUFFALO TALKING LEAVES...BOOKS Ted Pelton Reading and Book signing for: Malcolm and Jack Wednesday, October 25, 7 p.m. Talking Leaves...Books Main St. Store BURCHFIELD-PENNEY Olga Karman Non-fiction Reading Sunday, October 29, 2 p.m. Burchfield-Penney Arts Center, Buffalo State College BUDDIES OPEN MIC LITERARY HOUR Poems and short stories by local GLBT writers, every 4th Thursday =40 7:PM= NEXT PROGRAM: Thursday Oct. 26th Featured writers: Bob Murphy, Craig R.L. Kelle= r and others to be announced. Local GLBT writers interested in reading contact ldvoices=40yahoo.com. Visit our website to download a pdf of the October Literary Buffalo poster,= which lists all of Buffalo's literary events. UNSUBSCRIBE If you would like to unsubscribe from this list, just say so and you will b= e immediately removed. _______________________________ Michael Kelleher Artistic Director Just Buffalo Literary Center Market Arcade 617 Main St., Ste. 202A Buffalo, NY 14203 716.832.5400 716.270.0184 (fax) www.justbuffalo.org mjk=40justbuffalo.org ========================================================================= Date: Mon, 23 Oct 2006 13:08:34 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Phil Primeau Subject: Introducing the DIRT Blogzine! MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline http://dirt-zine.blogspot.com DIRT, the premier magazine of minimalist poetry and poetics, has undergone a radical renovation. Do to funding difficulties and a diminished staff, publication in print form has come to a halt. However, to carry on our proud tradition of highlighting and promoting minimalist work, DIRT will now appear as a regularly updated blogzine; imagine Bolts of Silk or RealPoetik, but (obviously) minimalist only. We aim to make 2-4 posts a week, depending on how quickly fresh material comes in -- so continue submitting your minimalist poetry (both textual and visual) and short fiction. We also welcome reviews or material for reviews. Interviews with minimalist's movers and shakers, past and present, will also appear from time to time. New and old work is now available at http://dirt-zine.blogspot.com. Those up now include: ARAM SAROYAN, ANDY GRICEVICH, and PAUL NELSON. Best, Philip Primeau Editor, Dirt http://dirt-zine.blogspot.com ========================================================================= Date: Mon, 23 Oct 2006 13:31:45 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: susan maurer Subject: feminists who changed america Mime-Version: 1.0 Content-Type: text/plain; format=flowed keep running into more people i know of the poet variety who are listed in book above. meant to say sooner that iam like discssions of sexism in religion to include any form of sexual segration. catholics and orthodx jews ould not be able to segregate blacks as they do women as the force of law would forbid. it. the poets i know who are listed in above are not of the brokensyntax persuasion, (eg chocolate waters) but sense the llist may have exhausted itself on these subjects. have agood weekend all . susan maurer _________________________________________________________________ All-in-one security and maintenance for your PC. Get a free 90-day trial! http://clk.atdmt.com/MSN/go/msnnkwlo0050000002msn/direct/01/?href=http://www.windowsonecare.com/?sc_cid=msn_hotmail ========================================================================= Date: Mon, 23 Oct 2006 10:35:00 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jason Quackenbush Subject: Re: feminists who changed america In-Reply-To: MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII; format=flowed is that true? I mean, if the catholic church wanted to prevent black men from becoming priests, I didn't think the law had (nor should have, wall of separation and all that) any say in the matter. On Mon, 23 Oct 2006, susan maurer wrote: > keep running into more people i know of the poet variety who are listed in book > above. meant to say sooner that iam like discssions of sexism in religion to > include any form of sexual segration. catholics and orthodx jews ould not be > able to segregate blacks as they do women as the force of law would forbid. it. > the poets i know who are listed in above are not of the brokensyntax > persuasion, (eg chocolate waters) but sense the llist may have exhausted itself > on these subjects. have agood weekend all . susan maurer > > _________________________________________________________________ > All-in-one security and maintenance for your PC. Get a free 90-day trial! > http://clk.atdmt.com/MSN/go/msnnkwlo0050000002msn/direct/01/?href=http://www.windowsonecare.com/?sc_cid=msn_hotmail > ========================================================================= Date: Mon, 23 Oct 2006 11:22:00 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Small Press Traffic Subject: Lomax & Retallack at SPT this Fri 9/27 MIME-Version: 1.0 Content-Type: text/plain; charset="ISO-8859-1"; format="flowed" Content-Transfer-Encoding: 8bit Small Press Traffic is pleased to present a reading by Dana Teen Lomax & Joan Retallack Friday, October 27, 2006 at 7:30 p.m. Dana Teen Lomax joins us in celebration of her first full-length collection, Curren¢y (Palm Press). David Buuck says: “Dana Teen Lomax's work navigates the vexed relations of life behind the bars of the $$, where gender, race, and class are not merely ‘discourses’ but lived vectors of experience…. Curren¢y is nothing less than an oppositional archeology of consumer culture as it reproduces its logics on and in our bodies—both personal and body-political—against a field of possibilities increasingly threatened by the privatization and colonization of the life-world. Writing a radical biopolitics—a ‘biopoethics’—would be that practice that articulates itself in resistant song, and, that in Lomax's expanded field, of necessity also dances, in paroxysms full of both rage and desire.” Joan Retallack’s most recent book of poetry is Memnoir—a long poem published in the US (Post-Apollo Press) and in French translation (CIP-Marseilles) in 2004. The Poethical Wager—a volume of essays—came out last year from The University of California Press which will also publish her forthcoming book on Gertrude Stein—with a selection of Stein’s work. Retallack is also the author of MUSICAGE: John Cage in Conversation with Joan Retallack for which she won the 1996 America Award in Belles-Lettres and Afterrimages (both from Wesleyan University Press), Mongrelisme (Paradigm Press), How To Do Things With Words (Sun & Moon Classics) , and Errata 5uite (Edge Books). Retallack is currently at work on a long poetic project, “The Reinvention of Truth.” Unless otherwise noted, events are $5-10, sliding scale, free to current 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) Directions & map: http://www.sptraffic.org/html/fac_dir.html Elizabeth Treadwell, 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, 23 Oct 2006 11:34:10 -0700 Reply-To: ishaq1824@shaw.ca Sender: UB Poetics discussion group Comments: RFC822 error: Incorrect or incomplete address field found and ignored. From: Ishaq Organization: selah7 Subject: Iran takes hold of African Volvo market MIME-version: 1.0 Content-type: text/plain; charset=us-ascii; format=flowed Content-transfer-encoding: 7bit Iran takes hold of African Volvo market Service: Machine 1385/07/30 10-22-2006 17:25:03 News Code :8507-17902 ISNA - Tehran Service: Machine TEHRAN, Oct.22 (ISNA)-Iran's Saipa Diesel Co. export manager stated that the Volvo Company has given the entire share of the African market to Iran. "Based on the signed contracts between our company and the Volvo, the entire share of the African market is given to Iran and in one year period, Iran is to export two thousand trucks with various models of FM12, FM9, FH12 and NH 12 to the African markets," added Saipa Diesel Co. export manager. The export program is to begin in late November. "The total value of these trucks is over 130 million dollars and we have exported 71 trucks to Kuwait within 6 months and this is going to increase up to 200 trucks by the end of the year," he added. "We will market for and export to Arabian countries in the Persian Gulf region separately," he asserted. Iran is the world's fourth Volvo truck manufacturer with the annual manufacture of 10 thousand and 900 trucks per year. End Item Stay Strong -"I testified/My mama cried/Black people died/When the other man lied" -- chuck d \ "Be a friend to the oppressed and an enemy to the oppressor" --Imam Ali Ibn Abu Talib (as) "They want to see us breathless. We will not be. They want to see us tired. We refuse to be. They want to see what our strength is. We will not show it in advance. We will continuously surprise them." -- Julia Wright "We restate our commitment to the peace process. But we will not submit to a process of humiliation." --patrick o'neil "...we have the responsibility to make no deal with the oppressor" --harry belafonte "...these people generate wars in Asia and Africa,...These are the people who, in the last century, caused several devastating wars. In one world war alone, they killed over 60 million people.... In the near future, Allah willing, we will put you to trial in courts established by the peoples...."-- mahmoud ahmadinejad http://www.sidebrow.net/2006/a047braithwaite.php http://radio.indymedia.org/uploads/just_a_sec_for_whiteboys_in_afrika__downy_dub____.mp3 http://cleveland.indymedia.org/uploads/2006/07 olivet___h.a.t.s_in_the_square___loud_ruffa1b.mp3 http://vancouver.indymedia.org/?q=node/315 http://radio.indymedia.org/news/2005/10/7255.php http://ilovepoetry.com/search.asp?keywords=braithwaite&orderBy=date http://www.lowliferecords.co.uk/ ========================================================================= Date: Mon, 23 Oct 2006 11:50:38 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Stephen Vincent Subject: Kevin Tillman on Bush folks!! Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit http://www.truthdig.com/report/item/200601019_after_pats_birthday/ If you have not already goner here, Kevin Tillman - brother of Pat who was killed in Afghanistan - in his account of the consequences of our current Junta (Rumsfeld-Bush-Cheney, etc.) rises and comes close to poetry here. I find it very powerful and to the point. Stephen V http://stephenvincent.net/blog/ ========================================================================= Date: Mon, 23 Oct 2006 14:06:02 -0500 Reply-To: dgodston@sbcglobal.net Sender: UB Poetics discussion group From: Daniel Godston Subject: some highlights of Chicago Calling: A 24-Hour Arts Festival MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 8bit Hi, Here are some highlights of Chicago Calling: A 24-Hour Festival, which will be happening this Wednesday. Please come out! Dan 11:00 a.m.-2:00 p.m. Café Mestizo 1646 W. 18th St. Chicago, IL 60608 (312) 421-5920 www.cafemestizo.com Julie Downey (poetry) & Tristan James (music), in collaboration with Denise Cruz (poetry) Marian Hayes & Hamadal Issoufou –- poetry & music Elizabeth Marino & John Howard -- poetry & music Susen James –- poetry Amina Cain (experimental fiction), in collaboration with Justin Audia Stan West screens a short video entitled “The PromiseLanders.” Cecilia Pinto & Alice George – collaborative poetry Allan Johnston –- poetry John Martinez –- poetry Carolyn Curtis Magri & Vittorio Carli –- poetry & visual art This event is free and open to the public. * * * * * at noon: Jennifer Karmin's "Walking Poem" project Chicago Picasso statue Daley Plaza, 50 W. Washington St. * * * * * 4:00-10:00 p.m. Muse Café 817 N. Milwaukee Ave. Chicago, IL (312) 850-2233 www.musecafechicago.com Jeff Helgeson -- poetry Leonard de Montbrun -- poetry Elizabeth Harper (poetry), in collaboration with Laura Evonne Steinman (visual art) Jonn Salovaara, in collaboration with Richard Harriman (fiction) Stephanie Johnson (poetry), in collaboration with Nancy Vachon (paper arts) Janina Ciezadlo (poetry) and Annia Ciezadlo (visual art) Lance Eliot Adams -- poetry J. J. Tindall -- poetry Duane Vorhees (poetry). Duane will read selections of his poetry, via VOIP. Dave Gecic -- poetry George Bailey -- poetry and music Debra Lottman -- dance Alpha and the Princes of Futa -- musical performance Joris Soeding –- poetry This event is free and open to the public. * * * * * 7:00-10:00 p.m. Mess Hall 6932 N. Glenwood Ave Chicago, IL 60626 (773) 465-4033 www.messhall.org Lott Hill -- fiction Eric Elshtain (poetry) & John Lennox (guitar) Rob Pleshar (tuba), Clifton Ingram (guitar), Ben Gray (drums) Matthias Regan -- poetry This event is free and open to the public. * * * * * 7:00-10:00 p.m. Zhou B. Center 1029 W. 35th St. Chicago, IL 60609 (773) 523-0200 http://www.zhoub.com/ Christopher Preissing (electronics) & Julia Miller (guitar) Carol Genetti (voice) & Tatsu Aoki (shamisen) This performance involves improvisation with the shamisen (traditional Japanese lute) and contemporary voice art. Douglas Ewart (didjeridu, sopranino saxophone, flutes, percussion and voice), Alan Emerson Hicks (temporal sculpture), and Michael C. Watson (poetry), Sadira Muhammad (dance), and Leslie Woods (dance), and Adesuwa Obazee (dance) * * * * * 8:00-9:00 p.m. Quimby’s 1854 W. North Ave. Chicago, IL 60622 (773) 342-0910 http://quimbys.com/) Mars Caulton -- poetry Pam Osbey -- poetry Chuck Perkins -- poetry Asali Bezan -- poetry Troy Sawyer -- trumpet Xianggang Delight (Gene Booth, Maureen Loughnane, Rachel Hanes, and Thom van der Doef) This event features spoken word/neo-soul artist Mocha Sistah; excerpts from an operetta-in-progress by performance artist Mars Caulton; rock/experimental music and video on the theme of Exodus/Migrations/Global Economies by the band Xianggang Delight; and guests live from New Orleans (via audio) -- Slam Poet and New Orleans native Chuck Perkins, Asali Bezan, and Troy Sawyer. This event examines and celebrates New Orleans and its people, as well as the Gulf Coast region, especially in the wake of Hurricane America. This event is free and open to the public. * * * * * 9:00-11:00 p.m. Loyola University, Lake Shore Campus Quinlan Life & Science Center, room 142, 6525 N. Sheridan Rd. This performance event involves improvisation with musicians and poets at Stanford University, The University of California at San Diego, and The University of Alaska at Fairbanks, through Internet 2. Christopher Sorg is facilitating the technical side of this performance event, which makes the internet connection possible. at Loyola University: Fred Anderson -- tenor saxophone Jim Baker -- keyboard & electronics Mars Williams -- saxophones Josh Abrams -- double bass Joshua Manchester -- percussion at Stanford University: Eric Glick Rieman -- prepared Fender Rhodes David Horton -- poetry Jim Ryan -- saxophones Chris Chafe -- laptop at The University of Alaska at Fairbanks: Scott Deal -- percussion at The University of California at San Diego: Lisa Hemminger -- poetry James Ilgenfritz -- double bass Grace Leslie -- flute * * * * * 9:00-11:59 p.m. Elastic 2830 N. Milwaukee Ave, 2nd Fl, 60618 www.elasticarts.org (773) 772-3616 Dan Schwarzlose serves synesthesia tonight at Elastic. Tonight’s program at Elastic includes these performers— Daniele Cavallanti -- tenor saxophone Tiziano Tononi -- drums Ed Roberson -- poetry Chinatsu Nakano -- alto saxophone Joel Wanek -- upright bass Jayve Montgomery -- reeds & percussion Jason Stein -- saxophones Daniel Godston -- trumpet & percussion $8 donation * * * * * For more info please visit www.chicagocalling.org. ========================================================================= Date: Mon, 23 Oct 2006 19:40:08 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mark Weiss Subject: Re: feminists who changed america In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed As it had no say about Mormon strictures against blacks and indians until very recently. At 01:35 PM 10/23/2006, you wrote: >is that true? I mean, if the catholic church wanted to prevent black >men from becoming priests, I didn't think the law had (nor should >have, wall of separation and all that) any say in the matter. > > >On Mon, 23 Oct 2006, susan maurer wrote: > >>keep running into more people i know of the poet variety who are >>listed in book above. meant to say sooner that iam like discssions >>of sexism in religion to include any form of sexual segration. >>catholics and orthodx jews ould not be able to segregate blacks as >>they do women as the force of law would forbid. it. the poets i >>know who are listed in above are not of the brokensyntax >>persuasion, (eg chocolate waters) but sense the llist may have >>exhausted itself on these subjects. have agood weekend all . susan maurer >> >>_________________________________________________________________ >>All-in-one security and maintenance for your PC. Get a free 90-day >>trial! >>http://clk.atdmt.com/MSN/go/msnnkwlo0050000002msn/direct/01/?href=http://www.windowsonecare.com/?sc_cid=msn_hotmail ========================================================================= Date: Mon, 23 Oct 2006 18:03:54 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Chris Stroffolino Subject: (Call For)Defenses of lying and/or art In-Reply-To: <7.0.1.0.1.20061023193919.0395bd00@earthlink.net> Mime-Version: 1.0 (Apple Message framework v752.3) Content-Type: text/plain; charset=US-ASCII; delsp=yes; format=flowed Content-Transfer-Encoding: 7bit In attempts to 'define' genres (as a form of social engineering), 'poetry' has been often accused, and/or celebrated, for thousands of years of recorded (largely written) history, as being intimately bound up in the activity of lying. While some have, with piercing insight, denied the charge by turning it on the prosecutor---"by what criteria do you determine the 'truth' of that which you use as a standard to judge our activity as lies? Oh, and how long have you been beating your wife?"---others try to defend poetry by carefully delineating a conceptual and ethical distinction between "lying" and "art." If "art" must have "artifice" at its root, is "artifice" a form of lovely necessary lying so crucial for a happy and healthful life, whether you're bourgeois or working class? Does "truth" have the same relationship A book could be written about it (even though many have already), an album, or at least a weekly all-talk radio (I guess I should say podcast), in which people clank glasses and laugh and digress around the central hub of this issue. Maybe after one episode, though, we'd have to change the topic. Fuck the stranglehold of the station manager's syllabus, yet without it every idea could be nipped in the bud (some people are way better at assigning things for others to do than doing it themselves; this can be a beautiful form of creation but some call it a failure to put one's money where one's mouth is) So this is a call for papers! It may not have immediate U-cred or play by what what one could call "Wayne State rules," but it's not necessary exposed to aspects of that style, as if to say a storming of the gates can't happen without a gating of the storms. Nah, let others call for papers! (hell, maybe I'll even come running if there's bed and breakfast and such....) This is a call, but more for notes, scribbled down, like 'cliches' or 'buzzwords' you find yourself telling or being told (by what you know not, though you have your theories), as ethical maxims you kinda feel you're putting on trial. So, what are your favorite defenses of lying (as opposed to say imagination or the truth---the less specialized terms), or questioning the so-called 'truths' presented as such, and granted much social validity in part do the such presentation? I use the term "lying' in part because of its wider-applicability, insofar as you can ask just about any person whether on some level they believe lying is necessary (even for the sake of the truth) than you can about the relationship of "lies' or "the imagination.' A precondition for admission into this this discussion-party is that people who see themselves as "poets" (or even the slightly wider term "intellectuals") will only be invited on the precondition that they bring a friend who they consider very articulate verbally, intelligent and/or sensitive, but who does not define herself or himself as a "poet" or "intellectual" or even a "writer" (and, perhaps it needs to be said, and vice versa) This discussion party will be held in Oakland---at a space to be determined, potentially outside, and with other non-verbal forms of entertainment such as music), and will be recorded for a podcast or broadcast on the radio. It will be informal and utilize a somewhat arbitrary (but highly scientific) selection process (see previous paragraph), but will hopefully become an ongoing occurrence so that everybody who has something to contribute will be allowed to (not to sound too utopian, but what the hell....). What I need now, are very short (no more than a paragraph), quotes, with some sense of why these quotes, fascinate you, that address this question of "truth" and/or the necessity of lying. The quote could be from something in Plato, or Shakespeare, or Holland-Dozier-Holland, or something Abdul at the corner store told you. The more important criteria is that this quote troubled you, or made you wonder, and reopen up the question of whether there's any implications (and if so, what you are) into your believes about what is, and/or should be, your relationship to words like 'lies' and 'truth.' If you're 'clever' enough, I may even allow a 'smartass' (how is that different than 'dumbass'?---ah, another potential topic---) begging of the question into the discussion. For instance, if you need to say that such words as "truth" and "lies" are NINETEENTH CENTURY WORDS, and thus not worthy of your mental-non- paying labor, you would have to do A LOT to convince me right now that this voice hasn't already had enough say in the last century, but I can be persuaded. Send your "ABSTRACTS" publicly here on the poetics list (or for those not on these lists, send them to me personally). Must be willing to travel to Oakland (or pay for my flight to a venue in your town---but that can wait till later). After the initial screening based on the abstracts, there will be a roughly hour-long phone conversation that one could view as an 'audition,' though sometimes that could make one too self-conscious and make it stiffer, to determine things like verbal personality, charisma, willingness to think fast on one's feet and also let others' talk, appreciation for the importance of the non-verbal aspects of the event (can you play an instrument? if not, would you want to DJ? or be one of the dancers? how about some graffiti?). The verbal interview is optional--I mean, you could always just befriend me, but a modicum of an entrepreneurial interest must have entered into the discussion as a criteria. We will then begin to develop a pool, or 'human resources' for a somewhat loose collectivist commercial enterprise that will at the same time also be more personally fulfilling and fun than the art, poetry, music, and general day job/nightlife split as most talker-types know, or experience, it. ========================================================================= Date: Mon, 23 Oct 2006 21:27:28 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Eric Yost Subject: Re: Silliman's Blog In-Reply-To: <20061023121627.98258.qmail@web31810.mail.mud.yahoo.com> MIME-Version: 1.0 Content-Type: text/plain; charset=windows-1252; format=flowed Content-Transfer-Encoding: 8bit >>Studds had himself been in a similar situation back in the 1980s and had been voted back into office several times afterwards. But Studds didn’t come from the party of homophobia, and therein lies a difference. What killed Foley’s career was not pedophilia, but hypocrisy. Studds actually HAD sex with a 17-year old page. He didn't come from "the party of homophobia," true, and wasn't a complete hypocrite like Foley. Long before the Internet, Studds pursued the traditional "hands on" approach to molestation. Studds also managed to spin his sexcapade and eventual relationship to make himself into a gay rights hero, rather than a felon. What that shows, I think, is that people don't really care about adults having sex with minors who are close to the age of consent. People mostly care about their political prejudices and about certain kinds of hypocrisy. If one of the "good guys" beds a minor, that's okay, as long as he's upfront about it. And one of the "good guys" of course. ========================================================================= Date: Mon, 23 Oct 2006 20:34:04 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: heidi arnold Subject: thank you all MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline and i was asked what colleagues - friends - family thought of my being here -- and i said i could think of many (unnamed, here) poets who were very supportive thank you all -h -- www.heidiarnold.org http://peaceraptor.blogspot.com/ ========================================================================= Date: Mon, 23 Oct 2006 23:39:12 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "K. R. Waldrop" Subject: new books from Burning Deck Mime-Version: 1.0 (Apple Message framework v752.3) Content-Transfer-Encoding: quoted-printable Content-Type: text/plain; charset=WINDOWS-1252; delsp=yes; format=flowed Burning Deck announces 3 new books: 1. Elizabeth Robinson Under That Silky Roof Poetry, 80 pages, offset, smyth-sewn ISBN 1-886224-71-4 original paperback $14 ISBN 1-886224-72-2 original paperback, signed edition $20 The poems of this new collection are concerned with the interplay of =20 domestic life =97 its companionship, its fecundity, its losses =97 and =20= manifestations of the abstract or, as she has put it, with =93the brick =20= floor from which the/kingdom of God extends/or could extend.=94 Elizabeth Robinson grew up in Los Alamitos, Califormia. Her most =20 recent books are Apostrophe (Apogee, 2006), Apprehend (Apogee /Fence/=20= Saturnalia, 2003), Pure Descent (winner of the 2001 National Poetry =20 Series; Sun & Moon, 2003), and Harrow (Omnidawn, 2001). She teaches =20 at the University of Colorado. With Colleen Lookingbill, she edits =20 EtherDome Press, with several other, the new magazine, 26. 2. Suzanne Doppelt Ring Rang Wrong translated from the French by Cole Swensen Text and Photographs, 80 pages, offset, smyth-sewn ISBN 1-886224-80-3 original paperback $14 Borrowed voices, invented voices, and a very personal but unplaceable =20= voice all wind their way through these mock-philosophical meditations =20= on nature and cosmos. Juxtaposed with her precise and abstract =20 photographs, Doppelt=92s text considers astronomy, weather, the five =20 senses, plant life, the insect world, and the nature of time, all in =20 an implicit dialogue with the pre-Socratics. Often funny, often wry, =20 this book betrays an affectionate love for the world. Some pre-Socratic fragments appear translated into a phonetic =20 language by the composer Georges Aperghis. While teaching philosophy and literature in Paris, Suzanne Doppelt =20 developed an interest in photography and has ever since pursued a =20 double career. Several of her books combine images and text. Among =20 them Totem (2002), a book of mock-ethnology, La 4e des plaies vole =20 (2004), which looks at flies, the 4th Biblical Plague, and our =20 present book, Quelque chose cloche. Burning Deck has also, under the =20 title OXO, published her photographic collaboration with Pierre =20 Alferi=92s poems. Cole Swensen=92s books of poetry include NOON (Sun & Moon) and, from =20 University of Iowa Press, Try, Such Rich HoUR, and The Book of a =20 Hundred Hands. She has translated Pierre Alferi, Olivier Cadiot, =20 Pascalle Monnier and Jean Fr=E9mon. Both her poetry and her =20 translations have won many prizes. 3. Jean Grosjean An Earth of Time translated from the French by Keith Waldrop Poem, 96 pages, offset, smyth-sewn, original paperback ISBN 1-886224-79-x, $14 Written while Jean Grosjean was a prisoner in the Second World War, =20 Terre du temps, his first book, was published by Gallimard in 1946 =20 and attracted a great deal of attention. It was awarded the Prix de =20 la Pl=E9iade. Between lyric and meditation on Biblical themes, the =20 poems work up to a personal apocalypse. Jean Grosjean was born in 1912. He became a Roman Catholic priest, =20 but left the priesthood in 1950. He is a noted translator from Near =20 Eastern and other languages: the Koran, books of the New and Old =20 Testaments, the Pl=E9iade editions of Aeschylus, Sophocles, Shakespeare. To date, he has published a dozen books of poetry, of which =20 Fils de l=92Homme (1954) received the Prix Max Jacob; ElEgies (1967), =20= the Prix des Critiques. He is included in Gallimard=92s popular pocket =20= series =93Po=E9sie.=94 He has also published twelve works of fiction. For a number of years, from 1967, he was one of the editors of =20 the Nouvelle Revue fran=E7aise. He died on April 10, 2006 in = Versailles. Copies are available from: Small Press Distribution, 1-800/869-7553; www.spdbooks.org In Europe: www.hpress.no =20= ========================================================================= Date: Mon, 23 Oct 2006 23:52:21 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "C. A. Conrad" Subject: )))))))))))))(( ZINC ))((((((((((((( hey, we hope to see you there! c'mon over! MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit ))))(( ZINC BAR ))(((( 10/29: CORRINE FITZPATRICK & CACONRAD hope to see you !!! SUNDAY October 29th, 7pm ZINC BAR 90 West Houston (for COMPLETE details click: _http://CAConradEVENTS.blogspot.com_ (http://caconradevents.blogspot.com/) ) ========================================================================= Date: Mon, 23 Oct 2006 23:28:21 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: David Goldstein Subject: Fanny Howe in Tulsa 10/31 In-Reply-To: Mime-Version: 1.0 (Apple Message framework v752.2) Content-Transfer-Encoding: 7bit Content-Type: text/plain; charset=US-ASCII; delsp=yes; format=flowed The University of Tulsa Writers' Series presents FANNY HOWE poet, novelist, memoirist, and essayist Fanny Howe will read from and discuss her work on Tuesday, October 31, at 7 PM, in the McFarlin Library Faculty Study on the University of Tulsa campus in Tulsa, Oklahoma. A reception will follow. The reading, which is sponsored by the Creative Writing Program and the Dean of the College of Arts and Sciences, is free and open to the public. For further information, please call 918-631-2810 or email . We hope to see you there! David B. Goldstein Assistant Professor Department of English The University of Tulsa ========================================================================= Date: Mon, 23 Oct 2006 21:55:03 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jason Quackenbush Subject: Re: feminists who changed america In-Reply-To: <7.0.1.0.1.20061023193919.0395bd00@earthlink.net> MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit It still doesn't, I think. The lds church claim the opening of the priesthood was due to a divine intervention: http://www.blacklds.org/mormon/declare2.html#thoughts Mark Weiss wrote: > As it had no say about Mormon strictures against blacks and indians > until very recently. > > At 01:35 PM 10/23/2006, you wrote: > >> is that true? I mean, if the catholic church wanted to prevent black >> men from becoming priests, I didn't think the law had (nor should >> have, wall of separation and all that) any say in the matter. >> >> >> On Mon, 23 Oct 2006, susan maurer wrote: >> >>> keep running into more people i know of the poet variety who are >>> listed in book above. meant to say sooner that iam like discssions of >>> sexism in religion to include any form of sexual segration. catholics >>> and orthodx jews ould not be able to segregate blacks as they do >>> women as the force of law would forbid. it. the poets i know who are >>> listed in above are not of the brokensyntax persuasion, (eg chocolate >>> waters) but sense the llist may have exhausted itself on these >>> subjects. have agood weekend all . susan maurer >>> >>> _________________________________________________________________ >>> All-in-one security and maintenance for your PC. Get a free 90-day >>> trial! >>> http://clk.atdmt.com/MSN/go/msnnkwlo0050000002msn/direct/01/?href=http://www.windowsonecare.com/?sc_cid=msn_hotmail >>> ========================================================================= Date: Tue, 24 Oct 2006 01:12:03 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Steve Dalachinsky Subject: william hooker and Comments: cc: Acousticlv@aol.com, AdeenaKarasick@cs.com, AGosfield@aol.com, alonech@acedsl.com, Altjazz@aol.com, amirib@aol.com, Amramdavid@aol.com, anansi1@earthlink.net, AnselmBerrigan@aol.com, arlenej2@verizon.net, Barrywal23@aol.com, bdlilrbt@icqmail.com, butchershoppoet@hotmail.com, CarolynMcClairPR@aol.com, CaseyCyr@aol.com, CHASEMANHATTAN1@aol.com, Djmomo17@aol.com, Dsegnini1216@aol.com, flint@artphobia.com, Gfjacq@aol.com, Hooker99@aol.com, rakien@gmail.com, jeromerothenberg@hotmail.com, Jeromesala@aol.com, JillSR@aol.com, JoeLobell@cs.com, JohnLHagen@aol.com, kather8@katherinearnoldi.com, Kevtwi@aol.com, krkubert@hotmail.com, LakiVaz@aol.com, Lisevachon@aol.com, Nuyopoman@AOL.COM, Pedevski@aol.com, pom2@pompompress.com, Rabinart@aol.com, Rcmorgan12@aol.com, reggiedw@comcast.net, RichKostelanetz@aol.com, RnRBDN@aol.com, Smutmonke@aol.com, sprygypsy@yahoo.com, SHoltje@aol.com, Sumnirv@aol.com, tcumbie@nyc.rr.com, velasquez@nyc.com, VITORICCI@aol.com MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit steve dalachinsky and ty cumbie at bowery poetry club weds oct 25 8 pm bowery tween houston & bleeker ========================================================================= Date: Tue, 24 Oct 2006 03:12:03 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Peter Ciccariello Subject: Habeas corpus you should have the body MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline Habeas corpus you should have the body -- Peter Ciccariello http://invisiblenotes.blogspot.com/ ========================================================================= Date: Tue, 24 Oct 2006 01:00:14 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: JT Chan Subject: New Issue of zine (Poetry Sz) Comments: To: Women Poets MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit hello, Poetry Sz:demystifying mental illness, Issue 21, featuring the work of Michael P. Workman, Lois Marie Harrod, Joel Fry, Steve Dalachinsky, Aldo Tambellini, Charles Frederickson, and Stan Dunn is now online at http://poetrysz.blogspot.com . Submissiona for the next issue is now open. Please send 4-6 poems and a short bio in the body of your email to poetrysz@yahoo.com . Thanks. regards Jill Chan editor, PoetrySz __________________________________________________ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com ========================================================================= Date: Tue, 24 Oct 2006 11:15:27 +0000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: reJennifer Bartlett Subject: New On the Saint Elizabeth Street Blog Mime-Version: 1.0 Content-Type: text/plain; format=flowed Ralph Ellison and Disability Just What is Experimental Poetry? Kate Greenstreet and Adam Clay A review of Jen Benka's new book Tales of a Frustrate Housewife/poet www.saintelizabethstreet.com _________________________________________________________________ All-in-one security and maintenance for your PC. Get a free 90-day trial! http://clk.atdmt.com/MSN/go/msnnkwlo0050000002msn/direct/01/?href=http://www.windowsonecare.com/?sc_cid=msn_hotmail ========================================================================= Date: Tue, 24 Oct 2006 04:35:00 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jim Andrews Subject: Spastext and Seattle Drift in Portuguese MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 8bit Two poems/programs/texts of mine are now available in Portuguese. Many thanks to Regina Célia Pinto of Rio for the translations. SPASTEXT http://vispo.com/StirFryTexts/2.html SEATTLE DRIFT http://vispo.com/animisms/SeattleDrift.html These two pieces are now available in Portuguese, Finnish, Chinese, and English. ja ========================================================================= Date: Tue, 24 Oct 2006 09:41:01 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Ken Rumble Subject: Desert City: Shockley & Pennisi, This Saturday, Oct. 28, 8pm, Durham Arts Council! MIME-Version: 1.0 Content-Type: text/plain; charset=WINDOWS-1252; format=flowed Content-Transfer-Encoding: quoted-printable Content-Disposition: inline Please spread far & wide... Who: Evie Shockley, author of just published a half-red sea, scholar of African American and Gothic literature, a dear friend, give her three words and she brings back a six-course feast. Who: Linda Pennisi, author of just published Suddenly, Fruit, director of the Creative Writing Program at Le Moyne College in Syracuse, threw a hook into a book and pulled out all the stops. What: Desert City Poetry Series & Carolina Wren Book Launch, together again, the way we were, for old time's sake, just like yesterday. When: This Saturday, October 28th, 8pm! Where: Durham Arts Council, PSI Theatre, 120 Morris Street, Downtown Durham! Why: "A ballerina will not stop / inserting her foot / into a pink shoe" "I'll stone you from the heart out" How Much: Free & open to the public! See you there.... Evie Shockley: http://www.fascicle.com/issue01/Poets/shockley1.htm http://www.scc.rutgers.edu/however/v1_8_2002/current/southern/shockley.shtm http://www.emilydickinson.org/titanic/material/shockley.html Linda Pennisi: http://www.amazon.com/Seamless-Linda-Tomol-Pennisi/dp/0966045963 Desert City Poetry Series: http://desertcity.blogspot.com "elocation (or, exit us)" by Evie Shockley the city is american, so she can map it. train tracks, highways slice through, bleed only to one side. like a half-red sea permanently parted, the middle she'd pass through, like the rest, in a wheeling rush, afraid the divide would not hold and all would drown =96 city as almighty ambush =96 beneath the crashing waves of human hell. the city's infra(red)structure sweats her, a land(e)scape she can't make, though she knows the way. she's got great heart, but that gets her where? egypt's always on her right (it goes where she goes), canaan's always just a-head, and to her left, land of the bloodless dead. "Somewhere in a Dark Auditorium" by Linda Pennisi A