========================================================================= Date: Mon, 30 Jun 2008 17:36:11 -0700 Reply-To: "Poetics List (UPenn, UB)" Sender: "Poetics List (UPenn, UB)" From: Troy Camplin Subject: Re: Least Careless and Least Logical MIME-Version: 1.0 Content-Type: text/plain; charset=windows-1252 Content-Transfer-Encoding: quoted-printable Are you talking about me, or just projecting here? I try to have a discussi= on about the art of poetry, and I get accusations (often false), mere rheto= ric, attempts at pissing matches, superficial claptrap, etc. Not from every= one, to be sure. There are a few who have actually carried on an intellectu= al discussion on poetry. Those who suspect I may be right, but find that po= ssibility to be inconvenient to whatever it is they are producing end up wi= th this kind of dribble. =0A=0AI've been accused of wanting to go back to t= he "stink of the 19th century." I've never talked about the 19th century. H= owever, I have not seen any kind of argument for why it stinks. Is it becau= se so many were bestsellers and were better poets on their worst days than = most of us have ever been on our best? Still, it's not the 19th century I'v= e talked about. In fact, I have only mentioned, a few discussion threads ag= o, one poet from the last 400 years, and that was Frederick Turner, who is = very much alive and a poet of the late 20th and now early 21st century. Spe= aking of contemporary poets, one could also mention Frederick Fierstein, Pa= ul Lake, and R. S. Gwynn. Of the Modernists, I love Robert Frost and especi= ally Wallace Stevens. The intellectual in me loves the French surrealists a= nd Apollinaire. It is certainly that I don't like much of what the Modernis= ts especially have done -- I just recognize too that much of what they did = worked to marginalize poetry. Part of that marginalization was in direct response to movies and,= later, T.V. -- to modern culture. One of the consequences of this was the = audience for poetry shrunk. But, then, so did the audience for operas, play= s, and symphonies -- especially the Modern and Postmodern works that came a= bout. =0A=0ANow, while I did say that beauty reproduces itself, I should ha= ve also said that so do viruses. What our English teachers and professors h= ave done to the students in this country have made them susceptible to infe= ction.=0A=0ATroy Camplin=0A=0A=0A----- Original Message ----=0AFrom: Paul N= elson =0ATo: POETICS@LISTSERV.BUFFALO.EDU=0ASent: Monda= y, June 30, 2008 12:17:57 PM=0ASubject: Least Careless and Least Logical=0A= =0ASo if you're after LOGIC in poetry, you can swing back to the stink of t= he 19th century, as Michael Ford put it. Fortunately, there are those (the = vast majority on this list) who want a DEEPER gesture than what certain Doc= tors from Texas are capable of appreciating and that's why this list exists= ..=0A=0AThere have been a couple of movements since the romantic era that so= ught to make art more relevant to the times. We see where intellect gets us= and the Doctor from Texas exemplifies it to perfection. The hastily-writte= n put down. The intellectual pissing match. The desire to prove one's self = right at the expense of another. It is a clear demonstration of the competi= tion/domination cosmology, one whose time passed long ago, but still clings= on and on. =0A=0AJack Spicer said =0A=0A=0A=85Prose invents -=0Apoetry d= iscloses=85=0A=0A=85A poet is a time=0Amechanic not an embalmer=85=0A=0A=85= Muses do exist, but=0Anow I know that they are not afraid to dirty their ha= nds with explication =96=0Athat they are patient with truth and commentary = as long as it doesn=92t get into=0Athe poem=85=0A =0Aamong other things. B= ut Spicer's is, of course an ethos based in 1950's consciousness, albeit wa= y ahead of its time. It IS threatening to think that we have moved ahead si= nce 1850, in poetry anyway, so these kinds of notions will be attacked by s= omeone clinging with an intellectual death-grip to the ideals of the 19th c= entury.=0A=0A=0APaul E. Nelson =0A=0AGlobal Voices Radio=0ASPLAB!=0AAmerica= n Sentences=0AOrganic Poetry=0APoetry Postcard Blog=0A=0AIlalqo, WA 253.735= ..6328 or 888.735.6328=0A=0A=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D= =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=0AThe Poetics List i= s moderated & does not accept all posts. Check guidelines & sub/unsub info:= http://epc.buffalo.edu/poetics/welcome.html=0A =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Mon, 30 Jun 2008 19:47:13 -0700 Reply-To: "Poetics List (UPenn, UB)" Sender: "Poetics List (UPenn, UB)" From: Catherine Daly Subject: LA Art Girls at Phantom Galleries, July 10th In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=WINDOWS-1252 Content-Transfer-Encoding: quoted-printable Content-Disposition: inline Please join the LA Art Girls and Phantom Galleries LA on July 10th for the opening of: LAAGAFBLA08 July 10 =96 August 23, 2008 Pacific Electric Lofts www.PELofts.com 610 South Main Street and 601 Los Angeles Street Downtown LA, CA 90013 Opening Reception from 6-10pm in conjunction with the Downtown Art Walk Open Friday, Saturday and Sunday from 12- 6pm, or by appointment Organized by the LA Art Girls and Phantom Galleries www.laartgirls.com www.PhantomGalleriesLA.com -- All best, Catherine Daly c.a.b.daly@gmail.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 The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Mon, 30 Jun 2008 20:40:07 -0700 Reply-To: "Poetics List (UPenn, UB)" Sender: "Poetics List (UPenn, UB)" From: Paul Nelson Subject: Call for 2008 August Poetry Postcard Fest MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-7 Content-Transfer-Encoding: quoted-printable In August 2007, Organic Poetry guy Paul Nelson and Lana Ayersinitiated the = first August Postcard Poetry Fest with 95 poets signing=0Aup to write and s= end a poem a day on a postcard. It's nearly August so=0Awe're chomping at t= he corner of our cards with the 2nd annual August=0APoetry Postcard Fest.= =0Ahttp://poetrypostcards.blogspot.com/=0A=0AHere's what's involved:=0A=0AG= et=0Ayourself at least 31 postcards. These can be found at book stores,=0At= hrift shops, online, drug stores, antique shops, museums, gift shops.=0A(Yo= u'll be amazed at how quickly you become a postcard whore.)=0A=0AOn=0Aor ab= out July 27th, write an original poem right on a postcard and mail=0Ait to = the person on the list below your name. (If you are at the very=0Abottom, s= end a card to the name at the top.) For crying out loud WRITE=0ALEGIBLY!=0A= =0AStarting on August 1st, ideally in response to a card YOU receive, keep= =0Awriting a poem a day on a postcard and mailing it to successive folks=0A= on the list until you've sent out 31 postcards. Of course you can keep=0Ago= ing and send as many as you like but we ask you to commit to at lest=0A31 (= a month's worth). =0A=0AWhat to write? Something=0Athat relates to your sen= se of "place" however you interpret that,=0Asomething about how you relate = to the postcard image, what you see out=0Athe window, what you're reading, = using a phrase/topic/or image from a=0Acard that you got, a dream you had t= hat morning, or an image from it,=0Aetc. Like "real" postcards, get to some= thing of the "here and now" when=0Ayou write. =0A=0ADo write original poems= for=0Athe project. Taking old poems and using them is not what we have in= =0Amind. These cards are going to an eager audience of one, so there's no= =0Aneed to agonize. That's what's unique about this experience. Rather=0Ath= an submitting poems for possible rejection, you are sending your=0Awords to= a ready-made and excited audience awaiting your poems in their=0Amailboxes= . Everyone loves getting postcards. And postcards with poems,=0Aall the bet= ter.=0A=0AOnce you start receiving postcard poems in the=0Amail, you'll be = able to respond to the poems and imagery with postcard=0Apoems or your own.= That will keep your poems fresh and flowing. Mailing=0Ato Canada? .72c. Be= sure to check postage for cards going abroad. The Postcard Graveyard is a = very sad place. =0A=0AThat's all there it to it. It's that fun and that ea= sy. =0A=0ATo=0Acheck out what we've done before, visit the blog [where you'= ll also see=0Awe also have Perennial Poetry Postcard List of folks who try = to write a=0Apostcard poem at least once a week regardless of receiving in = order to=0Akeep connections flowing.], http://www.poetrypostcards.blogspot.= com, Paul Nelson=A2s website or our Facebook group. =0A=0A(you need to be a= facebook member for this and if you are, please refrain from posting poemc= ards until after August, ok?)=0A=0AIf you are interested in a weekend writi= ng retreat on Orcas Island in September, please let us know that as well. T= entative weekend, September 19-21, 2008. =0A=0ATo sign up now:=0A=0APlease = email Lana, lana.ayers@yahoo.com with your postal mailing address to sign u= p for the 2008 August Poetry Postcard Fest.=0A=0AThe only cost associated w= ith this is your postage and postcards. It=A2s free to join, but donations= are always welcome to support this and other projects like it. We will ke= ep the list open and add names until July 25th. =0A=0AAnd don=A2t forget to= forward this info to all your friends and have them join us too.=0A Paul E= . Nelson =0A=0AGlobal Voices Radio=0ASPLAB!=0AAmerican Sentences=0AOrganic = Poetry=0APoetry Postcard Blog=0A=0AIlalqo, WA 253.735.6328 or 888.735.6328 =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Tue, 1 Jul 2008 00:19:51 -0400 Reply-To: "Poetics List (UPenn, UB)" Sender: "Poetics List (UPenn, UB)" From: Rachel Harley Smith Subject: CEllA's Round Trip: Premiere Issue is Up! Mime-Version: 1.0 Content-Transfer-Encoding: quoted-printable Content-Type: text/plain; charset="UTF-8" Drop by and check out Issue #01 CEllA's Round Trip (a hybrid type literar= y & visionary journal). LIVE and awesome as of now. Issue #01, Summer 2008 contains creative writing and artwork by: Mario Scattoloni, Arlene Ang, Barry Graham, Christophe Casamassima, Sara Crowley, Craig LaRotunda, Ava C. Cipri, Valerie Fox, William Doreski, C.L= . Bledsoe, Jon Pineada, Gwendolyn Joyce-Mintz, Elizabeth Kate Switaj, Verno= n Frazer, Cheryl Hicks, Glenn Capers, and more, more, more . . . http://www.cellasroundtrip.com/issue01 (publication is animated through Issuu.com, but please do hang around and= enjoy the entire site! We refreshed ourselves!) Thanks!!! Rachel editor & creator reachcella@gmail.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 The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Mon, 30 Jun 2008 22:30:04 -0700 Reply-To: layne@whiteowlweb.com Sender: "Poetics List (UPenn, UB)" From: Layne Russell Subject: Re: Poet Portraits Desired MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable I'm in. Thanks, Amy. ----- Original Message -----=20 From: amy king=20 To: POETICS@LISTSERV.BUFFALO.EDU=20 Sent: Monday, June 30, 2008 12:09 PM Subject: Poet Portraits Desired If you have photos posted on Flickr of "Poets and Poet Types," please = consider joining our group of the same name and sharing those photos, = which are picked up in Google's search engine and thus provide poet = images to seekers of such: http://www.flickr.com/groups/10646338@N00/ We currently have 57 members, but are hungering for more pics of = distant poets from distant lands and close ones too! Thanks, Amy =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Tue, 1 Jul 2008 00:30:19 -0400 Reply-To: "Poetics List (UPenn, UB)" Sender: "Poetics List (UPenn, UB)" From: Carol Novack Subject: Multi-Media Event at Haven Arts Gallery, NYC Comments: To: lit-events@yahoogroups.com, poetswearprada@yahoogroups.com, "newyorkcitywriters@yahoogroups.com" , e-pubs@yahoogroups.com MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 7bit Content-Disposition: inline *JULY 11, Friday 6-10pm, Haven Arts Gallery, Bronx: http://www.havenarts.org *-- Mad Hatters Review will present another *Mad Hatters' Revue*, an evening of poetry, fiction, music, moving artworks, videos and flash animation. Artists, musicians and writers include: Michael Andre, Ann Bogle, Orin Buck, Heide Hatry, A. D. Jameson, Peter Knoll, Benjamin Rush Miller, Carol Novack, Wanda Phipps, Austin Publicover, Shelly Rich, Larissa Shmailo, Alan Sondheim, Rob Stephenson, Stephanie Strickland, and Yuriy Tarnawsky. $8 admission includes a glass of wine or non-alcoholic beverage; otherwise, potables will be offered at an extremely modest cost and light munchies will be provided at no cost, courtesy of Haven Arts Gallery. Also maybe -- live dancing music. See Mad Hatters' Review for a taste of Mad Hatter taste. *MAD HATTERS' REVIEW*: edgy & enlightened art, literature, & music in the Age of Dementia: http://www.madhattersreview.com. *Public transportation to Haven Arts Gallery, 50 Bruckner Blvd: *Take Lexington Express 4 or 5 to 125th St. Transfer to 6 Train: 3rd Ave 138 at Alexander Ave (get out at the Alexander Ave exit, turning right onto Alexander) Walk: 0.3 mi - about 7 mins at most 1. Head southwest on Alexander Ave toward E 137th St - 0.2 mi 2. Turn left at Bruckner Blvd & cross to the south side - 400 ft To: Haven Arts Gallery: 50 Bruckner Blvd. MAD HATTERS' REVIEW: edgy & enlightened art, literature, & music in the Age of Dementia: http://www.madhattersreview.com ================================== The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Mon, 30 Jun 2008 21:33:23 -0700 Reply-To: "Poetics List (UPenn, UB)" Sender: "Poetics List (UPenn, UB)" From: Troy Camplin Subject: Emerson Institute Website Comments: To: PHILOSOP@louisiana.edu, PHILOS-L@liverpool.ac.uk Comments: cc: PHILOFHI@YORKU.CA, POPCULTURE-L@LISTS.UFL.EDU, ANTHRO-L@listserv.buffalo.edu, COGSCI@NIC.SURFNET.NL, SEA-L@LISTSERV.ALBANY.EDU MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii The Emerson Institute for Freedom and Culture is now online at www.emersoninstitute.org Featuring: "Freedom Evolves" an essay by Troy Camplin Three Poems by Frederick Turner "How Could I Live Without Filing Taxes" a song by Carla Howell (lyrics on the website, performed song available on the blog, which can be linked to through the site). We are of course always seeking works in the arts and humanities by liberty-loving artists and scholars to publish on the website. Troy Camplin, Ph.D. President, The Emerson Institute for Freedom and Culture ================================== The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Mon, 30 Jun 2008 22:45:50 -0700 Reply-To: chan_jt@yahoo.com Sender: "Poetics List (UPenn, UB)" From: Jill Chan Subject: Poetry Sz: demystifying mental illness Issue 26 now online Comments: To: Women Poets MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Featuring new work by: Dimitris Lyacos Steve Dalachinsky Carrie Hunter Lauren Joslin Charles Frederickson http://poetrysz.blogspot.com Submissions is now open for the November issue. Send your poems, and a short bio, in the body of an email to poetrysz@yahoo.com Please read the guidelines before submitting. Thanks. regards J Chan editor ================================== The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Tue, 1 Jul 2008 12:58:46 +0200 Reply-To: "Poetics List (UPenn, UB)" Sender: "Poetics List (UPenn, UB)" From: Pierre Joris Subject: Re: Response to Troy Camplin, Ph.D. In-Reply-To: <755047.96596.qm@web46202.mail.sp1.yahoo.com> MIME-version: 1.0 Content-transfer-encoding: 7BIT Content-type: text/plain; charset=US-ASCII; format=flowed; delsp=yes On Jun 30, 2008, at 6:28 PM, Troy Camplin wrote: > > > Now, the quote by Olsen you have is half right: & you got the name of Olson have right, or is that half wrong? Pierre > > ----- Original Message ---- > From: Paul Nelson > To: POETICS@LISTSERV.BUFFALO.EDU > Sent: Sunday, June 29, 2008 11:07:12 PM > Subject: Re: Response to Troy Camplin, Ph.D. > > A last thought about using numbers of "consumers" to judge literary > art. This August marks the 2nd year that Lana Ayers and I will > facilitate the August Poetry Postcard Fest. http://poetrypostcards.blogspot.com/ > > You take a card, address it to the next person on your list, refer > to a previous card in composing the original poem on the card, if > relevant, and send it to that person. I tend to transcribe postcard > poems after writing them, before dropping them in the mail. We're > about to release guidelines for 2008 and accept participants for > this year's festivities. > > Does it make the effort any less relevant if the poem is addressed > to only one person? Will no one understand if I make a reference > only that person might "understand?" Is it my job as a poet to send > a poem that the person will "understand?" Can appreciation of art go > beyond conscious "understanding" of meaning and intent? What does > Jazz mean? > > Charles Olson's statement in Projective Verse, "use of speech at its > least careless and least logical" resonates with me. Does that make > me elitist? Would my postcard poems not be appreciated by anyone > else besides the reader? > > I can't believe you think Emily Dickinson's work is unimportant > because she was not interested in publication, grants and the > admiration of the SUNY-Buffalo listserv poets. Or those who come > here just to stir up shit. > > Paul > > > Paul E. Nelson > > Global Voices Radio > SPLAB! > American Sentences > Organic Poetry > Poetry Postcard Blog > > Ilalqo, WA 253.735.6328 or 888.735.6328 > > > > > > > ----- Original Message ---- > From: Troy Camplin > To: POETICS@LISTSERV.BUFFALO.EDU > Sent: Sunday, June 29, 2008 11:00:44 AM > Subject: Re: Response to Troy Camplin, Ph.D. > > Funny, of the examples I have given -- Michaelangelo, Mozart, > Shakespeare, Moliere, Racine -- not one was an American and not one > lived in a capitalist country. Yet each communicated extremely well > to a very wide audience. Prior to them, one had raconteurs and bards > who travelled and recited/sang poetry. The ancient Greek tragedies > and comedies were wildly popular (you may recall Plato complaining > about tragedy because it was wildly popular). The stories of the > gods and heroes were told through the recitation of poetry, > particularly epic poetry. So poetry has historically been popular, > and it has been used primarily as a way of communication. The > Church, for example, used visual arts to tell the stories of the > Bible to its illiterate parishoners. Art is a form of communication, > and has always been a form of communication. Danto goes so far as to > argue that the arts are a form of rhetoric -- and he's probably on > to something there. > > If art is not communicating something, what is it doing? If you are > not concerned with getting your vision across to others, then what > you are doing isn't art. When you create art that is not intended to > communicate with anyone, then you are engaged in nothing more than > masturbation. Similarly, it doesn't result in the creation of > anything new, because it never comes in contact with others. If > Danto is right that art is a form of rhetoric, then those who either > won't (or cannot) communicate with their artwork are simply bad > artists. To proclaim that your art does not and should not > communicate is simply to try to provide an argument for why your > terribly bad art is in fact good art -- precisely because the art > can't speak for itself as to its worth. > > Troy Camplin > > > ----- Original Message ---- > From: Paul Nelson > To: POETICS@LISTSERV.BUFFALO.EDU > Sent: Saturday, June 28, 2008 12:10:21 PM > Subject: Response to Troy Camplin, Ph.D. > > ----- Original Message ---- > > From: Troy Camplin > To: POETICS@LISTSERV.BUFFALO.EDU > Sent: Friday, June 27, 2008 4:37:00 PM > Subject: Re: The lyric poem - what be its current fate? > > "...the best works are not those that only require critics for > anyone to understand what is going on. There's a certain tyranny of > meaning-making in only having critics able to understand a work of > art. > > The most beautiful works are those that one can get some meaning > from right away, but which gain in meaning the more you understand > and learn. Those works both the uneducated and the educated can > appreciate. Why shouldn't we want to create that kind of poetry? Why > should we only ever want to exist in the realm of the elite, where > only a select few 'truly understand'?" > > Troy Camplin, Ph.D. > > The limitation I see with this approach is that when one is trying > to "communicate"or write so that it goes over with people who don't > read poetry, is that the impulse to move in that direction is often > fear. If one is open to a work of art, they'll recognize the power > of it long before they fully understand, or even partially > understand, what it may be "communicating." When artists start > worrying about communication, the gesture suffers. What's the line > by the painter Clyfford Still "demands for communication are > presumptions and irrelevant." > > It is a symptom of our capitalist society and the underlying > materialist cosmology that equates numbers (books sold, how many > "regular" people have heard of the artist, etc.) that creates the > kind of attitude exhibited here by Dr. Camplin. Now, that may be his > interest, or motivation and he is welcome to it. It does not > interest me and I find I am usually not interested in art that can > "go over" with average people, but there are exceptions. Anything > really worthwhile takes a little effort to appreciate, or at least > some background, or some kind of understanding or openness. People > raised in North American TV culture want it now, if not sooner, like > the ones who yell at the microwave to hurry up. Cook slow. > > Paul > > > Paul E. Nelson > > Global Voices Radio > SPLAB! > American Sentences > Organic Poetry > Poetry Postcard Blog > > Ilalqo, WA 253.735.6328 or 888.735.6328 > > ================================== > The Poetics List is moderated & does not accept all posts. Check > guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html > > ================================== > The Poetics List is moderated & does not accept all posts. Check > guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html > > ================================== > The Poetics List is moderated & does not accept all posts. Check > guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html > > ================================== > The Poetics List is moderated & does not accept all posts. Check > guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ___________________________________________________________ The poet: always in partibus infidelium -- Paul Celan ___________________________________________________________ Pierre Joris 244 Elm Street Albany NY 12202 h: 518 426 0433 c: 518 225 7123 o: 518 442 40 71 Paris: 09.52.80.14.18 Euro cell: (011 33) 6 75 43 57 10 email: jorpierre@gmail.com http://pierrejoris.com Nomadics blog: http://pjoris.blogspot.com ____________________________________________________________ ================================== The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Tue, 1 Jul 2008 08:12:01 -0400 Reply-To: "Poetics List (UPenn, UB)" Sender: "Poetics List (UPenn, UB)" From: Paul Siegell Subject: MORE from PHILLY Mime-Version: 1.0 Content-Transfer-Encoding: quoted-printable Content-Type: text/plain; charset="ISO-8859-1" Friends, Tucked inside the July/August issue of The American Poetry Review, 13 Philly Poets: =20 * Scott Edward Anderson * Maris Brason * Randall Couch * Thomas Devaney * Samuel Exler * Dorothea Lasky * Trapeta B. Mayson * Gregory Pardlo * Iain Haley Pollock * Jason Schneiderman * Paul Siegell * Pamela Sutton * Christian C. Thomas "Welcome to Philadelphia"--It all starts on page 23. Enjoy the festivities ahead, Paul http://paulsiegell.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 The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Tue, 1 Jul 2008 09:37:59 -0400 Reply-To: "Poetics List (UPenn, UB)" Sender: "Poetics List (UPenn, UB)" From: susan maurer Subject: honorable mention MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable I am quite pleased to have won an honorable mention in the Poetic License c= ontest. I am looking forward to the resultant antholgy. I only previously w= on a gian can of baked beans at a carnival. Susan Maurer _________________________________________________________________ Use video conversation to talk face-to-face with Windows Live Messenger. http://www.windowslive.com/messenger/connect_your_way.html?ocid=3DTXT_TAGLM= _WL_Refresh_messenger_video_072008= =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Tue, 1 Jul 2008 07:06:02 -0700 Reply-To: "Poetics List (UPenn, UB)" Sender: "Poetics List (UPenn, UB)" From: Joel Weishaus Subject: Reality Too, June 2008 MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable The moderators have asked me to justify sending the monthly link to my = one-year blog to the Poetics list, which is understandable. The = explanation is in the introduction: This is a one-year log of thoughts pondered, dreams exposed, of books, = essays, poems, with photographs, whole or collaged, carried forth by = conjoining what's happening in my life with the life of the planet. In = essence, it is what neo-Jungian theorist Susan Rowland calls, "reading = reality aesthetically." It is also a form of travel writing rarely = leaving home, in the sense of Peter Bishop's, "Travel writing creates = worlds, not simply discovers them." The project's central purpose is to relocate the literary tradition in a = medium that craves flashy images, pop-ups, etc., as a phase in the = development of Digital Literary Art, linking new transmissions to old = libraries, inside and out. Listen! -=20 the pouring water! The dogs and trees conspire to invent a world-gone!=20 -W.C. Williams. From, Paterson. -------------------------------------------------------------------------= -------------------------------------------------------------------------= ------------------------------------------------------- Here is the link to the June 2008 blog: http://web.pdx.edu/~pdx00282/blog/June.htm Introduction: http://web.pdx.edu/~pdx00282/blog/intro.htm Designed for MS Explorer; Text Size: Medium; 1024X768 screen resolution. -Joel ______________________ Joel Weishaus Research Faculty Department of English Portland State University Portland, Oregon http://web.pdx.edu/~pdx00282 =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Tue, 1 Jul 2008 08:18:49 -0700 Reply-To: "Poetics List (UPenn, UB)" Sender: "Poetics List (UPenn, UB)" From: amy king Subject: In the NYT -- William Logan "Reviews" the new "Selected Poems" of Frank O'Hara as edited by Mark Ford MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit The New York Times recently published William Logan's review of Frank O’Hara’s "Selected Poems", edited by Mark Ford. I guess they’re going for the controversy ... * Click here for William Logan's "Review" http://www.nytimes.com/2008/06/29/books/review/Logan-t.html?_r=1&ref=books&oref=slogin * Click here for Greg Rappleye's Response to Logan's Review http://sonnetsat4am.blogspot.com/2008/06/not-again-billy.html * Click here where Philip Gentry Notes the Homophobia, among other stuff http://www.pmgentry.net/blog/2008/06/reviewing-review-ohara-and-logan.html * Click here for John Latta's Take on Logan’s Efforts http://isola-di-rifiuti.blogspot.com/2008/06/logans-run.html * Click here for Levi Asher's Take at LitKicks http://www.litkicks.com/NYTBR20080629/ * Click here for Jack Kimball's Quick Assessment http://pantaloons.blogspot.com/2008_06_01_pantaloons_archive.html#7716431543107616952 * Click here for Doctor Cleveland's Response to Logan http://doctorcleveland.blogspot.com/2008/06/william-logan-doesnt-like-frank-ohara.html Enjoy, Amy _______ Recent http://www.tarpaulinsky.com/Reviews/kiss-me.html http://jacketmagazine.com/34/dickow-king.shtml Alias http://www.amyking.org Your Suggestions http://amyking.wordpress.com/2008/06/12/poetry-exercises-wanted/ ================================== The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Tue, 1 Jul 2008 07:44:18 -0700 Reply-To: editor@pavementsaw.org Sender: "Poetics List (UPenn, UB)" From: David Baratier Subject: TURN OFF THE REPEAT BUTTON In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: quoted-printable Can everyone stop having=A0multiple entire posts, five or ten earlier ones = at times, appear after their message? Being on digest, the amount of repeti= tion is to the point where the new posts are can no longer be discerned, or= become unworth finding after reading the same material in multiplicity.=20 =A0 If not, can the moderator flip some super poetix switch to cut the repetiti= ous entries before this rehash fertilizer enterprise overwhelms? =A0 Be well David Baratier, Editor Pavement Saw Press 321 Empire Street Montpelier OH 43543 http://pavementsaw.org Subscribe to our e-mail listserv at http://pavementsaw.org/list/?p=3Dsubscribe&id=3D1 =0A=0A=0A =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Tue, 1 Jul 2008 11:34:09 -0400 Reply-To: "Poetics List (UPenn, UB)" Sender: "Poetics List (UPenn, UB)" From: Joel Lewis Subject: Re: In the NYT -- William Logan "Reviews" the new "Selected Poems" of Frank O'Hara as edited by Mark Ford In-Reply-To: <863431.89841.qm@web83312.mail.sp1.yahoo.com> MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 7bit Content-Disposition: inline I'm wondering if Logan has gotten tired iof wiping the floor with C.K. Williams, Adrienne Rich, Franz Wright and Jorie Graham and is now turning his blunderbuss against poets held dear by the alternative communities (Crane and O'Hara). His tone is not unlike that of Yvor Winters when he took on poets like Edna St. Vincent Millay and Robinson Jeffers (Winters so disliked Jeffers that he he came back for seconds in another review) during the heyday of High Modernism.Winters was at least of his time, Logan just comes off as critic sent forward from the past in the Wayback Machine Joel Lewis On Tue, Jul 1, 2008 at 11:18 AM, amy king wrote: > The New York Times recently published William Logan's review of Frank > O'Hara's "Selected Poems", edited by Mark Ford. I guess they're going for > the controversy ... > > * Click here for William Logan's "Review" > > http://www.nytimes.com/2008/06/29/books/review/Logan-t.html?_r=1&ref=books&oref=slogin > > * Click here for Greg Rappleye's Response to Logan's Review > http://sonnetsat4am.blogspot.com/2008/06/not-again-billy.html > > * Click here where Philip Gentry Notes the Homophobia, among other stuff > > http://www.pmgentry.net/blog/2008/06/reviewing-review-ohara-and-logan.html > > * Click here for John Latta's Take on Logan's Efforts > http://isola-di-rifiuti.blogspot.com/2008/06/logans-run.html > > * Click here for Levi Asher's Take at LitKicks > http://www.litkicks.com/NYTBR20080629/ > > * Click here for Jack Kimball's Quick Assessment > > http://pantaloons.blogspot.com/2008_06_01_pantaloons_archive.html#7716431543107616952 > > * Click here for Doctor Cleveland's Response to Logan > > http://doctorcleveland.blogspot.com/2008/06/william-logan-doesnt-like-frank-ohara.html > > Enjoy, > > Amy > > > _______ > > Recent > http://www.tarpaulinsky.com/Reviews/kiss-me.html > http://jacketmagazine.com/34/dickow-king.shtml > > Alias > http://www.amyking.org > > Your Suggestions > http://amyking.wordpress.com/2008/06/12/poetry-exercises-wanted/ > > ================================== > The Poetics List is moderated & does not accept all posts. Check guidelines > & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html > > ================================== The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Tue, 1 Jul 2008 11:42:44 -0400 Reply-To: "Poetics List (UPenn, UB)" Sender: "Poetics List (UPenn, UB)" From: Bobbie Lurie Subject: Re: POETICS Digest - 29 Jun 2008 to 30 Jun 2008 (#2008-178) In-Reply-To: MIME-Version: 1.0 Content-Transfer-Encoding: quoted-printable Content-Type: text/plain; charset="utf-8" I can understand Troy=E2=80=99s argument and also=C2=A0Paul=E2=80=98s respon= se but I cannot relate any of it to what I feel I need to do in order to kee= p writing. I feel a NEED to experiment, I am excited to see writers and arti= sts experiment with material, challenge me or not challenge me. A lot of ie;= poetry which is understandable is not necessarily honest (ie; what I call=20= =E2=80=9Cinvented epiphanies=E2=80=9D etc./ a type of artifical attempt to=20= =E2=80=9Ccreate=E2=80=9D beauty=E2=80=94but beauty to me happens in the act=20= of being opened to new ways of seeing and hearing and so I feel a need to ma= ke things new somehow, to entertain myself mostly since who even know if wha= t I=E2=80=99m doing will even be published, it is done in the moment. Gertru= de Stein=E2=80=99s =E2=80=9CI write for myself and strangers=E2=80=9D is the= quote I plan to use in every book I publish from now on because I realize h= ow true it is. One can never predict the response to one=E2=80=99s work by o= thers but isn=E2=80=99t writing like some kind of disease? Something we MUST= do whether it is published or understood or not understood? I mean, it obvi= ously isn=E2=80=99t the wisest =E2=80=9Ccareer=E2=80=9D choice (I don=E2=80= =99t even like the idea that it is called a career by so many=E2=80=94I don= =E2=80=99t see how it can be a =E2=80=9Ccareer=E2=80=9D) but it certainly is= exciting to find a passion for something that doesn=E2=80=99t involve anyth= ing other than the imagination. I=E2=80=99ve stopped wanting people to =E2= =80=9Cunderstand=E2=80=9D or =E2=80=9Clike=E2=80=9D my work though plenty of= it has been understandable and lots of it=C2=A0I'm sure=C2=A0not. I don=E2= =80=99t even feel satisfaction at being understood or not understood. I find= it to be a very selfish endeavor, one which helps me survive this life.=20 Bobbi Lurie Date: Sun, 29 Jun 2008 20:39:13 -0700 rom: Paul Nelson ubject: Re: Response to Troy Camplin, Ph.D. Dr. Camplin, So you judge my work without ever having read it? How does that help dialog?= =20 ommunication? Just because my intention is not necessarily to communicate do= es=20 ot mean it doesn't get something across. Nor does it make it masturbation, a= s=20 udged by the number of featured readings I have given over the last ten year= s.=20 Charles Olson said: A poem is energy ransferred from where the poet got it (he will have some several causations)= , y way of the poem itself to, all the way over to, the reader. Okay. Then the oem itself must, at all points, be a high energy-construct and, at all point= s, n energy-discharge. So: how is the poet to accomplish same energy, how is he= , hat is the process by which a poet gets in, at all points energy at least th= e quivalent of the energy which propelled him in the first place, yet an energ= y hich is peculiar to verse alone and which will be, obviously, also different rom the energy which the reader, because he is a third term, will take away. People seem to be interested in HIS work, 38 years after his death at 60. So= ,=20 id HE communicate anything? Apparently so, given the new film about his work= =20 nd life in Gloucester, Polis is This. Given the movie from last year Fully=20 wake: Black Mountain College.=20 You obviously come to the SUNY list with an agenda far more traditional than= the=20 verage list reader. You must expect people to disagree with you. You should=20 nderstand they'll have a more challenging aesthetic than to have their work=20= go=20 ver to a large audience. That is a measure addled by a capitalist ethos anyw= ay.=20 nd the artists you cite did not have nearly the same cultural conditions, so= =20 t's a misnomer. In a wonderful Jacket interview: http://jacketmagazine.com/35/perez-ivb-john= son.shtml Omar Perez points out that capitalist considerations have NO PLACE in art.=20 hey're antithetical to it. I'm not interested in heat from this list. I am=20 nterested in light. Calling a stranger's work masturbation is unfortunate if= =20 ou are really interested in dialog. Of course at least masturbation is sex w= ith=20 omeone I love. Paul Paul E. Nelson=20 Global Voices Radio PLAB! merican Sentences rganic Poetry oetry Postcard Blog Ilalqo, WA 253.735.6328 or 888.735.6328 ---- Original Message ---- rom: Troy Camplin o: POETICS@LISTSERV.BUFFALO.EDU ent: Sunday, June 29, 2008 11:00:44 AM ubject: Re: Response to Troy Camplin, Ph.D. Funny, of the examples I have given -- Michaelangelo, Mozart, Shakespeare,=20 oliere, Racine -- not one was an American and not one lived in a capitalist=20 ountry. Yet each communicated extremely well to a very wide audience. Prior=20= to=20 hem, one had raconteurs and bards who travelled and recited/sang poetry. The= =20 ncient Greek tragedies and comedies were wildly popular (you may recall Plat= o=20 omplaining about tragedy because it was wildly popular). The stories of the=20 ods and heroes were told through the recitation of poetry, particularly epic= =20 oetry. So poetry has historically been popular, and it has been used primari= ly=20 s a way of communication. The Church, for example, used visual arts to tell=20= the=20 tories of the Bible to its illiterate parishoners. Art is a form of=20 ommunication, and has always been a form of communication. Danto goes so far= as=20 o argue that the arts are a form of rhetoric -- and he's probably on to=20 omething there.=20 If art is not communicating something, what is it doing? If you are not=20 oncerned with getting your vision across to others, then what you are doing=20 sn't art. When you create art that is not intended to communicate with anyon= e,=20 hen you are engaged in nothing more than masturbation. Similarly, it doesn't= =20 esult in the creation of anything new, because it never comes in contact wit= h=20 thers. If Danto is right that art is a form of rhetoric, then those who eith= er=20 on't (or cannot) communicate with their artwork are simply bad artists. To=20 roclaim that your art does not and should not communicate is simply to try t= o=20 rovide an argument for why your terribly bad art is in fact good art --=20 recisely because the art can't speak for itself as to its worth. Troy Camplin ---- Original Message ---- rom: Paul Nelson o: POETICS@LISTSERV.BUFFALO.EDU ent: Saturday, June 28, 2008 12:10:21 PM ubject: Response to Troy Camplin, Ph.D. ----- Original Message ---- From: Troy Camplin o: POETICS@LISTSERV.BUFFALO.EDU ent: Friday, June 27, 2008 4:37:00 PM ubject: Re: The lyric poem - what be its current fate? "...the best works are not those that only require critics for anyone to=20 nderstand what is going on. There's a certain tyranny of meaning-making in o= nly=20 aving critics able to understand a work of art.=20 The most beautiful works are those that one can get some meaning from right=20 way, but which gain in meaning the more you understand and learn. Those work= s=20 oth the uneducated and the educated can appreciate. Why shouldn't we want to= =20 reate that kind of poetry? Why should we only ever want to exist in the real= m=20 f the elite, where only a select few 'truly understand'?" Troy Camplin, Ph.D. The limitation I see with this approach is that when one is trying to=20 communicate"or write so that it goes over with people who don't read poetry,= is=20 hat the impulse to move in that direction is often fear. If one is open to a= =20 ork of art, they'll recognize the power of it long before they fully=20 nderstand, or even partially understand, what it may be "communicating." Whe= n=20 rtists start worrying about communication, the gesture suffers. What's the l= ine=20 y the painter Clyfford Still "demands for communication are presumptions and= =20 rrelevant." It is a symptom of our capitalist society and the underlying materialist=20 osmology that equates numbers (books sold, how many "regular" people have he= ard=20 f the artist, etc.) that creates the kind of attitude exhibited here by Dr.=20 amplin. Now, that may be his interest, or motivation and he is welcome to it= .=20 t does not interest me and I find I am usually not interested in art that ca= n=20 go over" with average people, but there are exceptions. Anything really=20 orthwhile takes a little effort to appreciate, or at least some background,=20= or=20 ome kind of understanding or openness. People raised in North American TV=20 ulture want it now, if not sooner, like the ones who yell at the microwave t= o=20 urry up. Cook slow. Paul =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Tue, 1 Jul 2008 11:37:16 -0500 Reply-To: "Poetics List (UPenn, UB)" Sender: "Poetics List (UPenn, UB)" From: Mary Jo Malo Subject: Re: Celan, Heidegger, Todtnauberg, Pierre Joris, James K. Lyon MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 7bit Content-Disposition: inline Yes, especially in regards to your argument for poetry of/for the masses and for the past glories of lyrical poetry. I strongly suggest you become aware of the connection :) I think a discussion of poetics should be towards innovation and further subjectivity, to encourage art by and for the individual. The individual is far more suited, even when educated, to chose from a rich and diverse offering, especially on this newfangled "internets." "First of all, an insistent reference to the West and to "Western Civilization," a theme or lexicon whose careless manipulation has often slid over into rather undemocratic theses, as we know now from experience, especially when it is a question of a "decadence" of the said Western Civilization. As soon as anyone talks about "decadence of Western Civilization," I am on my guard. We know that this kind of talk can sometimes (not always) lead to restorations or installations of an authoritarian, even totalitarian order." (Jacques Derrida, "Like the Sound of the Sea Deep within a Shell: Paul de Man's War")http://writing.upenn.edu/epc/authors/joris/heideggerfascism.html ____________________________ WIsh I did, but thanks for the links. I wasn't aware of the connection between Heidegger and Celan... Troy Camplin -- http://thisshiningwound.blogspot.com/ http://apophisdeconstructingabsurdity.blogspot.com/ ================================== The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Tue, 1 Jul 2008 12:44:27 -0400 Reply-To: "Poetics List (UPenn, UB)" Sender: "Poetics List (UPenn, UB)" From: Paul Siegell Subject: Re: POETICS Digest - 29 Jun 2008 to 30 Jun 2008 (#2008-178) Mime-Version: 1.0 Content-Transfer-Encoding: quoted-printable Content-Type: text/plain; charset="UTF-8" Bobbi, thank you for your post. I say YES! to you. =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Tue, 1 Jul 2008 10:00:34 -0700 Reply-To: "Poetics List (UPenn, UB)" Sender: "Poetics List (UPenn, UB)" From: David Chirot Subject: David Caddy on J.H. Prynne MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 7bit Content-Disposition: inline an essay on JH Prynne in both written and mp3 format by David Caddy, British poet, editor and critic. http://davidcaddy.blogspot.com/2008/06/letter-14.html (re Caddy's comments on exile-- something stumbled on the other day referenced by some one else-- and old note sent to this list five years ago-- writing of how since 9/11 esp the sense of answering the forms which ask for "occupation"-- one writes "writer/artist" "occupation" as working "under occupation" in the "Homeland"-- a place ever more Occupied by forces both stridently and subtly antithetical to "freedom," "free speech," "difference" and "questioning authorities"-- so it is that in this very good article the ideas of "exile" i think are far too narrow and need to be extended throughout the world-- to include writers of exiles from genocides and ethnic cleansings in Africa, Latin America, Palestine, former Yugoslavia, Iraq, Afghanistan, Armenia, Cambodia-- and inside the USA--the "internal refugees" of Katrina and the reservations, ghettos, rural poverty-- "internal exiles" of America's Holocaust living in "Occupied Territories"-- here in Milwaukee is the US' only Black Holocaust Museum to bring greater awareness to this extension and inclusiveness of the questions and meanings of exiles,exterminations, enslavements-- otherwise the vanishings of peoples in itself is vanished and even their bones and ghosts disappeared into the "Heart of Darkness"-- for example in Conrad's time, over ten million people were killed by the Belgians in the Congo in less than fifteen years--and millions more permanently crippled, tortured, died of disease and hunger--and in the first years of the 21st Century, 4.5 million persons in the Congo have been slaughtered-- in a daily increasingly Panopticonic and Internet World Wide Web planet-- the Cinema of catharsis is heavily edited, and the areas which are exposed to lighs, camera, action--selected and controlled-- those in the areas not so well lit, not so well filmed, not so well "acted"--, out of electronic range, behind Walls, hidden away in the thousands of torture chambers and prisons, the new globalization slave trades-- all these persons,--exiled to the "Heart of Darkness"-- where it is supposed that history, writing, poetry,"civilization" do not exist-- while in the heavily gated "Free Zones" "poetry" and "civilization" are also carefully controlled and manicured--so that the hands of the poets will be kept clean-- in handling the delicate surgeries of form-- far from those filthy freezing asylums where Artaud is still howling in the Plague infested winds "And if there is still is one hellish, truly accursed thing in our time, it is our artistic dallying with forms, instead of being like victims burnt at the stake, signalling through the flames." Or has it been realized perhaps that the "solution" to this is simply to "let" others be the victims burning in ever more places--Iraq, Afghanistan, Palestine and soon enough Iran--so that the dallying with forms may continue unabated and uninterrupted--- For after all, those signalling through the flames-- are they not enemies, terrorists, making uncivilized gestures one can well live without?--) ================================== The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Tue, 1 Jul 2008 10:01:17 -0700 Reply-To: "Poetics List (UPenn, UB)" Sender: "Poetics List (UPenn, UB)" From: Troy Camplin Subject: Re: POETICS Digest - 29 Jun 2008 to 30 Jun 2008 (#2008-178) MIME-Version: 1.0 Content-Type: text/plain; charset=windows-1252 Content-Transfer-Encoding: quoted-printable Excellent comments. My point has always been that 1) we need to learn how t= o write poetry "right" in the same way that painters first have to learn ho= w to draw and musicians have to first learn how to play a musical instrumen= t by playing things we recognize before we move on to experiment and push t= he boundaries (you have to learn the rules before you can break the rules),= and 2) too many are trying to over-intellectualize the writing of poetry t= o such an extend that it alienates readers. Part of 2) is rooted in the pro= blem of 1), where too many poets think that understanding the history of po= etry only means paying attention to what happened in their own lifetimes. T= his myopic view too often creates elitist verse that all sounds the same. O= ftentimes it creates what is essentially prose with line breaks. What is th= e difference between poetry and prose? One is rhythmic, the other unrhythmi= c. To say poetry is rhythmic is not to say that it must be iambic or some other "standard" rhythm. Good free verse is also rhythmic, though tha= t rhythm may not be as regular as a poem written in iambic may be. Poetry i= s the dance of language; prose is language at a walk (though of course, som= e people are awkward dancers, and some people have walks that seem to appro= ach dance). =0A=0AI know that too many people are afraid that rules will ge= t in the way of creativity -- but this is because of a misunderstanding of = how rules work. Good rules give you more, not less, freedom. (I refer you t= o my article, "Literature as a Game": http://blackboard.lincoln.ac.uk/bbcsw= ebdav/users/dmeyerdinkgrafe/archive/camplin.html) Also, once you learn the = rules, you internalize them, meaning you are able to use them without them = "getting in the way." I've noticed too that using rhythm and rhyme have for= ced me to come up with much more interesting words, metaphors, turns of phr= ases, and even directions in my poetry. At the same time, the finished poem= may not have any sort of rhyme in it -- or the same rhythm. Forcing the po= em into several boxes can force you to express yourself better, and even cl= arify to yourself what you're really thinking. More, form tends to work lik= e a car engine, controlling the explosion of words, emotions, thoughts, etc= .. and turning it into productive work. =0A=0AFor those who are interested, I pro= vide a poetic explanation of what I have been trying to say here at: http:/= /themetaphorgroup.blogspot.com/2008/02/introduction_11.html=0A=0AAlso, I de= monstrate the importance of form to content by writing the same topic in tw= o different poetic forms here: http://evolutionaryaesthetics.blogspot.com/2= 005/09/examples-of-different-forms.html=0A=0AThese may clarify some of the = things I have been talking about here.=0A=0ATroy Camplin=0A=0A=0A----- Orig= inal Message ----=0AFrom: Bobbie Lurie =0ATo: POETICS@L= ISTSERV.BUFFALO.EDU=0ASent: Tuesday, July 1, 2008 10:42:44 AM=0ASubject: Re= : POETICS Digest - 29 Jun 2008 to 30 Jun 2008 (#2008-178)=0A=0AI can unders= tand Troy=92s argument and also Paul=91s response but I cannot relate any o= f it to what I feel I need to do in order to keep writing. I feel a NEED to= experiment, I am excited to see writers and artists experiment with materi= al, challenge me or not challenge me. A lot of ie; poetry which is understa= ndable is not necessarily honest (ie; what I call =93invented epiphanies=94= etc./ a type of artifical attempt to =93create=94 beauty=97but beauty to m= e happens in the act of being opened to new ways of seeing and hearing and = so I feel a need to make things new somehow, to entertain myself mostly sin= ce who even know if what I=92m doing will even be published, it is done in = the moment. Gertrude Stein=92s =93I write for myself and strangers=94 is th= e quote I plan to use in every book I publish from now on because I realize= how true it is. One can never predict the response to one=92s work by othe= rs but isn=92t writing like some kind of disease? Something we MUST do whether it is published or understood or not understo= od? I mean, it obviously isn=92t the wisest =93career=94 choice (I don=92t = even like the idea that it is called a career by so many=97I don=92t see ho= w it can be a =93career=94) but it certainly is exciting to find a passion = for something that doesn=92t involve anything other than the imagination. I= =92ve stopped wanting people to =93understand=94 or =93like=94 my work thou= gh plenty of it has been understandable and lots of it I'm sure not. I don= =92t even feel satisfaction at being understood or not understood. I find i= t to be a very selfish endeavor, one which helps me survive this life. =0AB= obbi Lurie=0A=0A=0A=0ADate: Sun, 29 Jun 2008 20:39:13 -0700=0Arom: Pa= ul Nelson =0Aubject: Re: Response to Troy Camplin, Ph.D= ..=0ADr. Camplin,=0ASo you judge my work without ever having read it? How do= es that help dialog? =0Aommunication? Just because my intention is not nece= ssarily to communicate does =0Aot mean it doesn't get something across. Nor= does it make it masturbation, as =0Audged by the number of featured readin= gs I have given over the last ten years. =0ACharles Olson said:=0AA poem is= energy=0Aransferred from where the poet got it (he will have some several = causations),=0Ay way of the poem itself to, all the way over to, the reader= .. Okay. Then the=0Aoem itself must, at all points, be a high energy-constru= ct and, at all points,=0An energy-discharge. So: how is the poet to accompl= ish same energy, how is he,=0Ahat is the process by which a poet gets in, a= t all points energy at least the=0Aquivalent of the energy which propelled = him in the first place, yet an energy=0Ahich is peculiar to verse alone and= which will be, obviously, also different=0Arom the energy which the reader= , because he is a third term, will take away.=0APeople seem to be intereste= d in HIS work, 38 years after his death at 60. So, =0Aid HE communicate any= thing? Apparently so, given the new film about his work =0And life in Glouc= ester, Polis is This. Given the movie from last year Fully =0Awake: Black M= ountain College. =0AYou obviously come to the SUNY list with an agenda far = more traditional than the =0Average list reader. You must expect people to = disagree with you. You should =0Anderstand they'll have a more challenging = aesthetic than to have their work go =0Aver to a large audience. That is a = measure addled by a capitalist ethos anyway. =0And the artists you cite did= not have nearly the same cultural conditions, so =0At's a misnomer.=0AIn a= wonderful Jacket interview: http://jacketmagazine.com/35/perez-ivb-johnson= ..shtml=0AOmar Perez points out that capitalist considerations have NO PLACE= in art. =0Ahey're antithetical to it. I'm not interested in heat from this= list. I am =0Anterested in light. Calling a stranger's work masturbation i= s unfortunate if =0Aou are really interested in dialog. Of course at least = masturbation is sex with =0Aomeone I love.=0APaul=0APaul E. Nelson =0AGloba= l Voices Radio=0APLAB!=0American Sentences=0Arganic Poetry=0Aoetry Postcard= Blog=0AIlalqo, WA 253.735.6328 or 888.735.6328=0A=0A=0A=0A---- Original Me= ssage ----=0Arom: Troy Camplin =0Ao: POETICS@LISTSER= V.BUFFALO.EDU=0Aent: Sunday, June 29, 2008 11:00:44 AM=0Aubject: Re: Respon= se to Troy Camplin, Ph.D.=0AFunny, of the examples I have given -- Michaela= ngelo, Mozart, Shakespeare, =0Aoliere, Racine -- not one was an American an= d not one lived in a capitalist =0Aountry. Yet each communicated extremely = well to a very wide audience. Prior to =0Ahem, one had raconteurs and bards= who travelled and recited/sang poetry. The =0Ancient Greek tragedies and c= omedies were wildly popular (you may recall Plato =0Aomplaining about trage= dy because it was wildly popular). The stories of the =0Aods and heroes wer= e told through the recitation of poetry, particularly epic =0Aoetry. So poe= try has historically been popular, and it has been used primarily =0As a wa= y of communication. The Church, for example, used visual arts to tell the = =0Atories of the Bible to its illiterate parishoners. Art is a form of =0Ao= mmunication, and has always been a form of communication. Danto goes so far= as =0Ao argue that the arts are a form of rhetoric -- and he's probably on= to =0Aomething there. =0AIf art is not communicating something, what is it= doing? If you are not =0Aoncerned with getting your vision across to other= s, then what you are doing =0Asn't art. When you create art that is not int= ended to communicate with anyone, =0Ahen you are engaged in nothing more th= an masturbation. Similarly, it doesn't =0Aesult in the creation of anything= new, because it never comes in contact with =0Athers. If Danto is right th= at art is a form of rhetoric, then those who either =0Aon't (or cannot) com= municate with their artwork are simply bad artists. To =0Aroclaim that your= art does not and should not communicate is simply to try to =0Arovide an a= rgument for why your terribly bad art is in fact good art -- =0Arecisely be= cause the art can't speak for itself as to its worth.=0ATroy Camplin=0A=0A-= --- Original Message ----=0Arom: Paul Nelson =0Ao: POET= ICS@LISTSERV.BUFFALO.EDU=0Aent: Saturday, June 28, 2008 12:10:21 PM=0Aubjec= t: Response to Troy Camplin, Ph.D.=0A----- Original Message ----=0AFrom: Tr= oy Camplin =0Ao: POETICS@LISTSERV.BUFFALO.EDU=0Aent:= Friday, June 27, 2008 4:37:00 PM=0Aubject: Re: The lyric poem - what be it= s current fate?=0A"...the best works are not those that only require critic= s for anyone to =0Anderstand what is going on. There's a certain tyranny of= meaning-making in only =0Aaving critics able to understand a work of art. = =0AThe most beautiful works are those that one can get some meaning from ri= ght =0Away, but which gain in meaning the more you understand and learn. Th= ose works =0Aoth the uneducated and the educated can appreciate. Why should= n't we want to =0Areate that kind of poetry? Why should we only ever want t= o exist in the realm =0Af the elite, where only a select few 'truly underst= and'?"=0ATroy Camplin, Ph.D.=0AThe limitation I see with this approach is t= hat when one is trying to =0Acommunicate"or write so that it goes over with= people who don't read poetry, is =0Ahat the impulse to move in that direct= ion is often fear. If one is open to a =0Aork of art, they'll recognize the= power of it long before they fully =0Anderstand, or even partially underst= and, what it may be "communicating." When =0Artists start worrying about co= mmunication, the gesture suffers. What's the line =0Ay the painter Clyfford= Still "demands for communication are presumptions and =0Arrelevant."=0AIt = is a symptom of our capitalist society and the underlying materialist =0Aos= mology that equates numbers (books sold, how many "regular" people have hea= rd =0Af the artist, etc.) that creates the kind of attitude exhibited here = by Dr. =0Aamplin. Now, that may be his interest, or motivation and he is we= lcome to it. =0At does not interest me and I find I am usually not interest= ed in art that can =0Ago over" with average people, but there are exception= s. Anything really =0Aorthwhile takes a little effort to appreciate, or at = least some background, or =0Aome kind of understanding or openness. People = raised in North American TV =0Aulture want it now, if not sooner, like the = ones who yell at the microwave to =0Aurry up. Cook slow.=0APaul=0A=0A=0A=3D= =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D= =3D=3D=3D=3D=3D=3D=3D=3D=0AThe Poetics List is moderated & does not accept = all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetic= s/welcome.html=0A =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Tue, 1 Jul 2008 10:27:59 -0700 Reply-To: "Poetics List (UPenn, UB)" Sender: "Poetics List (UPenn, UB)" From: Catherine Daly Subject: Re: logic, lyric, blah blah MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 7bit Content-Disposition: inline I'm a little confused about the reading of Shakespeare that could support a bash of postmodernist use of source, translation, intent, and interaction. Version? Authorial identity? I'm also a little confused about the bash on English teachers. Mine taught me how to read. It has proven pretty helpful to me, reading. I don't understand how logic and lyric are opposites. -- All best, Catherine Daly c.a.b.daly@gmail.com ================================== The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Tue, 1 Jul 2008 12:38:48 -0700 Reply-To: "Poetics List (UPenn, UB)" Sender: "Poetics List (UPenn, UB)" From: Loretta Clodfelter Subject: New Issue of There Has Launched MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 7bit Content-Disposition: inline A new issue of *There* is now up: http://www.therejournal.com With new work from Joel Chace, Andy Fitch, Andrew J. Jones, Heather Jovanelli, Nicholas Karavatos, Chad Lietz, Katrina Rodabaugh, Marisa Siegel, and Lesley Stampleman And we're pleased to announce *There* will have some exciting new initiatives in the fall, including chapbooks! *There* www.therejournal.com ================================== The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Tue, 1 Jul 2008 12:30:32 -0500 Reply-To: "Poetics List (UPenn, UB)" Sender: "Poetics List (UPenn, UB)" From: Maria Damon Subject: Re: Poet Portraits Desired In-Reply-To: <487601.33195.qm@web83306.mail.sp1.yahoo.com> MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit oh yeah...open mouth, insert foot. thanks amy. amy king wrote: > Hmm, most of them do, at least, at the top of the photo. Some people may not have included a name, but I think all of mine do. For instance, > > "Ron Padgett and John Ashbery" > http://www.flickr.com/photos/amyking/437126870/in/pool-10646338@N00 > > "Cole Swensen and Keith Waldrop" > http://www.flickr.com/photos/amyking/302830083/in/pool-10646338@N00 > > "Evie Shockley and Sina Queyras" > http://www.flickr.com/photos/amyking/400437928/in/pool-10646338@N00 > > The titles appear *above* each photo. > > Best, > Amy > > > Maria Damon wrote: > > > amy, great idea; it'd also be nice to have captions under the pix saying > who the poet is. > > amy king wrote: > >> If you have photos posted on Flickr of "Poets and Poet Types," please consider joining our group of the same name and sharing those photos, which are picked up in Google's search engine and thus provide poet images to seekers of such: >> >> http://www.flickr.com/groups/10646338@N00/ >> > > > > _______ > > Recent > http://www.tarpaulinsky.com/Reviews/kiss-me.html > http://cutbankpoetry.blogspot.com/2008/04/im-man-who-loves-you-by-amy-king.html > > Alias > http://www.amyking.org > > ================================== > The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html > > ================================== The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Tue, 1 Jul 2008 14:26:21 -0700 Reply-To: "Poetics List (UPenn, UB)" Sender: "Poetics List (UPenn, UB)" From: Jim Andrews Subject: Re: CEllA's Round Trip: Premiere Issue is Up! In-Reply-To: MIME-version: 1.0 Content-type: text/plain; charset=UTF-8 Content-transfer-encoding: quoted-printable check this out. the mag itself is very interesting and substantial at 94 = pages. additionally, those who publish in print and look for some sort = of workable online version of magazine format will find this quite an = eye-opener, i would think. rachel has used a web service called = issuu.com which obviously excels in porting magazine format to the net. = issuu.com offers one of the most powerful print-online syntheses i've = seen. ja > Drop by and check out Issue #01 CEllA's Round Trip (a hybrid type=20 > literary & > visionary journal). LIVE and awesome as of now. >=20 > Issue #01, Summer 2008 > contains creative writing and artwork by: > Mario Scattoloni, Arlene Ang, Barry Graham, Christophe Casamassima, = Sara > Crowley, Craig LaRotunda, Ava C. Cipri, Valerie Fox, William Doreski, = C.L. > Bledsoe, Jon Pineada, Gwendolyn Joyce-Mintz, Elizabeth Kate Switaj, = Vernon > Frazer, Cheryl Hicks, Glenn Capers, and more, more, more . . . >=20 > http://www.cellasroundtrip.com/issue01 > (publication is animated through Issuu.com, but please do hang around = and > enjoy the entire site! We refreshed ourselves!) >=20 > Thanks!!! > Rachel > editor & creator > reachcella@gmail.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 The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Tue, 1 Jul 2008 19:37:42 -0700 Reply-To: "Poetics List (UPenn, UB)" Sender: "Poetics List (UPenn, UB)" From: Jane Sprague Subject: New from Palm Press: Landscapes of Dissent MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable *** PALM PRESS is pleased to announce the publication of: LANDSCAPES OF DISSENT: Guerrilla Poetry and Public Space by Jules Boykoff and Kaia Sand *** Imagine - and witness - public space that is produced by us. In = Landscapes of Dissent, Sand and Boykoff remind us that there is a long = history and ripe presence of intersections between poetry and politics. = Don Mitchell is quoted in these pages as saying that public space is = "decisive." In an age in which alienation is among our most prevalent = health hazards, Landscapes of Dissent demonstrates that poetry may be = newly, again, good for you. This book is a gift. Take the power. -Carol = Mirakove Landscapes of Dissent is a prolegomenon toward a new topoiesis--the = creation of a new topos, a new place. This book brings forth not only = the discussion of several practices of disensual use of consensual = ("public") space, but also gives away ideas & insights about what takes = place thanks to a poetry that makes space in a polis made diapolis. = Reading this book I found myself feeling an unknown political emotion = that prompts my passive reader to become a reader ready to engage = (again) the streets--energized by this discussion in which writing is = hope & hope is action. Make it public! --Heriberto Yepez This timely book pushes poetry more firmly into public space at a = vibrant historical moment when both the public potential of poetry & the = possibilities of public space are being refigured. In Landscapes of = Dissent, Boykoff and Sand engage a crucial shift in the relationship of = poetry & public space: they do not merely insert poetry into an existing = public sphere imagined as a platform, but rather that show us how both = poetry & public space take on alternative forms of publicness. These = acts of publicness join other creative reclamations to assert politics = in a space the neoliberalism frames as seamless & accessible--& = therefore post-political. Landscapes of Dissent is expansive & sharp--an = important book of political-aesthetic scholarship.--Jeff Derksen *** Palm Press, 2008 ISBN 0-9789262-4-2 978-0-9789262-4-3 $15.00 128 pages, trade paperback www.palmpress.org =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Tue, 1 Jul 2008 23:09:12 -0400 Reply-To: "Poetics List (UPenn, UB)" Sender: "Poetics List (UPenn, UB)" From: CA Conrad Subject: Re: In the NYT -- William Logan "Reviews" the new "Selected Poems" of Frank O'Hara as edited by Mark Ford MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 7bit Content-Disposition: inline THANK GOD William Logan HATES O'Hara! When I was in fourth grade I saw my enemy eating my favorite, my BELOVED Red Hots candy! AND NEVER AGAIN WOULD I EAT THEM! Well, not for a few years until I forgot about my enemy. But I'm happy to have not changed. Although I wouldn't HATE O'Hara if Logan LOVED him, but it would turn my stomach a bit. THIS EVIL REVIEW OF O'HARA SHOULD BE CELEBRATED! SPREAD THE WORD: EVIL WILLIAM LOGAN HATES O'HARA, BUY YOUR O'HARA TODAY! But I'm not a big fan of that new selected I must admit. Some of my FAVORITE O'Hara poems not there. And the cover photo choice irritated me as well, going for the young, suave O'Hara. I prefer the Alice Neel portrait of him with green WEIRD teeth! He's fucking CREEPY AND BEAUTIFUL all at once! I'm SO SICK of poets acting like FASHION MODELS, like those stupid Sharon Olds photos where she could be selling shampoo or yogurt. (I'm NO fan of her poems, but would buy her shampoo) OH, and I'm also GLAD, VERY GLAD William Logan is homophobic, I MUCH PREFER the heterosexuals have to deal with him frankly! If he was a fag I would CONVERT! OH FRANK O'HARA GET UP, GET UP, WE LOVE YOU! GODDAMM-IT POETRY IS FUN! CAConrad *my NEW BOOK (Soma)tic Midge (Faux Press): http://CAConrad.blogspot.com the DEAR MR. PRESIDENT poem with pictures: http://thedearmrpresidentpoem.blogspot.com/ PhillySound FEATURE in FANZINE: http://phillysound.blogspot.com/2008_06_01_archive.html PhillySound: new poetry: http://PhillySound.blogspot.com updated (Soma)tic POETRY EXERCISES:http://somaticpoetryexercises.blogspot.com * ** ================================== The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Tue, 1 Jul 2008 21:36:09 -0700 Reply-To: "Poetics List (UPenn, UB)" Sender: "Poetics List (UPenn, UB)" From: Nico Vassilakis Subject: Reminds = N. Vassilakis & C. Curry = Reading in B'klyn July 8th MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Crystal Curry & Nico Vassilakis =20 Reading @ Unnameable Books July 8th=2C 8pm =20 + + + + =20 UNNAMEABLE BOOKS *** 456 Bergen Street Brooklyn NY 11217 (718) 789-1534 =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Wed, 2 Jul 2008 01:28:03 -0400 Reply-To: "Poetics List (UPenn, UB)" Sender: "Poetics List (UPenn, UB)" From: Ryan Daley Subject: Re: Least Careless and Least Logical In-Reply-To: <9778b8630807011451n6b800aabg211b326692121377@mail.gmail.com> MIME-Version: 1.0 Content-Type: text/plain; charset=WINDOWS-1252 Content-Transfer-Encoding: quoted-printable Content-Disposition: inline Troy, Your post: "we need to learn how to write poetry "right" in the same way that painters first have to learn how to draw and musicians have to first learn how to play a musical instrument by playing things we recognize before we move on to experiment and push the boundaries (you have to learn the rules before you can break the rules)," reminds me of William Logan's review: "'The poets of the New York School, as they were eventually known, were long on spontaneity and short on traditional literary effect." Did you guys meet before these writings? Who are some examples of poets who are writing "wrongly"? -Ryan On Tue, Jul 1, 2008 at 5:51 PM, Ryan Daley wrote: > On Mon, Jun 30, 2008 at 8:36 PM, Troy Camplin wro= te: >> Are you talking about me, or just projecting here? I try to have a discu= ssion about the art of poetry, and I get accusations (often false), mere rh= etoric, attempts at pissing matches, superficial claptrap, etc. Not from ev= eryone, to be sure. There are a few who have actually carried on an intelle= ctual discussion on poetry. Those who suspect I may be right, but find that= possibility to be inconvenient to whatever it is they are producing end up= with this kind of dribble. >> >> I've been accused of wanting to go back to the "stink of the 19th centur= y." I've never talked about the 19th century. However, I have not seen any = kind of argument for why it stinks. Is it because so many were bestsellers = and were better poets on their worst days than most of us have ever been on= our best? Still, it's not the 19th century I've talked about. In fact, I h= ave only mentioned, a few discussion threads ago, one poet from the last 40= 0 years, and that was Frederick Turner, who is very much alive and a poet o= f the late 20th and now early 21st century. Speaking of contemporary poets,= one could also mention Frederick Fierstein, Paul Lake, and R. S. Gwynn. Of= the Modernists, I love Robert Frost and especially Wallace Stevens. The in= tellectual in me loves the French surrealists and Apollinaire. It is certai= nly that I don't like much of what the Modernists especially have done -- I= just recognize too that much of what they did worked to marginalize >> poetry. Part of that marginalization was in direct response to movies a= nd, later, T.V. -- to modern culture. One of the consequences of this was t= he audience for poetry shrunk. But, then, so did the audience for operas, p= lays, and symphonies -- especially the Modern and Postmodern works that cam= e about. >> >> Now, while I did say that beauty reproduces itself, I should have also s= aid that so do viruses. What our English teachers and professors have done = to the students in this country have made them susceptible to infection. >> >> Troy Camplin >> >> >> ----- Original Message ---- >> From: Paul Nelson >> To: POETICS@LISTSERV.BUFFALO.EDU >> Sent: Monday, June 30, 2008 12:17:57 PM >> Subject: Least Careless and Least Logical >> >> So if you're after LOGIC in poetry, you can swing back to the stink of t= he 19th century, as Michael Ford put it. Fortunately, there are those (the = vast majority on this list) who want a DEEPER gesture than what certain Doc= tors from Texas are capable of appreciating and that's why this list exists= .. >> >> There have been a couple of movements since the romantic era that sought= to make art more relevant to the times. We see where intellect gets us and= the Doctor from Texas exemplifies it to perfection. The hastily-written pu= t down. The intellectual pissing match. The desire to prove one's self righ= t at the expense of another. It is a clear demonstration of the competition= /domination cosmology, one whose time passed long ago, but still clings on = and on. >> >> Jack Spicer said >> >> >> =85Prose invents - >> poetry discloses=85 >> >> =85A poet is a time >> mechanic not an embalmer=85 >> >> =85Muses do exist, but >> now I know that they are not afraid to dirty their hands with explicatio= n =96 >> that they are patient with truth and commentary as long as it doesn't ge= t into >> the poem=85 >> >> among other things. But Spicer's is, of course an ethos based in 1950's = consciousness, albeit way ahead of its time. It IS threatening to think tha= t we have moved ahead since 1850, in poetry anyway, so these kinds of notio= ns will be attacked by someone clinging with an intellectual death-grip to = the ideals of the 19th century. >> >> >> Paul E. Nelson >> >> Global Voices Radio >> SPLAB! >> American Sentences >> Organic Poetry >> Poetry Postcard Blog >> >> Ilalqo, WA 253.735..6328 or 888.735.6328 >> >> =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D= =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D >> The Poetics List is moderated & does not accept all posts. Check guideli= nes & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.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 >> The Poetics List is moderated & does not accept all posts. Check guideli= nes & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.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 The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Tue, 1 Jul 2008 22:51:49 -0700 Reply-To: "Poetics List (UPenn, UB)" Sender: "Poetics List (UPenn, UB)" Comments: RFC822 error: Invalid RFC822 field - "announces books". Rest of header flushed. From: Matt Henriksen Subject: new book(s) MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-7 Content-Transfer-Encoding: quoted-printable (a new one) This Ocean, or Opp= Cannibal Books=0Aannounces books=0A =0A(a new one)=0A =0AThis Ocean, or Opp= en Series=0Aby Joseph Bradshaw=0A =0A(& 3 re-releases)=0A =0AGilbi Winco Sw= ags=0Aby Melanie Hubbard=0A =0AThe Foundations of Poetry Mathematics=0Aby B= en Mazer=0A =0AI=A2ll Say I=A2m Only Visiting=0Aby Thibault Raoult=0A =0A(a= ll hand-sewn & of unfashionable genius)=0A(w/ cover designs by Katy Henriks= en)=0A(An aesthetic definition cannot define the hunger)=0A =0Aflesheatingp= oems.blogspot.com=0Aflesheatingpoems@yahoo.com=0AFayetteville, AR=0AJuly 20= 09=0A =0AFind us in lovely bookstores:=0AGrolier Poetry Book Shop (Cambridg= e, MA) =0APegasus Book Store (Berkeley, CA)=0AUnnameable Books (Brooklyn, N= Y)=0AWoodland Pattern Book Center (Milwaukee, WI)=0A =0ABooksellers and int= ernational orders query Matthew Henriksen=0Aat flesheatingpoems@yahoo.com.= =0A=0A=0A =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Wed, 2 Jul 2008 09:00:25 +0000 Reply-To: "Poetics List (UPenn, UB)" Sender: "Poetics List (UPenn, UB)" From: Jesse Glass Subject: Spam Lit Article On The Guardian books Blog MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" http://blogs.guardian.co.uk/books/2008/07/spam_poetry.html With an interesting mention of your correspondent, Jesse Glass. ================================== The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Wed, 2 Jul 2008 06:19:48 -0400 Reply-To: clwnwr@earthlink.net Sender: "Poetics List (UPenn, UB)" From: Bob Heman Subject: DESTINY - i'll be part of this BIG READING in SOHO on July 11 at 7:00 pm - DESTINY MIME-Version: 1.0 Content-type: text/plain; charset=US-ASCII the Destiny Reading featuring Angelo Verga Anne Cammon Bob Heman Fareed Bitar Liza Wolsky Master Lee Miriam Stanley Moira Smith Roger Lipson on sitar hosted by Liza Wolsky & Fareed Bitar Friday, July 11th, from 7pm to 9pm at the very beautiful Eli Klein Fine Art 462 West Broadway (just below Houston) Bob Heman clwnwr@earthlink.net EarthLink Revolves Around You. ================================== The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Wed, 2 Jul 2008 06:35:45 -0400 Reply-To: "Poetics List (UPenn, UB)" Sender: "Poetics List (UPenn, UB)" From: Doug Holder Subject: Lisa Beatman's "Manufacturing America" ( Ibbetson Street--2008) Mime-Version: 1.0 Content-Transfer-Encoding: quoted-printable Content-Type: text/plain; charset="windows-1252" June 30th, 2008=20 Review by Karen J. Weyant (email)=20 MANUFACTURING AMERICA: POEMS FROM THE FACTORY FLOOR by Lisa Beatman=20 =20=20 Ibbetson Street Press 25 School Street Somerville, MA, 02143 ISBN 978-0-6151-8124-0 61 pp., $14.95 http://www.ibbetsonstreetpress.com www.lulu.com=20 =20=20 In her forward to Manufacturing America: Poems from the Factory Floor, Li= sa=20 Beatman explains that in 2001 she was hired to teach basic skills to work= ers at=20 a paper and printing company. For those of us who teach at-risk students,= we=20 know their hardships and sympathize, but Beatman goes one step further th= an=20 just sympathizing. Chronicling her students' stories, Beatman, in quick p= oetic=20 glimpses, records their past lives in other countries, their current stru= ggles,=20 and even their possible futures.=20 =20=20 As anyone can imagine, the stories found in this slim book are varied. In= =20 Rainbow we see the past of Juan, a fisherman who "cast his net/ on a rain= bow=20 lake, testing the patched weave" and we see the present: his life in a fa= ctory=20 with "calloused hands, tattooed with paper cuts." We see Nina in First Sh= ift=20 who "puts her face/ back on at 5:00 am" her makeup routine complete=20 with "mascara on thick" and "watermelon/ tint to her lips." And we see th= e=20 maneuvering of family routines in Swing Shift, where "Alicia leaves the h= ouse=20 at 2:00/ Guillermo gets home at 4:00/ Gracias a Dios / his mama can watch= /=20 Manuelito in between." These, of course, are only a few stories found in = this=20 collection; as with real life populations of blue collar workers in the U= nited=20 States, their stories and memories are as diverse as the population itsel= f.=20 =20=20 As with any good book (poetry or otherwise), I turned the last page still= =20 hoping for more. In such collections as this one, there are always openin= gs,=20 always voices still to be heard, always stories still to be told, but it'= s been a=20 long time since I have felt such a gap. Beatman's book leaves many questi= ons=20 unanswered, which is perhaps why I felt such a loss. For example, in Park= ing,=20 we experience a suggested worker layoff with opening lines "The lucky one= s=20 punched in on Monday/ one by one, all on time." This poem also depicts th= e=20 cafeteria and parking lot on that same day: Maria sat in the cafeteria=20 next to an empty chair.=20 She finally got a shady spot=20 where her '96 Chevy wouldn't cook.=20 Then, there are the closed factories depicted in GoodBones: "The condos o= n=20 the river side/ will go for what, half mil?/ Wonder what they used to mak= e here- / car parts, blue jeans, envelopes." Certainly, the parking lot spaces, t= he=20 empty spots in the cafeteria, the decay of urban factories are all strong= =20 images that leave us wondering about portraits not recorded, the life sto= ries=20 not being told.=20 =20=20 But finally, there is the question directed towards the poet herself, in = the=20 haunting Copyright, a poem that depicts the burden of telling another's s= tory:=20 Leyla Chang invades my dreams=20 strips the white sheet=20 from my body=20 plucks the pen from=20 my twitching fingers=20 What's this she says=20 about you writing my life?=20 since when did I=20 become a page number=20 in your table of contents? And this is why, ultimately, Beatman's work is such a success. Certainly,= she=20 has not presented a collection that is "groundbreaking"--other poets have= =20 written about the physical and emotional struggles of the blue collar wor= ld. But=20 Beatman's book is very much a reflection of the factory world today. As s= he=20 herself notes, "Sadly, manufacturing is dying in America. Owners, seeking= lower=20 labor costs and fewer regulations, are relocating plants, ironically, to = many of=20 the developing countries their workers came from." With both the recorded= =20 stories and the unanswered questions, Beatman echoes the uncertainly of h= er=20 students' futures, and perhaps, all of our futures as well.=20 ___________ Karen J. Weyant is a 2007 Fellow in poetry from the New York Foundation f= or=20 the Arts and her most recent work can be seen in Slipstream, The=20 ComstockReview and Labor: Studies in Working-Class History of the America= s.=20 She has work forthcoming in Pennsylvania English and the minnesota review= .=20 She teaches at Jamestown Community College in Jamestown, New York.=20 =20=20 =20=20 =20 =20 =20=20=20=20=20 =20=20=20=20=20=20 =20=20=20=20 Note: Reviews may not necessarily reflect the opinions of RATTLE's ed= itors=20 and staff.