ballerina will not stop inserting her small foot into a slim pink shoe, criscrossing silk ribbons over the bone of ankle. Sometimes I slip into the inside of her body, where the soul wells into the walls of that cup the music, quivering there like a diver in a swarm of tropical fishes, her shape brushed with undulations of hunger and wonder, a hundred bodies of tremulous light. The dancer's shoes fill with flesh; her flesh brims with music. What can she do with such hunger, such sadness? What can her body do but tremble and spill into dance? ========================================================================= Date: Tue, 24 Oct 2006 09:47:41 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mark Weiss Subject: Re: feminists who changed america In-Reply-To: <453D9CA7.5070208@myuw.net> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed My syntax was a little twisted. I meant that the strictures existed until recently. Revelations seem to happen at politically expedient moments. Federal law couldn't touch polygamy in Utah until there was a revelation, and the revelation allowing Utah to outlaw it didn't happen until it became clear that statehood would be withheld until they did. Mark At 12:55 AM 10/24/2006, you wrote: >It still doesn't, I think. The lds church claim the opening of the >priesthood was due to a divine intervention: >http://www.blacklds.org/mormon/declare2.html#thoughts > >Mark Weiss wrote: >>As it had no say about Mormon strictures against blacks and indians >>until very recently. >>At 01:35 PM 10/23/2006, you wrote: >> >>>is that true? I mean, if the catholic church wanted to prevent >>>black men from becoming priests, I didn't think the law had (nor >>>should have, wall of separation and all that) any say in the matter. >>> >>> >>>On Mon, 23 Oct 2006, susan maurer wrote: >>> >>>>keep running into more people i know of the poet variety who are >>>>listed in book above. meant to say sooner that iam like >>>>discssions of sexism in religion to include any form of sexual >>>>segration. catholics and orthodx jews ould not be able to >>>>segregate blacks as they do women as the force of law would >>>>forbid. it. the poets i know who are listed in above are not of >>>>the brokensyntax persuasion, (eg chocolate waters) but sense the >>>>llist may have exhausted itself on these subjects. have agood >>>>weekend all . susan maurer >>>> >>>>_________________________________________________________________ >>>>All-in-one security and maintenance for your PC. Get a free >>>>90-day trial! >>>>http://clk.atdmt.com/MSN/go/msnnkwlo0050000002msn/direct/01/?href=http://www.windowsonecare.com/?sc_cid=msn_hotmail >>>> ========================================================================= Date: Tue, 24 Oct 2006 09:55:25 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Halvard Johnson Subject: Re: feminists who changed america In-Reply-To: <7.0.1.0.1.20061024094134.0571eb98@earthlink.net> Mime-Version: 1.0 (Apple Message framework v752.2) Content-Type: text/plain; charset=US-ASCII; format=flowed Content-Transfer-Encoding: 7bit seminarians who changed america ========================================================================= Date: Tue, 24 Oct 2006 10:12:46 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jesse Crockett Subject: Re: changed america In-Reply-To: <183E6AEA-F411-4092-899C-A734C491EFC2@earthlink.net> MIME-version: 1.0 Content-type: text/plain; charset=ISO-8859-1 Content-transfer-encoding: 7BIT simians who duplicated america Halvard Johnson wrote: > seminarians who changed america > ========================================================================= Date: Tue, 24 Oct 2006 11:40:28 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Aldon Nielsen Subject: this week at heatstrings Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed Currently on the blog -- photos from the Lorenzo Thomas panel at American Studies -- Next up, the Larry Neal conference in New York. <<<<<<<<<<<<<<<<<<<<<<<<<<<<<>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> "I stand corrected, like a bishop of the obvious." --Robert Kelly Aldon Lynn Nielsen George and Barbara Kelly Professor of American Literature Department of English The Pennsylvania State University 112 Burrowes University Park, PA 16802-6200 (814) 865-0091 [office] (814) 863-7285 [Fax] Sailing the blogosphere at: http://heatstrings.blogspot.com/ ========================================================================= Date: Tue, 24 Oct 2006 11:33:05 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Stephen Cope Subject: Drake Writers and Critics Events: Spahr and Brown in Iowa MIME-version: 1.0 Content-type: text/plain; charset=us-ascii; format=flowed Content-transfer-encoding: 7BIT For those of you in the greater Iowa area, chekc this out! >Date: Mon, 23 Oct 2006 16:54:18 -0500 >From: Sofia Turnbull >Subject: Drake Writers and Critics and Events >To: Drake Writers and Critics , > "Drake Writers and Critics (campus)" , > English , > Culture and Society >Thread-Topic: Drake Writers and Critics and Events >Thread-Index: Acb27cnNCCUMK2LhEduSGAANkzTb/g== > >See attached flyer for details. > >Drake Writers & Critics Series > >Presents > >JULIANA SPAHR >and >LEE ANN BROWN >(double poetry reading) > >A prolific poet, critic, and publisher, Juliana Spahr teaches at >Mills College in California and has published and lectured widely on >the cultural politics of Hawaiian poetics, creative writing >pedagogy, and experimental writing and cultural studies. Her books >include Response (winner of the National Poetry Series Award), Fuck >You- Aloha- I Love You (Wesleyan UP, 2001) and This Connection of >Everyone With Lungs (U. of California Press, 2005). Her critical >work, Everybody's Autonomy: Connective Reading and Collective >Identity, was published in 2001 by U. of Alabama Press. > > >A filmmaker, performer, poet, and writer, Lee Ann Brown is on the >faculty of the Nairopa Institute's Writing and Poetics Program as >well as an Assistant Professor at St. John's University in New York. >Her books include Polyverse, (winner of the National Poetry Series >Award) and The Sleep that Changed Everything (Wesleyan UP, 2003) as >well as nearly a dozen small-press publications and chapbooks. In >1989, she founded the renowned Tender Buttons press, an imprint >dedicated to the publication and promotion of experimental women's >literature. She lives in New York City. > > >Monday, October 30, 2006 >7:30 pm >Cowles Library Reading Room >This event is free and open to the public. > > > > >For more information, contact Steven Cope at 271-3896 >These events are sponsored by the Drake University English >Department and The Center for the Humanities. > > >------------------------- >Sofia Turnbull, Program Assistant 2 >Drake University >2505 University Avenue >Howard Hall >Des Moines, Iowa 50311 > >Phone 515 271 2121 >Fax 515 271 2055 > >Drake University's mission is to provide an exceptional learning >environment that prepares students for meaningful personal lives, >professional accomplishments, and responsible global citizenship. >The Drake experience is distinguished by collaborative learning >among students, faculty, and staff, and by the integration of the >liberal arts and sciences with professional preparation. > > > ========================================================================= Date: Tue, 24 Oct 2006 09:34:42 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: UbuWeb Subject: UBUWEB :: Fall 2006 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 ---------------------------- UBUWEB :: Fall 2006 ---------------------------- --- RECENT FEATURES --- Terayama Shuji - Experimental Image World (7 Volume Collection): Poet, playright, theatre director, filmmaker, essayist, agitator and lover of all things anarchistic, chaotic, and truthful, TERAYAMA SHUJI (1936-1983) is one of Japan's most revered and respected artists. In the heady and extremist Japanese art scene of the late '70s, Terayama created a number of unforgettable and highly controversial films. EMPEROR TOMATO KETCHUP is his epic, sexually revolutionary and hallucinatory work from 1972 in which "magical women act as the initiatory, yet protectively maternal sexual partners to children. The children, in revolt, have condemned their parents to death for depriving them of self-expression and sexual freedom; they create a society in which fairies and sex education are equally important and literally combinable." -- Amos Vogel, Film as a Subversive Art (AVI) http://www.ubu.com/film/terayama.html Music With Roots in the Aether: UbuWeb is pleased to announce the relaunch of the AVI's, RealVideo and MP3s of Robert Ashley's Music with Roots in the Aether, a seminal series of interviews and performances conceived and realized by Robert Ashley in 1976, consisting of 14 hours worth of video and audio. Subjects and performers include: David Behrman, Philip Glass, Alvin Lucier, Gordon Mumma, Pauline Oliveros, Terry Riley, and Robert Ashley. Robert Ashley says: Music with Roots in the Aether is a series of interviews with seven composers who seemed to me when I conceived the piece-and who still seem to me twenty-five years later-to be among the most important, influential and active members of the so-called avant-garde movement in American music, a movement that had its origins in the work of and in the stories about composers who started hearing things in a new way at least fifty years ago." http://www.ubu.com/film/ashley.html The Films of Groupe Medvekine Between the March strikes in 1967 at Rhodia in Besançon and work standardisation at the Peugeot factories in Sochaux, there occurred -- under the impetus of Chris Marker and his friends -- the constitution and action of the "Medvedkin Groups" for producing, directing and distributing political films. "A necessary caution: the "democratization of tools" entails many financial and technical constraints, and does not save us from the necessity of work. Owning a DV camera does not magically confer talent on someone who doesn't have any or who is too lazy to ask himself if he has any. You can miniaturize as much as you want, but a film will always require a great deal of work - and a reason to do it. That was the whole story of the Medvedkin groups, the young workers who, in the post-'68 era, tried to make short films about their own lives, and whom we tried to help on the technical level, with the means of the time." - Chris Marker http://www.ubu.com/film/groupe_medvedkine.html Seth Price "Title Variable" UbuWeb is pleased to present a retrospective of Price's 'Title Variable' audio project, from 2001 to the present. In an ongoing series of music compilations, each concentrating on a technologically transitional but culturally ill-defined moment within the recent history of digital music production, Price suggests how production tools have changed music, both in distribution and who controls it as much as in structure and sound. From early video game soundtracks to New Jack Swing to Industrial music, Price exploits the genre of "mix tapes" as sound art. As a mass form operating outside commercial channels, the mix tape seems to stubbornly and perversely retain its purchase on the imagination long after actual mix-tapes have slipped free of storage constraints and lost any clear definition. http://www.ubu.com/sound/price.html UbuWeb Film & Video Relaunch UbuWeb announces a relaunch of its film and video section. Greatly expanded with liner notes and links, we're now hosting over 300 avant-garde films and videos. New additions include works by artists such as Vito Acconci, Alexander Calder, Merce Cunningham, Harun Farocki, Groupe Medvedkine, Helmut Herbst, Fernand Leger, Bruce Nauman, Charlemagne Palestine, Shuji Terayama, David Wojnarowicz, Richard Serra, Piero Heliczer, Paul McCarthy and many more. http://www.ubu.com/film/index.html The Films of Maurico Kagel (1965-1983) (AVI) Whether in the classical music hall, the theatrical stage or film/video, Kagel's neo-dada performances and wickedly original techniques always opens one's eyes and ears to the pure possibilities of sounds and their production. Although this aspect of his varied productions is little known in the US, Kagel's output as a filmmaker is tremendous. He just about made a film or video each year in the 60s and 70s, and has only begun to slow down in recent times. Films include "Antithese" (1965), "Match" (1966), "Solo" (1967), "Duo" (1967-68), "Hallelujah" (1969), "Ludwig Van" (1969), "Blue's Blue" (1981) and "MM51 / Nosferatu" (1983). You can also listen to Kagel's music here. http://www.ubu.com/film/kagel.html Pianoless Vexations (MP3) 8 hours of MP3s recorded live at The Sculpture Center, NYC on June 11, 2006. Vexations was composed by Erik Satie in 1893 and consists of a short motif repeated 840 times. Vexations was first performed publicly by John Cage and several other pianists over the course of 19 hours in 1963. As the title conveys, artists performing in Pianoless Vexations used any instrument except the piano to perform Satie's original composition. Instruments included laptops, drums, guitar, French horn, violin, trumpet, saxophone, viola, recorder, toy piano, harpsichord, mandolin, bass, film projectors, voice, dulcimer and more. Artists include Randy Nordschow; Hay Sanders; Bruce Pearson and Marco Navarette; Daphna Mor, Rachel Begley, and Nina Stern; Bruce Arnold Jazz Trio; Alan Licht and Angela Jaeger; String Messengers; Rusty Santos; Amy Granat; Greg Kelley; Miguel Frasconi; Bethany Ryker; D. Edward Davis and Erik Carlson; Zachary Seldess; Charles Waters and Katie Pawluk; Andrew Lampert and Steve Dalachinsky; Margaret Leng Tan; Trudy Chan; David Grubbs; Goddess; Matthew Ostrowski; Kenta Nagai; Stephin Merritt and Ethan Cohen; Rick Moody, Hannah Marcus, and Tianna Kennedy. http://www.ubu.com/sound/vexations.html --- Fall 2006 :: NEW ADDITIONS --- Toshio Matsumoto - Experimental Film Works, 1961-1987 (AVI) http://www.ubu.com/film/matsumoto.html Richard Foreman - Strong Medicine, 1981 (AVI) http://www.ubu.com/film/foreman.html Jean Epstein - La glace à trois faces, 1927 (AVI) http://www.ubu.com/film/epstein.html Segundo de Chomón - Selected Works, 1902-1914 (AVI) http://www.ubu.com/film/epstein.html Carlfriedrich Claus - Menschliche Existenz als Experiment, 1997 (AVI) http://www.ubu.com/film/claus.html Willard Maas - Andy Warhol's Silver Flotations, 1966 (AVI) http://www.ubu.com/film/maas.html Marie Menken - Glimpse of the Garden, 1957 (AVI) http://www.ubu.com/film/menken.html Jarrod Fowler - Recent Audio Works http://www.ubu.com/sound/fowler.html Bruce Andrews & Dirk Rowntree - Prehab (2005) (MOV) http://www.ubu.com/contemp/andrews/andrews.html Laurel Beckman - Beatbots http://www.ubu.com/contemp/beckman/beckman.html Beth Anderson - Audio works from Peachy Keen O, 2006, MP3 http://www.ubu.com/sound/anderson_beth.html Guy Debord - Films http://www.ubu.com/film/debord.html Brian Kim Stefans - Kluge (2006) http://www.ubu.com/contemp/stefans/index.html ------------- Featured UbuWeb Resources: Fall 2006 Selected by Nick Currie (aka Momus) John Cage Mushroom Haiku, excerpt from Silence (1972/69) http://ubu.wfmu.org/sound/dial_a_poem_poets/dial/The-Dial-A-Poem-Poets_20_cage.mp3 Vito Acconci The Bristol Project 2001 http://ubu.wfmu.org/sound/acconci_vito/Acconci-Vito_The-Bristol-Project_2001.mp3 Mike Kelley Excerpt from "Plato's Cave, Rothko's Chapel, Lincoln's Profile" http://ubu.wfmu.org/sound/kelley_mike/Kelley-Mike_Platos-Cave.mp3 Todd Dockstader Interview, 1963 (WRVR, Riverside Radio, New York City) http://ubu.wfmu.org/sound/dockstader_tod/Dockstader-Tod_Interview_WRVR-FM_NY_1963.mp3 e.e. cummings Let's From Some Loud Unworld's Most Rightful Wrong http://ubu.wfmu.org/sound/cummings_ee/Cummings-ee_Lets-From-Some-Loud.mp3 Piers Plowright Radio Radio, Program 11: Piers Plowright http://ubu.wfmu.org/sound/radio/Radio-Radio_11_Piers-Plowright.mp3 Ernst Jandl What you can do without vowels http://ubu.wfmu.org/sound/jandl_ernst/von_zum_zum/Jandl-Ernst_Vom-Vom-Zum-Zum_05.mp3 Scanner / Jean Cocteau The Human Voice http://ubu.wfmu.org/sound/scanner/Scanner_BBC_The-Human-Voice_1998.mp3 Laurie Anderson For Electronic Dogs/Structuralist Filmmaking/Drums http://ubu.wfmu.org/sound/dial_a_poem_poets/guy/Youre-The-Guy_18_anderson.mp3 Momus and Anne Laplantine Summerisle Horspiel http://mediamogul.seas.upenn.edu/pennsound/authors/Momus/Momus_and_Laplantine-Anne_Summerisle-Horspiel_2003.mp3 Nick Currie, perhaps better known as Momus, is an "electronic folk singer" with twenty albums to his credit. Born in Scotland in 1960, he has lived in London, Paris, Tokyo, New York and Berlin. More recently he's diversified into writing and art. He appeared in the 2006 Whitney Biennial as an "unreliable tour guide". ---------------------------- UBUWEB :: Fall 2006 ---------------------------- UBUWEB IS ENTIRELY FREE __ U B U W E B __ http://ubu.com Apologies for cross-postings. Please forward. UbuWeb http://ubu.com __________________________________________________ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com ========================================================================= Date: Tue, 24 Oct 2006 13:09:26 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Eric Yost Subject: Re: changed america In-Reply-To: <453E2D6E.6040302@listenlight.net> MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit simians who duplicated america seminarians who changed america comedians who changed America ========================================================================= Date: Tue, 24 Oct 2006 07:57:32 -1000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Gabrielle Welford Subject: Re: changed america In-Reply-To: <453E48C6.4010402@gmail.com> MIME-version: 1.0 Content-type: TEXT/PLAIN; charset=US-ASCII Content-transfer-encoding: 7BIT saurians who predated america simians who duplicated america seminarians who changed america comedians who changed America ========================================================================= Date: Tue, 24 Oct 2006 18:00:44 +0000 Reply-To: editor@fulcrumpoetry.com Sender: UB Poetics discussion group From: Fulcrum Annual Subject: Subscribe to Fulcrum -- Online! MIME-Version: 1.0 Content-Type: text/plain; charset="utf-8" Content-Transfer-Encoding: quoted-printable Subscriptions to Fulcrum, including our brand-new Number Five, are now av= ailable via PayPal at http://fulcrumpoetry.com ! We still charge the same= unbeatably low price, although the journal's size has grown considerably= and is now at 544 pages. (A note for those who recently had trouble subscribing online: we had som= e technical problems with our PayPal links, but those have now been fixed= .) FULCRUM: an annual of poetry and aesthetics, Number Five, 2006, edited by= Philip Nikolayev and Katia Kapovich * 544 pp., perfectbound, exquisitely= designed, cheaply priced * SPECIAL FEATURES: "Poets and Philosophers"; "= Poetry and Harvard in the 1920s" * POETRY BY Stephen Sturgeon, Ben Mazer,= Jeet Thayil, Vivek Narayanan, Glyn Maxwell, Joe Green, Landis Everson, D= an Sofaer, Billy Collins, John Tranter, Andrea Zanzotto, Don Share, Sean = O Riordain, Greg Delanty, Michael Palmer, Kit Robinson, Brian Henry, Pam = Brown, David Lehman, John Hennessy, Charles Bernstein, Charles Baudelaire= , Guillaume Apollinaire, Carlos Drummond de Andrade, Arthur Rimbaud, X.J.= Kennedy, John Crowe Ransom, Alex To, Fiona Sampson, Fan Ogilvie, Richard= Fein, Joyelle McSweeney, Justin Marks, Gerard Malanga, Alexei Tsvetkov, = George Bilgere, John Wheelwright, Malcolm Cowley, R.P. Blackmur, Dudley F= itts... * ESSAYS BY Eliot Weinberger, Peter H. Hare, Simon Critchley, Mar= jorie Perloff, Lisa Goldfarb, Pierre Joris, Raymond Barfield... * ART BY = Esther Pullman, e.e. cummings * INTERVIEW: Andrea Zanzotto * ...AND MUCH,= MUCH MORE! From out of nowhere, Fulcrum has in only a few years established itself a= s a must-read journal, a unique annual of literary and intellectual subst= ance positioned on the cutting edge of culture. --Billy Collins Fulcrum... where intelligence refuses to die! --Charles Bernstein Poetry in the UK and the US is notorious for its vendettas, closed commun= ities and border disputes. In contrast, Fulcrum displays an exemplary hos= pitality to a wide range of poetry and practices. It reminds us why and h= ow poetry can matter by opening a literal and conceptual space in which a= ttention can rest on language being brought into activation. Fulcrum is t= he future. --David Kennedy ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Philip Nikolayev and Katia Kapovich, Editors FULCRUM: AN ANNUAL OF POETRY AND AESTHETICS 334 Harvard Street, Suite D-2 Cambridge, MA 02139, USA http://fulcrumpoetry.com phone 617-864-7874 e-mail editor{AT}fulcrumpoetry.com ========================================================================= Date: Tue, 24 Oct 2006 14:04:07 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Marcus Bales Subject: Re: changed america Comments: To: Gabrielle Welford In-Reply-To: MIME-Version: 1.0 Content-type: text/plain; charset=US-ASCII Content-transfer-encoding: 7BIT sorryans who apologized for america saurians who predated america simians who duplicated america seminarians who changed america comedians who changed America ========================================================================= Date: Tue, 24 Oct 2006 11:30:31 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jane Sprague Subject: Long Beach Notebook: 10/28/06 MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable For those of you close to Long Beach and LA, CA (&/or a variety of = elsewheres geographically located nearby): Please join us for the 4th installment of LONG BEACH NOTEBOOK on = Saturday, October 28th at 8:00 pm to hear the work of poets Glenn Bach, = K. Lorraine Graham, Joseph Mosconi, and Mark Wallace.=20 *** Glenn Bach's current project, Atlas Peripatetic, is a long sequence = inspired by the sounds on his morning walk. Excerpts have recently = appeared in such journals as Dusie, foam:e, Jubilat, and mprsnd. In = addition to his work as a poet, Bach is active as a visual/sound artist = and curator. K. Lorraine Graham is the author of the chapbooks Large Waves to Large = Obstacles (Take Home Project), See it Everywhere (Big Game), Terminal = Humming (Slack Buddha), and Dear [Blank] I Believe in Other Worlds = (Phylum). Moving Walkways, a limited edition chapdisk, is forthcoming = from Narrowhouse Recordings this winter. Recent work has appeared or is = forthcoming in Foursquare, ~*~W_O_M_B~*~, and New Messes. Joseph Mosconi is a writer, linguist and lexicographer based in Los = Angeles. His work can be found in Public Speaking, a limited edition = artist book published by Clockshop; issue 10 of Greetings: A Magazine of = the Sound Arts; New Yipes Reader no. 12; occasionally on his blog, = Harlequin Knights; and in the liner notes to the Other Cinema DVD = release Golden Digest by video techno-terrorists Animal Charm. Mark Wallace is the author of a number of books and chapbooks of poetry, = including Nothing Happened and Besides I Wasn't There and Sonnets of a = Penny-A-Liner. Temporary Worker Rides A Subway won the 2002 Gertrude = Stein Poetry Award and was published by Green Integer Books. He is the = author of a multi-genre work, Haze, and a novel, Dead Carnival. His = critical articles and reviews have appeared in numerous publications, = and along with Steven Marks, he edited Telling It Slant: Avant Garde = Poetics of the 1990s (University of Alabama Press) a collection of 26 = essays by different writers on the subject of contemporary avant garde = poetry and poetics. With Juliana Spahr, Kristin Prevallet, and Pam Rehm = he edited A Poetics of Criticism, a collection of poetry essays in = non-standard formats published (Leave Books). He is currently Assistant = Professor of Creative Writing at California State University San Marcos. *** Long Beach Notebook is held at the home/offices of Palm Press: 143 = Ravenna Drive, Long Beach, CA 90803. This event is free. Please bring = food/drink to share. We hope to see you there! Palm Press www.palmpress.org =20 ========================================================================= Date: Tue, 24 Oct 2006 13:37:25 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: David-Baptiste Chirot Subject: Re: short changed america In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; format=flowed don't forget all the m-f'ers who shortchanged america >saurians who predated america >simians who duplicated america >seminarians who changed america >comedians who changed America _________________________________________________________________ Get today's hot entertainment gossip http://movies.msn.com/movies/hotgossip?icid=T002MSN03A07001 ========================================================================= Date: Tue, 24 Oct 2006 08:45:15 -1000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Gabrielle Welford Subject: Re: short changed america In-Reply-To: MIME-version: 1.0 Content-type: TEXT/PLAIN; charset=US-ASCII Content-transfer-encoding: 7BIT > don't forget all the m-f'ers who shortchanged america m-f'erians who shortchanged america saurians who predated america simians who duplicated america seminarians who changed america comedians who changed America ========================================================================= Date: Tue, 24 Oct 2006 12:11:21 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jim Andrews Subject: 'On Lionel Kearns' in Berlin MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit 'On Lionel Kearns' ( http://vispo.com/kearns ) in Berlin ( http://vispo.com/kearns/graphics/DAM_Berlin1.jpg ) via Doron Golan's http://computerfinearts.com (NY). ja ========================================================================= Date: Tue, 24 Oct 2006 14:07:46 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: James Weber Subject: Re: changed america In-Reply-To: <453E1D57.11.D28FAF@marcus.designerglass.com> MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline Saroyan who chronicled America On 10/24/06, Marcus Bales wrote: > > sorryans who apologized for america > saurians who predated america > simians who duplicated america > seminarians who changed america > comedians who changed America > ========================================================================= Date: Tue, 24 Oct 2006 14:26:37 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Tom W. Lewis" Subject: Re: changed america In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: quoted-printable what-the-hellians who gave up caring about America sorryans who apologized for america saurians who predated america simians who duplicated america seminarians who changed america comedians who changed America ========================================================================= Date: Tue, 24 Oct 2006 15:56:30 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Aldon Nielsen Subject: Re: changed america In-Reply-To: <54AA9B41BC35F34EAD02E660901D8A5A07ACB663@TLRUSMNEAGMBX10.E RF.THOMSON.COM> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed Saussurians who changed America's shorts At 03:26 PM 10/24/2006, you wrote: >what-the-hellians who gave up caring about America >sorryans who apologized for america >saurians who predated america >simians who duplicated america >seminarians who changed america >comedians who changed America <<<<<<<<<<<<<<<<<<<<<<<<<<<<<>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> "I stand corrected, like a bishop of the obvious." --Robert Kelly Aldon Lynn Nielsen George and Barbara Kelly Professor of American Literature Department of English The Pennsylvania State University 112 Burrowes University Park, PA 16802-6200 (814) 865-0091 [office] (814) 863-7285 [Fax] Sailing the blogosphere at: http://heatstrings.blogspot.com/ ========================================================================= Date: Tue, 24 Oct 2006 15:55:34 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Andrea Selch Subject: Carolina Wren Press First Book contest accepting submissions now. Shockley will judge. MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Carolina Wren Press is currently accepting submissions for its First Book poetry contest. Postmark Deadline: 12/1/06. Prize: $1000 and publication. Final judge: Evie Shockley. Send two (2) copies of entire 48- to 64-pp. ms., four (4) cover sheets with only ms. title on it, and $18 reading fee to Carolina Wren Press, Poetry Contest, 120 Morris Street, Durham NC, 27701. Include letter with full contact information and acknowledgements of individual poems that have been published previously. Mss that have been published before (even self-published or elctronically published) in their entirety are not eligible. Results in July, 2007. For more information, check out www.carolinawrenpress.org or email carolinawrenpress@earthlink.net for full guidelines. ========================================================================= Date: Tue, 24 Oct 2006 15:55:48 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Marcus Bales Subject: Re: changed america Comments: To: James Weber In-Reply-To: MIME-Version: 1.0 Content-type: text/plain; charset=US-ASCII Content-transfer-encoding: 7BIT Soyans who vegetabvled America? On 24 Oct 2006 at 14:07, James Weber wrote: > Saroyan who chronicled America > > On 10/24/06, Marcus Bales wrote: > > > > sorryans who apologized for america > > saurians who predated america > > simians who duplicated america > > seminarians who changed america > > comedians who changed America > > ========================================================================= Date: Tue, 24 Oct 2006 15:55:14 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Steve Dalachinsky Subject: Re: changed america MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit samaritans who short/changed america ========================================================================= Date: Tue, 24 Oct 2006 14:01:02 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: George Bowering Subject: Re: changed america In-Reply-To: <453E1D57.11.D28FAF@marcus.designerglass.com> MIME-version: 1.0 (Apple Message framework v619) Content-type: text/plain; charset=US-ASCII; format=flowed Content-transfer-encoding: 7bit patriots who called the U.S. America On 24-Oct-06, at 11:04 AM, Marcus Bales wrote: > sorryans who apologized for america > saurians who predated america > simians who duplicated america > seminarians who changed america > comedians who changed America > > George H. Bowering Clambering out of the Ruins ========================================================================= Date: Tue, 24 Oct 2006 17:14:04 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Christopher Leland Winks Subject: Re: some definitions, and broken syntax In-Reply-To: <45364B34.24888.57B652A@marcus.designerglass.com> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Disposition: inline Content-Transfer-Encoding: 7bit A relevant pair of quotes for this thread: "Mary is tampering with the expected sequence. First she broke the sentence; now she has broken the sequence. Very well, she has every right to do both these things if she does them not for the sake of breaking, but for the sake of creating. Which of the two it is I cannot be sure until she has faced herself with a situation. I will give her every liberty, I said, to choose what that situation shall be; she shall make it of tin cans and old kettles if she likes; but she must convince me that she believes it to be a situation; and then when she has made it she must face it. She must jump." And further: "...she had gone further and broken the sequence -- the expected order. Perhaps she had done this unconsciously, merely giving things their natural order, as a woman would, if she wrote like a woman. But the effect was somehow baffling; one could not see a wave heaping itself, a crisis coming around the next corner. Therefore I could not plume myself either upon the depths of my feelings and my profound knowledge of the human heart. For whenever I was about to feel the usual things in the usual places, about love, about death, the annoying creature twitched me away, as if the important point were just a little further on." From Virginia Woolf, A ROOM OF ONE'S OWN (1929). ========================================================================= Date: Tue, 24 Oct 2006 14:16:38 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: elizabeth block Subject: block at CSUS Mime-Version: 1.0 (Apple Message framework v624) Content-Transfer-Encoding: 7bit Content-Type: text/plain; charset=US-ASCII; format=flowed dear gentle readers, i wanted to invite you to a reading and discussion of my work in the cal state university, sacramento visiting writers series this thursday, october 26th, at the cal state university, sacramento library (library gallery), first floor, 12:00 p.m. (sponsored by the department of english) if you are in the area or know anyone in the california central valley that may be interested, please come by or please feel free to pass this on thanks very much:) best, elizabeth block www.elizabethblock.com now breathes http://www.kqed.org/arts/writersblock/episode.jsp?id=8326 http://www.spuytenduyvil.net/fiction/agesturethroughtime.htm http://www.thebrooklynrail.org/books/sept05/experiment.html ========================================================================= Date: Tue, 24 Oct 2006 18:56:36 -0400 Reply-To: "Patrick F. Durgin" Sender: UB Poetics discussion group From: "Patrick F. Durgin" Subject: Creeley Conference cont. Mime-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Apparently the reports on the Creeley conference in Buffalo, "On Words," were nudged forth, in part, by a plea from someone who indeed arrived in Buffalo only to miss the events, either presuming them cancelled or lacking proper information on changes to the schedule, etc. Anyway, having belatedly noticed this thread, I thought I'd point out my little report on www.da-crouton.com ========================================================================= Date: Tue, 24 Oct 2006 19:48:28 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Tisa Bryant Subject: Kamau Brathwaite in Harlem, Hue-Man Book Store, 10/26, 6pm Mime-Version: 1.0 (Apple Message framework v624) Content-Transfer-Encoding: 7bit Content-Type: text/plain; charset=US-ASCII; format=flowed > Dear people, > (let us eat jazz) > > Or, let us go see and hear the one and only riveting word-drumming > bard of > Barbados, Kamau Brathwaite, at Hue-Man Book Store, Thursday at 6pm! > > http://www.huemanbookstore.com > > 2319 Frederick Douglass Blvd > Between 124th and 125th Streets > New York, NY 10027 > Tel: 212-665-7400 > Fax: 212-665-1071 ___________________________________ Good fortune takes preparation _________________________________ ========================================================================= Date: Tue, 24 Oct 2006 20:54:32 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "David A. Kirschenbaum" Subject: d.a. levy lives: celebrating the renegade press 2006-07 schedule Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit Hi all, This past August we kicked off the fourth season of our "d.a. levy lives: celebrating the renegade press" series with our Third Annual Small, Small Press Fair. The event featured talks and readings by editors and contributors from Fence, Fungo Monographs, Futurepoem books, Hanging Loose Press, Kitchen Press, Lungfull, Open 24 Hours, Portable Press at Yo-Yo Labs, and Sona Books, and music from Rachel Lipson, all on the occasion of Boog's 15th anniversary. The rest of the season is focusing solely on non-NYC small presses (this will be our first year where NYS presses will also be in the mix). Below this note is the schedule, almost complete. as ever, David ------------ d.a. levy lives: celebrating the renegade press 2006-07 schedule (all events take place at 6:00 p.m. on first Thursdays--except where noted--at ACA Galleries, 529 W.20th St., 5th Flr., NYC) 2006 Sept. 9 Cy Press (Cincinnati), Dana Ward, ed. and Portable Press at Yo-Yo Labs (Brooklyn, N.Y.), Brenda Iijima, ed. (held at KGB Bar). Oct. 5 Palm Press (Long Beach, Calif.), Jane Sprague, ed. Nov. 2 Mooncalf Press (Philadelphia), CAConrad, editor and publisher Dec. 7 Critical Documents/Plantarchy (Oxford Ohio), Justin Katko, ed. 2007 Jan. 4 TBD Feb. 1 30th anniversary party for United Artists (Brooklyn, NY), Lewis Warsh, editor and publisher March 1 Ecopoetics (Lewiston, Maine), Jonathan Skinner, ed. April 12 Corollary Press (Philadelphia), Juliette Lee, ed. May 3 Fewer & Further Press (Wendell, Mass.), Jess Mynes, ed. and Anchorite Editions (Albany), Chris Rizzo,ed. June 7 New American Writing (Mill Valley, Calif.), Maxine Chernoff and Paul Hoover, eds. July 12 Outside Voices (Charlottesville, Va.), Jessica Smith, ed. -- David A. Kirschenbaum, editor and publisher Boog City 330 W.28th St., Suite 6H NY, NY 10001-4754 For event and publication information: http://boogcityevents.blogspot.com/ T: (212) 842-BOOG (2664) F: (212) 842-2429 ========================================================================= Date: Tue, 24 Oct 2006 20:05:16 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: mIEKAL aND Subject: sixteen neologisms Comments: To: Theory and Writing Mime-Version: 1.0 (Apple Message framework v752.2) Content-Transfer-Encoding: 7bit Content-Type: text/plain; charset=US-ASCII; delsp=yes; format=flowed vowukub the small places children hide in after they have been naughty 2006-10-25 shpaulk the utter absence of silence 2006-10-20 defactsometer the measure of a body's relationship to reality untainted by the forces of media 2006-10-20 epainstakiloteorites the stress of reading one's email while being bombarded by spam 2006-10-18 toofkakufa mocking incoherent brainstorming with silent scorn 2006-09-29 asymptomatia alive in the event-horizon of singularity and exception 2006-09-11 bloomlosmion the exact moment a flower opens 2006-09-09 zizigu xycifoce rujagyh hamykono hawy rupibo boveno qoza kivek fitys luno tumevu nuso fumutow gyxem bahif xowog holadug zujaboq nelohyn tygima notaw veroqoqu qara xace 2006-09-04 symocelo a common secret; a shared hiding place 2006-08-29 crepunzle inner dialogue which justifies all illogical decisions 2006-08-28 people driven purpose eaters life in hyper-dimensional space is asynchronous 2006-08-28 zonference a safe place where dialogue is easily exchanged 2006-08-26 flawdent never too early to step back before the system becomes corrupt 2006-08-24 vernisaggle slave to entropy, escape from decay is unfeasible. 2006-08-21 revoreverse sometimes going backwards is the only way forward 2006-08-20 hyperdisculture electronic parity dissolves the fixation with cultural artifact 2006-08-14 __________________________________________________ The Internalational Dictionary of Neologisms http://neologisms.us ========================================================================= Date: Tue, 24 Oct 2006 22:53:53 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Haas Bianchi Subject: FW: Palmer-Tipton Reading Saturday MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit www.chicagopoetryproject.org Dear Friends of Chicagopostmodernpoetry.com: Earlier in the week I was my irascible self complaining about the U of Chicago's terrible reading times like Sisyphus. Thanks to the great efforts of John Tipton, Mary Margaret Sloan and Peter O'Leary of the Chicago Poetry Project the poetry community of Chicago will get to hear Michael Palmer Read this Saturday at 3 PM in the Harold Washington Library along with local Chicago poet and translator John Tipton. Please come out and support the CPP and their efforts to bring a poet of this calibre to Chicago's poetry community I for one will be there--- ========================================================================= Date: Tue, 24 Oct 2006 21:46:52 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Nico Vassilakis Subject: Seattle Subtext: Peter & Meredith Quartermain Mime-Version: 1.0 Content-Type: text/plain; format=flowed Subtext continues its monthly series of experimental writing with readings by Meredith Quartermain & Peter Quartermain at Richard Hugo House on Wednesday, November 1, 2006. Donations for admission will be taken at the door on the evening of the performance. The reading starts at 7:30pm. Meredith Quartermain's most recent book is Vancouver Walking (NeWest 2005) which recently received the Dorothy Livesay Poetry Prize. Her book of prose poems, A Thousand Mornings (Nomados 2002), is about Vancouver's oldest neighbourhood, the dockside area of Strathcona. She has a collaborative chapbook with Robin Blaser titled Wanders (Nomados 2002). Other chapbooks include: Terms of Sale (Meow 1996), Abstract Relations (Keefer Street 1998), Veers (Backwoods Broadsides 1998), Spatial Relations (Diaeresis 2001), Inland Passage (housepress 2001), and The Eye-Shift of Surface (Greenboathouse 2003). On the web, see http://www.interchange.ubc.ca/quarterm/MeredithQ.htm and http://ca.geocities.com/alterra@rogers.com/quartint.htm. FOR ROBIN BLASER So what is this After after? Beginning. Man or nobody was before a miracle a mirror and terrible Who are you? The actor possible only as speaker cannot will her disclosure her demon of a shadow universe on her shoulder. Speak in the war. You will disclose nothing mere talk mere propaganda lip service. We are in oracles parrots as signs not things being in between being webbing puppets of invisible hands. Peter Quartermain taught contemporary poetry and poetics at the UBC for over thirty years, retiring in 1999. Critical books include Basil Bunting: Poet of the North and Disjunctive Poetics. He has edited a number of books including Other: British and Irish Poetry Since 1970 (with the English poet Richard Caddel); and The Objectivist Nexus: Essays in Cultural Poetics (with Rachel Blau DuPlessis). He is currently writing his autobiography, Where I Lived and What I Learned There: Part I: Growing Dumb. Nomados published "1976: What I Did for Christmas" in 2005. On the web, see http://www.doppelgangermagazine.com/february/peter_quartermain.html, http://jacketmagazine.com/30/z-quartermain.html, and http://www.interchange.ubc.ca/quarterm/pqautob.htm. The future Subtext 2006-2007 schedule is: December 6, 2006 Lidia Yuknavitch (Portland) & TBD January 3, 2007 Paul Hoover & Maxine Chernoff (both Bay Area) March 7, 2007 Rob Fitterman (NYC) & Bryant Mason For info on these & other Subtext events, see our website: http://www.speakeasy.org/~subtext ========================================================================= Date: Wed, 25 Oct 2006 08:43:39 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Gary Sullivan Subject: Bill Luoma and Juliana Spahr, Segue Saturday Mime-Version: 1.0 Content-Type: text/plain; format=flowed Come see & hear Bill Luoma and Juliana Spahr Saturday, October 28, 4:00-6:00 p.m. Please come on time! We'll start at 4:15! Segue at Bowery Poetry Club, 308 Bowery, just north of Houston $6 admission goes to support the readers Bill Luoma is the author of Dear Dad, Works & Days, Swoon Rocket, and Western Love. Juliana Spahr’s books include This Connection of Everyone with Lungs, Things of Each Possible Relation Hashing Against One Another, Everybody’s Autonomy: Connective Reading and Collective Identity, and Fuck You-Aloha-I Love You. Her next book, The Transformation, is forthcoming from Atelos Press. She co-edits the journal Chain with Jena Osman. These events are made possible, in part, with public funds from The New York State Council on the Arts, a state agency. The Segue Reading Series is made possible by the support of The Segue Foundation. For more information, please visit http://segueseries.blogspot.com, www.segue.org, bowerypoetry.com/midsection.htm, or call (212) 614-0505. Curators: Oct.-Nov. by Nada Gordon & Gary Sullivan. _________________________________________________________________ Stay in touch with old friends and meet new ones with Windows Live Spaces http://clk.atdmt.com/MSN/go/msnnkwsp0070000001msn/direct/01/?href=http://spaces.live.com/spacesapi.aspx?wx_action=create&wx_url=/friends.aspx&mkt=en-us ========================================================================= Date: Wed, 25 Oct 2006 06:02:52 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jim Andrews Subject: yesnation MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit here's an interesting way to explore radio in the usa available on the internet: yesnation, at http://yes.com/yes-nation , by daniel goldscheider, harry gottlieb, & kris hopkins. a visualization of the map of usa radio tunes. when a new song starts somewhere, the map shows the song's name. click a city to get a list of radio stations. click one and it streams in. see the neural.it review of this flash work: http://www.neural.it/nnews/yesnation_e.htm ja http://vispo.com/misc/ia.htm ========================================================================= Date: Wed, 25 Oct 2006 09:35:20 -0400 Reply-To: Marcus Bales Sender: UB Poetics discussion group From: Marcus Bales Organization: ReadyHosting Subject: Invitation An Invitation from Designer Glass (designerglass.com) From Chicago to Cleveland on October 21, 2006, Allegrezza and Bianchi - Every Saturday at Noon at Gallery 324 Gallery 324 The Galleria at Erieview 1301 East Ninth Street Cleveland, Ohio 44114 216/780-1522 mbales@oh.verio.com Gallery 324 Hours: M-F 10 am - 5 pm, Sat 10 am - 2 pm Raymond L Bianchi lived for most of the 1990's in Latin America in Brazil and Bolivia. A native of suburban Chicago and the child of Italian Immigrants, he worked in international publishing since 1996. His poetry has appeared or is upcoming in Antennae, Near South, Tin Lustre Mobile, 26, Moria, Red River Review, Sentence, Bird Dog, Literatura e Cultura, and his essays have appeared in the Economist and the Financial Times. He is the section editor of the fall 2006 issue of Aufgabe, which includes a translation section of contemporary Brazilian poetry that he translated. His book Circular Descent was published by Blaze Vox Press in 2004, and a chapbook, The American Master, was published by Moria Books in 2006. He is the publisher of Cracked Slab Books in Chicago and edits the website chicagopostmodernpoetry.com. William Allegrezza teaches and writes from his base in Chicago. His poems,articles, and reviews have been published in several countries, including the U.S., Holland, Finland, the Czech Republic, and Australia, and are available in many online journals. Also, he is the editor of moria (http://www.moriapoetry.com), a journal dedicated to experimental poetry and poetics, and the editor-in-chief of Cracked Slab Books (http://crackedslabbooks.com). His e-books and books include The Vicious Bunny Translations, Covering Over, Temporal Nomads, Ladders in July, and In the Weaver's Valley. Lou Suarez grew up in Canton, Ohio, but his community spans across northeastern Ohio. He went to Kent State University for both his Bachelor=B4s and Master=B4s degrees, then married and got a teaching job in Elyria, Ohio. He has a new book, "Ask" from Midlist Press, and two chapbooks out "Losses of Moment", KSU Press, and "The Grape Painter", Frost Heaves Press, and one chapbook due out in October "On US 6 To Providence", Red Mountain Press. He is currently Professor of Arts and Humanities at Lorain County Community College, and lives in Sheffield Lake. Mollie Chambers - Mollie Chambers was a winner in the 2006 PWLGC/RTA poetry contest and the winner of the 2006 Whiskey Island Prize for Poetry. She teaches writing at Lorain County Community College. DIRECTIONS From the west side 2 East - East Ninth Street, right - Lakeside, left - Galleria Parking Garage, right (if you get to 12th street you went too far - go around the block, right on 12th, right on St Clair, right on 9th, and right on Lakeside, and then right at the Parking Garage sign). Parking is Free on Saturdays, $3 after 4pm on Fridays. Go up the escalator or elevator to the FIRST FLOOR. Out of the elevator turn right and walk past the escalator to the Courtyard 480 - 176North - 90East - 2West (Lakewood) - East Ninth Street, left - Lakeside, left - Galleria Parking Garage, right (if you get to 12th street you went too far - go around the block, right on 12th, right on St Clair, right on 9th, and right on Lakeside, and then right at the Parking Garage sign) 71 North - 90 East - 90East - 2West (Lakewood) - East Ninth Street, left - Lakeside, left - Galleria Parking Garage, right (if you get to 12th street you went too far - go around the block, right on 12th, right on St Clair, right on 9th, and right on Lakeside, and then right at the Parking Garage sign) 77 North - 90East - 2West (Lakewood) - East Ninth Street, left - Lakeside, left - Galleria Parking Garage, right (if you get to 12th street you went too far - go around the block, right on 12th, right on St Clair, right on 9th, and right on Lakeside, and then right at the Parking Garage sign) From the east side 480 - 77 North - 90East - 2West (Lakewood) - East Ninth Street, left - Lakeside, left - Galleria Parking Garage, right (if you get to 12th street you went too far - go around the block, right on 12th, right on St Clair, right on 9th, and right on Lakeside, and then right at the Parking Garage sign) 90 West - 2 West - East Ninth Street, left - Lakeside, left - Galleria Parking Garage, right (if you get to 12th street you went too far - go around the block, right on 12th, right on St Clair, right on 9th, and right on Lakeside, and then right at the Parking Garage sign) From the Heights Martin Luther King Jr Blvd North - 90 West - 2 west - East Ninth Street, left - Lakeside, left - Galleria Parking Garage, right (if you get to 12th street you went too far - go around the block, right on 12th, right on St Clair, right on 9th, and right on Lakeside, and then right at the Parking Garage sign) By RTA Rapid From wherever you are go to the Tower City station and change for the Waterfront Line - get off at East 9th street, up the stairs, turn right on East Ninth Street (away from the lake, away from the R&R Hall) walk half a block to Lakeside, cross Ninth Street to your left, cross Lakeside, and half a block further on is the Ninth Street Entrance to the Galleria. If the weather's nice, you can also walk from Tower City across Public Square away from the Terminal Tower building you came out of (the building in which the RTA Rapid lets you off) and toward the BP Building. Walk east (that is, turn right just past the BP building) on any of Superior, Rockwell, or St Clair streets, to East Ninth. Turn left. From St Clair, it's right there; from Rockwell, one block, from Superior two blocks, to the entrance at East Ninth and St Clair. If you=B4d like to be removed from this email list, please REPLY to this message to: marcus@designerglass.com and ask to be removed in the text of your message. You have received this e-mail because you opted to do so. If you wish to unsubscribe from this mailing list please click here http://www.readyhosting.com/utils/UnSubscribeMe.bml?Name=rh.marcusbales&List=Events&Email=POETICS@LISTSERV.BUFFALO.edu . ========================================================================= Date: Wed, 25 Oct 2006 09:56:04 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: susan maurer Subject: separation of church and state Mime-Version: 1.0 Content-Type: text/plain; format=flowed well atheists have to pledge to the flag under god handle coins trusting thereto and yet the evident evil of sexual segration.. on the good news side the wonderful photography show of poets which annasiano curated as part of the hoboken studio tour, with its reading and party will be born again at the bowery poetry club. date not yet fixed. im pulling for serving absinthe. susan maurer _________________________________________________________________ Stay in touch with old friends and meet new ones with Windows Live Spaces http://clk.atdmt.com/MSN/go/msnnkwsp0070000001msn/direct/01/?href=http://spaces.live.com/spacesapi.aspx?wx_action=create&wx_url=/friends.aspx&mkt=en-us ========================================================================= Date: Wed, 25 Oct 2006 10:03:57 -0400 Reply-To: Marcus Bales Sender: UB Poetics discussion group From: Marcus Bales Organization: ReadyHosting Subject: Invitation to Visit Gallery 324 From Chicago to Cleveland on October 21, 2006, Allegrezza and Bianchi - Every Saturday at Noon at Gallery 324 Gallery 324 The Galleria at Erieview 1301 East Ninth Street Cleveland, Ohio 44114 216/780-1522 mbales@oh.verio.com Gallery 324 Hours: M-F 10 am - 5 pm, Sat 10 am - 2 pm Raymond L Bianchi lived for most of the 1990's in Latin America in Brazil and Bolivia. A native of suburban Chicago and the child of Italian Immigrants, he worked in international publishing since 1996. His poetry has appeared or is upcoming in Antennae, Near South, Tin Lustre Mobile, 26, Moria, Red River Review, Sentence, Bird Dog, Literatura e Cultura, and his essays have appeared in the Economist and the Financial Times. He is the section editor of the fall 2006 issue of Aufgabe, which includes a translation section of contemporary Brazilian poetry that he translated. His book Circular Descent was published by Blaze Vox Press in 2004, and a chapbook, The American Master, was published by Moria Books in 2006. He is the publisher of Cracked Slab Books in Chicago and edits the website chicagopostmodernpoetry.com. William Allegrezza teaches and writes from his base in Chicago. His poems,articles, and reviews have been published in several countries, including the U.S., Holland, Finland, the Czech Republic, and Australia, and are available in many online journals. Also, he is the editor of moria (http://www.moriapoetry.com), a journal dedicated to experimental poetry and poetics, and the editor-in-chief of Cracked Slab Books (http://crackedslabbooks.com). His e-books and books include The Vicious Bunny Translations, Covering Over, Temporal Nomads, Ladders in July, and In the Weaver's Valley. Lou Suarez grew up in Canton, Ohio, but his community spans across northeastern Ohio. He went to Kent State University for both his Bachelor and Master degrees, then married and got a teaching job in Elyria, Ohio. He has a new book, "Ask" from Midlist Press, and two chapbooks out "Losses of Moment", KSU Press, and "The Grape Painter", Frost Heaves Press, and one chapbook due out in October "On US 6 To Providence", Red Mountain Press. He is currently Professor of Arts and Humanities at Lorain County Community College, and lives in Sheffield Lake. Mollie Chambers - Mollie Chambers was a winner in the 2006 PWLGC/RTA poetry contest and the winner of the 2006 Whiskey Island Prize for Poetry. She teaches writing at Lorain County Community College. DIRECTIONS From the west side 2 East - East Ninth Street, right - Lakeside, left - Galleria Parking Garage, right (if you get to 12th street you went too far - go around the block, right on 12th, right on St Clair, right on 9th, and right on Lakeside, and then right at the Parking Garage sign). Parking is Free on Saturdays, $3 after 4pm on Fridays. Go up the escalator or elevator to the FIRST FLOOR. Out of the elevator turn right and walk past the escalator to the Courtyard 480 - 176North - 90East - 2West (Lakewood) - East Ninth Street, left - Lakeside, left - Galleria Parking Garage, right (if you get to 12th street you went too far - go around the block, right on 12th, right on St Clair, right on 9th, and right on Lakeside, and then right at the Parking Garage sign) 71 North - 90 East - 90East - 2West (Lakewood) - East Ninth Street, left - Lakeside, left - Galleria Parking Garage, right (if you get to 12th street you went too far - go around the block, right on 12th, right on St Clair, right on 9th, and right on Lakeside, and then right at the Parking Garage sign) 77 North - 90East - 2West (Lakewood) - East Ninth Street, left - Lakeside, left - Galleria Parking Garage, right (if you get to 12th street you went too far - go around the block, right on 12th, right on St Clair, right on 9th, and right on Lakeside, and then right at the Parking Garage sign) From the east side 480 - 77 North - 90East - 2West (Lakewood) - East Ninth Street, left - Lakeside, left - Galleria Parking Garage, right (if you get to 12th street you went too far - go around the block, right on 12th, right on St Clair, right on 9th, and right on Lakeside, and then right at the Parking Garage sign) 90 West - 2 West - East Ninth Street, left - Lakeside, left - Galleria Parking Garage, right (if you get to 12th street you went too far - go around the block, right on 12th, right on St Clair, right on 9th, and right on Lakeside, and then right at the Parking Garage sign) From the Heights Martin Luther King Jr Blvd North - 90 West - 2 west - East Ninth Street, left - Lakeside, left - Galleria Parking Garage, right (if you get to 12th street you went too far - go around the block, right on 12th, right on St Clair, right on 9th, and right on Lakeside, and then right at the Parking Garage sign) By RTA Rapid From wherever you are go to the Tower City station and change for the Waterfront Line - get off at East 9th street, up the stairs, turn right on East Ninth Street (away from the lake, away from the R&R Hall) walk half a block to Lakeside, cross Ninth Street to your left, cross Lakeside, and half a block further on is the Ninth Street Entrance to the Galleria. If the weather's nice, you can also walk from Tower City across Public Square away from the Terminal Tower building you came out of (the building in which the RTA Rapid lets you off) and toward the BP Building. Walk east (that is, turn right just past the BP building)on any of Superior, Rockwell, or St Clair streets, to East Ninth. Turn left. From St Clair, it's right there; from Rockwell, one block, from Superior two blocks, to the entrance at East Ninth and St Clair. Please do not mark this mailing as Spam. Instead, if you would like to be removed from this email list, please REPLY to this message to: marcus@designerglass.com and ask to be removed in the text of your message. You have received this e-mail because you opted to do so. If you wish to unsubscribe from this mailing list please click here http://www.readyhosting.com/utils/UnSubscribeMe.bml?Name=rh.marcusbales&List=Events&Email=POETICS@LISTSERV.BUFFALO.edu . ========================================================================= Date: Wed, 25 Oct 2006 08:57:51 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: amy king Subject: Reb Livingston, Bruce Covey, and Michelle Noteboom -- THIS FRIDAY In-Reply-To: <003d01c6f79a$7df4fe70$6500a8c0@toshibauser> MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit MiPOesias presents ***** Bruce Covey, Michelle Noteboom, and Reb Livingston ***** 7 P.M., Friday, October 27, 2006 STAIN BAR 766 Grand Steet Brooklyn , NY 11211 (718) 387-7840 http://www.stainbar.com [Grand stop on the L TRAIN] Michelle Noteboom won the 2006 Heartland Poetry Prize for her first book "Edging" (Cracked Slab Books). Other work has appeared in Verse, Fence, Boston Review, Sentence, Columbia Poetry Review and Gargoyle, among others. She's lived mainly in Paris since 1991 where she co-curates the Ivy Writers Reading Series with Jennifer K. Dick. She works as a freelance translator in the French audiovisual industry. She also translates French poetry. Reb Livingston is the co-editor of No Tell Motel and the anthology THE BEDSIDE GUIDE TO NO TELL MOTEL. She is the author of two chapbooks, PTERODACTYLS SOAR AGAIN (Whole Coconut) and WANTON TEXTILES (No Tell Books), a collaboration with Ravi Shankar. Her poems have appeared in Best American Poetry 2006, Coconut, MiPOesias and other publications. Bruce Covey teaches at Emory University and is the author of The Greek Gods as Telephone Wires and the forthcoming Ten Pins, Ten Frames (Front Room Publishers, March) and Elapsing Speedway Organism (No Tell Books, Fall 2006). His recent poems also appear or are forthcoming in The Hat, Bombay Gin, Explosive Magazine, LIT, Boog City, One Less, 580 Split, Small Town, and other journals. He edits the web-based poetry magazine Coconut and curates the What’s New in Poetry reading series in Atlanta. We hope to see you there! Amy King and Didi Menendez http://www.mipoesias.com http://miporeadingseries.blogspot.com/ STAIN is a unique arts lounge dedicated to local products and talent. --------------------------------- Yahoo! Messenger with Voice. Make PC-to-Phone Calls to the US (and 30+ countries) for 2¢/min or less. ========================================================================= Date: Wed, 25 Oct 2006 13:58:26 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Thomas Orange Subject: reading bay poetics MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Disposition: inline Content-Transfer-Encoding: 7bit Dear Listfolk, Announcing Reading Bay Poetics is devoted to collecting and generating discussion of the anthology Bay Poetics, edited by Stephanie Young (Faux Press, 2006). Current contents include posts by Ron Silliman, Allen Bramhall, Guillermo Parra, Laura Moriarty, and a review by Michael Nicoloff originally published in Traffic #2. Potential contributors should email Tom Orange at tmorange[at]gmail[dot]com. Thanks, Tom ========================================================================= Date: Wed, 25 Oct 2006 15:57:06 -0400 Reply-To: az421@FreeNet.Carleton.CA Sender: UB Poetics discussion group From: Rob McLennan Subject: Chaudiere Books, first titles Content-transfer-encoding: 7BIT New Ottawa publisher Chaudiere Books is pleased to announce the publication of Ottawa writer Clare Latremouille's first novel _The Desmond Road Book of the Dead_ ($20.95), Toronto-area Meghan Jackson's first poetry collection _movements in jars_ (16.95), and former Alberta poet Monty Reid's first Ottawa poetry collection _Disappointment Island_ ($18.95). INDIVIDUAL SALES Books are available directly from the publisher at the address below. Send a cheque or money order payable to Chaudiere Books. If ordering from within Canada, include $3 S&H for the first book ($2 per book thereafter); if ordering from the continental United States, please include $3 S&H for the first book ($2 per book thereafter) in American funds. If outside, include $4 S&H for the first book ($3 per book thereafter) in American funds. Please be sure to include your return mailing address. REVIEW COPIES Send all inquiries directly to the publisher at Chaudiere Books c/o 858 Somerset Street West, main floor, Ottawa Ontario Canada K1R 6R7 For more information on these or any further titles, check out www.chaudierebooks.com. For irregular updates, check out www.chaudierebooks.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 ...11th coll'n - name , an errant (Stride, UK) .... c/o 858 Somerset St W, Ottawa ON K1R 6R7 * http://robmclennan.blogspot.com/ ========================================================================= Date: Wed, 25 Oct 2006 15:12:48 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: James Weber Subject: Thursday night 10/26 in St. Louis MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline Thursday, October 26: 52nd City's third issue, "Drink," will be released with a casual affair at Riley Irish Pub, 3458 Arsenal (just east of Grand) (314-664-7474) 7-9 p.m come for the new mags, as well as pizza and drink specials at this cozy tavern in Tower Grove East. In addition to the print edition, for sale at the event, the same day will debut our latest web issue at: www.52ndcity.com. Contributors to the print and web editions include: Aaron Belz, Chris King, Tom Weber, Jennifer Gaby, Nick Findley, Bill Chott, Adam Scott Williams, Caroline Huth and Julia Smillie, among many others. Cardinals in 6! ========================================================================= Date: Wed, 25 Oct 2006 19:49:51 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Matt Henriksen Subject: Sunday Oct 29 : Kazim Ali, Bruce Covey & Juliet Patterson : Brooklyn MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit The Burning Chair Readings Encourage You To Get Down With Your Bad Self w/ the hardest working poets in show business Kazim Ali, Bruce Covey & Juliet Patterson Sunday, October 29th, 6PM @ The Fall Café 307 Smith Street Between Union & President Carroll Gardens, Brooklyn F or G to Carroll Street FREE Kazim Ali's first book of poetry won Alice James Books' New England/New York Prize and was published in 2005. He's also the author of a novel, Quinn's Passage. Kazim is the publisher of Nightboat Books, assistant professor of English at Shippensburg University and teaches at Stonescoast, the low-residency MFA program of the University of Southern Maine. Bruce Covey is Lecturer of Creative Writing at Emory University and the author of The Greek Gods as Telephone Wires and the forthcoming Ten Pins, Ten Frames (Front Room Publishers, Ann Arbor) and Elapsing Speedway Organism (No Tell Books, Washington, DC), both due to be published in the fall of 2006. His recent poems also appear or are forthcoming in 26, Cannibal, Bird Dog, Aufgabe, Verse, LIT, Bombay Gin, Boog City, Explosive Magazine, 580 Split, and other journals. He edits the web-based poetry magazine Coconut (www.coconutpoetry.org) and curates the What’s New in Poetry reading series in Atlanta. Juliet Patterson’s first book, The Truant Lover, was selected by Jean Valentine as the 2004 winner of the Nightboat Poetry Prize. Her poems have appeared or are forthcoming in American Letters & Commentary, Bellingham Review, Bloom, Conduit, Hayden’s Ferry Review, New Orleans Review, The Journal,Verse and other magazines. She is the recipient of a SASE/Jerome fellowship in poetry, a 2004 fellowship with the Institute for Community and Cultural Development through Intermedia Arts in Minneapolis, and an arts fellowship from the Minnesota State Arts Board. She teaches poetry and creative writing in Minneapolis through the College of St. Catherine, Hamline University, The Loft Literary Center, and the Perpich Center for Arts Education. She has worked with children as a volunteer educator with the Minnesota Advocates for Human Rights and with the United Cambodian Association of Minnesota youth programs. She lives near the west bank of the Mississippi in Minneapolis. For more information, visit her website: . __________________________________________________ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com ========================================================================= Date: Wed, 25 Oct 2006 19:53:08 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Matt Henriksen Subject: Saturday at the KGB MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Konundrum Engine Literary Review Poetry Reading Saturday, October 28, 2006 7pm at KGB Bar 85 E. 4th St. (between 2nd and 3rd Ave.), New York, NY The Konundrum Engine Literary Review presents readings by featured poets. The line-up includes: Kate Greenstreet Matt Henriksen Henry Israeli Stacy Szymaszek Mark Yakich Hosted by poetry editors Rachel Moritz and Juliet Patterson, author of The Truant Lover (Nightboat: 2006) For more information, visit the Konundrum Engine website at http://lit.konundrum.com __________________________________________________ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com ========================================================================= Date: Wed, 25 Oct 2006 21:27:52 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: elen Subject: FW: [fireandink] New trans/gender variant anthology seeking submissions... Comments: To: Brown Writing List MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit CALL FOR SUBMISSIONS - PLEASE POST WIDELY New Trans/Gender Variant Anthology Sex, dating, and relationships in the trans/gender variant community Edited by *Morty Diamond Looking for first person stories from trans and gender variant writers about the experience of dating, sex, relationships, and finding love. Topic examples: hilarious or heartbreaking dating stories, transitioning within a relationship, being trans and starting families, passing/not passing and how this affects our choices for dating, meeting our partners families, the idea of marriage - legal or otherwise, online dating, anonymous sex, sex and dating before and after surgery and/or hormones, how we negotiate sex. I strive to make this anthology as diverse as possible within age, race, sexuality, and gender identity. I encourage all writers who identify as transgender, transsexual, genderqueer, third gender, non-gender, or gender variant in some way to submit work. The length of your work should be between 1,500 and 3,000 words. Sexually explicit work is ok. Please include a short biography with your work. Please submit your writing via email to: newtransanthology@gmail.com Deadline: End of December 2006 *Morty Diamond is the editor of the book "From the Inside Out, FTM and Beyond" and the producer and director of the film "Trannyfags". -- Morty Diamond Looking for trans and gender variant writers for new anthology on dating, relationships and love -- send submissions to: newtransanthology@gmail.com Deadline: December 2006 ========================================================================= Date: Thu, 26 Oct 2006 10:03:01 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: David-Baptiste Chirot Subject: FW: Don't Miss This Reading! --From Woodland Pattern Mime-Version: 1.0 Content-Type: text/plain; format=flowed >From: Woodland Pattern >To: Woodland Pattern >Subject: Don't Miss This Reading! >Date: Thu, 26 Oct 2006 07:52:11 -0700 (PDT) > > >==================================================================== >QUINCY TROUPE & PATRICIA SPEARS JONES THIS SUNDAY! >==================================================================== > >Woodland Pattern Book Center presents: > >Quincy Troupe and Patricia Spears Jones > >Sunday, October 29, 2006 at 2:00 pm >Woodland Pattern Book Center >720 East Locust Street, Milwaukee > >ADVANCE TICKET PURCHASE STRONGLY RECOMMENDED > >$8 general / $6 members / $7 students and seniors > >Sunday, 10/29 at 2:00 pm: Quincy Troupe & Patricia Spears Jones > >Quincy Troupe is the author of eight volumes of poetry including The >Architecture of Language (Coffee House, 2006) and >Transcircularities: New and Selected Poems (Coffee House Press, >2002). In addition to chronicling his friendship with Miles Davis in >the memoir Miles and Me, which is set to be developed into a feature >film, Troupe has recently published children's books on Magic >Johnson and Stevie Wonder. He divides his time between New York and >a country side village in Montebello, Guadeloupe. > >http://www.woodlandpattern.org/poems/quincy_troupe01.shtml > >Born and raised in Forrest City, Arkansas, poet Patricia Spears >Jones has lived in New York City since the mid-1970s. She is the >author of Femme du Monde (Tia Chucha Press, 2006) and The Weather >that Kills (Coffee House Press, 1995). Her play, "Mother," was >commissioned by Mabou Mines and premiered at La Mama in 1994. Her >poems are widely anthologized and her articles on theater, film, >literature, the visual arts, and music have appeared in Essence, >Heresies, Bomb, The Village Voice, and many others. > >http://www.woodlandpattern.org/poems/patricia_spears_jones01.shtml > >==================================================================== >UPCOMING EVENTS >==================================================================== > >Friday, 10/27: Film: In Part A Treatment of Success by Steve Wetzel > >Sunday, 10/29: Quincy Troupe & Patricia Spears Jones > >Friday, 11/10: George Rabasa > >Saturday, 11/11 Master Class with Dawn Michelle Baude > >Saturday, 11/11: Dawn Michelle Baude & Philip Jenks > >Friday, 11/17: Redletter: Eddie Kilowatt > >Sunday, 11/19: Films by Thomas Comerford > >Sunday, 11/19: Alternating Currents Live > >Saturday, 12/9: Clayton Eshleman: The Complete Vallejo > >Sunday, 12/10: Clayton Eshleman on Translation > >Monday, 12/11: UWM: Clayton Eshleman Layton Lecture > > >http://www.woodlandpattern.org/ > >Woodland Pattern Book Center >720 E. Locust Street >Milwaukee, WI 53212 >phone 414.263.5001 > > >http://www.woodlandpattern.org/ > >Woodland Pattern Book Center >720 E. Locust Street >Milwaukee, WI 53212 >phone 414.263.5001 _________________________________________________________________ Find a local pizza place, music store, museum and more…then map the best route! http://local.live.com?FORM=MGA001 ========================================================================= Date: Thu, 26 Oct 2006 11:59:06 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Bruce Covey Subject: Coconut 6 In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Dear Gentle People of Poetics, Coconut 6--containing new poems by Cole Swensen, Eleni Sikelianos, Josh May, CS Carrier, Eric Baus, Gloria Frym, CJ Martin, Natalie Lyalin, Ada Limon, Jonathan Minton, Laurel DeCou, Rusty Morrison, Megan Johnson, James Grinwis, Marty Hebrank, James Sanders, Michelle Greenblatt and Sheila E. Murphy, Mairead Byrne, Jeff Harrison, Kristine Snodgrass, Brendan Lorber, Bruce Covey, & Hazel McClure--is now live on the web. Hope to see you there! http://www.coconutpoetry.org/ Bruce Covey Coconut Editor ========================================================================= Date: Thu, 26 Oct 2006 15:12:43 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: update MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII; format=flowed hi ' writing on a french kezboard which is dificult for me but wanted to bring an update ' were shooting in the alps ' climbed up a ountain todaz to a peasants cabin ' and around that area used it for background and then later ondown bz a couple of cascades, alsosome other somewhat sexual work elsewhere, some flute-harmonica work, some materials in a ruined priorz with isabella ' these have been for me brillant works ' manz stemming from motion capture or somewhat broken motion capture equipmet with literal translations into choreographz ' both difficult and exciting ' so the digital is returned bz waz of the alps to another sort of presence ' the bodz grounded in the phzsicalitz of height, stone, pasture,water, crevice, we go tomorrow to shoot at the > Aletsch glacier ' hopefullz with ' so the dances, Pringz... Alan blog at http://nikuko.blogspot.com - for URLs, DVDs, CDs, books/etc. see http://www.asondheim.org/advert.txt - contact sondheim@panix.com, - general directory of work: http://www.asondheim.org Trace at: http://tracearchive.ntu.ac.uk - search "Alan Sondheim" http://clc.as.wvu.edu:8080/clc/Members/sondheim ========================================================================= Date: Thu, 26 Oct 2006 17:10:30 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Poetry Project Subject: Events at the Poetry Project 10/27 - 11/3 In-Reply-To: Mime-version: 1.0 Content-type: text/plain; charset="ISO-8859-1" Content-transfer-encoding: quoted-printable Dear Ones of Wonder, How wonderful you are. How wondrous it will be to see you four times this week. Scroll down for all the possibilities! Love, The Poetry Project Friday, October 27, 7:00 pm Nathaniel Mackey=20 Nathaniel Mackey is the author of four books of poetry, the most recent of which is Splay Anthem (New Directions, 2006). Mackey is also author of an ongoing prose composition, From a Broken Bottle Traces of Perfume Still Emanate, of which three volumes have been published; the most recent is Ate= t A.D. (City Lights Books, 2001). He is the editor of the literary magazine Hambone and co-editor (with Art Lange) of the anthology Moment's Notice: Jazz in Poetry and Prose (Coffee House Press, 1993), as well as author of two books of criticism; the most recent is Paracritical Hinge: Essays, Talks, Notes, Interviews (University of Wisconsin Press, 2005). He was elected to the Board of Chancellors of the Academy of American Poets in 2001, and is Professor of Literature at the University of California, Santa Cruz. Monday, October 30, 8:00 pm hassen & Lauren Russell hassen writes poetry and fiction and lives in the Philadelphia area. Her poems can be found in Frequency audio journal, Nedge and Skanky Possum. Her chapbooks include Sky Journal: From Land and Sky Journal: From Sea as well as Salem from Belladonna*. You can find links and PDFs at hassens.blogspot.com. Lauren Russell grew up in Los Angeles. In 2002, she moved to New York in pursuit of a creative community and efficient public transportation. Her work has been published in The Recluse and in Van Gogh'= s Ear. Wednesday, November 1, 8:00 pm A Celebration of Allen Ginsberg A reading of Allen Ginsberg=B9s work across his life, in part to commemorate the 50th anniversary of the publication of Howl, in part to celebrate the publication of Bill Morgan=B9s new biography I Celebrate Myself: The Somewhat Private Life of Allen Ginsberg, and, largely, to hear the work. Readers and performers will include Alice Notley, Ed Sanders, Anne Waldman, Bob Rosenthal, Edwin Torres, Lee Ranaldo, Simon Pettet, Eileen Myles, Eliot Katz, Steven Taylor, Judith Malina, Hanon Reznikov, CA Conrad, Sharon Mesmer, Andy Clausen, Bill Morgan and more. Friday, November 3, 9:30 pm The Tiny Presses Shall Inherit The Earth! A