=20=20 =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Wed, 2 Jul 2008 21:34:37 +0800 Reply-To: "Poetics List (UPenn, UB)" Sender: "Poetics List (UPenn, UB)" From: Christophe Casamassima Subject: Viviparous Blenny REALLY needs submissions! Content-Disposition: inline Content-Transfer-Encoding: quoted-printable Content-Type: text/plain; charset="iso-8859-7" MIME-Version: 1.0 This is a new journal from Baltimore's 23 Books. We could use a lot more su= bmissions and more challenging work - everything coming has become a trickl= ing inkling of safety poetry. PLEASE send Blenny work - I'm acting as the a= ssociate editor and have been trying everything in my power to get work. Is= it just because it's the summer? Cheers, everyone. Please submit (see below)! I want to see (more) interesti= ng work! Christophe Casamassima -------------------------------------------------------- Call for Submission(s) Viviparous Blenny a twentythreebooks and furniture press contemporary arts journal January 2009, Volume I Theme: Synchronicity Synchronicity is not merely serendipity, it is defined as meaningful coinci= dences. Synchronicities are acausal, that is, not able to be reduced to a cause-and= -effect explanation. They are always personal events. They are boundary events that often occur = at periods of major life transitions. And they necessarily reflect a deeper, more holisti= c reality. *If you submit work that doesn=92t directly address the theme, please expla= in why you=92ve chosen the piece to represent the theme. Submissions guidelines: ♦ 3=964 poems ♦ 1000 words of prose (fiction, nonfiction, creative nonfiction, comm= entary, interviews, reviews, etc.) ♦ Black and white photographs (.tiff, .gif, .jpg; low-res for submiss= ion) Black and white artwork or drawings (low-res scanned image file) ♦Collages/Word Art/etc ♦ Comics ♦ Name and contact info. on every page submitted ♦ No simultaneous submissions. You may also submit your work on CD to the address below (be sure to mark = =93CD, do not scan=94 on the outside of envelope). Send written work as an attachment to blennysubmissions@twentythreebooks.com or snail mail to: Viviparous Blenny c/o Douglas Mowbray, Managing Editor 76 Stone Park Place Baltimore, Maryland 21236 Be sure to include an SASE and cover letter (including a brief bio) for a r= eply to your submission. If you would like your work returned, please include proper pos= tage and envelope. Submissions due no later than August 23. Any submissions after this date wi= ll not be considered. Payment is 1 free contributor=92s copy and new friends. =3D Afraid Of The Dentist WA? Don't be. Only painless dentistry here. We care about your smile. http://a8-asy.a8ww.net/a8-ads/adftrclick?redirectid=3Dd125f971f62ef6d0a0e76= bcbd69ac5dc --=20 Powered By Outblaze =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Wed, 2 Jul 2008 11:23:39 -0700 Reply-To: "Poetics List (UPenn, UB)" Sender: "Poetics List (UPenn, UB)" From: Troy Camplin Subject: Re: In the NYT -- William Logan "Reviews" the new "Selected Poems" of Frank O'Hara as edited by Mark Ford MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii I read this review and didn't get this from it at all. The reviewer said there was a lot of good stuff in the collection. He also said (like you did) that there were things left out of the collection he thought should have been left in. What is it you want? A review that is so mindless in its approval and praise of everything O'Hara did that it turns into a kitschy form of worship? Why can't a person say " well, this is better than that . . . ?" Logan doesn't hate O'Hara -- but he doesn't think everything O'Hara touched was golden, either. How can you be a good poet or even understand good poetry if you can't even pick up on the subtilties of a review? Troy Camplin ----- Original Message ---- From: CA Conrad To: POETICS@LISTSERV.BUFFALO.EDU Sent: Tuesday, July 1, 2008 10:09:12 PM Subject: Re: In the NYT -- William Logan "Reviews" the new "Selected Poems" of Frank O'Hara as edited by Mark Ford THANK GOD William Logan HATES O'Hara! When I was in fourth grade I saw my enemy eating my favorite, my BELOVED Red Hots candy! AND NEVER AGAIN WOULD I EAT THEM! Well, not for a few years until I forgot about my enemy. But I'm happy to have not changed. Although I wouldn't HATE O'Hara if Logan LOVED him, but it would turn my stomach a bit. THIS EVIL REVIEW OF O'HARA SHOULD BE CELEBRATED! SPREAD THE WORD: EVIL WILLIAM LOGAN HATES O'HARA, BUY YOUR O'HARA TODAY! But I'm not a big fan of that new selected I must admit. Some of my FAVORITE O'Hara poems not there. And the cover photo choice irritated me as well, going for the young, suave O'Hara. I prefer the Alice Neel portrait of him with green WEIRD teeth! He's fucking CREEPY AND BEAUTIFUL all at once! I'm SO SICK of poets acting like FASHION MODELS, like those stupid Sharon Olds photos where she could be selling shampoo or yogurt. (I'm NO fan of her poems, but would buy her shampoo) OH, and I'm also GLAD, VERY GLAD William Logan is homophobic, I MUCH PREFER the heterosexuals have to deal with him frankly! If he was a fag I would CONVERT! OH FRANK O'HARA GET UP, GET UP, WE LOVE YOU! GODDAMM-IT POETRY IS FUN! CAConrad *my NEW BOOK (Soma)tic Midge (Faux Press): http://CAConrad.blogspot.com the DEAR MR. PRESIDENT poem with pictures: http://thedearmrpresidentpoem.blogspot.com/ PhillySound FEATURE in FANZINE: http://phillysound.blogspot.com/2008_06_01_archive.html PhillySound: new poetry: http://PhillySound.blogspot.com updated (Soma)tic POETRY EXERCISES:http://somaticpoetryexercises.blogspot.com * ** ================================== The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ================================== The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Wed, 2 Jul 2008 11:36:48 -0700 Reply-To: "Poetics List (UPenn, UB)" Sender: "Poetics List (UPenn, UB)" From: Troy Camplin Subject: Re: Least Careless and Least Logical MIME-Version: 1.0 Content-Type: text/plain; charset=windows-1252 Content-Transfer-Encoding: quoted-printable I would have to know the literary histories of individual writers to know t= hat for certain. But I did encounter it en masse among students and even te= achers of poetry. We see it too in Robert Bly's attitude toward translation= , where he shows a complete lack of understanding of the importance of the = needs to translate rhythms and patterns into English and instead in his tra= nslations created little more than trots. As a consequences, his translatio= ns are awful. Worse, he influenced an entire generation of translators. He = could do so because of the general lack of understanding of basic poetics. = Fortunately, some of the most recent translations I have seen do not reflec= t his theory of translation. =0A=0AIn fact, it seems that I"m not the only = one to not the problems of the anti-poetics attitude among too many poets: = http://chronicle.com/temp/reprint.php?id=3Dknz7d3nc19g60h47flh19j1pn0dxc4sy= =0A=0ATroy Camplin=0A=0A=0A----- Original Message ----=0AFrom: Ryan Daley <= rcdaley@GMAIL.COM>=0ATo: POETICS@LISTSERV.BUFFALO.EDU=0ASent: Wednesday, Ju= ly 2, 2008 12:28:03 AM=0ASubject: Re: Least Careless and Least Logical=0A= =0ATroy,=0A=0AYour post:=0A=0A"we need to learn how to write poetry "right"= in the same way that=0Apainters first have to learn how to draw and musici= ans have to first=0Alearn how to play a musical instrument by playing thing= s we recognize=0Abefore we move on to experiment and push the boundaries (y= ou have to=0Alearn the rules before you can break the rules),"=0A=0Areminds= me of William Logan's review:=0A=0A"'The poets of the New York School, as = they were eventually known,=0Awere long on spontaneity and short on traditi= onal literary effect."=0A=0ADid you guys meet before these writings? Who ar= e some examples of=0Apoets who are writing "wrongly"?=0A=0A-Ryan=0A=0A=0AOn= Tue, Jul 1, 2008 at 5:51 PM, Ryan Daley wrote:=0A> On = Mon, Jun 30, 2008 at 8:36 PM, Troy Camplin wrote:= =0A>> Are you talking about me, or just projecting here? I try to have a di= scussion about the art of poetry, and I get accusations (often false), mere= rhetoric, attempts at pissing matches, superficial claptrap, etc. Not from= everyone, to be sure. There are a few who have actually carried on an inte= llectual discussion on poetry. Those who suspect I may be right, but find t= hat possibility to be inconvenient to whatever it is they are producing end= up with this kind of dribble.=0A>>=0A>> I've been accused of wanting to go= back to the "stink of the 19th century." I've never talked about the 19th = century. However, I have not seen any kind of argument for why it stinks. I= s it because so many were bestsellers and were better poets on their worst = days than most of us have ever been on our best? Still, it's not the 19th c= entury I've talked about. In fact, I have only mentioned, a few discussion = threads ago, one poet from the last 400 years, and that was Frederick Turne= r, who is very much alive and a poet of the late 20th and now early 21st ce= ntury. Speaking of contemporary poets, one could also mention Frederick Fie= rstein, Paul Lake, and R. S. Gwynn. Of the Modernists, I love Robert Frost = and especially Wallace Stevens. The intellectual in me loves the French sur= realists and Apollinaire. It is certainly that I don't like much of what th= e Modernists especially have done -- I just recognize too that much of what= they did worked to marginalize=0A>> poetry. Part of that marginalization = was in direct response to movies and, later, T.V. -- to modern culture. One= of the consequences of this was the audience for poetry shrunk. But, then,= so did the audience for operas, plays, and symphonies -- especially the Mo= dern and Postmodern works that came about.=0A>>=0A>> Now, while I did say t= hat beauty reproduces itself, I should have also said that so do viruses. W= hat our English teachers and professors have done to the students in this c= ountry have made them susceptible to infection.=0A>>=0A>> Troy Camplin=0A>>= =0A>>=0A>> ----- Original Message ----=0A>> From: Paul Nelson =0A>> To: POETICS@LISTSERV.BUFFALO.EDU=0A>> Sent: Monday, June 30, 2= 008 12:17:57 PM=0A>> Subject: Least Careless and Least Logical=0A>>=0A>> So= if you're after LOGIC in poetry, you can swing back to the stink of the 19= th century, as Michael Ford put it. Fortunately, there are those (the vast = majority on this list) who want a DEEPER gesture than what certain Doctors = from Texas are capable of appreciating and that's why this list exists..=0A= >>=0A>> There have been a couple of movements since the romantic era that s= ought to make art more relevant to the times. We see where intellect gets u= s and the Doctor from Texas exemplifies it to perfection. The hastily-writt= en put down. The intellectual pissing match. The desire to prove one's self= right at the expense of another. It is a clear demonstration of the compet= ition/domination cosmology, one whose time passed long ago, but still cling= s on and on.=0A>>=0A>> Jack Spicer said=0A>>=0A>>=0A>> =85Prose invents -= =0A>> poetry discloses=85=0A>>=0A>> =85A poet is a time=0A>> mechanic not a= n embalmer=85=0A>>=0A>> =85Muses do exist, but=0A>> now I know that they ar= e not afraid to dirty their hands with explication =96=0A>> that they are p= atient with truth and commentary as long as it doesn't get into=0A>> the po= em=85=0A>>=0A>> among other things. But Spicer's is, of course an ethos bas= ed in 1950's consciousness, albeit way ahead of its time. It IS threatening= to think that we have moved ahead since 1850, in poetry anyway, so these k= inds of notions will be attacked by someone clinging with an intellectual d= eath-grip to the ideals of the 19th century.=0A>>=0A>>=0A>> Paul E. Nelson= =0A>>=0A>> Global Voices Radio=0A>> SPLAB!=0A>> American Sentences=0A>> Org= anic Poetry=0A>> Poetry Postcard Blog=0A>>=0A>> Ilalqo, WA 253.735..6328 or= 888.735.6328=0A>>=0A>> =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D= =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=0A>> The Poetics List i= s moderated & does not accept all posts. Check guidelines & sub/unsub info:= http://epc.buffalo.edu/poetics/welcome.html=0A>>=0A>>=0A>> =3D=3D=3D=3D=3D= =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D= =3D=3D=3D=3D=0A>> The Poetics List is moderated & does not accept all posts= .. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome= ..html=0A>>=0A>=0A=0A=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D= =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=0AThe Poetics List is mode= rated & does not accept all posts. Check guidelines & sub/unsub info: http:= //epc.buffalo.edu/poetics/welcome.html=0A =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Wed, 2 Jul 2008 15:29:27 -0400 Reply-To: "Poetics List (UPenn, UB)" Sender: "Poetics List (UPenn, UB)" From: Adam Tobin Subject: Re: elitism (was re: the lyric poem In-Reply-To: <226517.56140.qm@web52402.mail.re2.yahoo.com> MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable I'm a bookseller myself, and I do know the numbers. I sell more poetry books than history books, though I have an excellent selection of both = and devote roughly equal shelf space to each. And I know that most poetry circulation occurs outside of bookstores, and is not adequately = represented by the commercial book trade (nor, for that matter, by the Buffalo = Poetics List). My impression is that there are more than a thousand poetry microcommunities in NYC alone -- people who write poetry, read each = other's work and take it seriously -- and all of them read, at least = occasionally, work from outside their little group. Obviously the readership for any = one particular book isn't very large, but taken as a whole the poetry = network reaches a lot of people -- maybe a fraction of one percent of the total population of the world: but that's a lot of people! It's certainly not nobody, and it's probably more people than read poetry in Ralph Waldo Emerson's time. Fun fact: There are approximately 5,000 poetry books published every = year in the US alone. If each book has 10 unique readers (say, the friends and family of the poet who do not otherwise read poetry), then we're talking about 50,000 people as a theoretical minimum... -----Original Message----- Booksellers know the numbers.=A0Very few people read=A0poetry. The = listserv probably=A0serves half the poetry readers in the Northeast. & I can't = force my friends to read the stuff, although I've tried. & poetry does get a = bunch of affirmative action help ( it's own month, for instance, as well as = slams, etc.=A0). Still, few readers.=20 --- =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Wed, 2 Jul 2008 13:15:57 -0700 Reply-To: "Poetics List (UPenn, UB)" Sender: "Poetics List (UPenn, UB)" From: amy king Subject: Goodreads' Poetry Group Comments: To: "NewPoetry: Contemporary Poetry News &, Views" In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Dear Poets, If you are a member of Goodreads (similar to LibraryThing), consider joining the Poetry Group there: http://www.goodreads.com/group/show/233._POETRY_ The group includes a number of discussions -- INTRODUCTIONS ~~~ MY BOOK / POEM IS PUBLISHED! ~~~ ADVICE - QUESTION FOR YA! ~~~ I APPRECIATE POETRY CRITIQUE ~~~ YOU’VE GOTTA READ THIS POEM! ~~~ CALLS FOR WORK - SUBMIT! ~~~ POETRY WRITING SUGGESTIONS ~~~ PLEASE HELP ~~~ RECOMMENDED BOOKS ~~~ POETRY REVIEWS ~~~ FUN STUFF ~~~ We now have a total of 781 Goodreads’ members, so if you’re down with discussions that fall under the above headings, join the gang! Best, Amy _______ Recent http://www.tarpaulinsky.com/Reviews/kiss-me.html http://jacketmagazine.com/34/dickow-king.shtml Alias http://www.amyking.org Your Suggestions http://amyking.wordpress.com/2008/06/12/poetry-exercises-wanted/ ================================== The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Wed, 2 Jul 2008 13:09:53 -0700 Reply-To: "Poetics List (UPenn, UB)" Sender: "Poetics List (UPenn, UB)" From: Stephen Vincent Subject: Agression: A conference... A Haptic Response MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit For what it's worth, currently on my blog:http://stephenvincent.net/blog/ AGGRESSION: A CONFERENCE ON CONTEMPORARY POETICS AND POLITICAL ANTAGONISM: sponsored by Small Press Traffic (May 30 - 31) - A Haptic Response: This is a much belated Haptic response to the Saturday afternoon (May 30 - 31) part of a Conference that I never quite got ‘my arms around’ - tho it gathered together many interesting poets - both as speakers and audience. At its core, its subject was the violence or sense of violation - that poets and (poetry) communities can visit upon each other (in person, publications and/or blogs )- is a good one to address. I suspect the meta-question is whether or not it’s possible any poet(s), and/or new aesthetic proposition (such as say Language Poetry ‘back then’) can assert and position itself without doing personal and/or collective damage? (As well as bring damage on to itself?) Does a new group formation require knocking out perceived opponents, etc. A kind of exclusive ‘our way or no way’ approach to all those ‘others.’ ?? Or are there group processes that might ‘civilize’ the process? (Clearly, on many issues, this country has taken, to put it mildly, a repressive approach). Stephen Vincent ================================== The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Wed, 2 Jul 2008 16:19:06 -0400 Reply-To: "Poetics List (UPenn, UB)" Sender: "Poetics List (UPenn, UB)" From: angela vasquez-giroux Subject: Re: In the NYT -- William Logan "Reviews" the new "Selected Poems" of Frank O'Hara as edited by Mark Ford In-Reply-To: <118380.12596.qm@web46215.mail.sp1.yahoo.com> MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 7bit Content-Disposition: inline I think the big problem with Logan's review is that he expected EVERY POEM to be as brilliant as, say, "Why I am Not A Painter". And that's simply foolish. Perhaps, had O'Hara lived, he would never have issued a collected poems. I don't think any poet I know would want every single completed poem published, for the reason that we all would like to present our best work. That's why CDs are only 12-17 songs--they're the strongest of the bunch. The other problem with Logan is that the poets he holds as the zenith of poetic talent and virtue seem less exciting, talented, etc. to the majority of people who "care" about poetry, so it becomes difficult for some to take him seriously. At any rate, when was the last time a poet was the cover story of the NYT Books section? For poetry, any press is good press. On Wed, Jul 2, 2008 at 2:23 PM, Troy Camplin wrote: > I read this review and didn't get this from it at all. The reviewer said > there was a lot of good stuff in the collection. He also said (like you did) > that there were things left out of the collection he thought should have > been left in. What is it you want? A review that is so mindless in its > approval and praise of everything O'Hara did that it turns into a kitschy > form of worship? Why can't a person say " well, this is better than that . . > . ?" Logan doesn't hate O'Hara -- but he doesn't think everything O'Hara > touched was golden, either. How can you be a good poet or even understand > good poetry if you can't even pick up on the subtilties of a review? > > Troy Camplin > > > ----- Original Message ---- > From: CA Conrad > To: POETICS@LISTSERV.BUFFALO.EDU > Sent: Tuesday, July 1, 2008 10:09:12 PM > Subject: Re: In the NYT -- William Logan "Reviews" the new "Selected Poems" > of Frank O'Hara as edited by Mark Ford > > THANK GOD William Logan HATES O'Hara! > > When I was in fourth grade I saw my enemy eating my favorite, my BELOVED > Red > Hots candy! AND NEVER AGAIN WOULD I EAT THEM! Well, not for a few years > until I forgot about my enemy. > > But I'm happy to have not changed. Although I wouldn't HATE O'Hara if > Logan > LOVED him, but it would turn my stomach a bit. > > THIS EVIL REVIEW OF O'HARA SHOULD BE CELEBRATED! > > SPREAD THE WORD: EVIL WILLIAM LOGAN HATES O'HARA, BUY YOUR O'HARA TODAY! > > But I'm not a big fan of that new selected I must admit. Some of my > FAVORITE O'Hara poems not there. And the cover photo choice irritated me > as > well, going for the young, suave O'Hara. I prefer the Alice Neel portrait > of him with green WEIRD teeth! He's fucking CREEPY AND BEAUTIFUL all at > once! I'm SO SICK of poets acting like FASHION MODELS, like those stupid > Sharon Olds photos where she could be selling shampoo or yogurt. (I'm NO > fan of her poems, but would buy her shampoo) > > OH, and I'm also GLAD, VERY GLAD William Logan is homophobic, I MUCH PREFER > the heterosexuals have to deal with him frankly! If he was a fag I would > CONVERT! > > OH FRANK O'HARA GET UP, GET UP, WE LOVE YOU! GODDAMM-IT POETRY IS FUN! > CAConrad > > *my NEW BOOK (Soma)tic Midge (Faux Press): > http://CAConrad.blogspot.com > > the DEAR MR. PRESIDENT poem with pictures: > http://thedearmrpresidentpoem.blogspot.com/ > > PhillySound FEATURE in FANZINE: > http://phillysound.blogspot.com/2008_06_01_archive.html > > PhillySound: new poetry: > http://PhillySound.blogspot.com > > updated (Soma)tic POETRY EXERCISES: > http://somaticpoetryexercises.blogspot.com > * > ** > > ================================== > The Poetics List is moderated & does not accept all posts. Check guidelines > & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html > > ================================== > The Poetics List is moderated & does not accept all posts. Check guidelines > & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html > ================================== The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Wed, 2 Jul 2008 17:32:37 -0400 Reply-To: "Poetics List (UPenn, UB)" Sender: "Poetics List (UPenn, UB)" From: Ryan Daley Subject: Re: In the NYT -- William Logan "Reviews" the new "Selected Poems" of Frank O'Hara as edited by Mark Ford In-Reply-To: <8f6eafee0807021319l188e2db4h9de249e9eed478a4@mail.gmail.com> MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 7bit Content-Disposition: inline While I think the review is rot, I tend to agree with Angela's last statement: When was the last time poetry (or a book of poetry) got anywhere near a cover story? In other words, when was the last time my relatives asked me if I knew so-and-so's (poet's) work? The answer? Never. On Wed, Jul 2, 2008 at 4:19 PM, angela vasquez-giroux wrote: > I think the big problem with Logan's review is that he expected EVERY POEM > to be as brilliant as, say, "Why I am Not A Painter". And that's simply > foolish. Perhaps, had O'Hara lived, he would never have issued a collected > poems. I don't think any poet I know would want every single completed poem > published, for the reason that we all would like to present our best work. > That's why CDs are only 12-17 songs--they're the strongest of the bunch. > > The other problem with Logan is that the poets he holds as the zenith of > poetic talent and virtue seem less exciting, talented, etc. to the majority > of people who "care" about poetry, so it becomes difficult for some to take > him seriously. > > At any rate, when was the last time a poet was the cover story of the NYT > Books section? > > For poetry, any press is good press. > > On Wed, Jul 2, 2008 at 2:23 PM, Troy Camplin wrote: > >> I read this review and didn't get this from it at all. The reviewer said >> there was a lot of good stuff in the collection. He also said (like you did) >> that there were things left out of the collection he thought should have >> been left in. What is it you want? A review that is so mindless in its >> approval and praise of everything O'Hara did that it turns into a kitschy >> form of worship? Why can't a person say " well, this is better than that . . >> . ?" Logan doesn't hate O'Hara -- but he doesn't think everything O'Hara >> touched was golden, either. How can you be a good poet or even understand >> good poetry if you can't even pick up on the subtilties of a review? >> >> Troy Camplin >> >> >> ----- Original Message ---- >> From: CA Conrad >> To: POETICS@LISTSERV.BUFFALO.EDU >> Sent: Tuesday, July 1, 2008 10:09:12 PM >> Subject: Re: In the NYT -- William Logan "Reviews" the new "Selected Poems" >> of Frank O'Hara as edited by Mark Ford >> >> THANK GOD William Logan HATES O'Hara! >> >> When I was in fourth grade I saw my enemy eating my favorite, my BELOVED >> Red >> Hots candy! AND NEVER AGAIN WOULD I EAT THEM! Well, not for a few years >> until I forgot about my enemy. >> >> But I'm happy to have not changed. Although I wouldn't HATE O'Hara if >> Logan >> LOVED him, but it would turn my stomach a bit. >> >> THIS EVIL REVIEW OF O'HARA SHOULD BE CELEBRATED! >> >> SPREAD THE WORD: EVIL WILLIAM LOGAN HATES O'HARA, BUY YOUR O'HARA TODAY! >> >> But I'm not a big fan of that new selected I must admit. Some of my >> FAVORITE O'Hara poems not there. And the cover photo choice irritated me >> as >> well, going for the young, suave O'Hara. I prefer the Alice Neel portrait >> of him with green WEIRD teeth! He's fucking CREEPY AND BEAUTIFUL all at >> once! I'm SO SICK of poets acting like FASHION MODELS, like those stupid >> Sharon Olds photos where she could be selling shampoo or yogurt. (I'm NO >> fan of her poems, but would buy her shampoo) >> >> OH, and I'm also GLAD, VERY GLAD William Logan is homophobic, I MUCH PREFER >> the heterosexuals have to deal with him frankly! If he was a fag I would >> CONVERT! >> >> OH FRANK O'HARA GET UP, GET UP, WE LOVE YOU! GODDAMM-IT POETRY IS FUN! >> CAConrad >> >> *my NEW BOOK (Soma)tic Midge (Faux Press): >> http://CAConrad.blogspot.com >> >> the DEAR MR. PRESIDENT poem with pictures: >> http://thedearmrpresidentpoem.blogspot.com/ >> >> PhillySound FEATURE in FANZINE: >> http://phillysound.blogspot.com/2008_06_01_archive.html >> >> PhillySound: new poetry: >> http://PhillySound.blogspot.com >> >> updated (Soma)tic POETRY EXERCISES: >> http://somaticpoetryexercises.blogspot.com >> * >> ** >> >> ================================== >> The Poetics List is moderated & does not accept all posts. Check guidelines >> & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html >> >> ================================== >> The Poetics List is moderated & does not accept all posts. Check guidelines >> & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html >> > > ================================== > The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html > ================================== The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Wed, 2 Jul 2008 20:02:50 -0700 Reply-To: editor@pavementsaw.org Sender: "Poetics List (UPenn, UB)" From: David Baratier Subject: Transcontinental Poetry Award deadline 8/15/2008 MIME-Version: 1.0 Content-Type: text/plain; charset=windows-1252 Content-Transfer-Encoding: quoted-printable The Annual Transcontinental Poetry Award by Pavement Saw Press=20 =A0 All contributors receive books, chapbooks and journals equal to, or more th= an, the entry fee. Please mention this to your friends and all others who might be interested! =A0 Electronic and mailed entries must meet these requirements: 1. The manuscript should be at least 48 pages of poetry and no more than 70= pages of poetry in length. Separations between sections are NOT a part of = the page count. 2. A one page cover letter. Include a brief biography, the book's title, yo= ur name, address, and telephone number, and, if you have e-mail, your e-mai= l address. This should be followed by a page which lists publication acknow= ledgments for the book. For each acknowledgement mention the publisher (jou= rnal, anthology, chapbook etc.) and the poem published.=A0=20 3. The manuscript should be bound with a single clip and begin with a title= page including the book's title, your name, address, and telephone number,= and, if you have e-mail, your e-mail address.=20 4. The second page should have only the title of the manuscript. There are = to be no acknowledgments or mention of the author's name from this page for= ward. Submissions to the contest are blind judged.=20 5. There should be no more than one poem on each page. The manuscript can c= ontain pieces longer than one page.=20 6. The manuscript should be paginated, beginning with the first page of poe= try. =A0 =A0 Each year Pavement Saw Press will publish at least one book of poetry and/o= r prose poems from manuscripts received during this competition. Selections= are chosen through a blind judging process. The competition is open to any= one who has not previously published a volume of poetry or prose. The autho= r receives $1000 and five percent of the 1000 copy press run. Previous judg= es have included Judith Vollmer, David Bromige, Bin Ramke and Howard McCord= .. This year David Baratier will be the judge; past students, Pavement Saw P= ress interns and employees are not allowed to submit. All poems must be ori= ginal, all prose must be original, fiction or translations are not acceptab= le. Writers who have had volumes of poetry and/or prose under 40 pages prin= ted or printed in limited editions of no more than 500 copies are eligible.= Submissions are accepted during the months of June, July, and until August= 15th. All submissions must have an August 15th, 2008, or earlier, postmark. This is an award for first books only. =A0 If you wish to send via regular mail your manuscript should be accompanied = by a check in the amount of $20.00 made payable to Pavement Saw Press. All = US contributors to the contest will receive books, chapbooks and journals e= qual to, or more than, the entry fee. Add $3 ( US ) for other countries to = cover the extra postal charge. Do not include an SASE for notification of r= esults, this information will be sent with the free book. Do not send the o= nly copy of your work. All manuscripts are recycled and individual comments= on the manuscripts cannot be made. =A0 If you wish to submit electronically, you should send $27.00 via paypal to = info@pavementsaw.org. We will then send you an e-mail confirmation as well = as where to e-mail the manuscript. Electronic submissions need to be sent a= s PDF files or as word (.doc) files. Other formats are not accepted. The ex= tra cost is to cover the paypal fees as well as the time, labor, ink, and s= o on, to print out your manuscript. In addition to the prize winner, someti= mes another anonymous manuscript is chosen, if enough entries arrive. This = =93editors choice=94 manuscript will be published under a standard royalty = contract. A decision will be reached in November. Entries should be sent to= : =A0 Pavement Saw Press Transcontinental Award Entry 321 Empire Street=20 Montpelier, OH 43543 =A0 All submissions must have an August 15th, or earlier, postmark or paypal pa= yment. Submissions are accepted during the months of June, July, and August only. If you have questions, please ask us: info@pavementsaw.org Be well David Baratier, Editor Pavement Saw Press 321 Empire Street Montpelier OH 43543 http://pavementsaw.org Subscribe to our e-mail listserv at http://pavementsaw.org/list/?p=3Dsubscribe&id=3D1=0A=0A=0A =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Wed, 2 Jul 2008 17:42:14 -0400 Reply-To: "Poetics List (UPenn, UB)" Sender: "Poetics List (UPenn, UB)" From: Ryan Daley Subject: Re: Least Careless and Least Logical In-Reply-To: <434481.10194.qm@web46208.mail.sp1.yahoo.com> MIME-Version: 1.0 Content-Type: text/plain; charset=WINDOWS-1252 Content-Transfer-Encoding: quoted-printable Content-Disposition: inline Troy, Well, I can safely say that regarding my translations, I'm not influenced by Robert Bly. And since I find many translations to err on the level of just WHAT to select (I'm amazed that the stuff I've read in Spanish, with about 10 exceptions, has been fingered as "needed translation"), I don't think translation influences me as much as reading other writers in English. My translation then becomes a dialog that a foreign text is having with my contemporaries, and interestingly, this seems to justify translation of the work in the first place. But, to respond to your second statement, I don't think you're alone in your belief; though I do think things are changing. Punk application to poetry aside, some of the best writers now are some of the most learned and well read. These, I can cite. -Ryan On Wed, Jul 2, 2008 at 2:36 PM, Troy Camplin wrote: > I would have to know the literary histories of individual writers to know= that for certain. But I did encounter it en masse among students and even = teachers of poetry. We see it too in Robert Bly's attitude toward translati= on, where he shows a complete lack of understanding of the importance of th= e needs to translate rhythms and patterns into English and instead in his t= ranslations created little more than trots. As a consequences, his translat= ions are awful. Worse, he influenced an entire generation of translators. H= e could do so because of the general lack of understanding of basic poetics= . Fortunately, some of the most recent translations I have seen do not refl= ect his theory of translation. > > In fact, it seems that I"m not the only one to not the problems of the an= ti-poetics attitude among too many poets: http://chronicle.com/temp/reprint= .php?id=3Dknz7d3nc19g60h47flh19j1pn0dxc4sy > > Troy Camplin > > > ----- Original Message ---- > From: Ryan Daley > To: POETICS@LISTSERV.BUFFALO.EDU > Sent: Wednesday, July 2, 2008 12:28:03 AM > Subject: Re: Least Careless and Least Logical > > Troy, > > Your post: > > "we need to learn how to write poetry "right" in the same way that > painters first have to learn how to draw and musicians have to first > learn how to play a musical instrument by playing things we recognize > before we move on to experiment and push the boundaries (you have to > learn the rules before you can break the rules)," > > reminds me of William Logan's review: > > "'The poets of the New York School, as they were eventually known, > were long on spontaneity and short on traditional literary effect." > > Did you guys meet before these writings? Who are some examples of > poets who are writing "wrongly"? > > -Ryan > > > On Tue, Jul 1, 2008 at 5:51 PM, Ryan Daley wrote: >> On Mon, Jun 30, 2008 at 8:36 PM, Troy Camplin wr= ote: >>> Are you talking about me, or just projecting here? I try to have a disc= ussion about the art of poetry, and I get accusations (often false), mere r= hetoric, attempts at pissing matches, superficial claptrap, etc. Not from e= veryone, to be sure. There are a few who have actually carried on an intell= ectual discussion on poetry. Those who suspect I may be right, but find tha= t possibility to be inconvenient to whatever it is they are producing end u= p with this kind of dribble. >>> >>> I've been accused of wanting to go back to the "stink of the 19th centu= ry." I've never talked about the 19th century. However, I have not seen any= kind of argument for why it stinks. Is it because so many were bestsellers= and were better poets on their worst days than most of us have ever been o= n our best? Still, it's not the 19th century I've talked about. In fact, I = have only mentioned, a few discussion threads ago, one poet from the last 4= 00 years, and that was Frederick Turner, who is very much alive and a poet = of the late 20th and now early 21st century. Speaking of contemporary poets= , one could also mention Frederick Fierstein, Paul Lake, and R. S. Gwynn. O= f the Modernists, I love Robert Frost and especially Wallace Stevens. The i= ntellectual in me loves the French surrealists and Apollinaire. It is certa= inly that I don't like much of what the Modernists especially have done -- = I just recognize too that much of what they did worked to marginalize >>> poetry. Part of that marginalization was in direct response to movies = and, later, T.V. -- to modern culture. One of the consequences of this was = the audience for poetry shrunk. But, then, so did the audience for operas, = plays, and symphonies -- especially the Modern and Postmodern works that ca= me about. >>> >>> Now, while I did say that beauty reproduces itself, I should have also = said that so do viruses. What our English teachers and professors have done= to the students in this country have made them susceptible to infection. >>> >>> Troy Camplin >>> >>> >>> ----- Original Message ---- >>> From: Paul Nelson >>> To: POETICS@LISTSERV.BUFFALO.EDU >>> Sent: Monday, June 30, 2008 12:17:57 PM >>> Subject: Least Careless and Least Logical >>> >>> So if you're after LOGIC in poetry, you can swing back to the stink of = the 19th century, as Michael Ford put it. Fortunately, there are those (the= vast majority on this list) who want a DEEPER gesture than what certain Do= ctors from Texas are capable of appreciating and that's why this list exist= s.. >>> >>> There have been a couple of movements since the romantic era that sough= t to make art more relevant to the times. We see where intellect gets us an= d the Doctor from Texas exemplifies it to perfection. The hastily-written p= ut down. The intellectual pissing match. The desire to prove one's self rig= ht at the expense of another. It is a clear demonstration of the competitio= n/domination cosmology, one whose time passed long ago, but still clings on= and on. >>> >>> Jack Spicer said >>> >>> >>> =85Prose invents - >>> poetry discloses=85 >>> >>> =85A poet is a time >>> mechanic not an embalmer=85 >>> >>> =85Muses do exist, but >>> now I know that they are not afraid to dirty their hands with explicati= on =96 >>> that they are patient with truth and commentary as long as it doesn't g= et into >>> the poem=85 >>> >>> among other things. But Spicer's is, of course an ethos based in 1950's= consciousness, albeit way ahead of its time. It IS threatening to think th= at we have moved ahead since 1850, in poetry anyway, so these kinds of noti= ons will be attacked by someone clinging with an intellectual death-grip to= the ideals of the 19th century. >>> >>> >>> Paul E. Nelson >>> >>> Global Voices Radio >>> SPLAB! >>> American Sentences >>> Organic Poetry >>> Poetry Postcard Blog >>> >>> Ilalqo, WA 253.735..6328 or 888.735.6328 >>> >>> =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D= =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D >>> The Poetics List is moderated & does not accept all posts. Check guidel= ines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.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 >>> The Poetics List is moderated & does not accept all posts.. Check guide= lines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome..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 > The Poetics List is moderated & does not accept all posts. Check guidelin= es & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.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 > The Poetics List is moderated & does not accept all posts. Check guidelin= es & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.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 The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Thu, 3 Jul 2008 09:36:19 -0700 Reply-To: "Poetics List (UPenn, UB)" Sender: "Poetics List (UPenn, UB)" From: patrick dunagan Subject: July 7: Great Overland Books & Big Bell present In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 7bit Content-Disposition: inline Great Overland Books & Big Bell Present: ***Bill Berkson, Micah Ballard & Christina Fisher*** July 7th at 7 pm Great Overland Books 345 Judah at 9th Ave. Bill Berkson, born 1939 in New York, is a poet, critic and former professor of Liberal Arts at the San Francisco Art Institute. His books of poetry include *Saturday Night*, *Shining Leaves*, *Recent Visitors*, *Enigma Variations* (with drawings by Phillip Guston), *Lush Life*, *Serenade*, and most recently *Our Friends Will Pass Among You Silently*. From 1971 to 1978 he edited and published *Big Sky* magazine and books. He is a corresponding editor for *Art in America*, and a frequent contributor to *Aperture* and other magazines. Other recent appearances have been his words-and-drawings collaboration with Colter Jacobsen called *BILL* and *Sudden Address: Selected Lectures 1981-2006.* Micah Ballard originally hails from Louisiana. His poems have appeared in a variety of publications; recent books include *Evangeline Downs* (Ugly Duckling Presse), *Bettina Coffin* (Red Ant Press), *Emblematic* (Old Gold), & *In the Kindness of Night* (Blue Press). Forthcoming from Bootstrap Productions is Parish Krewes. He currently works for the MFA in Writing Program at University of San Francisco. Christina Fisher was born in Florida. Her poems have appeared in Weigh Station, Puppy Flowers, Morning Train, and elsewhere. Her book of poems is *Johnny Depp & Winona Ryder * (Red Ant Press); her new book is forthcoming from Auguste Press. She works at a crystal store and this summer she will be teaching a course in creative writing. ================================== The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Thu, 3 Jul 2008 13:18:21 -0700 Reply-To: "Poetics List (UPenn, UB)" Sender: "Poetics List (UPenn, UB)" From: amy king Subject: The Stain of Poetry -- July 25th and Beyond Comments: To: "NewPoetry: Contemporary Poetry News &, Views" In-Reply-To: <486C2D77.9010307@opus40.org> MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Dear Poets and Poet-Tasters, We, The Stain of Poetry gatherers, have now finished organizing our smorgasboard of wholesome poets for the rest of the year here: http://thestainofpoetry.wordpress.com/. Please prepare to dine upon the lot, starting: July 25th @ 7 p.m. - Stain Bar - Williamsburg, Brooklyn ** Baker, Cordelli, Field, Need, Newton, and Tonelli** ~~~ Andrea Baker is the author of like wind loves a window (Slope Editions, 2005) and the chapbooks gilda (Poetry Society of America, 2004) and true poems about the river go like this (Cannibal Books, 2008). ~~~~ Phil Cordelli cleans lawns, carries on a love affair with the tuliptrees of Upper Manhattan that may not be carrying on for much longer now, and acts as a conduit for poetic impulses from the plant world. More on this as it develops. ~~~~ Farrah Field’s first book, Rising, is forthcoming in early 2009 by Four Way Books. Her poems have appeared in many publications such as the Mississippi Review, Margie, Chelsea, The Massachusetts Review, Typo, Harp & Altar, and are forthcoming in Pebble Lake Review, Another Chicago Magazine, Fulcrum, and 42Opus. She lives in Brooklyn. ~~~~ Originally from Massachusetts, David Need lives in Durham, NC and works as an instructor in the Religion Department at Duke, teaching classes on Buddhism, South Asian Religions, and Religion and Poetry. Recent and upcoming publications include several suites published in Fascicle 2 & 3, a translation/essay series on Rg Veda poetry in Talisman, an excerpt from “Places I’ve Lived” upcoming in Minor American, and excerpts from “St. John’s Rose Slumber” upcoming in Effing and Hambone. Several years ago Mipoesis ran a series of essays by David on Rilke and three short memoir pieces, and Ocho ran yet another sonnet suite. Current projects include a long poem written alongside the Gospel of Mark, “Places I’ve Lived”, which is evolving into an open ended project, finalizing a collection of translations of Rilke’s French poetry, and yet another Rg Veda essay, this one on the theme of twins there and in the poetry of Nate Mackey. David is associated with the NC lucipo poets, and lives with his scholar wife and four cats. ~~~~ Keith Newton edits the online magazine Harp & Altar. His poems and translations have appeared in Harvard Review, Cannibal, Typo, and Circumference, among other journals, and a chapbook of his work is forthcoming in 2008 from Cannibal Books. He lives in Brooklyn. ~~~ Chris Tonelli lives in the Boston area where he runs The So and So Series. He has work forthcoming in Saltgrass, Salt Hill, Absent, and Good Foot, and is the author of three chapbooks: For People Who Like Gravity and Other People (Rope-A-Dope Press, forthcoming), A Mule-Shaped Cloud (w/ Sarah Bartlett, horse less press, 2008), and WIDE TREE: Short Poems (Kitchen Press, 2006). ~~~~ stain 766 grand street brooklyn, ny 11211 (L train to Grand Street, 1 block west) 718/387-7840 open daily @ 5 p.m. ~~~~ Hosted by Amy King and Ana Bozicevic ~~~~ The rest of the year's dishes served up here: http://thestainofpoetry.wordpress.com/ http://thestainofpoetry.wordpress.com/ http://thestainofpoetry.wordpress.com/ _______ Recent http://www.tarpaulinsky.com/Reviews/kiss-me.html http://jacketmagazine.com/34/dickow-king.shtml Alias http://www.amyking.org Your Suggestions http://amyking.wordpress.com/2008/06/12/poetry-exercises-wanted/ ================================== The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Thu, 3 Jul 2008 09:41:57 -0400 Reply-To: "Poetics List (UPenn, UB)" Sender: "Poetics List (UPenn, UB)" From: Mairead Byrne Subject: couscous@meades sat july 5th 9pm Mime-Version: 1.0 Content-Type: text/plain;charset=UTF-8 Content-Transfer-Encoding: 8bit Content-Disposition: inline SoundEye Festival of the Arts of the Word presents: Sat July 5th 9pm couscous@meades Scheduled Open Mike hosted by Mairead Byrne: Mairéad Byrne; Anamaria Crowe Serrano; Jimmy Cummins; Daniel Ereditario; Gabriel Ezutah; Susana Gardner; Fergal Gaynor; Kenneth Goldsmith; Randolph Healy; Trevor Joyce; Judy Kravis; Frances Kruk; Jow Lindsay; Nour Mobarak; Micheal O Ruairc; Sophie Robinson; Cathy Wagner *Free* Meade's Wine Bar (upstairs) 126 Oliver Plunkett Street Cork www.soundeye.org:festival:index.htm *Please forward* ================================== The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Thu, 3 Jul 2008 02:46:44 -0400 Reply-To: "Poetics List (UPenn, UB)" Sender: "Poetics List (UPenn, UB)" From: "steve d. dalachinsky" Subject: Re: elitism (was re: the lyric poem MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit yes ny po-communities are totally scattered and biased communtities but hey sometimes tho only the poet keeps score or as saint-poets try not to act like they care we do sell books tho most seem to only do it at their readings and hope that the stores and SPD will do the rest and that maybe we'll occasionally get a review tho they don't help much / notr in many cases do awrds as i so recently found out but i've sold on my own hundreds of my books to folks whether that even counts can't really be determined because only i and they know this fact tho the stores have sold some as well - i sold almost 400 copies of my last book on my own bravo but who cares and who's counting other than me - like bowling a perfect game with no one there to witness it so sure folks read em but most folks who bought em are interested in my work because they know me as part of the music community i've been involved in and the rest are usually poets but the music folk are important because some have limited po-experience and hopefully i help em open up a bit On Wed, 2 Jul 2008 15:29:27 -0400 Adam Tobin writes: > I'm a bookseller myself, and I do know the numbers. I sell more > poetry > books than history books, though I have an excellent selection of > both and > devote roughly equal shelf space to each. And I know that most > poetry > circulation occurs outside of bookstores, and is not adequately > represented > by the commercial book trade (nor, for that matter, by the Buffalo > Poetics > List). My impression is that there are more than a thousand poetry > microcommunities in NYC alone -- people who write poetry, read each > other's > work and take it seriously -- and all of them read, at least > occasionally, > work from outside their little group. Obviously the readership for > any one > particular book isn't very large, but taken as a whole the poetry > network > reaches a lot of people -- maybe a fraction of one percent of the > total > population of the world: but that's a lot of people! It's certainly > not > nobody, and it's probably more people than read poetry in Ralph > Waldo > Emerson's time. > > Fun fact: There are approximately 5,000 poetry books published every > year in > the US alone. If each book has 10 unique readers (say, the friends > and > family of the poet who do not otherwise read poetry), then we're > talking > about 50,000 people as a theoretical minimum... > > > -----Original Message----- > > Booksellers know the numbers. Very few people read poetry. The > listserv > probably serves half the poetry readers in the Northeast. & I can't > force my > friends to read the stuff, although I've tried. & poetry does get a > bunch of > affirmative action help ( it's own month, for instance, as well as > slams, > etc. ). Still, few readers. > > --- > > ================================== > The Poetics List is moderated & does not accept all posts. Check > guidelines & sub/unsub info: > http://epc.buffalo.edu/poetics/welcome.html > > ================================== The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Thu, 3 Jul 2008 10:29:24 -0400 Reply-To: "Poetics List (UPenn, UB)" Sender: "Poetics List (UPenn, UB)" From: CA Conrad Subject: Re: New from Palm Press: Landscapes of Dissent MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 7bit Content-Disposition: inline THIS BOOK IS TERRIFIC! To those teaching poetry please check this out, every student, every city, to read, it, NOW! Jules Boykoff and Kaia Sand REMAIN some of my FAVORITE living poets, but now they've created a book which explores the useful ways poetry can confront our disintegrating world! THIS BOOK IS VITAL! Here's a link: http://palmpress.org/press/index.php?id=37 CAConrad *my NEW BOOK (Soma)tic Midge (Faux Press): http://CAConrad.blogspot.com (RED WHITE & BLUE MAKE LAVENDER, A VERY QUEER COLOR) (JUST IN TIME FOR THE 4TH OF JULY!) the DEAR MR. PRESIDENT poem NOW with pictures: http://thedearmrpresidentpoem.blogspot.com/ PhillySound FEATURE in FANZINE: http://phillysound.blogspot.com/2008_06_01_archive.html PhillySound: new poetry: http://PhillySound.blogspot.com * ================================== The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Thu, 3 Jul 2008 18:49:14 -0700 Reply-To: editor@pavementsaw.org Sender: "Poetics List (UPenn, UB)" From: David Baratier Subject: Asking for help from journal editors & other blurbs MIME-Version: 1.0 Content-Type: text/plain; charset=windows-1252 Content-Transfer-Encoding: quoted-printable I am looking for blurbs from various journal editors and others for=A0our f= orthcoming Simon Perchik book-length serial poem volume _The Family of Man_= .. It's=A0massive=A0but looks like with signatures a number of interior page= s for blurbs are available. To the best of my research, the list below=A0co= ntains all=A0the journals these poems first appeared in. If you are in cont= act with any of these publications, former editors, happen to be=A0one of t= hem, or are a fan of his work please contact me. =A0 ACM, Abalone Moon Journal, Abbey, Abramelin, Abraxas, Adirondack Review, Af= fair of the Mind, Age of Koestler, Alaska Quarterly, Albatross, Aldebaran, = Alembic, Alsop Review, Altadena Review, Amanita Brandy, American Letters & = Commentary, Amherst Review, Anathema Review, Anemone, Angelflesh, Anomone S= idecar, Apocalypse, Apocryphaltext, Apostrophe, Apple Valley Review, Arachn= e, Archipelago, Architrave, Argestes, Arnazella, Art:Mag, Art & Understandi= ng, Art/Life, Artful Dodge, Artisan, Artword Quarterly, Ascent, Ash Canyon = Review, Asheville Review, Asylum Arts, Audience, Aura, Aurorean, Axe Factor= y, Back Porch, Bakunin, Baltimore Review, Barbaric Yawp, Bear Deluxe, Beatl= ick News, Becoming, Behind Bars, Bellevue Literary Review, Beloit Poetry Jo= urnal, Berkeley Poetry Review, Bitter Oleander, Black Bear Review, Black Bu= zzard Review, Black Fly Review, Black Warrior Review, Blank Gun Silencer, B= lind Man=92s Rainbow, Block=92s Magazine, Blood and Fire, Bloomsbury Review, Blue Light Review, Blue Unicorn, Blue Violin, Bluefish, Blueline, = Bluff City Review, Bogg, Booklovers, Borderlands, Born Magazine, Boston Lit= erary Review, Boulevard, Bravado, Brazo=92s Gumbo, Broadkill Review, Brookl= yn Review, Burning Cloud, Butterfly Chronicles, California Quarterly, Cache= Review, Caf=E9 Review, Caf=E9 Solo, Caffeine Destiny, Cairn, Calapooya, Ca= liban, Cameltalk, Canadian Dimension, Cannon=92s Mouth, Cape Rock, Caprice/= Ancient Mariner, Catbird Seat, Catharis Quarterly, Cathartic, Caveat Lector= , Ceilidh, Celebration, Cement Squeeze, Center, Cerberus, Ceremony, Cervena= Barva, Chaffin Journal, Chantarelle=92s Notebook, Charitan Review, Chase P= ark, Chattahoochee Review, Chelsea, Cider Press Review, Circle Magazine, Cl= ackamas Review, Clutch, Coal City Review, Coffee & Chicory, College English= , Colorado North, Colorado Review, Columbia Poetry Review, Common Ground, C= ommon Knowledge, Conditional Response, Conduit, Confluence, Confrontation, Connecticut Poetry Review, Connecticut River Review, Contac= t II, Conte, Context South, Cotton Boll/Atlanta Review, Cottonwood Review, = Crab Creek Review, Cream City Review, Creeping Bent, Cresset, Crystal Drum,= Curbside Review, Curious Rooms, Current Accounts, Daybreak, Defined Provid= ence, Denver Quarterly, Descant, Devil=92s Millhopper, Diagram, Dickinson R= eview, Dixie Phoenix Review, DMQ, Dog River Review, Down in the Dirt, Dusty= Dog, Eagle=92s Flight, East West, Eclipse, Edgz, 88: A Journal, Ekphrasis,= El Dorado Review, Elements, Eleventh Muse, Elixir, English Journal, Epoch,= Erased, Sigh, Sigh, Eratica, Etcetera, Ever Dancing Muse, Evergreen Review= , Exit 13 Magazine, Expose=92d , Expressive Spirals, Exquisite Corpse, Exte= rnalist, Eyerhyme, Fairfield Review, Farmer=92s Market, Faultline, Fine Mad= ness, First Intensity, Fish Drum, 5 Trope, 580 Split, Flying Horse, Folio, = Footprints, Footwork Magazine, Forum, 4 am Poetry Review, Free Lunch, Frigg Magazine, Frisson, Full Circle Journal, Fullosia, G W Review,= Galley Sail Review, Gargoyle, Garnet, Gayme, Goerge & Mertie=92s Place, Ge= ronimo Review, Ghoti Magazine, Glass Cherry, Gnome, Good Foot, Gopherwood R= eview, Grab-A-Nickel, Grasslands Review, Grasslimb, Great Midwestern Quarte= rly, Greatcoat, Green Hills Literary Lantern, Green Mountains Review, Green= =92s Magazine, Greetings, Gryphon, Habersham Review, Half Tones To Jubilee,= Hamilton Stone, Hammers, Hampden-Sydney Review, Hanging Loose, Hapa Nui, H= arvard Magazine, Hawaii Review, Hayden=92s Ferry, Haz Mat, Heeltap, Heliotr= ope, Hellp, Hey, Listen, Hidden Oak, Higgensville Reader, High Plains Liter= ary Review, Hiss Quarterly, Hoboeye, Hodge Podge, Hogtown Creek Review, Hol= lins Critic, Home Planet News, Homesstead Review, Hot Flashes, Hubbub, Hung= er Magazine, Hyper Text, Ibis, Icon, Iconoclast, Idiom 23, Illya=92s Honey,= Images, Imploding Tie-Dyed Toupe, Indefinite Space, Ink Pot, Intent, Interim, International Poetry Review, Into The Teeth Of The Wind, = Iodine Poetry Journal, Ironwood, Jaw Magazine, Jeopardy, Jones Avenue, Jour= nal of New Jersey Poets, Just West of Athens, Kaleidoscope, Kerf, Kimera, K= inesis, King Log, King=92s English, Kingfisher, Konfluence, L=92intrigue, L= addie, Lake Effect, Language & Culture, Last Tangos, Late Knocking, Laughin= g Dog, Ledge, Liberty Hill, Limestone, Linden Lane Magazine, LiNQ, Listenin= g Eye, Lit Rag, Literary Review, Little Magazine, Live and Let Live, Live P= oets Society, Long Island Quarterly, Loose Watch, Lost & Found Times, Louis= ville Review, Loyalhanna Review, Lucid Moon, Lucid Stone, Lucky Star, Lullw= ater Review, Lunatic Chameleon, Lynx Eye, m.a.g., MacGuffin, Madison Review= , Malstrom, Main Street Rag, Maine Event, Mandrake, Mangrove Magazine, Mank= ato Poetry Review, Mannequin Envy, Manoa, Margie, Marlboro Review, Massachu= setts Review, Masthead, Maverick Magazine, Meanjin, Meat Whistle Quarterly, Medicinal Purposes, Medusa=92s Hairdo, Meeting of the Minds, Me= mo, Mesechabe, Metropolitan, Mi Poesia, Mid-American Review, Midland Review= , Mildred, Milk, Miller=92s Pond, Mind Purge, Minimus, Missing Spoke, Missi= ssippi Mud, Mixed Bag, MM Review, Mobius, Mocking Bird, Modern Review, Mont= serrat Review, Moondance, Mr.Cognito, MSS, Mudfish, Mudlark, Mundus Artium,= Mushroom Dreams, Muuna Takeena, Nancy=92s Magazine, Nassau Review, Nebrask= a Review, Nerve Bundle Review, New Collage Magazine, New Delta Review, New = Hampshire Review, New Hope Review, New Laurel Review, New Letters, New Madr= id, New Mexico Humanities, New Millennium, New Mirage Quarterly, New Rag Ri= sing, New Verse News, New Yinzer, New York Quarterly, New Yorker, Newport R= eview, Newsletter Inago, Nexus, Nidus, Nimrod, Ninth Decade, No Exit, No Te= ll Motel, Northeast, Northeast Corridor, Northeast Journal, Northwest Flori= da Review, Northwest Review, Not Dead But Dreaming, Now Here Nowhere, O.ARS, Oasis, Object Lesson, Obsessed With Pipework, Odin=92s Eye= , Ohio Review, Old Crow, Old Red Kimono, On The Bus, One Less Magazine, One= Trick Pony, Open Unison, Orange Willow Review, Orbis, Oregon Review, Osiri= s, Otisian Direcrtory, Over The Transom, Overview Ltd., Owen Wister Review,= Oxford Magazine, Oyez, Pacific Coast Journal, Painted Bride Quarterly, Pai= nted Hills Review, Panhandler, Pannus Index, Panoply, Paper Salad, Papyrus,= Paradox, Parnassus Literary Review, Parting Gifts, Partisan Review, Pebble= Lake, Pedestal Magazine, Pembroke Magazine, Pequod, Perimeter, Phantasmago= ria, Phase & Cycle, Philadelphia Poets, Phoebe, Pikeville Review, Pink Cadi= llac, Pitchfork, Pittsburg, Quarterly, Plain Brown Wrapper, Plainsongs, Pla= stic Tower, Plum Review, Poem, Poesia, Posey Magazine, Poet & Critic, Poet = House, Poet Lore, Poet News/Tule, Poet=92s Art, Poet=92s Cut , Poet=92s Edg= e Magazine, Poet=92s Guild, Poet=92s Page, Poetalk, Poetic Hours, Poetic Space, Poetic Voices, Poetpourri, Poetree Magazine, Poetry Bone, Po= etry Conspiracy, Poetry Depth Quarterly, Poetry In Motion, Poetry Kanto, Po= etry Midwest, Poetry Now, Poetry Superhighway, Poets On, Porcupine Magazine= , Portals, Postcard, Potato Eyes, Potomac Review, Potpourri, Prairie Dog, P= rairie Schooner, Prairie Winds, Premiere Generation, Preying Mantis, Prism = International, Private, Provincetown Arts, Psychopoetica, Pudding Magazine,= Puerto del Sol, The Quarterly, Queen=92s Quarterly, Racs, Radiant Turnstil= e, Rag Mag, Rain Dog Review, Raintown Review, Rambunctious Review, Red Boot= h Review, Red Cedar Review, Red China Magazine, Red Rock Review, Redoubt, R= emark, Rhapsoidia, Rhino, Rio: A Journal, Rio Grande Review, River King, Ri= verrun, Riversedge, Riverwind, Rohwedder, Rowboat, Runes, S.L.U.G. Fest, Sa= cramento Poetry Review, Sage of Consciousness, Salmon Magazine, Salt, San G= abriel Quarterly, Sandscript, Santa Barbara Review, Schuylkill Valley Journal, Scribia , Scrivener, Sea Change, Sepia 60, Sequoia, Shades= of December, Shampoo Poetry, Shattered Wig, Short Fuse, Side Show Magazine= , Sidereality, Sierra Nevada Review, Signal, Silent But Deadly, Silt Reader= , Silver Web, Silverfish Review, 69 Flavors of Paranoia, Skidrow Penthouse,= Skylark, Skyline, Skywriters, Slope, Small Pond Magazine, Small Town Rain,= Smartish Pace, Snail=92s Pace Review, Softblow, Solo, Somona Mandala, Sono= ra Review, Sou=92wester, Soul Fountain, Sounds of Poetry, South Dakota Revi= ew, South Florida Poetry Review, Southern Bumblebee, Southern Humanities Re= view, Southern Poetry Review, Southwestern Review, Spindrift Journal, Spind= rifter, Spout, St. Andrews Review, Stickman, Strange Fruit, Stray Dog, Sub-= Terrain Review, Sulpher River Review, Talisman, 10th Muse, Third Coast, 13t= h Warrior Review, Thorny Locust, 3 am Poetry Review, Tipton, Torre de Papel= , Unlikely Stories, Unwound, Vincent Brothers Review, Virginia Literary Review, Vol. No. Magazine, Washington Review, Weber Studies, West= Hills Review, Westwind, Whiskey Island Magazine, White Crow, White Heron, = Whole Notes, William & Mary Review, Wisconsin Review, Writers Forum, Writer= s=92 Journal, Xanadu, Xavier Review, Yefief, and Zillah. Be well David Baratier, Editor Pavement Saw Press 321 Empire Street Montpelier OH 43543 http://pavementsaw.org Subscribe to our e-mail listserv at http://pavementsaw.org/list/?p=3Dsubscribe&id=3D1=0A=0A=0A =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Fri, 4 Jul 2008 10:37:27 -0700 Reply-To: jkarmin@yahoo.com Sender: "Poetics List (UPenn, UB)" From: Jennifer Karmin Subject: JOB: Washburn University MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii (this is a forward so please don't respond to me. good luck!) The English Department at Washburn University is seeking a poet to join a vital undergraduate writing program with colleagues in fiction and creative nonfiction writing. Applicant must have an M.F.A. or Ph.D. by the fall of 2009, when the appointment begins, as well as publications-book or books, or work in literary magazines. Writers with an M.A. degree will be considered if accompanied by a significant publication record or award. Applicants with a secondary expertise in fiction or creative nonfiction writing will be favored. Commitment to undergraduate teaching and an active writing program is essential, as is the willingness to advise and mentor students and assist with visiting writers. Washburn University has about 7,000 students, with over 125 English majors, about half of whom choose the writing emphasis. The new hire will teach writing courses in beginning and advanced poetry, literature courses in contemporary poetry and literature, as well as composition as part of a four course per semester teaching load. Send letter of application, c.v., statement of teaching philosophy, five-page writing sample, and three letters of recommendation to Howard Faulkner, Chair, Department of English, Washburn University, Topeka, KS 66621. Application review begins September 29, 2008 and continues until the position is filled. Applicants will be required to submit to a background check prior to hire. Arrest information is not considered in the selection process. Please see www.washburn.edu andwww.washburn.edu/cas/prospectivefaculty for more information. Application Information Postal Address: Howard Faulkner, Chair English Washburn University 1700 SW College Ave. Topeka, KS 66621 Phone: 785.670.1441 ================================== The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Sat, 5 Jul 2008 11:02:42 -0700 Reply-To: "Poetics List (UPenn, UB)" Sender: "Poetics List (UPenn, UB)" Comments: RFC822 error: Invalid RFC822 field - "Ford has recently compiled a F=". Rest of header flushed. From: steve russell Subject: Ashberry/conversations with Mark Ford MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: quoted-printable waywiser-press.com/imprints/ashbery.html -=0AFord has recently compiled a F= rank O'Hara anthology. Ashberry wrote the introduction to Soft Sift, Ford's= third volume of poetry. Ford has also written a biography of Raymond Rouss= el.=A0=A0=0A=0A=0A =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Sat, 5 Jul 2008 14:56:39 -0400 Reply-To: "Poetics List (UPenn, UB)" Sender: "Poetics List (UPenn, UB)" From: Dan Wilcox Subject: Poets in the Park (Albany): July 12, 19, 26, Aug. 2 Mime-Version: 1.0 (Apple Message framework v624) Content-Transfer-Encoding: quoted-printable Content-Type: text/plain; charset=ISO-8859-1; format=flowed The Poetry Motel Foundation presents Poets in the Park, 2008: Georganna Millman & W.D. Clarke, July 12 Other readings scheduled for July 19, July 26 & August 2 Poets in the Park has been celebrating poetry in July at the Robert=20 Burns statue in Washington Park, Albany, NY since 1989.=A0The series,=20 formerly run by the late Tom Nattell and now hosted by Dan Wilcox, will=20= continue with readings on Saturdays, July 12 through August 2; the=20 readings start at 7:00 PM and are free & open to the public; donations=20= are accepted.=A0This year the readings are also sponsored by the Hudson=20= Valley Writers Guild. The first reading in the series on July 12 will be by Georganna Millman=20= and W.D. Clarke.=A0Georganna Millman graduated Skidmore College's Adult=20= Writing Program and lives in the Catskill Mountains with her husband=20 and sons. They are self-employed, owning an independent retail=20 pharmacy. Her poetry has appeared in numerous publications including=20 Blueline, The Margie Review: American Journal of Poetry, and Vanguard=20 Voices of the Hudson Valley.=A0W.D. Clarke is a writer/poet who resides=20= in Saratoga Springs, NY.=A0His poems are narrative rhymes done in a = style=20 reminiscent of Robert Service and Rudyard Kipling.=A0He is employed by=20= the NYS Military Museum and Veterans Research Center in Saratoga=20 Springs where he is the videographer for the NYS Veteran Oral History=20 Program. The schedule of the other readings is: July 19:=A0Charlie Rossiter & Mimi Moriarty & Frank Desiderio July 26:=A0James Schlett & Kathryn Kelly August 2:=A0Susan Brennan & Philip Good The Robert Burns statue is near where Henry Johnson Blvd. passes=20 through Washington Park and crosses Hudson Ave.=A0Please bring your own=20= chairs or blankets to sit on.=A0Rain dates for each event are the=20 following Sunday, same time, same place. This project is made possible in part through COMMUNITY ART$GRANTS, a=20 program funded through the State and Local Partnership Program of the=20 New York State Council on the arts, a State agency and the Arts Center=20= of the Capital Region. For more information contact Dan Wilcox, at dwlcx@earthlink.net;=20 518-482-0262. #### =A0 =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Sat, 5 Jul 2008 22:40:17 +0000 Reply-To: "Poetics List (UPenn, UB)" Sender: "Poetics List (UPenn, UB)" From: Gloria Mindock Subject: Cervena Barva Press July, 2008 Newsletter Now Online MIME-Version: 1.0 Content-Type: text/plain Content-Transfer-Encoding: 8bit Cervena Barva Press July, 2008 Newsletter is now posted. Check it out at: http://www.cervenabarvapress.com/newsletter.htm Please browse around the website too! Thank you. Gloria Mindock editor@cervenabarvapress.com www.cervenabarvapress.com ================================== The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Sat, 5 Jul 2008 21:30:42 -0700 Reply-To: "Poetics List (UPenn, UB)" Sender: "Poetics List (UPenn, UB)" From: Kevin Killian Subject: Memoir of Kiki up at Dennis Cooper's blog Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" Hello everybody, Dennis Cooper has "published" my memoir about the Kiki years in San Francisco, together with a selection of photos from the current Kiki exhibition at Rato 3, on his blog today, and here is the URL, http://denniscooper-theweaklings.blogspot.com/ Kevin Killian ================================== The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Sun, 6 Jul 2008 13:54:43 -0400 Reply-To: "Poetics List (UPenn, UB)" Sender: "Poetics List (UPenn, UB)" From: "steve d. dalachinsky" Subject: Fw: book party concert Comments: To: 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, 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 Matthew Shipp (piano) & steve dalachinsky (poetry) in concert for their new book Logos & Language at the Cornelia Street Cafe 29 Cornelia St (off Bleecker St. & W. 4th) Saturday - August 2, 2008 at 6 PM $ 10 admission (applies to a free drink or food) info : 1212 989- 9318/9 or 1212 - 925-5256 A, C, E trains to West 4th ST or 1 train to Christopher Street ____________________________________________________________ Click and get free information on buying or selling your home. ================================== The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Sun, 6 Jul 2008 14:40:50 -0700 Reply-To: "Poetics List (UPenn, UB)" Sender: "Poetics List (UPenn, UB)" From: Jim Andrews Subject: Re: other claims of the past few weeks In-Reply-To: <471149.51893.qm@web46205.mail.sp1.yahoo.com> MIME-version: 1.0 Content-type: text/plain; charset=us-ascii Content-transfer-encoding: 7bit > *What is the "right" way to play a piano? Or to compose a > symphony? Or to paint a painting? Let's take the latter. Nobody > is going to take you seriously as a painter if you can't draw. i expect that's false. if you look at the work of significant abstract painters, you see it has almost nothing to do with 'drawing' and one would expect these artists not to be particularly competent at 'drawing', ie, drawing representations of things in the world. being able to draw representations of things in the world is simply not a necessity anymore to being able to create interesting, significant art. which isn't to say that one can't produce interesting, significant art with drawing. just that there are large realms of image production where it simply isn't in the picture. similarly, in writing, well, writing is a much larger thing now than it once was. ja http://vispo.com ================================== The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Sun, 6 Jul 2008 20:27:51 -0500 Reply-To: "Poetics List (UPenn, UB)" Sender: "Poetics List (UPenn, UB)" From: John Cunningham Subject: Re: other claims of the past few weeks In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit I would say, however, that every significant abstract painter was good at drawing. John Cunningham -----Original Message----- From: Poetics List (UPenn, UB) [mailto:POETICS@LISTSERV.BUFFALO.EDU] On Behalf Of Jim Andrews Sent: July 6, 2008 4:41 PM To: POETICS@LISTSERV.BUFFALO.EDU Subject: Re: other claims of the past few weeks > *What is the "right" way to play a piano? Or to compose a > symphony? Or to paint a painting? Let's take the latter. Nobody > is going to take you seriously as a painter if you can't draw. i expect that's false. if you look at the work of significant abstract painters, you see it has almost nothing to do with 'drawing' and one would expect these artists not to be particularly competent at 'drawing', ie, drawing representations of things in the world. being able to draw representations of things in the world is simply not a necessity anymore to being able to create interesting, significant art. which isn't to say that one can't produce interesting, significant art with drawing. just that there are large realms of image production where it simply isn't in the picture. similarly, in writing, well, writing is a much larger thing now than it once was. ja http://vispo.com ================================== The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html No virus found in this incoming message. Checked by AVG - http://www.avg.com Version: 8.0.134 / Virus Database: 270.4.5/1533 - Release Date: 03/07/2008 7:19 PM ================================== The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Sun, 6 Jul 2008 19:41:10 -0700 Reply-To: "Poetics List (UPenn, UB)" Sender: "Poetics List (UPenn, UB)" From: Troy Camplin Subject: Re: other claims of the past few weeks MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii It's not false. The abstract expressionists could all draw (though some of their pretenders, who were all failures, could not), and none of them were just throwing paint around, as is commonly misunderstood. Why would you take anyone seriously who claimed to be an artist when all they could do was sling paint. That might just indicate that that is all they are capable of -- which is anything but creative. My brother is a painter, and has a BA, an MA and is currently working on his MFA -- at 3 different universities, and at each one, drawing was emphasized. Every visual artist I know has talked about how drawing was emphasized as a foundation. Every visual artist I know has said that nobody is going to take you seriously if you can't draw. The bottom line is, if you don't have the basics down, and if you don't have a wide variety of techniques available to you, you are extremely limited in what you can do as any kind of artist. If you are a painter who is incapable of drawing, you are limited to the extreme -- and most people are going to judge that you are doing the work you are doing only because you can't do anything else. You are right that there is a lot of art work which can be made without drawing, but the underlying skill is still necessary, as a part of understanding how images are made, and their underlying structure. Troy Camplin ----- Original Message ---- From: Jim Andrews To: POETICS@LISTSERV.BUFFALO.EDU Sent: Sunday, July 6, 2008 4:40:50 PM Subject: Re: other claims of the past few weeks > *What is the "right" way to play a piano? Or to compose a > symphony? Or to paint a painting? Let's take the latter. Nobody > is going to take you seriously as a painter if you can't draw. i expect that's false. if you look at the work of significant abstract painters, you see it has almost nothing to do with 'drawing' and one would expect these artists not to be particularly competent at 'drawing', ie, drawing representations of things in the world. being able to draw representations of things in the world is simply not a necessity anymore to being able to create interesting, significant art. which isn't to say that one can't produce interesting, significant art with drawing. just that there are large realms of image production where it simply isn't in the picture. similarly, in writing, well, writing is a much larger thing now than it once was. ja http://vispo.com ================================== The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ================================== The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Sun, 6 Jul 2008 21:33:33 -0700 Reply-To: "Poetics List (UPenn, UB)" Sender: "Poetics List (UPenn, UB)" From: Eireene Nealand Subject: a great inteview on recent and current contemporary poetry MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 7bit Content-Disposition: inline Here's about the best source of news that I can think of on the contemporary situation in Russian poetry: an interview with Mitia Golynko. http://calquezine.blogspot.com/ Translations of his book in English by Eugene Ostashevsky are about to come out from Ugly Duckling Presse. http://uglyducklingpresse.org/page-asitturnedout.html ================================== The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Sat, 5 Jul 2008 10:12:31 -0400 Reply-To: "Poetics List (UPenn, UB)" Sender: "Poetics List (UPenn, UB)" From: CA Conrad Subject: "and remember to die" MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 7bit Content-Disposition: inline "and remember to die" is from Jonathan Williams's MARVELOUS poem "POEM BEGINNING WITH FIVE WORDS BY GERARD MANLEY HOPKINS" for Jesse Helms. OOOOO! I WISH JONATHAN WAS ALIVE to READ this poem in honor of Jesse's death yesterday! And I'm sure Jonathan would have hooted and hollered with us here in Philly over Jesse dying on the 4th of July! THAT INDEPENDENCE DAY DEATH IS POETRY! For those unfamiliar with Jonathan's poem, CELEBRATE Jesse's DEATH with us in reading it OUT LOUD wherever you happen to be right now! Click here: http://chax.org/eoagh/issue3/issuethree/williams.html When I asked Jonathan for permission to reprint the poem in this issue of EOAGH (published by Tim Peterson), that I was co-editing with others (kari edwards, Paul Foster Johnson, Erica Kaufman, Jack Kimball, and Stacy Szymaszek), Jonathan said on the phone, "ONLY IF IT'S THE LEAD POEM!" And I said, "YOU BETCHA JONATHAN!" HEHEHE! That was a fun and sometimes disturbing phone conversation, Jonathan talking about Jesse's reign of terror against Southern queers, African Americans, and ANY OTHER minorities, as you can imagine. He would tell horror stories of Jesse's EXTREME bigotry, then pepper the conversation with talking about greasing his asshole for the corn poke, and such. "JUST KEEPING IT REAL, AS THEY SAY," he said! DING DONG THE WITCH IS DEAD! I'm NOW LISTENING to the Klaus Nomi version of DING DONG THE WITCH IS DEAD, a fitting tribute! Glad Jesse FINALLY remembered to die! CAConrad *my NEW BOOK (Soma)tic Midge (Faux Press): http://CAConrad.blogspot.com (RED WHITE & BLUE MAKE LAVENDER, A VERY QUEER COLOR) (JUST IN TIME FOR THE 4TH OF JULY!) the DEAR MR. PRESIDENT poem NOW with pictures: http://thedearmrpresidentpoem.blogspot.com/ PhillySound FEATURE in FANZINE: http://phillysound.blogspot.com/2008_06_01_archive.html PhillySound: new poetry: http://PhillySound.blogspot.com updated (Soma)tic POETRY EXERCISES:http://somaticpoetryexercises.blogspot.com * ================================== The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Mon, 7 Jul 2008 12:18:48 -0400 Reply-To: "Poetics List (UPenn, UB)" Sender: "Poetics List (UPenn, UB)" From: Michael Kelleher Subject: Literary Buffalo Newsletter 07.07.08-07.13.08 MIME-Version: 1.0 Content-Transfer-Encoding: quoted-printable Content-Type: text/plain; format=flowed; charset=UTF-8 LITERARY BUFFALO 07.07.08-07.13.08 NEWS ITEM Just Buffalo is happy to welcome Barbara Cole as our new Director of Educat= ion=21 ___________________________________________________________________________ BABEL 2008-2009 SUBSCRIPTIONS ARE GOING FAST=21=21 Chinua Achebe, Nigeria, September 25. Book: Things Fall Apart. Michael Ondaatje, Canada, October 29. Book: The English Patient. Marjane Satrapi, Iran, April 1. Book: Persepolis. Isabel Allende, Chile, April 17. Book: House of the Spirits. Previous subscribers: =2475. New subscription: =24100. Patron subscription: =24250. (Patron subscribers receive VIP seating and a= ttendance at all pre-event author receptions.) Patron Pair: =24400. NOTE: WE ARE ALREADY 80% SOLD OUT FOR NEXT SEASON. We expect to sell out next season by subscription. If we do not, tickets fo= r individual events will go on sale September 1. ___________________________________________________________________________ EVENTS THIS WEEK 07.09.08 Rooftop Poetry Club at Buffalo State College Reading featuring Geoffrey Gatza? Celebrating the publication of his new book,?Not So Fast Robespierre.? With Rich Owens and Mike Sikkema ?Rooftop Garden, Butler Library, 7 pm (Alternate location will be the International Student Reading area/signs wi= ll be posted if there is a location change). If you are not a Buffalo State student/faculty member, please park in LOT X= located behind Rockwell Hall.