nighttime junction of tiny and once tiny presses. Join us for a roundtabl= e discussion with poet-editors from Lame House Press, Phylum Press, Sona Books, Ugly Duckling Presse and United Artists Books. Discussion to be followed by casual readings. Peruse and purchase many books! Ryan Murphy co-curated this event. He is the author of Down with the Ship from Otis Books/Seismicity Editions, as well as the chapbooks, The Gales (Pound for Pound), Ocean Park (A Rest Press) and On Violet Street (The Aldrich Museum of Art and Design). Alma, or The Dead Women Alice Notley Meet Alice Notley at the publication party and reading for Alma. 6:30-8:30pm, Friday, November 3, 2006 CUE Art Foundation 511 W. 25th Street, NYC hassen inception =AD from BRUT =20 7pm a crumpled net on a distant road circled her around to prior noon, same grey net held her hand [insert hand for prophet like a puppet insertion slit] & disregarded. twenty bucks for her soundtrack, phoned herself to say <<**HIT**>>. the homophone's just the tip of the =8Cberg. she has white hot bursts in various corporeal locations, keeping on. large format lead as scalpel following the gut's infernally anfractuous meander. many of us draw this archetype when we need to be new. in mode, some derive in the felling, the hands-on. deadly new. Lauren Russell Origins -sort of after Adam DeGraff Insanity brings the condition of past selves sifted from the present self as a metaphor for the presentiment of failure that I am at any one time experiencing. Perhaps the memory of June sex on a striped sheet at the indefatigable age of nineteen, or the new girl in the first grade who's daddy told her not to play with brown girls. Both the elusive reason for this rule and the feelings arising from its practice were deterrents to compulsory social development. When I am far less congested, I will follow memory down to the first abandoned self, which some argue began at birth, others, conception. Origins end the question of insanity. Fall Calendar: http://www.poetryproject.com/calendar.html 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. If you=B9d like to be unsubscribed from this mailing list, please drop a line at info@poetryproject.com. ========================================================================= Date: Fri, 27 Oct 2006 01:55:02 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jesse Crockett Subject: The last Petit Mal MIME-version: 1.0 Content-type: text/plain; charset=ISO-8859-1 Content-transfer-encoding: 7BIT Petit Mal She was taking me up her murderous slopes, but everything fell apart when she sneezed. --could this work as the final installment, ? What else should I say, or have to say, ? ========================================================================= Date: Fri, 27 Oct 2006 01:57:15 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jesse Crockett Subject: The first Petit Mal MIME-version: 1.0 Content-type: text/plain; charset=ISO-8859-1 Content-transfer-encoding: 7BIT Petit Mal Too bad you can resolve matters that need your wan sensory input. -- should i go on, ? ========================================================================= Date: Fri, 27 Oct 2006 09:02:18 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Ward Tietz Subject: Raptured Browsers: Meador, Hastings and Tietz @ Pyramid Atlantic, 10/31-11/30 Mime-Version: 1.0 (Apple Message framework v752.2) Content-Transfer-Encoding: quoted-printable Content-Type: text/plain; charset=WINDOWS-1252; delsp=yes; format=flowed This should be a good show. I'll be showing recent prints as well as =20= some word sculptures from the early and mid nineties. Best, WT ********************************** RAPTURED BROWSERS: BOOKS AS VISUAL LANGUAGE Clifton Meador, Pattie Belle Hastings and Ward Tietz =96 Artist Books, =20= Electronic Installation and Environmental Poetics October 31 - November 30 Reception, November 18 from 7 - 9pm In conjunction with the 9th Biannual Book Arts Fair & Conference Raptured Browsers: Books as Visual Language features artist books of =20 Clifton Meador, Pattie Belle Hastings and Ward Tietz, three =20 internationally renowned artists who approach the book as a physical =20 structure and a mode of communication, and raise critical inquiry and =20= assessment about the modern emergence of the book as a visual verbal =20 concept. Pyramid Atlantic: A Center for Print, Paper & Book Arts 8230 Georgia Ave Silver Spring, MD 20910 (301) 608-9101 http://www.pyramidatlanticartcenter.org/= ========================================================================= Date: Fri, 27 Oct 2006 09:43:45 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: heidi arnold Subject: the mission MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline friends, -- i have got back with copious notes and a soul full of the poverty in that land -- i became very ill due to a preexisting health condition and had to return early -- but i don't believe this is the end of the mission -- the colombians speak softly, they answer questions in riddles, the land touches its people through poems of evasion, falseness, and the open doors of simile -- listening to the conditions of the city's slum i kept asking myself what the mistake was, that led to 100 of houses collapsing in a mudslide, when it rains -- or if the lesson missed is the value of tears -- while the governments of our country and theirs turns its back on the poor -- someone has to tell -- who can tell it who can tell any of it -- a double self is lurking in the slum and there are ways to set the double ness free -- the strange leaf-ridden trees have been cut on the steeply sloping, winding streets -- the weathered two-by-four fences are torn -- the corrugated tin roofs leak -- onto dirt floors and rusted furniture -- but the tiny black dogs are barking, and they wag their tails -- the departement or county, or city, i am not sure government has placed the people without a systematic response, and so it is the place for the people to respond -- they have been abandoned by the state, but it is possible to hear them through nonviolence and indirection -- at least 75% of the people of this city live in poverty -- this is not more clear, i'm sorry, i'm still sick, but will be better soon -- i don't know what's next, but i can feel there's more -h -- -- www.heidiarnold.org http://peaceraptor.blogspot.com/ ========================================================================= Date: Fri, 27 Oct 2006 06:58:24 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Adam Fieled Subject: Publishing: Slow/steady or Fast/heavy? MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Join the debate at: http://www.adamfieled.blogspot.com. --------------------------------- Get your own web address for just $1.99/1st yr. We'll help. Yahoo! Small Business. ========================================================================= Date: Fri, 27 Oct 2006 10:00:06 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Thomas savage Subject: Re: The last Petit Mal In-Reply-To: <4541AD46.4090600@listenlight.net> MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit As someone who suffered from petit mal seizures for thirty years (fortunately I don't have them anymore due to surgery and medicine), I find these two postings annoying. Am I right to be annoyed? Anyway, for what it's worth, which may or may not be much, I felt obliged to register my reaction(s) here. Jesse Crockett wrote: Petit Mal She was taking me up her murderous slopes, but everything fell apart when she sneezed. --could this work as the final installment, ? What else should I say, or have to say, ? --------------------------------- Stay in the know. Pulse on the new Yahoo.com. Check it out. ========================================================================= Date: Fri, 27 Oct 2006 14:11:55 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Vernon Frazer Subject: Re: The last Petit Mal In-Reply-To: <20061027170006.97853.qmail@web31115.mail.mud.yahoo.com> MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit You have the right to express your feelings. As a person who has lived with Tourette syndrome for 50+ years, I don't enjoy reading facile (and usually stupid) remarks about a condition that has left thousands of people socially stigmatized, often to extreme degrees. Say your piece. You might educate someone. Good luck! Vernon http://vernonfrazer.com -----Original Message----- From: UB Poetics discussion group [mailto:POETICS@LISTSERV.BUFFALO.EDU] On Behalf Of Thomas savage Sent: Friday, October 27, 2006 1:00 PM To: POETICS@LISTSERV.BUFFALO.EDU Subject: Re: The last Petit Mal As someone who suffered from petit mal seizures for thirty years (fortunately I don't have them anymore due to surgery and medicine), I find these two postings annoying. Am I right to be annoyed? Anyway, for what it's worth, which may or may not be much, I felt obliged to register my reaction(s) here. Jesse Crockett wrote: Petit Mal She was taking me up her murderous slopes, but everything fell apart when she sneezed. --could this work as the final installment, ? What else should I say, or have to say, ? --------------------------------- Stay in the know. Pulse on the new Yahoo.com. Check it out. ========================================================================= Date: Fri, 27 Oct 2006 14:38:35 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Phil Primeau Subject: Re: The last Petit Mal In-Reply-To: <20061027181156.GKWR23386.ibm61aec.bellsouth.net@vernon> MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline Dear God, save me from your saints. PP ========================================================================= Date: Fri, 27 Oct 2006 15:37:20 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "David A. Kirschenbaum" Subject: Boog City presents Mooncalf Press, and Pepi Ginsberg and So L'il Mime-version: 1.0 Content-type: text/plain; charset="ISO-8859-1" Content-transfer-encoding: quoted-printable please forward ---------------- Boog City presents =20 d.a. levy lives: celebrating the renegade press =20 Mooncalf Press (Philadelphia, Pa.) Thurs. Nov. 2, 6:00 p.m., free ACA Galleries 529 W.20th St., 5th Flr. NYC =20 Event will be hosted by Mooncalf Press editor CAConrad Featuring readings from Kristen Gallagher Frank Sherlock With music from Pepi Ginsberg and So L'il There will be wine, cheese, and crackers, too. =20 Curated and with an introduction by Boog City editor David Kirschenbaum =8B=8B=8B=8B=8B- *Mooncalf Press* Mooncalf Press is located in Philadelphia. Their latest book is Spring Diet of Flowers at Night by Frank Sherlock. Other books include Ways to Use Lanc= e by Brett Evans and (end-begin w/chants) by Frank Sherlock and CAConrad. *Performer Bios* **Kristen Gallagher, originally from Philadelphia, is now attempting to prove that it IS nearly impossible for working class people to make it in NYC. Look for her work suing NY landlords on upcoming episodes of The People's Court (the new location of the American justice system). **Frank Sherlock is the author of Spring Diet of Flowers at Night (Mooncalf Press), ISO (Furniture Press), and 13 (ixnay press), and he has engaged in collaborative projects with CAConrad, Jennifer Coleman, and sound artist/DJ Alex Welsh. He is a contributing editor for XConnect: Writers for the Information Age. *music* **Pepi Ginsberg was raised in the woods of the northeast by her Canadian mother, Karyn Issa, an artist and teacher, and later her stepfather. She spent her summers painting with her Russian grandmother and singing songs about mosquitoes to her grandfather's boisterous accordion. She attended th= e local public high school, occasionally acting in school plays, and writing/editing for the literary magazine, a post that Truman Capote once filled. Ginsberg moved to Philadelphia and made her days through further schooling writing poems and drawing in the back of lecture halls. During th= e fall mornings of her 19th year she penned the novella No Name, Colorado which may or may not be lost. Eventually disenchanted by the university scene, Ginsberg found herself with the artists and musicians haunting Philadelphias warehouses and parks, putting on plays and dancing to gypsy music on Solstice eve. During this time Pepi wrote and recording her own songs, and by the following year compiled what would come to be her first album, Orange Juice: Stephanie/Stephanie. Pepi moves along the parabola, understanding the craft of song to be a glorious and perpetual nearness to the thing it is, that which we are and can be. Pepi's songs delve into lyrical territory as yet uncharted, her language and song structure are inventive and complex, giving voice and context to ideas not spoken to or addressed in far too long. In a time where you cant say it that way anymore= , Pepi Ginsberg makes it new. Ginsberg's songs are as durable as they are true.=20 **So L'il, a psychedelic lounge folk band, is comprised of Ben Malkin and Frances Sorensen. In the last four years So L'il has released a 6-song self-titled EP, one split 7-inch with the band Timesbold (both on Neko Records), the full-length Revolution Thumpin, and their most recent full-length, Dear Kathy, both on Goodbye Better. They are recording a new album at Emandee Studios in Williamsburg, Brooklyn, and are featured on the upcoming Electronic Bible 3 on White Label Music in Europe. =8B=8B=8B=8B=8B=8B Directions: C/E to 23rd St., 1/9 to 18th St. Venue is bet. 10th and 11th avenues =20 http://mooncalfpress.blogspot.com/ http://franksherlock.blogspot.com/ http://www.myspace.com/pepiginsberg http://solil.net http://www.myspace.com/solil Next event: Thurs. Dec. 7, Critical Documents/Plantarchy (Oxford OH) =8B=20 David A. Kirschenbaum, editor and publisher Boog City 330 W.28th St., Suite 6H NY, NY 10001-4754 For event and publication information: http://boogcityevents.blogspot.com/ T: (212) 842-BOOG (2664) F: (212) 842-2429 ========================================================================= Date: Fri, 27 Oct 2006 15:44:40 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Gwyn McVay Subject: Re: The last Petit Mal In-Reply-To: <20061027181156.GKWR23386.ibm61aec.bellsouth.net@vernon> MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit People *don't* know (as evidenced by the classic Primeau sneer at this thread). I have full-throttle seizures in the most inconvenient places, like a staircase -- rather Duchamp, except I wasn't nude -- and I want a nickel for every time somebody sees art they don't like or a bad tattoo and breezily says, "Wow, it looks like the artist was having a seizure." This is where the classic expression from Japanese manga, "...", comes to mind; the person making the remark may just not be ready to hear what it's like to be doing the fish fandango on the floor, irritated, embarrassed, possibly injured, and absolutely trapped in a body that has seceded from your union and gone off to Riverdance without you. Vernon Frazer wrote: > You have the right to express your feelings. As a person who has lived with > Tourette syndrome for 50+ years, I don't enjoy reading facile (and usually > stupid) remarks about a condition that has left thousands of people socially > stigmatized, often to extreme degrees. Say your piece. You might educate > someone. Good luck! > > Vernon > http://vernonfrazer.com > > > -----Original Message----- > From: UB Poetics discussion group [mailto:POETICS@LISTSERV.BUFFALO.EDU] On > Behalf Of Thomas savage > Sent: Friday, October 27, 2006 1:00 PM > To: POETICS@LISTSERV.BUFFALO.EDU > Subject: Re: The last Petit Mal > > As someone who suffered from petit mal seizures for thirty years > (fortunately I don't have them anymore due to surgery and medicine), I find > these two postings annoying. Am I right to be annoyed? Anyway, for what > it's worth, which may or may not be much, I felt obliged to register my > reaction(s) here. > > Jesse Crockett wrote: Petit Mal > > She was taking me up her murderous slopes, > but everything fell apart when she sneezed. > > --could this work as the final installment, ? > > What else should I say, or have to say, ? > > > > --------------------------------- > Stay in the know. Pulse on the new Yahoo.com. Check it out. > > ========================================================================= Date: Fri, 27 Oct 2006 14:51:37 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: James Weber Subject: Re: The last Petit Mal In-Reply-To: <454261A8.6090800@patriot.net> MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline On 10/27/06, Gwyn McVay wrote: > > the person making the remark may just not be ready to hear what > it's like to be doing the fish fandango on the floor, irritated, > embarrassed, possibly injured, and absolutely trapped in a body that has > seceded from your union and gone off to Riverdance without you. Now *THAT'S* some day-makin' poetry, folks! Petit Mal indeed! ========================================================================= Date: Fri, 27 Oct 2006 16:29:22 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Joe Amato Subject: Amato & Fleisher/Discrete/Chicago/Next Friday @ 8 pm Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" Hope to see some of you there! _________THE DISCRETE SERIES @ ELASTIC__________ presents..::::Joe Amato:::::::Kass Fleisher::: Friday, November 3rd @ 8PM / 2830 N. Milwaukee Ave. 2nd Floor/Chicago IL $5 suggested donation / BYOB Joe Amato is the author of five books: Symptoms of a Finer Age (poetry, Viet Nam Generation, 1994); Bookend: Anatomies of a Virtual Self (criticism, SUNY Press, 1997); Under Virga (poetry, Chax Press, 2006); Industrial Poetics: Demo Tracks for a Mobile Culture (criticism, University of Iowa Press, 2006); and Finger Exorcised (poetry, BlazeVOX Books, 2006). Chapters of his memoir, Up from Ellis Island, have been published in The Iowa Review, Square One, and Voices in Italian Americana; and his essays, poetry and digital art have been published in Antennae, 88, Chain, Crayon, Jacket, Bombay Gin, Denver Quarterly, Mandorla, New American Writing, Postmodern Culture, MiPOesias, Notre Dame Review, Nineteenth Century Studies, The Iowa Review Web, The Spoon River Poetry Review, and electronic book review. Two of his screenplays, Bear River and High Country (coauthored with Kass Fleisher), advanced to the semifinal round of the 2003 Chesterfield Writer's Film Project fellowship competition, hosted by Paramount Pictures; and the screenplay Yellow Medicine, also with Kass Fleisher, advanced to the semifinal round of the 2006 Nicholl Fellowships competition, hosted by the Academy of Motion Picture Arts and Sciences. He has just finished a novel, Big Man with a Shovel. He currently teaches writing and literature at Illinois State University. Kass Fleisher is the author of The Bear River Massacre and the Making of History (nonfiction; SUNY Press, 2004); Accidental Species: A Reproduction (conceptual memoir; Chax Press, 2005); The Adventurous (forthcoming from Factory School in 2006); and Talking Out of School: Memoir of an Educated Woman (forthcoming from Dalkey Archive Press in 2007). Her work has appeared in The Iowa Review, Denver Quarterly, Mandorla, Notre Dame Review, Antennae, Bombay Gin, Postmodern Culture, Z Magazine, American Book Review, and electronic book review, among other journals, and her fiction has been awarded annual prizes from The Dickinson Review and Plainswoman. Her screenplays (with Joe Amato), BEAR RIVER and GOOD FENCES, achieved semifinal status in the 2003 Chesterfield Writer's Film Project fellowship competition (hosted by Paramount Pictures), and YELLOW MEDICINE (also with Joe Amato) has achieved semifinal status in the 2006 Nicholl Fellowship competition (hosted by the Academy of Motion Picture Arts and Sciences). She is an Assistant Professor of English at Illinois State University in Normal. ELASTIC is a multi-disciplinary performance space run by the Elastic Arts Foundation. EAF is a 501(c)(3) tax exempt non-profit arts organization, producing arts events in Chicago. For more information about EAF or directions to the space, visit http://www.elasticrevolution.com Founded in 2003, the Discrete Series is a monthly literary series featuring poetry and other text-driven types of performance. For more information about this or upcoming events, email kerri@lavamatic.com. Coming Up... 12/22::James Wagner & Brian Whitener ========================================================================= Date: Fri, 27 Oct 2006 17:47:05 -0400 Reply-To: az421@freenet.carleton.ca Sender: UB Poetics discussion group From: Rob McLennan Subject: rob's western poetry tour Content-transfer-encoding: 7BIT I'm about to tour west with others for the sake of my new poetry collection aubade (Broken Jaw Press); will I see you? Prince George BC: rob mclennan reads with Stephen Brockwell at the University of Northern British Columbia, room tba. Thursday, November 2, 11:30am. Info: Rob Budde at rbudde@shaw.ca Vancouver BC: rob mclennan reads with Stephen Brockwell (Ottawa) at Robson Square Bookstore, 800 Robson Street (between Hornby and Howe, down the stairs from the Art Gallery). Monday, November 6, 7pm. Info: rsquare@interchange.ubc.ca or 604 822 6453 Edmonton AB: rob mclennan features at the monthly Olive Reading Series, Martini's Bar & Grill, 9910 109 Street. Tuesday, November 14, 7pm. Open mic to follow, & a chapbook (distributed free) of each featured reader made for events. Info: tcowan@ualberta.ca Edmonton AB: rob mclennan will be reading a combination of fiction and the long poem avalanche (a different reading than the night before) at the University of Alberta (room tba). Wednesday, November 15, 3:30pm. Info: Thomas Wharton at thomas.wharton@ualberta.ca Calgary AB: rob mclennan reads with Douglas Barbour (Edmonton) at the Oolong Tea House, #110 10th Street NW (Kensington). Thursday, November 16, 6:30pm. Hosted by Jordan Nail and dANDelion magazine. Info: innocuous@shaw.ca Winnipeg MB: rob mclennan reads with Winnipeg poets Karen Clavelle and Ariel Gordon at Aqua Books, 89 Princess Street. Wednesday, November 22, 7:30pm. Info: (204) 943 7555 (bookstore) or A. Gordon at janeday@janeday@mts.net more information with links and author bios here: http://robmclennan.blogspot.com/2006/10/robs-western-adventures-ill-be-couple.html -- poet/editor/pub. ... ed. STANZAS mag & side/lines: a new canadian poetics (Insomniac)...pub., above/ground press ...coord.,SPAN-O + ottawa small press fair ...11th coll'n - name , an errant (Stride, UK) .... c/o 858 Somerset St W, Ottawa ON K1R 6R7 * http://robmclennan.blogspot.com/ ========================================================================= Date: Fri, 27 Oct 2006 18:01:54 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: elen Subject: FW: [fireandink] Call for Submissions - Please post freely! Comments: To: Brown Writing List MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit -----Original Message----- From: fireandink@yahoogroups.com [mailto:fireandink@yahoogroups.com] On Behalf Of Samiya Bashir Sent: Tuesday, October 24, 2006 12:31 PM To: fireandink@yahoogroups.com Subject: [fireandink] Call for Submissions - Please post freely! check it out ... VISIBLE: A FEMMETHOLOGY an anthology of writing on queer femme identity Editor: Maria Angeline Publisher: Merge Press Submissions Deadline: March 15, 2007 Anticipated Publication Date: Spring 2008 Femmes are still invisible. Society can't see past our heels to hear our stories, so we must continue to build platforms for our voices. Visible: A Femmethology, a forthcoming anthology about the power and complications in presenting femme as a gender and breaking the traditional meaning of feminine, aims to showcase blunt, personal essays exploring what "femme" means to those who claim it as an identity. Give me your experiences, your inner dialogues, your theories and practices. Please do not send fiction, poetry, erotica, or any material to which you do not fully own the rights. I am seeking prose that is thoughtful, analytical, raw, challenging, exploratory, and uniquely you. Submissions must be sent as Word files with text in 12 point Times New Roman font. Essays must be previously unpublished, 1500-6000 words in length, and typed double-spaced. You may submit more than one essay. Author maintains and controls the copyright of their essay and licenses their First North American Rights to Merge Press for publication purposes. Author retains the right to reprint the material in any publication. Send SUBMISSIONS ONLY to Maria Angeline at femmethology at mergepress dot com. Include your legal name, pseudonym (if any) you wish to use, address, phone number, email, and the bio you would like to appear in the book if your selection is chosen for publication. Put the title of your essay in the subject line of the email. Each essay must be emailed separately. Send questions to Maria Angeline at maria.angeline at mergepress dot com. Visible: A Femmethology, an anthology of writing on queer femme identity, is expected to be released in 2008. Do not email to inquire about the status of your submission after you receive a confirmation that it has been received. It is not possible to respond to all email inquires. Once selections have been made, every person who has submitted work will be sent an announcement. Please do not submit material if you do not regularly check your email. Send a MySpace friend request to Visible: A Femmethology HERE . Visit Femmethology.com for project updates. Please post freely! Bread and Bread: http://breadandbread.blogspot.com -- Check out my latest book, Where the Apple Falls: poems (finalist, Lambda Literary Award!). For more information on upcoming events, and more, log on to: www.samiyabashir.com Wanna get your read on? www.fireandink.org See you there! __._,_.___ SPONSORED LINKS Organization development Writing book Writing a book Book writing software Writing book for child course Your email settings: Individual Email|Traditional Change settings via the Web (Yahoo! ID required) Change settings via email: Switch delivery to Daily Digest | Switch to Fully Featured Visit Your Group | Yahoo! Groups Terms of Use | Unsubscribe __,_._,___ ========================================================================= Date: Fri, 27 Oct 2006 19:43:09 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Marcus Bales Subject: October 28, 2006 - Every Saturday at Noon at Gallery 324 =?UTF-8?Q?=E2=80=93?= d.a.levy festival Comments: To: Save the Day MIME-Version: 1.0 Content-type: text/plain; charset=ISO-8859-1 Content-transfer-encoding: Quoted-printable October 28, 2006 - Every Saturday at Noon at Gallery 324 - d.a.levy festival Gallery 324 The Galleria at Erieview 1301 East Ninth Street Cleveland, Ohio 44114 216/780-1522 mbales@oh.verio.com Gallery 324 Hours: M-F 10 am - 5 pm, Sat 10 am - 2 pm A festival called "rabbits over clevyland" will take place in Cleveland this October 28th &29th, consisting of poetry, music, film and bookmaking. The festivities are sponsored by Bottom Dog, Green Panda, Rose of Sharon, Deep Cleveland and Bottle of Smoke Presses, Prosperity Social Club, Mac=B4s Backs Books on Coventry and Gallery 324. The purpose of the fest is to celebrate community among friends and fans of the late d.a. levy. levy was a renegade poet and publisher in Cleveland during the mimeo revolution of the late 1960=B4s. He was a torch-bearer for the underground poets and publishers of today. Poets, publishers, archivists, film directors, artists and friends of levy will gather in levy=B4s hometown on the anniversary of his birthday to read and share what yet ignites the flame. For more information on d.a. levy see: http://members.aol.com/lsmithdog/bottomdog/APARTIALCHRONOLOGYOFd.htm. At 12 Noon on Saturday October 28th there will be a poetry reading featuring Larry Smith, Markk, Tom Kryss, Ben Gulyas, Renee Washington, Bree and others at Gallery 324 located in the Galleria (East 9th & St Clair). Larry Smith is the director of Bottom Dog Press (Huron, OH) which produces books of working class poetry and literature. He has written biographies on Kenneth Patchen and and Lawrence Ferlinghetti, and has a recent poetry collection called A River Remains (WordTech 2006). markk aka poet Mark Kuhar (Medina, OH) publishes poetry chapbooks by the likes of Russell Salamon and Terry Provost at deep cleveland llc, and runs a literary e-zine at deepcleveland.com. Tom Kryss (Ravenna, OH) is long-time poet and publisher, and intimate friend of d.a. levy. He has been widely published in little magazines for the last 40 years, and recently put out a comprehensive poetry collection called Search for the Reason Why (Bottom Dog 2006). Ben Gulyas is a poet and sometimes-editor, librarian, bookseller and bartender in Cleveland. His weekly poetry performance `Money for the Band=B4 adds flair to Friday nights at the Barking Spider Tavern in university Circle. He reads heavily improvisational poetry accompanied by the headlining acts before `passing the hat=B4 for the musicians. Bree is a poet and founder of Green Panda Press, which produces anthologies and chapbooks of poetry and art. All books are hand-made and bound using household materials like double-sided window insulation tape, or minty dental floss. Green Panda titles include Rain Poet (2004), by Daniel Thompson & Virgin Erotica (2006) by L.A.=B4s S.A. Griffin and Toledo=B4s John Dorsey. ========================================================================= Date: Sat, 28 Oct 2006 05:59:44 -0400 Reply-To: clwnwr@earthlink.net Sender: UB Poetics discussion group From: Bob Heman Subject: Alex Caldiero, Leonard Gontarek and Jane Ormerod will read Sunday at ABC No Rio celebrating CLWN WR MIME-Version: 1.0 Content-type: text/plain; charset=US-ASCII Alex Caldiero flew in from Utah for this reading. Leonard Gontarek will be Amtraking in from Philadelphia. Jane Ormerod, yes, will be walking up from downtown. All to excite and entertain you. Three great poets celebrating the rebirth of CLWN WR. Please come and hear them. You won't be disappointed! ABC No Rio Celebrates CLWN WR!!! Sunday, October 29, 7:00 p.m. Alex Caldiero Leonard Gontarek Jane Ormerod introduced by Bob Heman editor/publisher of CLWN WR/Clown War since 1971 hosted by Patricia Carragon for ABC No Rio $5.00 donation ABC No Rio, 156 Rivington Street ("F" Train to Delancey – walk north one block) ========================================================================= Date: Sat, 28 Oct 2006 02:04:46 -1000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Gabrielle Welford Subject: my son heading to new york In-Reply-To: <4542614D.2319.2A7B975@marcus.designerglass.com> MIME-version: 1.0 Content-type: TEXT/PLAIN; charset=US-ASCII Content-transfer-encoding: 7BIT dear po'folks, my 17-year-old son tolemy is headed for new york city. i think he's told his father that he has a place to stay, but i think this is iffy. does anyone there have a couch he could crash on for the next 4 days? he's taking the chinatown bus up here to boston on the 1st. you would not be responsible for him, just for his sleep place. i would be most grateful. all best, gabe gabrielle welford welford@hawaii.edu Checked by AVG anti-virus system (http://www.grisoft.com). Version: 6.0.595 / Virus Database: 378 - Release Date: 2/25/2004 wilhelm reich anarcho-syndicalism gut/heart/head/earth ========================================================================= Date: Sat, 28 Oct 2006 06:04:46 -0700 Reply-To: rwilson@ucsc.edu Sender: UB Poetics discussion group From: Robert J Wilson Subject: Santa Cruz Poetry reading cum exoricism of Bush 2 & his Moloch war-god of earth-death In-Reply-To: MIME-version: 1.0 Content-type: text/plain; charset=big5 Content-transfer-encoding: quoted-printable Content-disposition: inline Veterans Day Poetry Reading Saturday=2C November 11 at 7=3A30 pm honoring all veterans by questioning war Dr=2E Rob Wilson UC professor Rob Wilson has published poems in various journals from Tin= fish to Partisan = Review and Poetry=2E He is at work on two collections of poetry=3A Anand= a Air=3A American Pacific = Lines of Flight=3B and Automat=3A Unsettling Anglo-Global US Poetics Alo= ng Asia/Pacific Lines of = Flight=2C and has put together two important collections of cultural cri= ticism=2C one of them = =22Worldings=22 a collection forthcoming this fall with New Pacific Pres= s/North Atlantic Books=2E Rob = will read his anti-war poems and perform an exorcism of the spirit of =A1= =A7W=2E=A1=A8 Presented by = A New Cadence Poetry Series at Louden Nelson Community Center 301 Center St=2E Santa Cruz = 420-6177 Rev=2E Dr=2E Tom Marshall Tom Marshall teaches at Cabrillo College and publishes in its journal=2C= Porter Gulch Review=2C as = well as other local=2C national=2C and international journals=2E His new= chapbook entitled =A1=DA (is not = equal to) / a suite of poems will be given away at this reading=2E Rev D= oc T will read those poems = and contribute one about =A1=A7possession=A1=A8 to the evening=A1=A6s ex= orcism of the spirit of war=2E = =2C ========================================================================= Date: Sat, 28 Oct 2006 09:45:47 -0400 Reply-To: Martha Deed Sender: UB Poetics discussion group From: Martha Deed Subject: New Video - October Surprise Comments: To: Martha Deed MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable October 12, 2006, when the light snowfall began, I videotaped a few = sequences -- just to have on hand for future projects. . . http://www.sporkworld.org/Deed/surprise/october_surprise.html Martha Deed ========================================================================= Date: Sat, 28 Oct 2006 09:26:57 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: mIEKAL aND Subject: Fwd: brad will RIP Comments: To: Theory and Writing , dreamtime@yahoogroups.com Mime-Version: 1.0 (Apple Message framework v752.2) Content-Transfer-Encoding: quoted-printable Content-Type: text/plain; charset=WINDOWS-1252; delsp=yes; format=flowed This is devastating news, Brad was a good friend & had just spent a =20 long weekend here at Dreamtime a few months ago. ~mIEKAL > > ---------- Forwarded message ---------- > From: nick > Date: Oct 28, 2006 1:30 AM > Subject: brad will rip > To: e > > just in case you hadn't heard > > http://www.narconews.com/Issue43/article2223.html > > Brad Will, New York Documentary Filmmaker and Indymedia Reporter, > Assassinated by Pro-Government Gunshot in Oaxaca While Reporting the > Story > Photographer Oswaldo Ramirez of the Daily Milenio Wounded in Attack by > Shooters for Ulises Ruiz Ortiz in Santa Lucia El Camino > > By Al Giordano > The Other Journalism with the Other Campaign in Chihuahua > > October 27, 2006 > > Brad Will, 36, a documentary filmmaker and reporter for Indymedia in > New York, Bolivia and Brazil, died today of a gunshot to the chest > when pro-government attackers opened fire on a barricade in the > neighborhood of Santa Lucia El Camino, on the outskirts of Oaxaca, > Mexico. He died with his video camera in his hands. > > > Brad Will in Chetumal, Quintana Roo > Photo: D.R. 2006 Narco News > Brad went to Oaxaca in early October to document the story that > Commercial Media simulators like Rebecca Romero of Associated Press > distort instead of report: the story of a people sick and tired of > repression and injustice, who take back the government that rightfully > is theirs. In that context, his assassination is also a consequence of > what happens when independent media must do the work that Big Media > fails to do: to tell the truth. My friend and colleague since 1996 > when we labored together at 88.7 FM Steal This Radio on New York's > Lower East Side, I bumped into him again in Bolivia in 2004 during a > public reception held by the Narco News School of Authentic > Journalism, and again on the Yucat=E1n peninsula last January where he > came to cover the beginnings of the Zapatista Other Campaign =96 Brad > died to bring the authentic story to the world. > > Brad went to Oaxaca in early October knowing, assuming and sharing the > risks of reporting the story. His final published article, on October > 17, titled "Death in Oaxaca," reported the assassination of Alejandro > Garc=EDa Hern=E1ndez on the barricades set up by the Popular Assembly = of > the Peoples of Oaxaca (APPO, in its Spanish initials). Brad wrote: > > "=85went walking back from alejandros barricade with a group of > supporters who came from an outlying district a half hour away=97went > walking with angry folk on their way to the morgue=97went inside and = saw > him=97havent seen too many bodies in my life=97eats you up=97a stack = of > nameless corpes in the corner=97about the number who had died=97no > refrigeration=97the smell=97they had to open his skull to pull the = bullet > out=97walked back with him and his people > > "=85and now alejandro waits in the zocalo=97like the others at = their > plantones=97hes waiting for an impasse, a change, an exit, a way > forward, a way out, a solution=97waiting for the earth to shift and > open=97waiting for november when he can sit with his loved ones on the > day of the dead and share food and drink and a song=97waiting for the > plaza to turn itself over to him and burst=97he will only wait until > morning but tonight he is waiting for the governor and his lot to > never come back=97one more death=97one more martyr in a dirty war=97one = more > time to cry and hurt=97one more time to know power and its ugly = head=97one > more bullet cracks the night=97one more night at the barricades=97some > keep the fires=97others curl up and sleep=97but all of them are with = him > as he rests one last night at his watch=85" > > > Brad Will's Assassins > Photo: D.R. 2006 El Universal > Last September 26, Brad, on his way to Mexico, wrote me: > > "hey al > it brad from nyc=97it would be great to get yr narco contacts in > oaxaca=97i am headed there and want to connect with as many folks as > posible=97are you in df?=97i should be stopping though there and it = would > be great > to go out for a drink > solid > brad" > > Knowing of Brad's hard luck covering other stories (he had been beaten > by police in New York and in Brazil doing this important but dangerous > work), his difficulty with the Spanish language, and of the greater > risk for independent reporters who haven't been embedded over time > (and thus known by the people) in Oaxaca, I pleaded with him not to > go, to instead go to Atenco and report on the story there of the > arrival of Zapatista comandantes: > > "Our Oaxaca team is firmly embedded. There are a chingo of other > internacionales roaming around there looking for the big story, but > the situation is very delicate, the APPO doesn't trust anyone it > hasn't known for years, and they keep telling me not to send > newcomers, because the situation is so fucking tense=85 If you are > coming to Mexico, I would much more recommend your hanging around > DF-Atenco and reporting that story which is about to begin. The APPO > is (understandably) very distrustful of people it doesn't already > know. And we have enough hands on deck there to continue breaking the > story. But what is about to happen in Atenco-DF needs more hands on > deck." > > Brad replied that same night, undeterred: > > "hey > thanks for the quick get back=97i have a hd professional camera=97i > have heard reports about the level of distrust in oax and it is > disconcerting=97i think i will still go=97i wont tell them you sent me = and > i am open to other suggestions on how to spend my time=97i dont know > what is happening in atenco in the coming days=97i may connect with la > otra capitulo dos somewhere along the way=97great to hear from you=97do > you have a cell / phone number? > solidaridad > b rad" > > I was not surprised that he decided to go to Oaxaca anyway. Brad had > always taken risks: whether riding freight train box cars across the > North American plain, or bunkering in his Fifth Street squat in 1996 > when police and the wrecking ball invaded, his life had been one of > courage. I gave him my cell phone number in case of emergency. He > wrote back on October 7, three weeks ago: > > "hey al > brad here=97thanks for the contacts and info=97i landed in df = feeling > pretty ill and then came straight to oax and am plugged in=97if = you > want to share your contacts down here it would be very helpful=97i = think > I will stay down here for a month=97nancy said you had a contact with = a > human rights lawyer who might help journalists not get deported =96 > please help me with that information as well=97i know you are busy and > look forward to seeing more of your work > peace > b rad" > > In those emails are the words of a valiant compa=F1ero who, knowing = full > well that this story could be his last, decided to share the risks > with the people whose cause he reported. > > Also sharing the risks today in Santa Lucia El Camino, Oaxaca was > photographer Oswaldo Ram=EDrez of the daily Milenio, wounded by = gunfire. > It was Milenio reporter Diego Osorio who confirmed the news of Brad's > death at 4:30 this afternoon. He also said that in another corner of > the city, outside the state prosecutor's office, gunmen fired at other > APPO members, that three were wounded, and that one schoolteacher is > reported dead, but was unable so far to confirm that report. > > Photo: D.R. 2006 El Universal > Brad Will was known and liked throughout the hemisphere, and in its > media centers from New York to Sao Paulo to Mexico City. Tonight his > body lies in the same Oaxaca morgue he visited and wrote about last > week. He will not go silently into the long night of repression that > the illegitimate governor Ulises Ruiz Ortiz, President Vicente Fox and > his illegitimate successor Felipe Calderon have created in Oaxaca, > and, indeed, in so much of Mexico. It was inevitable that soon an > international reporter would join the growing list of the assassinated > under the repressive regimes of Mexico (others had already been raped > and beaten in Atenco, only to be deported from the country last May). > Tonight it was Brad, doing the responsible and urgent work, video > camera in hand, of breaking the Commercial Media blockade. > > Speaking at a public meeting of the Other Campaign in Buaiscobe, > Sonora, when the news came in about Brad's death, Zapatista > Subcomandante Insurgente Marcos, upon receiving a briefing of the > day's events in Oaxaca, told the public and the press: > > "We know that they killed at least one person. This person that > they killed was from the alternative media that are here with us. He > didn't work for the big television news companies and didn't receive > pay. He is like the people who came here with us on the bus, who are > carrying the voices of the people from below so that they would be > known. Because we already know that the television news companies and > newspapers only concern themselves with governmental affairs. And this > person was a compa=F1ero of the Other Campaign. He also traveled = various > parts of the country with us, and he was with us when we were in > Yucat=E1n, taking photos and video of what was happening there. And = they > shot him and he died. It appears that there is another person dead. > The government doesn't want to take responsibility for what happened. > Now they tell us that all of the people of Oaxaca are mobilizing. They > aren't afraid. They are mobilizing to take to the streets and protest > this injustice. We are issuing a call to all of the Other Campaign at > the national level and to compa=F1eros and compa=F1eras in other = countries > to unite and to demand justice for this dead compa=F1ero. We are = making > this call especially to all of the alternative media, and free media > here in Mexico and in all the world." > > Tonight, from the Oaxaca City Morgue, Brad Will shouts "Ya Basta!" =96 > Enough Already! =96 to the death and suffering imposed (as Brad, a > thoughtful and serious anarchist, understood) by an economic system, > the capitalist system. His death will be avenged when that system is > destroyed. And Brad Will's ultimate sacrifice exposes the Mexican > regime for the brutal authoritarian violence that the Commercial Media > hides from the world, and thus speeds the day that justice will come > from below and sweep out the regimes of pain and repression that > system requires. Brad gave his life tonight so that you and I could > know the truth. We owe him to act upon it, and to share the risks that > he took. Goodbye, old friend. Your sacrifice will not be in vain. > > Update, 10:30 p.m. Oaxaca: The Popular Assembly of the Peoples of > Oaxaca (APPO) has confirmed that schoolteacher Emilio Alfonso Fabi=E1n > has died from three bullet wounds after an attack by shooters for > Ulises Ruiz Ortiz outside the state government palace. > > Kristin Bricker reported for this story from Sonora > ========================================================================= Date: Sat, 28 Oct 2006 23:20:27 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Christopher Harter Subject: CFP: Little Magazines/Small Presses/Mimeo Revolution In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; format=flowed CFP: “Small Presses/Little Magazines of the Mimeograph Revolution: Their Audiences and the Role of Printing Technologies” Proposed Panel for The Society for the History of Authorship, Reading and Publishing (SHARP) Conference, Minneapolis, Minnesota July 11-15, 2007 The readership for twentieth century little magazines and small presses has often been considered a narrow one, with the majority of readers being those interested in experimental or avant-garde literature. The Mimeograph Revolution of the 1960s resulted in an explosion in the number of little magazines and small presses, particularly in the United States, Canada and the UK. While the focus continued to be on “new writing,” the community of publishers and writers of this movement brought a grassroots ethos to literary publishing in opposition to what was perceived to be the domination of academic criticism and the commercialization of mainstream publishing. As Curt Johnson and Diane Kruchkow have stated, the 1960s small press “provided an environment…in which one could discover literature first-hand.” In recognition of SHARP’s 2007 theme, “Open the Book, Open the Mind,” this panel seeks to explore how this discovery took place for readers of these publications by examining the role of different printing technologies and production methods employed during this “revolution” and how they affected the target audience for these publications. Exactly what were the production methods used under the banner of the Mimeo Revolution and how did they differ from each other and from publications of earlier eras? What, if any, divergences were seen in the traditional audience for literary work produced by little magazines and small presses? How did this grassroots effort differentiate itself from the more conservative academic quarterlies and commercial publishers? The panel encourages papers that take a historical look at literary publishing with a focus on the publication and production of these works, rather than a critique of the work within, or how the styles of writing originating during this time affected the publication of that work. Papers may examine individual presses or magazines or take a wider view of the era. Send a one page abstract and brief CV by November 20, 2006, to Christopher Harter (charter@uiuc.edu). _________________________________________________________________ Get today's hot entertainment gossip http://movies.msn.com/movies/hotgossip?icid=T002MSN03A07001 ========================================================================= Date: Sat, 28 Oct 2006 21:39:20 -0700 Reply-To: ishaq1824@shaw.ca Sender: UB Poetics discussion group Comments: RFC822 error: Incorrect or incomplete address field found and ignored. From: Ishaq Organization: selah7 Subject: Jail conditions for Canadian aboriginals a 'disgrace' MIME-version: 1.0 Content-type: text/plain; charset=windows-1252; format=flowed Content-transfer-encoding: 8BIT Jail conditions for Canadian aboriginals a 'disgrace': ombudsman Monday, October 16, 2006 CBC News http://www.cbc.ca/canada/story/2006/10/16/native-prisoners.html Aboriginal offenders are routinely discriminated against by the corrections system and are far less likely to get parole or be rehabilitated by their experiences in jail, the ombudsman for federal prisons says. Releasing his annual report into conditions in federal prisons, correctional investigator Howard Sapers said the challenges faced by aboriginal people in Canadian jails amounts to "a national disgrace". "Despite years of task force reports, internal reviews, national strategies, partnership agreements and action plans, there has been no measurable improvements in the conditions for aboriginal offenders during the last 20 years," said Sapers at a news conference in Ottawa. He said the overall incarceration rate for aboriginal Canadians was nine times higher than for the population at large and the situation was even worse for aboriginal women. One in three inmates in federally-run women's prisons were aboriginal, he said, with almost half of them in maximum security institutions. Aboriginals often sent to maximum security prison He said there was "routine overclassification" of native prisoners, who were far more likely to be sent to maximum security prison than offenders from other backgrounds. "That means they [aboriginal offenders] often serve their sentences away from family, community, their friends and elders," Sapers said, "They are sent into segregation more often … severely limiting access to rehabilitative programs and services that are intended to prepare them for their release." Parole is routinely denied or revoked, often on technical grounds, he said. Sapers called on the federal government to address the situation urgently with new programs, more resources and consultations with aboriginal leaders and communities. Angus Toulouse, of the Ontario Regional Council of the Assembly of First Nations, said poverty, inadequate educational and employment opportunities, alcoholism and domestic abuse were among the reasons for overrepresentation. "Where disadvantaged socio-economic factors lead to overrepresentation of First Nations peoples in the criminal justice system, this is systemic discrimination," said Toulouse. Public Safety Minister Stockwell Day has said he will consider the findings of Sapers's report but there is no evidence of systemic discrimination against native offenders in the prison system. The president of the Native Women's Association of Canada said the alarming rise in the number of aboriginal women who are incarcerated affects all Canadians. "If this was the case for non-aboriginal people, I'm almost certain that Canadians would react and demand that something be done," said Beverly Jacobs. ________________________________________________________ Montreal Muslim News Network - http://www.montrealmuslimnews.net Listen to Caravan, produced by Samaa Elibyari, every Wednesday from 2-3PM: http://www.montrealmuslimnews.net/caravan.htm Lebanon News & Photos: http://www.montrealmuslimnews.net/lebanonnews.htm _____________________________ Change address / Leave mailing list: http://ymlp.com/u.php?montrealmuslimnews+ishaq1824@shaw.ca Hosting by YourMailingListProvider see also: Canada ranked low in UN native report http://www.cbc.ca/canada/story/2005/04/11/UNNatives-050411.html ************************ -- Stay Strong -"I testified/My mama cried/Black people died/When the other man lied" -- chuck d \ "Be a friend to the oppressed and an enemy to the oppressor" --Imam Ali Ibn Abu Talib (as) "They want to see us breathless. We will not be. They want to see us tired. We refuse to be. They want to see what our strength is. We will not show it in advance. We will continuously surprise them." -- Julia Wright "We restate our commitment to the peace process. But we will not submit to a process of humiliation." --patrick o'neil "...we have the responsibility to make no deal with the oppressor" --harry belafonte "...these people generate wars in Asia and Africa,...These are the people who, in the last century, caused several devastating wars. In one world war alone, they killed over 60 million people.... In the near future, Allah willing, we will put you to trial in courts established by the peoples...."-- mahmoud ahmadinejad http://www.sidebrow.net/2006/a047braithwaite.php http://radio.indymedia.org/uploads/just_a_sec_for_whiteboys_in_afrika__downy_dub____.mp3 http://cleveland.indymedia.org/uploads/2006/07 olivet___h.a.t.s_in_the_square___loud_ruffa1b.mp3 http://vancouver.indymedia.org/?q=node/315 http://radio.indymedia.org/news/2005/10/7255.php http://ilovepoetry.com/search.asp?keywords=braithwaite&orderBy=date http://www.lowliferecords.co.uk/ ========================================================================= Date: Sat, 28 Oct 2006 23:52:29 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jesse Crockett Subject: Re: The first Petit Mal In-Reply-To: <4541ADCB.4000609@listenlight.net> MIME-version: 1.0 Content-type: text/plain; charset=ISO-8859-1 Content-transfer-encoding: 7BIT Jesse Crockett wrote: > Petit Mal > > Too bad you can resolve matters > that need your wan sensory input. > > > -- should i go on, ? > > okay, the whole rubric of this minor is available at http://denacht.blogspot.com, for those interested to read about fourteen more. (My apologies to those who suffer from real absence seizures.) Jwc ========================================================================= Date: Sat, 28 Oct 2006 21:50:03 -0700 Reply-To: ishaq1824@shaw.ca Sender: UB Poetics discussion group Comments: RFC822 error: Incorrect or incomplete address field found and ignored. From: Ishaq Organization: selah7 Subject: 'Cross' Shows Jesus As Being a Black Man MIME-version: 1.0 Content-type: text/plain; charset=us-ascii; format=flowed Content-transfer-encoding: 7bit 'Cross' Shows Jesus As Being a Black Man http://apnews1.iwon.com//article/20061025/D8KVQNBO0.html Oct 25, 2:23 PM (ET) By SANDY COHEN (AP) This undated photo released by Nu-Lite Entertainment shows Jean Claude LaMarre, who wrote, directed... http://apnews1.iwon.com/image/20061025/FILM_BLACK_JESUS.sff_LA302_20061025141922.html?date=20061025&docid=D8KVQNBO0 LOS ANGELES (AP) - It's a familiar image for millions of Christians: Jesus Christ, with a crown of thorns, hanging from the cross. What color is he? In a controversial new film opening Friday, he is black. "Color of the Cross" tells a traditional story, focusing on the last 48 hours of his life as told in the Gospels. In this version, though, race contributes to his persecution. It is the first representation in the history of American cinema of Jesus as a black man. "It's very important because (the film) is going to provide an image of Jesus for African-Americans that is no longer under the control of whites," says Stephenson Humphries-Brooks, an associate professor of religious studies at New York's Hamilton College and author of "Cinematic Savior: Hollywood's Making of the American Christ." What Jesus looked like has long been debated by theologians around the world. Different cultures have imagined him in different ways, says Stephen Prothero, chairman of the religion department at Boston University. In Japan, Jesus looks Japanese. In Africa, he is black. But in America he is almost always white, like the fair-haired savior painted by Leonardo Da Vinci in "The Last Supper" in 1495. While some black churches have images of a black Jesus behind the altar and others have claimed Christ was black, Prothero says "none of those arguments or images have filtered much into the mainstream." Filmmaker Jean Claude LaMarre set out to change that with "Color of the Cross." LaMarre, who plays Jesus, wrote, directed and financed the film. It will open in 30 theaters in predominantly black neighborhoods. "Black people in this country are the only race of people who worship a god outside their own image," says LaMarre, 38, adding that showing Christ as a black man is "the most poignant way to deal with the issue of race in this country because it goes to the heart of how we look at the world." It also provides a positive image of blacks, something that's been scant in the U.S., says the Rev. Cecil "Chip" Murray, longtime leader of L.A.'s First African Methodist Episcopal Church and a producer of the film. "It could be revolutionary because, for four centuries in our nation, blacks have been at the lowest end of the stratum," he says. "I think it will traumatize the United States more than it will foreign nations who, to some extent, don't have a centuries-old concept of equating black with negativity." Humphries-Brooks agrees. Other countries are likely to view the film "in a more detached manner," he says, "because of the way (they) see our race-relations problem." Why does race matter in the story of Christ? "Jesus isn't in the hands of historians," Prothero says. "What we have now is our own debate and, in that debate, race has to be a factor because race is a big predicament in American life." Film is a powerful place to have the discussion, says Humphries-Brooks, who calls the medium "one of the last places that is quasi-public for the formation of values in America." "Artistic and aesthetic views are as important in developing religious values as the words we speak. Everybody goes to the movies. Not everybody goes to the same church." Filmmaker LaMarre thinks the film can only have a positive effect. "The message is that color, a colored Jesus Christ, doesn't matter," he says. "That's why the movie is important. When you have one prevailing image out there, it suggests color does matter." ---_ On the Net: http://www.colorofthecross.com _____________________________ Change address / Leave mailing list: http://ymlp.com/u.php?montrealmuslimnews+ishaq1824@shaw.ca Hosting by YourMailingListProvider see also: Canada ranked low in UN native report http://www.cbc.ca/canada/story/2005/04/11/UNNatives-050411.html ************************ -- Stay Strong -"I testified/My mama cried/Black people died/When the other man lied" -- chuck d \ "Be a friend to the oppressed and an enemy to the oppressor" --Imam Ali Ibn Abu Talib (as) "They want to see us breathless. We will not be. They want to see us tired. We refuse to be. They want to see what our strength is. We will not show it in advance. We will continuously surprise them." -- Julia Wright "We restate our commitment to the peace process. But we will not submit to a process of humiliation." --patrick o'neil "...we have the responsibility to make no deal with the oppressor" --harry belafonte "...these people generate wars in Asia and Africa,...These are the people who, in the last century, caused several devastating wars. In one world war alone, they killed over 60 million people.... In the near future, Allah willing, we will put you to trial in courts established by the peoples...."-- mahmoud ahmadinejad http://www.sidebrow.net/2006/a047braithwaite.php http://radio.indymedia.org/uploads/just_a_sec_for_whiteboys_in_afrika__downy_dub____.mp3 http://cleveland.indymedia.org/uploads/2006/07 olivet___h.a.t.s_in_the_square___loud_ruffa1b.mp3 http://vancouver.indymedia.org/?q=node/315 http://radio.indymedia.org/news/2005/10/7255.php http://ilovepoetry.com/search.asp?keywords=braithwaite&orderBy=date http://www.lowliferecords.co.uk/ ========================================================================= Date: Sun, 29 Oct 2006 01:14:48 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Andrew Lundwall Subject: melancholia's tremulous dreadlocks issue 7 Comments: To: mtdmagazine@gmail.com Mime-Version: 1.0 Content-Type: text/plain; format=flowed The seventh issue of melancholia's tremulous dreadlocks is live, featuring work by: Anne Heide - Brian Mornar - Chris Tonelli - Daniela Olszewska - Ellen Kennedy - Kathleen Rooney - Michael Rerick - Tao Lin - Tim Earley art by Adrian Landon Brooks mtd is a biweekly online poetry journal edited by Andrew Lundwall and François Luong. http://mtd.celaine.com _________________________________________________________________ Find a local pizza place, music store, museum and more…then map the best route! http://local.live.com?FORM=MGA001 ========================================================================= Date: Sat, 28 Oct 2006 22:47:01 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Chris Stroffolino Subject: Re: Alex Caldiero, Leonard Gontarek and Jane Ormerod will read Sunday at ABC No Rio celebrating CLWN WR Comments: To: clwnwr@earthlink.net In-Reply-To: <380-22006106289594446@earthlink.net> Mime-Version: 1.0 (Apple Message framework v752.3) Content-Type: text/plain; charset=WINDOWS-1252; delsp=yes; format=flowed Content-Transfer-Encoding: quoted-printable So nice to see you mention Leonard Gonterek's name on the poetry =20 list, Leonard was a great force on the Philly Poetry scene when I =20 was there from 86-92. For people like myself who were "too street =20 poet for the academics, and allegedly too academic for the street =20 poets" (and at the time in Philly it was pretty damn 'either/or'), =20 Leonard's work was very helped widen the range in ways that gave a =20 lot of younger poets and writers hope and permission. Have fun at the =20= reading... Chris On Oct 28, 2006, at 2:59 AM, Bob Heman wrote: > Alex Caldiero flew in from Utah for this reading. Leonard Gontarek =20= > will be Amtraking in from Philadelphia. Jane Ormerod, yes, will be =20= > walking up from downtown. All to excite and entertain you. Three =20 > great poets celebrating the rebirth of CLWN WR. Please come and =20 > hear them. You won't be disappointed! > > > ABC No Rio Celebrates CLWN WR!!! > Sunday, October 29, 7:00 p.m. > > Alex Caldiero > Leonard Gontarek > Jane Ormerod > introduced by Bob Heman > editor/publisher of CLWN WR/Clown War since 1971 > > hosted by Patricia Carragon for ABC No Rio > $5.00 donation > ABC No Rio, 156 Rivington Street ("F" Train to Delancey =96 walk =20 > north one block) ========================================================================= Date: Sun, 29 Oct 2006 01:33:21 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jason Quackenbush Subject: Re: 'Cross' Shows Jesus As Being a Black Man In-Reply-To: <454432FB.6090608@shaw.ca> MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit I've always found this topic to be really interesting. There are two issues at play here that I think get undue attention: 1.) arguing over the race of Jesus of Nazareth is to project the socially constructed ideas of race from our era into an era when the ideas of race were completely different. So to say that Jesus was white or Jesus was black or Jesus was Asian is entirely anachronistic. 2.) From a theological perspective, the issue that the article posted brings up, that people worship G-d in their own image, well, that's a little strange, isn't it, when the basic idea is that we were created in H-s image? I mean, really when it comes right down to it, all the people in the world probably look nothing like G-d, but if you took the common characteristics of all of us, then you'd get that "image of the divine" that we were created in, right? So focussing on Jesus's race is really only a way of further distancing your imagge of god from what he actually looks like, since it's a way of enforcing difference rather than likeness. 3.) which is not to say that Black folks aren't completely right to point out that a blond haired blue eyed jesus is pretty fucking dumb, just saying maybe the muslims got it right when they decreed there would be no images of God or The Prophet. It makes a lot more sense from a practical view. If nobody has an idea what they look like, then they really could look like everybody. everybody with a y chromosome at least. Ishaq wrote: > 'Cross' Shows Jesus As Being a Black Man > > http://apnews1.iwon.com//article/20061025/D8KVQNBO0.html > > Oct 25, 2:23 PM (ET) > > By SANDY COHEN > > (AP) This undated photo released by Nu-Lite Entertainment shows Jean > Claude LaMarre, who wrote, directed... > > http://apnews1.iwon.com/image/20061025/FILM_BLACK_JESUS.sff_LA302_20061025141922.html?date=20061025&docid=D8KVQNBO0 > > > LOS ANGELES (AP) - It's a familiar image for millions of Christians: > Jesus Christ, with a crown of thorns, hanging from the cross. What color > is he? In a controversial new film opening Friday, he is black. > > "Color of the Cross" tells a traditional story, focusing on the last 48 > hours of his life as told in the Gospels. In this version, though, race > contributes to his persecution. > > It is the first representation in the history of American cinema of > Jesus as a black man. > > "It's very important because (the film) is going to provide an image of > Jesus for African-Americans that is no longer under the control of > whites," says Stephenson Humphries-Brooks, an associate professor of > religious studies at New York's Hamilton College and author of > "Cinematic Savior: Hollywood's Making of the American Christ." > > What Jesus looked like has long been debated by theologians around the > world. Different cultures have imagined him in different ways, says > Stephen Prothero, chairman of the religion department at Boston > University. In Japan, Jesus looks Japanese. In Africa, he is black. But > in America he is almost always white, like the fair-haired savior > painted by Leonardo Da Vinci in "The Last Supper" in 1495. > > While some black churches have images of a black Jesus behind the altar > and others have claimed Christ was black, Prothero says "none of those > arguments or images have filtered much into the mainstream." > > Filmmaker Jean Claude LaMarre set out to change that with "Color of the > Cross." LaMarre, who plays Jesus, wrote, directed and financed the film. > It will open in 30 theaters in predominantly black neighborhoods. > > "Black people in this country are the only race of people who worship a > god outside their own image," says LaMarre, 38, adding that showing > Christ as a black man is "the most poignant way to deal with the issue > of race in this country because it goes to the heart of how we look at > the world." > > It also provides a positive image of blacks, something that's been scant > in the U.S., says the Rev. Cecil "Chip" Murray, longtime leader of > L.A.'s First African Methodist Episcopal Church and a producer of the film. > > > "It could be revolutionary because, for four centuries in our nation, > blacks have been at the lowest end of the stratum," he says. "I think it > will traumatize the United States more than it will foreign nations who, > to some extent, don't have a centuries-old concept of equating black > with negativity." > > Humphries-Brooks agrees. Other countries are likely to view the film "in > a more detached manner," he says, "because of the way (they) see our > race-relations problem." > > Why does race matter in the story of Christ? > > "Jesus isn't in the hands of historians," Prothero says. "What we have > now is our own debate and, in that debate, race has to be a factor > because race is a big predicament in American life." > > Film is a powerful place to have the discussion, says Humphries-Brooks, > who calls the medium "one of the last places that is quasi-public for > the formation of values in America." > > "Artistic and aesthetic views are as important in developing religious > values as the words we speak. Everybody goes to the movies. Not > everybody goes to the same church." > > Filmmaker LaMarre thinks the film can only have a positive effect. > > "The message is that color, a colored Jesus Christ, doesn't matter," he > says. "That's why the movie is important. When you have one prevailing > image out there, it suggests color does matter." > > ---_ > > On the Net: > > http://www.colorofthecross.com > > _____________________________ > Change address / Leave mailing list: > http://ymlp.com/u.php?montrealmuslimnews+ishaq1824@shaw.ca > Hosting by YourMailingListProvider > > > see also: Canada ranked low in UN native report > http://www.cbc.ca/canada/story/2005/04/11/UNNatives-050411.html > > ************************ > > -- > Stay Strong > > -"I testified/My mama cried/Black people died/When the other man lied" > -- chuck d > \ > "Be a friend to the oppressed and an enemy to the oppressor" > --Imam Ali Ibn Abu Talib (as) > > "They want to see us breathless. We will not be. They want to see us > tired. We refuse to be. They want to see what our strength is. We will > not show it in advance. We will continuously surprise them." -- Julia > Wright > > "We restate our commitment to the peace process. But we will not > submit to a process of humiliation." > --patrick o'neil > > "...we have the responsibility to make no deal with the oppressor" > --harry belafonte > > "...these people generate wars in Asia and Africa,...These are the > people who, in the last century, caused several devastating wars. In one > world war alone, they killed over 60 million people.... In the near > future, Allah willing, we will put you to trial in courts established by > the peoples...."-- mahmoud ahmadinejad > > http://www.sidebrow.net/2006/a047braithwaite.php > > http://radio.indymedia.org/uploads/just_a_sec_for_whiteboys_in_afrika__downy_dub____.mp3 > > > http://cleveland.indymedia.org/uploads/2006/07 > olivet___h.a.t.s_in_the_square___loud_ruffa1b.mp3 > > http://vancouver.indymedia.org/?q=node/315 > > http://radio.indymedia.org/news/2005/10/7255.php > > http://ilovepoetry.com/search.asp?keywords=braithwaite&orderBy=date > > > http://www.lowliferecords.co.uk/ ========================================================================= Date: Sun, 29 Oct 2006 12:25:21 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Tom W. Lewis" Subject: Re: Little Magazines/Small Presses/Mimeo Revolution Comments: cc: editor@saintpaulalmanac.com In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: quoted-printable Hello, Mr. Zeitgeist... I was at a reading in St. Paul yesterday, and the topic of small press publishing today was a central theme in the after- conversation.=20 Do you have a venue in mind for the conference?=20 Tom -----Original Message----- From: UB Poetics discussion group [mailto:POETICS@LISTSERV.BUFFALO.EDU] On Behalf Of Christopher Harter Sent: Saturday, October 28, 2006 22:20 To: POETICS@LISTSERV.BUFFALO.EDU Subject: CFP: Little Magazines/Small Presses/Mimeo Revolution CFP: "Small Presses/Little Magazines of the Mimeograph Revolution: Their=20 Audiences and the Role of Printing Technologies" Proposed Panel for The Society for the History of Authorship, Reading and=20 Publishing (SHARP) Conference, Minneapolis, Minnesota July 11-15, 2007 The readership for twentieth century little magazines and small presses has=20 often been considered a narrow one, with the majority of readers being those=20 interested in experimental or avant-garde literature. The Mimeograph=20 Revolution of the 1960s resulted in an explosion in the number of little magazines and small presses, particularly in the United States, Canada and=20 the UK. While the focus continued to be on "new writing," the community of=20 publishers and writers of this movement brought a grassroots ethos to=20 literary publishing in opposition to what was perceived to be the domination=20 of academic criticism and the commercialization of mainstream publishing. =20 As Curt Johnson and Diane Kruchkow have stated, the 1960s small press=20 "provided an environment...in which one could discover literature first-hand." In recognition of SHARP's 2007 theme, "Open the Book, Open the Mind," this=20 panel seeks to explore how this discovery took place for readers of these=20 publications by examining the role of different printing technologies and=20 production methods employed during this "revolution" and how they affected=20 the target audience for these publications. Exactly what were the production=20 methods used under the banner of the Mimeo Revolution and how did they=20 differ from each other and from publications of earlier eras? What, if any,=20 divergences were seen in the traditional audience for literary work produced=20 by little magazines and small presses? How did this grassroots effort=20 differentiate itself from the more conservative academic quarterlies and commercial publishers? The panel encourages papers that take a historical=20 look at literary publishing with a focus on the publication and production=20 of these works, rather than a critique of the work within, or how the styles=20 of writing originating during this time affected the publication of that work. Papers may examine individual presses or magazines or take a wider view of the era. Send a one page abstract and brief CV by November 20, 2006, to Christopher=20 Harter (charter@uiuc.edu). _________________________________________________________________ Get today's hot entertainment gossip =20 http://movies.msn.com/movies/hotgossip?icid=3DT002MSN03A07001 ========================================================================= Date: Sun, 29 Oct 2006 13:57:34 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Phil Primeau Subject: Dirty Updates! MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline http://dirt-zine.blogspot.com NOW AT DIRT, THE PREMIER JOURNAL OF MINIMALIST ART, LITERATURE, AND THEORY ............................................................................ GEOF HUTH on "The Art of Pwoermds" . . . DIRT interviews ARAM SAROYAN . . . Visual art by IRA JOEL HABER and JESSE FERGUSON . . . Poetry by ANDY GRICEVICH and AVERY BURNS . . . Full review of "Concrete Movies" by NICO VASSILAKIS . . . MARK YOUNG does short fiction . . . & more! Philip Primeau Editor, *Dirt* http://dirt-zine.blogspot.com ========================================================================= Date: Sun, 29 Oct 2006 11:08:25 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mary Kasimor Subject: Re: Little Magazines/Small Presses/Mimeo Revolution In-Reply-To: <54AA9B41BC35F34EAD02E660901D8A5A0A052747@TLRUSMNEAGMBX10.ERF.THOMSON.COM> MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Good question. I think that the small press "revolution" is so important to poetry. Many people would not be read if it weren't for these small presses--and now we have moved on to online journals, which I disapproved of at first, but now have a great deal of respect and affection for these sources of new poets and poetry. "Tom W. Lewis" wrote: Hello, Mr. Zeitgeist... I was at a reading in St. Paul yesterday, and the topic of small press publishing today was a central theme in the after- conversation. Do you have a venue in mind for the conference? Tom -----Original Message----- From: UB Poetics discussion group [mailto:POETICS@LISTSERV.BUFFALO.EDU] On Behalf Of Christopher Harter Sent: Saturday, October 28, 2006 22:20 To: POETICS@LISTSERV.BUFFALO.EDU Subject: CFP: Little Magazines/Small Presses/Mimeo Revolution CFP: "Small Presses/Little Magazines of the Mimeograph Revolution: Their Audiences and the Role of Printing Technologies" Proposed Panel for The Society for the History of Authorship, Reading and Publishing (SHARP) Conference, Minneapolis, Minnesota July 11-15, 2007 The readership for twentieth century little magazines and small presses has often been considered a narrow one, with the majority of readers being those interested in experimental or avant-garde literature. The Mimeograph Revolution of the 1960s resulted in an explosion in the number of little magazines and small presses, particularly in the United States, Canada and the UK. While the focus continued to be on "new writing," the community of publishers and writers of this movement brought a grassroots ethos to literary publishing in opposition to what was perceived to be the domination of academic criticism and the commercialization of mainstream publishing. As Curt Johnson and Diane Kruchkow have stated, the 1960s small press "provided an environment...in which one could discover literature first-hand." In recognition of SHARP's 2007 theme, "Open the Book, Open the Mind," this panel seeks to explore how this discovery took place for readers of these publications by examining the role of different printing technologies and production methods employed during this "revolution" and how they affected the target audience for these publications. Exactly what were the production methods used under the banner of the Mimeo Revolution and how did they differ from each other and from publications of earlier eras? What, if any, divergences were seen in the traditional audience for literary work produced by little magazines and small presses? How did this grassroots effort differentiate itself from the more conservative academic quarterlies and commercial publishers? The panel encourages papers that take a historical look at literary publishing with a focus on the publication and production of these works, rather than a critique of the work within, or how the styles of writing originating during this time affected the publication of that work. Papers may examine individual presses or magazines or take a wider view of the era. Send a one page abstract and brief CV by November 20, 2006, to Christopher Harter (charter@uiuc.edu). _________________________________________________________________ Get today's hot entertainment gossip http://movies.msn.com/movies/hotgossip?icid=T002MSN03A07001 --------------------------------- Access over 1 million songs - Yahoo! Music Unlimited Try it today. ========================================================================= Date: Sun, 29 Oct 2006 14:20:12 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Tisa Bryant Subject: ODYSSEY premiere/release party at MIX NYC 11.12! Mime-Version: 1.0 (Apple Message framework v624) Content-Transfer-Encoding: 7bit Content-Type: text/plain; charset=US-ASCII; format=flowed FYI! _______________________________________________ Art is the accomplice of love. _______________________________________________ Begin forwarded message: > From: Andrea Lawlor > Date: October 27, 2006 3:52:45 PM EDT > To: Andrea Lawlor > Subject: ODYSSEY premiere/release party at MIX NYC 11.12! > > ***PLEASE PASS IT ON TO NYC FRIENDS*** > > Dear Friends of Pocket Myths, of Redbird Films, of Andrea Lawlor, and > of Bernadine Mellis: > > Along with MIX NYC, we are having a big > reading/screening/performance/party to celebrate the release and > premiere of our epic collaboration (see full list of contributors > below!), THE ODYSSEY: book & dvd extravaganza. > > When: November 12, 8pm > Where: 3LD Art & Technology Center, 80 Greenwich Street, Theater #1 > (R or 1 to Rector, 2 3 4 5 to Wall Street, J M Z to Broad, A C to > Fulton) > Admission: $12 > More about the festival: www.mixnyc.org > More about THE ODYSSEY: www.pocketmyths.com, > http://redbirdfilms.com/odyssey.html > > ***The first 24 people to arrive will receive a FREE COPY of THE > ODYSSEY.