=CB=87 07.13.08 Just Buffalo/Spoken Word Sundays Features: Sarah Reis, Ten Thousand, Robin Brox Sunday, July 13, 8 p.m. Allen St. Hardware Caf=C3=87 ___________________________________________________________________________ LITERARY BUFFALO RSS FEED You can no subscribe to the Literary Buffalo RSS feed for up to the minute = info on literary happenings around town: feed://www.justbuffalo.org/rss/ ___________________________________________________________________________ FACEBOOK Join the Friends of Just Buffalo Literary Center Facebook Group: http://www.facebook.com/group.php?gid=3D13187515545&ref=3Dts ___________________________________________________________________________ WESTERN NEW YORK ROMANCE WRITERS group meets the third Wednesday of every m= onth at St. Joseph Hospital community room at 11a.m. Address: 2605 Harlem R= oad, Cheektowaga, NY 14225. For details go to www.wnyrw.org. ___________________________________________________________________________ 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 add= ed the ability to join online by paying with a credit card through PayPal. = Simply click on the membership level at which you would like to join, log = in (or create a PayPal account using your Visa/Amex/Mastercard/Discover), a= nd voil=C3=A1, you will find yourself in literary heaven. For more info, o= r to join now, go to our website: http://www.justbuffalo.org/membership/index.shtml ___________________________________________________________________________ UNSUBSCRIBE If you would like to unsubscribe from this list, just say so and you will i= mmediately be 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 =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Mon, 7 Jul 2008 12:32:49 -0400 Reply-To: "Poetics List (UPenn, UB)" Sender: "Poetics List (UPenn, UB)" From: "steve d. dalachinsky" Subject: Re: other claims of the past few weeks MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit you pose an interesting point that i've always supported but sadly say in my case i ask what does it mean "to be able to write" what we learn beiyond the act of recognizing writing and spelling? ie sonnet structure sesina (which once abandoned me in 2 lines) i'm one of those hypocrites (sp) who can't write but does because it's easier than playing music or drawing because i learned it first then forgot what i learned cecil taylor picasso learned and went their own way pollock then some just went their own way because they couldn't learn so they improvised but i still think tho not a necessity i wish we all who created could DRAW what we see then take off from there On Sun, 6 Jul 2008 14:40:50 -0700 Jim Andrews writes: > > *What is the "right" way to play a piano? Or to compose a > > symphony? Or to paint a painting? Let's take the latter. Nobody > > is going to take you seriously as a painter if you can't draw. > > i expect that's false. if you look at the work of significant > abstract > painters, you see it has almost nothing to do with 'drawing' and one > would > expect these artists not to be particularly competent at 'drawing', > ie, > drawing representations of things in the world. > > being able to draw representations of things in the world is simply > not a > necessity anymore to being able to create interesting, significant > art. > which isn't to say that one can't produce interesting, significant > art with > drawing. just that there are large realms of image production where > it > simply isn't in the picture. > > similarly, in writing, well, writing is a much larger thing now than > it once > was. > > ja > http://vispo.com > > ================================== > The Poetics List is moderated & does not accept all posts. Check > guidelines & sub/unsub info: > http://epc.buffalo.edu/poetics/welcome.html > > ================================== The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Mon, 7 Jul 2008 13:00:19 -0400 Reply-To: "Poetics List (UPenn, UB)" Sender: "Poetics List (UPenn, UB)" From: Peter Ciccariello Subject: World before word var-II MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 7bit Content-Disposition: inline World before word var-II - Peter Ciccariello http://invisiblenotes.blogspot.com/ ================================== The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Mon, 7 Jul 2008 17:24:37 -0700 Reply-To: "Poetics List (UPenn, UB)" Sender: "Poetics List (UPenn, UB)" From: Jim Andrews Subject: Re: other claims of the past few weeks In-Reply-To: <345693.5370.qm@web46205.mail.sp1.yahoo.com> MIME-version: 1.0 Content-type: text/plain; charset=us-ascii Content-transfer-encoding: 7bit i've looked at quite a bit of the work of kandinsky, and i don't recall anything that indicates he had much ability to draw. even his landscapes are not very 'well drawn'. their interest has nothing to do with drawing ability. it's bad criticism to judge writing, say, by what it isn't. you look at what it is. that is more important. why would you require an artist be able to do something that they don't practice in their own work before respecting them as an artist? look at their work. that should tell you all you need to know. but of course that is precisely what most people cannot do: look at the work itself and know whether it is any good. instead, they ask if you can draw a cat. sad, very sad. the serious visual artists i've talked with seem to feel it isn't necessary to be able to draw to do interesting work. and that is obvious to me. drawing does not underlie all painting. particularly today, as the computer enters into painting, in the work of some artists, as strongly as the brush and the paint and the canvas. into an art as much focussed on algorithms as anything else. your essentialism, troy, is misguided. the arts have exploded into a multiplicity that defies essentialism. ja http://vispo.com > -----Original Message----- > From: Poetics List (UPenn, UB) [mailto:POETICS@LISTSERV.BUFFALO.EDU]On > Behalf Of Troy Camplin > Sent: July 6, 2008 7:41 PM > To: POETICS@LISTSERV.BUFFALO.EDU > Subject: Re: other claims of the past few weeks > > > It's not false. The abstract expressionists could all draw > (though some of their pretenders, who were all failures, could > not), and none of them were just throwing paint around, as is > commonly misunderstood. Why would you take anyone seriously who > claimed to be an artist when all they could do was sling paint. > That might just indicate that that is all they are capable of -- > which is anything but creative. My brother is a painter, and has > a BA, an MA and is currently working on his MFA -- at 3 different > universities, and at each one, drawing was emphasized. Every > visual artist I know has talked about how drawing was emphasized > as a foundation. Every visual artist I know has said that nobody > is going to take you seriously if you can't draw. The bottom line > is, if you don't have the basics down, and if you don't have a > wide variety of techniques available to you, you are extremely > limited in what you can do as any kind of artist. If you are a > painter who is > incapable of drawing, you are limited to the extreme -- and most > people are going to judge that you are doing the work you are > doing only because you can't do anything else. You are right that > there is a lot of art work which can be made without drawing, but > the underlying skill is still necessary, as a part of > understanding how images are made, and their underlying structure. > > Troy Camplin ================================== The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Mon, 7 Jul 2008 20:59:29 -0400 Reply-To: "Poetics List (UPenn, UB)" Sender: "Poetics List (UPenn, UB)" From: Aryanil Mukherjee Subject: Hungryalist Movement plus more In-Reply-To: <578647560807062133kdbfea6dq150a62ccbeb848b4@mail.gmail.com> MIME-Version: 1.0 Content-Type: text/plain; format=flowed; charset="iso-8859-1"; reply-type=original Content-Transfer-Encoding: 8bit Dear All Kaurab Online's Translation Archive has just published its second update. http://www.kaurab.com/english This update covers, among Bengali poets, Buddhadeb Bose, Malay Roy Choudhury and Barin Ghosal. The Buddhadev Bose page is authored by Pat Clifford. Constant advice and encouragement from Jyotirmoy Dutta and Damayanti Basu Singh has helped enrich this entry. Malay Roy Choudhury's page includes his much mythified poem Stark Electric Jesus, which in the past 40 years has been the most anthologized contemporary Bengali poem in English and is included in Poems for the Millenium, Vol. 1 ed. by Jerome Rothenberg and Pierre Joris (1995), Stark Electric was first published by Lawrence Ferlinghetti in City Lights, later by Howard McCord (several editions). Stark Electric Jesus is a transcomposition made from the original Bengali poem titled "prachanda boidyutik chhutaar". Malay's page also links a rare vignette on the Hungryalist Movement only to be found in Kaurab. This can be directly viewed here - http://www.kaurab.com/english/bengali_poetry/Hungry-Generation/ All poems of Malay Roy Choudhury are translated by the poet. Likewise, Barin Ghosal translated his poems. The interview section includes the following - a. Joseph Parisi, ex-editor of POETRY, interviewed by Ankur Saha b. Turkish poet Lale Muldur interviewed by me. We also re-launched the Book Opener section which is an international poetry book review series, edited by Dana Ward and me. This update includes reviews by David Baptiste Chirot (Poems from Guantánamo) and William Allegrezza (The Grimoire of Grimalkin). Happy Reading ! Aryanil Mukherjee Editor, KAURAB Online www.kaurab.com ================================== The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Mon, 7 Jul 2008 18:18:25 -0700 Reply-To: "Poetics List (UPenn, UB)" Sender: "Poetics List (UPenn, UB)" From: Catherine Daly Subject: Re: other claims of the past few weeks In-Reply-To: <345693.5370.qm@web46205.mail.sp1.yahoo.com> MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 7bit Content-Disposition: inline I'm really troubled by this drawing = basics argument. Is this actually an argument about representation; representational drawing? Objects? Portraiture? Design? Use of Space / the page? Is it one about drawing with paint, pencil, ink, crayon, on canvas, on linen, on cotton paper, on... wet plaster? Is it about shading, cross hatching, different weights and hardnesses/softnesses of lead? -- All best, Catherine Daly c.a.b.daly@gmail.com ================================== The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Mon, 7 Jul 2008 18:43:51 -0700 Reply-To: stephen_baraban@yahoo.com Sender: "Poetics List (UPenn, UB)" From: Stephen Baraban Subject: "learn the rules, then break them" ??? In-Reply-To: <20080707.123249.1776.31.skyplums@juno.com> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii "Learn the rules, then break them" ??? Charkes Olson (who happily has come up a lot in all this Summer of Troy comment & commotion) believed in this in regard to *grammar*. I remember from memoirs & histories of Olson & Black Mountain that O. was frustrated by the grammatical ineptitude of some of the students he was trying to teach. "How can I teach them to write American, when they can't even write English?" he was known to lament. --- On Mon, 7/7/08, steve d. dalachinsky wrote: > From: steve d. dalachinsky > Subject: Re: other claims of the past few weeks > To: POETICS@LISTSERV.BUFFALO.EDU > Date: Monday, July 7, 2008, 12:32 PM > you pose an interesting point that i've always supported > but sadly say > in my case i ask > what does it mean "to be able to write" > what we learn beiyond the act of recognizing writing and > spelling? > ie sonnet structure sesina (which once abandoned me in 2 > lines) > i'm one of those hypocrites (sp) > who can't write but does because it's easier than > playing music or > drawing > because i learned it first then forgot what i learned > cecil taylor picasso learned and went their own way pollock > > then some just went their own way because they couldn't > learn so they > improvised > but i still think tho not a necessity i wish we all who > created could > DRAW what we see > then take off from there > > On Sun, 6 Jul 2008 14:40:50 -0700 Jim Andrews > writes: > > > *What is the "right" way to play a > piano? Or to compose a > > > symphony? Or to paint a painting? Let's take > the latter. Nobody > > > is going to take you seriously as a painter if > you can't draw. > > > > i expect that's false. if you look at the work of > significant > > abstract > > painters, you see it has almost nothing to do with > 'drawing' and one > > would > > expect these artists not to be particularly competent > at 'drawing', > > ie, > > drawing representations of things in the world. > > > > being able to draw representations of things in the > world is simply > > not a > > necessity anymore to being able to create interesting, > significant > > art. > > which isn't to say that one can't produce > interesting, significant > > art with > > drawing. just that there are large realms of image > production where > > it > > simply isn't in the picture. > > > > similarly, in writing, well, writing is a much larger > thing now than > > it once > > was. > > > > ja > > http://vispo.com > > > > ================================== > > The Poetics List is moderated & does not accept > all posts. Check > > guidelines & sub/unsub info: > > http://epc.buffalo.edu/poetics/welcome.html > > > > > > ================================== > The Poetics List is moderated & does not accept all > posts. Check guidelines & sub/unsub info: > http://epc.buffalo.edu/poetics/welcome.html ================================== The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Mon, 7 Jul 2008 19:02:42 -0400 Reply-To: "Poetics List (UPenn, UB)" Sender: "Poetics List (UPenn, UB)" From: Ryan Daley Subject: Re: other claims of the past few weeks In-Reply-To: <20080707.123249.1776.31.skyplums@juno.com> MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 7bit Content-Disposition: inline Most MFAs in Creative Writing Stress Language I have to say I learned a lot about language getting an MFA in Written Language; I had to know what I was talking about what they were putting down I was picking up. Formulas geese migration ways of the written language stress Creative Writing is good at bringing el Payno no Gayno good at bringing flexible muscle tissue to writing your nose creative nothing to laugh about Creative writing MFAs are confident in language where most undergrads shake and question MFAs are SURE! Self-Unimportant Righter Elves working to package these theses for the holiday season...Graduamication! On Mon, Jul 7, 2008 at 12:32 PM, steve d. dalachinsky wrote: > you pose an interesting point that i've always supported but sadly say > in my case i ask > what does it mean "to be able to write" > what we learn beiyond the act of recognizing writing and spelling? > ie sonnet structure sesina (which once abandoned me in 2 lines) > i'm one of those hypocrites (sp) > who can't write but does because it's easier than playing music or > drawing > because i learned it first then forgot what i learned > cecil taylor picasso learned and went their own way pollock > then some just went their own way because they couldn't learn so they > improvised > but i still think tho not a necessity i wish we all who created could > DRAW what we see > then take off from there > > On Sun, 6 Jul 2008 14:40:50 -0700 Jim Andrews writes: >> > *What is the "right" way to play a piano? Or to compose a >> > symphony? Or to paint a painting? Let's take the latter. Nobody >> > is going to take you seriously as a painter if you can't draw. >> >> i expect that's false. if you look at the work of significant >> abstract >> painters, you see it has almost nothing to do with 'drawing' and one >> would >> expect these artists not to be particularly competent at 'drawing', >> ie, >> drawing representations of things in the world. >> >> being able to draw representations of things in the world is simply >> not a >> necessity anymore to being able to create interesting, significant >> art. >> which isn't to say that one can't produce interesting, significant >> art with >> drawing. just that there are large realms of image production where >> it >> simply isn't in the picture. >> >> similarly, in writing, well, writing is a much larger thing now than >> it once >> was. >> >> ja >> http://vispo.com >> >> ================================== >> The Poetics List is moderated & does not accept all posts. Check >> guidelines & sub/unsub info: >> http://epc.buffalo.edu/poetics/welcome.html >> >> > > ================================== > The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html > ================================== The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Mon, 7 Jul 2008 23:00:29 -0400 Reply-To: "Poetics List (UPenn, UB)" Sender: "Poetics List (UPenn, UB)" From: Gerald Schwartz Subject: Re: "and remember to die" MIME-Version: 1.0 Content-Type: text/plain; format=flowed; charset="iso-8859-1"; reply-type=original Content-Transfer-Encoding: 7bit For two days straight now have been playing the Dr. Eugene Chadborne/ Jimmy Carl Black "tribute" to the now carbonite Senator. Great ritual of release! Gerald S. > "and remember to die" is from Jonathan Williams's MARVELOUS poem "POEM > BEGINNING WITH FIVE WORDS BY GERARD MANLEY HOPKINS" for Jesse Helms. > > OOOOO! I WISH JONATHAN WAS ALIVE to READ this poem in honor of Jesse's > death yesterday! And I'm sure Jonathan would have hooted and hollered > with > us here in Philly over Jesse dying on the 4th of July! THAT INDEPENDENCE > DAY DEATH IS POETRY! > > For those unfamiliar with Jonathan's poem, CELEBRATE Jesse's DEATH with us > in reading it OUT LOUD wherever you happen to be right now! Click here: > http://chax.org/eoagh/issue3/issuethree/williams.html > > When I asked Jonathan for permission to reprint the poem in this issue > of EOAGH (published by Tim Peterson), that I was co-editing with others > (kari edwards, Paul Foster Johnson, Erica Kaufman, Jack Kimball, and Stacy > Szymaszek), Jonathan said on the phone, "ONLY IF IT'S THE LEAD POEM!" And > I > said, "YOU BETCHA JONATHAN!" HEHEHE! That was a fun and sometimes > disturbing phone conversation, Jonathan talking about Jesse's reign of > terror against Southern queers, African Americans, and ANY OTHER > minorities, > as you can imagine. He would tell horror stories of Jesse's EXTREME > bigotry, then pepper the conversation with talking about greasing his > asshole for the corn poke, and such. "JUST KEEPING IT REAL, AS THEY SAY," > he said! > > DING DONG THE WITCH IS DEAD! I'm NOW LISTENING to the Klaus Nomi version > of > DING DONG THE WITCH IS DEAD, a fitting tribute! > > Glad Jesse FINALLY remembered to die! > CAConrad > > *my NEW BOOK (Soma)tic Midge (Faux Press): > http://CAConrad.blogspot.com > > (RED WHITE & BLUE MAKE LAVENDER, A VERY QUEER COLOR) > (JUST IN TIME FOR THE 4TH OF JULY!) the DEAR MR. PRESIDENT poem > NOW with pictures: http://thedearmrpresidentpoem.blogspot.com/ > > PhillySound FEATURE in FANZINE: > http://phillysound.blogspot.com/2008_06_01_archive.html > > PhillySound: new poetry: > http://PhillySound.blogspot.com > > updated (Soma)tic POETRY > EXERCISES:http://somaticpoetryexercises.blogspot.com > * > > ================================== > The Poetics List is moderated & does not accept all posts. Check > guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > ================================== The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Mon, 7 Jul 2008 20:42:12 -0700 Reply-To: editor@pavementsaw.org Sender: "Poetics List (UPenn, UB)" From: David Baratier Subject: Backwaters Press Party with Poet laureates MIME-Version: 1.0 Content-Type: text/plain; charset=utf-8 Content-Transfer-Encoding: quoted-printable Come to The First Annual Last Bash At Kuzma=E2=80=99s A Fundraiser for The Backwaters Press Our goal is to raise at least $5,000 to cover production costs for 20 books= in 2008 in order to keep on bringing great poetry to a poetry-hungry natio= n! Where: =C2=A0=C2=A0=C2=A0 =C2=A0The Fabled Greg Kuzma residence in Crete, N= ebraska When: =C2=A0=C2=A0 =C2=A0July 26, 2008=E2=80=94a date scientifically proven= in numerous independent, double-blind, rigorously controlled experiments t= o cure the summertime BLAHS (Boring Life At Home Syndrome) TIME: 4:00 p.m. = to whenever =C2=A0 Friends, you=E2=80=99ve seen them sitting dejectedly in their cubicles, or = staring blankly at the traffic lights, forlorn looks on their faces=E2=80= =94you know what they need=E2=80=94Poetry! And you know how you can get poe= try to them=E2=80=94The Backwaters Press! For nearly 12 years The Backwater= s Press has been waging the fight against the POETRY VOID that threatens to= engulf our nation, but you can help stop the VOID from taking over our chi= ldren and ruining our families!=C2=A0 Just as we have learned that we can b= e better Americans by going shopping, the National Society for Filling Poet= ry Voids, or NSFPV, has recently completed painstaking studies that prove b= eyond a shadow of a doubt that HELPING THE BACKWATERS PRESS MEET ITS FUNDRA= ISING GOALS will be instrumental in disabling the Void! Yes, YOU can make a= difference! How to do this remarkable feat, you might ask=E2=80=94well, easy: PARTY!=C2= =A0 Simplistic as it may sound, the NSFPV has determined through rigorous r= esearch, conducted at our secret underground Poetry Laboratory,=C2=A0 that = if you go to The Backwaters Press website at www.thebackwaterspress.com, ge= t your checkbook out and send in a check for at least $50, ($75 for couples= ) or, donate at least $50 (couples rule applies) with our secure DONATION B= UTTON, that you will be able to receive tickets from the press, and a map t= o Greg Kuzma=E2=80=99s house, where you will be able to FILL THAT ACHING IN= YOUR HEART FOR POETRY-RELATED PARTIES and also help The Backwaters Press m= eet its fundraising goals.=20 If you would like to donate any amount to help CRUSH THE POETRY VOID and st= and side-by-side in spirit with others who would also like to help The Back= waters Press meet its fundraising goals, the researchers at the NSFPV will = understand=E2=80=94But if you can come to the party, we would love to see y= ou there!!=C2=A0=20 Party highlights include: =C2=B7=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0 Free, signed copies = of Greg Kuzma=E2=80=99s All That Is Not Given is Lost=20 =C2=B7=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0 Poetry reading by Gr= eg Kuzma and others, TBA =C2=B7=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0 Music provided by Sa= tchel Grande =C2=B7=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0 Full spread of party= food in the Greg Kuzma party tradition =C2=B7=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0 Full array of liquid= refreshments =C2=B7=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0 Beautiful indoor/out= door setting on 2 =C2=BD wooded acres of the Kuzma home =C2=B7=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0 Poetry and prose rea= dings from The Seven Doctors Project for UNMC =C2=B7=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0 Silent auction of ra= re literary articles, artwork from renowned artists, and other valuable ite= ms What could be more fun than The LAST BASH AT KUZMA=E2=80=99S?=C2=A0 I=E2=80= =99ll tell you:=C2=A0 THE LAST BASH AT KUZMA=E2=80=99S WITH=C2=A0 FOUR=C2= =A0 POETS LAUREATE THERE, THAT=E2=80=99S WHAT! of the entire gosh-darned Un= ited States of America, Pulitzer Prize Winner Ted Kooser, will be attending= the fund raising party for THE BACKWATERS PRESS =C2=A0on July 26th, 2008 a= t the home of Greg Kuzma!!=C2=A0 All you have to do to be able to stand aro= und and talk to one of the most widely-known poets in the entire universe i= s go to the website and push the donation button! Furthermore, the=C2=A0=C2=A0=C2=A0 Poet Laureate of Kansas, Denise Low Will also be there, to read from her poems! And so will Susan Firer,=20 the Poet Laureate of Milwaukee, and Aaron Anstett, the Pike=E2=80=99s Peak=20 Area Poet Laureate! How can you miss this?=C2=A0 It=E2=80=99s already been hailed (well, by at = least one person) as The Event of the Year! Party Starts at 4:00 PM! =C2=A0Go to www.thebackwaterspress.com to start th= e fun! =C2=A0=C2=A0Be there or be square! Be well David Baratier, Editor Pavement Saw Press 321 Empire Street Montpelier OH 43543 http://pavementsaw.org Subscribe to our e-mail listserv at http://pavementsaw.org/list/?p=3Dsubscribe&id=3D1=0A=0A=0A =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Tue, 8 Jul 2008 04:22:05 +0000 Reply-To: "Poetics List (UPenn, UB)" Sender: "Poetics List (UPenn, UB)" From: Nicholas Karavatos Subject: Reading in San Jose, CA on Thursday the 10th MIME-Version: 1.0 Content-Type: text/plain; charset="Windows-1252" Content-Transfer-Encoding: quoted-printable Nicholas Karavatos THURSDAY=2C July 10th at 7:00pm Willow Glen Books =96 H= osted by Dennis Richardson 1330 Lincoln AvenueSan Jose=2C CA95125 http://ww= w.willowglenbooks.com/ Nicholas KaravatosDept of EnglishAmerican U= niversity of SharjahPO Box 26666SharjahUnited Arab Emirates _________________________________________________________________ Use video conversation to talk face-to-face with Windows Live Messenger. http://www.windowslive.com/messenger/connect_your_way.html?ocid=3DTXT_TAGLM= _WL_Refresh_messenger_video_072008= =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Tue, 8 Jul 2008 04:23:08 +0000 Reply-To: "Poetics List (UPenn, UB)" Sender: "Poetics List (UPenn, UB)" From: Nicholas Karavatos Subject: Reading in Berkeley on Monday the 14th MIME-Version: 1.0 Content-Type: text/plain; charset="Windows-1252" Content-Transfer-Encoding: quoted-printable Nicholas Karavatos MONDAY=2C July 14th at 7:00pm =93Poetry Express=94 Read= ing Series =96 Hosted by Mark States Priya Indian Cuisine2072 San Pablo Ave= nueBerkeley=2C CA Nicholas KaravatosDept of EnglishAmerican Univer= sity of SharjahPO Box 26666SharjahUnited Arab Emirates _________________________________________________________________ Making the world a better place one message at a time. http://www.imtalkathon.com/?source=3DEML_WLH_Talkathon_BetterPlace= =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Tue, 8 Jul 2008 01:34:11 -0400 Reply-To: "Poetics List (UPenn, UB)" Sender: "Poetics List (UPenn, UB)" From: Andy Nicholson Subject: New on Lamplighter, lamplighter, lamplighter MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 7bit Content-Disposition: inline New posts on Lamplighter, lamplighter, lamplighter: Oranges & Sardines Kiki Gallery Blake's America and Duncan on Oracular Poetry Take a look--there are beautiful Blake prints and Olivier Messiaen's music to entice you. http://andynicholson.blogspot.com/ Andy Nicholson ================================== The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Mon, 7 Jul 2008 23:21:04 -0700 Reply-To: "Poetics List (UPenn, UB)" Sender: "Poetics List (UPenn, UB)" From: Catherine Daly Subject: LA Art Girls opening Thursday, July 10 MIME-Version: 1.0 Content-Type: text/plain; charset=WINDOWS-1252 Content-Transfer-Encoding: quoted-printable Content-Disposition: inline LAAGAFBLA08 takes place July 10 =96 August 23, 2008. Opening reception July 10th, 6pm -10pm Phantom Galleries Two locations at 6th Street at Main St. and 6th Street and Los Angeles Street in Downtown Los Angeles LAAGAFBLA08 is the LA Art Girl's world premier international art show for contemporary works, and will be Los Angeles' cultural and social highlight for the summer. The exhibition recognizes the individual within this unique artist collective. Work by 26 artists, from our cutting edge generation of emerging stars, will be contained in two spectacular downtown spaces. The exhibition includes the highest- quality paintings, sculptures, drawings, installations, photographs, and video. This prestigious exhibition combines a selection of top art works with an exciting program of special performances, parties and crossover events. Exhibition sites are located on 6th Street on the corners of Main and Los Angeles, in the city's beautiful Historic Downtown Old Bank District. The exhibition is within easy walking distance of The Standard Hotel, and driving distance of the beach. The show will be a vital source for art lovers, allowing them to discover new developments in contemporary art. A tour de force, LAAGAFBLA08 is the favorite summer meeting place for the international art world. Participating artists include: Stephanie Allespach Tricia Avant Allison Danielle Behrstock Carolyn Casta=F1o Krista Chael Sydney Croskery Catherine Daly Karen Dunbar Amber Fox Phyllis Green Micol Hebron Parichard Holm Leila Hamidi & Shana Torok Ellina Kervorkian Leigh McCarthy Claudia Parducci Nancy Popp Sarah Riley Ambika Samarthya Kim Schoenstadt Felis Stella Ten Terrell Kelly Thompson Elizabeth Tremante Marjan Vayghan --=20 All best, Catherine Daly c.a.b.daly@gmail.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 The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Tue, 8 Jul 2008 09:11:11 -0500 Reply-To: "Poetics List (UPenn, UB)" Sender: "Poetics List (UPenn, UB)" From: Halvard Johnson Subject: Hamilton Stone Review, Issue 15, Summer 2008, Now Online! Mime-Version: 1.0 (Apple Message framework v926) Content-Type: text/plain; charset=US-ASCII; format=flowed; delsp=yes Content-Transfer-Encoding: 7bit Hamilton Stone Review, Issue 15, Summer 2008, Now Online! Featuring poetry by Alan Bramhall, Janet Butler, Craig Cotter, Chad Heltzel, Reamy Jansen, Sheila Murphy and Douglas Barbour, Rick Marlatt, Simon Perchik, Meg Pokrass, Gabriele Quartero, Joseph Somoza, Ron Winkler, and Robert E. Wood; plus fiction by Nora Costello, Hallie Elizabeth Newton, J.C. Frampton, Sharmila Mukherjee, and Luke Rolfes. http://www.hamiltonstone.org/hsr15.html Submissions to the Hamilton Stone Review We publish three times a year: in June, October, and February. Please send 1-7 poems in the body of your message and/or in ONE attachment; one story or up to three short shorts per message and/or attachment, please. Send bios with submissions. No snailmail submissions will be read. The October 2008 issue will be a special one devoted to Appalachia. No submissions, please. For the February 2009 issue poetry submissions should go directly to Halvard Johnson at halvard@earthlink.net. Send fiction to Lynda Schor at lyndaschor@earthlink.net . PLEASE SEND THIS ALONG TO OTHERS ================================== The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Tue, 8 Jul 2008 09:39:42 -0700 Reply-To: "Poetics List (UPenn, UB)" Sender: "Poetics List (UPenn, UB)" From: luke daly Subject: Dana Ward's Goodnight Voice MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit House Press is happy to announce the release of Dana Ward's Goodnight Voice. His book is available through our blog at housepress.blogspot.com. It is $6, which includes shipping. Warm regards, Michael and Luke ================================== The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Tue, 8 Jul 2008 13:08:39 -0400 Reply-To: "Poetics List (UPenn, UB)" Sender: "Poetics List (UPenn, UB)" From: Dan Wilcox Subject: A.P.D. Announces Publication of "To the Husband I Have Not Yet Met" Mime-Version: 1.0 (Apple Message framework v624) Content-Transfer-Encoding: 7bit Content-Type: text/plain; charset=US-ASCII; format=flowed A.P.D. Announces the Publication of "To the Husband I Have Not Yet Met" Poems by Mary Kathryn Jablonski A.P.D. is proud to announce the publication of "To the Husband I Have Not Yet Met," by Saratoga Springs, NY, poet Mary Kathryn Jablonski. The 28-page chapbook contains 17 poems with a woodcut by Allen Grindle illustrating the cover. Woven with threads of humor, the poems explore memory, longing and the power of imagination. Mary Kathryn Jablonski is a visual artist and poet who is assistant director of the Schick Art Gallery at Skidmore College. In past lives she has worked as a graphic artist, caterer, photo shoot stylist, barista, window display designer, and mannequin dresser, among other things. Jablonski was director of the Saratoga Poetry Zone from 2000 to 2005. She also initiated and curated a program of literary readings to complement exhibits at the Arts Center Gallery in downtown Saratoga Springs where she was gallery director from 1999-2002. She has read her poems throughout the Capital District, including at historic Caffe Lena. In 2007 she was awarded a NYSCA grant to create a new series of artworks and poems and interview artist/writers on the Internet. A.P.D., under the direction of Albany poet and photographer Dan Wilcox, has been publishing the works of local and regional poets since 1989. Among the works published by A.P.D. are "Distant Kinships" by Anthony Bernini, "Suddenly Sapphires" by Dina Pearlman, and "Three Sides to the Looking Glass" by Rachel Zitomer. "To the Husband I Have Not Yet Met" poems by Mary Kathryn Jablonski (ISBN-13: 978-0-9714631-7-2; ISBN-10: 0-9714631-7-4) is available from local and regional booksellers, or directly from the publisher, $8.00 + $2.00 shipping cost. A.P.D. 280 South Main Ave. Albany, NY 12208 For more information, please contact Dan Wilcox at 518-482-0262; email: apdbooks@earthlink.net. ================================== The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Tue, 8 Jul 2008 09:51:38 -0700 Reply-To: "Poetics List (UPenn, UB)" Sender: "Poetics List (UPenn, UB)" From: Stephen Vincent Subject: Bruce Connor, 1933 - 2008 Comments: cc: UK POETRY , "Poetryetc: poetry and poetics" MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Bruce Connor, esteemed & brilliant assemblage innovator in sculpture, painting and film, passed away in San Francisco yesterday. Dark portrayer of the 'under-soul' and luminous, angelic portrayer of the 'over-soul' his alchemic seeming transformations of detritus were mesmeric - in Edgar Alan Poe needed a lazer beam transmssion into the substance of the contemporary, or if 30's surrealism needed un autre enfant terrible, Connor was an extraordinary agent. Not an 'easy dude' by all accounts - particularly by many foiled curators - he leaves an assured legacy. When the measuring of mid-Century American art is done, I suspect Connor will be viewed as Raushenberg's dark brother. Suggest Minimally honor the day, if you can find his short movies composed of found footage, "A Movie", for one. Not to over-do the dark imprint, Connor ran for the San Francisco Board of Supervisors circa 1966 in a long comic City tradition of unelectable musicans and artists, including Joel Biafra, lead singer of the Dead Kennedys. I am sure there will be many 'real' Connor orbits, Look to them for more facts. Stephen Vincent http://stephenvincent.net/blog/ ================================== The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Tue, 8 Jul 2008 10:43:48 -0700 Reply-To: "Poetics List (UPenn, UB)" Sender: "Poetics List (UPenn, UB)" From: Donna Kuhn Subject: website seeks poetry films Mime-Version: 1.0 (Apple Message framework v752.3) Content-Transfer-Encoding: 7bit Content-Type: text/plain; charset=US-ASCII; format=flowed http://www.poetryvisualized.com ================================== The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Tue, 8 Jul 2008 11:27:30 -0700 Reply-To: "Poetics List (UPenn, UB)" Sender: "Poetics List (UPenn, UB)" Comments: RFC822 error: Invalid RFC822 field - "=". Rest of header flushed. From: steve russell Subject: Re: other claims of the past few weeks MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: quoted-printable I think it's really about learning how to see, and copying from nature. =0A= =0A=0A=0A----- Original Message ----=0AFrom: Catherine Daly =0ATo: POETICS@LISTSERV.BUFFALO.EDU=0ASent: Monday, July 7, 2008 9:1= 8:25 PM=0ASubject: Re: other claims of the past few weeks=0A=0AI'm really t= roubled by this drawing =3D basics argument.=A0 Is this=0Aactually an argum= ent about representation; representational drawing?=0AObjects?=A0 Portraitu= re?=A0 Design?=A0 Use of Space / the page?=A0 Is it one=0Aabout drawing wit= h paint, pencil, ink, crayon, on canvas, on linen, on=0Acotton paper, on...= wet plaster?=A0 Is it about shading, cross hatching,=0Adifferent weights a= nd hardnesses/softnesses of lead?=0A=0A-- =0AAll best,=0ACatherine Daly=0Ac= .a.b.daly@gmail.com=0A=0A=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D= =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=0AThe Poetics List i= s moderated & does not accept all posts. Check guidelines & sub/unsub info:= http://epc.buffalo.edu/poetics/welcome.html=0A=0A=0A=0A =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Tue, 8 Jul 2008 13:13:43 -0700 Reply-To: "Poetics List (UPenn, UB)" Sender: "Poetics List (UPenn, UB)" From: Stephen Vincent Subject: Books & Bookshelves - A real poetry bookstore in San Francisco Comments: To: UK POETRY , "Poetryetc: poetry and poetics" Comments: cc: Ron Silliman , Beverly Dahlen , David Abel , David Gitin , David Hadbawnik , Bill Berkson , Gloria Frym , Ellen Zweig , John Norton , Mac McGinnes , Melissa Riley , Rusty Morrison MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Books & Bookshelves 99 Sanchez Street (between 14th St & Duboce Ave) San Francisco, CA 94114 (415) 621-3761 The other day I found myself dropping into see David Highsmith, poet and entrepreneur of bookshelves in a store that includes lots of fresh raw wood constructions. David smartly tapped into the San Francisco/Castro neighborhood serial appartment dweller need for new shelves, Sweetly, however, he's created a wonderful bookstore for poetry books - not just poetry books, but volumes of 'old' and new 'avant' presses (whatever that means for whatever era.) He also shops ebay and finds out of print volumes that he resells without upping the price. I stumbled into an English pirate edition of Spicer's After Lorca - a genuine piece of simulacra of Duncan's original typesetting for $20 - if you are interested. Just a lot of stuff - beautifully displayed & presented on fresh bookshelves. (No longer do interesting books remain a critique on Ron Silliman's blook - 'the book made flesh'. The whole place has an attractive, no-pressure retail feel. You can enjoy a book while the occaisonal clientele is talking to David about wood, sizes, and so forth. In addition, he has a regular reading series, and omens of a new chapbook series. Not to take anything away from City Lights and Green Apple and Bird & Beckett's substantial poetry book sections, as Independent stores become more and more fragile, Books & Bookshelves is a treat. I suspect David is on the top wave edge of the future. An Independent bookstore that wants to survive will offer a substantial line of bookshelves! Or, as a friend who has a relatively successful and good gallery told me, "It's the framers who make the real money in this business, not the gallery." So if you live or are in the City for a visit... Stephen V http://stephenvincent.net/blog/ Books & Bookshelves 99 Sanchez Street (between 14th St & Duboce Ave) San Francisco, CA 94114 (415) 621-3761 ================================== The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Tue, 8 Jul 2008 14:28:38 -0700 Reply-To: "Poetics List (UPenn, UB)" Sender: "Poetics List (UPenn, UB)" From: David Chirot Subject: 2 Supplements for Kaurab Translation Update's "Hungry Poets"--1963 Bengali Poetry Selection Intro by Ginsberg & French Translations of Pradip Choudhuri MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 7bit Content-Disposition: inline These Supplements are a small way of saying Thanks to the staff and spirit of Kaurab for their inspirational work in bringing Bengali Poetry to the World and in presenting new examples of writings, interviews, reviews from poets ever more countries. Poet and editor Aryanil Mukherjee yesterday announced the appearance of the latest large collection of work to appear: Kaurab Online's Translation Archive has just published its second update. http://www.kaurab.com/english The Supplement with the Ginsberg Introduction to "A Few Bengali Poets" (City Lights Journal 2, 1963) is one of the reasons, as is pointed out in the new Kaurab Translation Update, that though the Hungry Poets had been in existence already for some years, the arrival of Ginsberg and his involvement with them has led to a mistaken "myth" that these poets were influenced by the Beats. (an example of the persistence of this myth may be found in the 1994 Note by Bruno Sourdin to the French translations of poems by Pradip Choudhuri, which appears in Supplement 2.) This latest Update from Kaurab presents an astonishing History of the Hungry Poets, with galleries of photos and intensive and extensive information, insights and commentaries regarding the Hungry Movement and its influences in Bengali poetry and steadily through time in many parts of the world. (Bruno Sourdin notes the international character of the appearances of the works of Pradip Choudhuri, for example.) Kaurab Translation Update "Hungryalist" issue is an immensely exciting event for Poetry-- I can't recommend it highly enough-- Supplement2 for Kaurab Translation Update: le "Hungry" poete Bengale Pradip Choudhuri traduite en francais, avec une note "bio" de Bruno Sourdin http://davidbaptistechirot.blogspot.com/2008/07/supplement2-for-kaurab-translation.html A Supplement for Kaurab Translation Update: "A Few Bengali Poets" Introduced by Allen Ginsberg, City Lights Journal 2, 1963 http://davidbaptistechirot.blogspot.com/2008/07/supplement-for-kaurab-translation.html Kaurab Translation Update: Hungryalist Movement plus more http://davidbaptistechirot.blogspot.com/2008/07/kaurab-translation-update-hungryalist.html ================================== The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Tue, 8 Jul 2008 14:44:34 -0700 Reply-To: "Poetics List (UPenn, UB)" Sender: "Poetics List (UPenn, UB)" From: Stephen Vincent Subject: Fwd: Alfred Arteaga MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit David Lloyd wrote: Date: Tue, 8 Jul 2008 14:40:38 -0700 From: David Lloyd Subject: Alfred Arteaga To: UKPOETRY@LISTSERV.MUOHIO.EDU I am very sad to pass on the news that Chicano poet and essayist, Alfred Arteaga, has passed away. Alfred was an extraordinary multi-lingual poet, often writing poems through in English, Spanish, French, German and Nahua. He was the author of several books of poetry (Cantos, Red, Love in the Time of Aftershocks) and of cultural studies (Chicano Poetics and An Other Tongue). His latest book of poetry, Frozen Accident, came out in fall 2006 from Tia Chucha's Press. He was Professor of Chicano Studies at UC Berkeley, an institution he somehow managed to survive as a poet and a human being. He remains online at alfredarteaga.com. David ================================== The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Tue, 8 Jul 2008 23:34:48 +0100 Reply-To: "Poetics List (UPenn, UB)" Sender: "Poetics List (UPenn, UB)" From: Roy Exley Subject: Re: other claims of the past few weeks In-Reply-To: Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit Catherine, Thanks for that, specifics, details, are the spice of life, something to get your teeth into, too much 'byting' and you are left toothlessly skimming over the surface of life. Drawing used to be perceived as merely a preparation for a painting or other 'finished' artwork, but of course it is now a genre in its own right, even animated video works often rely heavily on drawn forms and drawing was well represented in all the London degree shows this summer. Line-drawn portraits such as those by Matisse, Schiele Calder or Giacometti, stark, spare but sublime contrast sharply with the emotively charged, richly textured, 'Autobiographical' self-portraits of such as Rembrandt, Van Gogh, Gauguin, Munch or Beckmann, all equally compelling, but somehow the drawings have a greater immediacy, a dynamic spontaneity. The spare, accomplished line drawing deceptively simple might be compared to the complexity of the haiku without its formulaic strictures. To draw what we can't see is also quite important - to exercise our imagination and sponsor our dreams, to express unique and individual contributions to the world. Roy Exley. On 8/7/08 2:18 am, "Catherine Daly" wrote: > I'm really troubled by this drawing = basics argument. Is this > actually an argument about representation; representational drawing? > Objects? Portraiture? Design? Use of Space / the page? Is it one > about drawing with paint, pencil, ink, crayon, on canvas, on linen, on > cotton paper, on... wet plaster? Is it about shading, cross hatching, > different weights and hardnesses/softnesses of lead? ================================== The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Tue, 8 Jul 2008 19:02:39 -0400 Reply-To: "Poetics List (UPenn, UB)" Sender: "Poetics List (UPenn, UB)" From: Justin Katko Subject: "unfolding king lear a model": this Friday in Providence In-Reply-To: <3bf622560807081553k1471f4b4xc2d080968e04899c@mail.gmail.com> MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 7bit Content-Disposition: inline Hello ~ for those of you in or near Providence, I hope you won't miss this: ---------- Forwarded message ---------- From: Justin Katko Date: Tue, Jul 8, 2008 at 6:11 PM Subject: "unfolding king lear a model" Dear friends: You are invited to a performance of "unfolding king lear a model", a solo theatre production by Jeremy Hardingham. The event will take place at 7pm on *this* Friday, July 11th, at 50 Agnes Street in Providence (Olneyville). There will be wine and some opening music. The main act will run just under one hour. The event is free. Directions: (Take Westminster or Broadway west, after Broadway and Westminster converge take a left on Stokes Street, then left on Dike Street, then a quick right onto Agnes. 50 Agnes is on the left with a grand entrance, above the door a sign reads "Indestructible Pearls" -> it was a 19th century pearl manufacturer of some sort). Jeremy Hardingham is the Judith E. Wilson Drama Studio Manager at the Faculty of English, Cambridge University (England). He is the author of _Incarnate's / And yet but still just this_ (Barque Press). Praise of Hardingham's work follows below. Please forward this on to interested parties. Regards, Justin Katko - - Chris Goode (beescope.blogspot.com) has this to say about "unfolding king lear a model": 'unfolding king lear a model' is a solo in which Hardingham seems to be, at one and the same time, chewing and regurgitating King Lear, in a sort of terrible parody of circular breathing techniques. Some of the text is retained, and external fragments interpolated, as if spoken from a redacted transcript in which some stray papers have become mixed up and almost everything explicit has been obliterated by an oversolicitous and weirdly erratic censor. At one point I have the odd experience of recognizing a fragment of text from one of the pieces Jeremy and I made together some years ago as a duo called COAT: and I realise I don't know where that particular phrase came from in the first place -- I had always assumed he wrote it, but now I'm not sure. Is it perhaps even in King Lear somewhere? There is a sense in Jeremy, not only in this piece but between all his works and across whatever membrane he or I might in a moment of weakness visualize separating his life and his writing, of a huge, unceasing, autophagous intertextual churn, in which individual voice and authority are disassembled: not indiscriminately, in some callow mulching of 'high' and 'low' culture, but so as to mimic the ways in which information within those cultures is transmitted, sometimes preserved, sometimes lost entirely or at best lost in translation. In this turbulent field -- one might almost say minefield -- Jeremy skips and tumbles and flees his own shadow, negotiating its pitfalls and overleaping its ha-has and feigning the occasional stumble: it's the Z-Boys mix of precision and (real, not simulated) spontaneity, but also a kind of convulsive ingenuity that seems far from recreational and resembles more nearly a hypertextual restyling of the flight-or-fight impulse, a nervously contemporary survival tactic. As ever with Jeremy's work there is an odd sense of danger -- the intermixing on his crowded props table of sheet glass and hammers, of water and electricity -- which persists despite my certain knowledge that, at his best, his work always feels like that, and in over a decade I've never known him actually put himself or his audience in anything like the danger that he evokes. The visual styling of his presence is a rough-and-ready mix of world-war aviator and cyberpunk: in this, as in his language, there are obvious traces of Beckett and Beuys and Artaud, and possibly Kantor (I wonder). Visually and aurally there is an awesomely deft choreography of layers, particularly striking in this instance in his use of music and sound, which is more sophisticated here than I've identified in his work before. Again it is the complexity, not as styling but as argument, that ultimately is moving and impressive and jags in the mind: for all the ferociousness of his inquiry into language and object and abstraction and absence, as ever his work is alive with the essentially theatrical discovery of how the individual, buffeted (as Lear is) by what seem to be malign extraneities, contains and embodies all the graces and desolations of properly collective response, and spells out in poetry and grunting the massed chorus of aloneness. It's the best work I've seen Jeremy do in many years; at the time, there's no way of saying so. Finally this blog has a purpose. ================================== The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Wed, 9 Jul 2008 07:41:56 -0400 Reply-To: "Poetics List (UPenn, UB)" Sender: "Poetics List (UPenn, UB)" From: ALDON L NIELSEN Subject: Alfred Arteage MIME-Version: 1.0 Content-Type: text/plain; charset=utf-8 Alfred was a great friend and a wonderful poet -- raced cars and played guitars in his younger years -- a lovely person <<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<>>>>>>>>>>>>>>>>>>>>>>>>>> >>>>>>>>>>>>> "Study the fine art of coming apart." --Jerry W. Ward, Jr. 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 ================================== The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Wed, 9 Jul 2008 07:46:16 -0400 Reply-To: "Poetics List (UPenn, UB)" Sender: "Poetics List (UPenn, UB)" From: Wanda Phipps Subject: Readings, music, video and fun with Mad Hatters in the Bronx! MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 7bit Content-Disposition: inline I'm reading in this fun event and will be accompanied by sound artist Austin Publicover this Friday--would be great to see you there! JULY 11, Friday 6-10pm, Haven Arts Gallery, Bronx: http://www.havenarts.org -- Mad Hatters Review will present another Mad Hatters' Revue, an evening of poetry, fiction, music, moving artworks, videos and flash animation. Artists, musicians and writers include: Michael Andre, Ann Bogle, Orin Buck, Heide Hatry, A. D. Jameson, Peter Knoll, Benjamin Rush Miller, Carol Novack, Wanda Phipps, Shelly Rich, Larissa Shmailo, Alan Sondheim, Rob Stephenson, Stephanie Strickland, and Yuriy Tarnawsky. $8 suggested donation to the Review. Wine and munchies courtesy of Haven Arts Gallery. Also maybe -- live dancing music. See Mad Hatters' Review for a taste of Mad Hatter taste. MAD HATTERS' REVIEW: edgy & enlightened art, literature, & music in the Age of Dementia: http://www.madhattersreview.com. Public transportation to Haven Arts Gallery, 50 Bruckner Blvd: Take Lexington Express 4 or 5 to 125th St. Transfer to 6 Train: 3rd Ave 138 at Alexander Ave (get out at the Alexander Ave exit, turning right onto Alexander) Walk: 0.3 mi - about 7 mins at most 1. Head southwest on Alexander Ave toward E 137th St - 0.2 mi 2. Turn left at Bruckner Blvd - 400 ft To: Haven Arts Gallery: 50 Bruckner Blvd - South side of the street -- Wanda Phipps Check out my websites: http://www.mindhoney.com and http://www.myspace.com/wandaphippsband My latest book of poetry Field of Wanting: Poems of Desire available at: http://www.blazevox.org/bk-wp.htm And my 1st full-length book of poems Wake-Up Calls: 66 Morning Poems available at:http://www.amazon.com/exec/obidos/ASIN/193236031X/ref=rm_item ================================== The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Wed, 9 Jul 2008 09:50:10 -0700 Reply-To: "Poetics List (UPenn, UB)" Sender: "Poetics List (UPenn, UB)" From: Stephen Vincent Subject: Re: Bruce Conner, 1933 - 2008 Comments: To: mIEKAL aND In-Reply-To: <77EE485C-3ED4-4288-AD01-4F846A3E900D@mwt.net> MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit There is a big catalogue from a retrospective - started at the Whitney - just a few years back. Conner (right spelling!) was very involved with poets of his time - he came to San Francisco from Kansas along with Michael McClure. His film and art work of the late fifties and early sixties are implictly animated by the nuclear terror/jitters of the time. In addition to A Movie - which is composed totally of 'found' speeded up film footage of crashes (trains, planes, etc.) (the real psychic underbelly of Dr. Strangelove, aka General Curtis LeMay) Another Conner classic accounts the moving of Jay DeFeo's massive Rose from her studio to the San Francisco Art Institute. Minimally, I believe, the work is distributed by Canyon Cinema. Yes, Miekal, I think it's time to put the 'r' back into o(r)bits - it suggests recycling, spiraling and all that, I mean, let the dead take wing! Enough of this 'deep six' stuff after a paragraph in the local news. By the way I hear there is a Conner orbit in today's NY Times. Stephen V http://stephenvincent.net/blog/ mIEKAL aND wrote: I like the real Connor "orbits" part... sadly I don't know his work at all.. ~mIEKAL On Jul 8, 2008, at 11:51 AM, Stephen Vincent wrote: > Bruce Connor, esteemed & brilliant assemblage innovator in > sculpture, painting and film, passed away in San Francisco > yesterday. Dark portrayer of the 'under-soul' and luminous, angelic > portrayer of the 'over-soul' his alchemic seeming transformations of > detritus were mesmeric - in Edgar Alan Poe needed a lazer beam > transmssion into the substance of the contemporary, or if 30's > surrealism needed un autre enfant terrible, Connor was an > extraordinary agent. Not an 'easy dude' by all accounts - > particularly by many foiled curators - he leaves an assured legacy. > When the measuring of mid-Century American art is done, I suspect > Connor will be viewed as Raushenberg's dark brother. Suggest > Minimally honor the day, if you can find his short movies composed > of found footage, "A Movie", for one. Not to over-do the dark > imprint, Connor ran for the San Francisco Board of Supervisors circa > 1966 in a long comic City tradition of unelectable musicans and > artists, including Joel > Biafra, lead singer of the Dead Kennedys. > > I am sure there will be many 'real' Connor orbits, Look to them for > more facts. > > Stephen Vincent > http://stephenvincent.net/blog/ > > > > > ================================== > The Poetics List is moderated & does not accept all posts. Check > guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html > ================================== The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Wed, 9 Jul 2008 14:51:19 -0400 Reply-To: pmetres@jcu.edu Sender: "Poetics List (UPenn, UB)" From: Philip Metres Subject: Poetry Daily today: "For the Fifty (Who Made Peace With Their Bodies)" MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit From the shameless self-promotion department, I wanted to let you know about today's poem,"For the Fifty (Who Made Peace With Their Bodies)", on Poetry Daily. http://www.poems.com Thanks for reading. Send any and all complaints to pmetres@jcu.edu. Peace, Philip Metres Associate Professor Department of English John Carroll University 20700 N. Park Blvd University Heights, OH 44118 phone: (216) 397-4528 (work) fax: (216) 397-1723 http://www.philipmetres.com http://www.behindthelinespoetry.blogspot.com ================================== The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Wed, 9 Jul 2008 12:24:58 -0700 Reply-To: "Poetics List (UPenn, UB)" Sender: "Poetics List (UPenn, UB)" From: Barry Schwabsky Subject: Re: Bruce Conner, 1933 - 2008 MIME-Version: 1.0 Content-Type: text/plain; charset=utf-8 Content-Transfer-Encoding: quoted-printable His o(r)bit is there, along with that of Thomas Disch, novelist and (if I r= emember correctly) sometime poet.=0A=0A=0A=0A----- Original Message ----=0A= From: Stephen Vincent =0ATo: POETICS@LISTSERV.BUFFALO= .EDU=0ASent: Wednesday, 9 July, 2008 5:50:10 PM=0ASubject: Re: Bruce Conner= , 1933 - 2008=0A=0AThere is a big catalogue from a retrospective - started = at the Whitney - just a few years back. Conner (right spelling!) was very i= nvolved with poets of his time - he came to San Francisco from Kansas along= with Michael McClure. His film and art work of the late fifties and early = sixties are implictly animated by the nuclear terror/jitters of the time. = =0AIn addition to A Movie - which is composed totally of 'found' speeded up= film footage=C2=A0 of crashes (trains, planes, etc.) (the real psychic und= erbelly of Dr. Strangelove, aka General Curtis LeMay) Another Conner classi= c accounts the moving of Jay DeFeo's massive Rose from her studio to the Sa= n Francisco Art Institute.=C2=A0 =0AMinimally,=C2=A0 I believe, the work is= distributed by Canyon Cinema.=C2=A0 =0A=0AYes, Miekal, I think it's time t= o put the 'r' back into o(r)bits - it suggests recycling, spiraling and all= that, I mean, let the dead take wing! Enough of this 'deep six' stuff afte= r a paragraph in the local news.=0A=0ABy the way I hear there is a Conner o= rbit in today's NY Times. =0A=0AStephen V=0Ahttp://stephenvincent.net/blog/= =0A=0AmIEKAL aND wrote: I like the real Connor "orbits" part.= ..=0A=0A=0Asadly I don't know his work at all..=0A=0A~mIEKAL=0A=0A=0AOn Jul= 8, 2008, at 11:51 AM, Stephen Vincent wrote:=0A=0A> Bruce Connor, esteemed= & brilliant assemblage innovator in=C2=A0 =0A> sculpture, painting and fil= m, passed away in San Francisco=C2=A0 =0A> yesterday. Dark portrayer of the= 'under-soul' and luminous, angelic=C2=A0 =0A> portrayer of the 'over-soul'= his alchemic seeming transformations of=C2=A0 =0A> detritus were mesmeric = -=C2=A0 in Edgar Alan Poe needed a lazer beam=C2=A0 =0A> transmssion into t= he substance of the contemporary, or if 30's=C2=A0 =0A> surrealism needed u= n autre enfant terrible,=C2=A0 Connor was an=C2=A0 =0A> extraordinary agent= .=C2=A0 Not an 'easy dude' by all accounts -=C2=A0 =0A> particularly by man= y foiled curators - he leaves an assured legacy.=C2=A0 =0A> When the measur= ing of mid-Century American art is done, I suspect=C2=A0 =0A> Connor will b= e viewed as Raushenberg's dark brother.=C2=A0 Suggest=C2=A0 =0A> Minimally = honor the day, if you can find his short movies composed=C2=A0 =0A> of foun= d footage, "A Movie", for one.=C2=A0 Not to over-do the dark=C2=A0 =0A> imp= rint, Connor ran for the San Francisco Board of Supervisors circa=C2=A0 =0A= > 1966 in a long comic City tradition of unelectable musicans and=C2=A0 =0A= > artists, including Joel=0A> Biafra, lead singer of the Dead Kennedys.=0A>= =0A> I am sure there will be many 'real' Connor orbits, Look to them for=C2= =A0 =0A> more facts.=0A>=0A> Stephen Vincent=0A> http://stephenvincent.net/= blog/=0A>=0A>=0A>=0A>=0A> =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D= =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=0A> The Poetics List= is moderated & does not accept all posts. Check=C2=A0 =0A> guidelines & su= b/unsub info: http://epc.buffalo.edu/poetics/welcome.html=0A>=0A=0A=0A=0A= =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D= =3D=3D=3D=3D=3D=3D=3D=3D=3D=0AThe Poetics List is moderated & does not acce= pt all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poe= tics/welcome.html=0A =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Wed, 9 Jul 2008 13:26:50 -0700 Reply-To: ddbowen2000@yahoo.com Sender: "Poetics List (UPenn, UB)" From: David Bowen Subject: New American Press Chapbook Contest In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: quoted-printable NEW AMERICAN PRESS is pleased to announce its summer 2008 chapbook contest! Winner receives $250 and 25 copies of the chapbook, and a 30% discount off = future copies.=20 The final judge will be DAN BEACHY-QUICK, author of Spell, Mulberry, and No= rth True South Bright. All submissions are read blind, so please restrict n= ame, address, email address, and other contact information to a separate co= ver sheet. The manuscript should be 20-30 pages of poetry, fiction, or nonfiction. Exp= erimentation with form, structure, and style are encouraged, but our ultima= te criterion is depth and unity of vision. Please submit by September 1, 2008, to: New American Press Chapbook Contest 560 Stinchcomb Drive, Suite #2 Columbus, OH 43202 Please include a check or money order for $15 payable to "New American Pres= s" and a SASE for contest results.=A0Past winners include Shawn Fawson, Dav= id R. Slavitt, and Steve Davenport. More information at www.NewAmericanPres= s.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 The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Wed, 9 Jul 2008 16:31:15 -0700 Reply-To: "Poetics List (UPenn, UB)" Sender: "Poetics List (UPenn, UB)" From: David Chirot Subject: Re-Visioning Norman Rockwell's "Four Freedoms" & Senate Passes Re-Enforcing Surveillance at "Freedoms''" Expense MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 7bit Content-Disposition: inline *ARTS / ART & DESIGN * | July 9, 2008 * Art: Rockwell Re-enlisted for a Nation's Darker Mood * By DAMIEN CAVE A new exhibition in Florida features 60 artists' responses to Norman Rockwell's wartime "Four Freedoms" series. Senate bows to Bush, approves surveillance bill - Yahoo! News http://news.yahoo.com/s/ap/20080709/ap_on_bi_ge/terrorist_surveillance * The interest of the Times review is that journalist Damien Cave had spent 18 months ("off and on") in Iraq; this "frames" his view of the exhibit and the passersby almost completely ignoring it as a "reflection" of the "Darker Mood" that the contemporary artists bring to Rockwell's vision, which itself darkened during the Vietnam War. The "Four Freedoms" that Rockwell depicted and are re-invisioned in the Exhiibtion, today took another heavy blow to the "heart and mind"as the Glorious, Courageous Senate once agin rubberstamped the Bush administration's Assaul on the Constitution. In years gone by, only Probation or Parole could mean a change in one's Fourth Amendment Rights, and that was strictly controlled by the Law. Now the Fourth Amendment is becoming a fading anachronism as far as the Lawmakers of Today are concerned. In order to defend the Nation--the citizen must be ever more deprioved of their Freedoms, which are being ever more "defended" by the by the ever more strengthened "Homeland Security" in the "War on Terror." The more Freedoms you lose at home, the more you know they are being defended abroad. And here at home, too--with al that surveillance going on of one's fellow citizens-- President FD Roosevelt famously said--"We have nothing to Fear but Fear itself." A "War on Terror" means that one needs to be always & ever more Terrified-- And in the name of Terror--the State requires citizens to give up as many Rights is possible so that they can rest safel;y in knowing that they thmselves are wel protected from Terror. History has proved Dr Goebbels right when he stated that the only thing needed to do to ever more tightly control a soceity is to say--that it is Threatened From Outside-- so that the Threats from Inside grow worse all the time, yet pass by unnoticed, much as passersby pass the art exhibtion by almost unnoticed. Who, after all, wants to look at things which offer any critique too closely? Senator Obama like the two thirds majority voted for this increase in Surveillance and immunity for the telecoms. Who can afford to look "weak on Terror" when running for Office? In Wisconsin one may feel glad that once again "our" Senator Feingold--the only Senator who voted NO to the Patriot Act--louldy opposed this. In the last two weeks the Senate approved 170 million dollars more military aide for Israel (which already receives 3 billion annuully already)--yet did not pass a single bill for any program for American citizens. The reason of course is in the name of the "War on Terror." The greater the Terror after all--the more things have to be taken care of somewhere else-- sacrificing Rights and Freedoms here--why be concerned about Rights and Freedoms of others ? Who cares if the State and its allies are War Criminals? Robespierre said that the two arms of the State are "Terror and Purity." "Terrorism" itself came later in history--in the second half of the 19th Century. The State discovered that by crying "terrorism!!!"--it could unlesh Terror and Purity with impunity--in fact, by "voting" as it has today, to give itself and its cronies Immunity as it were. No matter how great the horrors and Terror and the ethnic and other cleaning operations undertaken by the State--that which is done by "terrorists" is always of a far more Evil nature. No one remembers when the Americans themselves were the "terrorists" against the Birtish State and King-- Read the Declaration of Independence and discover that the State of today must be overthrown by the citizens. Everything it and its allies stands for and does daily is what the Declaration was against, and declared its Independence from. It is any wonder then that the State of today carries on a continaul assault agsint the Declaration and the Constitution? If anyone really took them seriously --why the State would all be locked up, lock stock and barrel--or executed as traitors. You see right away why these documents need to be revised so badly. If one lived by them, one would be a "terrorist" in the eyes of all that is held so dearly today as the "people's" deepest desire and greatest necessity"--, in the name of the War on Terrorism. During the Reign of Terror in France, which last week over a year--about the same number of persons were killed as were in 1871 during the Bloody Week in which the Sate suppressed the Commune. Then, a much more efficient State, heavily aremd with the support of world wide media and opinion outraged by al those "terrorists" in charge of the City of Paris--slaughtered 20--25,000 people in full view of the patrons of cafes, who, now feeling ever more Secure, could sit at again at their sidewalk "spots" and enjoy a cozy drink, enjoying whole heartedly their ringside seats at the murder going on all about them. After all, Terror and Purity were making sure that "terrorism" would no longer live in their midst for at least a long generation, if not for several. With every new law enacted, evry new bill passed, inexorbaly, the State is making sure that there really will be no "terrorists" in the society's midst. not only "terrorists" from elsewhere, but in the citizens' midst, homegrown terrorists of all kinds. To help further the laready ever lengthening "arm of the Law" of the Sate, there is now a vevival of programs outof use since WW2, only thenew ones are to be even more stringent. These recruit and train ordianry citizens as well as ploice, fire fighters , postal wrokers, etc--in the daily War at Home--that is, persons tarined to be neighbor "outlook posts" as it were--keping their eyes and ears open 24/7 fror the slightest signs of "persons acting suspiciously" or "taking photgrphas of uninteresting sites." If developed successfully, why, the State could be the proud creators of a form of "undercover secret police" not unlike that in China today. Are you good and tired of your neighbor's penchant for mowing the lawn during your "qulity time" with your poetry writing--hek, the guy seems very suspicious deosn't he. Look at al the mail that he gets that comes in brown paper wrapping-- or al those late night phone calls when you can hear him speaking in a foreign language-- Yes, turn in him and by God, no more interruptions in the Poetry!! Think how much more Creative oneself and one's colleagues could be, once freed from al these "suspicious foreign influences"--or simply noisy neighbors-- Haven't you noticed how much more Creative a nation we are becoming daily--? The incredible increase in the number of poeple writing and reading Poetry for example--? "Don't drop the ball--make the Call!!" ARTS / ART & DESIGN * | July 9, 2008 * Art: Rockwell Re-enlisted for a Nation's Darker Mood * By DAMIEN CAVE A new exhibition in Florida features 60 artists' responses to Norman Rockwell's wartime "Four Freedoms" series. Senate bows to Bush, approves surveillance bill - Yahoo! News http://news.yahoo.com/s/ap/20080709/ap_on_bi_ge/terrorist_surveillance ================================== The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Wed, 9 Jul 2008 21:07:38 -0700 Reply-To: Del Ray Cross Sender: "Poetics List (UPenn, UB)" From: Del Ray Cross Subject: SHAMPOO 33 Comments: To: delraycross@gmail.com MIME-Version: 1.0 Content-Type: text/plain; charset="utf-8" Content-Transfer-Encoding: quoted-printable Content-Disposition: inline Dear Tousled Cherubs, =20 Shampoo issue 33 is now available. =20 =20 Check it out at: www.ShampooPoetry.com =20 Gleefully pour out and pore over poems by Tim Yu,=20 Josh Wallaert, Zinovy =E2=80=9CZeke=E2=80=9D Vayman, Cat Tyc, Mike Topp, Kiely Sweatt, Paul Siegell, Ryan B. Richey, Sean=20 Reagan, Lanny Quarles, Mark Pawlak, Ronald Palmer,=20 Michelle Noteboom, Mark Navarro, Christopher=20 Mulrooney, Philip Metres, Hassan Melehy, Marie Larson,=20 Susanna Kittredge, Scott Inguito, Geof Huth, David Highsmith, Jeff Harrison, Arpine Konyalian Grenier, Robert Gl=C3=BCck, Michael Farrell, Cindy Carlson, Eric Beeny,=20 Shane Allison and Malaika King Albrecht, along with=20 graphica poetica by Shane Allison, Diana Magall=C3=B3n and=20 Jeff Crouch, and neo-retro ShampooArt by Nico Wijaya. Pert regards, =20 Del Ray Cross, Editor SHAMPOO clean hair / good poetry www.ShampooPoetry.com =20 (if you'd prefer not to receive these messages, just let me know) =20 =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Thu, 10 Jul 2008 11:10:03 -0700 Reply-To: tsavagebar@yahoo.com Sender: "Poetics List (UPenn, UB)" From: Thomas savage Subject: Re: Bruce Conner, 1933 - 2008 In-Reply-To: <415927.43404.qm@web65103.mail.ac2.yahoo.com> MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: quoted-printable I just watched several of Bruce Conner's films/videos on Youtube.=A0 The on= es with the best, most audible soundtracks seem to be the ones he made with= Bowie and Eno.=A0 One called Valse Triste, a great piece of music by Sibel= ius, if I remember correctly, didn't come over the computer that well.=A0 T= he images did but not the musical accompaniment.=A0 Still, his films are in= teresting.=A0 I remember hearing of them years ago and may have seen one or= two of them years ago when "underground cinema" existed and was easily ava= ilable in above ground movie theaters.=A0 It was nice to see this stuff, ei= ther for the first time or again.=A0 I hope others take the opportunity to = view Mr. Conner's work again now that it is available online.=A0 Regards, T= om Savage --- On Wed, 7/9/08, Barry Schwabsky wrote: From: Barry Schwabsky Subject: Re: Bruce Conner, 1933 - 2008 To: POETICS@LISTSERV.BUFFALO.EDU Date: Wednesday, July 9, 2008, 3:24 PM His o(r)bit is there, along with that of Thomas Disch, novelist and (if I remember correctly) sometime poet. ----- Original Message ---- From: Stephen Vincent To: POETICS@LISTSERV.BUFFALO.EDU Sent: Wednesday, 9 July, 2008 5:50:10 PM Subject: Re: Bruce Conner, 1933 - 2008 There is a big catalogue from a retrospective - started at the Whitney - ju= st a few years back. Conner (right spelling!) was very involved with poets of hi= s time - he came to San Francisco from Kansas along with Michael McClure. His film and art work of the late fifties and early sixties are implictly anima= ted by the nuclear terror/jitters of the time.=20 In addition to A Movie - which is composed totally of 'found' speeded up film footage=A0 of crashes (trains, planes, etc.) (the real psychic underbelly of Dr. Strangelove, aka General Curtis LeMay) Another Conner cla= ssic accounts the moving of Jay DeFeo's massive Rose from her studio to the San Francisco Art Institute.=A0=20 Minimally,=A0 I believe, the work is distributed by Canyon Cinema.=A0=20 Yes, Miekal, I think it's time to put the 'r' back into o(r)bits - it suggests recycling, spiraling and all that, I mean, let the dead take wi= ng! Enough of this 'deep six' stuff after a paragraph in the local news. By the way I hear there is a Conner orbit in today's NY Times.=20 Stephen V http://stephenvincent.net/blog/ mIEKAL aND wrote: I like the real Connor "orbits" part... sadly I don't know his work at all.. ~mIEKAL On Jul 8, 2008, at 11:51 AM, Stephen Vincent wrote: > Bruce Connor, esteemed & brilliant assemblage innovator in=A0=20 > sculpture, painting and film, passed away in San Francisco=A0=20 > yesterday. Dark portrayer of the 'under-soul' and luminous, angelic=A0=20 > portrayer of the 'over-soul' his alchemic seeming transformations of=A0=20 > detritus were mesmeric -=A0 in Edgar Alan Poe needed a lazer beam=A0=20 > transmssion into the substance of the contemporary, or if 30's=A0=20 > surrealism needed un autre enfant terrible,=A0 Connor was an=A0=20 > extraordinary agent.=A0 Not an 'easy dude' by all accounts -=A0=20 > particularly by many foiled curators - he leaves an assured legacy.=A0=20 > When the measuring of mid-Century American art is done, I suspect=A0=20 > Connor will be viewed as Raushenberg's dark brother.=A0 Suggest=A0=20 > Minimally honor the day, if you can find his short movies composed=A0=20 > of found footage, "A Movie", for one.=A0 Not to over-do the dark=A0=20 > imprint, Connor ran for the San Francisco Board of Supervisors circa=A0= =20 > 1966 in a long comic City tradition of unelectable musicans and=A0=20 > artists, including Joel > Biafra, lead singer of the Dead Kennedys. > > I am sure there will be many 'real' Connor orbits, Look to them for=A0=20 > more facts. > > Stephen Vincent > http://stephenvincent.net/blog/ > > > > > =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D= =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D > The Poetics List is moderated & does not accept all posts. Check=A0=20 > guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.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 The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.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 The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html=0A=0A=0A = =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Thu, 10 Jul 2008 15:41:32 +0530 Reply-To: jthanmack@yahoo.co.in Sender: "Poetics List (UPenn, UB)" From: Jonathan Mack Subject: Guttersnipe Seeks Allies MIME-Version: 1.0 Content-Type: text/plain; charset=utf-8 Content-Transfer-Encoding: quoted-printable Hello, =C2=A0 =C2=A0=C2=A0=C2=A0=C2=A0=C2=A0Pardon this intrusion by an amateur.=C2=A0 Re= ading these friendly and cantakerous posts, I envy the community people see= ms to have found.=C2=A0 With this in mind, I wanted to invite people to vis= it my blog, www.guttersnipedas.blogspot.com , where I've put in order some = new essays and stories, which everyone but me seems to refer to as poems. =C2=A0 =C2=A0=C2=A0=C2=A0=C2=A0 I'm an American who loves India and lives in Japan= --except this year I'm in Italy and I've even got a spare room on Santa Cro= ce Piazza in Florence if you're visiting. =C2=A0 =C2=A0=C2=A0=C2=A0=C2=A0 I would be happy to hear from anyone, even Troy Ca= mplin, PhD, if he wants to tell me everything wrong with my work and my lif= e.=C2=A0 (Really, I'm having a good time reading the back and forth.) =C2=A0 =C2=A0=C2=A0=C2=A0=C2=A0 Perhaps especially appropriate would be queer writ= ers, prose poets, writers working with material that's sexually explicit or= self-incriminating, and fans of Bruno Schulz, Robert Walser, Clarice Lispe= ctor and their kin.=C2=A0 Anyone who read the recent review of Frank O'Hara= and thought, "I am going to fly to New York and handcuff myself to somethi= ng" is also welcome. =C2=A0 =C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0Thank you again for your time. =C2=A0 Respectfully, =C2=A0 Guttersnipe Das www.guttersnipedas.blogspot.com =C2=A0 P.S. To those who responded earlier--Ruth,Sharon, Alta--thank=C2=A0you so m= uch.=C2=A0 I have your=C2=A0books waiting for me in America.=C2=A0=0A=0A=0A= Meet people who discuss and share your passions. Go to http://in.prom= os.yahoo.com/groups/bestofyahoo/ =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Thu, 10 Jul 2008 07:19:36 -0400 Reply-To: "Poetics List (UPenn, UB)" Sender: "Poetics List (UPenn, UB)" From: "Dr. Barry S. Alpert" Subject: Re: Bruce Conner, 1933-2008 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable MIME-Version: 1.0 Stephen=2C I was lucky enough to have had a lot of exposure to Bruce Conner's work=2C = starting when I was an undergraduate at Washington University in St. Louis= =2C where--prompted by writing about BC by Jonas Mekas and Susan Sontag--I = screened "Cosmic Ray" and "A Movie" within one of my film series. Most rec= ently=2C in conjunction with a large exhibition of work by Conner & his "as= sistants" Anonymous and Anonymouse=2C ten of his films were projected withi= n the Katzen Museum on the campus of American University in Washington DC. Unfortunately=2C I was never able to witness any of the "performances" he s= taged=2C as it were=2C within his personal life=2C and wonder whether you e= ver caught any of these. Or perhaps an in-person screening? The rumors an= d stories his behavior initiated were amusing=2C but I've never heard an ey= ewitness account. Can you supply one? Barry Alpert _________________________________________________________________ Making the world a better place one message at a time. http://www.imtalkathon.com/?source=3DEML_WLH_Talkathon_BetterPlace= =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Thu, 10 Jul 2008 08:01:37 EDT Reply-To: "Poetics List (UPenn, UB)" Sender: "Poetics List (UPenn, UB)" From: Kathleen Ossip Subject: WSQ issue on Technology MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Hello, As poetry editor of WSQ (Women's Studies Quarterly), a journal published by the Feminist Press, I'm currently reading submissions for our next issue, which will have the theme of Technology. Please consider sending unpublished poems that you feel fit this theme (including poems generated by technology and hypertexts which could be posted on WSQ's website). Send to me at ossipk@aol.com by August 1. WSQ has a wide readership of academics and is adopted for classroom use. I've been delighted to include poems by Rebecca Wolff, Maxine Chernoff, Christina Davis, Nicole Cooley, and Annie Finch, among others, in past issues. Thanks! Kathy Ossip ************** Get the scoop on last night's hottest shows and the live music scene in your area - Check out TourTracker.com! (http://www.tourtracker.com?NCID=aolmus00050000000112) ================================== The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Thu, 10 Jul 2008 11:26:56 -0700 Reply-To: jkarmin@yahoo.com Sender: "Poetics List (UPenn, UB)" From: Jennifer Karmin Subject: The Strangerer in NYC MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii hey nyc folk....GO SEE THIS PLAY! important and funny political work by a spectacular chicago theater group. onwards, jennifer karmin @@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@ Theater Oobleck presents THE STRANGERER One of the books on President Bush's 2006 vacation reading list was Albert Camus' absurdist tale of senseless murder, The Stranger. In hopes that the French philosopher might shed some light on the recent political clime - or vice versa - Mickle Maher's new play The Strangerer collides several of Camus' works with the first Bush/Kerry presidential debate in 2004. A murder mystery with the murderers in plain view, it asks one of the most important questions of our day: Why does our president want to kill a lot of innocent people? Performances July 9 - August 20 Tues thru Sat @ 7:30PM Sunday @ 2:30PM & 7PM Running time: 90 minutes at the Barrow Street Theatre 27 Barrow Street -- New York City (at 7th Avenue, South of Christopher Street) http://www.barrowstreettheatre.com Theater Oobleck has no Managing Director, no Artistic Director, no Technical Director, no Musical Director, no production directors. http://www.theateroobleck.com ================================== The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Thu, 10 Jul 2008 13:30:15 -0500 Reply-To: "Poetics List (UPenn, UB)" Sender: "Poetics List (UPenn, UB)" From: Tony Trigilio Organization: http://www.starve.org Subject: Registration reminder, The Beat Generation Symposium, Columbia College Chicago (Oct. 10-11, 2008) Comments: To: new-poetry@wiz.cath.vt.edu MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Hi everyone-- I'm writing with a reminder that registration is now being accepted for The Beat Generation Symposium at Columbia College Chicago. Please keep in mind that our pre-registration discount ends August 1. Conference fee for those who pre-register before August 1: $50 ($25 for Graduate Students, Independent Scholars, and Retired Faculty). After August 1, the fees are $100 and $50. We now have the option for registering by credit card. If you'd like to do this, call the Columbia Ticket Office at 312-344-6600, or register online at: www.colum.edu/tickets/index.php Thanks, and hope to see you there-- Best, Tony *********************************************** THE BEAT GENERATION SYMPOSIUM *********************************************** Please join us for a conference devoted to the literary and cultural legacy of the Beat Generation: "The Beat Generation Symposium," co-sponosored by the Beat Studies Association, the Columbia College Chicago English Department, Columbia College's Ellen Stone Belic Institute for the Study of Women and Gender in the Arts and Media, and Illinois State University. Friday, October 10, and Saturday, October 11, 2008. Location: Columbia College Chicago, Film Row Theater (1104 South Wabash Avenue, 8th floor). This is an academic Beat Studies conference to be held in conjunction with the Columbia College's Center for the Book and Paper Arts's Fall 2008 display of the Jack Kerouac ON THE ROAD manuscript scroll. The Beat Generation Symposium features panel discussions each day, with poetry readings by Joanne Kyger (October 10) and Diane di Prima (October 11). Panelists include John Bryant, Peter Cook, Terrance Diggory, Jane Falk, Amy Friedman, Deborah R. Geis, Nancy M. Grace, Tim Hunt, Rob Johnson, Ronna Johnson, Hassan Melehy, Timothy Murphy, Jennie Skerl, Matt Theado, Tony Trigilio, and more. Conference fee for those who pre-register before August 1: $50 ($25 for Graduate Students, Independent Scholars, and Retired Faculty). After August 1, the fees are $100 and $50. Checks should be made payable to Columbia College Chicago, and should be sent to: Columbia Ticket Center 33 East Congress St., Suite 610 Chicago, IL 60605 Ph: 312-344-6600 (fax 312-344-8470) columbiatickets@colum.edu To register by credit card, call the Columbia Ticket Office at the number above, or register online at: www.colum.edu/tickets/index.php A limited number of hotel rooms are available at the Homewood Suites by Hilton Chicago-Downtown, 40 East Grand Avenue, Chicago. This hotel is a very short cab or subway ride from the Columbia campus. The Homewood Suites prepared a special link for us to book online. Just click below and you'll find directions for reserving a room: http://homewoodsuites.hilton.com/en/hw/groups/personalized/CHIHWHW-CLC-20081009/index.jhtml It's important that you book your room as soon as possible, as the Chicago Marathon is taking place October 12. (We only discovered this convergence recently, after we'd already booked the featured readers.) A Visitor's Guide for the Beat Symposium is pasted below, with a list of nearby hotels. Columbia College Chicago is located downtown, in the heart of the city's South Loop neighborhood, and is easily accessible from these hotels by foot or cab. All major subway/El trains come into the South Loop, too, so it's possible to book hotels in other parts of the city and make it to the Symposium without difficulty. Mention that you're a Columbia College Chicago visitor to receive discounted rates at some of these hotels. It's crucial to book as soon as possible because of the marathon. For more information, contact Tony Trigilio at ttrigilio@colum.edu (312-344-8138). VISITOR'S GUIDE: THE BEAT GENERATION SYMPOSIUM Airports: O'Hare Airport (western suburbs) and Midway Airport (southern suburbs) are the two airports servicing the Chicgao area. They are approximately equidistant from Columbia College. Transportation: >From Midway Airport, take the Orange Line elevated train to Adams Street. From there, walk south on Wabash until you reach Congress Parkway. From O'Hare Airport, take the Blue Line to La Salle. Walk East on Congress (away from the Chicago Stock Exchange Building, which you'll see upon emerging from the subway) until you reach Wabash (about 5 short blocks). Use www.transitchicago.com's free Trip Planner service to plan the rest of your trips while you're here. Simply enter your starting point and destination, and Trip Planner gives you detailed directions. As of 2008, fares are $2.00 one-way with a $0.25 transfer. Each train station has kiosks where you can buy transit cards and reload them (cash only). The Blue Line and Red Line run 24/7; the other lines stop running for a few hours late at night. Taxis are available throughout the city. From Midway Airport to the English Department, cab fare would be approximately $25 and from O'Hare Airport cab fare would be approximately $50. If you need to call a cab, call (773) or (312) TAXICAB. Metra Trains service suburban areas. Visit www.metrarail.com for an updated schedule and fare list. LIST OF NEARBY HOTELS The Hilton and Towers 722 S Michigan Ave (0.2 miles from the English Department) (312) 922-4400 The Palmer House Hilton 17 E Monroe St (0.4 miles away) (312) 726-7500 or 1-800-HILTONS The Best Western Grant Park 1100 S Michigan Ave (0.6 mi) (312) 922-2900 Travelodge 65 E Harrison St (0.1 mi) (312) 427-8000 Hotel Blake 500 S Dearborn St (0.3 mi) (312) 986-1234 www.hyatt.com> Blackstone Hotel 819 S Wabash Ave # 606 (0.3 mi) (312) 447-0955 marriott.com The Silversmith Hotel 10 S Wabash Ave (0.4 mi) (312) 372-7696 silversmithchicagohotel.com Omni Ambassador East 1301 S State St (0.7 mi) (312) 787-3700 Embassy Suites Hotel Chicago-Downtown 600 North State Street (1.5 mi) (312) 943-3800 embassysuites.com Essex Inn Hotel 800 S Michigan Ave (0.3 mi) (312) 939-2800 essexinn.com Club Quarters: Hotel 111 W Adams St (0.4 mi) (312) 214-6400 clubquarters.com W Hotels-Chicago City Center 172 W Adams St (0.4 mi) (312) 332-1200 starwoodhotels.com Hostelling International Chicago 24 E Congress Pkwy (0.1 mi) (312) 360-0300 hichicago.org ================================== The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Thu, 10 Jul 2008 11:48:00 -0700 Reply-To: "Poetics List (UPenn, UB)" Sender: "Poetics List (UPenn, UB)" From: Eireene Nealand Subject: writing from the picket lines--any ideas about how to do a good job MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 7bit Content-Disposition: inline in just a few days the uc santa cruz workforce is going on strike and i'm trying to think about what to do with my students for the three days that we will be meeting on the picket lines. has anyone run into any ideas about how to do good political writing? and for this small moment, what small practical exercises students of varying engagements might engage in in order to connect with what they see and do there? there have been some good discussions amongst organizers and activists about what it feels good to shout: short truths. simple ones, sometimes with rhythm, but not necessarily so. bilingual shouting feels good somehow. but what ele? i want so much for all to go well here at this small strange universitiy with an illustrious history, and rapidly overtaking decline. eireene ================================== The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Thu, 10 Jul 2008 16:17:28 -0400 Reply-To: "Poetics List (UPenn, UB)" Sender: "Poetics List (UPenn, UB)" From: konrad Subject: Re: Bruce Conner's films MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII; format=flowed Stephen V wrote that: "Minimally, I believe, the work is distributed by Canyon Cinema. " Used to be, but in fact Bruce's film have been out of distribution for a year or so. If i were to make an educated guess, however, i would say that Canyon would be the place to look for them in the not too distant future. Canyon Cinema: http://www.canyoncinema.com/ [nothing of Conner's there now] You can click on something unauthorized on YouTube or UbuWeb i'm sure. You can also call me a film snob, but i hope that people get to see the work in a theater with good sound and picture. If you see them all compressed on your computer, it's like listening to Bach on a transistor radio at the beach. Easy to think, "so what?" konrad steiner http://www.kino21.org/ ^Z ================================== The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Thu, 10 Jul 2008 16:58:18 -0500 Reply-To: "Poetics List (UPenn, UB)" Sender: "Poetics List (UPenn, UB)" From: "Tribbey, Hugh R." Subject: CFP: Experimental Writing and Aesthetics MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: quoted-printable Call for Papers: Experimental Writing and Aesthetics =20 Abstract/Proposals by 1 December 2008 =20 Southwest/Texas Popular & American Culture Associations 29th Annual Conference Albuquerque, NM, February 24-28, 2009 Hyatt Regency Albuquerque Albuquerque, NM 87102 =20 Panels are now forming on topics related to Experimental Writing and Aesthetics in such areas as=20 =20 ! the aesthetics of experimental writing in any genre or in multi-genre/multi-media works including digital and graphic compositions involving language, =20 ! the poetics of performance of experimental compositions, =20 =20 ! critical studies of experimental writers and/or movements such as Foulipo or conceptual writing,=20 =20 ! fictocritical treatments or extended manifestoes, etc. =20 =20 Creative writers interested in the selective creative writing readings panels should contact Jerry Bradley, Creative Writing Readings Chair, via < http://www.swtexaspca.org >.