*** > ***You can also buy it at the event for $20.*** > > It's the closing night of the MIX experimental film festival! We are > both very excited. This will be the world premiere of the film, and > many of the filmmakers will be in attendance. We'll have readings > from the book by writers including Emily Abendroth, Ida Acton, Ari > Banias, Julia Bloch, Laura Jaramillo, Andrea Lawlor, Robin Lewis, Kara > Lynch, Delia Mellis, Ariana Reines, Frances Richard, and Jen Welch. > > Musical guests include Ryder Cooley with Gretchen Hildebran, Sara > Jaffe, and Red Heart the Ticker. > > Can't wait to see you there! > > Love, > Andrea and Bernadine > > p.s. there will feasting too > > THE ODYSSEY Contributors: > Emily Abendroth, Ida Dewey Acton, Justin Audia, Ari Banias, Bill > Basquin, Julia Bloch, Lizzy Bonaventura, Popahna Brandes, CAConrad, > Anita Chao, Jason Coyle, Paula Cronan, Cybele, Courtney Dailey, Amanda > Davidson, Steve Dolph, Ryan Eckes, Tonya Foster, Cathy Halley, Kara > Hearn, Gretchen Hildebran, Michael Hyde, Xylor Jane, Laura Jaramillo, > Laska Jimsen, Judith Jordan, Andrea Lawlor, Jennifer Lee, Rebecca Lee, > Robin Coste Lewis, Kara Lynch, Laura Mays, Mary McDermott, Bernadine > Mellis, Delia Mellis, Miranda F. Mellis, Dori Midnight, EE > Miller,Megan Milks, Lamby Morreale, Eileen Myles, Christian Nagler, > Maggie Nelson, Miranda Pierce, Mendal Polish, Corinna Press, Ariana > Reines, Irit Reinheimer, Frances Richard, Rachel Robbins, Sara > Seinberg, Davina Semo, Juliana Snapper, Miriam Klein Stahl, Senseney > Lea Stokes, Zoe Strauss, Samuael Topiary, Laurie Weeks, Jen Welch, > David West, and Rebecca Yaffe. > ========================================================================= Date: Sun, 29 Oct 2006 16:34:54 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "j. kuszai" Subject: Cara Hoffman audio at Factory School Mime-Version: 1.0 (Apple Message framework v752.2) Content-Transfer-Encoding: 7bit Content-Type: text/plain; charset=US-ASCII; delsp=yes; format=flowed Listen to independent journalist and fiction writer Cara Hoffman read her story "The Mouse's Sister" during a visit to New York City on October 28, 2006. http://factoryschool.org/pubs/hoffman/wedding/ 24 minutes; 11 megabytes; mp3 format ========================================================================= Date: Sun, 29 Oct 2006 17:38:24 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jason Nelson Subject: call for digital art MIME-Version: 1.0 Content-Type: text/plain; charset=ascii Content-Transfer-Encoding: quoted-printable As a part of the Art of the Animal Symposium, 27-28 November, Gold Coast, A= ustralia ( conference website), we are curating a companion net-based digit= al art exhibition. This is a juried exhibition with prizes for the top thre= e artworks in each category (prizes to be announced, but expect the unusual= ). =0A =0AFor more details: http://www.eagleandowl.com/animalartcall.html= =0A =0ATheme of Exhibition:=0AIn order to compliment and expand on the disc= ussions/papers presented at the symposium, all artworks should be related t= o or address in some way one or more of the following inquires (or convince= us otherwise) (animals=3Dnon-human): =0AIf animals were to create with di= gital tools what would they create? How would they create? =0ADigital Artwo= rks inspired by animal creativity, or the creations of animals. =0ARelate a= nimal and human creativity/art. Should we even have such distinctions? =0AD= igital Artworks which explore how we perceive animal creativity. =0AHow to = Submit: Deadline: November 6, (artworks will be reviewed as they are receiv= ed)=0AAll artworks submitted should be web ready and be sent via a URL that= contains the artwork. Public tools such as youtube or flickr are fine for= the jury process =0ASend an e-mail with the following to both addresses:= =0Aw.nelson[removetext]@[removetext]gu.edu.au=0Aartofanimal[removetext]@[re= movetext]gmail.com =0AArtist(s) name, affiliation, contact details and a br= ief bio. =0ATitle of Artwork, URL for jury review, and one paragraph descri= ption of how the artwork relates to the exhibition themes.=0A=0A ========================================================================= Date: Mon, 30 Oct 2006 08:54:01 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Gary Sullivan Subject: MICHAEL GOTTLIEB & ROD SMITH | SEGUE SATURDAY Mime-Version: 1.0 Content-Type: text/plain; format=flowed Michael Gottlieb and Rod Smith Saturday November 4, 4:00-6:00 p.m. PLEASE COME ON TIME! Segue Reading Series @ Bowery Poetry Club 308 Bowery, just north of Houston, NYC $6 goes to support the readers Michael Gottlieb’s most recent books include Lost and Found, Gorgeous Plunge, and The River Road. From a Publishers Weekly review of Lost and Found: "A blurb on the back of Gottlieb's 14th collection calls 'The Dust,' one of three longish poems collected here, 'the first great poetic work to emerge from the trauma of September 11.' While the firstness can be debated, the greatness cannot. ... The poem is sad, frightening and extraordinary, and while it honors the dead, it also refuses to separate them from the things with which they lived. ... This is a brave book, one that records enormous loss, but refuses to look away from events that continue to unfold." Rod Smith is the author of Music or Honesty, The Good House, Poèmes de l'araignée, In Memory of My Theories, The Boy Poems, Protective Immediacy, and New Mannerist Tricycle with Lisa Jarnot and Bill Luoma. A CD, Fear the Sky, came out from Narrow House Recordings in 2005.He edits Aerial magazine and publishes Edge Books. Smith is also editing, with Peter Baker and Kaplan Harris, The Selected Letters of Robert Creeley for the University of California Press. These events are made possible, in part, with public funds from The New York State Council on the Arts, a state agency. The Segue Reading Series is made possible by the support of The Segue Foundation. For more information, please visit www.segue.org, bowerypoetry.com/midsection.htm, http://segueseries.blogspot.com, or call (212) 614-0505. Curators: Oct.-Nov. by Nada Gordon & Gary Sullivan. _________________________________________________________________ Use your PC to make calls at very low rates https://voiceoam.pcs.v2s.live.com/partnerredirect.aspx ========================================================================= Date: Mon, 30 Oct 2006 10:32:47 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: susan maurer Subject: anna siano reading in rutherford Mime-Version: 1.0 Content-Type: text/plain; format=flowed the poets photographed by anna siano will read again at the rutherford public library on 11-8 at a reading curted by john trause. the pics will again be availabe for viewing and the group will be fun . i get a full 5 minute. susan maurer _________________________________________________________________ Try Search Survival Kits: Fix up your home and better handle your cash with Live Search! http://imagine-windowslive.com/search/kits/default.aspx?kit=improve&locale=en-US&source=hmtagline ========================================================================= Date: Mon, 30 Oct 2006 10:57:27 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Michael Kelleher Subject: JUST BUFFALO E-NEWSLETTER 10-30-06 MIME-Version: 1.0 Content-Type: text/plain; format=flowed; charset=ISO-8859-1 Content-Transfer-Encoding: quoted-printable JUST BUFFALO'S COMMUNIQU=C9: FLASH FICTION SERIES Peter Conners and Lou Rera Fiction Reading Thursday, November 2, 7 p.m. Rust Belt Books, 202 Allen St., Buffalo Peter Conners is founding co-editor of Double Room: A Journal of Prose Poet= ry & Flash Fiction. His prose poetry/flash fiction collection Of Whiskey and Win= ter will be published by White Pine Press in fall 2007. His two previous collections of= poetry & prose were published by FootHills Publishing. Conners also edited PP/FF: An Anthology which was published by Starcherone Books in 2006. He lives in Roc= hester, NY where works as Fiction Editor and Marketing Director for BOA Editions. H= is web site is: www.peterconners.com. Lou Rera is an Assistant Professor in Communication at Buffalo State Colleg= e. He holds and M.A.H from the University at Buffalo. His writing includes flash = and short story fiction exploring the darker side of human interaction. Lou won first= place in ArtVoice's Flash Fiction contest with =22For the Birds=22 which was publish= ed in December 2005. Rera has a number of works in the netherworld of the publisher's filt= er. His diverse background includes careers both as an accomplished artist and musi= cian, and has had work published with Infinity/MCA. In addition, he has studied archaeology, hieroglyphic translation and ancient Egypt. NICKEL CITY POETRY SLAM Featuring Susan BA Somers-Willett Friday, November 3, 7 p.m. Clifton Hall, Albright-Knox Art Gallery 10 open slam slots: all readers welcome. =2425 Prize, plus a chance to make the Buffalo National Slam Team for 2007= =21 FALL WORKSHOPS All workshops take place in Just Buffalo's Workshop/Conference Room At the historic Market Arcade, 617 Main St., First Floor -- right across fr= om Shea's The Market Arcade is climate-controlled and has a security guard on duty at= all times. To get here: Take the train to the Theatre stop and walk, or park and enter on Washingto= n Street. Free parking on Washington Street evenings and weekends. Two-dollar parking in fenced, guarded, M & T lot on Washington. Visit our website for detailed descriptions, instructor bios, and to regist= er online. UPCOMING WORKSHOPS: STARTING NEXT WEEK: COLLEGE ESSAY WRITING Writing Your Way Into Higher Education -- A Workshop on the College Essay Instructor: Gary Earl Ross=A0 Wednesdays: Oct. 25, Nov. 1, 8, 15, 4:15-5:30 p.m. In the Just Buffalo Workshop Room Market Arcade Building, 617 Main St., First Floor.=A0 =2470, =2450 members Registration Deadline: October 23 CREATIVITY: The Tao of Writing A Creativity Workshop for Writers of All Levels Instructor: Ralph Wahlstrom 4 Thursdays, November 2, 9, 16, and 30, 7-9 p.m. In the Just Buffalo Workshop Room Market Arcade Building, 617 Main St., First Floor. =24100, =2480 member SONG LYRICS: Turning Poems Into Song Lyrics A Special Session For Aspiring Songwriters and Poets Instructor: Grammy Award-Winning Poet/Lyricist Wyn Cooper Tentative Date: Tuesday, November14, 7-9 p.m. In the Just Buffalo Workshop Room Market Arcade Building, 617 Main St., First Floor. =2450. =2440 for members JOIN JUST BUFFALO ONLINE=21=21=21 If you would like to join Just Buffalo, or simply make a massive personal d= onation, you can do so online using your credit card. We have recently added the abilit= y to join online by paying with a credit card through PayPal. Simply click on the me= mbership level at which you would like to join, log in (or create a PayPal account u= sing your Visa/Amex/Mastercard/Discover), and voil=E1, you will find yourself in lite= rary heaven. For more info, or to join now, go to our website: http://www.justbuffalo.org/membership/index.shtml JUST BUFFALO WRITER'S CRITIQUE GROUP Members of Just Buffalo are welcome to attend a free, bi-monthly writer cri= tique group in CEPA's Flux Gallery on the first floor of the historic Market Arca= de Building across the street from Shea's. Group meets 1st and 3rd Wednesday at 7 p.m. = Call Just Buffalo for details. LITERARY BUFFALO TAKING LEAVES...BOOKS Seth Shostak Book Signing: Cosmic Company Friday, November 3, 5 p.m. Talking Leaves Books, Main St. Store RUST BELT BOOKS Bill Brown of Surveillance Camera Players Reading Friday, November 3, 7 p.m. Rust Belt Books, 202 Allen St. POETICS PLUS AT UB Aaron Shurin & Susan Gevirtz Talks and Reading Friday, November 3, 7 p.m. Big Orbit Gallery, 30d Essex St. UB HUMANITIES INSTITUTE Samuel Beckett: Modernism to Minimalism Featuring film, lecture, & theatrical performance Albright-Knox Art Gallery Friday, November 3 CENTER FOR INQUIRY The Center for Inquiry Literary Cafe is held on the first Wednesday of ever= y month. For directions or more information, contact David at (716) 636-4869, extens= ion 319, or dmusella=40centerforinquiry.net. NOTICE: THIS MONTHS LITERARY CAFE IS CANCELLED: SEE YOU IN DECEMBER. BUDDIES OPEN MIC LITERARY HOUR Poems and short stories by local GLBT writers, every 4th Thursday =40 7:PM= =2E Local GLBT writers interested in reading contact ldvoices=40yahoo.com Visit our website to download a pdf of the October Literary Buffalo poster,= which list all of Buffalo's literary events. UNSUBSCRIBE If you would like to unsubscribe from this list, just say so and you will b= e immediately removed. _______________________________ Michael Kelleher Artistic Director Just Buffalo Literary Center Market Arcade 617 Main St., Ste. 202A Buffalo, NY 14203 716.832.5400 716.270.0184 (fax) www.justbuffalo.org mjk=40justbuffalo.org ========================================================================= Date: Mon, 30 Oct 2006 08:18:03 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Small Press Traffic Subject: Kearney & Sharma at SPT this Fri 11/3 MIME-Version: 1.0 Content-Type: text/plain; charset="ISO-8859-1"; format="flowed" Content-Transfer-Encoding: 8bit Small Press Trafffic is pleased to present a reading by Douglas Kearney & Prageeta Sharma Friday, November 3, 2006 at 7:30 p.m. Douglas Kearney joins us in celebration of his first collection, Fear, Some, just out from Red Hen Press. He has been a featured performer at venues across the country, including the New York Public Theater, the Orpheum in Minneapolis and the World Stage in Los Angeles. He has exhibited InJury, a series combining poetry, image and design, at the 2005 Afro-Geek Conference at UC Santa Barbara. Kearney is the editor of Cave Canem IX, an anthology of poetry by African American poets. Kearney joins us from Los Angeles. Prageeta Sharma’s books include Bliss To Fill (Subpress, 2000) and The Opening Question (Fence, 2004), of which Kathleen Ossip has said: “One of the current technologies that Sharma makes the most of is a relaxed surrealism. Any poet sensitive to the countless stimuli of contemporary life and smart enough to cope with the complete human range of emotions and blessed with a capacious imagination will find realism a pretty paltry implement. Sharma's variant has a sweet gravity.” Unless otherwise noted, events are $5-10, sliding scale, free to current 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) Directions & map: http://www.sptraffic.org/html/fac_dir.html Elizabeth Treadwell, 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, 30 Oct 2006 11:13:42 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Tony Trigilio Organization: http://www.starve.org Subject: Jordan/Laux, Columbia College Chicago, November 8 MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit A. Van Jordan and Dorianne Laux Poetry Reading Wednesday, November 8, 2006 5:30 p.m. Columbia College Chicago Concert Hall 1014 South Michigan Avenue Free and open to the public For more information: (312) 344-8138 A. Van Jordan is the author of RISE (Tia Chucha Press, 2001), which won a 2002 Pen/Oakland Josephine Miles Award and M-A-C-N-O-L-I-A (Norton, 2004), for which he was awarded a 2004 Whiting Writers Award and an Anisfield-Wolf Book Award. He also received a Pushcart Prize in 2006. His new book, QUANTUM LYRICS, is forthcoming from Norton. Dorianne Laux is the author of three collections of poetry from BOA Editions, AWAKE (1990), WHAT WE CARRY (1994), finalist for the National Book Critics Circle Award, and SMOKE (2000). Her fourth book of poems, FACTS ABOUT THE MOON, was published by Norton in fall of 2005. ========================================================================= Date: Mon, 30 Oct 2006 09:22:58 -0800 Reply-To: rsillima@yahoo.com Sender: UB Poetics discussion group From: Ron Silliman Subject: Silliman's Blog Comments: To: Brit Po , New Po , UK Poetry MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit http://ronsilliman.blogspot.com/ RECENT POSTS The Electronic Literature Collection and the challenges of digital art The value of a pitching coach Property Line by Joseph Massey What Nikki Giovanni said Archive of the Now and the archival impulse in the age of digital reproduction Elizabeth Willis and Erasmus Darwin Meteoric Flowers AU70ST^RT A conference on digital writing Picking winners on Project Runway The Grand Piano An experiment in collective autobiography Found Objects The career of Louis Zukofsky the moment before he became widely famous The death of Gerry Studds and the use of new noun phrases A poets’ Encyclopedia versus A Poets’ Encyclopedia (déjà vu all over again) U.K. syllables, American ears The Age of Huts (compleat) The Collected Poems of Robert Creeley now in two volumes A novel in the form of blurbs? Lunar Follies by Gilbert Sorrentino Style guides and long lines on the web http://ronsilliman.blogspot.com/ ========================================================================= Date: Mon, 30 Oct 2006 09:34:56 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Christine Hamm Subject: poetry reading at the Ear Inn MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Christine Hamm is reading from her new book, The Transparent Dinner, at 3:00 at the Ear Inn this Saturday, November 4. Readers: Christine Hamm, Thomas March, Juliet Patterson 326 Spring Street (west of Greenwich Street) New York City FREE Subway: C/E to Spring Street; 1/9 to Canal Street; N/R to Prince Street Here's a sample of one of Christine's poems: Animal Husbandry The dog tells me that's he leaving me, that he no longer likes sticking his nose in my crotch. This last week he has been slipping his leash after I fall asleep and sucking cock in the backroom at Woody's. He tells me about the glory holes in the bathroom of the New York Public Library. I tell him he's lying, that dogs aren't allowed in the library. I'm having trouble breathing. I sit down on the edge of the bed. I shout, what, so women aren't good enough for you anymore! I remind him of our first date, how he tied me up and we cried all night. Never before had I been threatened with such tenderness, such sincerity. You can't fake that! I scream. I am sobbing. I am not a woman if my dog doesn't want me. I'm a question mark in a skirt. The dog has his sad puppy-dog eyes on. I've seen him practice this look in the mirror. He asks me not to hate him. He rolls his eyes and whines. I know that he's already picturing himself out on a walk, leaving me here alone in a room full of condoms and chew toys, some man's hand on his leash. I wonder if it's my scent that he finds so vile. He rests his chin on his crossed paws. It's not that you're fat, he tells me. There's a gland near the base of the skull that regulates it-- this desire, this thing, for bones. For more about Christine or the book, go to www.christinehamm.org Christine Hamm __________________ www.christinehamm.org ____________________________________________________________________________________ Want to start your own business? Learn how on Yahoo! Small Business (http://smallbusiness.yahoo.com) ========================================================================= Date: Mon, 30 Oct 2006 12:23:56 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Steve Dalachinsky Subject: Re: Dirty Updates! MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit the cellf within the cell fish ========================================================================= Date: Mon, 30 Oct 2006 13:01:55 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Steve Dalachinsky Subject: Fw: Coming Up @ Poets House Comments: To: wryting-l@listserv.wvu.edu MIME-Version: 1.0 Content-Type: text/plain; charset=utf-8 Content-Transfer-Encoding: 8bit November @ Poets House 11/15-17: Festival of Contemporary Japanese Women Poets And Don’t Forget: Poets House 72 Spring Street, 2nd Floor $7, Free to Poets House Members FESTIVAL OF CONTEMPORARY JAPANESE WOMEN POETS Cosponsored by Poets House, Belladonna, Bowery Poetry Club, Factorial, and Litmus Press Wednesday, November 15 , 7:00 p.m. Cross Currents and Innovation in Japanese Poetry Ryoko Sekiguchi, Takako Arai, Kiriu Minashita, Kyong-Mi Park, and Sawako Nakayasu will explore contemporary aesthetic and cultural movements in Japan, and reflect on how their own work challenges traditional women's roles in their native country. Moderated by Rachel Levitsky. Poets House 72 Spring Street, 2nd Floor $7, Free to Poets House Members Thursday, November 16, 7:00 p.m. Four From Japan: Reading by Contemporary Japanese Women Poets Kiriu Minashita, Ryoko Sekiguchi, Kyong-Mi Park, and Takako Arai will read from the new anthology Four From Japan: Contemporary Poetry by Women, the first bilingual volume of Japanese poetics of its kind. Introduced by Sawako Nakayasu. Bowery Poetry Club 308 Bowery $7, Free to Poets House Members Friday, November 17, 7:00 p.m. Blurring Boundaries: A Conversation on the Art of Poetry Translation Cole Swensen, Rosa Alcalá, and Ryoko Sekiguchi will present a thought-provoking public conversation on their dual work in poetry and in translation. The conversation will be introduced by Stephen Motika. Poets House 72 Spring Street, 2 nd Floor $7, Free to Poets House Members Saturday, November 18, 11:00am POETRY FOR CHILDREN: A Pebble, a Stone, and the Gift of Stars, featuring Richard Lewis Children ages 4-10 are invited to gather new enchantments and write poems based on such simple objects of the earth as pebbles and stones, with Richard Lewis (the author of Each Sky Has Its Own Words and A Tree Lives). The exciting session will end with the construction of a small clay vessel. Poets House 72 Spring Street, 2nd Floor Admission free FRANK O'HARA FESTIVAL Cosponsored by Poets House, the Poetry Project and MoMA Tuesday, November 28, 7:00pm PASSWORDS: Bill Berkson on Frank O'Hara Poet Bill Berkson will explore the life and work of O'Hara through the lens of the pivotal year of 1956, when O'Hara was preparing his first major collection, Meditations in an Emergency. Poets House 72 Spring Street, 2nd Floor $7, Free to Poets House & Poetry Project Members Wednesday, November 29, 8:00pm Frank O'Hara Reading Bill Berkson, Ned Rorem, Maureen O'Hara, Tony Towle, Eileen Myles, Patricia Spears Jones, Anne Waldman, Taylor Mead, Olivier Brossard, Bob Holman, John Yau, Kimberly Lyons, Lytle Shaw, David Shapiro, Anselm Berrigan, Greg Fuchs, John Gruen, and Scott Murphree will read the work of the beloved New York School icon. The Poetry Project, St. Mark's Church 131 East 10th St . $8, $7, Free to Poets House and Poetry Project Members Thursday, November 30, 6:00pm FRANK O'HARA AT MoMA John Ashbery, Bill Berkson, Michelle Elligott, Alfred Leslie & others will share their favorite anecdotes about Frank O'Hara and his MoMA heyday. Selected archival materials including correspondence and photographs will be on view in the MoMA Library and Archives Reading Room. Bartos Theater and MoMA Archives Reading Rooms The Museum of Modern Art 4 West 54th Street $10, $8 for MoMA, Poets House & Poetry Project Members. Tickets available at the MoMA Lobby information desk, the Film & Media desk, or at www.moma.org/thinkmodern A Don't Forget: Monday, October 30, 6:30pm POETRY IN THE BRANCHES: Reading by Thomas Lux As the culminating event to a series of intensive writing workshops for local high school students, award-winning poet Thomas Lux will read his work accompanied by MFA students from Sarah Lawrence College. Cosponsored by Yonkers Public Library and Sarah Lawrence College MFA Program. Grinton I. Will Branch, Yonkers Library 1500 Central Park Avenue Admission free Of Other Interest: A Special Offer for Poets House members from Works & Process at the Guggenheim Museum Save $4 off adult admission to James Tate–Works & Music Sunday and Monday, November 5 and 6, 7:30 p.m. Special Ticket Price: $20 The award-winning poet reads and discusses his work with Sarah Rothenberg. Works & Process has commissioned new musical settings of Tate's poetry by five contemporary composers – Eve Beglarian, George Flynn, Fred Ho, Arthur Kreiger, and Charles Wuorinen. The Group for Contemporary Music performs. Solomon R. Guggenheim Museum 5 th Ave at 89 th Street www.worksandprocess.org To order tickets and save $4: Call the Box Office at 212 423 3587, Monday – Friday, 1 – 5 p.m. or visit the box office on the night of the performance and mention "Poets House." Poets House is a 45,000-volume poetry library and literary center that invites poets and the public to step into the living tradition of poetry. Poets House's ever-expanding archive of books, journals, chapbooks, audiotapes, videos and electronic media is one of the most comprehensive open-access collections of poetry in the United States. The Reading Room is free and open to the public. Poets House, 72 Spring Street, 2nd Floor, New York, NY 10012 Reading Room Hours: Tuesday-Friday, 11:00 am-7:00 pm & Saturday, 1:00 pm-6:00 pm Children's Hours: Saturday, 11:00 am-1:00 pm Phone: (212) 431-7920 Website: http://www.poetshouse.org This email was sent to skyplums@juno.com. You can unsubscribe here Sorry, but replies to this message cannot be read. To notify us of an address change, please email update@poetshouse.org and specify "Update" in the subject line. ========================================================================= Date: Mon, 30 Oct 2006 12:38:54 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: L Guevarra Subject: NEW BOOK: The Holy Forest Comments: To: poetics@listserv.buffalo.edu. Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" Dear Buffalo Poetics List: The University of California Press is pleased to announce the publication of: The Holy Forest: Collected Poems of Robin Blaser, Revised and Expanded Edition. Robin Blaser is Professor Emeritus at Simon Fraser University. Among his many books are _The Fire: Collected Essays of Robin Blaser _(UC Press), _Pell Mell, _and _Syntax_. Miriam Nichols is College Professor at University College of the Fraser Valley and editor of _Even on Sunday: Essays, Readings, and Archival Materials on the Poetry and Poetics of Robin Blaser._ http://go.ucpress.edu/BlaserForest "In his exquisite articulations of the flowers of associational thinking, Robin Blaser has turned knowledge into nowledge, the 'wild logos' of the cosmic companionship of the real."-Charles Bernstein, author of _Republics of Reality: 1975-1995_ Robin Blaser, one of the key North American poets of the postwar period, emerged from the "Berkeley Renaissance" of the 1940s and 1950s as a central figure in that burgeoning literary scene. _The Holy Forest, _now spanning five decades, is Blaser's highly acclaimed lifelong serial poem. This long-awaited revised and expanded edition includes numerous published volumes of verse, the ongoing "Image-Nation" and "Truth Is Laughter" series, and new work from 1994 to 2004. Blaser's passion for world making draws inspiration from the major poets and philosophers of our time-from friends and peers such as Robert Duncan, Jack Spicer, Charles Olson, Charles Bernstein, and Steve McCaffery to virtual companions in thought such as Hannah Arendt, Maurice Merleau-Ponty, Michel Foucault, and Jacques Derrida, among others. This comprehensive compilation of Blaser's prophetic meditations on the histories, theories, emotions, experiments, and countermemories of the late twentieth century will stand as the definitive collection of his unique and luminous poetic oeuvre. Full information about the bookis available online: http://go.ucpress.edu/BlaserForest -- Lolita Guevarra Electronic Marketing Coordinator University of California Press Tel. 510.643.4738 | Fax 510.643.7127 lolita.guevarra@ucpress.edu ========================================================================= Date: Mon, 30 Oct 2006 13:03:57 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Stephen Vincent Subject: Re: NEW BOOK: The Holy Forest In-Reply-To: Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit Backing up Peter Quartermain's praise here of some weeks back, I also strongly recommend, Fires, Robin Blaser's book of collected essays, also from UC Press. A delightful one. Writing with intelligence and passion and a genuine sense of revelation for the currents between Spicer, Duncan and the outward(word) networks of Black Mountain, Olson, Creeley et al. A writing in which the 'being' of the act of writing is constantly at stake - and that is to imply the joys of discovery (risk & adventure) - and not, say, another person's melodrama, or, conversely, an atonal, academic defense. As they say - and it's a big book - couldn't put it down. Stephen V http://stephenvincent.net/blog/ > Dear Buffalo Poetics List: > > > The University of California Press is pleased to announce the publication of: > > The Holy Forest: Collected Poems of Robin Blaser, Revised and Expanded > Edition. > > Robin Blaser is Professor Emeritus at Simon Fraser University. Among > his many books are _The Fire: Collected Essays of Robin Blaser _(UC > Press), _Pell Mell, _and _Syntax_. Miriam Nichols is College > Professor at University College of the Fraser Valley and editor of > _Even on Sunday: Essays, Readings, and Archival Materials on the > Poetry and Poetics of Robin Blaser._ > > http://go.ucpress.edu/BlaserForest > > "In his exquisite articulations of the flowers of associational > thinking, Robin Blaser has turned knowledge into nowledge, the 'wild > logos' of the cosmic companionship of the real."-Charles Bernstein, > author of _Republics of Reality: 1975-1995_ > > > Robin Blaser, one of the key North American poets of the postwar > period, emerged from the "Berkeley Renaissance" of the 1940s and > 1950s as a central figure in that burgeoning literary scene. _The > Holy Forest, _now spanning five decades, is Blaser's highly acclaimed > lifelong serial poem. This long-awaited revised and expanded edition > includes numerous published volumes of verse, the ongoing > "Image-Nation" and "Truth Is Laughter" series, and new work from 1994 > to 2004. Blaser's passion for world making draws inspiration from the > major poets and philosophers of our time-from friends and peers such > as Robert Duncan, Jack Spicer, Charles Olson, Charles Bernstein, and > Steve McCaffery to virtual companions in thought such as Hannah > Arendt, Maurice Merleau-Ponty, Michel Foucault, and Jacques Derrida, > among others. This comprehensive compilation of Blaser's prophetic > meditations on the histories, theories, emotions, experiments, and > countermemories of the late twentieth century will stand as the > definitive collection of his unique and luminous poetic oeuvre. > > Full information about the bookis available online: > http://go.ucpress.edu/BlaserForest > ========================================================================= Date: Mon, 30 Oct 2006 16:43:20 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "David A. Kirschenbaum" Subject: Sun. Nov. 5/Sean Cole & David Kirschenbaum (me) at Zinc Bar NYC Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit please forward --------------- Sun. Nov. 5, 7:00 p.m. Sean Cole and David Kirschenbaum (me) read in the Zinc-Talk Reading Series, hosted by Jim Behrle For the month of October, Sean and I have again written daily poems to each other. Some of the poems correspond to each other, some draw off one another, and most of them pay absolutely no regard to the other's poems. Hear all 62 brand new poems. Then, if you like, they'll also be available in a nifty, limited edition small press publication at the event. Zinc Bar 90 W.Houston St., @LaGuardia/Thompson $5 donation goes to the poets (If you don't have it, don't worry, come anyway) Subway: A/C/E/B/D/F/V to W.4th St., N/R to Spring, 1/9 to Houston -- David A. Kirschenbaum, editor and publisher Boog City 330 W.28th St., Suite 6H NY, NY 10001-4754 For event and publication information: http://boogcityevents.blogspot.com/ T: (212) 842-BOOG (2664) F: (212) 842-2429 ========================================================================= Date: Mon, 30 Oct 2006 17:30:00 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Christopher Harter Subject: Re: Little Magazines/Small Presses/Mimeo Revolution In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; format=flowed Tom, The conference is being held at the U. of Minnesota, but I don't know exactly where yet. I suppose the schedule will appear after the conference is finalized. -Christopher >Date: Sun, 29 Oct 2006 12:25:21 -0600 >From: "Tom W. Lewis" >Subject: Re: Little Magazines/Small Presses/Mimeo Revolution > >Hello, Mr. Zeitgeist... > >I was at a reading in St. Paul yesterday, and the topic of small press >publishing today was a central theme in the after- conversation.=20 > >Do you have a venue in mind for the conference?=20 > >Tom _________________________________________________________________ Get FREE company branded e-mail accounts and business Web site from Microsoft Office Live http://clk.atdmt.com/MRT/go/mcrssaub0050001411mrt/direct/01/ ========================================================================= Date: Mon, 30 Oct 2006 17:45:15 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: ALDON L NIELSEN Subject: Fwd: Post-Doctoral Fellowship at Penn State MIME-Version: 1.0 Content-Type: text/plain; charset=utf-8 ---------- Forwarded message ---------- To: me Date: Mon, 30 Oct 2006 14:48:09 -0500 From: Phillip Atiba Goff Subject: Post-Doctoral Fellowship at Penn State CC: Debbie McMurtrie , "Dr. Keith B. Wilson" Dear Colleagues: As you may be aware, the Africana Research Center, in conjunction with the College of Liberal Arts and the Office of the Provost, and with the help of the Andrew W. Mellon Foundation has instituted a two-part initiative to enrich the diversity of scholarship at Penn State. If you or someone you know will complete their Ph.D. by the beginning of next academic year, or has have completed their Ph.D. within the past two academic years, this may be an exciting opportunity. The Emerging Scholars Speakers Series invites talented scholars who conduct research on the African Diaspora to share their research with the Penn State community. Speakers will be early career scholars, meaning that they will either finish their degree within the year or have received it within the past two years. The second part of the initiative draws on the pool of invited speakers. From the speakers, a number of early career scholars will be offered positions as Africana Research Post-Doctoral Fellows. Post-doctoral Fellows will spend a year in residence at Penn State, attend community events, and participate in professional development workshops. Post-Doctoral Fellows will have no teaching and no administrative responsibilities. The goal of both initiatives is to create at a world-class community of researchers interested in the African Diaspora here at Penn State, and to create opportunities for departments within Liberal Arts to house world-class emerging scholars. Last year, we admitted three Post-Doctoral Fellows. For this year, we would love to see more applicants (and re-applicants). If you or someone you know is interested, please email the following materials to Debra McMurtrie (dvb7@psu.edu) by November 27th. If you have any questions, please contact me, Phil Goff (contact information below). We look forward to hearing from many of you. The following materials must be supplied in a successful application: 1. A letter of application - no more than 500 words2. An updated curriculum vita3. A 500-word essay about how a black intellectual community has been important in your development as a scholar and how you envision community factoring in your career.4. One or two writing samples, the first from your dissertation. If you submit one sample, it should be a single chapter. If you submit two, the combined length should not exceed 50 pages.5. At least one letter of recommendation (from your dissertation advisor. Recommendations may be sent separately from the application packet). Sincerely, -- Phillip Atiba Goff, Ph.D. Assistant Professor Department of Psychology Coordinator Africana Research Center Post-Doctoral Fellowship Programs *************************** The Pennsylvania State University 441 Moore Building University Park, PA 16802 office: 814-865-5847 fax: 814-863-7002 email: philgoff@psu.edu http://psych.la.psu.edu/faculty/goff.html http://psych.la.psu.edu/socialarea/index.html <<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> We are enslaved by what makes us free -- intolerable paradox at the heart of speech. --Robert Kelly Sailing the blogosphere at: http://heatstrings.blogspot.com/ Aldon L. Nielsen Kelly Professor of American Literature The Pennsylvania State University 116 Burrowes University Park, PA 16802-6200 (814) 865-0091 ========================================================================= Date: Mon, 30 Oct 2006 17:34:49 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jesse Crockett Subject: Listenlight poetry journal MIME-version: 1.0 Content-type: text/plain; charset=ISO-8859-1 Content-transfer-encoding: 7BIT Allo, folks, have a look at Listenlight . If you have not seen any of the first four issues, you are in for an awesome read. In your after-experience of reading, forward the link to your enemies and friends alike. We also take submission of any kind of poetry, & you are welcome to send in your work. Cheers, Jesse Crockett ========================================================================= Date: Mon, 30 Oct 2006 20:31:10 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jonathan Skinner Subject: Brad Will Comments: To: "UB Poetics discussion group "@LISTSERV.BUFFALO.EDU In-Reply-To: Mime-version: 1.0 Content-type: text/plain; charset="ISO-8859-1" Content-transfer-encoding: quoted-printable Brad Will was a friend: a friend of poetry, of the environment, of free speech and media, of justice. (He was a fearless champion of the community pocket gardens across Manhattan=B9s Lower East Side, as they came under siege in the Giuliani Administration. He also interviewed many poets on his show for the microradio station, Steal This Radio.) This is sad news. Check ou= t the story, and if you feel inclined, please sign the petition. Thanks. JS From: Akilah Oliver Date: Mon, 30 Oct 2006 16:32:52 -0700 To: Subject: URGENT: justice for Brad Will As most of you are aware, our friend Brad Will was shot and killed in Oaxac= a Mexico last Friday, October 27th while covering the civil unrest there. 