=20 =20 Scholars, teachers, professionals, writers not affiliated with academic institutions, special undergraduates as well as graduate students, and others interested in experimental writing are encouraged to participate. Graduate students are also particularly welcome with award opportunities for best graduate papers. Individual presentations should be 15-20 minutes in length. =20 If you wish to organize your own panel, I will be happy to facilitate your scheduling needs. =20 Send abstracts, papers, or proposals for panels electronically with your email address by 1 December 2008 with "SW/TX PCA Submission" typed in the subject line to: =20 Hugh Tribbey, Area Chair=20 Literature, Experimental Writing and Aesthetics=20 Email: htribbey@ecok.edu =20 =20 Mailing Address: Dr. Hugh Tribbey Department of English and Languages East Central University 1100 E. 14th St. Ada, OK 74820 Phone: 580-559-5524; Fax: 580-436-3329 =20 Conference Website: < http://www.h-net.org/~swpca/index.html > (updated regularly) =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Thu, 10 Jul 2008 18:27:46 -0400 Reply-To: "Poetics List (UPenn, UB)" Sender: "Poetics List (UPenn, UB)" From: konrad Subject: SF: SAT 7/12/08, The New Talkies: live film narration Comments: To: kino21 localA-L Comments: cc: Experimental Film Discussion List MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII; format=flowed Quick reminder about our cabaret of benshi-inspired live film narration: The New Talkies Saturday July 12, 8PM Artists' Television Access 992 Valencia St SAN FRANCISCO presented by kino21 info at http://www.atasite.org/calendar/?x=2914 LINE UP / scenes from : Jaime Cortez Guess Who's Coming to Dinner? Douglas and Nicole Kearney Indiana Jones and the Temple of Doom Rodney Koeneke Mary Poppins David Larsen Logan's Run Cynthia Sailers The Passion of Anna Erika Staiti & Konrad Steiner Who's Afraid of Virginia Woolf? Clive Worsley Jeremiah Johnson http://www.kino21.org/ ^Z ================================== The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Thu, 10 Jul 2008 19:30:48 -0700 Reply-To: "Poetics List (UPenn, UB)" Sender: "Poetics List (UPenn, UB)" From: Catherine Daly Subject: cfw MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 7bit Content-Disposition: inline forwarded from elsewhere... Call for Poetry Submissions "Spiraled Connections: 40 years of Indigenous Journeys at UCLA" The American Indian Studies Center at UCLA is seeking poetry submissions for a fortieth-anniversary anthology commemorating its forty years of publishing books by and about Native peoples. We envision this anthology as a collection of materials by Indigenous poets directly connected to UCLA in the past forty years and those they have mentored or influenced. Our aim is to illustrate and celebrate the ways that Native people present at the core of the American Indian educational movement have radiated their innovation and empowerment out to the community in all directions. Submissions do not have to be education-oriented. Deadline: February 1, 2009 WHO CAN SUBMIT: Indigenous poets (having origin in any of the original peoples of North America and who maintain cultural identification through tribal affiliation or community recognition) connected in some way to UCLA (alumni, former/current professor/undergraduate/graduate/staff, folks previously published in AICRJ or other American Indian Studies Center publications) and those they have mentored or influenced. WHAT TO SUBMIT: Up to five poems (single spaced), not to exceed a total of ten typed pages. We are open to all poetic styles and forms. Poems in your Indigenous language will be considered but you must also provide English translation with your submission. What have we become in these past forty years of American Indian scholarship, education, community, intellectual, creative and academic adventure? Who have we become, who have we touched, how have we grown, transformed, helped each other, learned to negotiate the academy, our multiple roles and lives? How can we, as poets, express this Indigenous journey? SUBMISSION GUIDELINES: Please include name, email, phone, address, and a brief bio along with your submissions. While unpublished pieces are preferred, previously published material will be considered. If something has been previously published, please let us know where and when it was published, and whether you have the rights to your own material. HOW TO SUBMIT: Inquiries can be directed to Deborah Miranda: mirandad@wlu.edu. Deadline: February 1, 2009. Please send submissions with an SASE for response to: Deborah Miranda English Department Washington and Lee University 204 W. Washington St. Lexington, VA 24450 ABOUT THE EDITOR: Deborah Miranda is an Esselen/Chumash poet and scholar, currently an associate professor of English at Washington and Lee University in Lexington, Virginia, where she teaches creative writing, literature, and composition. She has published two poetry collections, Indian Cartography and The Zen of La Llorona; projects forthcoming are The Light from Carrisa Plains: A Tribal Memoir, and Written on the Bark of Trees: Praise Poems. -- All best, Catherine Daly c.a.b.daly@gmail.com ================================== The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Fri, 11 Jul 2008 01:14:27 +0000 Reply-To: "Poetics List (UPenn, UB)" Sender: "Poetics List (UPenn, UB)" From: AWAREing Press Subject: Carol Berge 1928 - 2006 In-Reply-To: <705336.47242.qm@web82605.mail.mud.yahoo.com> MIME-Version: 1.0 Content-Type: text/plain Content-Transfer-Encoding: 8bit Introducing myself before inviting you to visit www.carolberge.com would be a travesty. After all, Carol Berge (add an accent over the "e" please) was a forerunner in the rush to assemble and expand The Scene during the 1960s in Manhattan, as well as a recognized poet and author. Her awards include NEA and NYSCA fellowships and a Pushcart Prize for a story she published by Ed Sanders in her literary magazine CENTER. She also taught writing at universities nationwide. Over her lifetime she published 22 books of poetry, fiction and nonfiction, edited handsful of publications, and had her stuff published in over 200 little magazines. Info on her final short story collection, ANTICS, as well as the forthcoming Light Years anthology, can be found at her site. As for me, I'm a journalist and editor, and have 11 yet-to-be unpublished works copywritten with the LOC. My poetry is rough and I prefer doing fiction or essays. All of it's maybe too rough or avant-garde or far-reaching or ego-centric... I keep writing, as a compulsion and a therapy and an art form. Feel free to write, say hi, etc. My interest in your group stems from a mention of Carol Berge, alongside other notable poets, electronically preserved on your listserv from 1999. If only we could keep e-versions of ourselves! But that's further off than cryogenics, if scientists are correct. And if perception is objective, as a concept. Anyway, thanks for the group and long live poetics. James Beach, editor AWAREing Press ================================== The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Fri, 11 Jul 2008 08:29:27 -0500 Reply-To: "Poetics List (UPenn, UB)" Sender: "Poetics List (UPenn, UB)" From: Douglas Manson Subject: Re: writing from the picket lines--any ideas about how to do a good job In-Reply-To: <578647560807101148l627ea2bu1fc08d3baacac2c8@mail.gmail.com> MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 7bit Content-Disposition: inline Gmail is crazy-- it reads your email and generates advertising. Here is the sidebar included with your email (AND I DO NOT ENDORSE ANY OF THIS CRAP): *Replacement Workers*Strike/Crisis/Contract Staffing. Call PMG at (866)522-6701. www.pmgroup1.com *USA Strike Security*Security Officers, Transportation Qualified Replacement Workers www.imacservices.com *Strike Lockout:8008341720*Replacements Security Transport Planning and Impementing The Best www.modernindustrialservices.com *Choose your own adventure*Help write the story one snippet at a time www.1000000monkeys.com *Write a Book in a Year*Use this workbook & formula & you Will write your book - It Works www.WriteABookInAYear.com This is the price you pay for 6.9 gigs of storage!!! I really wanted to work at Santa Cruz. I applied for an assistant professor position there in the fall of 2006. I guess, had I been hired, I'd be with you on the lines. It's sad to hear about this. The Special Collections Library holds the Kenneth Patchen archive--I recommend using his great picture-poems as posters, enlarge them with a giant color printer! Show the world all the color and creativity of what the school can offer & can be--not what it doesn't seem to be able to, or refuses to be-- New Directions is publishing two collections of his 50s-60s verbal visual works this month. sing out! Doug On Thu, Jul 10, 2008 at 1:48 PM, Eireene Nealand wrote: > in just a few days the uc santa cruz workforce is going on strike and > i'm trying to think about what to do with my students for the three > days that we will be meeting on the picket lines. > > has anyone run into any ideas about how to do good political writing? > and for this small moment, what small practical exercises students of > varying engagements might engage in in order to connect with what they > see and do there? > > there have been some good discussions amongst organizers and activists > about what it feels good to shout: short truths. simple ones, > sometimes with rhythm, but not necessarily so. bilingual shouting > feels good somehow. > > but what ele? > > i want so much for all to go well > > here at this small strange universitiy with an illustrious history, > and rapidly overtaking decline. > > eireene > > ================================== > The Poetics List is moderated & does not accept all posts. Check guidelines > & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html > -- www.myspace.com/inksaudible www.dougfinmanson.blogspot.com ================================== The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Fri, 11 Jul 2008 09:22:13 -0700 Reply-To: "Poetics List (UPenn, UB)" Sender: "Poetics List (UPenn, UB)" From: Jane Sprague Subject: Long Beach Notebook: Ackerman, Donovan, Halpern 7/12/08 @ 8:00pm MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Dear Friends in or near Long Beach & Los Angeles: Please join us next Saturday, July 12 2008 in Long Beach, California to hear the work of Amanda Ackerman, Thom Donovan and Rob Halpern. Long Beach Notebook begins at 8:00 pm. The event takes place at the home office of Palm Press: 143 Ravenna Drive, Long Beach, CA 90803 (use = Mapquest or Google Maps for directions). *** Amanda Ackerman lives in Los Angeles where she writes and teaches. She = is co-editor of the press eohippus labs. She is a member of UNFO (The Unauthorized Narrative Freedom Organization) and writes as part of Sam = or Samantha Yams. She is also a member of the event space Betalevel. Her = work has been published or is forthcoming in flim forum; String of Small Machines; The Physical Poets; WOMB; and the Encyclopedia Project, Volume F-K. With Harold Abramowitz, she is also co-author of the book Sin is to Celebration, soon to be published by House Press in the fall. Thom Donovan lives and works in Manhattan, where he edits Wild Horses of Fire blog (whof.blogspot.com), curates the events series Peace On A, and coedits ON, a new magazine for contemporary practice. He attended the Poetics Program at SUNY-Buffalo and is an ongoing participant in the = Nonsite Collective. Rob Halpern is the author of Rumored Place, Imaginary Politics, and Snow Sensitive Skin (co-authored with Taylor Brady). Disaster Suites will be published this Summer by Palm Press. He's currently co-editing the = writings of the late Frances Jaffer together with Kathleen Fraser, and = translating the early essays of Georges Perec, the first of which, "For a Realist Literature," can be found in the recent issue of Chicago Review. He = lives in San Francisco. *** From Disaster Suites by Rob Halpern: This war Of want Says what I want To say To you Of dreams Or need We need Not speak To speak Of wars Of want I come To love So late To you My lost - marine. *** from O Coevals by Thom Donovan We witness bells that this was theirs That shade equals sun in exquisiteness Non-identities piling up like pylons A physics without cars beings without Impact move to what here to what Their equated it I feel so much pressure Around you to burn a discourse and not Touch any time we were or event Living us so live my life will never finish What my death leaves unfinished this Town never seems to work those sovereign Stumps sing us into battle effects Of power fires hymns even the sun Forgot to burn so sing patiency which Organs won't be consumed what ex change won't always be sung for being Too far from off-shore what bodies we Haven't won't account for limbs little Substances Nature complicit with who Gets to live grieves its contrivance. *** from Amanda Ackerman: Here on fire we remove the husk of the seed with the aching to peel back with the aching to hear; to touch is to look, the seed looks like and = says this: It is spring, but my corn does not want to sell her rooster. If I wait another year, the rooster will be considered old, quite old, very old. = And having been an upright and tireless citizen his whole life, always = dressed in devoted red, always smelling like humid, dank gems and unbottled = musk, the rooster will start to make up stories about how he fought in the = war, welded the sides of tanker ships, wore a shattered, sandy green army = helmet. Then no one will want to buy him, it's just a matter of timing. Let = him stay and my lips will keep moving, turn the shapes of fortified roots, = and I can stay forever awake in the dark folds of nucleotides, always siding = with what is right, always siding. *** See you then... www.palmpress.org =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Fri, 11 Jul 2008 09:53:08 -0700 Reply-To: "Poetics List (UPenn, UB)" Sender: "Poetics List (UPenn, UB)" From: Stephen Vincent Subject: More Good Stuff on Bruce Conner Comments: To: UK POETRY , Poetryetc@yahoo.com, poetry and poetics , INVALID_ADDRESS@.SYNTAX-ERROR MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Some want to hear more good stuff on Bruce Conner - maker of films, photographer, sculptor, painter, printmaker, occasional San Francisco politician, well, today in Leah Garchik's collumn: http://www.sfgate.com/cgi-bin/article.cgi?file=/chronicle/archive/2008/07/11/DDI511LPR7.DTL In 1967, Conner ran for the Board of Supervisors in San Francisco. He described his business or occupation as "Nothing. My qualifications for said office are as follows: The light of the body is the eye; therefore when thine eye is single, they whole body also is full of light; but when thine eye is dark, they body is full of darkness. Take heed therefore that the light which is in thee be not darkness. If thy whole body be full of light, having no part dark, the whole shall be full of light, as when the bright shining of a candle doth give thee light. For there is nothing covered, that shall not be revealed; neither hid, that shall not be known." Followed by a lovely conversational account by Michael McClure of going from Kansas to NYC with Bruce Conner in their teens to up with Robert Motherwell in the summer of 1951, as well as accounts of his runs for the Board of Supervisors. http://www.sfgate.com/cgi-bin/article.cgi?f=/c/a/2008/07/11/DDKA11LE22.DTL&hw=Kenneth+Baker+Bruce+Conner&sn=001&sc=1000 Kenneth Baker's good piece on Connor the person(s), also in today's Chron. Of course, for additional stuff, one can always Google! Stephen Vincent http://stephenvincent.net/blog/ ================================== The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Fri, 11 Jul 2008 12:16:50 -0700 Reply-To: "Poetics List (UPenn, UB)" Sender: "Poetics List (UPenn, UB)" From: Joel Weishaus Subject: Carol Berge 1928 - 2006 MIME-Version: 1.0 Content-Type: text/plain; format=flowed; charset="iso-8859-1"; reply-type=response Content-Transfer-Encoding: 8bit ----- Original Message ----- From: "Joel Weishaus" To: Sent: Friday, July 11, 2008 9:28 AM Subject: Re: Carol Berge 1928 - 2006 Carol died? I have some wonderful memories of that woman. This is a postcard I received from Judson Crews, July 9, 1988: "Back in US. I was suddenly reduced to nothing more than a 'local poet.'Carol Bergé said to me, 'You ass-hole, what do you think? Do you think the word does not get around?' I was so stunned it never occurred to me to wonder 'what word'? But how stunningly true it seems more and more. My work, absolutely is better than it has ever been). But it is, almost, as if I were Rimbaud, crawling back to Paris to die." Best, Joel > ----- Original Message ----- > From: "AWAREing Press" > To: > Sent: Thursday, July 10, 2008 6:14 PM > Subject: Carol Berge 1928 - 2006 > > >> Introducing myself before inviting you to visit www.carolberge.com would >> be a travesty. After all, Carol Berge (add an accent over the "e" please) >> was a forerunner in the rush to assemble and expand The Scene during the >> 1960s in Manhattan, as well as a recognized poet and author. Her awards >> include NEA and NYSCA fellowships and a Pushcart Prize for a story she >> published by Ed Sanders in her literary magazine CENTER. She also taught >> writing at universities nationwide. Over her lifetime she published 22 >> books of poetry, fiction and nonfiction, edited handsful of publications, >> and had her stuff published in over 200 little magazines. Info on her >> final short story collection, ANTICS, as well as the forthcoming Light >> Years anthology, can be found at her site. >> >> As for me, I'm a journalist and editor, and have 11 yet-to-be unpublished >> works copywritten with the LOC. My poetry is rough and I prefer doing >> fiction or essays. All of it's maybe too rough or avant-garde or >> far-reaching or ego-centric... I keep writing, as a compulsion and a >> therapy and an art form. Feel free to write, say hi, etc. My interest in >> your group stems from a mention of Carol Berge, alongside other notable >> poets, electronically preserved on your listserv from 1999. If only we >> could keep e-versions of ourselves! But that's further off than >> cryogenics, if scientists are correct. And if perception is objective, as >> a concept. Anyway, thanks for the group and long live poetics. >> >> James Beach, editor >> AWAREing Press >> >> ================================== >> The Poetics List is moderated & does not accept all posts. Check >> guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html >> > ================================== The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Fri, 11 Jul 2008 10:16:24 -0700 Reply-To: "Poetics List (UPenn, UB)" Sender: "Poetics List (UPenn, UB)" From: Stephen Vincent Subject: Re: Bruce Conner's films In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Thanks, Konrad. In fact, yesterday, I heard Conner had withdrawn his films over three different times in the course of his relationship with Canyon Cinema. Apparently a flip-flop tradition among a few others at Canyon Cinema, as well, including the long now disappeared Ben VanMeter who made such great stuff in the Sixties, And right, Good screen, good sound = best. Recently I heard Maurice Subotnik say the IPod has become the ultimate diminishment of an original, recorded perfomance. What seems like ultimate democracy (Ipod, Netflix, etc.) = pale horse, pale rider. Stephen V konrad wrote: Stephen V wrote that: "Minimally, I believe, the work is distributed by Canyon Cinema. " Used to be, but in fact Bruce's film have been out of distribution for a year or so. If i were to make an educated guess, however, i would say that Canyon would be the place to look for them in the not too distant future. Canyon Cinema: http://www.canyoncinema.com/ [nothing of Conner's there now] You can click on something unauthorized on YouTube or UbuWeb i'm sure. You can also call me a film snob, but i hope that people get to see the work in a theater with good sound and picture. If you see them all compressed on your computer, it's like listening to Bach on a transistor radio at the beach. Easy to think, "so what?" konrad steiner http://www.kino21.org/ ^Z ================================== The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ================================== The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Fri, 11 Jul 2008 16:52:36 -0500 Reply-To: "Poetics List (UPenn, UB)" Sender: "Poetics List (UPenn, UB)" From: Hugh Margemont-Robinson Subject: Re: writing from the picket lines--any ideas about how to do a good job In-Reply-To: <578647560807101148l627ea2bu1fc08d3baacac2c8@mail.gmail.com> MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 7bit Content-Disposition: inline have your students read this: http://www.bookforum.com/inprint/015_02/2458 Then have them convey what literature they consider political. Then ask them what elements give said literature a political nature. What differentiates a political novel from an introspective one? Private v. Public? Just a thought On Thu, Jul 10, 2008 at 1:48 PM, Eireene Nealand wrote: > in just a few days the uc santa cruz workforce is going on strike and > i'm trying to think about what to do with my students for the three > days that we will be meeting on the picket lines. > > has anyone run into any ideas about how to do good political writing? > and for this small moment, what small practical exercises students of > varying engagements might engage in in order to connect with what they > see and do there? > > there have been some good discussions amongst organizers and activists > about what it feels good to shout: short truths. simple ones, > sometimes with rhythm, but not necessarily so. bilingual shouting > feels good somehow. > > but what ele? > > i want so much for all to go well > > here at this small strange universitiy with an illustrious history, > and rapidly overtaking decline. > > eireene > > ================================== > The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html > -- HMR WAX RETINA W/ POLISH OF THE NOW ================================== The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Fri, 11 Jul 2008 20:47:06 -0400 Reply-To: "Poetics List (UPenn, UB)" Sender: "Poetics List (UPenn, UB)" From: Doug Holder Subject: Passing Time with the Boston Poet Laureate Mime-Version: 1.0 Content-Transfer-Encoding: quoted-printable Content-Type: text/plain; charset="windows-1252" Friday, July 11, 2008 Passing the time with Boston Poet Laureate Sam Cornish.=20 http://dougholder.blogspot.com=20 Passing the time with Boston Poet Laureate Sam Cornish. Doug Holder Sam Cornish, the Boston Poet Laureate, invited me to his office to chat b= efore=20 participating in another meeting we were involved with later in the day w= ith=20 Boston-area poetry activists. On the subway, on the way to the meeting, I= =20 read through a collection of Cornish=92s that I picked up at the Grolier = Poetry=20 Book Shop some time ago: =93Cross A Parted Sea.=94 Cornish writes about=20= everything from Pullman Porters, sharecroppers, Jackie Robinson, Martin L= uther=20 King, his father, etc. He does it with just the right amount of raw energ= y and=20 the Blues, and his choice of words packs a wallop, or at times a well- appointed sucker punch: Case in point: Dog Town Slim Our grandfathers were=20 hard as nigger sweat writers=20 that drank the muddy waters of Mississippi and the Congo traveled the world in books foot& fist through=20 Dunbar Douglass Johnson And Hughes no Uncle Toms but men on Grand Street or Lenox Avenue left bank or after hours joint upside the heads of Gentiles of Crackers or to Spain fuck fascism and the Krauts their lives so crazy that women wrote about them made a music called the blues. Sam Cornish=92s office is in the back of the audiovisual department in th= e=20 basement of the Copley Square Branch of the Boston Public Library. Cornis= h is=20 an affable, warm, and modest man, making him an easy person to talk to an= d=20 open up to. Cornish, like the former U.S. Poet Laureate Robert Pinsky, is= all=20 about community and outreach. From talking with Cornish I got the impress= ion=20 he is not interested in getting more PR for the mandarins of the poetry w= orld.=20 He wants to reach what he calls the =93Boston Underground,=94 which he de= fines=20 as the community of poets and writers outside the academy. This is a=20 population who publishes little magazines and books, writes for the love = of it=20 and are not careerists. He feels that these =93holy fools=94 should get s= ome=20 recognition as well. Cornish wants to address the larger question =93Why = does=20 poetry matter?=94 He wants show that poetry is an essential element of so= ciety.=20 It is more than foundation grants, book contracts, and plum teaching posi= tions. Later Dales Patterson (Boston Library Foundation), Harris Gardner (Tapest= ry of=20 Voices), Lo Galluccio (Poet Activist, Ibbetson Update Book Reviewer, and=20= author), Joe Bergin (Carpenter Poets), and Kate Finnegan (Kaji Aso Studios) came t= o=20 discuss the process of getting grants for pet projects of Cornish=92s, an= d other=20 proposed projects by group members. Some interesting ideas were thrown ou= t=20 like: poetry performances at the old Strand Theatre in Dorchester, a smal= l=20 press book fair, readings in coffee shops across the city, thematic cross= - cultural readings, paid visiting poets conducting workshops for neighborh= ood=20 youth, you name it=85 Dale Patterson, a well-seasoned grant writer, plans= to=20 work up a draft proposal that hopefully will wind up in the willing hands= of a=20 number of foundations. It was great to be with these enthusiastic folks who took time out of the= ir=20 very busy lives to volunteer their respective talents in promotion of the= word.=20 Like Robert Pinsky, Sam Cornish is a great laureate, a man of the people,= and=20 his hands are on the pulse of the city. When I lived in Brighton years ag= o I=20 used to see him walking the streets, his inquisitive, searching eyes scan= ning=20 the city behind thick glasses. Cornish mentioned the book =93Walker in th= e City,=94=20 by Alfred Kazin. Kazin was a keen observer, a lover of the ebb and flow o= f the=20 eclectic, teeming city streets. This is exactly what Cornish is, and what= I=20 admire about the man. Cornish has walked the walk and he has earned the=20= right to talk the talk. I think Boston had the right idea supporting and funding this position. I= can=20 only hope that my hometown of Somerville will be infused with the same=20= wisdom and fund a position such as this. --Doug Holder =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Fri, 11 Jul 2008 22:01:21 -0400 Reply-To: "Poetics List (UPenn, UB)" Sender: "Poetics List (UPenn, UB)" From: Geoffrey Gatza Subject: Marshmallow thingy and god Comments: To: British & Irish poets , ImitaPo Memebers , Poetryetc poetry and poetics Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit Geoffrey Gatza reads from his book Not So Fast Robespierre published by Menendez Publishing. The Rooftop poetry club recorded it and is streaming online at http://www.buffalostate.edu/library/rooftop/ Reading line up: Richard Owens Michael Sikkema Geoffrey Gatza Here is the link to the book (hard cover): http://www.lulu.com/content/1767006 Also available from Amazon in soft cover. Best, Geoffrey ================================== The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Fri, 11 Jul 2008 19:29:52 -0700 Reply-To: hughsteinberg@yahoo.com Sender: "Poetics List (UPenn, UB)" From: Hugh Behm-Steinberg Subject: Book review advice In-Reply-To: <005d01c8e372$47644670$6700a8c0@toshibauser> MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: quoted-printable Hi, I'm thinking of adding a unit on book reviews to a class I teach.=A0 Can an= yone recommend any good articles/essays/books on the subject?=A0 I'm especi= ally interested in pieces that address the craft of reviewing, both practic= al how-to stuff and more critical theoretical and/or cranky pieces. Many thanks, Hugh Behm-Steinberg =0A=0A=0A =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Sat, 12 Jul 2008 17:21:21 +1000 Reply-To: "Poetics List (UPenn, UB)" Sender: "Poetics List (UPenn, UB)" From: Alison Croggon Subject: Theatre Comments: To: UK POETRY , British & Irish poets MIME-Version: 1.0 Content-Type: text/plain; charset=WINDOWS-1252 Content-Transfer-Encoding: quoted-printable Content-Disposition: inline Now out from Salt Publishing: THEATRE by Alison Croggon Alison Croggon's bold new collection, Theatre, uses a range of narratives, fables, monologues and compressed lyrics to examine female identity and the idea of divine experience. Stepping confidently between different registers and a wide range of forms, Croggon's poetry shows a writer at the height of her powers narrating a female world of folk tales, trials, challenges, transgressions, and mythologies, where rites of passage are both linguistic= , spiritual and political, and where persona is stripped back to an essential humility always journeying into fragile and impossibly beautiful worlds. Available online at http://www.saltpublishing.com/shop/proddetail.php?prod=3D9781844714186 Alison Croggon's poetry is distinguished by passion, intelligence and an intense moral honesty that does not consist of statements about things, or = a drawing up of attitudes to this or that, but of a commitment to understanding the ways poetry - the language of poetry - enables us to understand. We have, as she says, "perfected the technologies of harm" and will most likely carry on doing so. But the same prose poem, History, goes on: "In unguarded moments I found myself longing for the dazzling conceits of civilisation to be actual, for the profound and bloody pleasures which underlay them." The marvellous sequence that ends the book, Translations from Nowhere, itself ends with "an eyelid / snapping open, dazzled, full". That fullness and that dazzling characterise all work. - George Szirtes Theatre is the apt title for such poems. Alison Croggon is gifted with a rare capacity, negative capability: not so much, as for Keats, one that allows the poet into the life of the sparrow on the gravel, but a capacity to feel her way into the voices of others, from Iseult or Sor Juana to the uncanny, unhomed voices of Translations from Nowhere. But as with the best theatre, it is Croggon's care for language, its singularities and its musics, that makes these poems inimitable. Through it all, an ummistakeable note is sounded, wrapping through the many voices the tones of joy and desolation, water and wind on stone. - David Lloyd To the mere spectator, it might appear that in this Theatre the poet is delivering her lines. She is not! This is a theatre in which there is no script, no actors, no representation. It is a place of first principles, born from, and belonging to, the poet. From her stage there come no answers= , indeed, no questions. The latter are for you to ask yourself when you realize and understand the complete lack of pretence in her words =96 "if I have been asleep" =96 And like Alison Croggon, responsibly, I also want to wake up, remove my masks, my costumes, and step out into the generative presence of real life. Clearly, it is the poet's language that allows this. She knows that the spotlight is never on the stage but, rather, on the audience: Her art's onl= y illumination is what it illuminates in you. - MTC Cronin --=20 Editor, Masthead: http://www.masthead.net.au Blog: http://theatrenotes.blogspot.com Home page: http://www.alisoncroggon.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 The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Sat, 12 Jul 2008 09:52:16 +0100 Reply-To: "Poetics List (UPenn, UB)" Sender: "Poetics List (UPenn, UB)" From: Daniel Kane Subject: Re: Bruce Conner MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 7bit Content-Disposition: inline There's a lot of info on Conner's relationship to Canyon in Scott MacDonald's *Canyon Cinema: The Life and Times of an Independent Film Distributor *(U of California Press, 2008). best --daniel ================================== The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Sat, 12 Jul 2008 04:58:58 -0700 Reply-To: "Poetics List (UPenn, UB)" Sender: "Poetics List (UPenn, UB)" From: David Chirot Subject: re Bruce Connor--from memory & ny times today MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 7bit Content-Disposition: inline *MOVIES * | July 12, 2008 * An Appraisal: An Artist of the Cutting-Room Floor * By MANOHLA DARGIS Bruce Conner's ecstatic films were at once salvage projects and assertions of individuality in an increasingly anonymous age. in memory/memorium Bruce Connor-- I had the good fortune to meet Bruce Connors a number of times. We talked about the use of found materials and Assemblage, which are effective ways to take very serious things such as atomic blasts and other "iconic images of history" and turn them into comedy. ("Some things are so serious all one can do about them is laugh"--Werner Heisenberg. This was also the time period of Dr Strangelove, after all.) The article notes Connor's citing the influence of the Marx Brothers, but one may go much further back into the silent era--to the Lumiere Brothers and Melies' uses of "trick effects"-- and later on, Buster Keaton. For example with his deadpan style (a "mock obectivity" in a sense)- would use "documentary" materials to create "comic effects." In Keaton, the fictional is simultaneously documentary as he designed the stunts and performed them, which are "documented" as his passing through many levels of film, projection, reality/documentary and fiction and dream. ( In The Cameraman, and Sherlock Jr especially, which has sequences rivalling any of the later Surrealist classics.) Joseph Cornell had worked much earlier in the use of assemblage &/found materials in film, and Connor's films reminded me of a kind of very speeded up approach to the dream-like associations which Cornell creates in his boxes and movies. The review notes Connor as a precursor to MTV--actually I think that TV had a lot of influence on Connor's films, in the way that Richard Lester, who made the Beatles' Hard Day's Night, came out of television and brought with him the speeded up collision of action, images, comedy and a "documentary feel" by filming on sight in an an unadorned, off the cuff manner, At the time, this was "slumming" in a sense was new to the movies, though a staple of TV--and was fitting that it arrived in film with the Pop sensibilities of the times,which one sees in the early Connor films. I remember talking with Bruce Connor about the influence of advertising from TV and film in his work. My parents never had a TV (i didn't have one until almost thirty, an old junker found on the street) so TV when I saw it made quite an impression. The use of the strobe effects --which Dr Harold Edgerton at MIT had been working on for a long time, his own documentary fotos becoming considered as "Art"--(the famous drop of milk, or bullet crashing through a board etc)--was a big thing--Brion Gysin and Burroughs worked with something similar with flicker Dream Machines, and the police had them already long in use, though for an effect quite opposite to what filmmakers, writers, artists and psychedelians were after. I think because he worked with Assemblage, writing about Connor, and thinking back to talking with him--is like opening an immense trunk of associations with other time periods in cinema, TV, photography and art, "high," "low" and kitsch. In a sense the films become launching pads for the viewer's own associations of series of images, allusions, references, which like the flicker effect, are both "there' and "not there<" yet also "there" in the sense of "after images, after effects." It sets up a Dream and Time Machine effect in the vast storehouses of the Museum in the Mind so to speak, the Cinematheque of the Photographic memory so to speak, the Archeology of the Vast Junkyards of celluloid, IMAGE and reproductions that accumulates with such incredible speed and in the process begins to create its own "memory movies" or what Jack Kerouac, who wrote obsessively of Memory and Time, called in terms of writing--"Book Movie, the original American form." In a sense, watching a film like some of Connor's is actually being the screen onto which the film is projected as one is watching it. That is, the film begins taking place "before one's very eyes" and starts to trigger other images, ghostly, "after images," things there and not there, glimpsed and then lost, a hide and seek flickering in the stroboscopes of the viewer's own Cinema of Found Footages and Dusty Old Memories Dusted Off. Some of the earliest film criticism made much of the going to the movies experience as a way in which a large number of persons entered into a darkness like sleep--and when the curtain went up so to speak, it was the opening of the eyes of the consciousness present at the playing out of a dream. Using found footage and methods from Assemblage, Connor's films take "popular images, icons of the culture" and play at once on their "documentary" and "dream" qualities. This is a quality which has Haunted so to speak Photography and Cinema since they each made their first appearances before human eyes. The range of effects from the Comic to the Tragic is very vast indeed, and at the same time that distance can be "speeded up" by the collisions of juxtapositions, montage, Assemblage and the kind of Pop feeling that is already present in the Cubist paintings making use of chair canings and newspaper ads, which themselves made use of the "documentary" and "advertising" qualities of the photographic image. In the Cinema of Assemblage, as in Connor's films, one can see and learn how al these elements can be unpacked, repackaged and unpacked , deconstructed, all very fast, "right before one's very eyes" and thus creating so often the Comic effect. The Newsreel turns into the old one reelers of Silent Comedy and images perform a fast "action packed" series of slapstick routines. Like a Cornell box, a Connor film is a journey into an what I call the Anarkeyology of Images, the Strata of Allusions and Associations which "immediately recognizable" images and effects can trigger in the viewer's consciousness, a Journey into the "Photographic Memory" of the Age of Image Saturation which makes use of a new language of Visual Shorthand, The Visual Shorthand--greatly expanded by International Signs without Words used in buildings, buses, trains, planes, bathrooms, elevator, just about everywhere one looks--by its "pointing" to a word in a myriad different languages--returns one to times before mass or common literacy, n which the gigantic, incredibly complex Cosmologies of different spiritual traditions are conveyed for the "instruction and delight" of the illiterate, who are made in these way extremely literate in terms of the understanding of communication-via-images, icons, signs, which, pre-Cinema and TV, creating their own form of Conceptual Cinema in the mind of the viewer. That is, "reading" the visual signs, the visual shorthand, the viewer is taking "still" images and galvanizing them --and at the same time, is galvanized by these images-- into speeding trains of associations, allusions, concepts, memories The "illiterate" mind itself becomes that Cinema into which the spectator of the early essays on the Cinema-as- Dream- Theater walks. Since the images and icons are collectively known, this proto-Cinematic viewer experiences simultaneously a "personal" viewing and a collective one, just as the cinema audience attends both a personal and a public cinema. In Bruce Connor's films one finds articulated very clearly this combing of the individual viewing of the images, icons, visual shorthand, and the public, collective "attendance" of the spectator in the cinema. The Cinema of the individual mind and the Cinema of the "movie going public" are "brought together" via his work with the art of Assemblage. And they gesture also to what is "built into" Assemblage--that is, in taking note of the various objects, images, time periods, allusions which go into creating the Assemblage, one begins while viewing to already anticipate if not already beginning, to unpack the Assemblage and with each element find that it is triggering a myriad new Assemblages in the memory, imagination and thoughts. An Assemblage as Film both "comes together" and "comes part"," while it is "taking place," much as the strobe effect alternates between presenting an image, and presenting its disappearance, in high speed succession. so that even a completely "still image," when viewed by Assemblage or strobe, becomes galvanized into a "Movie," a "Moving Picture," which in turn produces the "moving effects" of emotions triggered into their own "actions on and in the spectator, who becomes both a screen and an actor, and eventually, via the galvanized associations of "Photographic Memory," a form of Conceptual Director in the Cinema of the Mind. (Which Andre Malraux called "the Museum without Walls," that repository of images and image-junk in the brain of the viewer/director/Assembler.) To me what is part of the magic (which is also another early metaphor for Cinema) of Connor's films is the way in which the Assemblage is such an incredibly well packed and unpacking (like the Toni Basil film of her mentioned in the review, dressed and undressed)--putting together//taking apart of not only the Connor film itself that is "before one," but also of the Cinema that is "within one." In this Assemblage,disassemblage/re-assemblage both on screen and in the viewer's mind, there is an Assemblage of the experiences, memories, concepts, history of the Movies and Movie-Going, and how these are continually presenting an Anarkeyology of the "development" so to speak of the Art of Looking. Connor's films are often at the same time teaching one more about the History of Looking in terms of photographic/cinematic/advertising/TV/art images and the inner history of one's own many lives among these. All these Assemblages "come together" and then--"depart" as a part of and apart from the films. And that ongoing Assemblage is the "legacy of Bruce Connor," an Assemblage ongoing in his works and their effects in the Cinemas of the Mind of the myriads of their viewers. And that's how he is ongoing in the mind of memory also, in thinking of him--not as a "stilled image," but as an ever ongoing "one," Assembled in the remembered by myriads person of Bruce Connor and his "body of work." ================================== The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Sat, 12 Jul 2008 06:52:39 -0700 Reply-To: "Poetics List (UPenn, UB)" Sender: "Poetics List (UPenn, UB)" From: David Chirot Subject: Re: writing from the picket lines--any ideas about how to do a good job In-Reply-To: <578647560807101148l627ea2bu1fc08d3baacac2c8@mail.gmail.com> MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 7bit Content-Disposition: inline Dear Eireene-- I keep thinking of Eisenstein's classic film STRIKE-- Eisenstein was very interested in/influenced by literature, including the study of Chinese ideograms. A study of a film like STRIKE is a guide to many forms of Modernist ways of presenting a strike in its various stages of development. Another useful guide from Eisenstein are his essays --among them for example, in FILM ESSAYS "The Method of Making Workers' Films, " "Lessons from Literature," "More thoughts on Structure" and esp "Perspectives." All of these are concerned with a dialectics of presenting the political clearly and at the same time not neglecting his very deep concerns with form. He uses often examples drawn from political life- such as orators and their differing uses of language, rhetorics, volumes and tones of voice, the uses of face and gesture to convey meanings and emotions, and how this is to be conveyed via the medium of film, which for him is drawn in many ways from writing and song. Mayakovsky's "How are Verses Made" is also excellent in this regard-- (the drawback of especially the latter for students might be Mayakovsky's Communism--though Mayakovsky is every bit as flamboyant and fascinating charismatic a figure as Che--as you know--and so that might mitigate the circumstances of the ideology--who knows? Actually there's some excellent reportage and writing on strikes and picket lines, which makes use of real and fictional persons, documentary materials in "News Reels" and subjective viewpoints in the "Camera Eye" sections-- and the first hand experience of the author--in an American context--John Dos Passos' USA trilogy. In the "Newsreels" Dos Passos combines popular songs of the time, newspaper headlines, faits divers, strange weather, a multitude of simultaneous "news items" in order to give a "movie" "take" on the events in which the characters are involved--among the most focused on being organizing and strikes, writing of reports and propaganda leaflets, and pamphlets explaining reasons for actions, as well as he provides many bios of Labor leaders and agitators which are very inspiring--people like Big Bill Heywood, etc-- The picketing and protests by millions around the world during the Sacco and Vanzetti Trials also plays a big part. There are also a lot of Labor newspapers from various points of view that are easy to find and the Catholic Worker which often has very good reporter on picketing and strikes. These give a kind of shorthand of how to present the reasons for the strike, the unions and companies involved, the major issue at stake for that immediate community and the wider scope often brought in today of Globalization and Global Warming and how these are related to a specific place, event, population and the environment socially, economically and ecologically. Another factor to bring up is the psychological morale of strikers--what their emotions and hopes or despairs are in the current situation, what they look forward to being "happier about" if they win some ground, and what they risk "feeling alot worse about" if their demands are not meant, or only minimally. Once you establish this "setting" s to speak, it becomes a series of decsisions on the writer's part which aspects they choose to handle in "close up"--how they want to frame within the frame individuals of groups of persons, how to show the interplay of conflicting forces--how a strike is also a form of street theater--with its own given rhetoric's, uses of signs, costumes, music, marches or standings-- Any form of strike or picketing today requires a discussion or presentation, even if very brief, of the issues at stake both in the specific site, and how this fits into a series of "pictures" national and international, since the globalized economy, as well the workers, are trying to balance a simultaneous fragmentation with an overwhelming force that tries to draw everything into tighter and tighter concentrated centralization's of funding and power. Speaking of funding--what funds do the picketers draw on while on strike--how does this play into the length of time they have the ability to strike without hardships beginning? How does this effect the bargaining and negotiations? A lot of strikes also got turned into songs and some into poems--so labor songs and union and protest songs are a another way of studying how to write of the events. Since what is being undertaken is a collective event made up of many individual decisions, just going around interviewing people with the information one has is a good way to intermix the personal, subjective "human interest" aspects against the "greater picture and background" of the effort as a whole. A lot of really good ways to get some ideas are to look for articles or books which have to do with strikes also in terms of issues which are both about the work place and larger issue--for example from Feminist history, Civil rights history, student protests and strikes, any kind of specific demography oriented action to see how a strike is handled in being written about when it is involving more than one issue--any strike may have several issues involved, of which the one in the workplace is but a way to focus al of them and set them all into movement as --a Movement. The "street theater" aspect means that in writing of events such as picketing, one wants to, as do the strikers and their opponents, dramatize the issues and person, the sights, sounds, smells, situations. Since a strike and picketting are literally part of a sturggle for power and wages, for a future better than the present, drama practically leaps out as a method of approaching the writing. This doesn't mean necessarily "heightening" in a purple prose way, but the making use of even facts and figures as "characters" "playing apart in the action." In that way, every sign, sound, interview, notation of how the time spent on the lines is spent and what is being discussed on site in terms of the "progress" or 'standstill" of the Movement's movements--al of these things became "players" on the stage, and one can use them in a wide variety of ways-- On the one hand, one is making a documentary, on the other, a dramatized version from one's subjective point of view. Finding the ways to have these work together and play them off each other is where the 'drama," the struggle of the writer" goes on. The piece then is the drama combined of the writer's struggle to give the writing a form that the writer finds effective, and of the strike and pickets' struggle to find the most effective form for their expressions of their desires and demands to most effectively and completley as possible realize these. The writer's struggle are one way of gving a sense of the drama of the street theater struggle as a dialectics, a point couterpoint, a contrapuntal compostion so to speak. I hope soehwere here there's something a bituseful at least to start more ideas of your own and your students-- Oh--there's Dickens novel also about a strike--i read long ago, but pretty sure is called Hard Times. It's very good as i recall, and not in the sentimental Dickensian style at all--until the very end,when it resorts to his proto-"Hollywood ending" tendency, which was also dictated by the nature in which the book appeared--as a serial, again if i recall correctly. But then in a strike and picketing--one is after all hoping for a form of "living happily after" much older than a "Hollywood ending." (And consider the effect that the writers' strikes have had on Hollywood--!) On Thu, Jul 10, 2008 at 11:48 AM, Eireene Nealand wrote: > in just a few days the uc santa cruz workforce is going on strike and > i'm trying to think about what to do with my students for the three > days that we will be meeting on the picket lines. > > has anyone run into any ideas about how to do good political writing? > and for this small moment, what small practical exercises students of > varying engagements might engage in in order to connect with what they > see and do there? > > there have been some good discussions amongst organizers and activists > about what it feels good to shout: short truths. simple ones, > sometimes with rhythm, but not necessarily so. bilingual shouting > feels good somehow. > > but what ele? > > i want so much for all to go well > > here at this small strange universitiy with an illustrious history, > and rapidly overtaking decline. > > eireene > > ================================== > The Poetics List is moderated & does not accept all posts. Check guidelines > & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html > ================================== The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Sat, 12 Jul 2008 22:16:56 +0200 Reply-To: argotist@fsmail.net Sender: "Poetics List (UPenn, UB)" From: Jeffrey Side Subject: The End of the Internet by 2012? Comments: To: British Poetics , Poetryetc MIME-Version: 1.0 Content-Type: text/plain; charset=UTF-8 Content-Transfer-Encoding: quoted-printable The following quote is from an article found here: http://cultofthedeadfish.blogspot.com/2008/06/secret-plan-to-kill-internet-= leaked.html "ISP=E2=80=99s have resolved to restrict the Internet to a TV-like subscrip= tion model where users will be forced to pay to visit selected corporate we= bsites by 2012, while others will be blocked, according to a leaked report.= Despite some people dismissing the story as a hoax, the wider plan to kill= the traditional Internet and replace it with a regulated and controlled In= ternet 2 is manifestly provable." TV news broadcasts about on matter: http://uk.youtube.com/watch?v=3DG5RQrxkGgCM&feature=3Drelated and: http://uk.youtube.com/watch?v=3D6ctfGSdlSPw&feature=3Drelated and: http://winnipeg.indymedia.org/item.php?16677S Barack Obama on the matter: http://uk.youtube.com/watch?v=3Dg-mW1qccn8k&feature=3Drelated =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Sat, 12 Jul 2008 22:50:21 +0200 Reply-To: argotist@fsmail.net Sender: "Poetics List (UPenn, UB)" From: Jeffrey Side Subject: Save the internet Comments: To: British Poetics , Poetryetc MIME-Version: 1.0 Content-Type: text/plain; charset=UTF-8 Content-Transfer-Encoding: 7bit From http://www.savetheinternet.com/ "Big phone and cable companies are trying to eliminate Net Neutrality, the principle that protects our ability go where we want and do what we choose online.More than 1.5 million SavetheInternet.com supporters are fighting to keep the Internet free and open for everyone." ================================== The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Sat, 12 Jul 2008 14:20:33 -0700 Reply-To: dbuuck@mindspring.com Sender: "Poetics List (UPenn, UB)" From: David Buuck Subject: BARGE @ Yerba Buena Center in SF, July 19-Oct 20 Mime-Version: 1.0 Content-Type: text/plain; charset=UTF-8 Content-Transfer-Encoding: quoted-printable My BARGE project BURIED TREASURE ISLAND opens this Saturday at YBCA as part= of the Ground Scores exhibition, an off-site section of the Bay Area Now 5= show. 411 below. They'll be an online map and podcast, along with a downlo= adable guidebook as well - the site will be up and announced later this wee= k. - DB Buried Treasure Island - BARGE (the Bay Area Research Group in Enviro-aesth= etics) Given Treasure Island's long and complex history as an artificial staging g= round for world's fairs, military bases, television shoots, and real estate= speculation, as well as being an enormous landfill of dangerous and toxic = substances, "Buried Treasure Island" attempts to unearth the secret histori= es of the site, and explore how the landscape is transformed not only by it= s usage, but also by what is elided from public view. Home to some of the m= ost stunning views in the bay (but only if you turn your back on the island= itself), Treasure Island remains a site full of hidden histories, presents= , and possible futures. The work is presented in several overlapping iterat= ions: installation, guidebook, self-guided tour, audio podcast, songs, perf= ormative bus tour, staged actions and photographs, and online. That some po= ssible Treasure Island =E2=80=9Citself=E2=80=9D may be buried somewhere wit= hin the constellation of these versionings, between site and non-site, real= ities and representations, is a question that the work attempts to confront= . Opening Night party Sat July 19, 8pm-midnight Yerba Buena Center for the Arts 701 Mission @ 3rd St San Francisco=20 http://ban5.org/ =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Sat, 12 Jul 2008 22:38:42 +0000 Reply-To: "Poetics List (UPenn, UB)" Sender: "Poetics List (UPenn, UB)" From: Gloria Mindock Subject: Cervena Barva Press announces a new chapbook by George Held MIME-Version: 1.0 Content-Type: text/plain Content-Transfer-Encoding: 8bit Cervena Barva Press is pleased to announce the publication of "The News Today" by George Held The News Today is George Held's second chapbook from Cervená Barva Press, the first being W Is for War (2006). His other poetry books include Beyond Renewal (2001) and the chapbooks Winged (1995), Salamander Love and Others (1998), Open & Shut (1999), Grounded (2005), The Art of Writing and Others (2007), and Phased (2008). Other books include the e-book American Poetry (2004), the art book Absolut Death & Others (2000) (with paintings by Roz Dimon), Martial Artist (2005) (translations of Martial's epigrams), and the anthology Touched by Eros (2002), which he edited. Held's poetry has appeared in more than a dozen anthologies, received five Pushcart Prize nominations, and been read by Garrison Keillor on The Writer's Almanac (NPR). He has co-edited The Ledge Poetry and Fiction Magazine since 1991. In addition, he served as a Fulbright lecturer in Czechoslovakia, 1973-76, and has been on the executive board of The South Fork Natural History Society and Museum (Bridgehampton, NY) si nce 1991. Order online at http://www.thelostbookshelf.com/cervenabooks.html The News Today by George Held $7.00 + $3.00 S/H 33 pages, paper Publication Date: July, 2008 For information contact: Gloria Mindock Cervena Barva Press, Somerville, MA Email: editor@cervenabarvapress.com Send me______copies of "The News Today" Total enclosed: $________ Name____________________________________________________________________ Street____________________________________________________________________ City___________________________State________________Zip____________________ email_________________________________Phone_____________________________ ================================== The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Sat, 12 Jul 2008 22:40:53 +0000 Reply-To: "Poetics List (UPenn, UB)" Sender: "Poetics List (UPenn, UB)" From: Gloria Mindock Subject: Cervena Barva Press announces a new chapbook by Mike Amado MIME-Version: 1.0 Content-Type: text/plain Content-Transfer-Encoding: 8bit Cervena Barva Press is pleased to announce the publication of "Stunted Inner-child Shot the TV" by Mike Amado "Crossing the intersections between media, militarization, and post-9/11 consciousness, Amado's Stunted Inner-child Shot the TV, gives us a view of the complicated relationship between society and self, consumerism and identity." -Edward J. Carvalho (Doctoral Candidate, Indiana University of Pennsylvania and author of solitary, poor, nasty, brutish and short) "Take Mike Amado's red Morpheus pill and follow him down the rabbit hole of America's mad matrix of warped dreams, tabloid icons, chrome-eyed military men and infopreachers....His writing is elastic, vivid and wise. With a heart for an undetermined and undetermining God, Amado's revolution cannot be downloaded. It's amazing any of us make it out alive." -Lo Galluccio Order online at http://www.thelostbookshelf.com/cervenabooks.html Stunted Inner-child Shot the TV by Mike Amado $7.00 + $3.00 S/H 41 pages, paper Publication Date: July, 2008 For information contact: Gloria Mindock Cervena Barva Press, Somerville, MA Email: editor@cervenabarvapress.com Send me______copies of "Stunted Inner-child Shot the TV" Total enclosed: $________ Name____________________________________________________________________ Street____________________________________________________________________ City___________________________State________________Zip____________________ e-mail_________________________________Phone_____________________________ ================================== The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Sun, 13 Jul 2008 10:18:56 -0400 Reply-To: "Poetics List (UPenn, UB)" Sender: "Poetics List (UPenn, UB)" From: Lewis Warsh Subject: ABSOLUTELY EDEN by Bobbie Louise Hawkins Content-Type: text/plain; charset=US-ASCII; format=flowed; delsp=yes Content-Transfer-Encoding: 7bit Mime-Version: 1.0 (Apple Message framework v919.2) New from UNITED ARTISTS BOOKS ABSOLUTELY EDEN by Bobbie Louise Hawkins 89 pages Cover photograph by Jane Dalrymple-Hollo ISBN 0-935992-35-9 $14.00 A book of monologues written for a one-woman show that Hawkins performed in 2001 and 2002 at the Boulder Museum of Contemporary Art and Naropa University in Boulder, and at Joe's Pub in New York. Bobbie Louise Hawkins was raised in West Texas, studied art in London (the Slade) and taught in British Honduras. She attended university in Tokyo (Jochi Dai Gaku), while acting on the stage and radio. She has published fifteen books of prose and poetry, including BIJOUX (Farfalla Press, 2006), THE SANGUINE BREAST OF MARGARET (North and South Press, London, 1992), MY OWN ALPHABET (Coffee House Press, 1989), and OWN YOUR BODY (Black Sparrow Press, 1973). She has received a fellowship in literature from the National Endowment for the Arts and has been teaching at the Jack Kerouac School of Disembodied Poetics, in Boulder, Colorado, since 1987. "Worldly and wise, sharp, alert to all human foibles, Bobbie Louise Hawkins gives us these observations in her familiar, wry and intimate tone. Like no one else, she brings us all home." Joanne Kyger "Miss Hawkins is a superb impressionist as well as a salty prose writer of American miniatures, artful distillations of our humor and humanity." The New York Times "Hawkins is keenly aware of the complicated vastness of even just one little human universe. Her writing participates in a tradition of American modernism in prose that achieves an almost hallucinatory precision.' The Vajradhatu Sun Copies available from SMALL PRESS DISTRIBUTION 1341 Seventh Street Berkeley, Ca. 9471001409 UNITED ARTISTS BOOKS 114 W. 16th Street, 5C New York, NY 10011 lwarsh@mindspring.com www.unitedartistsbooks.com ================================== The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Fri, 11 Jul 2008 10:02:19 -0500 Reply-To: "Poetics List (UPenn, UB)" Sender: "Poetics List (UPenn, UB)" From: Rebecca Weaver Subject: new issue of MIDWAY now up In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; format=flowed; charset=ISO-8859-1 Hello all, I'm happy to announce that the new issue of MIDWAY journal, featuring the first part of a serial poem by *Mac Wellman,* is up online. Happy reading! ================================== The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Sun, 13 Jul 2008 14:13:31 +0200 Reply-To: argotist@fsmail.net Sender: "Poetics List (UPenn, UB)" From: Jeffrey Side Subject: Stop Virgin Campaign Comments: To: British Poetics , Poetryetc MIME-Version: 1.0 Content-Type: text/plain; charset=UTF-8 Content-Transfer-Encoding: 7bit From: http://stopvirgin.theloop.org.uk/ Virgin are out to destroy the World Wide Web. Virgin Media have recently announced that they don't care about net neutrality and are going to start controlling the quality of their users internet service, depending on whether the websites they are trying to access are paying Virgin a high premium or not. This means that if you say, went to the Virgin Media website, you would get a very fast speeds like any normal time you spend on the World Wide Web. But if you tried to access a website like YouTube that are not paying Virgin a fee, the website will load very slowly. So slow that you won't even feel like using that site, and may prefer to use another. Traffic Shaping like this is wrong. It gives Virgin the power to stop people accessing websites that they don't believe in. People may never be able to speak their mind on the internet again if the corporations that fund Virgin don't see fit. How does this effect me? Right now, the only people that will be effected by these money making tactics are Virgin Media customers. If we don't stop Virgin Now though, all other Internet Providers will see that they can get away with privatising their services too. The World Wide Web as it is now, is almost like a giant social network. People meet and share experiences on websites every day, but if Virgin have their way this will not be the case anymore. The World Wide Web as we know it will be gone forever. Will you be part of the generation that let the Web die? Find out what you can do to save the Web here: http://stopvirgin.theloop.org.uk/activism.html ================================== The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Sun, 13 Jul 2008 13:30:27 -0400 Reply-To: "Poetics List (UPenn, UB)" Sender: "Poetics List (UPenn, UB)" From: Dan Wilcox Subject: Third Thursday Poetry Night: Alifair Skebe (Albany, NY) Mime-Version: 1.0 (Apple Message framework v624) Content-Transfer-Encoding: quoted-printable Content-Type: text/plain; charset=ISO-8859-1; format=flowed the Poetry Motel Foundation presents Third Thursday Poetry Night at the Social Justice Center 33 Central Ave., Albany, NY Thursday, July 17, 2008 7:00 sign up; 7:30 start Featured Poet: Alifair Skebe with open mic for community poets before & after the feature. $3.00 donation - suggested; more if you got it, less if you can't.=A0 Your monthly host:=A0Dan Wilcox. Alifair Skebe is the author of "El Agua Es la Sangre de la Tierra"=20 (Finishing Line Press 2008), a long poem in English.=A0The following = poem=20 is from her earlier chapbook, "Post Card:=A0Les Lettres d'Amour". Role Play #1:=A0The Encounter Shining noon sun not so hot that we tangle under cover, the white sheets stained with sweat. We play other games. You become the egret in chase staid against swaying daffodils and monkey grass.=A0A smile behind your beak, a tongue inside the mask.=A0Peacock feathers form a hat of green winking eyes. I don horned rim glasses and fray quills from a basket of eucalyptus.=A0To pick the unpollened stamen leaves a hollow vessel and hard tip, with ink we write out story. ## =A0 =A0 =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Sun, 13 Jul 2008 14:35:25 -0400 Reply-To: "Poetics List (UPenn, UB)" Sender: "Poetics List (UPenn, UB)" From: ari banias Subject: Uncalled-For Readings this Wednesday! = Funaro, Legaspi, Sanyal MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 7bit Content-Disposition: inline Uncalled-For Readings this Wednesday! July Reading featuring Maya Funaro Joseph O. Legaspi + Ronica Sanyal Wednesday July 16 2008 7:00 pm free * Unnameable Books can be found at 456 Bergen Street (between Flatbush Ave. & 5th Ave.) in Brooklyn, NY, one half block from the 2/3 at Bergen, or a short walk from 4/5/B/D/N/Q/R at Atlantic/Pacific. Readings are held down one flight of stairs in the basement. Outside refreshments are welcome. Reader bios + upcoming readings at: uncalledforreadings.blogspot.com ================================== The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Sun, 13 Jul 2008 18:57:54 -0400 Reply-To: "Poetics List (UPenn, UB)" Sender: "Poetics List (UPenn, UB)" From: Murat Nemet-Nejat Subject: Re: writing from the picket lines--any ideas about how to do a good job In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 7bit Content-Disposition: inline David, The sad fact is that since Ronald Reagan's busting of airline operators union, striking is dead in The United States. If a group strikes, most of the population will not even know what it is. Of course, globalization, the strategic weakness for labor it represents, also has something to do with it. Of course, in the 19th century Europe, and also in the Algerian liberation movement, for instance, strikes had a different function from wresting specific concessions from the management. General strikes were strategic moves to bring a crisis to a boiling point, a destructive/creative function to achieve revolutionary change. There are very interesting movies inwhich the idea of strike in this second sense hovers over the whole action and takes place *after* the movie ends -or about to end- as a prophetic action. *The Battle of Algiers* is a great example of it in which, ironically, the commander of the French forces by his paramilitary methods is successful in eradicating the Algerian revolutionary cells, while the Algerian populace, in the ululating voices of its women, is developing a revolutionary consciousness. The epilogue of the movie refers to a general strike in the country which occurs "out of nowhere" a few years later and ends the French rule. A similar movie is Godard's *La Chinoise *where the humorless and slightly silly antiques of a Maoist cell composed mostly French teen age student intellectuals discussing (two of them practicing) general strikes, assasinations and political suicides anticipate the Paris student revolt of the following (?) year. Throughout the movie, the statement (I am paraphrasing) "Politics is the art of seeing clearly" is visible, written on the wall in the background. Walter Benjamin's *The Arcades Project* has long sections on barricades and Husmann's efforts to fight them. The United States puts this idea of strike on its head by an equally striking idea, "What is good for General Motors is good for the country." Consequently, today, the Midwest and General Motors are going together down the drain. Ciao, Murat On Sat, Jul 12, 2008 at 9:52 AM, David Chirot wrote: > Dear Eireene-- > > I keep thinking of Eisenstein's classic film STRIKE-- > Eisenstein was very interested in/influenced by literature, including the > study of Chinese ideograms. > A study of a film like STRIKE is a guide to many forms of Modernist ways of > presenting a strike in its various stages of development. > Another useful guide from Eisenstein are his essays --among them for > example, in FILM ESSAYS "The Method of Making Workers' Films, " "Lessons > from Literature," "More thoughts on Structure" and esp "Perspectives." > > All of these are concerned with a dialectics of presenting the political > clearly and at the same time not neglecting his very deep concerns with > form. > > He uses often examples drawn from political life- such as orators and their > differing uses of language, rhetorics, volumes and tones of voice, the > uses > of face and gesture to convey meanings and emotions, and how this is to be > conveyed via the medium of film, which for him is drawn in many ways from > writing and song. > > Mayakovsky's "How are Verses Made" is also excellent in this regard-- > > (the drawback of especially the latter for students might be Mayakovsky's > Communism--though Mayakovsky is every bit as flamboyant and fascinating > charismatic a figure as Che--as you know--and so that might mitigate the > circumstances of the ideology--who knows? > > Actually there's some excellent reportage and writing on strikes and picket > lines, which makes use of real and fictional persons, documentary > materials > in "News Reels" and subjective viewpoints in the "Camera Eye" sections-- > and > the first hand experience of the author--in an American context--John Dos > Passos' USA trilogy. > > In the "Newsreels" Dos Passos combines popular songs of the time, newspaper > headlines, faits divers, strange weather, a multitude of simultaneous "news > items" in order to give a "movie" "take" on the events in which the > characters are involved--among the most focused on being organizing and > strikes, writing of reports and propaganda leaflets, and pamphlets > explaining reasons for actions, as well as he provides many bios of Labor > leaders and agitators which are very inspiring--people like Big Bill > Heywood, etc-- > > The picketing and protests by millions around the world during the Sacco > and > Vanzetti Trials also plays a big part. > > There are also a lot of Labor newspapers from various points of view that > are easy to find and the Catholic Worker which often has very good reporter > on picketing and strikes. > > These give a kind of shorthand of how to present the reasons for the > strike, > the unions and companies involved, the major issue at stake for that > immediate community and the wider scope often brought in today of > Globalization and Global Warming and how these are related to a specific > place, event, population and the environment socially, economically and > ecologically. > > Another factor to bring up is the psychological morale of strikers--what > their emotions and hopes or despairs are in the current situation, what > they > look forward to being "happier about" if they win some ground, and what > they > risk "feeling alot worse about" if their demands are not meant, or only > minimally. > > Once you establish this "setting" s to speak, it becomes a series of > decsisions on the writer's part which aspects they choose to handle in > "close up"--how they want to frame within the frame individuals of groups > of > persons, how to show the interplay of conflicting forces--how a strike is > also a form of street theater--with its own given rhetoric's, uses of > signs, > costumes, music, marches or standings-- > > Any form of strike or picketing today requires a discussion or > presentation, > even if very brief, of the issues at stake both in the specific site, and > how this fits into a series of "pictures" national and international, since > the globalized economy, as well the workers, are trying to balance a > simultaneous fragmentation with an overwhelming force that tries to draw > everything into tighter and tighter concentrated centralization's of > funding > and power. > > Speaking of funding--what funds do the picketers draw on while on > strike--how does this play into the length of time they have the ability to > strike without hardships beginning? How does this effect the bargaining > and > negotiations? > > A lot of strikes also got turned into songs and some into poems--so labor > songs and union and protest songs are a another way of studying how to > write > of the events. > > Since what is being undertaken is a collective event made up of many > individual decisions, just going around interviewing people with the > information one has is a good way to intermix the personal, subjective > "human interest" aspects against the "greater picture and background" of > the > effort as a whole. > > A lot of really good ways to get some ideas are to look for articles or > books which have to do with strikes also in terms of issues which are both > about the work place and larger issue--for example from Feminist history, > Civil rights history, student protests and strikes, any kind of specific > demography oriented action to see how a strike is handled in being written > about when it is involving more than one issue--any strike may have several > issues involved, of which the one in the workplace is but a way to focus al > of them and set them all into movement as --a Movement. > > The "street theater" aspect means that in writing of events such as > picketing, one wants to, as do the strikers and their opponents, dramatize > the issues and person, the sights, sounds, smells, situations. Since a > strike and picketting are literally part of a sturggle for power and wages, > for a future better than the present, drama practically leaps out as a > method of approaching the writing. This doesn't mean necessarily > "heightening" in a purple prose way, but the making use of even facts and > figures as "characters" "playing apart in the action." > > In that way, every sign, sound, interview, notation of how the time spent > on > the lines is spent and what is being discussed on site in terms of the > "progress" or 'standstill" of the Movement's movements--al of these things > became "players" on the stage, and one can use them in a wide variety of > ways-- > > On the one hand, one is making a documentary, on the other, a dramatized > version from one's subjective point of view. Finding the ways to have > these work together and play them off each other is where the 'drama," the > struggle of the writer" goes on. > > The piece then is the drama combined of the writer's struggle to give the > writing a form that the writer finds effective, and of the strike and > pickets' struggle to find the most effective form for their expressions of > their desires and demands to most effectively and completley as possible > realize these. > > The writer's struggle are one way of gving a sense of the drama of the > street theater struggle as a dialectics, a point couterpoint, a > contrapuntal > compostion so to speak. > > I hope soehwere here there's something a bituseful at least to start more > ideas of your own and your students-- > > Oh--there's Dickens novel also about a strike--i read long ago, but pretty > sure is called Hard Times. > > It's very good as i recall, and not in the sentimental Dickensian style at > all--until the very end,when it resorts to his proto-"Hollywood ending" > tendency, which was also dictated by the nature in which the book > appeared--as a serial, again if i recall correctly. > > But then in a strike and picketing--one is after all hoping for a form of > "living happily after" much older than a "Hollywood ending." > > (And consider the effect that the writers' strikes have had on > Hollywood--!) > > > > > > > > > > On Thu, Jul 10, 2008 at 11:48 AM, Eireene Nealand > wrote: > > > in just a few days the uc santa cruz workforce is going on strike and > > i'm trying to think about what to do with my students for the three > > days that we will be meeting on the picket lines. > > > > has anyone run into any ideas about how to do good political writing? > > and for this small moment, what small practical exercises students of > > varying engagements might engage in in order to connect with what they > > see and do there? > > > > there have been some good discussions amongst organizers and activists > > about what it feels good to shout: short truths. simple ones, > > sometimes with rhythm, but not necessarily so. bilingual shouting > > feels good somehow. > > > > but what ele? > > > > i want so much for all to go well > > > > here at this small strange universitiy with an illustrious history, > > and rapidly overtaking decline. > > > > eireene > > > > ================================== > > The Poetics List is moderated & does not accept all posts. Check > guidelines > > & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html > > > > ================================== > The Poetics List is moderated & does not accept all posts. Check guidelines > & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html > ================================== The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Mon, 14 Jul 2008 09:38:09 +1000 Reply-To: "Poetics List (UPenn, UB)" Sender: "Poetics List (UPenn, UB)" From: Alison Croggon Subject: SoundEye at Theatre Notes Comments: To: British & Irish poets , UK POETRY MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 7bit Content-Disposition: inline My report on SoundEye is now up on Theatre Notes at http://theatrenotes.blogspot.com/2008/07/meditations-on-soundeye.html User warning: it's written for people who mostly know nothing at all about contemporary poetry. Cheers Alison -- Editor, Masthead: http://www.masthead.net.au Blog: http://theatrenotes.blogspot.com Home page: http://www.alisoncroggon.com ================================== The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Mon, 14 Jul 2008 00:23:16 -0400 Reply-To: "Poetics List (UPenn, UB)" Sender: "Poetics List (UPenn, UB)" From: Alan Sondheim Subject: Re: PERFORMANCE IN SECOND LIFE THIS WEDNESDAY - date correction (fwd) MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII; format=flowed The DATE SHOULD BE the 16th this Wednesday, not the 6th - Apologies! - Alan > > PERFORMANCE IN SECOND LIFE THIS WEDNESDAY > > > Sandy Baldwin and Alan Sondheim, PERFORMANCE IN SECOND LIFE as part of > THE ACCIDENTAL ARTIST Exhibition > > We're doing Theatrical Performance to the Nth Degree: Avadrama > with scripts by Sandy Baldwin and Alan Sondheim, > using EXPERIMENTAL AVATAR BEHAVIORS AND TEXTS > > Wednesday, July 6th, at 4pm and 10pm Eastern (Daylight Savings) > Time, US > > Please attend - and if you can't make it, check out > THE ACCIDENTAL ARTIST Exhibition which changes almost daily! ================================== The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Sun, 13 Jul 2008 21:26:22 -0700 Reply-To: "Poetics List (UPenn, UB)" Sender: "Poetics List (UPenn, UB)" From: Catherine Daly Subject: UC Berkley: Poetry for the People Program In-Reply-To: <705513.6648.qm@web81306.mail.mud.yahoo.com> MIME-Version: 1.0 Content-Type: text/plain; charset=WINDOWS-1252 Content-Transfer-Encoding: quoted-printable Content-Disposition: inline Please Forward. Thanks! Recruiting Student Teachers for June Jordan's Poetry for the People The Poetry for the People Program (P4P) at UC Berkeley, founded by the late poet/essayist June Jordan, is in its seventeenth year. June Jordan founded the program with a vision of artistic and personal empowerment for students. Our an annual large class is offered in the Spring semester. The program has two main components: 1.teaching the work of poets of color in their historical political contexts, both in and outside the US 2.workshopping student poems weekly, according to a rigorous set of guidelines developed by June, herself. The course is taught by Student Teacher Poets or STPs. This group is generally made up mostly of undergraduates, but has often included some graduates, graduate students and non-students. The majority of STPs have taken the large P4P class, but others begin with an interest in teaching and go directly to the STP class. The STPs take a practicum class that begins in the Fall and continues throughout the year. In addition to leading or co-leading a section of 7-12 students in the Spring, the STPs are responsible for choosing the majority of the readings for the large Spring class, developing the bulk of the lectures, and coordinating the final student recital, editing an anthology, and doing outreach visits to schools and community centers throughout the year. STPs also workshop each other's poetry. The director facilitates the STP group throughout the year, and supervises their work, and the program coordinator takes care of program logistics. The director also sets the tone of the large class, delivers several lectures, and supports the STPs in their teaching and leadership. The political and aesthetic groundings of the course come from June Jordan's own work--reflecting the tradition of women writers of color needing to bear witness to oppression, to speak what has been silenced, to speak truth to power, and to offer alternative visions of what the world can be. In this tradition, the personal is political, students are encouraged to give voice in their poetry to the most painful and difficult places in their lives, and to speak about the most difficult challenges in the world around us. Due to the personally, politically, and academically intense nature of the course, the experience of P4P is powerful for all, and can be consuming for some, particularly younger students who are finding their poetic voice for the first time. Among the STP group, every year is different, depending on the personalities involved, but there is a tradition of healthy (and sometimes unhealthy!) conflict, as the group of STPs endeavor to take political and artistic leadership in the course. STPs have the opportunity for profound personal growth as they confront the power dynamics, leadership challenges and significant responsibilities of teaching. P4P director Aya de Leon is recruiting additional STPs. These individuals may be undergraduate or graduate students at other campuses, or anyone with a strong commitment to writing and teaching poetry. The STP course meets Tuesdays and Thursdays from 4-6PM throughout the year, and the P4P "big class" meets from 3-7PM in the Spring. STPs need to be available for all three classes, for registered students, this is a 12-unit load over two semesters. STUDENT TEACHING TIME COMMITMENT: The STP course meets Tuesdays and Thursdays from 4-6PM throughout the year, and the P4P "big class" meets from 3-7PM in the Spring. STPs need to be available for all three classes, plus homework and occasional outside meetings. For registered students, this is a 12-unit load over two semesters. These positions are not paid, but we can offer college credit to everyone. How to get college credit for these classes: *enroll via UC Berkeley in the courses (both undergraduate & grad programs) *cross register from Mills College (both undergraduate & MFA) *enroll via Berkeley City College (open to all & affordable!) *enroll via UCB extension (open to all; a bit more costly) *Student teach as an independent study at your college or university (grad or undergrad) *Student teach as an independent study or field study placement with your low residency MFA program All are invited to apply! For info contact P4P Director Aya de Leon: adeleon@berkeley. edu P4P Program History After a decade of teaching at the university level and after a few years of joining the faculty at UC Berkeley, Professor June Jordan, one of the most published African American writers in history, founded, designed, cultivated and directed an unprecedented academic course and artistic movement: Poetry for the People. Professor Jordan wrote, however, that "I did not wake up one morning ablaze with a coherent vision of Poetry for the People! The natural intermingling of my ideas and my observations as an educator, a poet, and the African-American daughter of poorly documented immigrants did not lead me to any limiting ideological perspectives or resolve. Poetry for the People is the arduous and happy outcome of practical, day-by-day, classroom failure and success." In 1989, June Jordan began teaching in the African American Studies and Women's Studies Departments. She soon undertook the presentation of African American Poetry and Contemporary Women's Poetry. With both courses, she ensured that student writings occupied equal space and time, along with established poets, such as James Weldon Johnson or Adrienne Rich. Eventually, she decided to offer something called "Poetry for the People." So she raised funds from the African American Studies Department, the Dean of Interdisciplinary Studies, and the Department of English. Her dream and vision was realized in 1991 when Professor Jordan officially established Poetry for the People. During its first semester, and every semester thereafter, the course attracted students from Freshmen to graduate students in their last year at Boalt Law School, men, women, African Americans, Asian Americans, Latino Americans, Arab Americans, Anglo Americans, gay, lesbian, straight, abled, disabled who could take this course in poetry without any prior writing experience. June Jordan crafted Poetry for the People with three guiding principles in mind: 1.That students will not take themselves seriously unless we who teach them, honor and respect them in every practical way that we can. 2.That words can change the world and save our lives. 3.That poetry is the highest art and the most exacting service devoted to our most serious, and our most imaginative, deployment of verbs and nouns on behalf of whatever and whoever we cherish. Professor Jordan's vision for the reading and writing of poetry stands out from other university poetry courses. In an interview with the Daily Californian on November 19, 1998, Professor Jordan stated that the goal of Poetry for the People "is to make audible the inaudible, and visible the invisible." Then, after the success of the third semester of the program, a core of young poets wanted to make P4P a way of life. As a result, Professor Jordan decided to try and institute a course called "The Teaching and Writing of Poetry." Interested students would work closely with her and then they, in turn, would become teachers of other students. This practice continues today as undergraduates and graduate students are trained by the director to facilitate groups, lecture on various topics, and assume positions of leadership. African American Studies 158A (fall) and 158B (spring) serve as this teaching practicum for STPs in the process of preparing to student teach the main introductory spring class, African American Studies 156AC, known as "The Big Class." The students in these courses conduct extensive research into the poetic traditions under consideration for the Big Class. Each student is required to give an in-class presentation on an assigned poetic tradition, in addition to an intensive examination of pedagogical issues. Much of the time in the spring is spent discussing teaching strategies, exploring solutions to pedagogical issues, and coordinating projects. The STPs also form and facilitate a poetry-writing group under the Director's leadership and complete all the assignments the students in the general class are given, in addition to certain specific exercises in poetic craftsmanship. This group of STPs also provides personnel for the various outreach programs and is encouraged to perform at community events and readings in the Bay Area. The success of P4P is evidenced by the dozens of poetry programs across the country that are led by former P4P students and whose designs are based on the program. In 1995, after Professor Jordan and several of her students published June Jordan's Poetry for the People: A Revolutionary Blueprint through Routledge Press, hundreds of organizations throughout the country have adopted this blueprint not only as a reference but a guiding principle in their own poetry workshops and programs. Moreover, numerous former P4P students have been anthologized, published, and celebrated with prizes. Thus, from its humble beginnings of around 15-20 students in 1991, to its height of over 130 student enrollment, the once-tenuous experiment of Poetry for the People has emerged a cultural institution on the UC Berkeley campus that has engendered dialogue and created connections across every conceivable line. Professor Jordan has said, "Poetry has been falsely viewed as a province for privileged folks and for the extremely gifted. [But] poetry derives from an oral tradition throughout the world. It comes from the people and needs to be given back to the people." Today, Poetry for the People is a fully accredited, three course sequence of classes wherein students present their work in an on-campus public poetry reading every semester and self-produce and then publish a professional anthology of their poems. In keeping with the university's goal of public education, Professor June Jordan expanded this program to many different Bay Area locations: Berkeley High School, Dublin Women's Prison, Glide Memorial Church, Mission Cultural Center, and Yerba Buena Center for the Arts. Every poetry reading she helped organize was a standing room only affair = =97 in mammoth campus spaces such as the Life Valley Science Building Lecture Halls, Lewis Hall, and Wheeler Auditorium. In 2001, Professor June Jordan went on leave. However, given the student demand for the course and the popularity of the program, she was asked to name a successor. Selected by Professor Jordan, Junichi P. Semitsu directed the program until 2005. In 2005-06 P4P alum, Maiana Minahal was director. In fall 2006, the African American Studies department appointed community artist and activist Aya de Leon as director, and her appointment continues into its third year. Aya de Leon continues in Jordan's tradition of reaching beyond university walls, developing programming at Berkeley High, B-Tech (Berkeley High's alternative/ continuation school), Oakland Unified, Berkeley City College, Epic Arts, La Pena Cultural Center, and Richmond's Leadership Public School, as well as reaching out to Mills College, SF State, Foothill College, and other Bay Area schools to recruit students. The Program has continued to bring countless "hot shot poets" to campus for readings to P4P students and the general public: Adrienne Rich, Ntozake Shange, Jimmy Santiago Baca, Joy Harjo, Sandra Cisneros, Juan Felipe Herrera, Bei Dao, Janice Mirikitani, Ruth Forman (a former P4P student), Marilyn Chin, Haas Mroue, Martin Espada, Cornelius Eady, Lorna Dee Cervantes, E. Ethelbert Miller, Sekou Sundiata, Kevin Young, Dennis Kim, Leroy Quintana, Li-Young Lee, Naomi Shihab Nye, Francisco Alarcon, Sara Miles, Donna Masini, Luis Rodriguez, Tyehimba Jess, Mohja Khaf =97 to name a few. The current ever-evolving syllabus continues to extend to new cultural areas for further, broadening research and eventual curricular inclusion. Designed to constitute a one-semester crash course of world literacy in poems, the syllabus typically focuses on three distinct American cultures, which often rotate year after year. Our Spring 2008 semester focused on the poetry of African Americans, Arab and Arab Americans, Latina/os, Xicana/os, and the intersecting trajectories of these three groups in the United States and the Americas. Professor Jordan passed away in June 2002. Thanks to her vision and the commitments of the African American Studies Department, UC Berkeley's Dean's office, and the sustained efforts of subsequent directors and student teachers to continue her legacy, the African American Studies 156AC course remains strong and alive. Indeed, the class continues to build a legacy as one of the most visible, vibrant, and energetic communities on the Berkeley campus, in continuing Dr. Martin Luther King's wish of a beloved community. Aya de Leon Director, June Jordan's Poetry for the People African American Studies Department UC Berkeley --=20 All best, Catherine Daly c.a.b.daly@gmail.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 The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Mon, 14 Jul 2008 16:08:55 +1000 Reply-To: "Poetics List (UPenn, UB)" Sender: "Poetics List (UPenn, UB)" From: Caleb Cluff Subject: Second Nature - call for papers MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" content-transfer-encoding: quoted-printable Second Nature: Call for Papers and projects Second Nature: The International Journal of Creative Media is an open access, peer-reviewed online journal auspiced by RMIT's School of Creative Media. Second Nature explores the distinctive particulars of and interconnections between textual, visual, aural and interactive creative research and practices. The journal's editorial board seeks papers and online projects for its first issue. As the journal is multiple-media in focus we welcome contributions from across the field of creative media including creative writers, media and art historians, media practitioners and fine artists, architects and architectural theorists and historians, curators, museum professionals, scientists, cultural and media theorists, archivists, technologists, software developers, educationalists, philosophers and any others who have a stake in the understanding and future developments of creative media. Projects might include web-based interactives, net-art, games, suites of 2D imagery, video and sound works, fiction, critical and non-fiction writing. Both projects and papers will be peer-reviewed. Deadline: 30th August, 2008: Papers and projects Issue 1. Role Models The inaugural issue of Second Nature will examine creative practice as a contested site of inscription. It will contest traditional concepts of the creator's role as one of 'writing' the world that, despite continual challenges to its hegemony, persists in the popular imagination. Whilst past challenges from cultural theorists have remained largely theoretical in approach, new developments in technologies and communications are rapidly changing the creative landscape. 'Creativity' and 'innovation' are seen as the drivers of future First World economies and the 'cultural industries' account for a substantial proportion of First World GNP. Ironically, less and less Government and corporate support seems to be available for independent, creative research. Papers and projects addressing, but not limited to, some or all of the following questions are invited: * Can traditional views of 'the creator' withstand these new developments? What role/s will the creative practitioner play in this changing cultural, economic, social and environmental landscape? * What kinds of creative spaces and practices are available in an increasingly corporatised brand-driven world? * How has the globalization of labour and markets affected the cultural and geographical specificity of creative output. * What role will the academy play as a site of creative research? * How will the romantic notion of the artist be redefined in the new globalism of the 21st century? * Is it all about the market? Are other values driving the development of media and practices? * How are new distribution channels affecting what becomes public, how it is consumed and how it is understood? * What is the affect of user-generated media on traditional practices and distribution? * Can crowd-sourcing, folksonomies and the wisdom of crowds replace the roles of gatekeeper, editor, curator, director etc? * What affect has rise of intellectual protectionism and particularly the extension of copyright, trademarking and patenting opportunities had on practitioners and practice? * How do the ambitions of 'research' apply to creative practice? Can practice be said to generate 'new' information (with its material overtones of quantifiability and universality), or is the information and understanding generated through producing, consuming and/or interacting with creative works of a completely different order? * What are the problems of a 'too useful art'? In the rush to claim a use value for art (research questions based on empirical models; claims of art's/creativity's economic benefits), is there a risk of denigrating the idea of culture for culture's sake and of stifling necessary uncertainty within the creative process. * Does a culture of user-generated content and democratic dissemination of cultural products weaken traditional institutions such as universities and museums? Or can it lead to a justification for 'high' or 'elite' cultures? * Creativity and innovation are being touted as future drivers of First World economies, but what difference (if any) exists between the two? Can innovation be seen as the commodification of creative expression? And if so, does this spell danger for creative outcomes that don't have a pre-defined purpose? * How has the hegemony and globalisation of culture affected creative expression within developing or politically 'weak' economies? * Is the global market itself distorting the intentions as well as the outcomes of creative expression? Completed papers should be no more than 10,000 words. Short articles (1500-3000 words) are warmly encouraged. Any images included must have Copyright clearance or be the intellectual property of the author/s. Deadline: August 30, 2008 Abstracts and papers should be submitted as Microsoft Word documents saved as .doc or .rtf. Submitted projects must be formatted for viewing and interaction in a web browser. In exceptional cases projects may be presented to download (e.g as executable applications). Please contact the editor at the email address below if you would like to discuss suitable formats and file sizes. Submissions and inquiries should be made to the editor Shiralee Saul shiralee.saul@rmit.edu.au Forthcoming issues for 2009 include: Amnesiac Culture will examine the complex issues surrounding personal and cultural memory. Code Makers will examine contemporary understandings of reality as embodied information structures. Caleb Cluff Editorial committee, Second Nature. Please consider the environment before printing this e-mail.=0A= =0A= The information contained in this email and any attachment is confidential a= nd=0A= may contain legally privileged or copyright material. It is intended only= for=0A= the use of the addressee(s). If you are not the intended recipient of this= =0A= email, you are not permitted to disseminate, distribute or copy this email o= r=0A= any attachments. If you have received this message in error, please notify= the=0A= sender immediately and delete this email from your system. The ABC does not= =0A= represent or warrant that this transmission is secure or virus free. Befor= e=0A= opening any attachment you should check for viruses. The ABC's liability is= =0A= limited to resupplying any email and attachments. =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Mon, 14 Jul 2008 07:35:08 -0500 Reply-To: "Poetics List (UPenn, UB)" Sender: "Poetics List (UPenn, UB)" From: mIEKAL aND Subject: From Steve Kurtz: Thank You Letter to Supporters Comments: To: dreamtime@yahoogroups.com, Theory and Writing Content-Type: text/plain; charset=WINDOWS-1252; format=flowed; delsp=yes Content-Transfer-Encoding: quoted-printable Mime-Version: 1.0 (Apple Message framework v926) (Hard to believe he actually won the case, I still keep thinking the =20 government will find another way to make his life even more =20 miserable. ~mIEKAL) July 12, 2008 Dear Supporters, After four long, difficult years I have been released from my legal =20 ordeal. I want to thank everyone who supported me through this=97the =20 greatest challenge I=92ve ever had to face. I feel vindicated today =20 because I am innocent, but today I am also humbled by a legal and =20 political victory that is not mine alone. Everyone who contributed =20 their support to this case can lay claim to a victory against the =20 forces aiming to abridge our fundamental rights. I am mindful that my =20= case was just one of many examples where fear and irrationality gained =20= the upper hand after 9/11. I am aware that my vindication is an =20 exception. I continue to have anxiety about the outcome of many =20 pending cases still awaiting justice. Although it seems that my case has come to a conclusion, it is only =20 now that I can fully comprehend the immensity of what happened. The =20 tragic death of Hope was a profound loss. The unfortunate events =20 following Hope=92s death occurred at a moment of intense pain and =20 sadness for all of us. Neither my life nor the work of Critical Art =20 Ensemble has been the same without her. If she were here today, I know =20= she would be proud of everything that has been done by all the people =20= involved. Collectively, we stood without flinching, and defeated a =20 monster of social injustice. Hope always said that we should =93never =20= surrender=94 to authoritarian power, and we didn=92t. I was extremely fortunate to have a team of people immediately form a =20= defense group at the very beginning, when I was still in shock. I want =20= to thank the members of the CAE Defense Fund for coming to my defense =20= from the beginning of the ordeal. Throughout the past four years, so many people raised their voices in =20= my defense, and that of my friend and co-defendant, Robert Ferrell. So =20= many contributed time, energy, and resources. We could not have =20 adequately defended ourselves without the labor and activism of =20 thousands=97individuals, groups, artists and activists. I am grateful to = =20 everyone who donated their work and talent to fundraisers for our =20 legal defense. And although I cannot thank everyone by name, to all of =20= you worldwide who helped organize fundraisers, letter writing =20 campaigns, conferences, teach-ins, protests and other events, your =20 actions made a real difference in this case. To all my friends, thank you for helping me through my darkest hours. To everyone, please accept my humble offer of thanks. I am grateful. I =20= owe a tremendous debt of gratitude to all of you for seeing me through =20= this terrible period. Please remember also that this case was about so much more than just =20 keeping me out of jail. This is a great legal and political victory =20 that will affect many cases to come. Through its prosecution of this =20 case, the Department of Justice was hoping to expand the most broadly =20= written law on the books (mail fraud) into an all-encompassing =20 Leviathan that could be used at its discretion against any citizen at =20= any time. Not only did we prevent this dangerous expansion of the law, =20= the precedent we set has narrowed it. Because of our collective =20 effort, a bogus charge like the one targeting Bob and me is unlikely =20 ever to happen again=97and if it were to happen, any competent attorney =20= could easily shoot it down. What have I learned from my ordeal? I=92ve learned that with tens of =20 thousands of supporters, with hundreds of thousands of dollars, with =20 one of the best legal teams in the US, with a crack media team, with a =20= group of experienced fundraisers, with four years of one=92s life, and =20= with total innocence, sometimes one can slice off a piece of American =20= justice. Which in the end means: The overwhelming majority of people =20 ain=92t gettin=92 justice, and we have to keep fighting until they do. With Sincerity, Gratitude, and Appreciation, Steven Kurtz= =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Mon, 14 Jul 2008 10:38:51 -0400 Reply-To: "Poetics List (UPenn, UB)" Sender: "Poetics List (UPenn, UB)" From: Michael Kelleher Subject: Literary Buffalo Newsletter 07.14.08-07.20.08 MIME-Version: 1.0 Content-Transfer-Encoding: quoted-printable Content-Type: text/plain; format=flowed; charset=UTF-8 LITERARY BUFFALO 07.14.08-07.20.08 BABEL 2008-2009 SUBSCRIPTIONS ARE GOING FAST=21=21 Chinua Achebe, Nigeria, September 25. Book: Things Fall Apart. Michael Ondaatje, Canada, October 29. Book: The English Patient. Marjane Satrapi, Iran, April 1. Book: Persepolis. Isabel Allende, Chile, April 17. Book: House of the Spirits. Previous subscribers: =2475. New subscription: =24100. Patron subscription: =24250. (Patron subscribers receive VIP seating and a= ttendance at all pre-event author receptions.) Patron Pair: =24400. WE ARE ALREADY 82% SOLD OUT FOR NEXT SEASON. We expect to sell out next season by subscription. If we do not, tickets fo= r individual events will go on sale September 1. ___________________________________________________________________________ EVENTS THIS WEEK 07.16.08 Talking Leaves...Books Lauren Fix Signing for =22Lauren Fix?s Guide to Loving Your Car: Everything You Need t= o Know to Take Charge of Your Car and Get on with Your Life=22 Wednesday, July 16, 6 p.m. Talking Leaves...Books, 951 Elmwood Ave. & Rooftop Poetry Club at Buffalo State College Reading featuring Gabrielle Bouliane & Liz Mariani Rooftop Garden, Butler Library, 7 pm (Alternate location will be the International Student Reading area/signs wi= ll be posted if there is a location change). If you are not a Buffalo State student/faculty member, please park in LOT X= located behind Rockwell Hall.=CB=87 ___________________________________________________________________________ LITERARY BUFFALO RSS FEED You can now subscribe to the Literary Buffalo RSS feed for up to the minute= info on literary happenings around town: feed://www.justbuffalo.org/rss/ ___________________________________________________________________________ FACEBOOK Join the Friends of Just Buffalo Literary Center Facebook Group: http://www.facebook.com/group.php?gid=3D13187515545&ref=3Dts ___________________________________________________________________________ WESTERN NEW YORK ROMANCE WRITERS group meets the third Wednesday of every m= onth at St. Joseph Hospital community room at 11a.m. Address: 2605 Harlem R= oad, Cheektowaga, NY 14225. For details go to www.wnyrw.org. ___________________________________________________________________________ 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 add= ed the ability to join online by paying with a credit card through PayPal. = Simply click on the membership level at which you would like to join, log = in (or create a PayPal account using your Visa/Amex/Mastercard/Discover), a= nd voil=C3=A1, you will find yourself in literary heaven. For more info, o= r to join now, go to our website: http://www.justbuffalo.org/membership/index.shtml ___________________________________________________________________________ UNSUBSCRIBE If you would like to unsubscribe from this list, just say so and you will i= mmediately be 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 =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Mon, 14 Jul 2008 11:01:48 -0400 Reply-To: "Poetics List (UPenn, UB)" Sender: "Poetics List (UPenn, UB)" From: Dan Wilcox Subject: Poets in the Park, July 19, Albany, NY Mime-Version: 1.0 (Apple Message framework v624) Content-Transfer-Encoding: quoted-printable Content-Type: text/plain; charset=ISO-8859-1; format=flowed The Poetry Motel Foundation presents Poets in the Park, 2008: Charlie Rossiter, Mimi Moriarty & Frank Desiderio July 19 Other readings scheduled for July 26 & August 2 Poets in the Park has been celebrating poetry in July at the Robert=20 Burns statue in Washington Park, Albany, NY since 1989.=A0The series,=20 formerly run by the late Tom Nattell and now hosted by Dan Wilcox, will=20= continue with readings on Saturdays, July 12 through August 2; the=20 readings start at 7:00 PM and are free & open to the public; donations=20= are accepted.=A0This year the readings are also sponsored by the Hudson=20= Valley Writers Guild. The second reading in the series on July 19 will be by Charlie=20 Rossiter, and a joint reading by Mimi Moriarty and her brother Frank=20 Desiderio.=A0Chicago poet Charlie Rossiter is a former NEA Fellowship=20 recipient, a three-time Pushcart Prize nominee and hosts the audio=20 website poetrypoetry.com.=A0He is a member of the poetry performance=20 group 3 Guys from Albany; his most recent book is "The Night We Danced=20= with the Raelettes" (FootHills Publishing).=A0Local poet Mimi Moriarty=20= received her MFA in Creative Writing from Goddard College and is a=20 board member of the Hudson Valley Writers Guild.=A0Her poetry chapbook=20= "War Psalm" was published by Finishing Line Press.=A0California resident=20= Frank Desiderio is a member of the Paulist Fathers and his poetry has=20 appeared in The National Catholic Reporter, Prairie Messenger, The=20 Bread of Life and Spring Hill Review.=A0His poetry chapbook, "Digging = for=20 God", was published by Paulist Productions. The schedule of the other readings is (note revised listing for July=20 26): July 26:=A0James Schlett & Kathryn Kelly August 2:=A0Susan Brennan & Philip Good The Robert Burns statue is near where Henry Johnson Blvd. passes=20 through Washington Park and crosses Hudson Ave.=A0Please bring your own=20= chairs or blankets to sit on.=A0Rain dates for each event are the=20 following Sunday, same time, same place. This project is made possible in part through COMMUNITY ART$GRANTS, a=20 program funded through the State and Local Partnership Program of the=20 New York State Council on the arts, a State agency and the Arts Center=20= of the Capital Region. For more information contact Dan Wilcox, at dwlcx@earthlink.net;=20 518-482-0262. #### =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Mon, 14 Jul 2008 12:17:28 -0700 Reply-To: "Poetics List (UPenn, UB)" Sender: "Poetics List (UPenn, UB)" From: patrick dunagan Subject: July 20 - Canessa Gallery - Readings from Micah Ballard, Jeffrey Schrader, and Chad Sweeney MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 7bit Content-Disposition: inline CANESSA GALLERY READING SERIES curated by erica lewis July 20, 2008 Featuring the works of Micah Ballard, Jeffrey Schrader, and Chad Sweeney WHAT: How does where you are from influence your body of work? Please join us as poets Micah Ballard, Jeffrey Schrader, and Chad Sweeney ponder the meaning of "home" and bring the house down in this new edition of the Canessa Gallery reading series. Micah Ballard is co-editor, with Sunnylyn Thibodeaux, of Auguste Press. Recent books include: Bettina Coffin (Red Ant), Emblematic (Old Gold), Darrell (Blue Press), Evangeline Downs (Ugly Duckling Press), and Parish Krewes (forthcoming, Bootstrap Productions). From 2000-08 he directed the Humanities Program at New College of California. Currently, he works for the MFA in Writing program at the University of San Francisco. Jeffrey Schrader has been involved in the Uglyman Collective, Another Publishing, Cricket Online Review & many other do-it-yourself failures & experiments. To date, the finest job he ever held was as a bicycle messenger for an urban ecology non-profit that successfully reduced the number of single-passenger vehicles driven in various Bay Area communities. He lives with Sherri and Milena at the edge of downtown Oakland's current gentrification project. Chapbooks include Speak at Every Hazard and The Man at the Other End of the Bench; grid/pattern is forthcoming from Erg. He's currently working on a window garden of carnivorous plants and the regular mechanics of 1970s era single-speed bicycles. Chad Sweeney is co-editor of Parthenon West Review and is the author of An Architecture (BlazeVOX, 2007), Arranging the Blaze (Anhinga, 2009), and A Mirror to Shatter the Hammer (Tarpaulin Sky, 2006). Chosen for Best American Poetry 2008 by Charles Wright, Sweeney's work has appeared in New American Writing, Verse, Colorado Review, Barrow Street, Crazyhorse, Black Warrior, Denver Qtly, American Letters & Commentary, and others. Sweeney will enter the Ph.D. program in literature/poetry at Western Michigan University in Kalamazoo this fall. WHEN: Sunday, July 20, 2pm WHERE: Canessa Galley 708 Montgomery Street, SF ================================== The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Mon, 14 Jul 2008 11:41:52 -0400 Reply-To: "Poetics List (UPenn, UB)" Sender: "Poetics List (UPenn, UB)" From: Andreana Binder Subject: Call for submissions--Fiction/Nonfiction/Art/Poetry Mime-Version: 1.0 Content-Transfer-Encoding: quoted-printable Content-Type: text/plain; charset="windows-1252" The Sylvan Echo is now accepting original submissions of fiction, nonfict= ion,=20 poetry and visual art for publication in the November issue. The deadline= is=20 October 18, 2008. Please see http://sylvanecho.net for submission guideli= nes.=20 Include a brief bio with your submission. This issue has no theme.=20 Check out our latest issue at http://currentissue.sylvanecho.net. =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Mon, 14 Jul 2008 17:24:09 -0500 Reply-To: "Poetics List (UPenn, UB)" Sender: "Poetics List (UPenn, UB)" From: Mary Jo Malo Subject: Re: Steve Dalachinsky featured in "Forward" MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 7bit Content-Disposition: inline Inspired by Jazz, a Poet Does 'His Own Thing' by Matthue Roth http://www.forward.com/articles/13726/ Mary Jo Malo -- http://thisshiningwound.blogspot.com/ http://apophisdeconstructingabsurdity.blogspot.com/ ================================== The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Tue, 15 Jul 2008 05:31:42 -0700 Reply-To: "Poetics List (UPenn, UB)" Sender: "Poetics List (UPenn, UB)" From: David Chirot Subject: Pessoa-Aleister Crowley Letters--30 Family or National Treasure trunks & "cultural property" debate in Portugal--(NY Times article) MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: quoted-printable Content-Disposition: inline *ARTS / ART & DESIGN * | July 15, 2008 * Abroad: Portugal Holds on to Words Few Can Grasp * By MICHAEL KIMMELMAN The latest brouhaha involving cultural property is unfolding in Lisbon =97 and not, for a change, over stolen vases or precious war booty, but a poet'= s correspondence. An amazing fact emerges--that there are 30 trunks of Pessoa's writings to b= e gone through, poured over, in search of Treasure. How many more heteronyms may yet emerge from these receptacles of "as yet unknown writings"? Are families related to the heteronyms of a writer? Is a culture? =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Tue, 15 Jul 2008 05:54:00 -0700 Reply-To: "Poetics List (UPenn, UB)" Sender: "Poetics List (UPenn, UB)" From: Barry Schwabsky Subject: Pessoa MIME-Version: 1.0 Content-Type: text/plain; charset=utf-8 Content-Transfer-Encoding: quoted-printable Fascinating piece on Fernando Pessoa in today's Times: http://www.nytimes.c= om/2008/07/15/arts/design/15abroad.html?th&emc=3Dth =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Tue, 15 Jul 2008 11:29:53 -0700 Reply-To: jkarmin@yahoo.com Sender: "Poetics List (UPenn, UB)" From: Jennifer Karmin Subject: SUBMISSIONS: Call for videopoems MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: quoted-printable SEE THE VOICE: Visible Verse 2008 call for videopoems Pacific Cin=E9math=E8que and curator Heather Haley are seeking videopoem su= bmissions from around the world for the annual Visible Verse screening and = performance poetry celebration, Nov. 6, 2008. Visible Verse is North Ameri= ca's sustaining venue for the presentation of new and artistically signific= ant videopoetry. Official guidelines: *Visible Verse seeks videopoems, with a 15 minutes maximum duration. *Either official language of Canada is acceptable, though if the video is i= n French, an English-dubbed or-subtitled version is required for considerat= ion. Videos may originate in any part of the world, however. *Pieces will be judged on true literary merit. The ideal videopoem is a wed= ding of word and image, the voice seen as well as heard. *Please, do not send documentaries, as they are outside the featured genre. *Videopoem producers should provide a brief bio, full name, and contact inf= ormation in a cover letter. There is no official application form nor entry= fee. *Submission deadline is 1 September, 2008. Send, at your own risk, videopo= ems and poetry films/preview copies (which cannot be returned) in DVD forma= t to: VISIBLE VERSE c/o Pacific Cin=E9math=E8que, 200--1131 Howe Street, Va= ncouver, BC, V6Z 2L7, Canada. Selected artists will be notified by 1 Octobe= r, 2008 and receive a screening fee.=20 For more information contact Heather Haley, hshaley@emspace.com Vancouver's Pacific Cin=E9math=E8que Pacifique, a not-for-profit society de= dicated to the understanding of film and moving images. http://www.cinemath= eque.bc.ca=0A=0A=0A =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Tue, 15 Jul 2008 11:45:10 -0700 Reply-To: "Poetics List (UPenn, UB)" Sender: "Poetics List (UPenn, UB)" From: Chad Sweeney Subject: Joe Milford Poetry Show w/guest Chad Sweeney/Sat. July 19 MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Hi all, I’ll be on the Joe Milford Poetry Show this Saturday at 5PM Eastern Time for about 90 minutes, talking with Joe and reading from my recent book on BlazeVox, AN ARCHITECTURE, and some Farsi translations and other projects. Cheers, CS From Joe: The Joe Milford Poetry Show seeks to record, archive, and present readings from the sharpest minds in poetics today. Every week the Joe Milford Poetry show hosts poets from around the country in a live format via Blogtalk Radio. In tandem with the Jane Crown Show, the Joe Milford Radio Show can be found at janecrown.com or at ttp://www.blogtalkradio.com/search/Joe+MIlford. Go to janecrown.com especially for archived readings and interviews with renowned poets such as Donald Revell, Didi Menendez, Bob Hicok, Rae Armantrout, and Stephen Dunn, just to name a few. Chad Sweeney edits Parthenon West Review with his buddy David Holler, and is the author of An Architecture (BlazeVOX, 2007), Arranging the Blaze (Anhinga, 2009) and A Mirror to Shatter the Hammer (Tarpaulin Sky, 2006). Chosen for Best American Poetry 2008 by Charles Wright, Sweeney’s poems and translations have appeared in New American Writing, Verse, Colorado Review, Slope, Crazyhorse, Black Warrior, Coconut, Barrow Street, Denver Qtly, American Letters & Commentary, Interim, Forklift, and elsewhere. With Mojdeh Marashi, he translated a book of Iranian poetry, Arghavaan, Selected Poems of H.E. Sayeh for which he was awarded a grant from the San Francisco Arts Commission. Sweeney taught for the San Francisco WritersCorps for seven years, leading poetry workshops with inner-city “at risk” youth and newly arrived teenagers from Central America, Asia and the Middle East. He’s currently editing an anthology of teacher poetry and prose from the first 15 years of the National WritersCorps (title pending), which will be released by City Lights Books at AWP next February. He earned an MFA from San Francisco State University and will enter the Ph.D. program in literature/poetry at Western Michigan University this September, with his beloved partner by his side, poet Jennifer K. Sweeney. ================================== The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Tue, 15 Jul 2008 13:14:08 -0700 Reply-To: "Poetics List (UPenn, UB)" Sender: "Poetics List (UPenn, UB)" From: amy king Subject: History Keeps Me Awake at Night: A Genealogy of Wojnarowicz -- Tomorrow Night Comments: To: "NewPoetry: Contemporary Poetry News & Views" MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit History Keeps Me Awake at Night: A Genealogy of Wojnarowicz July 10 - August 22, 2008 P * P * O * W Pilkington - Olsoff Fine Arts, Inc. 555 W. 25th Street - New York, NY 10001 Artists Participating: Sadie Benning Michael Bilsborough Shannon Ebner Mike Estabrook Brendan Fowler William E. Jones Lovett/Codagnone Keith Mayerson Ryan McGinley Frederic Moffet Henrik Olesen Adam Putnam David Ratcliff Emily Roysdon Zoe Strauss Wolfgang Tillmans Carrie Mae Weems Matt Wolf David Wojnarowicz Reading and film screening -- Thursday, July 17th, 6 - 9 p.m. Zachary German Amy King Sara Marcus Max Steele Organized by Photi Giovanis http://ppowgallery.com/exhibitions/future/future.html _______ Recent http://www.tarpaulinsky.com/Reviews/kiss-me.html http://jacketmagazine.com/34/dickow-king.shtml Alias http://www.amyking.org Your Suggestions http://amyking.wordpress.com/2008/06/12/poetry-exercises-wanted/ ================================== The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Wed, 16 Jul 2008 19:27:34 -0700 Reply-To: "Poetics List (UPenn, UB)" Sender: "Poetics List (UPenn, UB)" From: amy king Subject: Kay Ryan new Poet Laureate Comments: To: "NewPoetry: Contemporary Poetry News &, Views" , Women's Poetry Listserve In-Reply-To: <487EA5E9.6020709@opus40.org> MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit And long overdue, in terms of -- yep -- gender: The list, up to Donald Hall in 2006, appears here [followed by Kooser, Simic, and now Ryan]: U.S. Poet Laureate Timeline [1937 - 2006 = 36 Men and 8 Women] http://amyking.wordpress.com/2008/03/23/what%e2%80%99s-love-got-to-do-with-it/ ~~~ Kay Ryan Named Poet Laureate - NYT: http://www.nytimes.com/2008/07/17/books/17poet.html _______ Recent http://www.tarpaulinsky.com/Reviews/kiss-me.html http://jacketmagazine.com/34/dickow-king.shtml Alias http://www.amyking.org Your Suggestions http://amyking.wordpress.com/2008/06/12/poetry-exercises-wanted/ ================================== The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Tue, 15 Jul 2008 17:51:15 -0700 Reply-To: "Poetics List (UPenn, UB)" Sender: "Poetics List (UPenn, UB)" From: Stephen Vincent Subject: The Archive as an Art (Pessoa et al) Comments: To: UK POETRY MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Because I think we (working or once working poets) are surrounded by stuff (archives), I am wondering about the art of either keeping or killing portions of it and (if it goes anywhere) what may be appropriate ways to either draw attention or limit its use. Fundamentally my question is who determines - or who is in the best postion to determine what may be the ultimate critical/biographical etc. value of a poet's stuff. Are poets in a position to say what in their entire archive (books, correspondence (from love or hate letters, to critcial discussions with peers. distant relatives), manuscripts and revisions, desks, tennis shoes, etc. Do we or our executors, for example, have the right to make correspondence from otthers part of a library's public record. Why is it worth while to see Ginsberg's tennis shoes. Or, does it become worthwhile if there is diary entry in which Corso or Burroughs advises G to buy X brand of shoe and why. This info may feed the person who is writing an anecdote filled biography, perhaps, so the shoe is essential, perhaps, as a way of getting to use, aesthetic and a tangible sense of comraderie. Is there any written 'code of established, ethical, etc. conduct here. Or, like the art world, are literary archives a wilderness unto themselves. The way they get organized (or don't), the ways they are acquired, or the ways in which they are assembled and sold quite various, depending on a mix of interests/values of the acquiring institution and those of the author or his heirs. On one extreme some folks will give everything up (valuable to potentially embarassing) and let future 'scholarly' hands shape history out of the dispersal. While others will do everything they can to carefully how they are received by the critics of the future. The way a poet (and/or his executors) provide an archive to a library strikes me as potentially as artful as the construction of the original work and shape of the career. Somewhat similarly, a Library can take that archive and organize and present its contents according to a value system that may be totally at odds with poet. (Will Ginsberg's ever look at home at Stanford - that Protestant mecca of the West. Columbia U or NY Public Library's eternal loss??) I used to watch Ed Dorn sit in The Pub (corner of Masonic and Geary in San Francisco) as he would take out his pen and make drawings, or jot down a phrase or two on a partially wet napkin. He could do a pretty good caricature of a parody of a cowboy. (He was finishing up the Gunslinger at the time. (1975 or so). I forget if he kept those sketches. I hope they remain in his archive. Definitely good 'period pieces'. Some summer thinking here, Stephen V http://stephenvincent.net/blog ================================== The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Tue, 15 Jul 2008 20:59:25 -0400 Reply-To: "Poetics List (UPenn, UB)" Sender: "Poetics List (UPenn, UB)" From: Kyle Schlesinger Subject: New from Cuneiform: 3 by Ted Greenwald Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit Cuneiform is pleased to announce the publication of 3, Ted Greenwald's latest masterpiece. Poet Ron Padgett writes: Ted Greenwald's 3 takes the mind in at least three different directions simultaneously, in hardboiled, richly detailed, well-made poems whose giddy wordplay, pantoum-like interweavings, and nimble jumpcuts create a sort of 21st-century Poet in New York. An inspired challenge and a delight. Filmmaker Nathanial Dorsky writes: Within this selection of three works, we come upon the most unusual, if not revolutionary moment in the universe called Ted Greenwald. Suddenly the risk of self as such takes place. Though his poetry always bares the honest song of a fragmented accumulation, the float of our existence, here Ted reveals an exposition of tender, romantic suchness amidst rhythmic refrains classically structured and filled with sunlight and place, the vulnerable underbelly of his Arcadian being is unveiled. And poet Tom Raworth reminds us to "Just read the fucking book." The cover was designed by typographic aficionado Rich Kegler of P22. Trade paperbacks are $15 (plus $2.50 domestic shipping) and the lettered and signed hardcovers are available for $50 (plus $2.50 domestic shipping). Both editions are distributed by our friends at Small Press Distribution www.spdbooks.org or direct from www.cuneiformpress.com. Other recent books from Cuneiform include: Bill Berkson's Sudden Address; Ron Silliman's Woundwood; Gregg Biglieri's Sleepy with Democracy; Dan Featherston's Clockmaker's Memoir; and Ted Greenwald and Hal Saulson's collaboration Two Wrongs. All are available from SPD www.spdbooks.org or direct from Cuneiform at www.cuneiformpress.com. More at: http://cuneiformpress.blogspot.com/ ================================== The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Wed, 16 Jul 2008 13:30:11 +0100 Reply-To: "Poetics List (UPenn, UB)" Sender: "Poetics List (UPenn, UB)" From: Sam Ladkin Subject: Fwd: THE REALITY STREET BOOK OF SONNETS Mime-Version: 1.0 (Apple Message framework v753.1) Content-Transfer-Encoding: quoted-printable Content-Type: text/plain; charset=WINDOWS-1252; delsp=yes; format=flowed News of an exciting new book out. Congratulations to Jeff Hilson for =20 making it occur. Best, Sam > Reply-To: Ken Edwards > > THE REALITY STREET BOOK OF SONNETS IS OUT! > > Not just another modern sonnet anthology - THE REALITY STREET BOOK =20 > OF SONNETS delves more thoroughly than ever before into the myriad =20 > ways poets have stretched, deconstructed and re-composed the =20 > venerable form: here we have free-verse sonnets, prose sonnets, =20 > offbeat takes on the sonnet tradition, and even visual and concrete =20= > sonnets. We take as our time frame 1945 to the 21st century, with =20 > 84 poets ranging from Edwin Denby (b. 1903) to those currently in =20 > their twenties, from the UK, the USA, Canada, Australia and New =20 > Zealand. > > In his introductory essay Jeff Hilson, the editor, speaking of Ted =20 > Berrigan=92s regeneration of the form, writes: =91It also registers =20= > something of a paradox, announcing the sonnet as an impossibility =20 > whilst demonstrating its continued vitality, not unlike Beckett=92s =20= > =93I can=92t go on, I=92ll go on.=94=92 > > ISBN 978 1874400 39 4 360pp price: =A315 > > JEFF HILSON co-runs the Crossing the Line reading series in London =20 > and is senior lecturer in Creative Writing at Roehampton University. > > For a full list of contributors and other details go to www.reality =20= > street.co.uk > > To order a copy for =A315 sterling post free (strictly limited =20 > offer), please reply to this email with your full name and postal =20 > address, and we will email you an invoice via PayPal =96 when you =20 > click on the link you will be able to pay securely with your credit =20= > or debit card, or through PayPal. > > (Reality Street Supporters signed up for the 2007 scheme will be =20 > receiving their copy shortly, as will all contributors to the =20 > anthology.) > > Ken Edwards > Reality Street Editions > 63 All Saints Street > Hastings, East Sussex TN34 3BN > > www.realitystreet.co.uk > > =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Wed, 16 Jul 2008 08:55:36 -0400 Reply-To: "Poetics List (UPenn, UB)" Sender: "Poetics List (UPenn, UB)" From: Joan Houlihan Subject: Invitation to the Colrain Poetry Manuscript Conference MIME-Version: 1.0 Content-Type: text/plain; charset="Windows-1252" Content-Transfer-Encoding: quoted-printable Dear Poet, =20 As you may have heard, the Colrain Poetry Manuscript Conference, designed for poets with a book-length manuscript, has been a tremendous success, drawing accomplished poets from all over the country and overseas. This conference has been created for poets who are either ready to publish a book-length (or chapbook-length) manuscript or who feel they need a reality check on their current manuscript-in-progress. Since our first conference, in March of 2006, over 20 poets have had their manuscripts accepted for publication. Colrain publication news is found here .=20 =20 On August 22, 2008, the thirteenth group of poets will meet in Colrain, Massachusetts. The conference will last three days and includes Jeffrey Levine, editor and publisher of Tupelo Press, Jeffrey Shotts, poetry editor of Graywolf Press, Frederick Marchant, Director of the Suffolk University Creative Writing Program and Joan Houlihan, conference founder and Director of Concord Poetry Center.=20 =20 Complete information and application can be found here:=20 =20 http://www.colrainpoetry.com/August =20 The Colrain Poetry Manuscript conference is designed to place poets on a realistic path toward book publication. If you feel you have a manuscript ready for publication, if you have received a rejection and don't know why, if your manuscript has achieved finalist or semi-finalist standing in a contest, or if you simply want to gain an understanding of how publishers and editors work behind the scenes before submitting your manuscript, then this conference is for you.=20 =20 I hope you will join us!=20 =20 =20 Best Wishes, =20 Joan Houlihan, Founder & Director Concord Poetry Center & Colrain Conferences 40 Stow Street Concord, MA 01742 978-897-0054 =20 =20 =20 =20 =20 =20 Attendees say: =20 "The Colrain Manuscript Conference managed to pack into a weekend what a lot of grad school teachers never had time to do in their classes or individually: offer finishing touches to a manuscript eager to be picked up by a publisher." Steve Fellner, Brockport, NY =20 "...It was a goldmine for me especially, removed as I am from the academic world and from a community of serious poets." LouAnn Muhm, Park Rapids, MN, Teacher, Creative Writing =20 "...extremely helpful to hear responses to the other manuscripts. I learned as much or more from the critiques of others' manuscripts as I did from the critique of mine." Mary Crow, Fort Collins, CO, Poet Laureate of Colorado =20 " Attending the Colrain Manuscript Conference was undoubtedly the most profound poetry experience I=92ve ever had. What I learned in = forty-eight hours will be with me for years to come." Tracy Kroetsky, Berkley, CA=20 =20 "...My consultation completely changed the way I view the manuscript. There is nothing like what you are providing. Kudos!" Dawn Fewkes, Horseheads, NY =20 "...The Colrain conference was everything I'd hoped it would be and more. I feel well on my way, now, to a publishable manuscript." Pat Lowry Collins, MA =20 and MORE . =20 =20 =20 =20 =20 =20 =20 =20 =20 =20 This message was sent to poetics@listserv.buffalo.edu by the Colrain Poetry Manuscript Conference. If you wish to leave our mailing list, click on the link at the very bottom of this message. =20 To Unsubscribe from this mailing list, click: http://mageenet.org/mlman/unsubscribe.asp?listid=3Dconcordpoetry&ID=3D767= C1C 55-4185-4DFF-B331-DD59C4E50229 =20 =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Wed, 16 Jul 2008 13:33:50 +0000 Reply-To: editor@fulcrumpoetry.com Sender: "Poetics List (UPenn, UB)" From: Fulcrum Annual Subject: unpublished Beckett, Frost, Paz in Fulcrum 6 MIME-Version: 1.0 Content-Type: text/plain; charset="utf-8" Content-Transfer-Encoding: quoted-printable FULCRUM #6 (730 pages) features unpublished Beckett, Frost, Paz; spotligh= ts "Poetry and Myth," debate between Kisnella and Warren, translations of= Seferis, Vian, Quevedo and much else Issue # 6 of the acclaimed literary annual, FULCRUM, features previously = unpublished and uncollected writing by Samuel Beckett, Robert Frost and O= ctavio Paz; original scholarship on "Samuel Beckett as Poet" by Christoph= er Ricks, Eliot Weinberger, Marjorie Perloff and others; a special sectio= n on "Poetry and Myth"; a debate between poets John Kinsella and Rosanna = Warren; translations of poetry by George Seferis, Boris Vian and Francisc= o de Quevedo; a great deal of outstanding current poetry and literary cri= ticism; and visual art. The "Samuel Beckett as Poet" feature, edited by Philip Nikolayev, present= s Beckett=E2=80=99s neglected masterpiece "Ceiling" and other uncollected= and unpublished poems, essays by Christopher Ricks, Jean-Michel Rabat=C3= =A9, Marjorie Perloff, Eliot Weinberger, Simon Critchley, Anne Atik, S.E.= Gontarski and others, life drawings of Beckett by Avigdor Arikha, and a = previously unpublished conversation between Octavio Paz and Eliot Weinber= ger on Beckett. A number of the essays quote Beckett=E2=80=99s unpublishe= d correspondence and manuscripts. FULCRUM # 6 also presents previously unpublished lectures by Robert Frost= from ("The Claims of Poetry," "The Most Dangerous Phrase in America," an= d "The Natural and Supernatural Bounds of Science"), transcribed with ann= otation and commentary by Frost scholar James Sitar. Poets published in FULCRUM #6 include Landis Everson, Alexei Tsvetkov, Ge= orge Seferis=E2=80=99s long poem Thrush (translated by George Kalogeris),= Boris Vian (translated by Raymond Federman), Francisco de Quevedo (trans= lated with an introduction by Christopher Johnson), John Kinsella, Rosann= a Warren, W. N. Herbert, Jeet Thayil, Geraldine Monk, Alan Halsey, Peter= Riley, and a great many others. The special "Poetry and Myth" section, edited by Cliff Forshaw and David = Kennedy, presents a variety of essays and poems on the subject. "FULCRUM has in only a few years established itself as a must-read journa= l, a unique annual of literary and intellectual substance positioned on t= he cutting edge of culture."--Billy Collins "FULCRUM serves as a primary resource for anyone interested in diverse po= etic practices not only from these States, but also from around our tremb= ling globe."--Michael Palmer FULCRUM #6 is 730 pages long and offered at an artificially low price. Please visit http://fulcrumpoetry.com for more information or to acquire = a copy. =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Wed, 16 Jul 2008 12:07:40 -0400 Reply-To: "Poetics List (UPenn, UB)" Sender: "Poetics List (UPenn, UB)" From: Brian Clements Subject: Sentence/Firewheel Announcement In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset="ISO-8859-1" Content-Transfer-Encoding: quoted-printable Firewheel Editions announces the inaugural Sentence Book Award and the=20 return of the Firewheel Chapbook Award.=20 The Firewheel Chapbook Award is given to a collection of no more than 20=20 manuscript pages in any genre. Preference is for innovative work=20 (liberally interpreted), work that crosses genres, work that combines=20 images and text, work in formats other than the traditionally bound book,=20 or work that may have difficulty finding publication elsewhere due to the=20 nature, typography, or format of the work. The recipient of the award will = receive 50 copies out of a limited edition. Entry fee: $15 by check to=20 Firewheel Editions or by PayPal at http://firewheel-editions.org. Checks=20 and submissions may be mailed to Firewheel Chapbook Award, Box 7, WCSU,=20 181 White St., Danbury, CT 06810. Electronic submissions may be sent to=20 chapbook@firewheel-editions.org. Postmark/Timestamp Deadline for=20 submissions and fees: September 29, 2008, 11:59 pm PST.=20 The Sentence Book Award will be given to a book-length manuscript of prose = poems or a book-length manuscript consisting substantially of prose poems=20 (for example, a book that is half prose poems and half free-verse, or a=20 book-length sequence that mixes passages of prose poetry with other=20 modes). The recipient of the award will receive publication in a trade=20 paper edition with a standard royalty contract and 50 copies of the book.=20 All entrants will receive Sentence #6 (entrants who are already=20 subscribers will have their subscription extended by one issue). Entry=20 fee: $25 by check to Firewheel Editions or by PayPal at=20 http://firewheel-editions.org. Checks and submissions may be mailed to=20 Sentence Book Award, Box 7, WCSU, 181 White St., Danbury, CT 06810.=20 Electronic submissions may be sent to sentence@firewheel-editions.org.=20 Postmark/Timestamp Deadline for submissions and fees: November 17, 2008,=20 11:59 pm PST.=20 Firewheel Editions subscribes to the CLMP Code of Ethics: "CLMP's=20 community of independent literary publishers believes that ethical=20 contests serve our shared goal: to connect writers and readers by=20 publishing exceptional writing. We believe that intent to act ethically,=20 clarity of guidelines, and transparency of process form the foundation of=20 an ethical contest. To that end, we agree to 1) conduct our contests as=20 ethically as possible and to address any unethical behavior on the part of = our readers, judges, or editors; 2) to provide clear and specific contest=20 guidelines defining conflict of interest for all parties involved; and 3)=20 to make the mechanics of our selection process available to the public.=20 This Code recognizes that different contest models produce different=20 results, but that each model can be run ethically. We have adopted this=20 Code to reinforce our integrity and dedication as a publishing community=20 and to ensure that our contests contribute to a vibrant literary=20 heritage." =20 The recipient of the Sentence Award will be selected by Brian Clements,=20 Editor of Sentence and Firewheel Editions; the recipient of the Firewheel=20 Chapbook Award will be selected by Brian Clements and Michael Puttonen,=20 Design Editor for Firewheel Editions. In the event that no recipient is=20 chosen for either award, entry fees will be returned to all of the award?s = entrants. Authors who have published a chapbook or book with Firewheel=20 Editions, authors who have served on the Board of Contributing Editors of=20 Sentence, graduate or undergraduate students of Brian Clements, and all=20 past and current staff members of Sentence and Firewheel Editions are=20 ineligible. All manuscripts will come to the editors anonymously after=20 screening and preparation by Firewheel staff. Submission guidelines:=20 =B7 Chapbook Award entrants must explain any special production=20 requirements for their projects in the cover letter. =B7 All entrants must provide email address or SASE for Award results= .=20 =B7 Unless SASE with sufficient postage for return is included,=20 manuscripts will be recycled. =B7 Multiple submissions are acceptable with an entry fee for each=20 submission. =B7 Translations are acceptable with proof of permission to publish=20 translations. =B7 Electronic submissions must be sent as a single attachment in .rt= f=20 (preferred for text-only submissions), .doc, or .pdf format.=20 =B7 All submitted manuscripts must include a one-page cover with=20 author?s name, title, author?s email address, and name of Award (Chapbook=20 or Sentence); also include a second title page with title only. =B7 The author?s name should be recognizable nowhere in the manuscrip= t=20 other than on the cover page. For more information on Sentence and Firewheel Editions, visit=20 http://firewheel-editions.org or email info@firewheel-editions.org =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Wed, 16 Jul 2008 12:50:21 -0500 Reply-To: "Poetics List (UPenn, UB)" Sender: "Poetics List (UPenn, UB)" From: Halvard Johnson Subject: Second call! Submissions requested for a third Big Bridge anthology Mime-Version: 1.0 (Apple Message framework v926) Content-Type: text/plain; charset=US-ASCII; format=flowed; delsp=yes Content-Transfer-Encoding: 7bit Friends and neighbors-- For a third mini-anthology of poems, this time inspired by / responding to / related to Barbara Guest's poem "Eating Chocolate Ice Cream: Reading Mayakovsky" and/or the various wars/insurgencies/etc. going on in the world today, please send 1-6 poems and a brief bio to me at halvard@earthlink.net with the words "Big Bridge" followed by your own name clearly in the subject line. Please, when sending attachments, send all poems in a single attachment. Also include a photo if you'd care to have one used. This mini-anthology will appear in the January 2009 issue of Big Bridge, and work received before the end of November 2008 will be considered. The current mini-anthology can be found at http://www.bigbridge.org/WAR-PAP.HTM. HJ Halvard Johnson ================ halvard@earthlink.net http://home.earthlink.net/~halvard/index.html http://entropyandme.blogspot.com http://imageswithoutwords.blogspot.com http://www.hamiltonstone.org http://home.earthlink.net/~halvard/vidalocabooks.html ==== Eating Chocolate Ice Cream: Reading Mayakovsky Since I've decided to revolutionize my life since " decided " revolutionize " life " How early it is! It is eight o'clock in the morning. Well, the pigeons were up earlier Did you eat all your eggs? Now we shall go for a long walk. Now? There is too much winter. I am going to admire the snow on your coat. Time for hot soup, already? You have worked for three solid hours. I have written forty-eight, no forty-nine, no fifty-one poems. How many states are there? I cannot remember what is uniting America. It is then time for your nap. What a lovely, pleasant dream I just had. But I like waking up better. I do admire reality like snow on my coat. Would you take cream or lemon in your tea? No sugar? And no cigarettes. Daytime is good, but evening is better. I do like our evening discussions. Yesterday we talked about Kant. Today let's think about Hegel. In another week we shall have reached Marx. Goody. Life is a joy if one has industrious hands. Supper? Stew and well-cooked. Delicious. Well, perhaps just one more glass of milk. Nine o'clock! Bath time! Soap and a clean rough towel. Bedtime! The Red Army is marching tonight. They shall march through my dreams in their new shiny leather boots, their freshly laundered shirts. All those ugly stains of caviar and champagne and kisses have been rubbed away. They are going to the barracks. They are answering hundreds of pink and yellow and blue and white telephones. How happy and contented and well-fed they look lounging on their fur divans, chanting "Russia how kind you are to us. How kind you are to everybody. We want to live forever." Before I wake up they will throw away their pistols, and magically factories will spring up where once there was rifle fire, a roulette factory, where once a body fell from an open window. Hurry dear dream I am waiting for you under the eiderdown. And tomorrow will be more real, perhaps, than yesterday. --Barbara Guest fr. Angel Hair 5, Spring 1968 in The Angel Hair Anthology [New York: Granary Books, 2001] ================================== The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Wed, 16 Jul 2008 07:32:13 -0700 Reply-To: "Poetics List (UPenn, UB)" Sender: "Poetics List (UPenn, UB)" From: David Chirot Subject: The "originality" of appropriation vs the mass media "appropriation" of appropriation-originality--NY Times article MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 7bit Content-Disposition: inline *ARTS / ART & DESIGN * | July 13, 2008 * Art: The Image Is Familiar; the Pitch Isn't * By MIA FINEMAN Artists have appropriated images from advertising for decades. What happens when the tables are turned? Conceptually, the artist's appropriation of an already existing image is, in theory at least, seen as "a critique of originality." Yet when a corporation--or another artist--appropriates the "non-original" art of appropriation-- the "death of the author" turns out to have been instead a playing at possum, playing possum, as the "Non-original artist" wakes from her slumber and claims the appropriated "non-original" work as being, in fact, a work of originality that needs to be protected from the marauding of "corporate raiders." In a potentially endless series of art-advertising-art-advertising appropriations and re-appropriations begetting unto the indefinite, open-ended generation repetitions of the same as a difference which becomes another difference which is at the same time "apparently" the same-- what is produced, ironically, is undying desire for originality, to be "original," and to have created the "original work," to have had "the original idea." A Conceptual advertisement and promotion of "non-originality" when confronted with advertising's use of one's advertisements of "non-originality" reveals "the fear of death, of an anonymous, unmarked grave" that "re-animates" the "dead author" of "non-originality" into a desperate assertion of being, after all, both very alive and very original. The "critique of the self" and of "originality," it turns out, are acceptable conceptually, but not at the level of "property relations." A Conceptual "non-self non-original artist//writer" literally "materializes" in the claim to a property which is "mine." A property it turns out, that possesses an "originality" "belonging to ME." In Emerson's Nature, the poet sees "a property in the landscape which does not belong to this or that farmer. The "property" that the poet sees is not an object or a concept-as-object which can be owned, like Robert Smithson's Art of Looking, in which the artist''s glance creates works which are real as any object, yet refuse to be locked into the prison of being a "property," and object, which can be owned, The "originality" of a poet, an artist, is an activity in time which cannot be embodied in time, as in an object that can be owned. The paradoxical situation of the non-original appropriating artist/writer faced with the appropriation of her non-original object, discovers that their conceptions and identity have become imprisoned in the object. Having dispensed with an "original self," the artist of appropriation is faced with being an appropriated "non-original self," which is threatened with the "death of the author" indeed when its "objectification" in the work is in danger of being appropriated into an advertisement for products belonging to someone else. Instead of being an Artist/Poet of Looking who sees that property in the landscape belonging to no one, , the "non-original" artist/writer has become a property in the landscape which can be owned by anyone else, and so has to fight to be recognized as in themselves being a property, and indeed, an "original and living Artist, Poet, " with a claim to those objects which are not so much simply "belonging to ME,""made by ME," but are in a sense actually "Me," "Me" as a piece of property. And paradoxically finding "Me" locked in a court case or media battle to prove that after all, one DOES exist, that one does "posses" the "property of originality" as a "being Me, an Original and Living Me," instead of simply an object which "doesn't belong to anyone" and so can be claimed by anyone as their "personal property." ================================== The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Wed, 16 Jul 2008 22:49:36 -0700 Reply-To: "Poetics List (UPenn, UB)" Sender: "Poetics List (UPenn, UB)" From: Eireene Nealand Subject: Re: writing from the picket lines--any ideas about how to do a good job In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 7bit Content-Disposition: inline Thanks you guys for all of this. i ended up using lots of stuff, baraka and dickens, dos passos too although not so much time to digest it hardest as always: the human moments just trying to get students to get over their shyness (and prejudices but shyness too--the two go together) why am i defending white suburbanites? well, i think they need a lot of help. just think how horrifying that must be: the suburbs. so i felt like i had to run around and personally introduce everyone to everyone, quite the politician. connections about love, about baseball stats. a little start in those human connections amongst the two percent who cared. (there was another 4% who didn't show up and some even arrived and looked around and walked off. plus another frightened 80% who huddled somewhere nearby, too afraid to not-attend, too affraid to participate, maybe next year). but how grateful i was for that two percent who talked. and art will have to come afterwards. sometimes that human connection. (how could we have forgotten about this part of writing: about life and later then art, technique and all that. ideally they come together but real heart generalliy finds a way to real skill.) oh sappiness. e ================================== The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Thu, 17 Jul 2008 15:38:22 EDT Reply-To: "Poetics List (UPenn, UB)" Sender: "Poetics List (UPenn, UB)" From: Larissa Shmailo Subject: Poetry reading: Green, Shmailo, Sirowitz, Verga at Cornelia Street Cafe NYC 7/20 Comments: To: POETRYETC@JISCMAIL.AC.UK MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Please join us in welcoming UK poet Geraldine Green, coeditor of Poetrybay and PoetryVLog, to the US. with Hal Sirowitz, Angelo Verga, and Larissa Shmailo Cornelia Street Cafe 29 Cornelia Sunday 7/20 6-8pm $7 includes house drink slidingsca@aol.com **************Get the scoop on last night's hottest shows and the live music scene in your area - Check out TourTracker.com! (http://www.tourtracker.com?NCID=aolmus00050000000112) ================================== The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Thu, 17 Jul 2008 15:34:06 -0500 Reply-To: "Poetics List (UPenn, UB)" Sender: "Poetics List (UPenn, UB)" From: David-Baptiste Chirot Subject: More re Pessoa & heteronyms' contested Legacies (& a great foto of Pessoa w Aleister Crowley) MIME-Version: 1.0 Content-Type: text/plain; charset="Windows-1252" Content-Transfer-Encoding: quoted-printable Portugal in an Uproar Over Pessoa=92s Papers Thursday July 3=2C 2008 form Bob Holman & Margery Snyder's About Poetry With his three heteronyms=2C imaginary brother poets=2C Fernando Pessoa was a literary movement all by himself. When he died in 1935=2C he left behind a whole steamer trunk full of literary work=2C and he has since become the most celebrated modern poet in Portugal. Now the Portuguese National Library and Pessoa=92s heirs are fighting over the family=92s intention to sell his unpublished papers: from The Independent (UK): =93Portugal angry over sale of papers =91vital to nation=92s literary herit= age=92=2C=94 by Elizabeth Nash in Madrid =93A row has broken out in Portugal=92s literary world over plans by heirs of the nation=92s most famous modern poet=2C Fernando Pessoa=2C to auction his unpublished manuscripts and letters.... Pessoa=92s nephews favour selling the material=2C piece by piece. Scholars say that would make a definitive study of the poet=92s unpublished work impossible.=94 More on Fernando Pessoa: Our introduction=2C Fernando Pessoa =96 Poet as Poetry His poem =93Autopsychography=94 in one of its many=2C many English translat= ions _________________________________________________________________ Use video conversation to talk face-to-face with Windows Live Messenger. http://www.windowslive.com/messenger/connect_your_way.html?ocid=3DTXT_TAGLM= _WL_Refresh_messenger_video_072008= =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Thu, 17 Jul 2008 19:12:33 -0500 Reply-To: "Poetics List (UPenn, UB)" Sender: "Poetics List (UPenn, UB)" From: mIEKAL aND Subject: 2008 Milwaukee Zine Fest Comments: To: spidertangle@yahoogroups.com Content-Type: text/plain; charset=WINDOWS-1252; format=flowed; delsp=yes Content-Transfer-Encoding: quoted-printable Mime-Version: 1.0 (Apple Message framework v926) (Heads up to folks near Milwaukee. Xexoxial Editions will be set up, =20= hopefully for both days. There won't be a lot of poetry here, but =20 there will be a lot of DIY publishing, zines, distros, bands & =20 workshops. In particular folks on the list may find Steve's talk on =20 Assembling Mags of interest=97noted below.) 2008 Milwaukee Zine Fest Saturday, July 19 / 11 AM-11 PM Sunday, July 20 / 1-10 PM University of Wisconsin - Milwaukee Golda Meir Library 4th Floor Conference Center 2311 E. Hartford. Ave. Milwaukee, WI 53211 Assembling Magazines & the Death of the Editor with Stephen Perkins Curator of Art at the Lawton Gallery at UW-Green Bay, and an art =20 historian and artist (Saturday, 7/19 / 12:30-1:30 PM). An informal =20 talk and discussion about the development of assembling zines, their =20 unique editorial model and their role within the development of =20 alternative communication networks from the late 1960s onwards. =20 Participants will have hands-on access to an array of examples from =20 Europe, Latin America and North America.= =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Thu, 17 Jul 2008 19:13:50 -0500 Reply-To: "Poetics List (UPenn, UB)" Sender: "Poetics List (UPenn, UB)" From: mIEKAL aND Subject: Re: 2008 Milwaukee Zine Fest Comments: cc: spidertangle@yahoogroups.com In-Reply-To: <204C7FEE-8CB8-48E8-8FA4-72F50C863748@mwt.net> Content-Type: text/plain; charset=WINDOWS-1252; format=flowed; delsp=yes Content-Transfer-Encoding: quoted-printable Mime-Version: 1.0 (Apple Message framework v926) neglected to post the URL: http://www.midwestzines.org/ On Jul 17, 2008, at 7:12 PM, mIEKAL aND wrote: > (Heads up to folks near Milwaukee. Xexoxial Editions will be set =20 > up, hopefully for both days. There won't be a lot of poetry here, =20 > but there will be a lot of DIY publishing, zines, distros, bands & =20 > workshops. In particular folks on the list may find Steve's talk on =20= > Assembling Mags of interest=97noted below.) > > 2008 Milwaukee Zine Fest > > Saturday, July 19 / 11 AM-11 PM > Sunday, July 20 / 1-10 PM > > > University of Wisconsin - Milwaukee > Golda Meir Library > 4th Floor Conference Center > 2311 E. Hartford. Ave. Milwaukee, WI 53211 > > > > Assembling Magazines & the Death of the Editor > > with Stephen Perkins > > Curator of Art at the Lawton Gallery at UW-Green Bay, and an art =20 > historian and artist (Saturday, 7/19 / 12:30-1:30 PM). An informal =20 > talk and discussion about the development of assembling zines, their =20= > unique editorial model and their role within the development of =20 > alternative communication networks from the late 1960s onwards. =20 > Participants will have hands-on access to an array of examples from =20= > Europe, Latin America and North America. =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Thu, 17 Jul 2008 22:58:48 -0400 Reply-To: "Poetics List (UPenn, UB)" Sender: "Poetics List (UPenn, UB)" From: Murat Nemet-Nejat Subject: Re: The "originality" of appropriation vs the mass media "appropriation" of appropriation-originality--NY Times article In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 7bit Content-Disposition: inline David, As you perceptive analysis shows, the underlying question is, "who owns a work of art," more specifically a work of literature (but, in our world, one can apply the same question to images). My view is "no one." I am completely with Emerson here (and Thoreau and Spicer and Walter Benjamin). The work/image belongs to a movement of language/images which consittutes our thought/cultural/economic matrix (Emerson's landscape). If a corporation wants to use one of my phrases, I would be pleased because it implies that what I am doing as an individual -in Spicer's term, medium- has the ability to open to a wider world. Spicer's claim, "No one listens to poetry" and Benjamin's, "one writes for no one," are closed related to this. This radical isolation is liberating; if no one listens or one writes to no one, then no one owns what is written. The social contract of the author with the world becomes of a peculiar sort: between the writer and cultural, linguistic movements which are at the moment invisible, below the surface, in a sense "unneeded," the way Cassandra's admonitions were "unneeded," therefore, unheard. Of course, all this does not prevent Spicer from hoping to pick up boys through his poetry or Benjamin from hoping to get a university position. That desire -a version of payment- has little to do with how the writing occurs. I think "the death of the author" is a more specific and quite different concept. Initially, it applies to the lyric "I," asserting that this "I" has little to do with personal feelings or biography; but the "I" becomes a mark, a "moving zero," an elusive, transforming target, which registers the linguistic motion I have been pointing to above. "The death of the author," in that sense, it transforms the lyric; *but It does not kill it* or make it obsolete, as many suggested. Rather, it transforms it into a metaphysical medium, a medium of motion rather than personal expression. "The death of the author" is also at the heart of hypertext, which, as a form, is the literal expression of the idea of non-ownership. But I think it is different in a significant way from the process I described earlier. In my view, it overlooks the radical isolation with which writing responding, opening to "hidden" movements requires. In one sense, all writing constitutes a hypertexts which other writers respond to, misread, alter, expand, etc. That is what Benjamin's "ideal language" is. But hypetext, as a conscious for of writing, assumes a present community. I am not sure if this presence helps or inhibits the process; maybe it does both. Ciao, Murat On Wed, Jul 16, 2008 at 10:32 AM, David Chirot wrote: > *ARTS / ART & DESIGN * | July 13, 2008 > * Art: The Image Is Familiar; the Pitch Isn't > < > http://www.nytimes.com/2008/07/13/arts/design/13fine.html?ex=1216872000&en=1b778806477a19e6&ei=5070&emc=eta1 > > > * > By MIA FINEMAN > Artists have appropriated images from advertising for decades. What > happens > when the tables are turned? > > Conceptually, the artist's appropriation of an already existing image is, > in > theory at least, seen as "a critique of originality." > > Yet when a corporation--or another artist--appropriates the "non-original" > art of appropriation-- > the "death of the author" turns out to have been instead a playing at > possum, playing possum, as the "Non-original artist" wakes from her > slumber and claims the appropriated "non-original" work as being, in fact, > a > work of originality that needs to be protected from the marauding of > "corporate raiders." > > In a potentially endless series of art-advertising-art-advertising > appropriations and re-appropriations begetting unto the indefinite, > open-ended generation repetitions of the same as a difference which becomes > another difference which is at the same time "apparently" the same-- > what is produced, ironically, is undying desire for originality, to be > "original," and to have created the "original work," to have had "the > original idea." > > A Conceptual advertisement and promotion of "non-originality" when > confronted with advertising's use of one's advertisements of > "non-originality" reveals "the fear of death, of an anonymous, unmarked > grave" that "re-animates" the "dead author" of "non-originality" into a > desperate assertion of being, after all, both very alive and very original. > > The "critique of the self" and of "originality," it turns out, are > acceptable conceptually, but not at the level of "property relations." > > A Conceptual "non-self non-original artist//writer" literally > "materializes" in the claim to a property which is "mine." A property it > turns out, that possesses an "originality" "belonging to ME." > > In Emerson's Nature, the poet sees "a property in the landscape which does > not belong to this or that farmer. The "property" that the poet sees is > not > an object or a concept-as-object which can be owned, like Robert Smithson's > Art of Looking, in which the artist''s glance creates works which are real > as any object, yet refuse to be locked into the prison of being a > "property," and object, which can be owned, > The "originality" of a poet, an artist, is an activity in time which cannot > be embodied in time, as in an object that can be owned. > > The paradoxical situation of the non-original appropriating artist/writer > faced with the appropriation of her non-original object, discovers that > their conceptions and identity have become imprisoned in the object. > Having > dispensed with an "original self," the artist of appropriation is faced > with > being an appropriated "non-original self," which is threatened with the > "death of the author" indeed when its "objectification" in the work is in > danger of being appropriated into an advertisement for products belonging > to > someone else. > > Instead of being an Artist/Poet of Looking who sees that property in the > landscape belonging to no one, , the "non-original" artist/writer has > become > a property in the landscape which can be owned by anyone else, and so has > to > fight to be recognized as in themselves being a property, and indeed, an > "original and living Artist, Poet, " with a claim to those objects which > are > not so much simply "belonging to ME,""made by ME," but are in a sense > actually "Me," "Me" as a piece of property. > > And paradoxically finding "Me" locked in a court case or media battle to > prove that after all, one DOES exist, that one does "posses" the "property > of originality" as a "being Me, an Original and Living Me," > instead of simply an object which "doesn't belong to anyone" and so can be > claimed by anyone as their "personal property." > > ================================== > The Poetics List is moderated & does not accept all posts. Check guidelines > & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html > ================================== The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Thu, 17 Jul 2008 20:07:16 -0700 Reply-To: "Poetics List (UPenn, UB)" Sender: "Poetics List (UPenn, UB)" From: amy king Subject: Tomorrow, Friday Night -- Baker, Cordelli, Field, Need, Newton , and Tonelli Comments: To: "NewPoetry: Contemporary Poetry News & Views" MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit The Stain of Poetry Reading Series presents July 25th @ 7 p.m. - Stain Bar - Williamsburg , Brooklyn ** Baker, Cordelli, Field, Need, Newton , and Tonelli ** ~~~ Andrea Baker is the author of like wind loves a window (Slope Editions, 2005) and the chapbooks gilda (Poetry Society of America, 2004) and true poems about the river go like this (Cannibal Books, 2008). ~~~~ Phil Cordelli cleans lawns, carries on a love affair with the tuliptrees of Upper Manhattan that may not be carrying on for much longer now, and acts as a conduit for poetic impulses from the plant world. More on this as it develops. ~~~~ Farrah Field’s first book, Rising, is forthcoming in early 2009 by Four Way Books. Her poems have appeared in many publications such as the Mississippi Review, Margie, Chelsea , The Massachusetts Review, Typo, Harp & Altar, and are forthcoming in Pebble Lake Review, Another Chicago Magazine, Fulcrum, and 42Opus. She lives in Brooklyn . ~~~~ Originally from Massachusetts , David Need lives in Durham , NC and works as an instructor in the Religion Department at Duke, teaching classes on Buddhism, South Asian Religions, and Religion and Poetry. Recent and upcoming publications include several suites published in Fascicle 2 & 3, a translation/essay series on Rg Veda poetry in Talisman, an excerpt from “Places I’ve Lived” upcoming in Minor American, and excerpts from “St. John’s Rose Slumber” upcoming in Effing and Hambone. Several years ago Mipoesis ran a series of essays by David on Rilke and three short memoir pieces, and Ocho ran yet another sonnet suite. Current projects include a long poem written alongside the Gospel of Mark, “Places I’ve Lived”, which is evolving into an open ended project, finalizing a collection of translations of Rilke’s French poetry, and yet another Rg Veda essay, this one on the theme of twins there and in the poetry of Nate Mackey. David is associated with the NC lucipo poets, and lives with his scholar wife and four cats. ~~~~ Keith Newton edits the online magazine Harp & Altar. His poems and translations have appeared in Harvard Review, Cannibal, Typo, and Circumference, among other journals, and a chapbook of his work is forthcoming in 2008 from Cannibal Books. He lives in Brooklyn . ~~~ Chris Tonelli lives in the Boston area where he runs The So and So Series. He has work forthcoming in Saltgrass, Salt Hill, Absent, and Good Foot, and is the author of three chapbooks: For People Who Like Gravity and Other People (Rope-A-Dope Press, forthcoming), A Mule-Shaped Cloud (w/ Sarah Bartlett, horse less press, 2008), and WIDE TREE: Short Poems (Kitchen Press, 2006). ~~~~ stain 766 grand street brooklyn, ny 11211 (L train to Grand Street , 1 block west) 718/387-7840 open daily @ 5 p.m. ~~~~ Hosted by Amy King and Ana Bozicevic ~~~~ The rest of the year's dishes served up here: http://thestainofpoetry.wordpress.com/ http://thestainofpoetry.wordpress.com/ http://thestainofpoetry.wordpress.com/ _______ Recent http://www.tarpaulinsky.com/Reviews/kiss-me.html http://jacketmagazine.com/34/dickow-king.shtml Alias http://www.amyking.org Your Suggestions http://amyking.wordpress.com/2008/06/12/poetry-exercises-wanted/ ================================== The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Thu, 17 Jul 2008 18:04:40 -0400 Reply-To: "Poetics List (UPenn, UB)" Sender: "Poetics List (UPenn, UB)" From: Factory School Subject: New from Factory School -- Pain Plus Thyme Mime-Version: 1.0 (Apple Message framework v624) Content-Transfer-Encoding: quoted-printable Content-Type: text/plain; charset=WINDOWS-1252; format=flowed Now available from Factory School, PS 3577 series: Pain Plus Thyme by Joe Amato 146 pages isbn 978-1-60001-001-9 (paperback) isbn 978-1-60001-002-6 (hardcover) www.factoryschool.com/pubs/amato/ Lauren Mullen writes of Pain Plus Thyme: Think feedback, think big guitar god solo, and fasten your eyes and=20 ears to a book that=92ll belt you. Amato plays his urgent material "just=20= for kicks" and "for keeps," and this absolutely fearless and volatile=20 mix of clowning and erudite commitment gives his work a life like=20 nobody else's. Breaking rules we might not have been aware of (or alert=20= to our allegiance to), Pain Plus Thyme is a hard-hitting, clear-eyed=20 critique of culture, as well as a "romp" through preserves both=20 political and personal. Did I say that it=92s good? It=92s fucking = awesome. Available through Small Press Distribution: www.spdbooks.org Also available direct from Factory School at a discount price of $16=20 (retail $20). Hardback copies also available for $28 (retail $38). www.factoryschool.com/pubs/order.html Factory School is now developing online book studios in conjunction=20 with its ongoing press work. To learn more about this and other new=20 Factory School projects, please visit www.factoryschool.info or write=20 to "editors at factoryschool.org". =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Thu, 17 Jul 2008 20:16:02 -0700 Reply-To: "Poetics List (UPenn, UB)" Sender: "Poetics List (UPenn, UB)" From: amy king Subject: July 25th -- Friday Night -- Baker, Cordelli, Field, Need, Newton , and Tonelli Comments: To: "NewPoetry: Contemporary Poetry News & Views" In-Reply-To: <311036.90903.qm@web83311.mail.sp1.yahoo.com> MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Apologies - the reading is not tomorrow but is one week from tomorrow. Too much absinthe. xo amy king wrote: The Stain of Poetry Reading Series presents July 25th @ 7 p.m. - Stain Bar - Williamsburg , Brooklyn ** Baker, Cordelli, Field, Need, Newton , and Tonelli ** ~~~ Andrea Baker is the author of like wind loves a window (Slope Editions, 2005) and the chapbooks gilda (Poetry Society of America, 2004) and true poems about the river go like this (Cannibal Books, 2008). ~~~~ Phil Cordelli cleans lawns, carries on a love affair with the tuliptrees of Upper Manhattan that may not be carrying on for much longer now, and acts as a conduit for poetic impulses from the plant world. More on this as it develops. ~~~~ Farrah Field’s first book, Rising, is forthcoming in early 2009 by Four Way Books. Her poems have appeared in many publications such as the Mississippi Review, Margie, Chelsea , The Massachusetts Review, Typo, Harp & Altar, and are forthcoming in Pebble Lake Review, Another Chicago Magazine, Fulcrum, and 42Opus. She lives in Brooklyn . ~~~~ Originally from Massachusetts , David Need lives in Durham , NC and works as an instructor in the Religion Department at Duke, teaching classes on Buddhism, South Asian Religions, and Religion and Poetry. Recent and upcoming publications include several suites published in Fascicle 2 & 3, a translation/essay series on Rg Veda poetry in Talisman, an excerpt from “Places I’ve Lived” upcoming in Minor American, and excerpts from “St. John’s Rose Slumber” upcoming in Effing and Hambone. Several years ago Mipoesis ran a series of essays by David on Rilke and three short memoir pieces, and Ocho ran yet another sonnet suite. Current projects include a long poem written alongside the Gospel of Mark, “Places I’ve Lived”, which is evolving into an open ended project, finalizing a collection of translations of Rilke’s French poetry, and yet another Rg Veda essay, this one on the theme of twins there and in the poetry of Nate Mackey. David is associated with the NC lucipo poets, and lives with his scholar wife and four cats. ~~~~ Keith Newton edits the online magazine Harp & Altar. His poems and translations have appeared in Harvard Review, Cannibal, Typo, and Circumference, among other journals, and a chapbook of his work is forthcoming in 2008 from Cannibal Books. He lives in Brooklyn . ~~~ Chris Tonelli lives in the Boston area where he runs The So and So Series. He has work forthcoming in Saltgrass, Salt Hill, Absent, and Good Foot, and is the author of three chapbooks: For People Who Like Gravity and Other People (Rope-A-Dope Press, forthcoming), A Mule-Shaped Cloud (w/ Sarah Bartlett, horse less press, 2008), and WIDE TREE: Short Poems (Kitchen Press, 2006). ~~~~ stain 766 grand street brooklyn, ny 11211 (L train to Grand Street , 1 block west) 718/387-7840 open daily @ 5 p.m. ~~~~ Hosted by Amy King and Ana Bozicevic ~~~~ The rest of the year's dishes served up here: http://thestainofpoetry.wordpress.com/ http://thestainofpoetry.wordpress.com/ http://thestainofpoetry.wordpress.com/ _______ Recent http://www.tarpaulinsky.com/Reviews/kiss-me.html http://jacketmagazine.com/34/dickow-king.shtml Alias http://www.amyking.org Your Suggestions http://amyking.wordpress.com/2008/06/12/poetry-exercises-wanted/ ================================== The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html _______ Recent http://www.tarpaulinsky.com/Reviews/kiss-me.html http://jacketmagazine.com/34/dickow-king.shtml Alias http://www.amyking.org Your Suggestions http://amyking.wordpress.com/2008/06/12/poetry-exercises-wanted/ ================================== The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Fri, 18 Jul 2008 10:26:02 -0400 Reply-To: "Poetics List (UPenn, UB)" Sender: "Poetics List (UPenn, UB)" From: CA Conrad Subject: NOTHING BUT SHAME TO STONEWALL! MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 7bit Content-Disposition: inline Did Marsha P. Johnson start the Stonewall Riot to end oppression, or spread misery? "The Stonewall Diversity Champions" has listed as its 400th member the British Army for their open inclusion of gays and lesbians into the armed forces. WOW! I'm not even sure how to react with anything but anger. The fight to NOT BE OPPRESSED does not mean to be included into the oppressor's world. WHY WOULD the oppressor think they're SO GREAT that we would even WANT to be them!? I would want to BE like the person who has kept me from my life? It's more the problem of course of gays and lesbians who do not share my view here, who DO think that the ULTIMATE GOAL should be to meld and disappear into the machine with all of its sharp tools carving the world into one grand, obedient, nameless, worker-consumer, killing all who defy. The British Army is the 400th member of "The Stonewall Diversity Champions," I just need to WRITE THIS AGAIN, and SAY IT OUT LOUD AGAIN, because it's SO HARD TO BELIEVE! The worst thing is NOT being able to stop this kind of ABUSE to the lives we lead, and how we want to lead, away from such brutality. The committee for this BOGUS award will represent who they want to represent. GAYS IN THE MILITARY IS NOT A CIVIL RIGHTS ISSUE! http://tenbyfour.blogspot.com/2006/05/why-gays-in-military-is-not-civil.html To honor the war machine through Stonewall is so infuriating I feel like I blew a fuse. I mean, I can't even FEEL angry, but I know I'm SO ANGRY, and that's why I'm numb. To honor war is to not honor the LOVE Marsha P. Johnson used to strike the police with, her need to be left to her life, and to protect her family who were other fringe, mistreated, neglected souls like herself. I'm not even sure where I send my hate mail today. England or New York? CAConrad http://PhillySound.blogspot.com ================================== The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Fri, 18 Jul 2008 13:29:32 -0400 Reply-To: "Poetics List (UPenn, UB)" Sender: "Poetics List (UPenn, UB)" From: Bobbie Lurie Subject: the "originality" of appropriation--response to Murat In-Reply-To: MIME-Version: 1.0 Content-Transfer-Encoding: 7bit Content-Type: text/plain; charset="us-ascii" Murat, I just wanted to send my thanks for what you wrote below and to say that "this radical isolation is liberating" is the truest thing for me. There is such a sense of "difficulty" and "ambition" in the writer who makes writing a "career"--the writers who simply enjoy writing/ who do not buy into the illusion of the artist's self-importance are a joy to know and to read. It is the process itself as far as I'm concerned. Perhaps my life experience has taught me to examine the idea of "audience" very closely--we speak to ourselves is my conclusion and any "audience" does the same --and it is absurd for me to worry about an audience--once we no longer have consciousness and self-consciousness the world vanishes for us is my conclusion--our suffering comes from trying to control and wanting to control beyond the grave sounds like serious suffering to me as does all other ideas of artistic control as in "audience"--anyway, I am moving off topic as per usual so I will end here with Thanks, Bobbi P.S. I wrote a story about "audience" when I left the visual art world or at least tried to--it is a true story--it is about how I boxed hundreds of drawings and canvases and etchings and etching plates--I found it a ceremonial way to say "good-bye" to my destroyed "art career" (partially self-induced) -- I put my visual images downstairs for the garbagemen (garbage people?