3 others were killed as well. Brad's brutal death must be addressed. Here is a small step we can take. Please sign and pass on this petition to all your friends. Let's try to ge= t a few hundred signatures by Friday, November 3rd. To sign the petition, simply click the link below, sign, and pass on to you= r friends! (or paste into your browser). http://www.gopetition.com/online/9996.html The petition is being sent to U.S. Embassy in Mexico, Consular Agent in Oaxaca, Mark A. Leyes To view the press release on the death of Brad by U.S. Ambassador Garza, go the U.S. Embassy website: http://mexico.usembassy.gov/mexico/ep061027Will.html Several news sources are currently covering the story: http://www.democracynow.org/index.pl http://www.eluniversal.com.mx/ http://www.indymedia.org/en/index.shtml http://www.jornada.unam.mx/ http://www.nytimes.com/2006/10/29/world/americas/29mexico.html?_r=3D1&oref=3Dsl= o gin _________________________________________________________________ Get FREE company branded e-mail accounts and business Web site from Microsoft Office Live http://clk.atdmt.com/MRT/go/mcrssaub0050001411mrt/direct/01/ > From: POETICS automatic digest system > Reply-To: UB Poetics discussion group > Date: Mon, 30 Oct 2006 00:05:14 -0500 > To: > Subject: POETICS Digest - 28 Oct 2006 to 29 Oct 2006 (#2006-303) >=20 > There are 12 messages totalling 915 lines in this issue. >=20 > Topics of the day: >=20 > 1. Jail conditions for Canadian aboriginals a 'disgrace' > 2. The first Petit Mal > 3. 'Cross' Shows Jesus As Being a Black Man (2) > 4. melancholia's tremulous dreadlocks issue 7 > 5. Alex Caldiero, Leonard Gontarek and Jane Ormerod will read Sunday at= ABC > No Rio celebrating CLWN WR > 6. Little Magazines/Small Presses/Mimeo Revolution (2) > 7. Dirty Updates! > 8. ODYSSEY premiere/release party at MIX NYC 11.12! > 9. Cara Hoffman audio at Factory School > 10. call for digital art >=20 > ---------------------------------------------------------------------- >=20 > Date: Sat, 28 Oct 2006 21:39:20 -0700 > From: Ishaq > Subject: Jail conditions for Canadian aboriginals a 'disgrace' >=20 > Jail conditions for Canadian aboriginals a 'disgrace': ombudsman >=20 > Monday, October 16, 2006 > CBC News >=20 > http://www.cbc.ca/canada/story/2006/10/16/native-prisoners.html >=20 > Aboriginal offenders are routinely discriminated against by the > corrections system and are far less likely to get parole or be > rehabilitated by their experiences in jail, the ombudsman for federal > prisons says. >=20 > Releasing his annual report into conditions in federal prisons, > correctional investigator Howard Sapers said the challenges faced by > aboriginal people in Canadian jails amounts to "a national disgrace". >=20 > "Despite years of task force reports, internal reviews, national > strategies, partnership agreements and action plans, there has been no > measurable improvements in the conditions for aboriginal offenders > during the last 20 years," said Sapers at a news conference in Ottawa. >=20 > He said the overall incarceration rate for aboriginal Canadians was nine > times higher than for the population at large and the situation was even > worse for aboriginal women. >=20 > One in three inmates in federally-run women's prisons were aboriginal, > he said, with almost half of them in maximum security institutions. >=20 > Aboriginals often sent to maximum security prison >=20 > He said there was "routine overclassification" of native prisoners, who > were far more likely to be sent to maximum security prison than > offenders from other backgrounds. >=20 > "That means they [aboriginal offenders] often serve their sentences away > from family, community, their friends and elders," Sapers said, "They > are sent into segregation more often =85 severely limiting access to > rehabilitative programs and services that are intended to prepare them > for their release." >=20 > Parole is routinely denied or revoked, often on technical grounds, he sai= d. >=20 > Sapers called on the federal government to address the situation > urgently with new programs, more resources and consultations with > aboriginal leaders and communities. >=20 > Angus Toulouse, of the Ontario Regional Council of the Assembly of First > Nations, said poverty, inadequate educational and employment > opportunities, alcoholism and domestic abuse were among the reasons for > overrepresentation. >=20 > "Where disadvantaged socio-economic factors lead to overrepresentation > of First Nations peoples in the criminal justice system, this is > systemic discrimination," said Toulouse. >=20 > Public Safety Minister Stockwell Day has said he will consider the > findings of Sapers's report but there is no evidence of systemic > discrimination against native offenders in the prison system. >=20 > The president of the Native Women's Association of Canada said the > alarming rise in the number of aboriginal women who are incarcerated > affects all Canadians. >=20 > "If this was the case for non-aboriginal people, I'm almost certain that > Canadians would react and demand that something be done," said Beverly > Jacobs. > ________________________________________________________ > Montreal Muslim News Network - http://www.montrealmuslimnews.net >=20 >=20 > Listen to Caravan, produced by Samaa Elibyari, every Wednesday from 2-3PM= : > http://www.montrealmuslimnews.net/caravan.htm >=20 > Lebanon News & Photos: > http://www.montrealmuslimnews.net/lebanonnews.htm >=20 >=20 > _____________________________ > Change address / Leave mailing list: > http://ymlp.com/u.php?montrealmuslimnews+ishaq1824@shaw.ca > Hosting by YourMailingListProvider >=20 >=20 > see also: Canada ranked low in UN native report > http://www.cbc.ca/canada/story/2005/04/11/UNNatives-050411.html >=20 > ************************ >=20 > -- > Stay Strong >=20 > -"I testified/My mama cried/Black people died/When the other man lied" > -- chuck d > \ > "Be a friend to the oppressed and an enemy to the oppressor" > --Imam Ali Ibn Abu Talib (as) >=20 > "They want to see us breathless. We will not be. They want to see us > tired. We refuse to be. They want to see what our strength is. We will > not show it in advance. We will continuously surprise them." -- Julia > Wright >=20 > "We restate our commitment to the peace process. But we will not > submit to a process of humiliation." > --patrick o'neil >=20 > "...we have the responsibility to make no deal with the oppressor" > --harry belafonte >=20 > "...these people generate wars in Asia and Africa,...These are the > people who, in the last century, caused several devastating wars. In one > world war alone, they killed over 60 million people.... In the near > future, Allah willing, we will put you to trial in courts established by > the peoples...."-- mahmoud ahmadinejad >=20 > http://www.sidebrow.net/2006/a047braithwaite.php >=20 > http://radio.indymedia.org/uploads/just_a_sec_for_whiteboys_in_afrika__do= wny_d > ub____.mp3 >=20 > http://cleveland.indymedia.org/uploads/2006/07 > olivet___h.a.t.s_in_the_square___loud_ruffa1b.mp3 >=20 > http://vancouver.indymedia.org/?q=3Dnode/315 >=20 > http://radio.indymedia.org/news/2005/10/7255.php >=20 > http://ilovepoetry.com/search.asp?keywords=3Dbraithwaite&orderBy=3Ddate >=20 >=20 > http://www.lowliferecords.co.uk/ >=20 > ------------------------------ >=20 > Date: Sat, 28 Oct 2006 23:52:29 -0500 > From: Jesse Crockett > Subject: Re: The first Petit Mal >=20 > Jesse Crockett wrote: >> Petit Mal >>=20 >> Too bad you can resolve matters >> that need your wan sensory input. >>=20 >>=20 >> -- should i go on, ? >>=20 >> =20 > okay, the whole rubric of this minor is available at > http://denacht.blogspot.com, for those interested to read about fourteen > more.=20 >=20 > (My apologies to those who suffer from real absence seizures.) >=20 > Jwc >=20 > ------------------------------ >=20 > Date: Sat, 28 Oct 2006 21:50:03 -0700 > From: Ishaq > Subject: 'Cross' Shows Jesus As Being a Black Man >=20 > 'Cross' Shows Jesus As Being a Black Man >=20 > http://apnews1.iwon.com//article/20061025/D8KVQNBO0.html >=20 > Oct 25, 2:23 PM (ET) >=20 > By SANDY COHEN >=20 > (AP) This undated photo released by Nu-Lite Entertainment shows Jean > Claude LaMarre, who wrote, directed... >=20 > http://apnews1.iwon.com/image/20061025/FILM_BLACK_JESUS.sff_LA302_2006102= 51419 > 22.html?date=3D20061025&docid=3DD8KVQNBO0 >=20 > LOS ANGELES (AP) - It's a familiar image for millions of Christians: > Jesus Christ, with a crown of thorns, hanging from the cross. What color > is he? In a controversial new film opening Friday, he is black. >=20 > "Color of the Cross" tells a traditional story, focusing on the last 48 > hours of his life as told in the Gospels. In this version, though, race > contributes to his persecution. >=20 > It is the first representation in the history of American cinema of > Jesus as a black man. >=20 > "It's very important because (the film) is going to provide an image of > Jesus for African-Americans that is no longer under the control of > whites," says Stephenson Humphries-Brooks, an associate professor of > religious studies at New York's Hamilton College and author of > "Cinematic Savior: Hollywood's Making of the American Christ." >=20 > What Jesus looked like has long been debated by theologians around the > world. Different cultures have imagined him in different ways, says > Stephen Prothero, chairman of the religion department at Boston > University. In Japan, Jesus looks Japanese. In Africa, he is black. But > in America he is almost always white, like the fair-haired savior > painted by Leonardo Da Vinci in "The Last Supper" in 1495. >=20 > While some black churches have images of a black Jesus behind the altar > and others have claimed Christ was black, Prothero says "none of those > arguments or images have filtered much into the mainstream." >=20 > Filmmaker Jean Claude LaMarre set out to change that with "Color of the > Cross." LaMarre, who plays Jesus, wrote, directed and financed the film. > It will open in 30 theaters in predominantly black neighborhoods. >=20 > "Black people in this country are the only race of people who worship a > god outside their own image," says LaMarre, 38, adding that showing > Christ as a black man is "the most poignant way to deal with the issue > of race in this country because it goes to the heart of how we look at > the world." >=20 > It also provides a positive image of blacks, something that's been scant > in the U.S., says the Rev. Cecil "Chip" Murray, longtime leader of > L.A.'s First African Methodist Episcopal Church and a producer of the fil= m. >=20 >=20 > "It could be revolutionary because, for four centuries in our nation, > blacks have been at the lowest end of the stratum," he says. "I think it > will traumatize the United States more than it will foreign nations who, > to some extent, don't have a centuries-old concept of equating black > with negativity." >=20 > Humphries-Brooks agrees. Other countries are likely to view the film "in > a more detached manner," he says, "because of the way (they) see our > race-relations problem." >=20 > Why does race matter in the story of Christ? >=20 > "Jesus isn't in the hands of historians," Prothero says. "What we have > now is our own debate and, in that debate, race has to be a factor > because race is a big predicament in American life." >=20 > Film is a powerful place to have the discussion, says Humphries-Brooks, > who calls the medium "one of the last places that is quasi-public for > the formation of values in America." >=20 > "Artistic and aesthetic views are as important in developing religious > values as the words we speak. Everybody goes to the movies. Not > everybody goes to the same church." >=20 > Filmmaker LaMarre thinks the film can only have a positive effect. >=20 > "The message is that color, a colored Jesus Christ, doesn't matter," he > says. "That's why the movie is important. When you have one prevailing > image out there, it suggests color does matter." >=20 > ---_ >=20 > On the Net: >=20 > http://www.colorofthecross.com >=20 > _____________________________ > Change address / Leave mailing list: > http://ymlp.com/u.php?montrealmuslimnews+ishaq1824@shaw.ca > Hosting by YourMailingListProvider >=20 >=20 > see also: Canada ranked low in UN native report > http://www.cbc.ca/canada/story/2005/04/11/UNNatives-050411.html >=20 > ************************ >=20 > -- > Stay Strong >=20 > -"I testified/My mama cried/Black people died/When the other man lied" > -- chuck d > \ > "Be a friend to the oppressed and an enemy to the oppressor" > --Imam Ali Ibn Abu Talib (as) >=20 > "They want to see us breathless. We will not be. They want to see us > tired. We refuse to be. They want to see what our strength is. We will > not show it in advance. We will continuously surprise them." -- Julia > Wright >=20 > "We restate our commitment to the peace process. But we will not > submit to a process of humiliation." > --patrick o'neil >=20 > "...we have the responsibility to make no deal with the oppressor" > --harry belafonte >=20 > "...these people generate wars in Asia and Africa,...These are the > people who, in the last century, caused several devastating wars. In one > world war alone, they killed over 60 million people.... In the near > future, Allah willing, we will put you to trial in courts established by > the peoples...."-- mahmoud ahmadinejad >=20 > http://www.sidebrow.net/2006/a047braithwaite.php >=20 > http://radio.indymedia.org/uploads/just_a_sec_for_whiteboys_in_afrika__do= wny_d > ub____.mp3 >=20 > http://cleveland.indymedia.org/uploads/2006/07 > olivet___h.a.t.s_in_the_square___loud_ruffa1b.mp3 >=20 > http://vancouver.indymedia.org/?q=3Dnode/315 >=20 > http://radio.indymedia.org/news/2005/10/7255.php >=20 > http://ilovepoetry.com/search.asp?keywords=3Dbraithwaite&orderBy=3Ddate >=20 >=20 > http://www.lowliferecords.co.uk/ >=20 > ------------------------------ >=20 > Date: Sun, 29 Oct 2006 01:14:48 -0400 > From: Andrew Lundwall > Subject: melancholia's tremulous dreadlocks issue 7 >=20 > The seventh issue of melancholia's tremulous dreadlocks is live, featurin= g > work by: >=20 > Anne Heide - Brian Mornar - Chris Tonelli - Daniela Olszewska - Ellen > Kennedy - Kathleen Rooney - Michael Rerick - Tao Lin - Tim Earley >=20 > art by Adrian Landon Brooks >=20 > mtd is a biweekly online poetry journal edited by Andrew Lundwall and > Fran=E7ois Luong. >=20 > http://mtd.celaine.com >=20 > _________________________________________________________________ > Find a local pizza place, music store, museum and more=85then map the best > route! http://local.live.com?FORM=3DMGA001 >=20 > ------------------------------ >=20 > Date: Sat, 28 Oct 2006 22:47:01 -0700 > From: Chris Stroffolino > Subject: Re: Alex Caldiero, Leonard Gontarek and Jane Ormerod will read S= unday > at ABC No Rio celebrating CLWN WR >=20 > So nice to see you mention Leonard Gonterek's name on the poetry =3D20 > list, Leonard was a great force on the Philly Poetry scene when I =3D20 > was there from 86-92. For people like myself who were "too street =3D20 > poet for the academics, and allegedly too academic for the street =3D20 > poets" (and at the time in Philly it was pretty damn 'either/or'), =3D20 > Leonard's work was very helped widen the range in ways that gave a =3D20 > lot of younger poets and writers hope and permission. Have fun at the =3D20= =3D >=20 > reading... >=20 > Chris >=20 > On Oct 28, 2006, at 2:59 AM, Bob Heman wrote: >=20 >> Alex Caldiero flew in from Utah for this reading. Leonard Gontarek =3D20=3D >=20 >> will be Amtraking in from Philadelphia. Jane Ormerod, yes, will be =3D20=3D >=20 >> walking up from downtown. All to excite and entertain you. Three =3D20 >> great poets celebrating the rebirth of CLWN WR. Please come and =3D20 >> hear them. You won't be disappointed! >>=20 >>=20 >> ABC No Rio Celebrates CLWN WR!!! >> Sunday, October 29, 7:00 p.m. >>=20 >> Alex Caldiero >> Leonard Gontarek >> Jane Ormerod >> introduced by Bob Heman >> editor/publisher of CLWN WR/Clown War since 1971 >>=20 >> hosted by Patricia Carragon for ABC No Rio >> $5.00 donation >> ABC No Rio, 156 Rivington Street ("F" Train to Delancey =3D96 walk =3D20 >> north one block) >=20 > ------------------------------ >=20 > Date: Sun, 29 Oct 2006 01:33:21 -0700 > From: Jason Quackenbush > Subject: Re: 'Cross' Shows Jesus As Being a Black Man >=20 > I've always found this topic to be really interesting. There are two issu= es at > play here that I think get undue attention: 1.) arguing over the race > of Jesus of Nazareth is to project the socially constructed ideas of race= from > our era into an era when the ideas of race were completely different. > So to say that Jesus was white or Jesus was black or Jesus was Asian is > entirely anachronistic. 2.) From a theological perspective, the issue tha= t the > article posted brings up, that people worship G-d in their own image, wel= l, > that's a little strange, isn't it, when the basic idea is that we were > created in H-s image? I mean, really when it comes right down to it, all = the > people in the world probably look nothing like G-d, but if you took the > common characteristics of all of us, then you'd get that "image of the di= vine" > that we were created in, right? So focussing on Jesus's race is really > only a way of further distancing your imagge of god from what he actually > looks like, since it's a way of enforcing difference rather than likeness= . > 3.) which is not to say that Black folks aren't completely right to point= out > that a blond haired blue eyed jesus is pretty fucking dumb, just saying > maybe the muslims got it right when they decreed there would be no images= of > God or The Prophet. It makes a lot more sense from a practical view. If > nobody has an idea what they look like, then they really could look like > everybody. everybody with a y chromosome at least. >=20 > Ishaq wrote: >> 'Cross' Shows Jesus As Being a Black Man >>=20 >> http://apnews1.iwon.com//article/20061025/D8KVQNBO0.html >>=20 >> Oct 25, 2:23 PM (ET) >>=20 >> By SANDY COHEN >>=20 >> (AP) This undated photo released by Nu-Lite Entertainment shows Jean >> Claude LaMarre, who wrote, directed... >>=20 >> http://apnews1.iwon.com/image/20061025/FILM_BLACK_JESUS.sff_LA302_200610= 25141 >> 922.html?date=3D20061025&docid=3DD8KVQNBO0 >>=20 >>=20 >> LOS ANGELES (AP) - It's a familiar image for millions of Christians: >> Jesus Christ, with a crown of thorns, hanging from the cross. What color >> is he? In a controversial new film opening Friday, he is black. >>=20 >> "Color of the Cross" tells a traditional story, focusing on the last 48 >> hours of his life as told in the Gospels. In this version, though, race >> contributes to his persecution. >>=20 >> It is the first representation in the history of American cinema of >> Jesus as a black man. >>=20 >> "It's very important because (the film) is going to provide an image of >> Jesus for African-Americans that is no longer under the control of >> whites," says Stephenson Humphries-Brooks, an associate professor of >> religious studies at New York's Hamilton College and author of >> "Cinematic Savior: Hollywood's Making of the American Christ." >>=20 >> What Jesus looked like has long been debated by theologians around the >> world. Different cultures have imagined him in different ways, says >> Stephen Prothero, chairman of the religion department at Boston >> University. In Japan, Jesus looks Japanese. In Africa, he is black. But >> in America he is almost always white, like the fair-haired savior >> painted by Leonardo Da Vinci in "The Last Supper" in 1495. >>=20 >> While some black churches have images of a black Jesus behind the altar >> and others have claimed Christ was black, Prothero says "none of those >> arguments or images have filtered much into the mainstream." >>=20 >> Filmmaker Jean Claude LaMarre set out to change that with "Color of the >> Cross." LaMarre, who plays Jesus, wrote, directed and financed the film. >> It will open in 30 theaters in predominantly black neighborhoods. >>=20 >> "Black people in this country are the only race of people who worship a >> god outside their own image," says LaMarre, 38, adding that showing >> Christ as a black man is "the most poignant way to deal with the issue >> of race in this country because it goes to the heart of how we look at >> the world." >>=20 >> It also provides a positive image of blacks, something that's been scant >> in the U.S., says the Rev. Cecil "Chip" Murray, longtime leader of >> L.A.'s First African Methodist Episcopal Church and a producer of the fi= lm. >>=20 >>=20 >> "It could be revolutionary because, for four centuries in our nation, >> blacks have been at the lowest end of the stratum," he says. "I think it >> will traumatize the United States more than it will foreign nations who, >> to some extent, don't have a centuries-old concept of equating black >> with negativity." >>=20 >> Humphries-Brooks agrees. Other countries are likely to view the film "in >> a more detached manner," he says, "because of the way (they) see our >> race-relations problem." >>=20 >> Why does race matter in the story of Christ? >>=20 >> "Jesus isn't in the hands of historians," Prothero says. "What we have >> now is our own debate and, in that debate, race has to be a factor >> because race is a big predicament in American life." >>=20 >> Film is a powerful place to have the discussion, says Humphries-Brooks, >> who calls the medium "one of the last places that is quasi-public for >> the formation of values in America." >>=20 >> "Artistic and aesthetic views are as important in developing religious >> values as the words we speak. Everybody goes to the movies. Not >> everybody goes to the same church." >>=20 >> Filmmaker LaMarre thinks the film can only have a positive effect. >>=20 >> "The message is that color, a colored Jesus Christ, doesn't matter," he >> says. "That's why the movie is important. When you have one prevailing >> image out there, it suggests color does matter." >>=20 >> ---_ >>=20 >> On the Net: >>=20 >> http://www.colorofthecross.com >>=20 >> _____________________________ >> Change address / Leave mailing list: >> http://ymlp.com/u.php?montrealmuslimnews+ishaq1824@shaw.ca >> Hosting by YourMailingListProvider >>=20 >>=20 >> see also: Canada ranked low in UN native report >> http://www.cbc.ca/canada/story/2005/04/11/UNNatives-050411.html >>=20 >> ************************ >>=20 >> --=20 >> Stay Strong >>=20 >> -"I testified/My mama cried/Black people died/When the other man lied" >> -- chuck d >> \ >> "Be a friend to the oppressed and an enemy to the oppressor" >> --Imam Ali Ibn Abu Talib (as) >>=20 >> "They want to see us breathless. We will not be. They want to see us >> tired. We refuse to be. They want to see what our strength is. We will >> not show it in advance. We will continuously surprise them." -- Julia >> Wright >>=20 >> "We restate our commitment to the peace process. But we will not >> submit to a process of humiliation." >> --patrick o'neil >>=20 >> "...we have the responsibility to make no deal with the oppressor" >> --harry belafonte >>=20 >> "...these people generate wars in Asia and Africa,...These are the >> people who, in the last century, caused several devastating wars. In one >> world war alone, they killed over 60 million people.... In the near >> future, Allah willing, we will put you to trial in courts established by >> the peoples...."-- mahmoud ahmadinejad >>=20 >> http://www.sidebrow.net/2006/a047braithwaite.php >>=20 >> http://radio.indymedia.org/uploads/just_a_sec_for_whiteboys_in_afrika__d= owny_ >> dub____.mp3=20 >>=20 >>=20 >> http://cleveland.indymedia.org/uploads/2006/07 >> olivet___h.a.t.s_in_the_square___loud_ruffa1b.mp3 >>=20 >> http://vancouver.indymedia.org/?q=3Dnode/315 >>=20 >> http://radio.indymedia.org/news/2005/10/7255.php >>=20 >> http://ilovepoetry.com/search.asp?keywords=3Dbraithwaite&orderBy=3Ddate >>=20 >>=20 >> http://www.lowliferecords.co.uk/ >=20 > ------------------------------ >=20 > Date: Sun, 29 Oct 2006 12:25:21 -0600 > From: "Tom W. Lewis" > Subject: Re: Little Magazines/Small Presses/Mimeo Revolution >=20 > Hello, Mr. Zeitgeist... >=20 > I was at a reading in St. Paul yesterday, and the topic of small press > publishing today was a central theme in the after- conversation.=3D20 >=20 > Do you have a venue in mind for the conference?=3D20 >=20 > Tom >=20 > -----Original Message----- > From: UB Poetics discussion group [mailto:POETICS@LISTSERV.BUFFALO.EDU] > On Behalf Of Christopher Harter > Sent: Saturday, October 28, 2006 22:20 > To: POETICS@LISTSERV.BUFFALO.EDU > Subject: CFP: Little Magazines/Small Presses/Mimeo Revolution >=20 > CFP: "Small Presses/Little Magazines of the Mimeograph Revolution: > Their=3D20 > Audiences and the Role of Printing Technologies" > Proposed Panel for The Society for the History of Authorship, Reading > and=3D20 > Publishing (SHARP) Conference, Minneapolis, Minnesota > July 11-15, 2007 >=20 > The readership for twentieth century little magazines and small presses > has=3D20 > often been considered a narrow one, with the majority of readers being > those=3D20 > interested in experimental or avant-garde literature. The Mimeograph=3D20 > Revolution of the 1960s resulted in an explosion in the number of little >=20 > magazines and small presses, particularly in the United States, Canada > and=3D20 > the UK. While the focus continued to be on "new writing," the community > of=3D20 > publishers and writers of this movement brought a grassroots ethos to=3D20 > literary publishing in opposition to what was perceived to be the > domination=3D20 > of academic criticism and the commercialization of mainstream > publishing. =3D20 > As Curt Johnson and Diane Kruchkow have stated, the 1960s small press=3D20 > "provided an environment...in which one could discover literature > first-hand." >=20 > In recognition of SHARP's 2007 theme, "Open the Book, Open the Mind," > this=3D20 > panel seeks to explore how this discovery took place for readers of > these=3D20 > publications by examining the role of different printing technologies > and=3D20 > production methods employed during this "revolution" and how they > affected=3D20 > the target audience for these publications. Exactly what were the > production=3D20 > methods used under the banner of the Mimeo Revolution and how did they=3D20 > differ from each other and from publications of earlier eras? What, if > any,=3D20 > divergences were seen in the traditional audience for literary work > produced=3D20 > by little magazines and small presses? How did this grassroots effort=3D20 > differentiate itself from the more conservative academic quarterlies and >=20 > commercial publishers? The panel encourages papers that take a > historical=3D20 > look at literary publishing with a focus on the publication and > production=3D20 > of these works, rather than a critique of the work within, or how the > styles=3D20 > of writing originating during this time affected the publication of that >=20 > work. Papers may examine individual presses or magazines or take a wider >=20 > view of the era. > Send a one page abstract and brief CV by November 20, 2006, to > Christopher=3D20 > Harter (charter@uiuc.edu). >=20 > _________________________________________________________________ > Get today's hot entertainment gossip =3D20 > http://movies.msn.com/movies/hotgossip?icid=3D3DT002MSN03A07001 >=20 > ------------------------------ >=20 > Date: Sun, 29 Oct 2006 13:57:34 -0500 > From: Phil Primeau > Subject: Dirty Updates! >=20 > http://dirt-zine.blogspot.com >=20 > NOW AT DIRT, THE PREMIER JOURNAL OF > MINIMALIST ART, LITERATURE, AND THEORY > .........................................................................= ... >=20 >=20 > GEOF HUTH on "The Art of Pwoermds" . . . >=20 > DIRT interviews ARAM SAROYAN . . . >=20 > Visual art by IRA JOEL HABER and JESSE FERGUSON . . . >=20 > Poetry by ANDY GRICEVICH and AVERY BURNS . . . >=20 > Full review of "Concrete Movies" by NICO VASSILAKIS . . . >=20 > MARK YOUNG does short fiction . . . >=20 > & more! >=20 >=20 > Philip Primeau > Editor, *Dirt* >=20 > http://dirt-zine.blogspot.com >=20 > ------------------------------ >=20 > Date: Sun, 29 Oct 2006 11:08:25 -0800 > From: Mary Kasimor > Subject: Re: Little Magazines/Small Presses/Mimeo Revolution >=20 > Good question. I think that the small press "revolution" is so important= to > poetry. Many people would not be read if it weren't for these small > presses--and now we have moved on to online journals, which I disapprove= d of > at first, but now have a great deal of respect and affection for these > sources of new poets and poetry. > =20 > =20 >=20 > "Tom W. Lewis" wrote: Hello, Mr. Zeitgeist... >=20 > I was at a reading in St. Paul yesterday, and the topic of small press > publishing today was a central theme in the after- conversation. >=20 > Do you have a venue in mind for the conference? >=20 > Tom >=20 > -----Original Message----- > From: UB Poetics discussion group [mailto:POETICS@LISTSERV.BUFFALO.EDU] > On Behalf Of Christopher Harter > Sent: Saturday, October 28, 2006 22:20 > To: POETICS@LISTSERV.BUFFALO.EDU > Subject: CFP: Little Magazines/Small Presses/Mimeo Revolution >=20 > CFP: "Small Presses/Little Magazines of the Mimeograph Revolution: > Their=20 > Audiences and the Role of Printing Technologies" > Proposed Panel for The Society for the History of Authorship, Reading > and=20 > Publishing (SHARP) Conference, Minneapolis, Minnesota > July 11-15, 2007 >=20 > The readership for twentieth century little magazines and small presses > has=20 > often been considered a narrow one, with the majority of readers being > those=20 > interested in experimental or avant-garde literature. The Mimeograph > Revolution of the 1960s resulted in an explosion in the number of little >=20 > magazines and small presses, particularly in the United States, Canada > and=20 > the UK. While the focus continued to be on "new writing," the community > of=20 > publishers and writers of this movement brought a grassroots ethos to > literary publishing in opposition to what was perceived to be the > domination=20 > of academic criticism and the commercialization of mainstream > publishing. =20 > As Curt Johnson and Diane Kruchkow have stated, the 1960s small press > "provided an environment...in which one could discover literature > first-hand." >=20 > In recognition of SHARP's 2007 theme, "Open the Book, Open the Mind," > this=20 > panel seeks to explore how this discovery took place for readers of > these=20 > publications by examining the role of different printing technologies > and=20 > production methods employed during this "revolution" and how they > affected=20 > the target audience for these publications. Exactly what were the > production=20 > methods used under the banner of the Mimeo Revolution and how did they > differ from each other and from publications of earlier eras? What, if > any,=20 > divergences were seen in the traditional audience for literary work > produced=20 > by little magazines and small presses? How did this grassroots effort > differentiate itself from the more conservative academic quarterlies and >=20 > commercial publishers? The panel encourages papers that take a > historical=20 > look at literary publishing with a focus on the publication and > production=20 > of these works, rather than a critique of the work within, or how the > styles=20 > of writing originating during this time affected the publication of that >=20 > work. Papers may examine individual presses or magazines or take a wider >=20 > view of the era. > Send a one page abstract and brief CV by November 20, 2006, to > Christopher=20 > Harter (charter@uiuc.edu). >=20 > _________________________________________________________________ > Get today's hot entertainment gossip > http://movies.msn.com/movies/hotgossip?icid=3DT002MSN03A07001 >=20 >=20 > =20 > --------------------------------- > Access over 1 million songs - Yahoo! Music Unlimited Try it today. >=20 > ------------------------------ >=20 > Date: Sun, 29 Oct 2006 14:20:12 -0500 > From: Tisa Bryant > Subject: ODYSSEY premiere/release party at MIX NYC 11.12! >=20 > FYI! > _______________________________________________ >=20 > Art is the accomplice of love. >=20 > _______________________________________________ >=20 > Begin forwarded message: >=20 >> From: Andrea Lawlor >> Date: October 27, 2006 3:52:45 PM EDT >> To: Andrea Lawlor >> Subject: ODYSSEY premiere/release party at MIX NYC 11.12! >>=20 >> ***PLEASE PASS IT ON TO NYC FRIENDS*** >>=20 >> Dear Friends of Pocket Myths, of Redbird Films, of Andrea Lawlor, and=20 >> of Bernadine Mellis: >>=20 >> Along with MIX NYC, we are having a big=20 >> reading/screening/performance/party to celebrate the release and=20 >> premiere of our epic collaboration (see full list of contributors=20 >> below!), THE ODYSSEY: book & dvd extravaganza. >>=20 >> When: November 12, 8pm >> Where: 3LD Art & Technology Center, 80 Greenwich Street, Theater #1 >> (R or 1 to Rector, 2 3 4 5 to Wall Street, J M Z to Broad, A C to=20 >> Fulton) >> Admission: $12 >> More about the festival: www.mixnyc.org >> More about THE ODYSSEY: www.pocketmyths.com,=20 >> http://redbirdfilms.com/odyssey.html >>=20 >> ***The first 24 people to arrive will receive a FREE COPY of THE=20 >> ODYSSEY.*** >> ***You can also buy it at the event for $20.*** >>=20 >> It's the closing night of the MIX experimental film festival! We are=20 >> both very excited. This will be the world premiere of the film, and=20 >> many of the filmmakers will be in attendance. We'll have readings=20 >> from the book by writers including Emily Abendroth, Ida Acton, Ari=20 >> Banias, Julia Bloch, Laura Jaramillo, Andrea Lawlor, Robin Lewis, Kara=20 >> Lynch, Delia Mellis, Ariana Reines, Frances Richard, and Jen Welch. >>=20 >> Musical guests include Ryder Cooley with Gretchen Hildebran, Sara=20 >> Jaffe, and Red Heart the Ticker. >>=20 >> Can't wait to see you there! >>=20 >> Love, >> Andrea and Bernadine >>=20 >> p.s. there will feasting too >>=20 >> THE ODYSSEY Contributors: >> Emily Abendroth, Ida Dewey Acton, Justin Audia, Ari Banias, Bill=20 >> Basquin, Julia Bloch, Lizzy Bonaventura, Popahna Brandes, CAConrad,=20 >> Anita Chao, Jason Coyle, Paula Cronan, Cybele, Courtney Dailey, Amanda=20 >> Davidson, Steve Dolph, Ryan Eckes, Tonya Foster, Cathy Halley, Kara=20 >> Hearn, Gretchen Hildebran, Michael Hyde, Xylor Jane, Laura Jaramillo,=20 >> Laska Jimsen, Judith Jordan, Andrea Lawlor, Jennifer Lee, Rebecca Lee,=20 >> Robin Coste Lewis, Kara Lynch, Laura Mays, Mary McDermott, Bernadine=20 >> Mellis, Delia Mellis, Miranda F. Mellis, Dori Midnight, EE=20 >> Miller,Megan Milks, Lamby Morreale, Eileen Myles, Christian Nagler,=20 >> Maggie Nelson, Miranda Pierce, Mendal Polish, Corinna Press, Ariana=20 >> Reines, Irit Reinheimer, Frances Richard, Rachel Robbins, Sara=20 >> Seinberg, Davina Semo, Juliana Snapper, Miriam Klein Stahl, Senseney=20 >> Lea Stokes, Zoe Strauss, Samuael Topiary, Laurie Weeks, Jen Welch,=20 >> David West, and Rebecca Yaffe. >>=20 >=20 > ------------------------------ >=20 > Date: Sun, 29 Oct 2006 16:34:54 -0500 > From: "j. kuszai" > Subject: Cara Hoffman audio at Factory School >=20 > Listen to independent journalist and fiction writer Cara Hoffman read =20 > her story "The Mouse's Sister" during a visit to New York City on =20 > October 28, 2006. >=20 > http://factoryschool.org/pubs/hoffman/wedding/ >=20 > 24 minutes; 11 megabytes; mp3 format >=20 > ------------------------------ >=20 > Date: Sun, 29 Oct 2006 17:38:24 -0800 > From: Jason Nelson > Subject: call for digital art >=20 > As a part of the Art of the Animal Symposium, 27-28 November, Gold Coast,= A=3D > ustralia ( conference website), we are curating a companion net-based dig= it=3D > al art exhibition. This is a juried exhibition with prizes for the top th= re=3D > e artworks in each category (prizes to be announced, but expect the unusu= al=3D > ). =3D0A =3D0AFor more details: http://www.eagleandowl.com/animalartcall.htm= l=3D > =3D0A =3D0ATheme of Exhibition:=3D0AIn order to compliment and expand on the di= sc=3D > ussions/papers presented at the symposium, all artworks should be related= t=3D > o or address in some way one or more of the following inquires (or convin= ce=3D > us otherwise) (animals=3D3Dnon-human): =3D0AIf animals were to create with = di=3D > gital tools what would they create? How would they create? =3D0ADigital Art= wo=3D > rks inspired by animal creativity, or the creations of animals. =3D0ARelate= a=3D > nimal and human creativity/art. Should we even have such distinctions? =3D0= AD=3D > igital Artworks which explore how we perceive animal creativity. =3D0AHow t= o =3D > Submit: Deadline: November 6, (artworks will be reviewed as they are rece= iv=3D > ed)=3D0AAll artworks submitted should be web ready and be sent via a URL th= at=3D > contains the artwork. Public tools such as youtube or flickr are fine f= or=3D > the jury process =3D0ASend an e-mail with the following to both addresses:= =3D > =3D0Aw.nelson[removetext]@[removetext]gu.edu.au=3D0Aartofanimal[removetext]@[= re=3D > movetext]gmail.com =3D0AArtist(s) name, affiliation, contact details and a = br=3D > ief bio. =3D0ATitle of Artwork, URL for jury review, and one paragraph desc= ri=3D > ption of how the artwork relates to the exhibition themes.=3D0A=3D0A >=20 > ------------------------------ >=20 > End of POETICS Digest - 28 Oct 2006 to 29 Oct 2006 (#2006-303) > ************************************************************** >=20 ========================================================================= Date: Mon, 30 Oct 2006 20:10:47 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Maria Damon Subject: Re: Brad Will In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" i had written a paper two years ago for an ACLA panel on "THe Use Value of the Avant-garde" in which i used Brad Will's writing from Goiania, Brazil, as an instance of "avant-garde" documentary news coverage. I was so shocked to hear his name on the news Saturday morning. He was a good friend of good friends, and i feel as if by writing about his writing i got to know him too. I am very sad and am happy to sign the petition and pass it on. deaths like this in the poetry community (like that of Ramez Qureshi some years ago) make me feel that this listserv can be, in fact, a very intimate space where we come to know and depend on each other and feel it when the fabric has been torn... love to all, md At 8:31 PM -0400 10/30/06, Jonathan Skinner wrote: >Brad Will was a friend: a friend of poetry, of the environment, of free >speech and media, of justice. (He was a fearless champion of the community >pocket gardens across Manhattan's Lower East Side, as they came under siege >in the Giuliani Administration. He also interviewed many poets on his show >for the microradio station, Steal This Radio.) This is sad news. Check out >the story, and if you feel inclined, please sign the petition. Thanks. > >JS > >From: Akilah Oliver >Date: Mon, 30 Oct 2006 16:32:52 -0700 >To: >Subject: URGENT: justice for Brad Will > >As most of you are aware, our friend Brad Will was shot and killed in Oaxaca >Mexico last Friday, October 27th while covering the civil unrest there. 3 >others were killed as well. > >Brad's brutal death must be addressed. Here is a small step we can take. > >Please sign and pass on this petition to all your friends. Let's try to get >a few hundred signatures by Friday, November 3rd. > >To sign the petition, simply click the link below, sign, and pass on to your >friends! (or paste into your browser). > >http://www.gopetition.com/online/9996.html > >The petition is being sent to U.S. Embassy in Mexico, Consular Agent in >Oaxaca, Mark A. Leyes > >To view the press release on the death of Brad by U.S. Ambassador Garza, go >the U.S. Embassy website: >http://mexico.usembassy.gov/mexico/ep061027Will.html > >Several news sources are currently covering the story: >http://www.democracynow.org/index.pl >http://www.eluniversal.com.mx/ >http://www.indymedia.org/en/index.shtml >http://www.jornada.unam.mx/ >http://www.nytimes.com/2006/10/29/world/americas/29mexico.html?_r=1&oref=slo >gin > > ========================================================================= Date: Mon, 30 Oct 2006 23:29:41 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "D. Wellman" Subject: Last Brad Will video MIME-Version: 1.0 Content-Type: text/plain; format=flowed; charset="iso-8859-1"; reply-type=response Content-Transfer-Encoding: 7bit http://video.google.com/videoplay?docid=-3664350201077731285 Donald Wellman ========================================================================= Date: Mon, 30 Oct 2006 20:45:37 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jane Sprague Subject: New from Palm Press: Langquage Makes Plastic of the Body MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Palm Press is pleased to announce publication of LANGQUAGE MAKES = PLASTIC OF THE BODY by Andrew Choate. The first book-length work by this South Carolinian / Southern = Californian writer collects songs, essays, poetry, brief prose stories = and documents from his unusual epistolary archive. Choate combines close = attention to graphic detail - from page design to the evocativity of = intentional misspelling - with a heightened focus on the influence of = sonic texture over a word's migration between the page and the person. A = wry but contagious humor underlies each piece. Includes "Laser Pointers = Put the Demon in Demonstrate." Accompanying each book is a CD featuring = musical renditions and other sonic performances of the work, plus 18 = CD-exclusive pieces.=20 "His world is surrounded by a saturn's ring of theatrical = meowing."=20 LANGQUAGE MAKES PLASTIC OF THE BODY, Andrew Choate's wicked wild = rumpus in the materiality of language, is a palimpsest-primer for mock = engagement of meaning perceived through the senses. Choate's poetry and = visual/aural compositions resist easy definition as they critique the = singularly homo-erectus-cum-sapien penchant for Story, translate the = City of Angels' cuneiform graffiti and pack more linguistic sonic booms = into the pages and accompanying audio tracks than paper and plastic = should rightly hold. Check it out: www.palmpress.org=20 =20 This book is the product of collaboration and collective design, = production and engineering by the people of Palm Press, Haoyan of = America, Pampermaster Studio and many individuals in California and = elsewhere.=20 Stapled, 40 pages with CD.=20 $15.00=20 ISBN 0-9743181-9-1 PALM PRESS LONG BEACH, CA www.palmpress.org ========================================================================= Date: Tue, 31 Oct 2006 00:06:31 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Phil Primeau Subject: Re: the mission In-Reply-To: <11d43b500610270643m5a8d102fv4703ead5a98d6c0c@mail.gmail.com> MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline coughORIENTALISMcough ========================================================================= Date: Tue, 31 Oct 2006 18:23:27 +1100 Reply-To: k.zervos@griffith.edu.au Sender: UB Poetics discussion group From: "kom9os@bigpond.net.au" Subject: Fwd: See The Voice: Visible Verse 2006 Mime-Version: 1.0 Content-Type: text/plain; charset=utf-8 Content-Transfer-Encoding: quoted-printable =20 FOR IMMEDIATE RELEASE=20 =20 CONTACT:=20 Heather Haley=20 Phone: (604) 947-9386=20 E-mail: hshaley@emspace.com=20 Websites: www.heatherhaley.com=20 www.cinematheque.bc.ca=20 =20 =20 S E E T H E V O I C E=20 =20 =20 Vancouver, BC, Oct. 30, 2006 - Curated by Heather Haley, Pacific=20 Cin=EF=BF=BDmath=EF=BF=BDque presents See the Voice: Visible Verse 2006. Th= ursday, November=20 16 - 7:30 pm=20 =20 Vancouver poet, author and singer Heather Haley returns to Pacific=20 Cin=EF=BF=BDmath=EF=BF=BDque to host our annual special evening devoted to = videopoetry and=20 film, a hybrid creative form that integrates verse with media-art visuals= =20 produced by a camera or a computer. This year Heather promises another=20 wild ride, with an exciting and eclectic program that features 33 films and= =20 videos from Canada, the USA, Great Britain, France and Australia. The=20 dizzying array of works on display vary tremendously in budget, style,=20 theme, and even total running time (ranging from 44 seconds to over ten=20 minutes.) Earle Birney, William Carlos Williams, Christian B=EF=BF=BDk, Ann= e=20 Sexton, Tom Konyves, Penn Kemp, Hugo Ball, Lenelle Moise, Cy Street,=20 Komninos Zervos are a few of the featured voices, as is one of the first=20 poets to work with film, Jean Cocteau. Spoken word artist, raconteur,=20 Fernando Raguero and Vancouver poet and impresario Sean McGarragle will=20 perform live for the screening audience, continuing a Visible Verse=20 tradition that celebrates the connection between the cinematic and language= =20 arts. These annual screenings have become North America's sustaining venue= =20 for the presentation of artistically significant poetry film and video.=20 Artists in the genre and fans of it should recognize that it is now the=20 touchstone venue for the form in North America. If new poetry cinema of=20 significance erupts anywhere between the Atlantic and Pacific, Visible=20 Verse is where it will get its best screening.=20 =20 Bios:=20 Architect of the Edgewise ElectroLit Centre and the Vancouver Videopoem=20 Festival,Heather Haley pushes boundaries by creating across disciplines and= =20 media. Her work appears on stage, paper, video, CD and the Internet at=20 e-poets.net and heatherhaley.com.=20 =20 Fernando Raguero, a poet known for his hilarious and brutal honesty, has=20 been performing in Vancouver's spoken word scene for over five years.=20 Samples of his work can be found on latchkey.net.=20 =20 Originally from Toronto, Sean McGarragle is a performance poet and=20 storyteller currently living and working in east Vancouver. He's the=20 artistic director of the West Coast Poetry Festival and one of the=20 organizers behind the Vancouver Story Slam and the Vancouver Poetry Slam.= =20 =20 =20 The Program: Part I=20 =20 Fernando Raguero in performance=20 =20 On Screen:=20 =20 Cocteau Cento (Dan Boord, Luis Valdovino/USA)=20 Black Coffee Nights (Komninos Zervos/Australia)=20 Childhood in Richmond (Komninos Zervos/Australia)=20 High Street/Kew Street (Komninos Zervos/Australia)=20 The Term (William Carlos Williams, Elizabeth Lewis/Canada)=20 To Erzulie (Lenelle Moise, Mara Alper/USA)=20 13 Instances-5 chapers (David Poolman/Canada)=20 The Touch (Anne Sexton, Vanessa Woods/USA)=20 To the Stones (David Bengtson, Mike Hazard/USA)=20 Sparkling Igloo (Emily Novalinga, Brigitte Lebrasseur/Canada)=20 Sea Horses & Flying Fish (Rick Raxlen, Hugo Ball, Christian B=EF=BF=BDk/Can= ada)=20 I Can't Keep Up (Martha Colburn/USA)=20 Rhapsody to Orpheus on Pomegranate Wine (David Witzling/USA)=20 Fuck Authority (Paul Grivas/France)=20 Primiti Too Taa (Ed Ackerman/Canada)=20 Purple Lipstick (Josef Roehrl, Double H/Canada)=20 =20 Intermission (15 mins)=20 =20 Part II=20 =20 Sean McGarragle in performance=20 =20 On Screen:=20 =20 PNN (Donna Szoke, Maki Yi/Canada)=20 Job 4 Life (Mac Dunlop/Great Britain)=20 Moon Rises (David Bengtson, Mike Hazard/USA)=20 In the Garden (Larissa Fan/Canada)=20 You Are Not the Boss of Me (Allison Beda/Canada)=20 Not Waving but Drowning (Penn Kemp/Canada)=20 The Crossroads (David Bengtson, Mike Hazard/USA)=20 Kokoro Is for Heart (Phil Hoffman/Canada)=20 Dirty Bomb (Mac Dunlop/Great Britain)=20 The Self (Blake Parker/Canada)=20 Candle Dance (David Bengtson, Mike Hazard/USA)=20 Poem for the Rivers Project (Tom Konyves/Canada)=20 May I Brand Your Forehead? (Cy Street/USA)=20 The Bell (Donna Szoke/Canada)=20 Villanelle (Earle Birney, Elizabeth Lewis/Canada)=20 Cities of the Dead (David Madgalene/USA)=20 How Did He Get Here? (David Bengtson, Mike Hazard/USA)=20 =20 # # #=20 =20 =20 =20 --=20 =20 HEATHER HALEY=20 ONLINE: http://www.heatherhaley.com, http://www.e-poets.netON PAPER:=20 Sideways, Anvil Press "Supple and unusual."-The WestEnderON DISC: Surfing= =20 Season "Beautiful. A credit to the genre."-Wired On Words ON SCREEN:=20 videopoem producer, director and curator ofSeeThe Voice: Visible Verse @=20 Pacific Cin=EF=BF=BDmath=EF=BF=BDqueON STAGE: "Unique, sublime fusion of so= ng and spoken=20 word."-ZULA Presents=20 - 1.gif=20 =20 cheers komninos ========================================================================= Date: Tue, 31 Oct 2006 02:37:22 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: avatar-meat + announcement/enuncement MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII; format=flowed (Working w/ Foofwa d'Imobilite and Maud Liardon in Geneve and Alps, the following one of about 60 works dealing with the interrelationship of analog/digital - a poetics of the body in relation to raster / articula- tion / construct of the digital. So avatar becomes avatar-meat, returned through dance into problematic suturing. Others in the series are digitally-produced; the relationship is always problematic, ill. I will send out a group of URLs in the future for those interested.) avatar-meat from body motion-capture to digital representation to uncaptured body body remembering origins / scars < digital body of wounds keeping up < digital "at night they come out" < analog Maud Liardon, Foofwa d'Imobilite http://www.asondheim.org/duetavatargrange.mp4 around Gruyere / prealps Alps / pals / slap / laps / salp 1 of about 60 uncaptured body < but the body is always already enculturated (of course) in the back of the mind, tainted freedom _ ========================================================================= Date: Tue, 31 Oct 2006 09:15:10 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: heidi arnold Subject: Re: the mission In-Reply-To: <9d8f23110610302106x1338a8aexa2c339f17371b763@mail.gmail.com> MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline oh, (rolling eyes) please -- izm izm izm izm izm On 10/31/06, Phil Primeau wrote: > > coughORIENTALISMcough > -- www.heidiarnold.org http://peaceraptor.blogspot.com/ ========================================================================= Date: Tue, 31 Oct 2006 11:24:06 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mark Weiss Subject: book announcement Mime-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1"; format=flowed Content-Transfer-Encoding: quoted-printable A while back I anjounced on several lists Stet:=20 Selected Poems of Jos=E9 Kozer. There wasn't a=20 squeal of interest on this list, tho the much=20 smaller UK Poets list produced 5 orders in a day.=20 So I figure I must have done something wrong. Kozer is without question the most important=20 living Cuban poet, which is why a selected poems=20 was the first book by a living exile published in=20 Cuba. He's also one of the leading lights of the=20 neobarroco, the dominant movement in Latin=20 American poetry of the last 20 years. The=20 neobarroco should be of especial interest to=20 poets on a University of Buffalo list, and it's=20 almost unknown in the English-speaking world. Five of the translations, by yours truly, are on=20 the web, at=20 http://jacketmagazine.com/18/kozer.html and=20 http://www.shearsman.com/pages/magazine/back_issues/shearsman65_66/kozer.htm= l.=20 There are a lot more: the book is 222 pages, bilingual. Cover price is $20.00, but I discount to the=20 list, so $16 plus $3 shipping in the US. Here's what Jerry Rothenberg says about the book: "The poetry of Kozer, in this beautifully=20 selected & translated edition, moves from a=20 particular person & place (Cuban, Jewish, caught=20 between home & exile) into a tangle of locations=20 & perceptions that gives his poetry a nearly epic=20 status. While the work has an avant-garde=20 (=93neobaroque=94) foundation =96 & it does =96 it=92s the=20 humanity of the writing (passionate & comic by=20 turns & always precisely referential) that=20 predicts its lasting greatness. A resident of=20 America & of the world, Jos=E9 Kozer is a poet who=20 works at full throttle, gives us thereby what=20 poetry has never done before & what it has always done." Those interested in the book, please b/c and we can arrange the details. . ========================================================================= Date: Tue, 31 Oct 2006 11:36:26 -0500 Reply-To: "Patrick F. Durgin" Sender: UB Poetics discussion group From: "Patrick F. Durgin" Subject: Sarajevo Blues background material Mime-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit In a couple of weeks, I'm teaching Mehmedinovic's _Sarajevo Blues_ and I'm looking for any general background material I could present to college freshman to familiarize them with the context of the war. Please backchannel suggestions for readings (for the students or any best reserved for me but which I may have missed). Thanks in advance, Patrick ========================================================================= Date: Tue, 31 Oct 2006 12:20:21 -0500 Reply-To: Marcus Bales Sender: UB Poetics discussion group From: Marcus Bales Organization: ReadyHosting Subject: Pink Floyd, Led Zeppelin, Raspberries, Muse =?ISO-8859-1?Q?=96?= signed and numbered album cover art by STORM THORGERSON in Gallery 324 Pink Floyd, Led Zeppelin, Raspberries, Muse – signed and numbered album cover art by STORM THORGERSON in Gallery 324 Gallery 324 The Galleria at Erieview 1301 East 9th Street Cleveland, Ohio 44114 For more information: Marcus Bales 216/780-1522 mbales@oh.verio.com Hours: Monday – Saturday 10 am – 2 pm, and by appointment. Please come to Storm Thorgerson´s "Taken By Storm" print show, running through December 31, 2006. Thorgerson famously designed album covers for Pink Floyd, Led Zeppelin, Alan Parsons Project, 10cc, The Raspberries, and, recently, Muse. Framed and unframed prints of the amazing original images that were made into the album and cd covers will be on sale. There is Free Parking for these events on Saturdays in the Galleria Parking Garage: enter off Lakeside between East 9th and East 12th. There´s a large sign with a 3-D curly-cue design that says "Galleria Parking", and a ramp down under the building. Gallery 324 is in the middle of the Galleria by the escalator down into the parking garage. DIRECTIONS to the GALLERIA From the west side 2 East - East Ninth Street, right - Lakeside, left - Galleria Parking Garage, right (if you get to 12th street you went too far - go around the block, right on 12th, right on St Clair, right on 9th, and right on Lakeside, and then right at the Parking Garage sign). Parking is Free on Saturdays, $3 after 4pm on Fridays. Go up the escalator or elevator to the FIRST FLOOR. Out of the elevator turn right and walk past the escalator to the Courtyard 480 - 176North - 90East - 2West (Lakewood) - East Ninth Street, left - Lakeside, left - Galleria Parking Garage, right (if you get to 12th street you went too far - go around the block, right on 12th, right on St Clair, right on 9th, and right on Lakeside, and then right at the Parking Garage sign) 71 North - 90 East - 90East - 2West (Lakewood) - East Ninth Street, left - Lakeside, left - Galleria Parking Garage, right (if you get to 12th street you went too far - go around the block, right on 12th, right on St Clair, right on 9th, and right on Lakeside, and then right at the Parking Garage sign) 77 North - 90East - 2West (Lakewood) - East Ninth Street, left - Lakeside, left - Galleria Parking Garage, right (if you get to 12th street you went too far - go around the block, right on 12th, right on St Clair, right on 9th, and right on Lakeside, and then right at the Parking Garage sign) From the east side 480 - 77 North - 90East - 2West (Lakewood) - East Ninth Street, left - Lakeside, left - Galleria Parking Garage, right (if you get to 12th street you went too far - go around the block, right on 12th, right on St Clair, right on 9th, and right on Lakeside, and then right at the Parking Garage sign) 90 West - 2 West - East Ninth Street, left - Lakeside, left - Galleria Parking Garage, right (if you get to 12th street you went too far - go around the block, right on 12th, right on St Clair, right on 9th, and right on Lakeside, and then right at the Parking Garage sign) From the Heights Martin Luther King Jr Blvd North - 90 West - 2 west - East Ninth Street, left - Lakeside, left - Galleria Parking Garage, right (if you get to 12th street you went too far - go around the block, right on 12th, right on St Clair, right on 9th, and right on Lakeside, and then right at the Parking Garage sign) By RTA Rapid From wherever you are go to the Tower City station and change for the Waterfront Line - get off at East 9th street, up the stairs, turn right on East Ninth Street (away from the lake, away from the R&R Hall) walk half a block to Lakeside, cross Ninth Street to your left, cross Lakeside, and half a block further on is the Ninth Street Entrance to the Galleria. If the weather's nice, you can also walk from Tower City across Public Square away from the Terminal Tower building you came out of (the building in which the RTA Rapid lets you off) and toward the BP Building. Walk east (that is, turn right just past the BP building) on any of Superior, Rockwell, or St Clair streets, to East Ninth. Turn left. From St Clair, it's right there; from Rockwell, one block, from Superior two blocks, to the entrance at East Ninth and St Clair. If you´d like to be removed from this email list, please REPLY to this message to: marcus@designerglass.com and ask to be removed in the text of your message. You have received this e-mail because you opted to do so. If you wish to unsubscribe from this mailing list please click here http://www.readyhosting.com/utils/UnSubscribeMe.bml?Name=rh.marcusbales&List=Events&Email=POETICS@LISTSERV.BUFFALO.EDU . ========================================================================= Date: Tue, 31 Oct 2006 11:48:33 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Tony Trigilio Subject: Call for Papers: New Scholarship on the Beats MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Forwarded from Jennie Skerl (jskerl@wcupa.edu): Call for Proposals by the Beat Studies Association for a panel on new scholarship on the Beats at the American Literature Association Annual Conference to be held in Boston, May 24-27, 2007. Proposals are requested reflecting new research or forthcoming publications on individual writers or a broader historical/cultural analysis of the Beat Generation. Send brief proposals (1-3 pages) by December 1, 2006, to Dr. Jennie Skerl, 1502 Weatherstone Dr., Paoli, PA, 19301 or jskerl@wcupa.edu. Please forward this announcement to interested colleagues. ========================================================================= Date: Tue, 31 Oct 2006 10:26:32 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jim Andrews Subject: Electronic Literature Collection, Volume 1 MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 8bit http://collection.eliterature.org The Electronic Literature Collection, Volume One The Electronic Literature Organization has released the Electronic Literature Collection, Volume One. The Collection, edited by N. Katherine Hayles, Nick Montfort, Scott Rettberg, and Stephanie Strickland, is an anthology of 60 eclectic works of electronic literature, published simultaneously on CD-ROM and on the web at collection.eliterature.org. It is being published by the Electronic Literature Organization under a Creative Commons License (Attribution-NonCommercial-NoDerivs 2.5), so readers are free to copy and share any of the works included or, for instance, to install the collection on every computer in a school’s computer lab, without paying any licensing fees. The Collection will be free for individuals. The 60 works included in the Electronic Literature Collection present a broad overview of the field of electronic literature, including selected works in new media forms such as hypertext fiction, kinetic poetry, generative and combinatory forms, network writing, codework, 3D, and narrative animations. Contributors include authors and artists from Brazil, the USA, Canada, the UK, France, Germany, and Australia. Each work is framed with brief editorial and author descriptions, and tagged with descriptive keywords. The CD-ROM of the Collection runs on both Macintosh and Windows platforms and is published in a case appropriate for library processing, marking, and distribution. Free copies of the CD-ROM can be requested from The Electronic Literature Organization. The Collection will also be included with N. Katherine Hayles’ forthcoming book, Electronic Literature: Teaching, Interpreting, Playing (Notre Dame University Press, 2007). The Electronic Literature Organization (ELO) is a 501(c)(3) nonprofit organization established in 1999 to promote and facilitate the writing, publishing, and reading of electronic literature. Since its formation, the Electronic Literature Organization has worked to assist writers and publishers in bringing their literary works to a wider, global readership and to provide them with the infrastructure necessary to reach each other. The Electronic Literature Organization is a national organization based at the Maryland Institute for Technology in the Humanities (MITH). Volume One features work by: Jim Andrews Ingrid Ankerson & Megan Sapnar babel (Chris Joseph) & Escha Giselle Beiguelman Philippe Bootz & Marcel Frémiot Patrick-Henri Burgaud J.R. Carpenter John Cayley M.D. Covereley Sharif Ezzat Edward Falco Mary Flanagan geniwate Loss Pequeño Glazier Kenneth Goldsmith Richard Holeton Daniel C. Howe and Aya Karpinska Jon Ingold Shelley Jackson Michael Joyce Robert Kendall Deena Larsen Kerry Lawrynovicz Donna Leishman Bill Marsh Talan Memmott Maria Mencia Judd Morrissey Stuart Moulthrop Jason Nelson Marko Niemi Millie Niss Lance Olsen and Tim Guthrie William Poundstone Kate Pullinger & Babel Melinda Rackham and Damien Everett Aaron A. Reed Shawn Rider Jim Rosenberg Dan Shiovitz Emily Short Alan Sondheim Reiner Strasser Dan Waber Jason Pimble Noah Wardrip-Fruin, David Durand, Brion Moss, & Elaine Froehlich Rob Wittig Nanette Wylde ========================================================================= Date: Tue, 31 Oct 2006 10:56:05 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jim Andrews Subject: Re: Electronic Literature Collection, Volume 1 In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Oops. I accidentally did not include Brian Kim Stefans's name on the in my previous post with the same subject line. Sorry, Brian! ja http://vispo.com ========================================================================= Date: Tue, 31 Oct 2006 13:02:53 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Aaron Belz Subject: day of the dead beats MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable *To those in or near St. Louis, MO* Come celebrate the poetry of the Beat Generation with us at the=20 TENTH ANNUAL DAY OF THE DEAD BEATS Thursday, November 2, 8 PM Schlafly Bottleworks (7260 Southwest Ave., Maplewood, MO 63143)=20 In true Beat spirit, this event is free and open to everyone.=20 Doors open at 7 p.m. For more info: http://observable.org/readings/ =A0 ========================================================================= Date: Tue, 31 Oct 2006 13:35:56 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Phil Primeau Subject: Re: the mission In-Reply-To: <11d43b500610310615v6d302bb1w9530fff1c1ae8dc6@mail.gmail.com> MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline Ah, the lamest of all postmodern critiques: "OMG IT'S AN 'ISM' HOW CORNY IT CAN'T BE TRUE !" Not so, honey. Your description of the Colombian people could have been lifted from a late 19th century text of some sort (replacing, of course, "Colombian" with, say, the generic "Oriental"). They "SPEAK SOFTLY", they speak only in "RIDDLES"; their lives are shaped by "POEMS" of -- what? -- "EVASION" or something? Ooo, how exotic; what mystique! Haha, yeah, and they also have gumdrop houses and address all Americans "meesta, meesta." Open doors of simile . . . For chrissakes, you're a joke. ========================================================================= Date: Tue, 31 Oct 2006 14:40:50 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: heidi arnold Subject: Re: the mission In-Reply-To: <9d8f23110610311135s62394320x53751d8e21e2e369@mail.gmail.com> MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline -- i'm sitting here wondering what your message accomplishes -- -- when i figure that out, i'll dedicate a poem to you cheers, heidi On 10/31/06, Phil Primeau wrote: > > Ah, the lamest of all postmodern critiques: "OMG IT'S AN 'ISM' HOW > CORNY IT CAN'T BE TRUE !" > > Not so, honey. Your description of the Colombian people could have > been lifted from a late 19th century text of some sort (replacing, of > course, "Colombian" with, say, the generic "Oriental"). > > They "SPEAK SOFTLY", they speak only in "RIDDLES"; their lives are > shaped by "POEMS" of -- what? -- "EVASION" or something? Ooo, how > exotic; what mystique! Haha, yeah, and they also have gumdrop houses > and address all Americans "meesta, meesta." > > Open doors of simile . . . For chrissakes, you're a joke. > -- www.heidiarnold.org http://peaceraptor.blogspot.com/ ========================================================================= Date: Tue, 31 Oct 2006 15:23:59 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Steve Clay Subject: Alice Notley in New York City Mime-Version: 1.0 (Apple Message framework v733) Content-Transfer-Encoding: 7bit Content-Type: text/plain; charset=US-ASCII; delsp=yes; format=flowed Please join the Cue Art Foundation and Granary Books for a reading and book party to celebrate the publication of Alice Notley's ALMA, OR THE DEAD WOMEN. (Granary Books, 2006, 7" x 10.5", 348 pp. ISBN 1-887123-72-5 $17.95) http://www.granarybooks.com/books/alma/alma1.html 6:30-8:30 (reading by Alice Notley will begin about 7:00; introduction by Bill Corbett) CUE ART FOUNDATION 511 W. 25th St. (Ground floor) Between 10th and 11th Avenues The event is free and open to the public. Steve Clay Granary Books 168 Mercer St. #2 New York, NY 10012 212 337-9979 212 337-9774 (fax) www.granarybooks.com ========================================================================= Date: Tue, 31 Oct 2006 15:45:44 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: angela vasquez-giroux Subject: Re: the mission In-Reply-To: <11d43b500610311140x6165ed5ar9a713535248eb77@mail.gmail.com> MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline phil--i think you're a little harsh in your messaging, but i think the undercurrent is true. making generalizations about any "people" or culture is incredibly dangerous, moreso if they are romantic generalizations. the difficulty in describing what we see never goes away; however, there are "better" methods--this has been the struggle in anthropology since, oh, forever. i've done a lot of work in chicana studies--and some of these'flattering" or "romantic' generalizations are just as harmful as their more maleviolent counterparts. we're all aware of the madonna/whore dichotomy, and, in the case of chicanas, one ideal their work rallies against is just that: the idea that women are most valuable as mothers, or saints, and that any type of self-assertion makes one undesirable....we could talk about this for days. in the case of what heidi wrote--the vagueness, the generalities--it echoes, for me and my experience, the labeling of chicana lit as 'magical realism", one way to say something"nice" while simaltaneously undercutting its validity. i am sure i've said it before, but as poets, our "job" is to be precise, specific, and above all else, as "true" as possible. On 10/31/06, heidi arnold wrote: > > -- i'm sitting here wondering what your message accomplishes -- > -- when i figure that out, i'll dedicate a poem to you > > cheers, > > heidi > > On 10/31/06, Phil Primeau wrote: > > > > Ah, the lamest of all postmodern critiques: "OMG IT'S AN 'ISM' HOW > > CORNY IT CAN'T BE TRUE !" > > > > Not so, honey. Your description of the Colombian people could have > > been lifted from a late 19th century text of some sort (replacing, of > > course, "Colombian" with, say, the generic "Oriental"). > > > > They "SPEAK SOFTLY", they speak only in "RIDDLES"; their lives are > > shaped by "POEMS" of -- what? -- "EVASION" or something? Ooo, how > > exotic; what mystique! Haha, yeah, and they also have gumdrop houses > > and address all Americans "meesta, meesta." > > > > Open doors of simile . . . For chrissakes, you're a joke. > > > > > > -- > www.heidiarnold.org > http://peaceraptor.blogspot.com/ > -- http://mother-of-light.blogspot.com ========================================================================= Date: Tue, 31 Oct 2006 13:22:19 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alexander Dickow Subject: Many new blog stuff In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit All, Much new postlings since blog launch. Apparently this is an acceptable thing to do, so apparently I will. Please, help me come up with a title. All Yours, Alex Dickow Two tiny poems Call for Blog Title Suggestions: Appel aux lecteurs pour un titre du blog French Translation of Aaron Belz: Traduction Française d'Aaron Belz Jacques Roubaud, Poet-Translator: Jacques Roubaud, poète traducteur A Thought on Official Language (3): Une pensée sur la Langue Officielle (3) A Thought on Official Language (2): Une pensée sur la Langue Officielle (2) David-Baptiste Chirot on Alexander Dickow: David-Baptiste Chirot à propos d'Alexander Dickow A few poems: Quelques poèmes www.alexdickow.net/blog/ les mots! ah quel désert à la fin merveilleux. -- Henri Droguet ========================================================================= Date: Tue, 31 Oct 2006 17:39:13 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mark Weiss Subject: Re: Alice Notley in New York City In-Reply-To: <32989078-6D48-4F01-9346-DE5A69C24A9A@granarybooks.com> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed What day? At 03:23 PM 10/31/2006, you wrote: >Please join the Cue Art Foundation and Granary Books for a reading >and book party to celebrate the publication of Alice Notley's ALMA, >OR THE DEAD WOMEN. (Granary Books, 2006, 7" x 10.5", 348 pp. ISBN >1-887123-72-5 $17.95) > >http://www.granarybooks.com/books/alma/alma1.html > >6:30-8:30 (reading by Alice Notley will begin about 7:00; >introduction by Bill Corbett) > >CUE ART FOUNDATION >511 W. 25th St. (Ground floor) >Between 10th and 11th Avenues > >The event is free and open to the public. > > >Steve Clay >Granary Books >168 Mercer St. #2 >New York, NY 10012 > >212 337-9979 >212 337-9774 (fax) >www.granarybooks.com ========================================================================= Date: Tue, 31 Oct 2006 18:27:47 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Steve Clay Subject: Alice Notley in New York City Friday Nov 3 Mime-Version: 1.0 (Apple Message framework v733) Content-Transfer-Encoding: 7bit Content-Type: text/plain; charset=US-ASCII; delsp=yes; format=flowed Please join the Cue Art Foundation and Granary Books for a reading and book party to celebrate the publication of Alice Notley's ALMA, OR THE DEAD WOMEN. (Granary Books, 2006, 7" x 10.5", 348 pp. ISBN 1-887123-72-5 $17.95) http://www.granarybooks.com/books/alma/alma1.html Friday, November 3, 2007 6:30-8:30 (reading by Alice Notley will begin about 7:00; introduction by Bill Corbett) CUE ART FOUNDATION 511 W. 25th St. (Ground floor) Between 10th and 11th Avenues The event is free and open to the public. Steve Clay Granary Books 168 Mercer St. #2 New York, NY 10012 212 337-9979 212 337-9774 (fax) www.granarybooks.com ========================================================================= Date: Tue, 31 Oct 2006 15:59:31 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jason Quackenbush Subject: Re: Alice Notley in New York City In-Reply-To: <32989078-6D48-4F01-9346-DE5A69C24A9A@granarybooks.com> MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII; format=flowed Hi steve, the book looks pretty amazing from the website. I just wanted to drop you a note to let you know i noticed a typo in brian stefans' blurb. The word "possesses" is misspelled. can't wait to get my hands on a copy, best of luck with the launch. yrs, Jason On Tue, 31 Oct 2006, Steve Clay wrote: > Please join the Cue Art Foundation and Granary Books for a reading and book > party to celebrate the publication of Alice Notley's ALMA, OR THE DEAD WOMEN. > (Granary Books, 2006, 7" x 10.5", 348 pp. ISBN 1-887123-72-5 $17.95) > > http://www.granarybooks.com/books/alma/alma1.html > > 6:30-8:30 (reading by Alice Notley will begin about 7:00; introduction by Bill > Corbett) > > CUE ART FOUNDATION > 511 W. 25th St. (Ground floor) > Between 10th and 11th Avenues > > The event is free and open to the public. > > > Steve Clay > Granary Books > 168 Mercer St. #2 > New York, NY 10012 > > 212 337-9979 > 212 337-9774 (fax) > www.granarybooks.com > ========================================================================= Date: Tue, 31 Oct 2006 20:19:13 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Slaughter, William" Subject: Notice: Mudlark Flash MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii; format=flowed Content-Transfer-Encoding: 7bit New and On View: Mudlark Flash No. 39 (2006) Brenda Hammack | A Visit with Dr. Treves Brenda Hammack's has appeared in The Sow's Ear Poetry Review, Tar Wolf Review, Heliotrope, The Hurricane Review, The North Carolina Literary Review, The Laurel Review, and various other journals. She teaches Victorian literature, children's literature, and an interdisciplinary course on images of women at Fayetteville State University. 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: Tue, 31 Oct 2006 20:19:46 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Slaughter, William" Subject: Notice: Mudlark Poster MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii; format=flowed Content-Transfer-Encoding: 7bit New and On View: Mudlark Poster No. 64 (2006) Mutabilities by Brenda Hammack after paintings by Remedios Varo I. Mimesis | II. Discovery of a Mutant Geologist | III. Unexpected Visit IV. The Useless Science or the Alchemist | V. Creation of the Birds Brenda Hammack's work has appeared in The Sow's Ear Poetry Review, Tar Wolf Review, Heliotrope, The Hurricane Review, The North Carolina Literary Review, The Laurel Review, and various other journals. She teaches Victorian literature, children's literature, and an interdisciplinary course on images of women at Fayetteville State University. Remedios Varo, an expatriate painter of Spanish origin, living in France and, then, Mexico, absorbed the mystical traditions of many cultures, transmuting them into celestial spindrift (i.e. noctilucent objects that orbited the heads of jugglers, artists, and otherwordly scholars in oil on masonite). Varo was greatly influenced by the French surrealists, including Andre Breton, as well as by occult philosophers (Gurdjieff, Blavatsky, Ouspensky). Her mutabilities are science filtered through alembic, natural law as translated by tarot. Varo was born in Angles in 1910; she died in Mexico City in 1963. 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, 30 Oct 2006 16:21:07 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Steve Dalachinsky Subject: Fw: Re: the mission MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit tough OR I rENT A prISM rough