/ sanitational engineers? p.c. lurks everywhere) in New York--but hours later I walked outside again only to find my work exhibited on the sidewalk in front of my apartment bldg.--people taking the drawings/ paintings they wanted. In this story I write about "audience" and how contracted are ideas of fame and who is an audience to our work (such an artifical concept--ie; these people wanted my work but the "setting" is what mattered according to everyone /not the acutal appreciation or whatever is exemplified when people rifle through the garbage of others (in my case: years of accumulated pieces of art made by me)-- and the complex way work is presented...i could go on forever but will stop here Date: Thu, 17 Jul 2008 22:58:48 -0400 From: Murat Nemet-Nejat Subject: Re: The "originality" of appropriation vs the mass media "appropriation" of appropriation-originality--NY Times article David, As you perceptive analysis shows, the underlying question is, "who owns a work of art," more specifically a work of literature (but, in our world, one can apply the same question to images). My view is "no one." I am completely with Emerson here (and Thoreau and Spicer and Walter Benjamin). The work/image belongs to a movement of language/images which consittutes our thought/cultural/economic matrix (Emerson's landscape). If a corporation wants to use one of my phrases, I would be pleased because it implies that what I am doing as an individual -in Spicer's term, medium- has the ability to open to a wider world. Spicer's claim, "No one listens to poetry" and Benjamin's, "one writes for no one," are closed related to this. This radical isolation is liberating; if no one listens or one writes to no one, then no one owns what is written. The social contract of the author with the world becomes of a peculiar sort: between the writer and cultural, linguistic movements which are at the moment invisible, below the surface, in a sense "unneeded," the way Cassandra's admonitions were "unneeded," therefore, unheard. Of course, all this does not prevent Spicer from hoping to pick up boys through his poetry or Benjamin from hoping to get a university position. That desire -a version of payment- has little to do with how the writing occurs. I think "the death of the author" is a more specific and quite different concept. Initially, it applies to the lyric "I," asserting that this "I" has little to do with personal feelings or biography; but the "I" becomes a mark, a "moving zero," an elusive, transforming target, which registers the linguistic motion I have been pointing to above. "The death of the author," in that sense, it transforms the lyric; *but It does not kill it* or make it obsolete , as many suggested. Rather, it transforms it into a metaphysical medium, a medium of motion rather than personal expression. "The death of the author" is also at the heart of hypertext, which, as a form, is the literal expression of the idea of non-ownership. But I think it is different in a significant way from the process I described earlier. In my view, it overlooks the radical isolation with which writing responding, opening to "hidden" movements requires. In one sense, all writing constitutes a hypertexts which other writers respond to, misread, alter, expand, etc. That is what Benjamin's "ideal language" is. But hypetext, as a conscious for of writing, assumes a present community. I am not sure if this presence helps or inhibits the process; maybe it does both. Ciao, Murat ================================== The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Fri, 18 Jul 2008 11:37:12 -0700 Reply-To: "Poetics List (UPenn, UB)" Sender: "Poetics List (UPenn, UB)" From: Stephen Vincent Subject: Bay Area: George Albon and Stephen Vincent reading: July 22nd MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Join Us! >>BOOKS & BOOKSHELVES READING SERIES>> Books & Bookshelves >99 Sanchez St. >San Francisco, CA. > >Tuesday, July 22nd, 7:30 > >STEPHEN VINCENT >GEORGE ALBON ================================== The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Fri, 18 Jul 2008 14:12:55 -0700 Reply-To: "Poetics List (UPenn, UB)" Sender: "Poetics List (UPenn, UB)" From: Dodie Bellamy Subject: Dodie Bellamy's Barf Manifesto Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" Dodie Bellamy's chapbook Barf Manifesto can now be pre-ordered at the Ugly Duckling Presse website: http://www.uglyducklingpresse.org/page-barf.html ================================== The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Fri, 18 Jul 2008 19:29:22 -0700 Reply-To: "Poetics List (UPenn, UB)" Sender: "Poetics List (UPenn, UB)" From: Jim Andrews Subject: link checker MIME-version: 1.0 Content-type: text/plain; charset=iso-8859-1 Content-transfer-encoding: 7bit "The links are always the first to go." Ted Warnell Those with web sites may appreciate a good link checker; here is one: Xenu's Link Sleuth by Tilman Hausherr at http://home.snafu.de/tilman/xenulink.html (PC and Linux only). Point it at your web site and away it goes. At the end, it'll generate an HTML page that lists all broken links. ja http://vispo.com ================================== The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Sat, 19 Jul 2008 16:42:54 +0000 Reply-To: "Poetics List (UPenn, UB)" Sender: "Poetics List (UPenn, UB)" From: AWAREing Press Subject: Re: The "originality" of appropriation vs the mass media "appropriation" of appropriation-originality--NY Times article In-Reply-To: <1dec21ae0807171958u5881aeb5m10ca4db38e4ed915@mail.gmail.com> MIME-Version: 1.0 Content-Type: text/plain; charset="utf-8" Content-Transfer-Encoding: quoted-printable Thanks for the words of wisdom, Murat. In some ways you are very correct, a= nd likeable, and thanks for reminding me about Benjamin and Spicer. But Eve= rything Zen? I don't think so. Warhol made history by reinterpreting rubbis= h-as-art. To flip that once more is to spin a coin two ways at once. Or, ma= ybe this IS what makes the world go round... Everything Zen? I DO think so.= How many of us can avoid touching the Polo attire of a magnetic David? And= who could say No to any product being pushed by the enigmatic charm of a M= ona Lisa? The distinction between art and artifact is already blurred, as w= e perpetuate the myth of education among the masses... And So It Goes, as p= er (not Vonnegut Jr., but) the copywriter facing a deadline on his ad campa= ign for, say, halitosis relief. Here's to the DNA on Ginsberg's tennies (and that he might wear them once m= ore). James -------------- Original message from Murat Nemet-Nejat := --------------=20 > David,=20 >=20 > As you perceptive analysis shows, the underlying question is, "who owns a= =20 > work of art," more specifically a work of literature (but, in our world, = one=20 > can apply the same question to images). My view is "no one." I am complet= ely=20 > with Emerson here (and Thoreau and Spicer and Walter Benjamin). The=20 > work/image belongs to a movement of language/images which consittutes our= =20 > thought/cultural/economic matrix (Emerson's landscape). If a corporation= =20 > wants to use one of my phrases, I would be pleased because it implies tha= t=20 > what I am doing as an individual -in Spicer's term, medium- has the abili= ty=20 > to open to a wider world. Spicer's claim, "No one listens to poetry" and= =20 > Benjamin's, "one writes for no one," are closed related to this. This=20 > radical isolation is liberating; if no one listens or one writes to no on= e,=20 > then no one owns what is written. The social contract of the author with = the=20 > world becomes of a peculiar sort: between the writer and cultural,=20 > linguistic movements which are at the moment invisible, below the surface= ,=20 > in a sense "unneeded," the way Cassandra's admonitions were "unneeded,"= =20 > therefore, unheard. Of course, all this does not prevent Spicer from hopi= ng=20 > to pick up boys through his poetry or Benjamin from hoping to get a=20 > university position. That desire -a version of payment- has little to do= =20 > with how the writing occurs.=20 >=20 > I think "the death of the author" is a more specific and quite different= =20 > concept. Initially, it applies to the lyric "I," asserting that this "I" = has=20 > little to do with personal feelings or biography; but the "I" becomes a= =20 > mark, a "moving zero," an elusive, transforming target, which registers t= he=20 > linguistic motion I have been pointing to above. "The death of the author= ,"=20 > in that sense, it transforms the lyric; *but It does not kill it* or make= it=20 > obsolete, as many suggested. Rather, it transforms it into a metaphysical= =20 > medium, a medium of motion rather than personal expression.=20 >=20 > "The death of the author" is also at the heart of hypertext, which, as a= =20 > form, is the literal expression of the idea of non-ownership. But I think= it=20 > is different in a significant way from the process I described earlier. I= n=20 > my view, it overlooks the radical isolation with which writing responding= ,=20 > opening to "hidden" movements requires. In one sense, all writing=20 > constitutes a hypertexts which other writers respond to, misread, alter,= =20 > expand, etc. That is what Benjamin's "ideal language" is. But hypetext, a= s a=20 > conscious for of writing, assumes a present community. I am not sure if t= his=20 > presence helps or inhibits the process; maybe it does both.=20 >=20 > Ciao,=20 >=20 > Murat=20 >=20 > On Wed, Jul 16, 2008 at 10:32 AM, David Chirot=20 > wrote:=20 >=20 > > *ARTS / ART & DESIGN * | July 13, 2008=20 > > * Art: The Image Is Familiar; the Pitch Isn't=20 > > <=20 > >=20 > http://www.nytimes.com/2008/07/13/arts/design/13fine.html?ex=3D1216872000= &en=3D1b778=20 > 806477a19e6&ei=3D5070&emc=3Deta1=20 > > >=20 > > *=20 > > By MIA FINEMAN=20 > > Artists have appropriated images from advertising for decades. What=20 > > happens=20 > > when the tables are turned?=20 > >=20 > > Conceptually, the artist's appropriation of an already existing image i= s,=20 > > in=20 > > theory at least, seen as "a critique of originality."=20 > >=20 > > Yet when a corporation--or another artist--appropriates the "non-origin= al"=20 > > art of appropriation--=20 > > the "death of the author" turns out to have been instead a playing at= =20 > > possum, playing possum, as the "Non-original artist" wakes from her=20 > > slumber and claims the appropriated "non-original" work as being, in fa= ct,=20 > > a=20 > > work of originality that needs to be protected from the marauding of=20 > > "corporate raiders."=20 > >=20 > > In a potentially endless series of art-advertising-art-advertising=20 > > appropriations and re-appropriations begetting unto the indefinite,=20 > > open-ended generation repetitions of the same as a difference which bec= omes=20 > > another difference which is at the same time "apparently" the same--=20 > > what is produced, ironically, is undying desire for originality, to be= =20 > > "original," and to have created the "original work," to have had "the= =20 > > original idea."=20 > >=20 > > A Conceptual advertisement and promotion of "non-originality" when=20 > > confronted with advertising's use of one's advertisements of=20 > > "non-originality" reveals "the fear of death, of an anonymous, unmarked= =20 > > grave" that "re-animates" the "dead author" of "non-originality" into a= =20 > > desperate assertion of being, after all, both very alive and very origi= nal.=20 > >=20 > > The "critique of the self" and of "originality," it turns out, are=20 > > acceptable conceptually, but not at the level of "property relations."= =20 > >=20 > > A Conceptual "non-self non-original artist//writer" literally=20 > > "materializes" in the claim to a property which is "mine." A property i= t=20 > > turns out, that possesses an "originality" "belonging to ME."=20 > >=20 > > In Emerson's Nature, the poet sees "a property in the landscape which d= oes=20 > > not belong to this or that farmer. The "property" that the poet sees is= =20 > > not=20 > > an object or a concept-as-object which can be owned, like Robert Smiths= on's=20 > > Art of Looking, in which the artist''s glance creates works which are r= eal=20 > > as any object, yet refuse to be locked into the prison of being a=20 > > "property," and object, which can be owned,=20 > > The "originality" of a poet, an artist, is an activity in time which ca= nnot=20 > > be embodied in time, as in an object that can be owned.=20 > >=20 > > The paradoxical situation of the non-original appropriating artist/writ= er=20 > > faced with the appropriation of her non-original object, discovers that= =20 > > their conceptions and identity have become imprisoned in the object.=20 > > Having=20 > > dispensed with an "original self," the artist of appropriation is faced= =20 > > with=20 > > being an appropriated "non-original self," which is threatened with the= =20 > > "death of the author" indeed when its "objectification" in the work is = in=20 > > danger of being appropriated into an advertisement for products belongi= ng=20 > > to=20 > > someone else.=20 > >=20 > > Instead of being an Artist/Poet of Looking who sees that property in th= e=20 > > landscape belonging to no one, , the "non-original" artist/writer has= =20 > > become=20 > > a property in the landscape which can be owned by anyone else, and so h= as=20 > > to=20 > > fight to be recognized as in themselves being a property, and indeed, a= n=20 > > "original and living Artist, Poet, " with a claim to those objects whic= h=20 > > are=20 > > not so much simply "belonging to ME,""made by ME," but are in a sense= =20 > > actually "Me," "Me" as a piece of property.=20 > >=20 > > And paradoxically finding "Me" locked in a court case or media battle t= o=20 > > prove that after all, one DOES exist, that one does "posses" the "prope= rty=20 > > of originality" as a "being Me, an Original and Living Me,"=20 > > instead of simply an object which "doesn't belong to anyone" and so can= be=20 > > claimed by anyone as their "personal property."=20 > >=20 > > =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D= =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=20 > > The Poetics List is moderated & does not accept all posts. Check guidel= ines=20 > > & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html=20 > >=20 >=20 > =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D= =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=20 > The Poetics List is moderated & does not accept all posts. Check guidelin= es &=20 > sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html=20 =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Sun, 20 Jul 2008 02:04:09 +0800 Reply-To: "Poetics List (UPenn, UB)" Sender: "Poetics List (UPenn, UB)" From: Christophe Casamassima Subject: Favorite Bookstores? Favorite Reviewers? Content-Disposition: inline Content-Transfer-Encoding: quoted-printable Content-Type: text/plain; charset="iso-8859-1" MIME-Version: 1.0 Hi, everyone, with the publication of my new book, the Proteus, I'm doing lots of footwor= k to get it into stores, get it reviewed, etc. first off, please visit Moria at http://www.moriapoetry.com/ebooks.html to = order a copy. Moria is a fabulous publisher and their books are beautiful -= mine, I'll say is gorgeous thanks to Bill Allegrezza's fine eye.=20 secondly, i'd like you to suggest bookstores that you like that will take a= nd sell copies - where ever you are! and last, if you would like to review the book for a publications (blogs ar= e great), please contact me directly so we can talk: cacasama@towson.edu thanks! much love! Christophe Casamassima --=20 Powered By Outblaze =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Sat, 19 Jul 2008 12:47:43 -0700 Reply-To: dbuuck@mindspring.com Sender: "Poetics List (UPenn, UB)" From: David Buuck Subject: Buuck/BARGE online & at Yerba Buena Center Mime-Version: 1.0 Content-Type: text/plain; charset=UTF-8 Content-Transfer-Encoding: 7bit The Bay Area Research Group in Enviro-aesthetics (BARGE) presents BURIED TREASURE ISLAND, a multi-platform investigation of Treasure Island, currently on view at Yerba Buena Center for the Arts in San Francisco. For those out-of-towners who can't visit the installation, there is a guidebook, audio tour, and other elements online (website - nonsite?). The audio podcast might not yet be fully up & running, but you can download the guidebook & see some images at: davidbuuck.com/BARGE/BTI all best, David Buuck ================================== The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Sat, 19 Jul 2008 20:14:42 -0400 Reply-To: dbuuck@mindspring.com Sender: "Poetics List (UPenn, UB)" From: David Buuck Subject: Buuck/BARGE online (Corrected URL) Mime-Version: 1.0 Content-Type: text/plain; charset=UTF-8 Content-Transfer-Encoding: 7bit http://www.davidbuuck.com/barge/bti/index.html ================================== The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Sun, 20 Jul 2008 10:41:48 -0500 Reply-To: "Poetics List (UPenn, UB)" Sender: "Poetics List (UPenn, UB)" From: David-Baptiste Chirot Subject: New Media as New "Mediums" for Contacting the Past: Yeats Meets the Digital Age, Full of Passionate Intensity -NY Times) MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable ARTS / ART & DESIGN=20 =20 | July 20=2C 2008 Art:=20 Yeats Meets the Digital Age=2C Full of Passionate Intensity By JIM DWYER A digital resurrection allows Yeats to stride again along the hinge of the = 19th and 20th centuries. Mary Baker has a telephone in her vault in Cambridge 'MA's Mt Auburn Cemete= ry-- the number was (and hopefully still is) in he phonebook-- she never answered in al the times I tried calling-- but with ever advancing Media as Mediums=2C one may soon find oneself with = the ability to accompany Raymond Chandler "down these mean streets=2C" or join Rimbaud for 'A Season in Hell"-- Attempts to lengthen one's stay among simulated "literary/artistic people= =2C places & times"-- may have to be carefully controlled by guardians against new forms of "esca= pism"-- and=2C perhaps=2C "border patrols" will have to be employed to contain all = those from "other times" attempting to crash into the present as "illegal a= liens"-- _________________________________________________________________ Stay in touch when you're away with Windows Live Messenger. http://www.windowslive.com/messenger/overview.html?ocid=3DTXT_TAGLM_WL_mess= enger2_072008= =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Sun, 20 Jul 2008 13:44:59 -0400 Reply-To: "Poetics List (UPenn, UB)" Sender: "Poetics List (UPenn, UB)" From: L Trent Subject: Re: New Issue of 21 Stars Review Comments: To: new-poetry@wiz.cath.vt.edu In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 7bit Content-Disposition: inline Hi all! The new issue of 21 Stars Review (http://www.sundress.net/21stars/) is up, with Anne Bogle as guest fiction editor, featuring the work of... Pranshu Arya Gary Beck Peter Charles Beth Coyote Erik Dickey Thomas Fink and Maya Diablo Mason Harry Johnson Mark Howard Jones Andrea Lewis Philip Lund Josh May Ashok Niyogi Ateet Tuli Laura Wetherington William Yazbec http://www.sundress.net/21stars > > > ================================== The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Sun, 20 Jul 2008 18:05:46 +0000 Reply-To: "Poetics List (UPenn, UB)" Sender: "Poetics List (UPenn, UB)" From: Nicholas Karavatos Subject: Reading in Ukiah, CA on Thursday the 24th MIME-Version: 1.0 Content-Type: text/plain; charset="Windows-1252" Content-Transfer-Encoding: quoted-printable (Rescheduled due to recent fire and smoke) Nicholas Karavatos THURSDAY=2C J= uly 24th at 7:00pm =93Writers Read=94 Series =96 hosted by Susan J. Sparrow= Colored Horse Studio780 Waugh LaneUkiah=2C CA http://www.coloredhorse.com/= Nicholas KaravatosDept of Language & LiteratureAmerican University of Shar= jahPO Box 26666SharjahUnited Arab Emirates> From: nicholaskaravatos@hotmail= .com> To: poetics@listserv.buffalo.edu> Subject: Reading in Ukiah=2C CA on = Thursday the 26th> Date: Sat=2C 21 Jun 2008 17:46:43 +0000> > > > > Nichola= s Karavatos> > THURSDAY=2C June 26th at 7:00pm> > =93Writers Read=94 Readin= g Series =96 hosted by Susan J. Sparrow> > Colored Horse Studio> 780 Waugh = Lane> Ukiah=2C CA> > http://www.coloredhorse.com/> > > > > > > > > Nicholas= Karavatos> Dept of English> American University of Sharjah> PO Box 26666> = Sharjah> United Arab Emirates> > __________________________________________= _______________________> Need to know now? Get instant answers with Windows= Live Messenger.> http://www.windowslive.com/messenger/connect_your_way.htm= l?ocid=3DTXT_TAGLM_WL_Refresh_messenger_062008 _________________________________________________________________ With Windows Live for mobile=2C your contacts travel with you. http://www.windowslive.com/mobile/overview.html?ocid=3DTXT_TAGLM_WL_mobile_= 072008= =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Mon, 21 Jul 2008 08:03:19 +0800 Reply-To: "Poetics List (UPenn, UB)" Sender: "Poetics List (UPenn, UB)" From: andrew burke Subject: hello MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 7bit Content-Disposition: inline Hello, I'm new here. I don't know the local introduction behaviours, so I'll just extend my hand and gabble. I've been writing poetry since the 1960s, firstly under the influence of Milton et al, but then influenced by the Beats and jazz liner notes, Zen (Beat to Square), and folk songs. By the time I was 18 and leaving school, I was ready to hit the road and escape my conservative surburban upbringing. So I hitched from Perth to Sydney, west coast to east coast Australia - safe back then, not so safe now. At this time I was published in a university literary quarterly - a short Saroyanesque story about a boy staring at ants, yet somehow the reader knows he is damaged in some way. I've lost it, thankfully, because it remains 'beautiful' in my memory, and was probably more awkward on the page. Much of my teenage poetry has gone the same way. Yet that early publishing encouragement set me on the path to being a lifelong writer. But I go on too long ... This is a similar start to many. Let's just say I have written a mess of poems over the last forty plus years, some of which has appeared in print (many mags, six books) and some of which has appeared disguised as plays, tiny films, stories and one novel. After quarter of a century in advertising (my anti-intellectual years), I changed careers and taught writing and literature at various universities, including a recent stint at Shanxi Normal University in Linfen, China. During these, my intellectual years, I received a PhD from Edith Cowan University three years ago. But my main interest is my next poem, and my curiosity has lead me to investigate many poetics from around the world. On this list, I hope to gain more insights and share some of my passion for poetry. My day to day interests are well exposed on my blog (address below). Thank you for reading. Andrew http://hispirits.blogspot.com/ http://www.flickr.com/photos/aburke/ ================================== The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Sun, 20 Jul 2008 22:13:55 -0400 Reply-To: "Poetics List (UPenn, UB)" Sender: "Poetics List (UPenn, UB)" From: Ismaelia al Sadiq Subject: Re: NOTHING BUT SHAME TO STONEWALL! In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Plato=2C in Book 10 of The Republic=2C expelled poetry from the university = curriculum laid out in Book 7. Poets in exile. Or the orality of Hesiod a= nd Homer was.=20 =20 Early Achean kings figured out they could stay in power by substituting Ath= enian citizens for themselves=2C so the four-year rule was rendered moot. =20 As prejudice abounds=2C more extensive ways are found to oppress those towa= rd whom the prejudice extends=2C often by the tactic of inclusion. The imp= lied and over-arching control of wayward elements is thus guaranteed. It i= s possible to render one an exile by more extensively including her systema= tically in filial ostentation. Trained extension of a generically accepted= ego-term. Pretentious integrity given phony respect. Or=2C give 'em a gu= n and see who they shoot at. Each other=2C it is doubtless hoped. =20 "Epic" ends where political authority makes abstract morality a virtue. It= s material analogy is war. As Jo Jones said=2C "World War II was orchestra= ted to break up the Basie band." =20 All hail to sexual expression of any kind=2C crotch of elm as great as Dyad= . =20 Isma'il ibn Ali al-Sadiq bin Jafar bin al-Baqir bin al-Abidin bin al-Hussei= ni ibn Muhammad al-Talib =20 *> Date: Fri=2C 18 Jul 2008 10:26:02 -0400> From: caconrad13@GMAIL.COM> Sub= ject: NOTHING BUT SHAME TO STONEWALL!> To: POETICS@LISTSERV.BUFFALO.EDU> > = Did Marsha P. Johnson start the Stonewall Riot to end oppression=2C or spre= ad> misery? "The Stonewall Diversity Champions" has listed as its 400th mem= ber> the British Army for their open inclusion of gays and lesbians into th= e> armed forces. WOW! I'm not even sure how to react with anything but ange= r.> > The fight to NOT BE OPPRESSED does not mean to be included into the> = oppressor's world. WHY WOULD the oppressor think they're SO GREAT that we> = would even WANT to be them!? I would want to BE like the person> who has ke= pt me from my life?> > It's more the problem of course of gays and lesbians= who do not share my> view here=2C who DO think that the ULTIMATE GOAL shou= ld be to meld and> disappear into the machine with all of its sharp tools c= arving the world> into one grand=2C obedient=2C nameless=2C worker-consumer= =2C killing all who defy.> The British Army is the 400th member of "The Sto= newall Diversity Champions=2C"> I just need to WRITE THIS AGAIN=2C and SAY = IT OUT LOUD AGAIN=2C because it's SO> HARD TO BELIEVE!> > The worst thing i= s NOT being able to stop this kind of ABUSE to the lives we> lead=2C and ho= w we want to lead=2C away from such brutality. The committee for> this BOGU= S award will represent who they want to represent. GAYS IN THE> MILITARY IS= NOT A CIVIL RIGHTS ISSUE!> http://tenbyfour.blogspot.com/2006/05/why-gays-= in-military-is-not-civil.html> > To honor the war machine through Stonewall= is so infuriating I feel like I> blew a fuse. I mean=2C I can't even FEEL = angry=2C but I know I'm SO ANGRY=2C and> that's why I'm numb.> > To honor w= ar is to not honor the LOVE Marsha P. Johnson used to strike the> police wi= th=2C her need to be left to her life=2C and to protect her family who> wer= e other fringe=2C mistreated=2C neglected souls like herself.> > I'm not ev= en sure where I send my hate mail today. England or New York?> > CAConrad> = http://PhillySound.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> The Poetic= s List is moderated & does not accept all posts. Check guidelines & sub/uns= ub info: http://epc.buffalo.edu/poetics/welcome.html _________________________________________________________________ Stay in touch when you're away with Windows Live Messenger. http://www.windowslive.com/messenger/overview.html?ocid=3DTXT_TAGLM_WL_mess= enger2_072008= =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Sun, 20 Jul 2008 21:29:14 -0500 Reply-To: "Poetics List (UPenn, UB)" Sender: "Poetics List (UPenn, UB)" From: Maria Damon Subject: Re: hello In-Reply-To: <12810a820807201703r1d0d8131s40e42053c1928d95@mail.gmail.com> MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit welcome to the list. andrew burke wrote: > Hello, I'm new here. I don't know the local introduction behaviours, so I'll > just extend my hand and gabble. > > I've been writing poetry since the 1960s, firstly under the influence of > Milton et al, but then influenced by the Beats and jazz liner notes, Zen > (Beat to Square), and folk songs. By the time I was 18 and leaving school, I > was ready to hit the road and escape my conservative surburban upbringing. > So I hitched from Perth to Sydney, west coast to east coast Australia - safe > back then, not so safe now. > > At this time I was published in a university literary quarterly - a short > Saroyanesque story about a boy staring at ants, yet somehow the reader knows > he is damaged in some way. I've lost it, thankfully, because it remains > 'beautiful' in my memory, and was probably more awkward on the page. Much > of my teenage poetry has gone the same way. Yet that early publishing > encouragement set me on the path to being a lifelong writer. > But I go on too long ... This is a similar start to many. Let's just say I > have written a mess of poems over the last forty plus years, some of which > has appeared in print (many mags, six books) and some of which has appeared > disguised as plays, tiny films, stories and one novel. > > After quarter of a century in advertising (my anti-intellectual years), I > changed careers and taught writing and literature at various universities, > including a recent stint at Shanxi Normal University in Linfen, China. > During these, my intellectual years, I received a PhD from Edith Cowan > University three years ago. > > But my main interest is my next poem, and my curiosity has lead me to > investigate many poetics from around the world. On this list, I hope to gain > more insights and share some of my passion for poetry. > > My day to day interests are well exposed on my blog (address below). > > Thank you for reading. > > Andrew > http://hispirits.blogspot.com/ > http://www.flickr.com/photos/aburke/ > > ================================== > The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html > ================================== The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Mon, 21 Jul 2008 03:02:25 +0000 Reply-To: "Poetics List (UPenn, UB)" Sender: "Poetics List (UPenn, UB)" From: Nate Pritts Subject: & the summer was endless it was an endless summer In-Reply-To: <00a001c8e9bf$ec7b0650$c57112f0$@com> MIME-Version: 1.0 Content-Type: text/plain; charset="Windows-1252" Content-Transfer-Encoding: quoted-printable Hi - A quick note to say that my new chapbook=2C ENDLESS SUMMER=2C is out = from Publishing Genius - & Adam Robinson=2C the main man there=2C really is= that: the chap is available to print off for yourself=2C to order and have= a paper copy sent to you=2C or to view on the screen. I'm thrilled to hav= e this chap out & that there are so many ways for people to come aross it. = ENDLESS SUMMER is Part II of my now complete Shepherd's Calendar THE WONDER= FUL YEARE - Part I - SPRING PSALTER=2C chapbook bound in Cannibal #3 (2008= )Part II - ENDLESS SUMMERPART III - (SONNETS FOR THE FALL)=2C chapbook from= Parcel Press (2007)Part IV - WINTER CONSTELLATIONS=2C chapbook from horse = less press (2005) Here's the link - www.publishinggenius.com/tpc.htmlPleas= e drop by and take a look. n8 *publisher's announcement: Hi hi hi. =20 There=92s a new PDF Chapbook to read=2C this time by the great Nate Pritts.= It=92s a roundhouse of bodyblows. It=92s called ENDLESS SUMMER=2C and it= =92s from a four-part series about the seasons. It=92s lush in its repetit= ions. It=92s pretty short. Check it out at where as always you can read = the piece on the screen or print off a copy for your collection. =20 =20 =20 =20 ___________:: Dr. Nate Pritts :: http://www.natepritts.com=20 Keep your kids safer online with Windows Live Family Safety. Help protect y= our kids.=20 _________________________________________________________________ Keep your kids safer online with Windows Live Family Safety. http://www.windowslive.com/family_safety/overview.html?ocid=3DTXT_TAGLM_WL_= family_safety_072008= =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Sun, 20 Jul 2008 21:08:27 -0700 Reply-To: "Poetics List (UPenn, UB)" Sender: "Poetics List (UPenn, UB)" Comments: RFC822 error: Invalid RFC822 field - "1st set:". Rest of header flushed. From: Daniel Godston Subject: tonight at Brown Rice MIME-Version: 1.0 Content-Type: text/plain; charset=windows-1252 Content-Transfer-Encoding: quoted-printable Monday, July 21, 8 p.m.=0A1st set: =0ALarry Sawyer -- poetry=0ADan Godston = -- trumpet & small=0Ainstruments=0A =0A2nd set: =0ALaura Emelianoff -- open= harp=0AEric Leonardson -- springboard=0A=0ABrown Rice =0A4432 N. Kedzie Av= e.,=0A1st floor, Chicago, IL 60625=0ADoors open one half hour before perfor= mance=0Atime, all ages. =0A=0A$5 suggested donation. Brown Rice is a half b= lock north =0A=0Aof the Montrose / Kedzie=0Aintersection, close =0A=0Ato th= e Kedzie station on the CTA brown line. =0A=0AThe entrance=0Ais below a sig= n that reads =93Perfect=85=94 =0A=0APlease call 312.543.7027 for more info.= =0A=0Ahttp://www.brownricemusic.org=0Ahttp://www.ericleonardson.org =0A=0A= http://larrysawyer.blogspot.com/ =0A=0Ahttp://www.milkmag.org/ =0A=0Ahttp:/= /www.myspace.com/dangodstonmusic =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Sun, 20 Jul 2008 21:26:02 -0700 Reply-To: "Poetics List (UPenn, UB)" Sender: "Poetics List (UPenn, UB)" From: Matt Henriksen Subject: Adam Clay & Cannibal Books MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Cannibal Books (announces) As Complete as a Thought Can Be (a poem) by Adam Clay 24 pp. (hand-sewn) $7 Payable via Paypal (@) flesheatingpoems.blogspot.com or by check (for our temporary address) query Matthew Henriksen @ flesheatingpoems.yahoo.com) ================================== The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Mon, 21 Jul 2008 05:53:54 +0000 Reply-To: "Poetics List (UPenn, UB)" Sender: "Poetics List (UPenn, UB)" From: Mark Prejsnar Subject: Call for proposals - Spaltung 3 MIME-Version: 1.0 Content-Type: text/plain; charset="utf-8" Content-Transfer-Encoding: quoted-printable The Atlanta Poets Group is seeking proposals for work for the third issue o= f its magazine Spaltung. =C2=A0This issue will be packaged in the form of a= box. =C2=A0We are looking for poem-objects. =C2=A0Pieces that address/embo= dy the concept or experience of multiplicity/heterogeneity are encouraged. = =C2=A0*Please do not send work at this time.* =C2=A0Instead please send a *= proposal* for the piece you propose to include to: =C2=A0spaltung@comcast.n= et. =C2=A0Deadline for proposal submissions is September 31. =C2=A0Some par= ameters you should consider in preparing your proposal: --100 units of the magazine issue will be produced. --We have not yet decided on the size of the box; =C2=A0in cubic inches it = will likely be larger than a breadbox and significantly smaller than a movi= ng crate. --If your piece(s) require anything beyond mindless, cheap reporduction/ass= embly, we will likely look to you to provide us with 100 units, fully assem= bled. --We are mostly looking for work that is beyond what can be accomplished on= 8.5 x 11 inch paper and beyond what can be included on a CD-ROM. --Proposals should include exact dimensions of the object(s) to be submitte= d. You can familiarize yourself with past issues of Spaltung via the blog at w= ww.spaltungmag.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 The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Mon, 21 Jul 2008 09:27:26 -0400 Reply-To: "Poetics List (UPenn, UB)" Sender: "Poetics List (UPenn, UB)" From: Aaron Lowinger Subject: Open Night by Aaron Lowinger (Transmission Press) In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 7bit Content-Disposition: inline HELLO FRIENDS!!! I hope this note finds you all well in body and mind! Logan Ryan Smith of Transmission Press was kind enough to publish a collected edition of my Open Night Poems, love poems of the open night! Logan wrote: It's here, people! This is a book that rivals records and makes you think yr supposed to put it on yr turntable, but then you try and you realize that it's not round-- but it sure does GROOVE, baby! Oh yeah! You want you some poetry that makes yr heart sizzle all the way to yr tongue, baby? Oh yeah, this is the book for you! You know how people call certain bands "Music to Make-Out To"? Well, baby, sweet sunshine of my life, this here is "POETRY TO MAKE-OUT TO". Yes, that's right, this is the book that makes things go ba-bump in the night! It'll make yr legs shake, yr liver quake, and yr brain bake, baby, oh yeah! So come on now and get 'em like a sweet piece of hot cakes! Oh yeah! Take this book to yr insomnia and call it FRIEND. It's the book that keeps on giving, giving and giving all the way to the END, baby, oh yeah! Go buy it at TRANSMISSION PRESS and rock out with yr **** out, oh yeah! __________________ open night While the unseen night windows are expanding a lot of things here outside the time cat clamped on my cheek PBS tower crowded out by leaves mother of wonder night calls from your hair to your feet out left out right middle and center the back the sides more than ever please here the side I'll sleep on until the walls all laugh so loud the garden hears _________________________________________ NOTE TO MASS EMAIL RECIPIENTS: If you never want to hear from me again, just email me back and say so. Really, it's not a problem. Just let me know. And we'll never speak again. Ever. Not even a nod 'hello'. Not even eye contact. NOTHING. No biggie. So yeah, just tell me. -- theredgummibear.blogspot.com transmissionpress.blogspot.com transmissionbooks.blogspot.com ================================== The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Mon, 21 Jul 2008 09:43:23 -0400 Reply-To: "Poetics List (UPenn, UB)" Sender: "Poetics List (UPenn, UB)" From: Michael Kelleher Subject: Literary Buffalo Newsletter 07.21.08-07.27.08 MIME-Version: 1.0 Content-Transfer-Encoding: quoted-printable Content-Type: text/plain; format=flowed; charset=ISO-8859-1 LITERARY BUFFALO 07.21.08-07.27.08 BABEL 2008-2009 SUBSCRIPTIONS ARE GOING FAST=21=21 Chinua Achebe, Nigeria, September 25. Book: Things Fall Apart. Michael Ondaatje, Canada, October 29. Book: The English Patient. Marjane Satrapi, Iran, April 1. Book: Persepolis. Isabel Allende, Chile, April 17. Book: House of the Spirits. Previous subscribers: =2475. New subscription: =24100. Patron subscription: =24250. (Patron subscribers receive VIP seating and a= ttendance at all pre-event author receptions.) Patron Pair: =24400. WE ARE ALREADY 84% SOLD OUT FOR NEXT SEASON. We expect to sell out next season by subscription. If we do not, tickets fo= r individual events will go on sale September 1. ___________________________________________________________________________ EVENTS THIS WEEK 07.23.08 Olde Editions Bookshop Betty Jean Grant Reading and signing for, =22Falling Through The Crack=22 Special Proclamation from the Mayor will be issued Wednesday, July 23, 5 p.m. Old Editions Book Shop 74 E. Huron, Downtown Buffalo (3 Blocks east of the Hyatt) & Rooftop Poetry Club at Buffalo State College Reading featuring Jaye Bartell and Forrest Roth Wednesday, July 23, 7 p.m. E.H Butler Library, Rooftop Garden Buffalo State College 07.27.08 Rust Belt Books Martin Clibbens Reading poems from artworks on exhibit in the store Sunday, July 27, 6 p.m. Rust Belt Books, 202 Allen St. ___________________________________________________________________________ LITERARY BUFFALO RSS FEED You can now subscribe to the Literary Buffalo RSS feed for up to the minute= info on literary happenings around town: feed://www.justbuffalo.org/rss/ ___________________________________________________________________________ FACEBOOK Join the Friends of Just Buffalo Literary Center Facebook Group: http://www.facebook.com/group.php?gid=3D13187515545&ref=3Dts ___________________________________________________________________________ WESTERN NEW YORK ROMANCE WRITERS group meets the third Wednesday of every m= onth at St. Joseph Hospital community room at 11a.m. Address: 2605 Harlem R= oad, Cheektowaga, NY 14225. For details go to www.wnyrw.org. ___________________________________________________________________________ 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 add= ed the ability to join online by paying with a credit card through PayPal. = Simply click on the membership level at which you would like to join, log = in (or create a PayPal account using your Visa/Amex/Mastercard/Discover), a= nd voil=E1, you will find yourself in literary heaven. For more info, or t= o join now, go to our website: http://www.justbuffalo.org/membership/index.shtml ___________________________________________________________________________ UNSUBSCRIBE If you would like to unsubscribe from this list, just say so and you will i= mmediately be 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 =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Mon, 21 Jul 2008 11:27:53 -0400 Reply-To: "Poetics List (UPenn, UB)" Sender: "Poetics List (UPenn, UB)" From: Dan Wilcox Subject: Poets in the Park, July 26, Albany, NY Mime-Version: 1.0 (Apple Message framework v624) Content-Transfer-Encoding: quoted-printable Content-Type: text/plain; charset=ISO-8859-1; format=flowed The Poetry Motel Foundation presents Poets in the Park, 2008: Kathryn Kelly & James Schlett to read July 26 Final reading scheduled for August 2 Poets in the Park has been celebrating poetry in July at the Robert=20 Burns statue in Washington Park, Albany, NY since 1989.=A0The series,=20 formerly run by the late Tom Nattell and now hosted by Dan Wilcox,=20 continues with readings on Saturdays, July 12 through August 2; the=20 readings start at 7:00 PM and are free & open to the public; donations=20= are accepted.=A0This year the readings are also sponsored by the Hudson=20= Valley Writers Guild. The third reading in the series on July 26 will be by Kathryn Kelly and=20= James Schlett. Kathryn Kelly is a middle school teacher in Portland,=20 CT; she was one of the organizers of the "One Soldier, One Poem" event=20= held there in December, 2007, and was a featured poet at the CT Beat=20 Poetry Festival in June.=A0James Schlett has been called "the last = living=20 Romantic poet of Albany."=A0James writes mostly nature poetry set it the=20= Capital Region and Berkshire County, and he is an award-winning=20 journalist for a local daily newspaper.=A0His prose have been published=20= in "Songs of Innocence" and "The Mid-Atlantic Almanac" and his poems=20 have appeared or will be appearing in "Nomad" and "The Literary=20 Gazette" and on AlbanyPoets.com.=A0He is a north Jersey native. The last reading in the series will be on August 2 with Susan Brennan &=20= Philip Good. The Robert Burns statue is near where Henry Johnson Blvd. passes=20 through Washington Park and crosses Hudson Ave.=A0Please bring your own=20= chairs or blankets to sit on.=A0Rain site is the Social Justice Center,=20= 33 Central Ave., 7PM. This project is made possible in part through COMMUNITY ART$GRANTS, a=20 program funded through the State and Local Partnership Program of the=20 New York State Council on the arts, a State agency and the Arts Center=20= of the Capital Region. For more information contact Dan Wilcox, at dwlcx@earthlink.net;=20 518-482-0262. #### =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Mon, 21 Jul 2008 11:56:14 -0400 Reply-To: "Poetics List (UPenn, UB)" Sender: "Poetics List (UPenn, UB)" From: Camille Martin Subject: Camille Martin reads in Halifax MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable If you're going to be in Halifax on Tuesday, July 29, please come to my = reading for the Shoestring Reading Series. I'm doing a week-long tour of = Nova Scotia, including an archeological dig at Beaubassin, where some of = my Acadian ancestors lived before making their way to Louisiana. My = visit will culminate in the Halifax reading - thanks to David Rimmington = for arranging it. I'm looking forward to seeing Nova Scotia and meeting = some poets! =20 You can check out some of my poems, collage art, etc., at my website: =20 http://www.camillemartin.ca =20 Cheers, Camille =20 8 pm, Tuesday, July 29 Shoestring Reading at The Economy Shoe Shop 1663 Argyle Street / Halifax, NS =20 Camille Martin, a Toronto poet and collage artist, is the author of = Codes of Public Sleep (BookThug, 2007) in addition to several earlier = chapbooks. Recent work is published or forthcoming in The Literary = Review of Canada, PRECIPICe, The Walrus, West Coast Line, This Magazine, = White Wall Review, Rampike, W Magazine, and Chicago Review. Recently = she received a grant from the Ontario Arts Council to complete a book of = sonnets. She earned an MFA in Poetry at the University of New Orleans = and a Ph.D. in English at Louisiana State University. Currently she = teaches writing and literature at Ryerson University. =20 * * * * * * * * * * Codes of Public Sleep breaks open the code of private thought to modes = of knowing catastrophe that defy insufficient isolating sagas. Camille = Martin's poetry is the shattering signal from a laudably wild tongue = that will not keep still for our death-drive culture. This is a = remarkable collection. - Carla Harryman * * * * * * * * * * =20 =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Mon, 21 Jul 2008 11:22:11 -0700 Reply-To: ndm_g@yahoo.com Sender: "Poetics List (UPenn, UB)" From: Andy Gricevich Subject: Series A reading tomorrow (Tuesday) MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Hurried/furtive dispatch from circ desk! Tomorrow! Tuesday! Poetry! Chicago! SERIES A! All the way from London, CARRIE ETTER! All the way from Madison, ANDY GRICEVICH! What a groove! http://www.moriapoetry.com/seriesa.html http://ndgwriting.blogspot.com http://cannotexist.blogspot.com ================================== The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Mon, 21 Jul 2008 17:52:00 -0400 Reply-To: "Poetics List (UPenn, UB)" Sender: "Poetics List (UPenn, UB)" From: Peter Ciccariello Subject: Re: hello In-Reply-To: <4883F47A.4030904@umn.edu> MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 7bit Content-Disposition: inline Welcome Andrew, nice to see you here! - Peter Ciccariello On Sun, Jul 20, 2008 at 10:29 PM, Maria Damon wrote: > welcome to the list. > > > andrew burke wrote: > >> Hello, I'm new here. I don't know the local introduction behaviours, so >> I'll >> just extend my hand and gabble. >> >> I've been writing poetry since the 1960s, firstly under the influence of >> Milton et al, but then influenced by the Beats and jazz liner notes, Zen >> (Beat to Square), and folk songs. By the time I was 18 and leaving school, >> I >> was ready to hit the road and escape my conservative surburban upbringing. >> So I hitched from Perth to Sydney, west coast to east coast Australia - >> safe >> back then, not so safe now. >> >> At this time I was published in a university literary quarterly - a short >> Saroyanesque story about a boy staring at ants, yet somehow the reader >> knows >> he is damaged in some way. I've lost it, thankfully, because it remains >> 'beautiful' in my memory, and was probably more awkward on the page. Much >> of my teenage poetry has gone the same way. Yet that early publishing >> encouragement set me on the path to being a lifelong writer. >> But I go on too long ... This is a similar start to many. Let's just say I >> have written a mess of poems over the last forty plus years, some of which >> has appeared in print (many mags, six books) and some of which has >> appeared >> disguised as plays, tiny films, stories and one novel. >> >> After quarter of a century in advertising (my anti-intellectual years), I >> changed careers and taught writing and literature at various universities, >> including a recent stint at Shanxi Normal University in Linfen, China. >> During these, my intellectual years, I received a PhD from Edith Cowan >> University three years ago. >> >> But my main interest is my next poem, and my curiosity has lead me to >> investigate many poetics from around the world. On this list, I hope to >> gain >> more insights and share some of my passion for poetry. >> >> My day to day interests are well exposed on my blog (address below). >> >> Thank you for reading. >> >> Andrew >> http://hispirits.blogspot.com/ >> http://www.flickr.com/photos/aburke/ >> >> ================================== >> The Poetics List is moderated & does not accept all posts. Check >> guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html >> >> > > ================================== > The Poetics List is moderated & does not accept all posts. Check guidelines > & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html > ================================== The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Tue, 22 Jul 2008 01:59:42 +0000 Reply-To: jfk@poetinresidence.com Sender: "Poetics List (UPenn, UB)" Comments: RFC822 error: Invalid RFC822 field - "I'm looking for email addresses for ". Rest of header flushed. From: Jayne Subject: email addresses MIME-Version: 1.0 Content-Type: text/plain; charset=utf-8 Content-Transfer-Encoding: quoted-printable Hi=0D=0A=0D=0AI'm looking for email addresses for =0D=0A=0D=0AAlan Shapiro= =0D=0ALyn Hejinian=0D=0ALawrence Upton=0D=0AChristopher Middleton=0D=0A=0D= =0Ato seek permissions. If you can help out it would be appreciated. =0D=0A= =0D=0Aregards=0D=0AJayne Fenton Keane=0D=0A=0D=0A =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Mon, 21 Jul 2008 21:11:03 -0700 Reply-To: "Poetics List (UPenn, UB)" Sender: "Poetics List (UPenn, UB)" From: Jim Andrews Subject: Re: The "originality" of appropriation vs the mass media "appropriation" of appropriation-originality--NY Times article In-Reply-To: <1dec21ae0807171958u5881aeb5m10ca4db38e4ed915@mail.gmail.com> MIME-version: 1.0 Content-type: text/plain; charset=iso-8859-1 Content-transfer-encoding: 7bit i thought that was an interesting post, murat. i don't agree with lots of it, but you get at some things that are important that not too many people seem able to write about at all, even if you're wrong about them. the interesting part, i felt, was the stuff on ownership. very writerly. not so much anti-capitalist as yawning at capitalism in a poetry context. which is right, i feel. capitalism in a poetry context is just more or less irrelevant. contrast that, however, with visual art. if you hang out with new york visual artists online or anywhere else, you see just how little sense any art makes to them that *doesn't* work within capitalism. galleries, products, and so on. if it doesn't make it monetarily, it just doesn't count. it can't survive. in the 'market of ideas' in which new york artists are immersed. which is too bad for new york art, it seems to me. but i guess it makes sense there. whereas the 'market of ideas' you allude to is less about a capitalistic market as something different. which is important. and expensive, in a sense. the danger of poetry resides, in part, in its being able to operate, to some extent (more than visual art) in other dimensions than the genuinely boring capitalistic market of ideas. genuinely boring. deeply. terminally. genuine stuff of the forces of dullness. witness the art it promulgates in mass media, which is little more than a provisional business proposition. which is one of the reasons i remain optimistic about the internet. as medium for something else. ja http://vispo.com ================================== The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Mon, 21 Jul 2008 21:41:46 -0700 Reply-To: "Poetics List (UPenn, UB)" Sender: "Poetics List (UPenn, UB)" From: Matt Henriksen Subject: Frank Stanford Literary Festival MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Featuring a Small Press Reading, a panel on Stanford's life and works, a screening of the Stanford biopic It Wasn't a Dream It Was a Flood, a celebratory reading from Stanford's poems, and a marathon reading of The Battlefield Where the Moon Says I Love You Hosted by The Burning Chair Readings Cannibal Books Lost Roads Publishers Fascicle Typo & The Fayetteville Public Library If you would like to attend, publicize, sponsor, or otherwise query, contact me at frankstanfordfest (at) gmail (dot) com Matthew Henriksen The Burning Chair Readings ================================== The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Mon, 21 Jul 2008 21:44:20 -0700 Reply-To: "Poetics List (UPenn, UB)" Sender: "Poetics List (UPenn, UB)" From: Matt Henriksen Subject: Frank Stanford Literary Festival MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Frank Stanford Literary Festival October 17 - 19, 2008 Fayetteville, Arkansas Featuring a Small Press Reading, a panel on Stanford's life and works, a screening of the Stanford biopic It Wasn't a Dream It Was a Flood, a celebratory reading from Stanford's poems, and a marathon reading of The Battlefield Where the Moon Says I Love You Hosted by The Burning Chair Readings, Cannibal Books, Lost Roads Publishers, Fascicle, Typo, & The Fayetteville Public Library If you would like to attend, publicize, sponsor, or otherwise query, contact me at frankstanfordfest (at) gmail (dot) com Matthew Henriksen The Burning Chair Readings ================================== The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Tue, 22 Jul 2008 06:39:26 -0400 Reply-To: "Poetics List (UPenn, UB)" Sender: "Poetics List (UPenn, UB)" From: Murat Nemet-Nejat Subject: Re: the "originality" of appropriation--response to Murat In-Reply-To: <8CAB712F87D6588-1218-96EC@webmail-nd18.sysops.aol.com> MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 7bit Content-Disposition: inline Bobbie, What happened to your art work reminds me of david Chirot's "RubEings." They could have been picked by him and used in some form. Ciao, Murat On Fri, Jul 18, 2008 at 1:29 PM, Bobbie Lurie wrote: > Murat, > I just wanted to send my thanks for what you wrote below and to say that > "this radical isolation is liberating" is the truest > thing for me. There is such a sense of "difficulty" and "ambition" in the > writer who makes writing a "career"--the > writers who simply enjoy writing/ who do not buy into the illusion of the > artist's self-importance are a joy to know and to read. It is the process > itself > as far as I'm concerned. Perhaps my life experience has taught me to > examine > the idea of "audience" very closely--we speak to ourselves is my conclusion > and any "audience" does the same --and it is absurd for me to worry about > an audience--once we no longer have consciousness and self-consciousness > the world vanishes for us is my conclusion--our suffering comes from trying > to control and wanting to control beyond the grave sounds like serious > suffering to me as does all other ideas of artistic control as in > "audience"--anyway, I am moving off topic as per usual so I will end here > with > Thanks, > Bobbi > P.S. I wrote a story about "audience" when I left the visual art world or > at > least tried to--it is a true story--it is about how I boxed hundreds of > drawings > and canvases and etchings and etching plates--I found it a ceremonial > way to say "good-bye" to my destroyed "art career" (partially self-induced) > -- I put my visual images downstairs for the garbagemen (garbage people?/ > sanitational engineers? p.c. lurks everywhere) in New York--but hours > later I walked outside again only to find my work exhibited on the sidewalk > in front of my apartment bldg.--people taking the drawings/ paintings they > wanted. In this story I write about "audience" and how contracted are ideas > of fame and who is an audience to our work (such an artifical concept--ie; > these people wanted my work but the "setting" is what mattered according > to everyone /not the acutal appreciation > or whatever is exemplified when people rifle through the garbage of others > (in my case: years of accumulated pieces of art made by me)-- > and the complex way work is presented...i could go on forever but will > stop here > Date: Thu, 17 Jul 2008 22:58:48 -0400 > From: Murat Nemet-Nejat > Subject: Re: The "originality" of appropriation vs the mass media > "appropriation" of appropriation-originality--NY Times article > > David, > > As you perceptive analysis shows, the underlying question is, "who owns a > work of art," more specifically a work of literature (but, in our world, > one > can apply the same question to images). My view is "no one." I am > completely > with Emerson here (and Thoreau and Spicer and Walter Benjamin). The > work/image belongs to a movement of language/images which consittutes our > thought/cultural/economic matrix (Emerson's landscape). If a corporation > wants to use one of my phrases, I would be pleased because it implies that > what I am doing as an individual -in Spicer's term, medium- has the ability > to open to a wider world. Spicer's claim, "No one listens to poetry" and > Benjamin's, "one writes for no one," are closed related to this. This > radical isolation is liberating; if no one listens or one writes to no one, > then no one owns what is written. The social contract of the author with > the > world becomes of a peculiar sort: between the writer and cultural, > linguistic movements which are at the moment invisible, below the surface, > in a sense "unneeded," the way Cassandra's admonitions were "unneeded," > therefore, unheard. Of course, all this does not prevent Spicer from hoping > to pick up boys through his poetry or Benjamin from hoping to get a > university position. That desire -a version of payment- has little to do > with how the writing occurs. > > I think "the death of the author" is a more specific and quite different > concept. Initially, it applies to the lyric "I," asserting that this "I" > has > little to do with personal feelings or biography; but the "I" becomes a > mark, a "moving zero," an elusive, transforming target, which registers the > linguistic motion I have been pointing to above. "The death of the author," > in that sense, it transforms the lyric; *but It does not kill it* or make > it > obsolete > , as many suggested. Rather, it transforms it into a metaphysical > medium, a medium of motion rather than personal expression. > > "The death of the author" is also at the heart of hypertext, which, as a > form, is the literal expression of the idea of non-ownership. But I think > it > is different in a significant way from the process I described earlier. In > my view, it overlooks the radical isolation with which writing responding, > opening to "hidden" movements requires. In one sense, all writing > constitutes a hypertexts which other writers respond to, misread, alter, > expand, etc. That is what Benjamin's "ideal language" is. But hypetext, as > a > conscious for of writing, assumes a present community. I am not sure if > this > presence helps or inhibits the process; maybe it does both. > > Ciao, > > Murat > > > > ================================== > The Poetics List is moderated & does not accept all posts. Check guidelines > & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html > ================================== The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Tue, 22 Jul 2008 12:35:45 -0400 Reply-To: "Poetics List (UPenn, UB)" Sender: "Poetics List (UPenn, UB)" From: CA Conrad Subject: let's celebrate POET Jonathan Williams at Bartram's Garden with a reading from AN EAR IN BARTRAM'S TREE and other favorites! MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 7bit Content-Disposition: inline let's celebrate POET Jonathan Williams at Bartram's Garden with a reading from AN EAR IN BARTRAM'S TREE and other favorites! DETAILS AND LINKS AT http://CAConradEVENTS.blogspot.com To honor and celebrate Jonathan Williams EVERYONE is welcome to bring favorite poems by the great bard to Bartram's Garden in Philadelphia! SUNDAY, August 3rd, at 1pm and we'll meet next to the FRANKLINIA TREE, which should be in bloom, just as it is on the cover of his famous New Directions book VERY EASY TO GET TO! Public transit:Take No. 36 Trolley from City Hall to 54th Street. Cross railroad bridge to Garden entrance on left. For driving, easy directions found here: http://www.bartramsgarden.org/information/directions.html bring POEMS to read bring picnic lunch food we'll have a FANTASTIC TIME in the garden celebrating this great American POET! ================================== The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Tue, 22 Jul 2008 10:03:52 -0700 Reply-To: "Poetics List (UPenn, UB)" Sender: "Poetics List (UPenn, UB)" From: Stephen Vincent Subject: Frank O'Hara & Comments: To: UK POETRY MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit In case your summer has begun to fall into the gray, very flat tire mode - and you are stuck in Immobile without out a sunny beach on a clear lake or such (& any way it's currently rotten foggy cold in San Francisco), you may want to try out the last several weeks on John Latta's blog in which several mostly friendly, and smart combattants play 'button, button, who's got the button" in search of a genuine authentication of two of Frank O'Hara's poems. Go to: http://isola-di-rifiuti.blogspot.com/ Otherwise, or, as well, if you are in this City, to warm, chill and variously charm your ears, eyes, brains & hearts, and, maybe, the whole body, this evening you are welcome to hear me and George Albon read from our works at Books & Bookshelves at 7:30, the corner of 14th & Sanchez, San Francisco. Stephen Vincent http://stephenvincent.net/blog/ ================================== The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Tue, 22 Jul 2008 13:33:47 -0400 Reply-To: "Poetics List (UPenn, UB)" Sender: "Poetics List (UPenn, UB)" From: William Allegrezza Subject: Tonight in Hyde Park: Etter and Gricevich read Comments: To: wallegre@iun.edu MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 7bit Content-Disposition: inline Please come to Series A tonight in Hyde Park to hear Carrie Etter and Andy Gricevich read. Starts at 7. 5020 S. Cornell, Chicago. Easy to access from public transportation. Parking. Byob! Andy Gricevich is a writer, actor, director and musician living in Madison, Wisconsin. He recently ended his seven-year exile in San Diego, where he studied philosophy and poetry and performed contemporary chamber music and theater, and is happy to be back in the Midwest. As one half of the cabaret/satire duo The Prince Myshkins, he has traveled the country singing wordy, funny, irate songs at large protests and in classrooms, coffeehouses, living rooms and sheds. His poems have been, or will be, published by Spineless Books, Mirage #4/Period(ical), and Unlikely Stories. Carrie Etter (1969-) is an American poet, originally from Normal, Illinois, who moved to Southern California at the age of 19 and on to London in 2001. She is currently an Associate Lecturer at Bath Spa University[1]. In the UK, her poems have appeared in Metre, Poetry Wales, Poetry Review, Reactions, Thumbscrew, The Times Literary Supplement, and elsewhere, while in the US her poems have appeared in Aufgabe, Barrow Street, Columbia, Meridian, The New Republic, Seneca Review, and many other journals. She is also an essayist and a critic. Her reviews of contemporary poetry have appeared in The Liberal, New Welsh Review, Poetry Matters, The Times Literary Supplement, and Verse. ================================== The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Tue, 22 Jul 2008 11:30:06 -0700 Reply-To: jkarmin@yahoo.com Sender: "Poetics List (UPenn, UB)" From: Jennifer Karmin Subject: Aug 3: Djerassi Open House in SF Area MIME-Version: 1.0 Content-Type: text/plain; charset=utf-8 Content-Transfer-Encoding: quoted-printable hey poetics folk....i have a few comp passes for this event. if anyone in = the bay area wants to head to the santa cruz mountains for the day, be in t= ouch. the readings will start around 1:30pm. onwards, jennifer karmin ********************************************************************* DJERASSI RESIDENT ARTISTS PROGRAM 2008 OPEN HOUSE FEATURING: Stefan Emmelmann, photographer (Krems, Austria) Gaelen Hanson, choreographer (Seattle, WA) Cynthia Hooper, media artist (Eureka, CA) Elizabeth Kadetsky, writer (New York, NY) Jennifer Karmin, poet (Chicago, IL) Greg Pierce, writer (New York, NY) Osvaldo Ruiz, sculptor (San Francisco, CA) Wadada Leo Smith, composer (Ventura, CA) SUNDAY, AUGUST 3 1-5pm WOODSIDE, CALIFORNIA 2325 Bear Gulch Road located 40 miles south of San Francisco directions at http://www.djerassi.org/map-and-directions.html $25 per person call 650-747-1250 space is limited reservations are required Once a year the Djerassi Resident Artist Program=E2=80=99s private grounds = are open to the general public. This is a chance for people to see work by= resident artists, walk the stunning natural landscape, and take a self-gui= ded tour of the site-specific sculpture collection. Djerassi Program=E2=80= =99s gourmet chef will serve light refreshments. The mission of the Djerassi Resident Artists Program is to support and enha= nce the creativity of artists by providing uninterrupted time for work, ref= lection, and collegial interaction in a setting of great natural beauty, an= d to preserve the land on which the Program is situated. http://www.djerassi.org=0A=0A=0A =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Tue, 22 Jul 2008 13:01:30 -0500 Reply-To: "Poetics List (UPenn, UB)" Sender: "Poetics List (UPenn, UB)" From: mIEKAL aND Subject: Court rules lesbians are not just from Lesbos Content-Type: text/plain; charset=US-ASCII; format=flowed; delsp=yes Content-Transfer-Encoding: 7bit Mime-Version: 1.0 (Apple Message framework v926) (whew! what a relief...) Court rules lesbians are not just from Lesbos ATHENS (Reuters) - A Greek court has dismissed a request by residents of the Aegean island of Lesbos to ban the use of the word lesbian to describe gay women, according to a court ruling made public on Tuesday. Three residents of Lesbos, the birthplace of the ancient Greek poetess Sappho whose love poems inspired the term lesbian, brought a case last month arguing the use of the term in reference to gay women insulted their identity. In a July 18 decision, the Athens court said the word did not define the identity of the residents of the island, and so it could be validly used by gay groups in Greece and abroad. The ruling ordered the plaintiffs to pay court expenses of 230 euros ($366.2). "This is a good decision for lesbians everywhere," Vassilis Chirdaris, lawyer for the Gay and Lesbian Union of Greece, told Reuters. "A court in Athens could not stop people around the world from using it. It was ridiculous." He said the plaintiffs were free to appeal the decision in a higher court. Lesbos, which lies just off the Turkish Coast, has become a gathering spot for gay women from around the world, especially at the village of Eressos which is regarded as the birthplace of the poet in the 7th century B.C. Several residents testified during the trial that the use of the word lesbian had brought recognition to the island and boosted its tourist trade. ================================== The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Tue, 22 Jul 2008 14:36:58 -0400 Reply-To: "Poetics List (UPenn, UB)" Sender: "Poetics List (UPenn, UB)" From: Joel Chace Subject: Fwd: Galatea Resurrects Issue No. 10 In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=WINDOWS-1252 Content-Transfer-Encoding: quoted-printable Content-Disposition: inline From: Date: Tue, Jul 22, 2008 at 10:57 AM Subject: Galatea Resurrects Issue No. 10 =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D GR #10 Announcement Galatea Resurrects is pleased to release its tenth issue with a record number of reviews/engagements: 68! Go to http://galatearesurrection10.blogspot.com for the issue. Also printed below is the Table of Contents for your convenience: GALATEA RESURRECTS (A POETRY ENGAGEMENT) Issue No. 10: EDITOR'S INTRODUCTION By Eileen Tabios NEW REVIEWS Jeffrey Side reviews WHERE THE THREE RIVERS MEET by Aine MacAodha Nicholas Manning reviews BEAUTIFUL, UNFINISHED: PARABLE/SONG/CANTO/POEM by M.T.C. Cronin Eileen Tabios engages ENDGAMES by M=E1rton Kopp=E1ny Patrick James Dunagan reviews DERIVATIVE OF THE MOVING IMAGE by Jennifer Bartlett, BEAUTY [IS THE NEW ABSURDITY] by Jennifer Scappettone, DOG GIRL by Heidi Lynn Staples and THE MARVELOUS BONES OF TIME by Brenda Coultas Eric Hoffman reviews PASSING OVER by Norman Finkelstein Pamela Hart reviews BONE PAGODA by Susan Tichy Tim Wright reviews GOING GOING by Jen Hofer Nicholas Manning reviews PPL IN A DEPOT by Gary Sullivan Tyrone Williams reviews THE ANATOMY OF OIL by Marcella Durand Nicholas Manning reviews CORNSTARCH FIGURINE by Elizabeth Treadwell Eileen Tabios engages & PERSONA, poems by Mackenzie Carignan and photographs by Felicia Ohnmacht Francie Noyes reviews MIDNIGHTS, poetry by Jane Miller & artwork by Beverly Pepper H. Francisco V. Penones, Jr. reviews AMIGO WARFARE by Eric Gamalinda Francie Noyes reviews BLIND DATE WITH CAVAFY by Steve Fellner Tyrone Williams reviews THE STRAITS by Kristin Palm Eileen Tabios engages BE THAT EMPTY: APOLOGIA FOR AIR by Alice B. Fogel Richard Lopez reviews BREAK ME OUCH by Michael Farrell Tyrone Williams reviews OPEN BOX (IMPROVISATIONS) by Carla Harryman James Stotts reviews ENTER MORRIS IMPOSTERNAK, PURSUED BY IRONIES by Eugene Ostashevsky Thomas Fink reviews TRAVELING WITH THE DEAD by Carole Stone Laurel Johnson reviews THE BLUE MOON SERIES by Rodger Martin Ryan Daley reviews ... AND THEN engages FLOWERS OF BAD: A FALSE TRANSLATION OF CHARLES BAUDELAIRE'S LES FLEURS DU MAL by David Cameron John Bloomberg-Rissman reviews HORACE: POEMS by Tim Atkins; COVERS by Susan Landers; and FLOWERS OF BAD: A FALSE TRANSLATION OF CHARLES BAUDELAIRE'S LES FLEURS DU MAL by David Cameron Karen Rigby reviews ISLE OF THE SIGNATORIES by Marjorie Welish Eileen Tabios engages THEORY OF COLORS by Mercedes Roffe Pamela Hart reviews THE ORCHARD by Brigit Pegeen Kelly Kristina Marie Darling reviews CHANTEUSE/CANTATRICE by Catherine Daly Michael Layne Heath reviews WORDS IN YOUR FACE: A GUIDED TOUR THROUGH 20 YEARS OF THE NEW YORK CITY POETRY SLAM by Cristin O'Keefe Aptowicz Andy Frazee reviews THE CITY VISIBLE: CHICAGO POETRY FOR THE NEW CENTURY edited by William Allegrezza and Raymond Bianchi Jim McCrary reviews SPADE by David Bromige & Rychard Denner; ART IS WAR by Anne Boyer; THE ROMANCE OF HAPPY WORKERS by Anne Boyer; from THE TRADITIONS by Juliana Spahr; NO FACE by Judith Roitman Evelyn Hampton engages THE SMALL ANYTHING CITY by Cynthia Arrieu-King Christopher Mulrooney engages THE DEVELOPMENT OF AERIAL MILITARISM AND THE DEMOBILIZATION OF EUROPEAN GROUND FORCES, FORTRESSES, AND NAVAL FLEES by Paul Scheerbart, trans. by M. Kasper Eileen Tabios engages FORGET READING by Anthony Hawley Denise Dooley reviews THE RIVER IS WIDE / EL RIO ES ANCHO: TWENTY MEXICAN POETS Edited and Translated by Marlon L. Fick Pamela Hart reviews CHILD IN THE ROAD by Cindy Savett Nicholas Manning reviews THIS POEM/WHAT SPEAKS?/A DAY by Tom Beckett Eileen Tabios engages ORANGES & SARDINES, Summer 2008, Vol. 1 Issue, Edited by David Krump, Andy Nicholson, Meghan Punschke and Didi Menendez Karen Rigby reviews THE BOYS I BORROW by Heather Sellers Eileen Tabios engages RAFETOWN GEORGICS by Garin Cycholl Laurel Johnson reviews DEFIANCE by Hugh Fox Jeff Harrison reviews SKINNY BUDDHA by Sheila E. Murphy Pamela Hart reviews THE MARVELOUS BONES OF TIME by Brenda Coultas Leny M. Strobel engages PRAU by Jean Vengua Francie Noyes reviews CLOUD VIEW POETS: MASTER CLASSES WITH DAVID ST. JOHN, edited by Morley Clark, Jane Downs, CB Follett, and Susan Terris Patrick James Dunagan reviews SHINY, No. 14, 2008, edited by Michael Friedm= an Bob Marcacci reviews TWO HATS APPEAR WHEN APPLAUDED by Raymond Farr, OCCASION IN THE MOSAIC DISTANCE by Paul Klinger, [from SLOT (TO PULL AN HISTORICAL SITE FORM YOU)] by Jill Magi, SPECIMEN by Marci Nelligan, INSECT COUNTRY (B) by Sawako Nakayasu, and SOUVENIRS by Bronwen Tate Derek Motion reviews ORIGAMI SHIPWRECK by Craig Perez and Katy Acheson William Allegrezza reviews IT'S ALL A MOVIE by Alex Gildzen Nathan Logan reviews NEVER CRY WOOF by Shafer Hall Prosy Abarquez-Delacruz reviews AN MAUPAY HA MGA WARAY UF IBA PA NGA MGA SIDAY (Waray poems with English translations) by Voltaire Oyzon Rebecca Mabanglo-Mayor reviews BEIJING BACKGROUND by Bob Marcacci Eileen Tabios engages ORGY IN THE BEEF CLOSET by Michael Koshkin Laurel Johnson reviews SUDDENLY, FRUIT by Linda Tomol Pennisi THE CRITIC WRITES POEMS "{ . . . from HOMO SENTIMENTALIS : A GUIDE IN VERSE TO MODERN EMOTIONAL INTIMACY}" By Nicholas Manning FEATURE ARTICLES FEATURED POET: Cynthia Schwartzberg Edlow Thomas Fink interviews Jennifer Kwon Dobbs FROM OFFLINE TO ONLINE: REPRINTED REVIEWS Francie Noyes reviews AVERNO by Louise Gluck Allen Gaborro reviews STAGE PRESENCE: CONVERSATIONS WITH FILIPINO AMERICAN PERFORMING ARTISTS, edited by Theodore S. Gonzalves Allen Gaborro reviews PRAU bv Jean Vengua Juaniyo Arcellana reviews PINOY POETICS: A COLLECTION OF AUTOBIOGRAPHICAL AND CRITICAL ESSAYS ON FILIPINO AND FILIPINO-AMERICAN POETICS, edited by Nick Carbo ADVERTISEMENT Tiny Poetry Books Feeding the World=85Literally! BACK COVER Dawg Days of Summer! ************** Get fantasy football with free live scoring. Sign up for FanHouse Fantasy Football today. (http://www.fanhouse.com/fantasyaffair?ncid=3Daolspr00050000000020) =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Tue, 22 Jul 2008 12:15:52 -0700 Reply-To: "Poetics List (UPenn, UB)" Sender: "Poetics List (UPenn, UB)" From: amy king Subject: Re: Court rules lesbians are not just from Lesbos -- "Cleansing" Sappho's Verse In-Reply-To: <43780477-5BB4-452D-ABAA-E8627DA4E898@mwt.net> MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Dimitris Lambrou, proud Lesbian and leader of this inane court case, can just get in a long line of folks who have longed to rid the Isle of Lesbos of its pro-woman sentiment and history, mostly through efforts to "cleanse" Sappho’s verse, as noted here: http://www.glbtq.com/literature/sappho,5.html -- Attempts to Heterosexualize Sappho Despite the strong evidence to the contrary, serious attempts have been made to heterosexualize Sappho. In antiquity, a legend was created that, in the end, Sappho renounced the love of women and fell in love with the ferryman Phaeon. Too ugly to get her man, she leapt off of the Leucadian Cliff to her death. This legend is so incongruous with the authorial voice in Sappho's verse that the ancient biographers themselves were confused: They list two Sapphos of Lesbos. The second Sappho is described as either a lyre-player or courtesan, but specifically not the poetess. It is this second Sappho who committed suicide for love of Phaeon. Ovid, in his Epistles, conflates the two Sapphos: It is the great poet Sappho who renounces girls and longs for Phaeon. It is this Sappho that writers, artists, and composers have focused on ever after. Sappho's Marriage as Proof of her Heterosexuality Some commentators cite as proof of Sappho's heterosexuality the fact that she was married and had a daughter. Curiously, her husband is cited as Kerkylas from Andros. The name Kerkylas is based on the word for "penis." Andros comes from the word for "men." If we translate, then, we find that the most famous lesbian of all was married to Penis of the city of Men. Too good to be true? In any event, it is likely that she was married, but this has no bearing on her sexual orientation. Greek society was very different from our own: Marriage was seen as a civic responsibility and familial obligation. It was not designed--nor expected--to fulfill one's erotic or romantic needs. For that, men looked elsewhere. And marriage did not interfere with their homosexual affairs. Marital relations were known as a ponos or "labor," ergon "work," or kamnos, "toil." In contrast, erotic affairs were called paidia or "play." Men were so unenthusiastic about participating in sexual intercourse with their wives that they had to be reminded. Plutarch in his life of Solon suggests that a man should make love to his wife three times a month in order to ease marital tensions. Foreplay was actively discouraged: Too much pleasure might give a woman power over her husband and, thus, undermine his authority. Clearly, women could not expect sexual fulfillment within marriage. But for a woman to remain unmarried in this society was unthinkable. According to Eva Cantarella in her book Pandora's Daughters, girls were betrothed as young as five years old and, by thirteen or fourteen, they were subjected to arranged marriages to men who were aged thirty or older. Before and after marriage, women were completely segregated in the internal part of the house to which men had no access. Women did not come into contact with men outside their immediate family except occasionally at public festivals and funerals. On Lesbos, aristocratic women like Sappho got an education, albeit a "female" one emphasizing music, singing, and dancing. But as Cantarella points out, at least this education helped form their individual personalities and offered them a means to express it. If we take Sappho as a model teacher, it would appear that an appreciation of sensual expression, including lesbian affairs, was part of a girl's education. When a girl moved from maiden to married woman (at about fourteen), her time for play was over. She would have only memories of what must have been the happiest time of her life. It is no wonder that she wept on graduation. Women were segregated with other women, and socialized and trained by them. What would be more natural than for romantic attractions and rivalries to occur among them, as occurred among their menfolk? Who is to say if Greek women had homosexual affairs of their own? Sappho does, but, unfortunately, she is our only direct source for love between women; as Cantarella states, "Unlike male homosexuality, female homosexuality was not an instrument for the training of citizens. It therefore by definition interested only women." Continued at http://www.glbtq.com/literature/sappho,5.html The Debate over Sappho's Sexual Identity In the face of her erotic poetry, it is hard to believe that scholars continue to argue that Sappho was not a lesbian in the modern sense of the word. From the first extant comments on Sappho's erotic relations with young women in the Hellenistic period to the present day, critics (predominantly male), appalled at the thought of women engaging in lesbian sexual activity, have tried to deny Sappho's homosexuality. Their attempts range from deliberately mistranslating words that indicate that the beloved is female to forcing a heterosexual context on poems depicting lesbian desire. For example, the famous Fragment 31 has been described as a marriage-song in which Sappho relates the girl's desirability for the groom's benefit. Her feelings in the poem continue to be hotly disputed. They have been described as anything ranging from jealousy, love, fear, wonder, and terror to an anxiety attack brought on by penis-envy. Had this poem been written by a man, there would be little dispute. Nor has there been in the many translations penned by men. Of course, the gender dynamics of the poem are significantly altered when it becomes a male voice describing his response to a woman. Such translations are an insidious (if unintentional) way of heterosexualizing Sappho. In the poem, Sappho watches a man's reaction to her beloved and marvels at his composure, so different from her own response. To anyone who has ever been a lover, the symptoms of infatuation are unmistakable: Fragment 31 To me, he seems like a God, that man, Who can sit at ease in your presence Who can hear your melodic voice Strumming close in his ear, Your provocative laughter: Ample cause for cardiac arrest. You spied, I swallow all voice And my tongue lies crippled. A lyric fire sweeps my flesh And my eyes stare blindly. Rhombs crash close in my ear, A chilling sweat fingers my spine, Trembling invades my every part And I am greener than grass. To myself, I seem like a corpse, or near.... There is a whole tradition of "defenders" of Sappho. David Robinson is typical: "Villainous stories arose about her and gathered vileness till they reached a climax in the licentious Latin of Ovid." The most famous of Sappho's "defenders" was the German Ulrich von Wilamowitz-Moellendorff who in his classic Sappho und Simonides depicted Sappho as a chaste Hausfrau, a virtuous pillar of the community and moral instructor of young girls. As Page describes it, Wilamowitz "gave new and lasting dignity to the old theory that Sappho was a paragon of moral and social virtues and that her poetry was grossly misunderstood in antiquity." Wilamovitz explained Sappho's relationship with her charges by depicting her as a cult priestess in the service of an "honest" (that is, nonsexual) Aphrodite. As Page points out, there is absolutely no evidence for this theory. Nevertheless, much scholarly ink has been spilled trying to prove that despite her professed love of women, despite her poetic genius, Sappho was still a "good" woman. Etc Etc, cont’d here -- http://www.glbtq.com/literature/sappho,3.html Biographical Information Little is known about Sappho's life and the information that is available cannot be viewed as trustworthy because accounts of the poet's life have become thoroughly interwoven with legend and myth. The only standard, but unreliable, source of information about Sappho's life is the Suda, a Greek lexicon compiled about the end of the tenth century. It records that Sappho was a native of Lesbos, an island in Asia Minor, and that she was probably born in either Eresus or Mytilene. Her father's name is given as Scamandronymus, and her mother's as Cleis. Evidence also suggests that Sappho had three brothers, and that her family belonged to the upper class. She is believed to have married a wealthy man named Cercylas—they had a daughter named Cleis together. Sappho apparently spent the majority of her life in the city of Mytilene, and most of her time there was occupied in organizing and running a thiasos, or academy for unmarried young women. As was the custom of the age, wealthy families from Lesbos and neighboring states would send their daughters to live for a period of time in these informal institutions in order to be instructed in the proper social graces, as well as in composition, singing, and the recitation of poetry. Ancient commentary attests to the fact that Sappho's thiasos ranked as one of the best and most prestigious in that part of Greece, and as its dedicated teacher and spiritual leader, she enjoyed great renown. Some legends of Sappho's life indicate that she lived to old age, but several others contend that she fell hopelessly in love with a young boatman, Phaon, and, disappointed by their failed love affair, leaped to her death from a high cliff—a story made famous by the Roman poet Ovid in his Heroides, but one which has been largely discredited by scholars. _______ Recent http://www.tarpaulinsky.com/Reviews/kiss-me.html http://jacketmagazine.com/34/dickow-king.shtml Alias http://www.amyking.org Your Suggestions http://amyking.wordpress.com/2008/06/12/poetry-exercises-wanted/ ================================== The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Tue, 22 Jul 2008 13:43:23 -0500 Reply-To: "Poetics List (UPenn, UB)" Sender: "Poetics List (UPenn, UB)" From: Maria Damon Subject: Re: Court rules lesbians are not just from Lesbos In-Reply-To: <43780477-5BB4-452D-ABAA-E8627DA4E898@mwt.net> MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit thanks mIEKAL, i really needed to get some closure on this. but...weren't they all from Lebanon...? mIEKAL aND wrote: > (whew! what a relief...) > > Court rules lesbians are not just from Lesbos > > ATHENS (Reuters) - A Greek court has dismissed a request by residents > of the Aegean island of Lesbos to ban the use of the word lesbian to > describe gay women, according to a court ruling made public on Tuesday. > > Three residents of Lesbos, the birthplace of the ancient Greek poetess > Sappho whose love poems inspired the term lesbian, brought a case last > month arguing the use of the term in reference to gay women insulted > their identity. > > In a July 18 decision, the Athens court said the word did not define > the identity of the residents of the island, and so it could be > validly used by gay groups in Greece and abroad. > > The ruling ordered the plaintiffs to pay court expenses of 230 euros > ($366.2). > > "This is a good decision for lesbians everywhere," Vassilis Chirdaris, > lawyer for the Gay and Lesbian Union of Greece, told Reuters. "A court > in Athens could not stop people around the world from using it. It was > ridiculous." > > He said the plaintiffs were free to appeal the decision in a higher > court. > > Lesbos, which lies just off the Turkish Coast, has become a gathering > spot for gay women from around the world, especially at the village of > Eressos which is regarded as the birthplace of the poet in the 7th > century B.C. > > Several residents testified during the trial that the use of the word > lesbian had brought recognition to the island and boosted its tourist > trade. > > ================================== > The Poetics List is moderated & does not accept all posts. Check > guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ================================== The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Tue, 22 Jul 2008 14:20:31 -0700 Reply-To: "Poetics List (UPenn, UB)" Sender: "Poetics List (UPenn, UB)" Comments: RFC822 error: Invalid RFC822 field - "Obododimma.". Rest of header flushed. From: Obododimma Oha Subject: Re: Court rules lesbians are not just from Lesbos -- "Cleansing" Sappho's Verse MIME-Version: 1.0 Content-Type: text/plain; charset=windows-1252 Content-Transfer-Encoding: quoted-printable ---= Thank you for this highly enlightening post, Amy.=0AObododimma.=0A=0A=0A---= -- Original Message ----=0AFrom: amy king =0ATo: POET= ICS@LISTSERV.BUFFALO.EDU=0ASent: Tuesday, July 22, 2008 8:15:52 PM=0ASubjec= t: Re: Court rules lesbians are not just from Lesbos -- "Cleansing" Sappho'= s Verse=0A=0A Dimitris Lambrou, proud Lesbian and leader of this inane cou= rt case, can just get in a long line of folks who have longed to rid the Is= le of Lesbos of its pro-woman sentiment and history, mostly through efforts= to "cleanse" Sappho=92s verse, as noted here: http://www.glbtq.com/literat= ure/sappho,5.html --=0A =0A Attempts to Heterosexualize Sappho =0A =0A = Despite the strong evidence to the contrary, serious attempts have been ma= de to heterosexualize Sappho. In antiquity, a legend was created that, in t= he end, Sappho renounced the love of women and fell in love with the ferrym= an Phaeon. Too ugly to get her man, she leapt off of the Leucadian Cliff to= her death.=0A =0A This legend is so incongruous with the authorial voice= in Sappho's verse that the ancient biographers themselves were confused: T= hey list two Sapphos of Lesbos. The second Sappho is described as either a = lyre-player or courtesan, but specifically not the poetess. It is this seco= nd Sappho who committed suicide for love of Phaeon.=0A =0A Ovid, in his E= pistles, conflates the two Sapphos: It is the great poet Sappho who renounc= es girls and longs for Phaeon. It is this Sappho that writers, artists, and= composers have focused on ever after.=0A =0A Sappho's Marriage as Proof = of her Heterosexuality=0A =0A Some commentators cite as proof of Sappho's= heterosexuality the fact that she was married and had a daughter. Curiousl= y, her husband is cited as Kerkylas from Andros. The name Kerkylas is based= on the word for "penis." Andros comes from the word for "men." If we trans= late, then, we find that the most famous lesbian of all was married to Peni= s of the city of Men.=0A =0A Too good to be true? In any event, it is lik= ely that she was married, but this has no bearing on her sexual orientation= . Greek society was very different from our own: Marriage was seen as a civ= ic responsibility and familial obligation. It was not designed--nor expecte= d--to fulfill one's erotic or romantic needs. For that, men looked elsewher= e. And marriage did not interfere with their homosexual affairs.=0A =0A M= arital relations were known as a ponos or "labor," ergon "work," or kamnos,= "toil." In contrast, erotic affairs were called paidia or "play." Men were= so unenthusiastic about participating in sexual intercourse with their wiv= es that they had to be reminded.=0A =0A Plutarch in his life of Solon sug= gests that a man should make love to his wife three times a month in order = to ease marital tensions. Foreplay was actively discouraged: Too much pleas= ure might give a woman power over her husband and, thus, undermine his auth= ority.=0A =0A Clearly, women could not expect sexual fulfillment within m= arriage. But for a woman to remain unmarried in this society was unthinkabl= e. According to Eva Cantarella in her book Pandora's Daughters, girls were = betrothed as young as five years old and, by thirteen or fourteen, they wer= e subjected to arranged marriages to men who were aged thirty or older.=0A = =0A Before and after marriage, women were completely segregated in the in= ternal part of the house to which men had no access. Women did not come int= o contact with men outside their immediate family except occasionally at pu= blic festivals and funerals.=0A =0A On Lesbos, aristocratic women like Sa= ppho got an education, albeit a "female" one emphasizing music, singing, an= d dancing. But as Cantarella points out, at least this education helped for= m their individual personalities and offered them a means to express it.=0A= =0A If we take Sappho as a model teacher, it would appear that an apprec= iation of sensual expression, including lesbian affairs, was part of a girl= 's education. When a girl moved from maiden to married woman (at about four= teen), her time for play was over. She would have only memories of what mus= t have been the happiest time of her life. It is no wonder that she wept on= graduation.=0A =0A Women were segregated with other women, and socialize= d and trained by them. What would be more natural than for romantic attract= ions and rivalries to occur among them, as occurred among their menfolk? Wh= o is to say if Greek women had homosexual affairs of their own?=0A =0A Sa= ppho does, but, unfortunately, she is our only direct source for love betwe= en women; as Cantarella states, "Unlike male homosexuality, female homosexu= ality was not an instrument for the training of citizens. It therefore by d= efinition interested only women."=0A =0A Continued at http://www.glbtq.co= m/literature/sappho,5.html=0A=0A =0AThe Debate over Sappho's Sexual Identi= ty=0A =0A In the face of her erotic poetry, it is hard to believe that sc= holars continue to argue that Sappho was not a lesbian in the modern sense = of the word. From the first extant comments on Sappho's erotic relations wi= th young women in the Hellenistic period to the present day, critics (predo= minantly male), appalled at the thought of women engaging in lesbian sexual= activity, have tried to deny Sappho's homosexuality.=0A =0A Their attemp= ts range from deliberately mistranslating words that indicate that the belo= ved is female to forcing a heterosexual context on poems depicting lesbian = desire.=0A =0A For example, the famous Fragment 31 has been described as = a marriage-song in which Sappho relates the girl's desirability for the gro= om's benefit. Her feelings in the poem continue to be hotly disputed. They = have been described as anything ranging from jealousy, love, fear, wonder, = and terror to an anxiety attack brought on by penis-envy.=0A =0A Had this= poem been written by a man, there would be little dispute. Nor has there b= een in the many translations penned by men. Of course, the gender dynamics = of the poem are significantly altered when it becomes a male voice describi= ng his response to a woman. Such translations are an insidious (if unintent= ional) way of heterosexualizing Sappho.=0A =0A In the poem, Sappho watche= s a man's reaction to her beloved and marvels at his composure, so differen= t from her own response. To anyone who has ever been a lover, the symptoms = of infatuation are unmistakable:=0A =0A Fragment 31=0A To m= e, he seems like a God, that man,=0A Who can sit at ease in your prese= nce=0A Who can hear your melodic voice=0A Strumming close in= his ear,=0A Your provocative laughter: =0A =0A Ample cause= for cardiac arrest.=0A You spied, I swallow all voice=0A = And my tongue lies crippled.=0A A lyric fire sweeps my flesh=0A = And my eyes stare blindly.=0A Rhombs crash close in my ear,=0A = A chilling sweat fingers my spine,=0A Trembling invades my e= very part=0A And I am greener than grass.=0A To myself, I se= em like a corpse, or near....=0A =0A There is a whole tradition of "defen= ders" of Sappho. David Robinson is typical: "Villainous stories arose about= her and gathered vileness till they reached a climax in the licentious Lat= in of Ovid."=0A =0A The most famous of Sappho's "defenders" was the Germa= n Ulrich von Wilamowitz-Moellendorff who in his classic Sappho und Simonide= s depicted Sappho as a chaste Hausfrau, a virtuous pillar of the community = and moral instructor of young girls. As Page describes it, Wilamowitz "gave= new and lasting dignity to the old theory that Sappho was a paragon of mor= al and social virtues and that her poetry was grossly misunderstood in anti= quity."=0A =0A Wilamovitz explained Sappho's relationship with her charge= s by depicting her as a cult priestess in the service of an "honest" (that = is, nonsexual) Aphrodite. As Page points out, there is absolutely no eviden= ce for this theory. Nevertheless, much scholarly ink has been spilled tryin= g to prove that despite her professed love of women, despite her poetic gen= ius, Sappho was still a "good" woman.=0A =0A Etc Etc, cont=92d here -- ht= tp://www.glbtq.com/literature/sappho,3.html=0A =0A=0A=0A=0ABiographical In= formation Little is known about Sappho's life and the information that is a= vailable cannot be viewed as trustworthy because accounts of the poet's lif= e have become thoroughly interwoven with legend and myth. The only standard= , but unreliable, source of information about Sappho's life is the Suda, a = Greek lexicon compiled about the end of the tenth century. It records that = Sappho was a native of Lesbos, an island in Asia Minor, and that she was pr= obably born in either Eresus or Mytilene. Her father's name is given as Sca= mandronymus, and her mother's as Cleis. Evidence also suggests that Sappho = had three brothers, and that her family belonged to the upper class. She is= believed to have married a wealthy man named Cercylas=97they had a daughte= r named Cleis together. Sappho apparently spent the majority of her life in= the city of Mytilene, and most of her time there was occupied in organizin= g and running a thiasos, or academy for unmarried young women. As was the=0Acustom of the age, wealthy families from Lesbos = and neighboring states would send their daughters to live for a period of t= ime in these informal institutions in order to be instructed in the proper = social graces, as well as in composition, singing, and the recitation of po= etry. Ancient commentary attests to the fact that Sappho's thiasos ranked a= s one of the best and most prestigious in that part of Greece, and as its d= edicated teacher and spiritual leader, she enjoyed great renown. Some legen= ds of Sappho's life indicate that she lived to old age, but several others = contend that she fell hopelessly in love with a young boatman, Phaon, and, = disappointed by their failed love affair, leaped to her death from a high c= liff=97a story made famous by the Roman poet Ovid in his Heroides, but one = which has been largely discredited by scholars.=0A=0A=0A =0A =0A =0A=0A_= ______=0A=0ARecent=0Ahttp://www.tarpaulinsky.com/Reviews/kiss-me.html=0Ahtt= p://jacketmagazine.com/34/dickow-king.shtml=0A=0AAlias=0Ahttp://www.amyking= .org=0A=0AYour Suggestions=0Ahttp://amyking.wordpress.com/2008/06/12/poetry= -exercises-wanted/=0A=0A=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D= =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=0AThe Poetics List is m= oderated & does not accept all posts. Check guidelines & sub/unsub info: ht= tp://epc.buffalo.edu/poetics/welcome.html=0A=0A=0A =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Tue, 22 Jul 2008 14:23:10 -0700 Reply-To: "Poetics List (UPenn, UB)" Sender: "Poetics List (UPenn, UB)" From: David Chirot Subject: Re: The "originality" of appropriation vs the mass media "appropriation" of appropriation-originality--NY Times article In-Reply-To: <1dec21ae0807171958u5881aeb5m10ca4db38e4ed915@mail.gmail.com> MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: quoted-printable Content-Disposition: inline Dear Murat: Many thanks for your reply in ongoing conversation-- i spent some days in writing in return-- i keep trying to write responses & they all begin to turn into essays or parts of the "annals of the new extreme experimental poetry"-- i think that in light of the proliferations of torture, of prisons, of web censorship's and controls, surveillance and altering daily of sites, along with massive dissemination of disinformation, the question of "radical isolation" is being reframed in a great number of new ways and at an ever greater pace-- as well as the question of who has access to the Internet, to electricity, to cables. to education, in the first place-- these are questions i find too little addressed as yet, though an awreness of them is growing probably by the minute-- these issues present new challenges & questions--related to the directions societies are taking in all aspects of "freedoms of speech, the press"--and ones on line have been having anincreasing effect on publishing in the prin= t worlds-- in the following I mention these as pieces which are directly related to many of the issues being discussed-- David-Baptiste Chirot "Haunting Questions Found Hidden In Plain Site/Sight/Cite" with visual Works & Statement for Symposium on Conceptual Poetry and its Others "Virtuality as Transcendentalism in Reverse" http://davidbaptistechirot.blogspot.com/search?q=3Dvirtuality+as+transcende= ntalism+in+reverse Poems from Guant=E1namo "Non Poetry for Non Readers" Kaurab Translation Site David-Baptiste Chirot: "Waterboarding & Poetry" Wordforword #13 I think that before ownership there is definition-- the boundary lines, the extents and depths, of an idea, a person, a place a= n event--have to be mapped and defined in order for them to be "owned," for there to be the act of "naming and claiming"-- One of the components of mapping and defining in this sense is that is made with reference to some authority-- as in writing that "one writes for no one," the authority of Benjamin was invoked (by yourself), and that of Spicer for "no one listens to poetry." Hypertext, rather than being "the death of the author" and lacking in ownership, is simply a reinscription of the author "under another guise," and is owned very much indeed by a series of "utilities," corporations, program designers and producers of soft ware, etc. Without electricity there is no hypertext at all, let alone a web, an Internet. Electricity is owned and controlled and is not available to all, It can be shut off and on as an instrument of death and disease as in Gaza, or for non payment of the bill, ever more common right here in Milwaukee. Libraries, public computers--all these are diminishing in number and amount of time allowed on line to the individual otherwise without access. Electricity, the Internet, can also be be bombed out of existence as power grids, as in Serbia and Iraq, or entirely severed, line line, cable by cable, as in Rwanda, in preparation for the Genocides. Access to the web is controlled also, and is a control which is being given new methods with which to deny, to restrict and alter access in terms of "profiles," "suspicious activities," "alien contacts," or simply having "a suspicious looking name." Daily on the web, there are linkages which vanish, removed for a wide variety of reasons, or, being contacted, have been altered substantially by hackers, as individuals or as members of groups dedicated to various projects of "revisionism," "redacting," rewriting and remapping landscapes, histories, peoples and events. Hypertext does involve authorship as well as ownership in that the linkage= s themselves that are selected to create the Hypertext evidence an "author" i= n charge of the programming which controls the selections of links, the means by which they are connected, and the over all point which is made, which is arrived at. And the idea that "one writes for no one" on the web has been pretty much made impossible by the passage into law of al the formerly illegal eavesdropping, let alone the addition of even more "freedoms" in th= e "freedom" to make "unfree" the web by corporations and governments, secret agencies and the military. There is a great difference between a "radical isolation" which is chosen, and one which is enforced. And beyond "radical isolation," there is something more radical yet--the refusal by writers to write in writing, and the means by which writings may exist in writing yet be read as non writing, and so become non writings for non readers. Another form of writing that creates its own readers by making them non readers of a writing it has taken possession of, and made into a form of "radically isolated" writing rapidly becoming a non read non writing, , is "Benjamin's Baudelaire." This fictional figure for a great many readers in the English speaking world, has come to replace the actual Baudelaire, whos= e writings become non writings for non readers who have turned their entire reading in Baudelaire's regard to that of Benjamin's writings of Benjamin's Baudelaire. Surrounded by the heavy weight of documentations, of quotations, invested with the authority of a philosopher/critic far more acceptable to many readers than the actual Baudelaire and his actual poetry, "Benjamin's Baudelaire is a "fictional" "philosophical" construct who becomes "more real" than the ever dimmer receding "image" of the poet. The "radical isolation" of "one who writes for no one," paradoxically makes of Baudelaire this figure, while Benjamin becomes the one who readers turn to for "Benjamin's Baudelaire," a figure far more acceptable and "comprehensible" than Baudelaire as a person and poet. Of course, Benjamin did not intend this--"Benjamin's Baudelaire" is the creation of a great number of persons, who are at the same time in a sense also also reinscribing Benjamin from one position to another in ways which can be at variance with the writings and thought of Benjamin himself. Jack Spicer, with After Lorca, writes a much different form of encounter with the writing of an other poet. "Benjamin's Baudelaire" indicates an ownership of the figure that the philosopher/critic's readers/critics have created, while "After Lorca" means that Spicer is finding ways to respond with the poetry of Lorca, not only in terms of Baudelairean "Correspondances"," but also as letters in a written "correspondence" with = a dead poet who is also for a summer a lover and a ghost. "After Lorca" is a way of writing "after effects," of the "ending of an affair," and the ending of the correspondence. These "after effects " of the dead poet/departed lover create the introductory note to the book penne= d by Lorca. Already in an "uncertain terrain," the reader is unmoored from being able to ascertain "with certainty" where "After Lorca" "ends" and Spicer begins--that is, are the poems "After Lorca," simply that, and in no way at all "actual translations of actual poems?" After Lorca is extended from this "realm of uncertainty" by the Yasusada writings, in which the fictional Yasusada determines to write works "After Spicer." These works will, like After Lorca, contain the correspondences o= f Yasusada with Spicer, and inact "After" effects of Spicer's writings in those of the fictional Japanese poet. Where Spicer eschews the use of "supporting documentation," the Yasusada poet is supplied with a bevy of "scholarly and critical notes," as though to create a much smaller version of those documentations and allusions which surround the figure of "Benjamin's Baudelaire." From "Benjamin's Baudelaire" to Spicer's After Lorca to Yasusada's After Spicer, one moves through an ever expanding series of the "After effects" o= f "dead authors" (Baudelaire, Lorca, Spicer, Yasusada is "already dead" himself at the "discovery and opening" of his texts, and learns of Spicer's death right after having written to him the first time.) Rather than a "death of the author," dead authors find themselves experiencing the "posthumous existences," "After Lives," in their "After effects" among the writings of others. These reverbereations of Melville's "shock of recognition" that travels the world round, create rippling effects that travel, like those from a stone thrown in a pond--outwards from their continually shifting "centers," creating "spheres" not unlike that of Pascal's image of God: a sphere whos= e center is everywhere and circumference nowhere. These rippling "After effects" know no "bounds of sentient existence," and so do not experience "death," but continually appear, disappear, reappear as ghosts, as fictions= , as "impersonations," and as actors playing their "part" in re-stagings of the "drama of their lives and works." One finds the presences of lost, forgotten, hidden, "dead" beings , events and writings via an awareness of these "After effects" which are found all around one, as Whitman found in the Leaves of Grass the tongues of the "sleepers." There are writers and writings which announce that they are giving voice to those silenced within history. A different way is to find among things in the world those evidences of the actions expressed as "After effects," and by working with them, begin to hear, read, write with these the emergence o= f the words of the "dead," the ghosts, the fictional ones. Generated by the "shock of recognition," the collaborations of "the living and the dead" fin= d among the unread non-writings "Correspondances" and correspondences creatin= g linkages in which it is neither one singly that speaks and writes, but this Other. (This is what the rubBEings i have been working with for almost a decade no= w are. This found non writings hidden in plain site/sight/cite i have worked with when confined in cramped and controlled "non interesting" places, whil= e homeless and sleeping among them, inside of every structure, and outside, all around. As "overlooked" "Unseen" non writings, one begins with working with things which are themselves in a kind of "radical isolation" and in turn, the things one makes with them--as far as one had any thought of it, one doubted there would ever be an audience other than passersby and police officers, property owners and viewers who expressed delight and moved on. To work in full view and be at the same time working in a sense with an "unknown non art form" --known when known at all as an ancient method of copying, indeed the very first "copier machine!"--one realizes often that "who an audience might be" is "unthinkable" in a sense, as what one is finding is more than likely not of any interest to anyone, except to onesel= f and these collaborators one is working with. One is working with--the excitement of finding--as where it is going, one has no idea other than places of "an outside," where there is a sense of freedom in being in an area without any DEFINITIONS.) There's a paradox at the heart of quoting well known writers to the effect that "one writes for no one," and that "no one listens to poetry," in that these words are in fact "speaking to a great many, and especially oneself." The words in turn are a sign that one is not writing for "no one," but rather for that as yet "unknown reader." "No one" can in effect also mean "no particular one," which is to say "many" rather than simply a "one" as a specific and limited "one." Taking these words to heart as a writer means one is using as examples persons who, though writing for no one or saying that no one listens to poetry, are themselves the proof of the contrary. This enables one to believe that though one is writing for no one and/or no one listens to poetry, there will be persons for whom one writes, and ones who do listen t= o poetry. For are not these writers quoted the very proof of this? And, quoting them, does not one lay bare one's belief in this same thing being possible for one's self and one's writings? That is, by virtue of these examples, one takes hope-- The very setting of words to a surface--rock, paper, wood, glass, plastic, anything in short including sands which are washed away--indicates a writin= g for some one to at some point find it. After all, person who really did write for no one--would have left no quote= s to this effect behind them. There would be no writing at all there to find= . Of course, there exist incredible tonnages of unread writings and unheard poetries in the world, whose unreadabilities and unheard poetries are so because they do not fit into the defined boundaries and tastes of what is readable, what is poetry. Some are those in the long parades of writings and poetries discovered only later on,, when the definitions are more welcoming to them, or, are poetries and writings once considered fabulously readable and poetic which have fallen out of fashion or interest and so taken up residence among the archives of the forgotten. There are also a great many writings existing at al times which are unread or considered non poetries, not listened to, which are so because of the readers and readings who may on the one hand have yet to learn how to read them, or, on the other hand, because the writings and poetries do not want to be read or heard yet to walk among the non readers and no listeners as a sign of refusal of them in their state of non reading and non listening. And yet again, are those writings and poetries which are never committed to writing in the first place, and among which may be some of the greatest works ever created, yet, having been created by those forbidden through thousands of years from learning to read or write, they have existed only i= n the minds of their creators, and perhaps, here and there, as spoken to others who have gone on to forget them, or recalled but small bits and pieces. There are also writers like one in a series of stories I am writing and others in essays which are interested in this, which participate in the refusal of writing so that it does not fall into the hands of others. Or simply as a refusal of writing, while al the while writing elsewhere--in th= e mind or in other forms which are not recognized as writing. In an essay written for the recent Symposium conceptual Poetry and its Others, one of the figures noted in this regard is that of Bartleby the Scrivener whose job it is to be a copy clerk yet faced with his task, "woul= d prefer not to" write down a single mark. This conception of writing has interested me for along time, hence the thinking of the untold number of writings through history written by humans which were never in writing due to all manner of reasons preventing them from knowing how to write at all, as well as all sorts of writings by writers who were not allowed to write, leading to another group, those writers ho write a writing which is meant t= o be unread, even when a person is actually reading it. These ideas lead one to to strange areas where the fictional and the factua= l exist alongside each other as a paradoxical writing re unwritings and nonwritings and unread and unreadable writings. Moving along in these areas, one's hope is to find others who are interested in these questions. I had read in an Introduction to a book by Cesar Aira written by Roberto Bolano of an author named Enrique Vila-Matas. Ever on the lookout for something by this author besides what found on line= , one day I came across an old issue of Grand street in a dollar bin, and in it were excerpts from Bolano's Distant Star, a great favorite of mine, and one from a book by Vila-Matas--which turned out to be from Bartleby and Company--taking Bartleby as I had done as a figure of a writer who does not write, who refuses to write. . In this way a fictional non writing writer leads one to a writer ho shares the same interests and starting point for similar meditations, and who also mixes the fictional with the factual in the study of writing to do with the unwritten --and the unreadable--as a form of writing. If one writes with a sense that known and even very well known writers have written that they write for no one, and of poets who write that no one listens to poetry, then one is beginning really from the premise that one actually is writing for someone, somewhere, sometime. That hope which is thrown out into the oceans as the "message in a bottle" is implied in the very act of the writing which entertains this premise. I= n this sense, one is working with writing which is recognized at the start as being one which has enough in it of what is recognized as writing to be found, possibly, someday, as indeed writing that is readable and so becomes classified among the world's writings. In a sense then, one is still imprisoned in objects which can be recognized by the definitions of writing that are acceptable, or, being close enough t= o these, will at some point hopefully be so. Rather than being "a writing for no one" written in "radical isolation," it is a writing which is written within a writing that one acknowledges being part of,and so hopes that with the passage of time, maybe very short, maybe a bit longer, being carried in the flows of this writing, its 'message in a bottle" will be found, and found to be acceptable and easily read. "Acceptance," to have one's writing be "accepted," even if one was thinkin= g that one was writing for "no one," is this not a paradox which the question of unwritten writings begins to open? What begins to take place once one thinks not of acceptance, but of refusal, to consider unwritten writings as a refusal to write at al, or, if forced to write, to write in such a way that it is a refusal of readability according to the definitions of those who are forcing one to write? A Russian artist notes that "Language is a fascism not because it silences, but because it forces one to speak." The rejection of silence and forcing of speech--is the function of torture. Even though it has long been well known that torture rarely forces a speaking which "tells the truth," torture remains very much in use. So what is the purpose then? As the earliest of torturers could tell the current ones, it is not what the speaker is forced to speak, it is simply that the speaker is forced to speak that accomplishes the mission of torture. Where once one might speak of a "tortured prose," there is now the availability of "torture's prose or poetry." The latter is considered a form of "false speech" or writing as it is produced under duress, is forced--even if truly confessional, unlike "confessional poetry," it is denied the possibility of being a truth which is a readily given one, and s= o distanced from a "Truth value." Yet, being unreadable in such terms, hence being a kind of non-writing, may there not be even here a non written writing which is going on that is being created, not as a code to elude the conceptions of readability of the torturers, of which they are continually in fear, but of a non writing of a different kind, a non writing in writing which is a refusal of readability, a non writing which is a writing outside of codes which can always be suppressed or deciphered? Forced to write, how then does writing refuse to be "in" the writing that results, and at the same time refuse to be in codes which may be readable b= y someone? In a time in which the Internet and all communications are transparent, spied on, listened to and read, and in which prisons fill with unprecedente= d numbers of people and of unprecedented size are proliferating--(with Americ= a leading the way in numbers and percentage of population in the prisons system, and Gaza leading in size and numbers of a single prison)--and in which the uses of torture, disinformation, faked footage, planted evidences and tampered witnesses expands daily--an examination of these writings of refusal, these refusals of writing in terms defined by the Security and Police forces of the cultures of varying societies, is needed. In a world in which writing is continually "under observation" and more and more forms of language turn into doublespeak--the need to find other ways o= f writing and reading the simplest words and phrases opens--while around it s= o much else is closing and being closed off. =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Wed, 23 Jul 2008 07:51:54 +0800 Reply-To: "Poetics List (UPenn, UB)" Sender: "Poetics List (UPenn, UB)" From: andrew burke Subject: Re: hello In-Reply-To: <8f3fdbad0807211452r35cba2c1r2a322c3bdecb363d@mail.gmail.com> MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 7bit Content-Disposition: inline And you. Who else do I know in this neighbourhood? Just getting used to the flow of conversation, etc. No doubt I will speak up eventually about matters poetic ... Andrew 2008/7/22 Peter Ciccariello : > Welcome Andrew, nice to see you here! > > - Peter Ciccariello > > > On Sun, Jul 20, 2008 at 10:29 PM, Maria Damon wrote: > > > welcome to the list. > > > > > > andrew burke wrote: > > > >> Hello, I'm new here. I don't know the local introduction behaviours, so > >> I'll > >> just extend my hand and gabble. > >> > >> I've been writing poetry since the 1960s, firstly under the influence of > >> Milton et al, but then influenced by the Beats and jazz liner notes, Zen > >> (Beat to Square), and folk songs. By the time I was 18 and leaving > school, > >> I > >> was ready to hit the road and escape my conservative surburban > upbringing. > >> So I hitched from Perth to Sydney, west coast to east coast Australia - > >> safe > >> back then, not so safe now. > >> > >> At this time I was published in a university literary quarterly - a > short > >> Saroyanesque story about a boy staring at ants, yet somehow the reader > >> knows > >> he is damaged in some way. I've lost it, thankfully, because it remains > >> 'beautiful' in my memory, and was probably more awkward on the page. > Much > >> of my teenage poetry has gone the same way. Yet that early publishing > >> encouragement set me on the path to being a lifelong writer. > >> But I go on too long ... This is a similar start to many. Let's just say > I > >> have written a mess of poems over the last forty plus years, some of > which > >> has appeared in print (many mags, six books) and some of which has > >> appeared > >> disguised as plays, tiny films, stories and one novel. > >> > >> After quarter of a century in advertising (my anti-intellectual years), > I > >> changed careers and taught writing and literature at various > universities, > >> including a recent stint at Shanxi Normal University in Linfen, China. > >> During these, my intellectual years, I received a PhD from Edith Cowan > >> University three years ago. > >> > >> But my main interest is my next poem, and my curiosity has lead me to > >> investigate many poetics from around the world. On this list, I hope to > >> gain > >> more insights and share some of my passion for poetry. > >> > >> My day to day interests are well exposed on my blog (address below). > >> > >> Thank you for reading. > >> > >> Andrew > >> http://hispirits.blogspot.com/ > >> http://www.flickr.com/photos/aburke/ > >> > >> ================================== > >> The Poetics List is moderated & does not accept all posts. Check > >> guidelines & sub/unsub info: > http://epc.buffalo.edu/poetics/welcome.html > >> > >> > > > > ================================== > > The Poetics List is moderated & does not accept all posts. Check > guidelines > > & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html > > > > ================================== > The Poetics List is moderated & does not accept all posts. Check guidelines > & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html > -- Andrew http://hispirits.blogspot.com/ http://www.flickr.com/photos/aburke/ ================================== The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Tue, 22 Jul 2008 17:58:22 -0700 Reply-To: "Poetics List (UPenn, UB)" Sender: "Poetics List (UPenn, UB)" From: Joel Weishaus Subject: Re: The "originality" of appropriation vs the mass media "appropriation" of appropriation-originality--NY Times article MIME-Version: 1.0 Content-Type: text/plain; format=flowed; charset="iso-8859-1"; reply-type=original Content-Transfer-Encoding: 7bit Jim: I agree with all you say here. Another problem with the contemporary visual arts is that the artists are usually trained in a university art department that are tilted toward training future professors. These departments graduate would-be artists out of whom taking risks has been conditioned. Some have even taken courses in business. Even the talented ones are not taught how to live their lives creatively, which is what's most important. So that, eventually, their work dries into the usual market decoration. Possibly, then, artists who attend college should minor in art, and major in philosophy, comparative religion, psychology, poetry, anthropology, et al. Poets don't fair any better. What could be a plus: they cannot look forward to living on the proceeds of their work, is usually a minus, as they see little options but to teach, apply for the usual grants, and write the poems that are expected of them. A friend of mine talks about the virtue of being an "intellectual janitor." But, especially with an expensive degree in hand, who has the dedication to their art to walk such a noble path? Unlike the art market, and the publishing market, the slice of the internet where artists function is, so far, non-judgmental. The problem is who one brings to it. -Joel ----- Original Message ----- From: "Jim Andrews" To: Sent: Monday, July 21, 2008 9:11 PM Subject: Re: The "originality" of appropriation vs the mass media "appropriation" of appropriation-originality--NY Times article >i thought that was an interesting post, murat. i don't agree with lots of > it, but you get at some things that are important that not too many people > seem able to write about at all, even if you're wrong about them. > > the interesting part, i felt, was the stuff on ownership. very writerly. > not > so much anti-capitalist as yawning at capitalism in a poetry context. > which > is right, i feel. capitalism in a poetry context is just more or less > irrelevant. > > contrast that, however, with visual art. if you hang out with new york > visual artists online or anywhere else, you see just how little sense any > art makes to them that *doesn't* work within capitalism. galleries, > products, and so on. if it doesn't make it monetarily, it just doesn't > count. it can't survive. in the 'market of ideas' in which new york > artists > are immersed. > > which is too bad for new york art, it seems to me. but i guess it makes > sense there. > > whereas the 'market of ideas' you allude to is less about a capitalistic > market as something different. which is important. and expensive, in a > sense. > > the danger of poetry resides, in part, in its being able to operate, to > some > extent (more than visual art) in other dimensions than the genuinely > boring > capitalistic market of ideas. > > genuinely boring. deeply. terminally. genuine stuff of the forces of > dullness. witness the art it promulgates in mass media, which is little > more > than a provisional business proposition. > > which is one of the reasons i remain optimistic about the internet. as > medium for something else. > > ja > http://vispo.com > > ================================== > The Poetics List is moderated & does not accept all posts. Check > guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html > ================================== The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Wed, 23 Jul 2008 00:45:26 -0400 Reply-To: "Poetics List (UPenn, UB)" Sender: "Poetics List (UPenn, UB)" From: Bobbie Lurie Subject: Re: hello In-Reply-To: MIME-Version: 1.0 Content-Transfer-Encoding: 7bit Content-Type: text/plain; charset="us-ascii" Thank you so much for the introduction and your lovely blog. Welcome! andrew burke wrote: > Hello, I'm new here. I don't know the local introduction behaviours, so I'll > just extend my hand and gabble. > > I've been writing poetry since the 1960s, firstly under the influence of > Milton et al, but then influenced by the Beats and jazz liner notes, Zen > (Beat to Square), and folk songs. By the time I was 18 and leaving school, I > was ready to hit the road and escape my conservative surburban upbringing. > So I hitched from Perth to Sydney, west coast to east coast Australia - safe > back then, not so safe now. > > At this time I was published in a university literary quarterly - a short > Saroyanesque story about a boy staring at ants, yet somehow the reader knows > he is damaged in some way. I've lost it, thankfully, because it remains > 'beautiful' in my memory, and was probably more awkward on the page. Much > of my teenage poetry has gone the same way. Yet that early publishing > encouragement set me on the path to being a lifelong writer. > But I go on too long ... This is a similar start to many. Let's just say I > have written a mess of poems over the last forty plus years, some of which > has appeared in print (many mags, six books) and some of which has appeared > disguised as plays, tiny films, stories and one novel. > > After quarter of a century in advertising (my anti-intellectual years), I > changed careers and taught writing and literature at various universities, > including a recent stint at Shanxi Normal University in Linfen, China. > During these, my intellectual years, I received a PhD from Edith Cowan > University three years ago. > > But my main interest is my next poem, and my curiosity has lead me to > investigate many poetics from around the world. On this list, I hope to gain > more insights and share some of my passion for poetry. > > My day to day interests are well exposed on my blog (address below). > > Thank you for reading. > > Andrew > http://hispirits.blogspot.com/ > http://www.flickr.com/photos/aburke/ > > ================================== > ================================== The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Wed, 23 Jul 2008 01:54:03 -0400 Reply-To: "Poetics List (UPenn, UB)" Sender: "Poetics List (UPenn, UB)" From: "David A. Kirschenbaum" Subject: NYC Tues./Boog City presents BookThug 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 presents d.a. levy lives: celebrating the renegade press BookThug (Toronto) this Tues. July 29, 6:00 p.m. sharp, free ACA Galleries 529 W. 20th St., 5th Flr. NYC Event will be hosted by BookThug publisher Jay MillAr Featuring readings from Cara Benson Melissa Buzzeo Mark Goldstein Evan Kennedy Jay MillAr Steven Zultanski with music from Apostle of Hustle There will be wine, cheese, and crackers, too. Curated and with an introduction by Boog City editor David Kirschenbaum ------ **BookThug http://www.bookthug.com http://www.bookthug.blogspot.com http://www.apollinaires.com BookThug is a Canadian independent literary publishing house that grew =20 up with Apollinaire?s Bookshoppe, an online bookshoppe that =20 specializes in the books that no one wants to buy. BookThug chooses to =20 publish no particular stream of poetry or literary content; rather the =20 goal is to loosely follow Eliot?s credo that there are only two kinds =20 of poetry: Good and Bad. BookThug could be said to represent either =20 depending on your point of view. BookThug resists being hegemonic =20 about borders, including those between languages, between genders, =20 between countries, and between genres. Above all, it seeks to promote =20 aMUSEment to the citizens of BookThug Nation through the publication =20 of unexpected literature. BookThug is as BookThug does. *Performer Bios* **Apostle of Hustle http://www.arts-crafts.ca/apostleofhustle/index2.html http://www.myspace.com/apostleofhustle http://www.facebook.com/home.php#/pages/Apostle-Of-Hustle/6700162382 It?s a long Hitchcockian zoom-in, the omniscient clouds part, the =20 sleazy waterfront scene is set. Like Steve Zissou?s Belafonte =20 cross-section, we can see a number of little hives of activity: a =20 young man loiters behind a cramped bar; faces light by low lights, =20 listens intently while one speaks, gesturing wildly; a captain barks =20 orders at his crew to hurry the fuck up; someone throws flowers into =20 the sea; a vintage jukebox amuses the hipsters on a crawl. Welcome to =20 the borough of a possible nowhere. Apostle of Hustle first took shape after a two-month sojourn in El =20 Barrio Santo Suarez, in Havana, in 2001. This experience was mind =20 blowing for Apostle of Hustle?s lead (Andrew Whiteman) from the ground =20 up: the community, the fashion, the speed, and the music. Whiteman =20 returned to Toronto invigorated about a possible music that did not =20 yet exist. Knowing he wanted to create it, Whiteman took up residency =20 at a local dive as Apostle Of Hustle, a quartet. The band played =20 Brazilian and Cuban folk songs, as well as Tom Waits, PJ Harvey, and =20 Marc Ribot covers. Whiteman played guitar and tres; plus he recruited =20 Dean Stone on drums and Julian Brown, an old buddy from the mid-?90s =20 indie scene, on upright bass. The fourth position was a kind of ?open =20 door? to whomever might show up on their nights, anyone from Bryden =20 Baird (Feist) on flugel horn to Daniel Stone (cache) on percussion. Apostle of Hustle?s first endeavor, Folkloric Feel, was released in =20 July of 2004. It was a Frankenstein of a record, recorded in over four =20 different locations at different times. By this point, Whiteman was =20 almost completely consumed with recording and touring with Broken =20 Social Scene and finishing the Apostle of Hustle record could only =20 happen in between tours. A collection of tracks and mixes and ideas =20 was brought to BSS producer David Newfeld?s door and he somehow was =20 able to create the psychedelic debut that came out on the Arts & =20 Crafts label. National Anthem of Nowhere was recorded in Montreal at Studio =20 Masterkut in March of 2006. This time around the band sought the =20 production talents of Martin Davis Kinack (BSS/Sam Roberts =20 front-of-house man, as well as Sarah Harmer producer). National Anthem =20 of Nowhere was finished in Whiteman?s bedroom in September and mixed =20 in the woods at Marty's secret studio locale. The vibe was almost =20 completely vin rouge, even after the Montreal stint. A few guests =20 lurked?Liam O?Neil from the Stills, Evan Cranley and Chris Seligman =20 from Stars, and Lisa Lobsinger who sang with BSS on their 2006 tours. =20 Daniel Stone is present on almost all the tracks playing conga, bongo, =20 and especially caja. The record sounds so good, he even decided to =20 skip part of the salsa season to tour with Apostle of Hustle in 2007. =20 Nice one, compa=F1ero. **Cara Benson http://necessetics.com/sousrature.html Cara Benson's work appears in print and online. She teaches poetry =20 every Tuesday at a NY State Prison and edits the online lit/art =20 journal Sous Rature. Spell/ing ( ) Bound, written in collaboration =20 with Kai Fierle-Hedrick and Kathrin Schaeppi, is forthcoming from =20 'letrique press. Her BookThug title, Quantum Chaos & Poems: A =20 Manifost(o)ation, tied for first place in this year?s bpNichol =20 Chapbook Award. **Melissa Buzzeo http://www.xcp.bfn.org/buzzeo.html Born in 1977 in New York, Melissa Buzzeo has worked as a counselor, =20 curator, professor, and palm reader.City M (Leona Press, New York) is =20 presently being translated into French for inclusion in a Quebecois =20 journal. Disparate work has been translated into Catalan and =20 anticipating publication in Spain. A second chapbook, In The Garden of =20 the Book, is forthcoming from NO press (Calgary). Currently she is =20 reaching toward translation in living space. Face is forthcoming from =20 BookThug. **Mark Goldstein http://www.beautifuloutlaw.com Toronto writer Mark Goldstein?s poems have appeared in periodicals =20 including Matrix and echolocation. An avid small presser, he has =20 issued limited edition books under the Beautiful Outlaw imprint. After =20 Rilke: To Forget You Sang (BookThug) is his first book. From Shore to =20 Shore, a book-length poem will be published in 2009. He is currently =20 translating poems by the late Paul Celan. **Evan Kennedy http://thecheer-upbook.blogspot.com Evan Kennedy is the author of Us Them Poems (BookThug) and The Cheer =20 up Book of Wounded Soldiers(Dirty Swan Projects). He grew up in Texas =20 and has lived in several neighborhoods in Brooklyn. **Jay MillAr http://www.jaymillar.blogspot.com Jay MillAr lives in Toronto where he runs BookThug and Apollinaire?s =20 Bookshoppe. He is the author of four collections of poetry, including =20 Mycological Studies, False Maps for Other Creatures, and the small =20 blue. In 2006 he published Double Helix, a collaborative ?novel? =20 written with Stephen Cain. His most recent publication, Lack Lyrics, =20 was written while being downsized out of a comfortable but =20 directionless position at an antiquarian bookstore. It is a =20 pathetically self-published chapbook that has no spine, isn?t eligible =20 for the kinds of funding, attention, or prizes that ?real books? of =20 poetry qualify for, and doesn?t even have any blurbish endorsements =20 from other writers attached to it. It even tied for the 2008 bpNichol =20 Chapbook Award, proving that it lacks even that certain something it =20 takes to win an entire prize, and tied for first place in this year?s =20 bpNichol Chapbook Award. **Steven Zultanski http://youtube.com/watch?v=3Dxti3H6Kz08E Steven Zultanski is the author of the chapbook Homoem (Radical =20 Readout), and the forthcoming This and That Lenin (BookThug) and =20 Steve's Poem (Lettermachine). He edits President's Choice magazine, a =20 Lil' Norton publication. His poetry has appeared in Antennae, FO(A)RM, =20 The Physical Poets, and Shiny, among others. ---- Directions: C/E to 23rd St., 1/9 to 18th St. Venue is bet. 10th and 11th avenues Next event: Thurs. Sept. 18 minor/american (Durham, N.C.) -- David A. Kirschenbaum, editor and publisher Boog City 330 W.28th St., Suite 6H NY, NY 10001-4754 For event and publication information: http://www.welcometoboogcity.com T: (212) 842-BOOG (2664) F: (212) 842-2429 =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Wed, 23 Jul 2008 03:24:24 -0400 Reply-To: "Poetics List (UPenn, UB)" Sender: "Poetics List (UPenn, UB)" From: Murat Nemet-Nejat Subject: Re: The "originality" of appropriation vs the mass media "appropriation" of appropriation-originality--NY Times article In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 7bit Content-Disposition: inline Jim, While writing my original post, I thought of making it only about poetry, being completely aware of what you are saying about the world of painting, particularly in New York, which has been the center of the art market for years. I decided against it because what I am saying applies to art in general, representing one end of a spectrum. One can see this tension most clearly in film, even the most stripped down version of which requires a significant capital investment. The issue of means of production (studio, independent, video, etc.) is an integral part of discussing an art of film. What is peculiar about poetry is that it both requires very little capital investment and it has almost as small audience. The investment poetry requires is the poet's time (poetry is an art which consumes time; time is at the heart of it). This makes the poet his or her audience. This condition so clear in poetry exists in all arts, only blurred by the exigencies of money in other arts. I wrote about this in my essay, "Is Poetry a Job, Is a Poem a Product?" Jim, you do not mention where you disagree with me. I would like to know. Ciao, Murat Jim On Tue, Jul 22, 2008 at 12:11 AM, Jim Andrews wrote: > i thought that was an interesting post, murat. i don't agree with lots of > it, but you get at some things that are important that not too many people > seem able to write about at all, even if you're wrong about them. > > the interesting part, i felt, was the stuff on ownership. very writerly. > not > so much anti-capitalist as yawning at capitalism in a poetry context. which > is right, i feel. capitalism in a poetry context is just more or less > irrelevant. > > contrast that, however, with visual art. if you hang out with new york > visual artists online or anywhere else, you see just how little sense any > art makes to them that *doesn't* work within capitalism. galleries, > products, and so on. if it doesn't make it monetarily, it just doesn't > count. it can't survive. in the 'market of ideas' in which new york artists > are immersed. > > which is too bad for new york art, it seems to me. but i guess it makes > sense there. > > whereas the 'market of ideas' you allude to is less about a capitalistic > market as something different. which is important. and expensive, in a > sense. > > the danger of poetry resides, in part, in its being able to operate, to > some > extent (more than visual art) in other dimensions than the genuinely boring > capitalistic market of ideas. > > genuinely boring. deeply. terminally. genuine stuff of the forces of > dullness. witness the art it promulgates in mass media, which is little > more > than a provisional business proposition. > > which is one of the reasons i remain optimistic about the internet. as > medium for something else. > > ja > http://vispo.com > > ================================== > The Poetics List is moderated & does not accept all posts. Check guidelines > & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html > ================================== The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Wed, 23 Jul 2008 11:26:30 -0400 Reply-To: "Poetics List (UPenn, UB)" Sender: "Poetics List (UPenn, UB)" From: Bobbie Lurie Subject: the originality of appropriation vs. the mass media In-Reply-To: MIME-Version: 1.0 Content-Transfer-Encoding: 7bit Content-Type: text/plain; charset="us-ascii" Jim, having been in both worlds, I disagree with you. The poetry world may not run on money but it runs on ego--and only ego and ego to me is more dangerous than capitalism in terms of art--and the art world in New York, where yes, one can actually make some (little bit of) money is really a more open world, at least as I experienced it. There are so many factions and enmities in the poetry world--but there was a lot of support between visual artists I felt and I actually felt part of that had to do with the fact of making some small amt. of money from our work--but then I am also familiar with dealings with "Hollywood" and of course Hollywood is the epitomy of corruption but the fact that money is an obvious part of it makes it less corrupt in the sense that it is all on the table and everyone knows and nothing is hidden. I just find that ego is the enemy more than capitalism.--bobbi Date: Mon, 21 Jul 2008 21:11:03 -0700 From: Jim Andrews Subject: Re: The "originality" of appropriation vs the mass media "appropriation" of appropriation-originality--NY Times article i thought that was an interesting post, murat. i don't agree with lots of it, but you get at some things that are important that not too many people seem able to write about at all, even if you're wrong about them. the interesting part, i felt, was the stuff on ownership. very writerly. not so much anti-capitalist as yawning at capitalism in a poetry context. which is right, i feel. capitalism in a poetry context is just more or less irrelevant. contrast that, however, with visual art. if you hang out with new york visual artists online or anywhere else, you see just how little sense any art makes to them that *doesn't* work within capitalism. galleries, products, and so on. if it doesn't make it monetarily, it just doesn't count. it can't survive. in the 'market of ideas' in which new york artists are immersed. which is too bad for new york art, it seems to me. but i guess it makes sense there. whereas the 'market of ideas' you allude to is less about a capitalistic market as something different. which is important. and expensive, in a sense. the danger of poetry resides, in part, in its being able to operate, to some extent (more than visual art) in other dimensions than the genuinely boring capitalistic market of ideas. genuinely boring. deeply. terminally. genuine stuff of the forces of dullness. witness the art it promulgates in mass media, which is little more than a provisional business proposition. which is one of the reasons i remain optimistic about the internet. as medium for something else. ja http://vispo.com == ================================== The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Wed, 23 Jul 2008 11:43:18 -0400 Reply-To: "Poetics List (UPenn, UB)" Sender: "Poetics List (UPenn, UB)" From: Bobbie Lurie Subject: the originality of appropriation--response to Murat In-Reply-To: MIME-Version: 1.0 Content-Transfer-Encoding: 7bit Content-Type: text/plain; charset="us-ascii" Murat, no my story is nothing like David Chirot's work with found objects--these were finished art works that could have hung in a gallery and, under the right lighting and with the right reviewers, might have been deemed whatever--I am writing of context only--my attempt was to destroy these works. They were not found objects but finished "art objects" taken out of the context which would have "legitimized" them according to the "art world"-- No one made art work out of these (I doubt--they were already finished pieces)--I have no idea what was done with them but they were being picked up and taken by a lot of people when I had wrapped them like caskets wanting them to be dumped and buried--and "context is everything" in the art world--because while a visual artist will say they want their work seen and owned and appreciated by others the truth is visual artists want their work seen within the gallery system with a review attached and then seen and owned and appreciated etc. If my desire was "pure" (as in David's work) I would have been happy to see people taking my work but I wanted "control" as in "the control to destroy" that which I had no intention of trying to "sell" within the gallery system. David Chirot is making art from what he finds I believe but I doubt (I'd have to ask David) if David would use finished art pieces thrown away by an artist tired of her images. my intention was just to say "it is all seen according to context" and that, for me, is the artificiality of it--thank you, Murat--Bobbi Date: Tue, 22 Jul 2008 06:39:26 -0400 From: Murat Nemet-Nejat Subject: Re: the "originality" of appropriation--response to Murat Bobbie, What happened to your art work reminds me of david Chirot's "RubEings." They could have been picked by him and used in some form. Ciao, Murat On Fri, Jul 18, 2008 at 1:29 PM, Bobbie Lurie wrote: > Murat, > I just wanted to send my thanks for what you wrote below and to say that > "this radical isolation is liberating" is the truest > thing for me. There is such a sense of "difficulty" and "ambition" in the > writer who makes writing a "career"--the > writers who simply enjoy writing/ who do not buy into the illusion of the > artist's self-importance are a joy to know and to read. It is the process > itself > as far as I'm concerned. Perhaps my life experience has taught me to > examine > the idea of "audience" very closely--we speak to ourselves is my conclusion > and any "audience" does the same --and it is absurd for me to worry about > an audience--once we no longer have consciousness and self-consciousness > the world vanishes for us is my conclusion--our suffering comes from trying > to control and wanting to control beyond the grave sounds like serious > suffering to me as does all other ideas of artistic control as in > "audience"--anyway, I am moving off topic as per usual so I will end here > with > Thanks, > Bobbi > P.S. I wrote a story about "audience" when I left the visual art world or > at > least tried to--it is a true story--it is about how I boxed hundreds of > drawings > and canvases and etchings and etching plates--I found it a ceremonial > way to say "good-bye" to my destroyed "art career" (partially self-induced) > -- I put my visual images downstairs for the garbagemen (garbage people?/ > sanitational engineers? p.c. lurks everywhere) in New York--but hours > later I walked outside again only to find my work exhibited on the sidewalk > in front of my apartment bldg.--people taking the drawings/ painting s they > wanted. In this story I write about "audience" and how contracted are ideas > of fame and who is an audience to our work (such an artifical concept--ie; > these people wanted my work but the "setting" is what mattered according > to everyone /not the acutal appreciation > or whatever is exemplified when people rifle through the garbage of others > (in my case: years of accumulated pieces of art made by me)-- > and the complex way work is presented...i could go on forever but will > stop here > Date: Thu, 17 Jul 2008 22:58:48 -0400 > From: Murat Nemet-Nejat > Subject: Re: The "originality" of appropriation vs the mass media > "appropriation" of appropriation-originality--NY Times article > > David, > > As you perceptive analysis shows, the underlying question is, "who owns a > work of art," more specifically a work of literature (but, in our world, > one > can apply the same question to images). My view is "no one." I am > completely > with Emerson here (and Thoreau and Spicer and Walter Benjamin). The > work/image belongs to a movement of language/images which consittutes our > thought/cultural/economic matrix (Emerson's landscape). If a corporation > wants to use one of my phrases, I would be pleased because it implies that > what I am doing as an individual -in Spicer's term, medium- has the ability > to open to a wider world. Spicer's claim, "No one listens to poetry" and > Benjamin's, "one writes for no one," are closed related to this. This > radical isolation is liberating; if no one listens or one writes to no one, > then no one owns what is written. The social contract of the author with > the > world becomes of a peculiar sort: between the writer and cultural, > linguistic movements which are at the moment invisible, below the surface, > in a sense "unneeded," the way Cassandra's admonitions were "unneeded," > therefore, unheard. Of course, all this does not prevent Spicer from hoping > to pick up boys through his poetry or Benjamin from hoping to get a > university po sition. That desire -a version of payment- has little to do > with how the writing occurs. > > I think "the death of the author" is a more specific and quite different > concept. Initially, it applies to the lyric "I," asserting that this "I" > has > little to do with personal feelings or biography; but the "I" becomes a > mark, a "moving zero," an elusive, transforming target, which registers the > linguistic motion I have been pointing to above. "The death of the author," > in that sense, it transforms the lyric; *but It does not kill it* or make > it > obsolete > , as many suggested. Rather, it transforms it into a metaphysical > medium, a medium of motion rather than personal expression. > > "The death of the author" is also at the heart of hypertext, which, as a > form, is the literal expression of the idea of non-ownership. But I think > it > is different in a significant way from the process I described earlier. In > my view, it overlooks the radical isolation with which writing responding, > opening to "hidden" movements requires. In one sense, all writing > constitutes a hypertexts which other writers respond to, misread, alter, > expand, etc. That is what Benjamin's "ideal language" is. But hypetext, as > a > conscious for of writing, assumes a present community. I am not sure if > this > presence helps or inhibits the process; maybe it does both. > > Ciao, > > Murat > > ================================== The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Wed, 23 Jul 2008 12:46:26 -0700 Reply-To: "Poetics List (UPenn, UB)" Sender: "Poetics List (UPenn, UB)" From: Robert Dewhurst Subject: satellite telephone #2 MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Dear List, SATELLITE TELEPHONE is a little magazine of poetry and fictocriticism, handmade and small-run in the tradition of mimeos and fanzines. Issue #2 is out now and features new writing from: CLAIRE BECKER, LYNN BEHRENDT, ROBERT DEWHURST, FANNY HOWE, KEVIN KILLIAN, RODNEY KOENEKE, CHRIS KRAUS, DOROTHEA LASKY, SAM LOHMANN, KIMBERLY LYONS, SIMON PETTET, CHRIS PIUMA, ARLO QUINT, DAN RAPHAEL, HANNAH SAYLE, KYLE SCHLESINGER, FRANK SHERLOCK, and SUSIE TIMMONS. My friend the artist GOODY-B. WISEMAN drew a wonderful cover. Xeroxed and staple-bound, silkscreened covers. $7 postage paid. Will trade for mail art or other zines. http://nolongdistance.endingthealphabet.org Thanks for reading. Sincerely, Robert Dewhurst ================================== The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Wed, 23 Jul 2008 21:32:37 +0000 Reply-To: "Poetics List (UPenn, UB)" Sender: "Poetics List (UPenn, UB)" From: AWAREing Press Subject: Re: NOTHING BUT SHAME TO STONEWALL! In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset="utf-8" Content-Transfer-Encoding: quoted-printable CAConrad, thanks for the manifesto. I'm hoping that by now you realize that= Gays in the Military is-- if not a Civil Rights Issue-- a Human Rights Iss= ue. Think about it. If someone really wants to get maimed or die or fall in= to a trauma-induced psychosis while (ostensibly) defending our country, the= n why stop them?=20 Armies of yesteryear denied females the glory of battle and the chance to e= xperience serving in a military hierarchy; obnoxiously bisexual or homosexu= al men were simply shot under the guise friendly fire. Lately it's been the= overt and sexually active guys who receive the discharge, and the flaming = queens who get denied initial entry. It's only fair that everyone has the r= ight to enlist or be drafted into an army, worldwide.=20 The objective of Ms. Johnson and other "gay" activists, it seems to me, is = to equalize, not moralize over, any and every life path available, so that = all of us get the feeling that we share the same slew of options and opport= unities. To rage against new laws that permit a person to live a life from = the classic vantage point of Soldier is, um, outrageous. But thanks much fo= r the newsbrief, and sharing your thoughts.=20 James -------------- Original message from CA Conrad : ----= ----------=20 > Did Marsha P. Johnson start the Stonewall Riot to end oppression, or spre= ad=20 > misery? "The Stonewall Diversity Champions" has listed as its 400th membe= r=20 > the British Army for their open inclusion of gays and lesbians into the= =20 > armed forces. WOW! I'm not even sure how to react with anything but anger= .=20 >=20 > The fight to NOT BE OPPRESSED does not mean to be included into the=20 > oppressor's world. WHY WOULD the oppressor think they're SO GREAT that we= =20 > would even WANT to be them!? I would want to BE like the person=20 > who has kept me from my life?=20 >=20 > It's more the problem of course of gays and lesbians who do not share my= =20 > view here, who DO think that the ULTIMATE GOAL should be to meld and=20 > disappear into the machine with all of its sharp tools carving the world= =20 > into one grand, obedient, nameless, worker-consumer, killing all who defy= .=20 > The British Army is the 400th member of "The Stonewall Diversity Champion= s,"=20 > I just need to WRITE THIS AGAIN, and SAY IT OUT LOUD AGAIN, because it's = SO=20 > HARD TO BELIEVE!=20 >=20 > The worst thing is NOT being able to stop this kind of ABUSE to the lives= we=20 > lead, and how we want to lead, away from such brutality. The committee fo= r=20 > this BOGUS award will represent who they want to represent. GAYS IN THE= =20 > MILITARY IS NOT A CIVIL RIGHTS ISSUE!=20 > http://tenbyfour.blogspot.com/2006/05/why-gays-in-military-is-not-civil.h= tml=20 >=20 > To honor the war machine through Stonewall is so infuriating I feel like = I=20 > blew a fuse. I mean, I can't even FEEL angry, but I know I'm SO ANGRY, an= d=20 > that's why I'm numb.=20 >=20 > To honor war is to not honor the LOVE Marsha P. Johnson used to strike th= e=20 > police with, her need to be left to her life, and to protect her family w= ho=20 > were other fringe, mistreated, neglected souls like herself.=20 >=20 > I'm not even sure where I send my hate mail today. England or New York?= =20 >=20 > CAConrad=20 > http://PhillySound.blogspot.com=20 >=20 > =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D= =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=20 > The Poetics List is moderated & does not accept all posts. Check guidelin= es &=20 > sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html=20 =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Wed, 23 Jul 2008 13:03:06 -1000 Reply-To: "Poetics List (UPenn, UB)" Sender: "Poetics List (UPenn, UB)" From: Susan Webster Schultz Subject: Tinfish Press MIME-Version: 1.0 Content-Type: text/plain; charset=windows-1252; format=flowed Content-Transfer-Encoding: 8bit 47-728 Hui Kelu Street #9 Kane`ohe, HI 96744 22 July 2008 Dear Friends of Tinfish Press: I am writing to ask for your support for several upcoming projects by Tinfish Press. I'd like to describe them to you so that you'll feel enthusiastic about supporting our publications of experimental poetry from the Pacific region. All gifts are tax deductible. Please open the two attachments, which display designs for two of our new projects. Already this year, we've published two full-length books, Meg Withers's A Communion of Saints, a prose poetic elegy for men who died of AIDS in 1980s Honolulu, and Hazel Smith's The Erotics of Geography (with cd-r), a selection of that British-Australian poet's page and performance poems. We printed a new corrected edition of Lisa Kanae's important work, Sista Tongue, which is widely taught in universities and schools here and on the mainland. We are in the process of having Barbara Jane Reyes's book, Poeta en San Francisco, reprinted. This book won a James Laughlin award and has been near the top of the SPD best-seller lists for a couple of years now. The New York Times indie list this past Sunday showed the book at #2. Even my dean noticed! Many of our publications have been taught at the university and high school levels; please consider “adopting” our books for your courses, if you teach. We will publish four more Tinfish products this summer and fall. Tinfish 18 features long poems by poets such as Mani Rao, Lyn Xu, Alysha Wood, Norman Fischer, and Endi Hartigan. Tinfish 18 ½ will be a perfect bound book of word games and poems designed by our Art Director, Gaye Chan, curated by MFA student Lian Litvin, and featuring work by recent stellar M.A. graduates of the UH English department and students in the art department, as well as more established artists. This book will be fun and interactive. Craig Santos Perez's full-length volume, from unincorporated poetry, engages colonial histories, family, and language(s); it's a marvelous first book for him, and fits our mission to a T. Finally, we are working on a chapbook by Norman Fischer, zen priest and poet. With all of these projects coming together at once, our coffers are emptying quickly. Please give through our website (www.tinfishpress.com) or send a check to the above address. We will acknowledge you on our website, if you give us permission to do so. Tinfish Press is a non-profit organization, so your gifts will be tax-deductible. Aloha, Susan M. Schultz Editor, Tinfish Press ================================== The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Tue, 22 Jul 2008 21:21:05 -0700 Reply-To: lmrussell04@yahoo.com Sender: "Poetics List (UPenn, UB)" From: Lauren Russell Subject: Re: Court rules lesbians are not just from Lesbos -- "Cleansing" Sappho's Verse In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: quoted-printable That's very interesting, Amy.=A0 Thanks for sending.=A0 Incidentally, I was= always under the impression that Sappho was bisexual. Lauren Russell =0A=0A=0A =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Thu, 24 Jul 2008 00:37:13 +0000 Reply-To: "Poetics List (UPenn, UB)" Sender: "Poetics List (UPenn, UB)" From: blacksox@ATT.NET Subject: For immediate release Comments: To: Lisa Waters , Oviedo Voice , Orlando Times , Sarah Schlossman , Joseph Pasquale , News observer , Editor newsjournal , Naomi Lenore , News Leader , Amber Foster , Suzy Fleming , Christopher Fister , news eosun , apopka chief , Todd Caviness , Deland Beacon , meetup , chris , Calender Comments: cc: "Golata, Russ" MIME-Version: 1.0 Content-Type: text/plain Content-Transfer-Encoding: 8bit FOR IMMEDIATE RELEASE The Daily Grind coffee house 807 N. Orange Ave, located in downtown Orlando will be the new home of 1sts Tuesdays. The Orlando Poetry group will be launching 1st Tuedays August 5, at 7pm. Hosted by local poet Russ Golata the event held every 1st Tuesday of the month will showcase local as well as out of town spoken word artists and musicians and feature open mic, complete with contests-and a night of great entertainment and fun. ================================== The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Thu, 24 Jul 2008 13:54:25 +1200 Reply-To: "Poetics List (UPenn, UB)" Sender: "Poetics List (UPenn, UB)" From: Wystan Curnow Subject: Re: hello In-Reply-To: <12810a820807221651y1fce2b98r8d81b399f69efbf4@mail.gmail.com> MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: quoted-printable Welcome Andrew, we're known to one another.=20 You should tell the folks here (which is precisely no where) where Perth is. You can hitch=20 From Sydney, but you're further from there than I am in Auckland, And closer to Jacarta aren't. I'm impressed by the fact Perth is on the Indian Ocean and my great regret is that on my one visit I never took a dip in it. There, I've told them. What would you add? Wystan=20 =20 -----Original Message----- From: Poetics List (UPenn, UB) [mailto:POETICS@LISTSERV.BUFFALO.EDU] On Behalf Of andrew burke Sent: Wednesday, 23 July 2008 11:52 a.m. To: POETICS@LISTSERV.BUFFALO.EDU Subject: Re: hello And you. Who else do I know in this neighbourhood? Just getting used to the flow of conversation, etc. No doubt I will speak up eventually about matters poetic ... Andrew 2008/7/22 Peter Ciccariello : > Welcome Andrew, nice to see you here! > > - Peter Ciccariello > > > On Sun, Jul 20, 2008 at 10:29 PM, Maria Damon wrote: > > > welcome to the list. > > > > > > andrew burke wrote: > > > >> Hello, I'm new here. I don't know the local introduction=20 > >> behaviours, so I'll just extend my hand and gabble. > >> > >> I've been writing poetry since the 1960s, firstly under the=20 > >> influence of Milton et al, but then influenced by the Beats and=20 > >> jazz liner notes, Zen (Beat to Square), and folk songs. By the time > >> I was 18 and leaving > school, > >> I > >> was ready to hit the road and escape my conservative surburban > upbringing. > >> So I hitched from Perth to Sydney, west coast to east coast=20 > >> Australia - safe back then, not so safe now. > >> > >> At this time I was published in a university literary quarterly - a > short > >> Saroyanesque story about a boy staring at ants, yet somehow the=20 > >> reader knows he is damaged in some way. I've lost it, thankfully,=20 > >> because it remains 'beautiful' in my memory, and was probably more=20 > >> awkward on the page. > Much > >> of my teenage poetry has gone the same way. Yet that early=20 > >> publishing encouragement set me on the path to being a lifelong writer. > >> But I go on too long ... This is a similar start to many. Let's=20 > >> just say > I > >> have written a mess of poems over the last forty plus years, some=20 > >> of > which > >> has appeared in print (many mags, six books) and some of which has=20 > >> appeared disguised as plays, tiny films, stories and one novel. > >> > >> After quarter of a century in advertising (my anti-intellectual=20 > >> years), > I > >> changed careers and taught writing and literature at various > universities, > >> including a recent stint at Shanxi Normal University in Linfen, China. > >> During these, my intellectual years, I received a PhD from Edith=20 > >> Cowan University three years ago. > >> > >> But my main interest is my next poem, and my curiosity has lead me=20 > >> to investigate many poetics from around the world. On this list, I=20 > >> hope to gain more insights and share some of my passion for poetry. > >> > >> My day to day interests are well exposed on my blog (address below). > >> > >> Thank you for reading. > >> > >> Andrew > >> http://hispirits.blogspot.com/ > >> http://www.flickr.com/photos/aburke/ > >> > >> = =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D= =3D=3D=3D=3D=3D=3D=3D=3D=3D > >> The Poetics List is moderated & does not accept all posts. Check=20 > >> guidelines & sub/unsub info: > http://epc.buffalo.edu/poetics/welcome.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 > > The Poetics List is moderated & does not accept all posts. Check > guidelines > > & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.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 > The Poetics List is moderated & does not accept all posts. Check=20 > guidelines & sub/unsub info:=20 > http://epc.buffalo.edu/poetics/welcome.html > -- Andrew http://hispirits.blogspot.com/ http://www.flickr.com/photos/aburke/ =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D= =3D=3D=3D=3D=3D=3D=3D=3D=3D The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.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 The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Wed, 23 Jul 2008 22:48:06 -0400 Reply-To: "Poetics List (UPenn, UB)" Sender: "Poetics List (UPenn, UB)" From: Sarah Sarai Subject: Re: Court rules lesbians are not just from Lesbos Mime-Version: 1.0 Content-Transfer-Encoding: quoted-printable Content-Type: text/plain Maria, Most lesbians do come from Lebanon (originally Lesbanon) where so many fo= und shelter=20 after the diaspora from Lesbos; and today they are everywhere. Viva Sapp= ho. Viva the=20 misguided elders of Lesbos. Viva Lesbosians (and Lesbanonians) and the L= ebanese. Viva=20 the listserv. S. =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Wed, 23 Jul 2008 20:24:37 -0700 Reply-To: "Poetics List (UPenn, UB)" Sender: "Poetics List (UPenn, UB)" From: Catherine Daly Subject: Re: The "originality" of appropriation vs the mass media "appropriation" of appropriation-originality MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 7bit Content-Disposition: inline for those in LA, I am gallery sitting the portion of the LA Art Girls show at Phantom Galleries at the corner of 6th and Main (PE Lofts) Friday 12-3 and Sunday 12-6; I would love to discuss this set of issues within this context my works are largely unsalable, as "reading" them makes a poem (in the case of my work in the show); I find my fellow MFAs -- but in studio art -- better prepared to live an art-focussed life, including curating & studio visits & critical theory / historical background, than I was by my MFA. Unsalability makes gallery owners, who show to earn commission, really confused about my things -- and, frankly, there's a show on current tv that would normally be perfect for me/my stuff, but it is for cheap objects, not free interactive objects there's some popular recognition of LA as where international art gets made... -- All best, Catherine Daly c.a.b.daly@gmail.com ================================== The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Thu, 24 Jul 2008 00:23:20 -0400 Reply-To: "Poetics List (UPenn, UB)" Sender: "Poetics List (UPenn, UB)" From: CA Conrad Subject: Re: NOTHING BUT SHAME TO STONEWALL! MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 7bit Content-Disposition: inline James, I guess if queers want to join the KKK they should be allowed? We are a country at war, let us NOT forget. OVER A MILLION DEAD AND COUNTING. The military machine is NOT something I will ever get behind, ever! Because of who WE ARE, and who the British are (they helped us invade Iraq), there is NO WAY to negotiate being in favor of gays in the military without ALSO being in favor of the military. Not too long ago the documentary/news(?) episodes of IN THE LIFE interviewed a queer man who joined the military after 911. He was outraged by what had happened, of course, as we all were. BUT, where does he wind up when they ship his DUMB gay ass out? IRAQ! And he NEVER, not once does he EVER QUESTION why he is in Iraq. His ENTIRE purpose (according to his own opening statement) was to go after the people who were responsible for 911. THEN OF COURSE he's discovered as being QUEER and sent home, which was the purpose of interviewing him. We were supposed to FEEL TERRIBLE for him. Boo hoo, poor guy, he doesn't get to carry a machine gun and prove he's a REAL man! Getting to put a rainbow sticker on a machine gun is what this is all about. GAY PRIDE IN KILLING!? YES THIS IS TIME TO TAKE A STAND! How many people have you known who HOLD THE GERMAN CITIZENS responsible for Nazi atrocities? We are already as complicit in the eyes of the world. The original people who risked their lives at the Stonewall riots were ALSO VEHEMENTLY opposed to the war in Vietnam. Marsha P. Johnson is someone I met in person, and I can tell you right now that she was NOT SOMEONE who would be in favor of giving the LOVE up to the British Army! Gays in the military is NOT a civil rights issue! THERE'S NOTHING CIVIL ABOUT INVADING, KILLING, TERRORIZING, MAIMING, MAKING ORPHANS, ETC., ETC., ETC.! YES IT IS TIME TO TAKE A STAND AND SPEAK UP, REGARDLESS OF HOW IT MAY SOUND! QUEERS SHOULD NOT BE ALLOWED IN THE ARMED SERVICES BECAUSE OUR ARMED SERVICES HAVE PROVEN TO BE DANGEROUS, AND RESPONSIBLE FOR WAR CRIMES! We're supposed to be GRATEFUL that the British Army has "accepted" queers? Well I DON'T ACCEPT THE BRITISH ARMY! FUCK THE BRITISH ARMY! NO QUEERS ALLOWED! Anyone, and I mean ANYONE we can prevent from joining an army like our army and the British army should be prevented! NO FAGS OR DYKES ALLOWED IN UNIFORM! KICK THEM ALL OUT! SEND THEM HOME! CAConrad http://PhillySound.blogspot.com ================================== The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Thu, 24 Jul 2008 00:29:00 -0400 Reply-To: "Poetics List (UPenn, UB)" Sender: "Poetics List (UPenn, UB)" From: CA Conrad Subject: poems by MINA LOY for the URCHIN series /\\///\\\\/////\\\\\\///////\\\\\\\\/////////\\\\\\\\\\/////////// MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 7bit Content-Disposition: inline poems by MINA LOY for the URCHIN series /\\///\\\\/////\\\\\\///////\\\\\\\\/////////\\\\\\\\\\/////////// details here: http://urchinpoetry.blogspot.com/ ================================== The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Thu, 24 Jul 2008 06:37:12 -0400 Reply-To: clwnwr@earthlink.net Sender: "Poetics List (UPenn, UB)" From: Bob Heman Subject: POINTING WITH 400 FINGERS AT THE RED FUNNEL Comments: cc: Adam Fieled , Alice Jacoby , Allan Goldschmidt , Amanda , Anne Fiero , AugustineJane , Austin , Austin Publicover , "Bill (home)" , Bill Duke , Bill Pyles , blick , Bob Arnold , Bob Quatrone , Brant Lyon , Alicia Vasquez , Andrew Kaufman , Angelo Verga , Bill Zavatsky , Bob Holman , Caroline Beasley-Baker , Catherine Fletcher , Dan Mayper , "Dorothy F. August" , Ed Smith , Esther Smith , Georgia Faust , Gil Fagiani , Hal Sirowitz , Holly Anderson , Jeff Schneider , Jim Pignetti , Katrinka Moore , Maria Lisella , Maria Terrone , mike graves , Mike Topp , Richard Storm , Sanford Fraser , Sparrow Sparrow , Steve Zeitlin , Susan Gerardi , Susan T Landry , Tsaurah Litsky , Brian Boyles , Brian Clements , Brian McInerney , "c. ota" , Carole Marchese , Carrie Beehan , Caryn Baruch , Christine Timm , Cor van den Heuvel , Cousin Jim , Cristina Li , David Elsasser , Dean Kostos , Desiree , Diana Gitesha Hernandez , donb , "Ed (Earthlink)" , Ed Baker , Efrayim Levenson , Eugene Ring , fanettelbeck , Fareed Bitar , Gabor , Gary Metras , George Held , Gian Lombardo , Hughfoxy , Ice , Iris Schwartz , Jackie Sheeler , Jamie Smith , Jan Garden Castro , janet restino , Jay Chollick , Jee Leong Koh , Jim Feast , Jim Mulligan , John Allan Holt , "John J. Trause" , john marcus powell , Jon Geffner , Jonah , Joshua Meander , Justin Taylor , Katrina Barnas , Kenneth Beinert , Laura Boss , Laura Gilmour , "Laura L. Vookles" , Lawrence Detlor , Leigh Harrison , Linda Lerner , Linda Smith , Maddy Rosenberg , Madeline Artenberg , Madeline Tiger , Maria , Marie Sabatino , Michael Fiorito , Michael Kasper , Mitch Corber , Mitch Highfill , Nelson Alxndr , orin , Patricia Sonego , Patrick Christiano , Penelope Maguffin , Pete Dolack , Peter Cherches , Peter Kernz , Phillip Levine , Quincy Lehr , rickistuart , Roslyn Rabin , "Roxanne Hoffman (Yahoo)" , saki kishimoto , "Sanem Ozdural (home)" , Sara Beinert , sasha chavchavadze , Shalom , Sharon Olinka , Shelly Rich , Star Black , Su Polo , susan maurer , Susan Homer , Susan T Landry , Susan Tepper , Takako Nakamura , "takako.nakamura" , Thad Rutkowski , Thadrutkowski , Theo Coates , tom oleszczuk , Torben Bernhard , Travis Low , Valerie Weiss , Valery Oisteanu , Viviana Grell , Vyt Bakaitis , William Hohauser , Christine Panas , Carol Novack , Carrie Beehan , Christopher Harter , Christopher Mulrooney , Christopher Mulrooney , Craig Czury , Craig Fishbane , daniela , David Giannini , David Lawton , "Dorothy F. August" , "Ed (Earthlink)" , Ed Smith , Elizabeth Guida , Elizabeth Smith , esther smith , Evie Ivy , fanettelbeck , Francine Witte , Frank Simone , george spencer , Hal Johnson , Hal Sirowitz , Irina Peris , Jack Tricarico , Jane Ormerod , Jean Lehrman , Jeff Wright , Jessea Perry , jim leftwich , Joanne Pagano Weber , "Joel Dailey (Fell Swoop)" , John Levy , "JOHN M. BENNETT" , John Yau , Judy Kamilhor ** , Kit Kennedy , Larissa Shmailo , Leonard Gontarek , liza wolsky , MAndreOx , Martha , "Martha L. Deed" , Matvei , Michael Kasper , Mike James , Mike Topp , Mindy , Miriam Stanley , "Moira T. Smith" , "Nina M." , pattiekake , Paul Pines , Peter Schwartz , Philip Rowland , phylliswat , "R. Nemo Hill" , Richard Loranger , RichKostelanetz , Ron Silliman , Roy Arenella , sarah sarai , "Sheila Lanham (eathlink)" , Sheila Murphy , Sparrow Sparrow , Thomas Fucaloro , Tom Savage , Vassilis Zambaras , Yuko & Steve , Adam Fieled , Adriana Scopino , Alex , "Alex O. Bleecker" , Allen Brafman , Amy Marie Bucciferro , Amy Ouzoonian , Andy Gricevich , Austin Publicover , Baz , Bill Zavatsky , Bob Holman , Bobbi Lurie , Bruce Weber , Camellia MIME-Version: 1.0 Content-type: text/plain; charset=US-ASCII some of you may know that a bunch of us have been exploring collaborative writing using semi-automatic techniques during the last few months - the results have been quite amazing actually - if you missed our last performance in may at John Zorn's legendary east village performance space "The Stone" this is your chance to catch us again and experience some of our most recent works (which were written as our sessions expanded from our original four-headed author to include three more talented writers along with an occasional guest) - the info follows R. Nemo Hill presents Active Ingredients at The Stone ACTIVE O (program three) POINTING WITH 400 FINGERS AT THE RED FUNNEL collaborative semi-automatic texts written and/or performed by Thomas Fucaloro, Bob Heman, R. Nemo Hill, Jane Ormerod, John Marcus Powell, Oran Ryan, Adriana Scopino & Michelle Slater Monday July 28 at 8PM The Stone ~ 2nd Street & Avenue C ~ Northwest corner suggested donation $10 "Enough of this! Echoing and eavesdropping will be the coda. Secretly the finale will not suffice." Bob Heman clwnwr@earthlink.net EarthLink Revolves Around You. ================================== The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Thu, 24 Jul 2008 06:01:58 -0400 Reply-To: "Poetics List (UPenn, UB)" Sender: "Poetics List (UPenn, UB)" From: Wanda Phipps Subject: Desire at The Living Theatre MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 7bit Content-Disposition: inline Hi: I'm reading at The Living Theatre Deflected by Desire themed reading with other folks with new books out like me Monday, July 28th--8pm with Jan Clausen, Steve Turtell & Richard Tayson 21 Clinton Street, NYC (Btw Houston & Stanton) Would love to see you there! -- Wanda Phipps Check out my websites: http://www.mindhoney.com and http://www.myspace.com/wandaphippsband My latest book of poetry Field of Wanting: Poems of Desire available at: http://www.blazevox.org/bk-wp.htm And my 1st full-length book of poems Wake-Up Calls: 66 Morning Poems available at:http://www.amazon.com/exec/obidos/ASIN/193236031X/ref=rm_item ================================== The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Thu, 24 Jul 2008 07:52:18 -0700 Reply-To: tsavagebar@yahoo.com Sender: "Poetics List (UPenn, UB)" From: Thomas savage Subject: Re: The "originality" of appropriation vs the mass media "appropriation" of appropriation-originality--NY Times article In-Reply-To: <1dec21ae0807230024v72bae570lbead088996d82cbf@mail.gmail.com> MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: quoted-printable I agree that capitalism is largely irrelevant to poetry.=A0 I think about t= his a bit as a new full-length book of mine, Brainlifts, has just been publ= ished by a relatively new small press called Straw Gate Books.=A0 I'm glad = to say that the pressures of capitalism have little or nothing to do with h= ow this book was produced or how it will fare.=A0 As for capitalism in the = art world, I mostly agree.=A0 There is however a small part of the Chelsea = art scene that is less influenced by the pressures of capitalism than the r= est of it.=A0 I refer to the co-op galleries where I work sometimes.=A0 The= y are membership galleries but they show many invited artists in one format= or another.=A0 Also, the quality of the work in these galleries has improv= ed lately.=A0 Of course they are a small portion of an otherwise capitalist= ic and greed driven plateau of art in NYC.=A0 But I just thought I should m= ention that these other places still exist and have existed for a long time.=A0 Regards, Tom Savage --- On Wed, 7/23/08, Murat Nemet-Nejat wrote: From: Murat Nemet-Nejat Subject: Re: The "originality" of appropriation vs the mass media "appropri= ation" of appropriation-originality--NY Times article To: POETICS@LISTSERV.BUFFALO.EDU Date: Wednesday, July 23, 2008, 3:24 AM Jim, While writing my original post, I thought of making it only about poetry, being completely aware of what you are saying about the world of painting, particularly in New York, which has been the center of the art market for years. I decided against it because what I am saying applies to art in general, representing one end of a spectrum. One can see this tension most clearly in film, even the most stripped down version of which requires a significant capital investment. The issue of means of production (studio, independent, video, etc.) is an integral part of discussing an art of film. What is peculiar about poetry is that it both requires very little capital investment and it has almost as small audience. The investment poetry requires is the poet's time (poetry is an art which consumes time; time is at the heart of it). This makes the poet his or her audience. This conditio= n so clear in poetry exists in all arts, only blurred by the exigencies of money in other arts. I wrote about this in my essay, "Is Poetry a Job, Is a Poem a Product?" Jim, you do not mention where you disagree with me. I would like to know. Ciao, Murat Jim On Tue, Jul 22, 2008 at 12:11 AM, Jim Andrews wrote: > i thought that was an interesting post, murat. i don't agree with lots of > it, but you get at some things that are important that not too many peopl= e > seem able to write about at all, even if you're wrong about them. > > the interesting part, i felt, was the stuff on ownership. very writerly. > not > so much anti-capitalist as yawning at capitalism in a poetry context. which > is right, i feel. capitalism in a poetry context is just more or less > irrelevant. > > contrast that, however, with visual art. if you hang out with new york > visual artists online or anywhere else, you see just how little sense any > art makes to them that *doesn't* work within capitalism. galleries, > products, and so on. if it doesn't make it monetarily, it just doesn't > count. it can't survive. in the 'market of ideas' in which new york artists > are immersed. > > which is too bad for new york art, it seems to me. but i guess it makes > sense there. > > whereas the 'market of ideas' you allude to is less about a capitalistic > market as something different. which is important. and expensive, in a > sense. > > the danger of poetry resides, in part, in its being able to operate, to > some > extent (more than visual art) in other dimensions than the genuinely boring > capitalistic market of ideas. > > genuinely boring. deeply. terminally. genuine stuff of the forces of > dullness. witness the art it promulgates in mass media, which is little > more > than a provisional business proposition. > > which is one of the reasons i remain optimistic about the internet. as > medium for something else. > > ja > http://vispo.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 > The Poetics List is moderated & does not accept all posts. Check guidelines > & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.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 The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html=0A=0A=0A = =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Thu, 24 Jul 2008 10:02:11 -0700 Reply-To: "Poetics List (UPenn, UB)" Sender: "Poetics List (UPenn, UB)" From: David Chirot Subject: Chirography as Chirology: obama poem video/memoir of a forger of celebrity authors' letters MIME-Version: 1.0 Content-Type: text/plain; charset=WINDOWS-1252 Content-Transfer-Encoding: quoted-printable Content-Disposition: inline More materials of use in the explorations of the "Annals of the New extreme Experimental American Poetry & Arts"-- and also--"The Future as an Already Written Science Fiction Set in the Past= " and--"The Critical Reading of Lines of Poetry as a form of Palm Reading" that is to say--CHIROgraphy as CHIROlogy in term of "Writings on the Walls Visible & Invisible, Concrete and Virtual" (see note below the two links--) *BOOKS * | July 24, 2008 * She Says It's True, Her Memoir of Forging * By JULIE BOSMAN Lee Israel forged more than 400 letters from No=EBl Coward, Dorothy Parker and other literary celebrities, a criminal career she recounts in her book, "Can You Ever Forgive Me?" Barack Obama's Poem Now a Videofrom Margery Snyder and Bob Holman's About Poetry blog: Wednesday July 23, 2008 Last March, we posted about two poems the youthful Barack Obama published i= n the Occidental College literary magazine in 1981: - The Intersection of Politics and Autobiography in Poetry The poems are "Pop," a portrait of his maternal grandfather, and "Underground," a naturalistic description of "apes / That eat figs" in subterranean water grottoes. A couple of months after the two poems came to light, *The New Yorker* asked prominent critic and professor Harold Bloom his opinion of them: - Harold Bloom comments on Barack Obama's poems Bloom pronounced "Underground" the better of the two poems: "It gave me the oddest feeling that he might have been reading the poems of D. H. Lawrence=97it reminded me of the poem 'Snake'.... I think it is about some sense of chthonic forces, just as Lawrence frequently is=97some sense, not wholly articulated, of something below, trying to break through." Now the Blue Rose Arts Collective has transformed "Underground" into a poetry video on YouTube , combining footage of Japanese snow monkeys with Indonesian music by the Nyoman Jayus Bamboo Ensemble. I wonder what Obama thinks of their treatment of his poem. What d= o *you* think of it, as a poem and as a film? Come back after you've looked a= t the video and post your comments below. * **More entries for use in the explorations of the "Annals of the New Extrem= e Experimental American Poetry & Arts"--** * * The Iraq War, ignited by the use of the forged "Italian Letter" and the Internet-found "secret information and images" provided by Curveball, which were "proved" by being on the Internet, in terms of writing, becomes like Fellini's saying of his Satyricon that "it is a science-fiction film set i= n the past." Iraq, site of the first known writing, is also home to the firs= t known forgeries, undertaken to "prove" the "historical" precedence of one ruler over others. A War based on forgeries and "plagiarisms" destroys, loots and erases the site of precedence of writing and forgeries, in order to "forge" its own Imperialist Textual Domination. The writing and rewriting of "histories" becomes an ever more unwieldy heap of palimpsests, in which the voids and chasms of erasure are always yielding fragments that still remain as evidences of once Dominant languages and writings. To "fill in the gaps= " of these blank spaces, written over by more "dominant" and "bold" scripts, hypotheses invite not only "actual remains," but a horde of forgeries as well, each laying claim to some "link with the past," and many of them claiming also "ownership" or residence in these near buried nooks and crannies littering the refuse and ruin strewn landscapes and lacerated hulks of looted libraries and archives. Fictions, hypotheses, theories, speculations, forgeries, clog the arteries of a "traffic in relics and information." The "documentary history" of the world, its peoples and cultures, opens into dizzying labyrinthine descents into the depths of what become "newly discovered caches" and "revelations o= f forgeries," further mystified by the choosing of which such "evidences" are used in simulations of "the cultural past." Science-fiction does indeed invade the "sands of time" flowing in the deserts below which flows oil and ancient cuneiform writings. The massive "reconstruction projects" which are handed out without open bids to favored corporations become involved in the selection of what will be "reconstructed," what will be "never completed, promised projects," and what are in the end the erection of tall and mighty fortifications, ever larger and ever more "secure." One of the "amazing" things about these new fortifications is that for al their immensity, many of them are evidences of new forms of disappearances, as visions of those "mirages" that deserts are famous for. Solid Walls take on the effects of invisibility, become the palimpsests of"erased and written over" absented layers of texts in the "reconstruction= s of Ancient Texts" of the dominant histories and cultures. In the midst of a an apparent "flood" of faked memoirs, what could be more "refreshing" than the appearance of purportedly truthful memoir about the creation of faked literary celebrities' autographs? The faked memoir cause a "directed, controlled in many ways) "outrage" which fa= r exceeds that towards the outright forging of reasons for War. The dangerou= s idea that fiction is awash in every "truthful account" of a person's life needs to be allayed by a "truthful account" of the forging of author's signatures. Ironically, the "truth" regarding forgeries is considered far less "horrifying" than their appearnces as fictions taken to be truths. Perhaps this is why the forging of history is often presented as a noble endeavor, undertaken as a "low means to a high end." After all, as D= r Goebbels, Propaganda Minister of the Third Reich pointed out, repeat a lie enough times and it becomes truth. Historical documents that are forged, used long enough, become indeed the "originary documents of Empire." Senator Obama's two college poems are being given the "originary documents" treatment by none other than a leading literary and Biblical critic, Dr Harold Bloom. The "weight and stamp of Authority" is given to these documents in such a way as to turn them into a form of "palm reading," in whose lines may be glimsped signs of the promise, brightness and "Hope" of the Future. The creation of the Candidate for President as a new kind of "Poet Philosopher Warrior" prepared to extend and intensify the "Right War" in Afghanistan is greatly enhanced and "substantiated" by the famous critic's comments. Karl Rove famously said that the power and work of Empire is not so much in "changing reality," as simply in "creating Reality." "Creation" opens the door to the "creation of documents," ot the "creations of Authorized texts, versions, visibilities and invisibilities." In trying to change reality, one is endlessly encountering obstacles, struggles, the actual presence of peoples who do not want to accept the "gift" of Occupation and the occupiers' ideas of "Freedom" and "well being.= " To "Create Reality" in effect erases and obviates any such "trivial" considerations. To "create reality" allows one full reign to overstep all bounds, and simply direct the attention of Vision to those things which cooraborate and substantiate it, while all else is "rendered" invisble or "suspect," and shipped off to the Gulags and Camps of the Living Dead. Amidst a series of images showing Senator Obama at the Wailing Wall, the commentators prepare one for the Global, Historic Speech to be delivered today in Berlin, the site of the Wall which JFK and Ronald Reagan used so effectively in their campaigns and Presidencies. In this latest stage in the Creation of Reality, the presence of the now absent Berlin Wall will loom very large indeed, so large that it will obscure the Apartheid Wall which Obama "overlooked" as well as the Walls built in Baghdad and the so far failed attempts by Israeli firms to construct an "Invisible Virtual Wall" for the American border with Mexico. As "The End of History," the Fall of the Berlin Wall remains as an image of jubilation, of Triumph, of Freedom, of the Unity of a Separated People. Its very absence has become such an immensely potent text in the Creation of Reality, that it makes nearly invisible the actual Walls which will someday find their ultimate expression in the "Invisible Virtual Wall" necessary in the "sci-fi" sounding "Defense Against Illegal Aliens." Fellini's cinematic conception of Science Fiction set in the Past has become, "after the End of History," the Guiding Light of the New Reality as expressed in such forms as the New Extreme Experimental American Poetry and Arts. A famous and respected literary and especially Biblical critic commenting on the Next President's poetry reassures one that the Candidate is indeed one who is worthy of being entrusted with a Biblical Mission & Biblical Vision as part of the Creation of Reality. After all, in their own form of Science Fiction Set in the Past tha= t is to be the Future, the American settlers many of them saw in the Wilderness the site of the New Jerusalem. A Biblical message and vision wa= s was found to be "already inscribed" as the Manifest Destiny of the continent. To Enact the Word which formed them, these settlers had no problems at all with the extermination of indigenous peoples and consigning them, "savages" "terrorists," soulless and thus nonhuman," to live out the rest of their wretched "Stateless" existences locked up, confined to camps from which water was diverted, hunting and trade denied, their cultures expunged, and a Living Death provided in the form of "Government Aid." Even in the most sophisticatedly high tech environments, the Science Fiction of the Past sets all machines in the direction still of the Authenticity and Authority of the Written Word. The "Truth" about "Forgeries," and the "forging of the Truth," the Authority figure Authenticating as it were the poems of the Next President of the United States as indeed poetry, all these Ancient methods, far older than Biblical writings, are being disappeared from their "Homeland' in Iraq. Perhaps in the existence of writing itself, it is "already written= " that a War based on a Forged Letter and Imaginary and plagiarized "evidences" would some day come to as much as possible obliterate and erase from existence, from readability, the "original sites" of writing and forgeries, so that these may be taken possession of and moved elsewhere, firmly established as part of the Creation of Reality, and so consigning these "insurgents," "enemy commbatants," "terrorists," "heathen," to their "liberated" existences behind Walls dividing their cities, in refugee camps= , innumerable secret prisons and torture chambers, and a landscape without any but minimal utltilities, water, safety, education, health care, peace. A place of the ceaseless restlessness of millions of dead and dsiplaced persons, condemned and flung into the Living Hells of the Living Dead. And, one is told, instead of the debacle and defeat of Iraq, this is the "Right War," which still lies ahead in the never ending centuries of wars in Afghanistan, as well as the looming attacks on Iran. All of these things, one is often told, explained to, dissertated and expatiated on at lengths worthy of provoking Jeremiads, ( also receivers the critical attentions of Dr Bloom), by passersby, bus riders, persons met here and there--all of these things after all, prove indeed that they are "already written" in the "Book of John" and the "End Times" are at hand. Who knows,-as one of these characters might say, a further "proof= " is that a forger of letters is writing a book in which she "comes clean" in time for the Last Judgement?! "Who's that writing? John the Revelator-- Tell me now, who's that writing? John the Revelator Somebody say, say----who's that writing= ? John the Revelator wrote the Book of the Seven Seals" * =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Thu, 24 Jul 2008 11:31:43 -0700 Reply-To: "Poetics List (UPenn, UB)" Sender: "Poetics List (UPenn, UB)" From: Jim Andrews Subject: Re: The "originality" of appropriation vs the mass media "appropriation" of appropriation-originality--NY Times article In-Reply-To: <1dec21ae0807171958u5881aeb5m10ca4db38e4ed915@mail.gmail.com> MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit > "The death of the author" is also at the heart of hypertext, which, as a > form, is the literal expression of the idea of non-ownership. Hypertext is about 'links'. That doesn't always relate to 'ownership', Murat. To put it another way, I don't think that hypertext, as a form, implies anything about ownership. Ideas of ownership are as additional axioms in the unetverse. One may link to a page and, instead of the page coming up when the link is clicked, a dialog box may come up asking for one's username and password. Someone said something like "information wants to be free". I expect what underlies that sentiment is what motivates your statement. One has to give to get. Give good information to get any sort of possibility of making money in conjunction with the giving. Or something like that. But that is less a specifically hypertext-related phenomenon as something more general, I think. ja http://vispo.com ================================== The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Thu, 24 Jul 2008 14:21:58 -0700 Reply-To: amyhappens@yahoo.com Sender: "Poetics List (UPenn, UB)" From: amy king Subject: Play It Again, Sam -- Comments: To: "NewPoetry: Contemporary Poetry News & Views" MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: quoted-printable No, Bogart never said it, but I'll repeat: TOMORROW!=A0 FRIDAY NIGHT, July 25th @ 7 p.m. - Stain Bar - Williamsburg , = Brooklyn =20 The Stain of Poetry Reading Series presents =A0 ** Baker, Cordelli, Field, Need, Newton , and Tonelli ** =A0 = ~~~ =A0 Andrea Baker is the author of like wind loves a window (Slope Editions, 2005) and the chapbooks gilda (Poetry Society of America, 2004) and true poems about the river go like this (Cannibal Books, 2008). =A0 ~~~~ = =A0 Phil Cordelli cleans lawns, carries on a love affair with the tuliptrees of Upper Manhattan that may not be carrying on for much longer now, and acts as a conduit for poetic impulses from the plant world. More on this= as it develops. =A0 ~~~~ =A0 Farrah Field's first book, Rising, is forthcoming in early 2009 by Four Way Books. Her poems have appeared in many publications such as the Mississippi Review, Margie, Chelsea , The Massachusetts Review, Typo, Harp & Altar, and are forthcoming in Pebble Lake Review, Another Chicago Magazine, Fulcrum, and 42Opus. She lives in Brooklyn . =A0 =A0~~~~ =A0 Originally from Massachusetts , David Need lives in Durham , NC and works as an instructor in the Religion Department at Duke, teaching classes on Buddhism, South Asian Religions, and Religion and Poetry. Recent and upcoming publications include several suites published in Fascicle 2 & 3, a translation/essay series on Rg Veda poetry in Talisman, an excerpt from "Places I've Lived" upcoming in Minor American, and excerpts from "St. John's Rose Slumber" upcoming in Effing and Hambone. Several years ago Mipoesis ran a series of essays by David on Rilke and three short memoir pieces, and Ocho ran yet another sonnet suite. Current projects include a long poem written alongside the Gospel of Mark, "Places I've Lived", which is evolving into an open ended project, finalizing a collection of translations of Rilke's French poetry, and yet another Rg Veda essay, this one on the theme of twins there and in the poetry of Nate Mackey. David is associated with the NC lucipo poets, and lives with his scholar wife and four cats. =A0 ~~~= ~ =A0 Keith Newton edits the online magazine Harp & Altar. His poems and translations have appeared in Harvard Review, Cannibal, Typo, and Circumference, among other journals, and a chapbook of his work is forthcoming in 2008 from Cannibal Books. He lives in Brooklyn . =A0 = ~~~ =A0 Chris Tonelli lives in the Boston area where he runs The So and So Series. He has work forthcoming in Saltgrass, Salt Hill, Absent, and Good Foot, and is the author of three chapbooks: For People Who Like Gravity and Other People (Rope-A-Dope Press, forthcoming), A Mule-Shaped Cloud (w/ Sarah Bartlett, horse less press, 2008), and WIDE TREE: Short Poems (Kitchen Press, 2006). =A0 ~~~~ =A0 stain 766 grand street= brooklyn, ny 11211 (L train to Grand Street , 1 block west) 718/387-7840 open daily @ 5 p.m. =A0 ~~~~ =A0 Ho= sted by Amy King and Ana Bozicevic =A0 ~~~~ =20 The rest of the year's dishes served up here:=20 =20 http://thestainofpoetry. wordpress.com/=A0 =20 http://thestainofpoetry. wordpress.com/=A0 =20 http://thestainofpoetry. wordpress.com/ _______ Recent http://www.tarpaulinsky.com/Reviews/kiss-me.html http://jacketmagazine.com/34/dickow-king.shtml Alias http://www.amyking.org Your Suggestions http://amyking.wordpress.com/2008/06/12/poetry-exercises-wanted/ =0A=0A=0A =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Thu, 24 Jul 2008 17:04:14 -0400 Reply-To: "Poetics List (UPenn, UB)" Sender: "Poetics List (UPenn, UB)" From: Murat Nemet-Nejat Subject: Re: The "originality" of appropriation vs the mass media "appropriation" of appropriation-originality--NY Times article In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 7bit Content-Disposition: inline Jim, I always thought hypertext was a text with multiple authors, created by the addition of multiple, different texts? Was I wrong? Ciao, Murat On Thu, Jul 24, 2008 at 2:31 PM, Jim Andrews wrote: > > "The death of the author" is also at the heart of hypertext, which, as a > > form, is the literal expression of the idea of non-ownership. > > Hypertext is about 'links'. That doesn't always relate to 'ownership', > Murat. To put it another way, I don't think that hypertext, as a form, > implies anything about ownership. Ideas of ownership are as additional > axioms in the unetverse. > > One may link to a page and, instead of the page coming up when the link is > clicked, a dialog box may come up asking for one's username and password. > > Someone said something like "information wants to be free". I expect what > underlies that sentiment is what motivates your statement. One has to give > to get. Give good information to get any sort of possibility of making > money > in conjunction with the giving. Or something like that. But that is less a > specifically hypertext-related phenomenon as something more general, I > think. > > ja > http://vispo.com > > ================================== > The Poetics List is moderated & does not accept all posts. Check guidelines > & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html > ================================== The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Thu, 24 Jul 2008 14:47:21 -0700 Reply-To: afieled@yahoo.com Sender: "Poetics List (UPenn, UB)" From: Adam Fieled Subject: PFS Post: "Chimes" MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: quoted-printable I have written an autobiography in prose poems that is slated to come out n= ext year. It's called "Chimes", and a chunk of it is currently riding the w= aves on PFS Post: =A0 http://www.artrecess.blogspot.com =A0 Happy summer, folks! Ad =A0 =A0 =A0 Books! "Opera Bufa" http://www.lulu.com/content/1137210 "Beams" http://www.blazevox.org/ebk-af.pdf=A0=20 =A0 =A0 =A0 =A0 =A0 =A0 =A0 =A0 =A0 =A0 =A0 =A0 =A0 =A0 =A0 =A0 =A0=0A=0A=0A =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Thu, 24 Jul 2008 18:08:29 -0400 Reply-To: "Poetics List (UPenn, UB)" Sender: "Poetics List (UPenn, UB)" From: William Slaughter Subject: Notice: Mudlark MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII; format=flowed New and On View: Mudlark Poster No. 75 (2008) Five Poems by Erin Lambert Koudelka's Turtle | Carnival: A Study of Two Sisters Debut | Forgiven | A Letter to Nietzsche & the Committee for Sanity & Integrity in Humankind Erin Lambert is the author of RESOLUTION, forthcoming in November 2008 from Finishing Line Press. Her poetry has appeared in Mudlark before, Poster No. 44 (2003), and in many other journals too, such as Blackbird and Conjunctions. She is currently an assistant professor in the School of Writing, Rhetoric and Technical Communication at James Madison 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 ================================== The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Thu, 24 Jul 2008 21:24:37 -0500 Reply-To: "Poetics List (UPenn, UB)" Sender: "Poetics List (UPenn, UB)" From: Eric Elshtain Subject: New Beard of Bees Chapbook MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Please take a moment to read our latest number: http://www.beardofbees.com/howe.html Best, Eric E. Eric Elshtain Editor Beard of Bees Press http://www.beardofbees.com ================================== The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Fri, 25 Jul 2008 00:27:07 -0400 Reply-To: "Poetics List (UPenn, UB)" Sender: "Poetics List (UPenn, UB)" From: CA Conrad Subject: Tim Peterson, CAConrad, Laura Goldstein :::::POETS THEATER::::: and POETRY @ Bowery Poetry Club MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 7bit Content-Disposition: inline SUNDAY, AUGUST 10TH, at NOON Bowery Poetry Club 308 Bowery Street, NYC http://www.bowerypoetry.com/ $6 at the door POETRY READING & DRAMATIC READING of 2 ten-minute plays: THE OBITUARY SHOW, written by CAConrad and CAPTAIN AMERICA, written by Laura Goldstein Tim Peterson, or Trace, enjoys electronic interaction as much as the next poet, but WHERE IS ALL THE FUCKING? It's taking place in a hidden room somewhere behind and within language as the vehicle of power, engendering two ships passing, feeling toward the next dumb syllable or limb. For further information, see SINCE I MOVED IN (which received the Gil Ott Award from Chax Press) and EOAGH: A Journal of the Arts. http://mappemunde.typepad.com/ The son of white trash asphyxiation, CAConrad is the author of *Deviant Propulsion* (Soft Skull Press) and *(Soma)tic Midge* (FAUX Press). Forthcoming books include *The Book of Frank* (Chax Press), and a collaboration with poet Frank Sherlock titled *THE CITY REAL & IMAGINED: Philadelphia Poems *(Factory School Press). He's at http://CAConrad.blogspot.com Laura Goldstein recently graduated with an MFA from the School of the Art Institute of Chicago. Her performances and installations have been exhibited in Philadelphia, Ireland, Chicago and Michigan. She's been published online in The Little Magazine, Great Works and MPRSND and in print in Combo, Dorothy's Elbow and XConnect. Her new Chapbook, out from Hex Press, is titled "Ice In Intervals". ================================== The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Fri, 25 Jul 2008 02:34:30 -0700 Reply-To: "Poetics List (UPenn, UB)" Sender: "Poetics List (UPenn, UB)" From: Jim Andrews Subject: Re: The "originality" of appropriation vs the mass media "appropriation" of appropriation-originality--NY Times article In-Reply-To: <1dec21ae0807230024v72bae570lbead088996d82cbf@mail.gmail.com> MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit > Jim, > > While writing my original post, I thought of making it only about poetry, > being completely aware of what you are saying about the world of painting, > particularly in New York, which has been the center of the art market for > years. What if the center of art were in between the ears? I live near 'The Centre of the Universe' (so it is called), an observatory in Saanich. Which is nearby Victoria. Which is near the south of Vancouver Island. Which is in Canada, in British Columbia. Which is the north of north america but south enough for sunshine in the seventies for weeks on end this summer. and the smell of womens' skin on the beach in the sun. Lest I appear too absolutely me-centric... the idea that the centre is everywhere and nowhere is quite old. Pascal, I believe, was the originator. Centres of art have different properties such as their 'market value' and the 'market value of their artists'. Can it be made to sell enough to justify its existence, plus whatever other existences must be justified via its debts and proceeds? Art succeeds in a gallery on this basis or it won't be there for long--the art and the gallery. Let's make that an axiom of the unotverse, shall we? The unotverse being inverse to the unetverse both of which are contained within the universe. I was transferred to the unitverse but on the journey spent many nights in the unytverse. by that i mean the unyt and its verse. not the uny tverse. though it could be a class, a verse class of type uny, which could be a verse program from uny. darn. we're there again. i suddenly feel broacast to the unutverse. the unut verse chides me in the obvious manner plus ones it took time to learn. all in all, however, the combinatorium of universes is part us, we each are the makers of our synthesis of the shared and the personal and inject that serum into the dna of the mosquitoe. toward the bottom of the turtles that were turtles all the way down, is there a way things are? yes, well. things are the way they are independent of us or with our action or influence. those we do not act on or influence are just about everything. yes many ways things are, including often unknown. centres of art can be art marketing centres without being centres of the production of art. marketing centres can be prohibitively expensive for art production. except on thursdays in the studio. > I decided against it because what I am saying applies to art in > general, representing one end of a spectrum. One can see this tension most > clearly in film, even the most stripped down version of which requires a > significant capital investment. The issue of means of production (studio, > independent, video, etc.) is an integral part of discussing an > art of film. > What is peculiar about poetry is that it both requires very little capital > investment and it has almost as small audience. The investment poetry > requires is the poet's time (poetry is an art which consumes time; time is > at the heart of it). This makes the poet his or her audience. > This condition > so clear in poetry exists in all arts, only blurred by the exigencies of > money in other arts. I wrote about this in my essay, "Is Poetry a > Job, Is a > Poem a Product?" Is that on the net? What is the URL, if so? Sounds interesting. > Jim, you do not mention where you disagree with me. I would like to know. Not the spirit and direction of it, Murat--just the odd thing like hypertext, as noted in my previous post. Your post seems to have inspired some correspondence--usually a very good sign. Of what? Well, generative capacity. Generative capacity is equal to the quality of the post * its connection with peoples' hearts minds eyes ears experience conflicts ... programming deprogramming houses of high binary trees forests of hashed lists their object members the objects' data the objects' methods the objects' constructors the objects' destructors the objects' world view the objects' universe the objects' unetverse the objects' unytverse the objects' unitverse the objects' unotverse the unatverse is under construction. is it the universe of ankle biters? ah well poetry has been known to live there also. the ankle biters are vicious and sometimes lethal, but they have to bite hard. the bigger they are the harder they fall. from poets to presidents. from the centre to the outer rings of hell. in come the universe unetverse unytverse unitverse unotverse unatverse for all. or not, as the universe and reader decrees. by the way, the unitverse is one verse wide, one verse high, one unetverse verse in connectivity, one unotverse as inverse of the unetverse (each connection in the unetverse is present where before it was not, and is absent when it was present); the unitverse is one unytverse verse in darkness and neon; is one unatverse verse in ankle biters at work at the critical and exposed levels of the art communi[ca]t[ion]y and political int[erv]ention. in short, i enjoyed your post. thanks, Murat. ja http://vispo.com ================================== The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Fri, 25 Jul 2008 16:40:48 +0800 Reply-To: jpjones@ihug.com.au Sender: "Poetics List (UPenn, UB)" From: "jpjones@ihug.com.au" Subject: Re: hello Content-Disposition: inline Content-Transfer-Encoding: quoted-printable Content-Type: text/plain; charset="us-ascii" MIME-Version: 1.0 Hi Andrew, Welcome and just to say that I'm here - formerly of Sydney now moved toward= s your way, in Adelaide, desert city. Cold, clear and maybe some rain tonight. And Wystan, it was nice to see you again in Melbourne recently. I enjoyed y= our paper. Cheers, Jill On Thu Jul 24 11:54 , Wystan Curnow sent: >Welcome Andrew, we're known to one another.=20 >You should tell the folks here (which is precisely no where) where >Perth is. You can hitch=20 >From Sydney, but you're further from there than I am in Auckland, >And closer to Jacarta aren't. I'm impressed by the fact Perth is on the >Indian >Ocean and my great regret is that on my one visit I never took a dip in >it. >There, I've told them. What would you add? >Wystan=20 >=20=20 > >-----Original Message----- >From: Poetics List (UPenn, UB) [POETICS@LISTSERV.BUFFALO.EDU','','','')">POETICS@LISTSERV.BUFFALO.EDU] On >Behalf Of andrew burke >Sent: Wednesday, 23 July 2008 11:52 a.m. >To: POETICS@LISTSERV.BUFFALO.EDU >Subject: Re: hello > >And you. Who else do I know in this neighbourhood? > >Just getting used to the flow of conversation, etc. No doubt I will >speak up eventually about matters poetic ... > >Andrew > >2008/7/22 Peter Ciccariello ciccariello@gmail.com>: > >> Welcome Andrew, nice to see you here! >> >> - Peter Ciccariello >> >> >> On Sun, Jul 20, 2008 at 10:29 PM, Maria Damon damon001@umn.edu> >wrote: >> >> > welcome to the list. >> > >> > >> > andrew burke wrote: >> > >> >> Hello, I'm new here. I don't know the local introduction=20 >> >> behaviours, so I'll just extend my hand and gabble. >> >> >> >> I've been writing poetry since the 1960s, firstly under the=20 >> >> influence of Milton et al, but then influenced by the Beats and=20 >> >> jazz liner notes, Zen (Beat to Square), and folk songs. By the time > >> >> I was 18 and leaving >> school, >> >> I >> >> was ready to hit the road and escape my conservative surburban >> upbringing. >> >> So I hitched from Perth to Sydney, west coast to east coast=20 >> >> Australia - safe back then, not so safe now. >> >> >> >> At this time I was published in a university literary quarterly - a >> short >> >> Saroyanesque story about a boy staring at ants, yet somehow the=20 >> >> reader knows he is damaged in some way. I've lost it, thankfully,=20 >> >> because it remains 'beautiful' in my memory, and was probably more=20 >> >> awkward on the page. >> Much >> >> of my teenage poetry has gone the same way. Yet that early=20 >> >> publishing encouragement set me on the path to being a lifelong >writer. >> >> But I go on too long ... This is a similar start to many. Let's=20 >> >> just say >> I >> >> have written a mess of poems over the last forty plus years, some=20 >> >> of >> which >> >> has appeared in print (many mags, six books) and some of which has=20 >> >> appeared disguised as plays, tiny films, stories and one novel. >> >> >> >> After quarter of a century in advertising (my anti-intellectual=20 >> >> years), >> I >> >> changed careers and taught writing and literature at various >> universities, >> >> including a recent stint at Shanxi Normal University in Linfen, >China. >> >> During these, my intellectual years, I received a PhD from Edith=20 >> >> Cowan University three years ago. >> >> >> >> But my main interest is my next poem, and my curiosity has lead me=20 >> >> to investigate many poetics from around the world. On this list, I=20 >> >> hope to gain more insights and share some of my passion for poetry. >> >> >> >> My day to day interests are well exposed on my blog (address >below). >> >> >> >> Thank you for reading. >> >> >> >> Andrew >> >> http://hispirits.blogspot.com/ >> >> http://www.flickr.com/photos/aburke/ >> >> >> >> =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D= =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D >> >> The Poetics List is moderated & does not accept all posts. Check=20 >> >> guidelines & sub/unsub info: >> http://epc.buffalo.edu/poetics/welcome.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 >> > The Poetics List is moderated & does not accept all posts. Check >> guidelines >> > & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.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 >> The Poetics List is moderated & does not accept all posts. Check=20 >> guidelines & sub/unsub info:=20 >> http://epc.buffalo.edu/poetics/welcome.html >> > > > >-- >Andrew >http://hispirits.blogspot.com/ >http://www.flickr.com/photos/aburke/ > >=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D= =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D >The Poetics List is moderated & does not accept all posts. Check >guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.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 >The Poetics List is moderated & does not accept all posts. Check guideline= s & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.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 The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Fri, 25 Jul 2008 15:39:42 +0000 Reply-To: "Poetics List (UPenn, UB)" Sender: "Poetics List (UPenn, UB)" From: Gloria Mindock Subject: Cervena Barva Press announces a new book publication MIME-Version: 1.0 Content-Type: text/plain Content-Transfer-Encoding: 8bit Cervena Barva Press is pleased to announce the publication of "The Season Of Love" by Flavia Cosma Flavia Cosma is an award winning Romanian-born Canadian poet, author and translator. She has published thirteen books of poetry, a novel, a travel memoir and three books for children. Her book, 47 Poems, (Texas Tech Press) received the ALTA Richard Wilbur Poetry in Translation Prize. Èervená Barva Press published her chapbook, Gothic Calligraphy and will be publishing her newest collection, Songs at the Aegean Sea. "Once again in The Season of Love, Flavia Cosma offers us those momentary glimpses and sensations briefly felt and viewed which hide and yet reveal the testament of life. Through the transient sensations of reality, the poet lures her readership deep into the mystic world of her eternity. Each poem serves to lead the reader through the pain, suffering and loneliness of life while searching for truth's hidden mysteries which serve to make life meaningful and beautiful, yet remain to be discovered in that continual renewal and rebirth of life." David Mills, poet and critic Toronto, Canada "One of prevailing themes in Flavia Cosma's poetry is love, but not as a banal, run-of-the mill experience. Instead, it has the elemental intensity of natural phenomena, which best picture both the breakdown of feelings and the undying hope. And that's where the poet places her wise optimism." Dr. Irena Harasimowicz-Zarzecka PHD Philology, University of Bucharest, Romania Toronto, Canada Order online at http://www.thelostbookshelf.com/index.html#TheSeasonofLove The Season Of Love by Flavia Cosma $15.00 + $3.00 S/H (by mail) 89 pages, paper ISBN: 978-0-615-20097-2 Publication Date: July 2008 For information contact: Gloria Mindock Cervena Barva Press, Somerville, MA (www.cervenabarvapress.com) Email: editor@cervenabarvapress.com ================================== The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Fri, 25 Jul 2008 08:54:45 -0700 Reply-To: "Poetics List (UPenn, UB)" Sender: "Poetics List (UPenn, UB)" From: David Chirot Subject: "Man on a Wire" doc. of Phillipe Petit's Aerial Crossing between the Twin Towers//correction: "Chiromancy" not "Chirology" In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 7bit Content-Disposition: inline P*hillipe Petit wrote a great, meditative book on his aerial art called ON THE HIGH WIRE ** **(Translated by Paul Auster, 1975 Random House and in 1997 is included in the collection Translations) **A correction to a post i sent yesterday: i mistakenly wrote "Chirology" when it should be "Chiromancy"** MOVIES * | July 25, 2008 * Movie Review | 'Man on Wire': Walking on Air Between the Towers * By A. O. SCOTT James Marsh's "Man on Wire" is a thorough, understated and altogether enthralling documentary. ================================== The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Fri, 25 Jul 2008 13:49:07 -0400 Reply-To: "Poetics List (UPenn, UB)" Sender: "Poetics List (UPenn, UB)" From: Martha Deed Subject: Cleveland poetry info request MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit I plan to be in Cleveland for a week or so beginning August 6th. Any bookstore or poetry readings to suggest? Thanks. Martha Deed ================================== The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Fri, 25 Jul 2008 14:23:09 -0500 Reply-To: "Poetics List (UPenn, UB)" Sender: "Poetics List (UPenn, UB)" From: David-Baptiste Chirot Subject: Woodland Pattern Book Center E-News: Hysterical Alphabet Opening Reception this Sunday! In-Reply-To: <362468.31790.qm@web81407.mail.mud.yahoo.com> MIME-Version: 1.0 Content-Type: text/plain; charset="Windows-1252" Content-Transfer-Encoding: quoted-printable > Date: Fri=2C 25 Jul 2008 11:40:30 -0700 > From: woodlandpattern@sbcglobal.net > Subject: E-News: Hysterical Alphabet Opening Reception this Sunday! > To: woodlandpattern@sbcglobal.net >=20 >=20 > Woodland Pattern E-News! > http://www.woodlandpattern.org/ >=20 > =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D= =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D= =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D > SUNDAY=2C JULY 27=2C 2008: HYSTERICAL ALPHABET OPENING RECEPTION=3B 1-4pm > =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D= =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D= =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D >=20 > Hysterical Alphabet > Opening Reception >=20 > Sunday=2C July 27=2C 2008=3B 1-4pm (FREE) > Woodland Pattern Book Center > 720 East Locust Street > Milwaukee=2C WI 53212 >=20 > The exhibition runs from July 27 - August 24 >=20 > The Hysterical Alphabet=2C text by Terri Kapsalis and drawings by Gina > Litherland=2C is an abecedary offering a condensed history of hysteria > with levity=2C playfulness=2C and critical insight=2C drawn from medical > writings and images ranging from ancient Egypt to the present. Each > letter in The Hysterical Alphabet introduces an episode direct from > the annals of medical lore=2C tracking centuries of female malady=2C > heartily disproving the theory that time heals all wombs. >=20 > The Hysterical Alphabet exhibition features Gina Litherland's > original drawings including the cover art and the hysterical > alphabet from A to Z. >=20 > Gina Litherland's art and writings have been published worldwide in > journals and periodicals associated with contemporary surrealism. > Litherland's most recent work has been the subject of solo museum > exhibitions at the James Watrous Gallery of the Wisconsin Academy of > Sciences=2C Arts=2C and Letters and the Haggerty Museum of Art at > Marquette University in Milwaukee. Her work as a painter is > represented by Tory Folliard Gallery in Milwaukee and Corbett vs. > Dempsey in Chicago.=20 >=20 > Terri Kapsalis' recent fiction=2C "Most Beautiful Experiments=2C" was > published in Parakeet and nominated for a Pushcart Prize. Other > writings have appeared in the Baffler=2C new formations=2C Public=2C and > Lusitania. She is the author of Public Privates: Performing > Gynecology from Both Ends of the Speculum (Duke University Press). > She is a founding member of Theater Oobleck and teaches at the > School of the Art Institute of Chicago.=20 >=20 > http://www.woodlandpattern.org/gallery/exhibits_jul08.shtml >=20 > =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D= =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D= =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D > SATURDAY=2C AUGUST 2=2C 2008: HYSTERICAL ALPHABET PERFORMANCE=3B 7PM > =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D= =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D= =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D >=20 > Hysterical Alphabet=20 > A Live Audio- Visual Performance >=20 > Saturday=2C August 2=2C 2008=3B 7pm ($8/$7/$6) > Woodland Pattern Book Center > 720 East Locust Street > Milwaukee=2C WI 53212 >=20 > Hysterical historia. Historical hysteria. The ABCs are seized by a > convulsive fit in Terri Kapsalis' The Hysterical Alphabet=2C each > letter introducing an episode direct from the annals of medical > lore. Backed by Danny Thompson's disquieting film collages and John > Corbett's vinyl manipulations=2C The Hysterical Alphabet tracks > centuries of female malady=2C disproving the theory that time heals > all wombs. A Theater Oobleck production. The Hysterical Alphabet is > a live audio-visual performance. >=20 > Writer=2C sound-artist and curator John Corbett teaches at the School > of the Art Institute of Chicago and is the co-director of the art > gallery Corbett vs. Dempsey. He was artistic director of the Berlin > JazzFest in 2002=2C and he co-curated "Big Picture: A New View of > Painting in Chicago" at the Chicago History Museum (2008). Since > 1988=2C he has taught at the School of the Art Institute. Corbett > enlisted his sound effects skills in Oobleck's 1992 production of > live radio plays. >=20 > Danny Thompson is a founding member of Theater Oobleck=2C for which he > has written too many plays=2C including "Necessity=2C" "The Complete > Lost Works of Samuel Beckett as Found in an Envelope (Partially > Burned) in a Dustbin in Paris Labeled "Never to be Performed. Never. > Ever. Ever. Or I'll Sue! I'll Sue from the Grave!!!=2C" and "Big Tooth > High-Tech Megatron vs. the Sockpuppet of Procrasti. He currently > lives in Worcester=2C MA=2C home of the monkey wrench=2C the rickshaw=2C = the > steam calliope=2C the first perfect pitched game of Major League > Baseball (1880)=2C Robert Benchley=2C Abbie Hoffman=2C Sam Fuller=2C and = the > yellow smiley face.=20 >=20 > Terri Kapsalis' recent fiction=2C "Most Beautiful Experiments=2C" was > published in Parakeet and nominated for a Pushcart Prize. Other > writings have appeared in the Baffler=2C new formations=2C Public=2C and > Lusitania. She is the author of Public Privates: Performing > Gynecology from Both Ends of the Speculum (Duke University Press). > She is a founding member of Theater Oobleck and teaches at the > School of the Art Institute of Chicago.=20 >=20 > http://www.woodlandpattern.org/gallery/hysterical_alphabet_performance.sh= tml >=20 > =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D= =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D= =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D > SUNDAY=2C AUGUST 3=2C 2008: DUO & TRIO IMPROVISATIONS=3B 2PM > =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D= =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D= =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D >=20 > An Afternoon of Duo & Trio Improvisations > featuring Chris Burns=2C Steve Nelson-Raney & Hal Rammel >=20 > Sunday=2C August 3=2C 2008=3B 2pm ($6/$5) > Woodland Pattern Book Center > 720 East Locust Street > Milwaukee=2C WI 53212 >=20 > Christopher Burns is a composer of chamber and electroacoustic > music. He is also an active performer=2C whether improvising with a > laptop=2C or creating new versions of electronic classics. He teaches > composition and music technology at the University of > Wisconsin-Milwaukee. >=20 > Steve Nelson-Raney is a composer who is active in jazz=2C contemporary > music and free improvisation. As a performer he explores the > development of language systems in both solo and collaborative > contexts.=20 >=20 > Hal Rammel designs and builds unique acoustic and amplified musical > instruments and plays them in the ensembles Audiotrope=2C the LOST > DATA Project=2C and Whole or by the Slice. >=20 > http://www.woodlandpattern.org/gallery/burns_nelson-raney_rammel01.shtml >=20 > =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D= =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D= =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D > WEDNESDAYS=2C AUGUST 6=2C 13=2C & 20: UNCOVER YOUR VOICE WORKSHOP=3B > 10-11:30AM > =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D= =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D= =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D >=20 > Uncover Your Voice: A Three-Week Workshop=20 > Offered to Aspiring Writers with Carmen Alicia Murguia=20 > $45/$40 WP Members >=20 > Wednesdays=2C August 6=2C 13=2C & 20=3B 10am-11:30am > Friday=2C August 22=2C 7pm: Class Reading > Woodland Pattern Book Center > 720 East Locust Street > Milwaukee=2C WI 53212 >=20 > In this workshop=2C students will get the opportunity to explore who > they are through prose and poetry=2C ultimately uncovering their voice > as a writer. Participants will share stories of personal life > experiences=2C develop a short manuscript=2C and perform their work at a > public reading in the Woodland Pattern gallery on Friday=2C August 22=2C > 7pm. Recommended for aspiring writers=2C this workshop will give you > the push and experience you need to uncover your voice as a writer.=20 >=20 > Carmen Alicia Murguia is a 1991 graduate of Minnesota's Loft > Literary Center 'Writers of Color Program.' Under the mentorship of > Puerto Rican Novelist Sandra Benitez and black=2C lesbian author > Jewelle Gomez=2C Carmen has published work in: Lambda Book Report=2C > Atlanta's Southern Voice=2C and The Journal of the Southern Poverty > Law Center=3B and locally in InStep News and El Conquistador. Her > poems=2C 'Border Crossing' and 'When I Grow Up I Want to Be A > Mariachi' appear in the unprecedented anthology=2C Between the Heart > and the Land: Latina Poets in the Midwest (MARCH/Abrazo Press 2003). > She is the recipient of: Milwaukee County Arts Board 'Art Futures > Award=2C' was named 'One of 30 Most Influential People You Should > Know' by Milwaukee Magazine=2C was also named 1 of 16 Most Influential > Lesbian=2C Gay=2C Bisexual and Transgender Latinas/os in the Country by > Tentaciones Magazine. >=20 > http://www.woodlandpattern.org/workshops/adults.shtml#murguia >=20 > =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D= =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D= =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D > FRIDAY=2C AUGUST 15=2C 2008: OPEN READING=3B 7PM > =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D= =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D= =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D >=20 > Open Reading Hosted by Melissa Czarnik > $3/$2 Open Mic Readers >=20 > Sunday=2C June 15=2C 2008=3B 7pm=20 > Woodland Pattern Book Center > 720 East Locust Street > Milwaukee=2C WI 53212 >=20 > As a thanks to all of our open mic frequenters=2C the August Redletter > Reading Series is dedicated to you. >=20 > The entire open reading will be devoted to your words and > expression. Bring your notebook=2C chapbook=2C memory=2C and/or a friend. > We appreciate your support! >=20 > =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D= =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D= =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D > SATURDAY & SUNDAY=2C AUGUST 16-17=2C 2008: THE LANGUAGE OF POP-UPS > WORKSHOP > =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D= =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D= =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D >=20 > The Language of Pop-Ups with Shawn Sheehy > $75/$70 WP Members >=20 > Saturday & Sunday=2C August 16-17=3B 12-5pm > Woodland Pattern Book Center > 720 East Locust Street > Milwaukee=2C WI 53212 >=20 > Who hasn't been surprised and delighted by the magic of a pop-up > book?In this 2-day workshop students will acquire sufficient > knowledge of pop-up structure to shed light on the engineer's > secrets. Beginning with basic tools and techniques of pop-up > construction=2C participants will quickly move on to building a > variety of simple=2C versatile forms. One might think of these forms > as the 'nouns' of pop-ups. Various ways of lifting these forms will > be explored=2C especially those that give a pop-up a sense of > animation. These lifts would serve as the 'verbs' of pop-ups. The > workshop will end with participants inventing their own combinations > of forms and lifts=97in other words=2C building the language of pop-ups. > Ultimately=2C each student will take home a bound collection of > working models. Throughout the workshop=2C participants will view and > discuss the work of commercial pop-up engineers. No experience > necessary. >=20 > Shawn Sheehy earned an MFA in book & Paper Arts from Columbia > College Chicago. He serves as adjunct instructor in the book arts at > Columbia College and teaches pop-up engineering workshops > nation-wide. His artists books=2C published under the name Paperboy > Press=2C can be found at the Newberry Library in Chicago=2C the American > Museum of Papermaking in Atlanta=2C Special Collections at UCLA=2C the > Houghton Library at Harvard and many other collections. Shawn > anticipates the publication of his first trade pop-up book. He is a > co-founder of East Pilsen's Vespine Gallery. >=20 > Please bring these tools with you: Bonefolder=2C Steel ruler=2C Compass= =2C > Xacto knife with lots of extra blades=2C Scissors=2C Pencil=2C > Self-healing mat=2C Microspatula=2C Tweezers >=20 > http://www.woodlandpattern.org/workshops/adults.shtml#sheehy >=20 > =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D= =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D= =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D > SUNDAY=2C AUGUST 24=2C 2008: ALTERNATING CURRENTS LIVE=3B 7PM > =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D= =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D= =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D >=20 > Alternating Currents Live > The Frode Gjerstad + Paal Nilssen-Love Duo >=20 > Sunday=2C August 24=2C 2008=3B 7pm ($8/$7/$6) > Woodland Pattern Book Center > 720 East Locust Street > Milwaukee=2C WI 53212 >=20 > Frode Gjerstad and Paal Nilssen-Love are from the same town in > Norway=2C Stavanger=2C and they have been playing together since Paal > was 15 years old. Until recently Gjerstad has been one of the few > Norwegian musicians playing improvised music outside of the ECM > school of players. >=20 > Saxophonist Frode Gjerstad has been playing freely improvised music > internationally since his first work with English drummer John > Stevens in 1981. He played and recorded regularly with John Stevens' > trio Detail (with bassist Johnny Dyani) until Stevens' death in > 1994. He has also recorded with Borah Berman=2C Bobby Bradford=2C > William Parker=2C and Peter Br=F6tzmann. Since the late 1980s he has > organized the Circulasione Totale Orchestra with young Norwegian > musicians incorporating electric instruments and modern > rock-oriented rhythms. Gjerstad also operates his own label=2C > Circulasione Totale. >=20 > Drummer Paal Nilssen-Love has played and recorded with Peter > Br=F6tzmann=2C Mats Gustafsson=2C Evan Parker=2C Joe McPhee=2C and many > others. He regularly performs in the Scandinavian trio known as The > Thing with Swedish saxophonist Mats Gustafsson and bassist Ingebrigt > Haker Flaten=2C Ken Vandermark's Territory Band=2C and Peter Br=F6tzmann'= s > Chicago Tentet. >=20 > http://www.woodlandpattern.org/gallery/acl.082408.shtml >=20 > =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D= =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D= =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D > UPCOMING EVENTS > =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D= =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D= =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D >=20 > JULY: > Sun. 7/27: Hysterical Alphabet Exhibition=3B 1-4pm >=20 > AUGUST: > Sat. 8/2: Hysterical Alphabet Performance=3B 7pm > Sun. 8/3: An Afternoon of Duo & Trio Improvisations=3B 2pm > Wed. 8/6=2C 8/13=2C 8/20: Uncover Your Voice Workshop=3B 10am-11:30am > Fri. 8/15: Open Reading=3B 7pm > Sat. & Sun. 8/16-8/17: The Language of Pop-Ups Workshop=3B 12pm-5pm > Sun. 8/24: Alternating Currents Live=3B 7pm > Wed: 8/27: Eddee Daniel Reading=2C Central Library > 814 W. Wisconsin Ave=3B 6:30pm >=20 > ____________________________________________________________________ > To receive regular messages notifying you of Woodland Pattern > events=2C send a message to us at woodlandpattern@sbcglobal.net with > "Join E-List" in the subject line. >=20 > To unsubscribe from these mailings send a reply with "unsubscribe" > in the subject line. >=20 > PLEASE FORWARD! THANKS!!! >=20 >=20 >=20 >=20 >=20 > http://www.woodlandpattern.org/ >=20 > Woodland Pattern Book Center > 720 E. Locust Street > Milwaukee=2C WI 53212 > phone 414.263.5001 _________________________________________________________________ With Windows Live for mobile=2C your contacts travel with you. http://www.windowslive.com/mobile/overview.html?ocid=3DTXT_TAGLM_WL_mobile_= 072008= =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Sat, 26 Jul 2008 13:59:40 -0400 Reply-To: "Poetics List (UPenn, UB)" Sender: "Poetics List (UPenn, UB)" From: Adam Tobin Subject: Reading Tonight! at Unnameable Books MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit For one night and one night only: Pajama Party Poetry Reading Saturday, July 26th 8pm-12 midnight Unnamable Books 456 Bergen Street, Brooklyn *** Featuring: Thomas Devaney Brenda Iijima Sharon Mesmer Vyt Bakaitis Mathias Svalina Susie Timmons Kate Schapira Julia Cohen & Kimberly Lyons *** Hear Poems Eat Pajama Party Snacks Drink Stuff Buy Books Wear Pajamas It's Summer & we miss you. January is nearly here. *** (pajamas not required) *** Unnameable Books 456 Bergen St. Brooklyn, NY 11217 unnameablebooks@earthlink.net (718) 789-1534 www.unnameablebooks.net *** ================================== The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Sat, 26 Jul 2008 15:19:25 -0700 Reply-To: "Poetics List (UPenn, UB)" Sender: "Poetics List (UPenn, UB)" From: Stephen Vincent Subject: City Psyche - New de blog Comments: To: UK POETRY , "Poetryetc: poetry and poetics" MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit http://stephenvincent.net/blog/ For all of you fellow domestic summer weekend slackers(!), you might be interested in a new "City Psyche" blog series I have started - camera and journal in hand - exploring San Francisco streets again. To get some some sense, the opening passage goes: A current challenge is to look for signs (text, image, etc.) that work as collective epiphanies of life in this City, if not across the nation, globe, etc. That is to explore the ways in which individual and collective psyche emerge in an identifiable configuration. The process is probably most taken from some combination of Jersey Grotowski’s, Towards a Poor Theatre, and the principles of Arte Povera. The brief sum of which is to work the streets and - not ruling out the complex - to find texts and images within simple and/or found materials. The additional task is not to belabor a critical definition of any discovery. In fact, the primary impulse is to use eyes and ears - or any of the other senses - reveal what makes for awe. I don’t mean awe in a shallow, romantic sense. But to find those situations in which the senses are penetrated in such a way as to make you stop in your own tracks, either for a second or an enduring space of time. For example, I am walking across Guerrero at 19th Street at dusk on a Friday evening. A young woman on a cell-phone is in the cross-walk just ahead of my step. “Don’t be fashionably late, sucker,” she says, her voice at full volume. Your comments always appreciated. Stephen V http://stephenvincent.net/blog/ ================================== The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Sat, 26 Jul 2008 16:12:51 -0700 Reply-To: "Poetics List (UPenn, UB)" Sender: "Poetics List (UPenn, UB)" From: Chad Sweeney Subject: Goodbye Reading in Berkeley: Chad/Jennifer Sweeney/Aug 3/Moe's Books w/Richard Silberg MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Dear friends, Jennifer and I are leaving San Francisco for Michigan and we'd love to see you one more time. Please, come to Moe's for this final reading and bar hopping after-party. Love, CS A Sendoff Reading for the Sweeneys AT MOES BOOKS SUNDAY, AUGUST 3, 2008, 7:30 Poetry Flash at Moe's RICHARD SILBERG, CHAD SWEENEY & JENNIFER K. SWEENEY Chad and Jennifer K. Sweeney are moving to Michigan! Join us at this sendoff reading to wish them the best and to say goodbye. Afterparty at some bars near Moes. Chad Sweeney is the author of two new books of poems, An Architecture, BlazeVOX, and Arranging the Blaze, forthcoming from Anhinga Press, and is the editor of the new CityLights Book celebrating 15 years of the National WritersCorps (title pending). His poems have appeared widely, including in Best American Poetry 2008, and he is co-editor of the Parthenon West Review, and the editor of the series "Listening In," the Poetry Flash feature on MFA poets and poems. Jennifer K. Sweeney's debut book of poems, Salt Memory, is the winner of the 2006 Main Street Rag Poetry Book Award. Her work has appeared in journals like Hayden's Ferry Review, RUNES, Nimrod and New York Quarterly, finalist for both the 2004 Center for Book Arts Chapbook Competition and the 2005 Brittingham/ Felix Pollak Prize. She is the recipient of a Cultural Equities Grant from the San Francisco Arts Commission. Richard Silberg, Associate Editor of Poetry Flash, is a poet, critic and translator. His most recent book of poems is Deconstruction of the Blues. He's author of Reading the Sphere, A Geography of Contemporary American Poetry, essays from Poetry Flash, and co-translator of The Three Way Tavern, poems of the South Korean poet Ko Un, winner of the Northern California Book Award in Translation MOE'S BOOKS, 2476 Telegraph Avenue, Berkeley, (510) 849-2087, www.moesbooks.com. Parking is available at the Durant/Channing Garage, very near to Telegraph. Channing is one block north. For information, Poetry Flash: (510) 525-5476. ================================== The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Fri, 25 Jul 2008 18:45:58 +0000 Reply-To: "Poetics List (UPenn, UB)" Sender: "Poetics List (UPenn, UB)" From: Krysia Jopek Subject: FW: Re: The "originality" of appropriation vs the mass media "appropriation" of appropriation-originality--NY Times article MIME-Version: 1.0 Content-Type: text/plain Content-Transfer-Encoding: 8bit This has been an interesting ongoing dialogue regarding capitalism and its role in the art world and purported lack of relevance in the poetry world. "Capitalism is largely irrelevant to poetry," as a statement / generalization gave me great pause. I realize the context of the coversation has been production and mass deployment so to speak of art/poetry as products/ commodities. However, the world is largely relevant to poetry and the world, let's face it, is run by multinational late capitalism (a la Jameson). I agree that one needs less money to write poetry vs. to produce a film or even large paintings (supplies and a space to paint and the luxury of time), etc. However, the production, publication, and dissemination of poetry is still connected to capitalist-dominated contemporary culture. How many children/people out there do not have a computer, do not have access to the internet global highway and its information, have not had a proper education . . . Even the "avante garde" or experimental poets have to admit, sadly, that most of us have had some access and priviledge. I know we're not paid for our work--there's not a large market for poetry-- although tons of people seem to be reading Billy Collins and Maya Angelou-- I may have taken this conversation on a tangent but felt compelled to comment on the relationship of capitalism to poetry. Thanks for those of you who have read to the end during these busy times : ) Krysia -------------- Original message -------------- From: Thomas savage > I agree that capitalism is largely irrelevant to poetry. I think about this a > bit as a new full-length book of mine, Brainlifts, has just been published by a > relatively new small press called Straw Gate Books. I'm glad to say that the > pressures of capitalism have little or nothing to do with how this book was > produced or how it will fare. As for capitalism in the art world, I mostly > agree. There is however a small part of the Chelsea art scene that is less > influenced by the pressures of capitalism than the rest of it. I refer to the > co-op galleries where I work sometimes. They are membership galleries but they > show many invited artists in one format or another. Also, the quality of the > work in these galle ries has improved lately. Of course they are a small portion > of an otherwise capitalistic and greed driven plateau of art in NYC. But I just > thought I should mention that these other places still exist and have existed > for a long > time. Regards, Tom Savage > > --- On Wed, 7/23/08, Murat Nemet-Nejat wrote: > > From: Murat Nemet-Nejat > Subject: Re: The "originality" of appropriation vs the mass media > "appropriation" of appropriation-originality--NY Times article > To: POETICS@LISTSERV.BUFFALO.EDU > Date: Wednesday, July 23, 2008, 3:24 AM > > Jim, > > While writing my original post, I thought of making it only about poetry, > being completely aware of what you are saying about the world of painting, > particularly in New York, which has been the center of the art market for > years. I decided against it be c ause what I am saying applies to art in > general, representing one end of a spectrum. One can see this tension most > clearly in film, even the most stripped down version of which requires a > significant capital investment. The issue of means of production (studio, > independent, video, etc.) is an integral part of discussing an art of film. > What is peculiar about poetry is that it both requires very little capital > investment and it has almost as small audience. The investment poetry > requires is the poet's time (poetry is an art which consumes time; time is > at the heart of it). This makes the poet his or her audience. This condition > so clear in poetry exists in all arts, only blurred by the exigencies of > money in other arts. I wrote about this in my essay, "Is Poetry a Job, Is > a > Poem a Product?" > > Jim, you do not mention where you disagree with me. I would like to k now. > > Ciao, > > Murat > > > Jim > > On Tue, Jul 22, 2008 at 12:11 AM, Jim Andrews wrote: > > > i thought that was an interesting post, murat. i don't agree with lots > of > > it, but you get at some things that are important that not too many people > > seem able to write about at all, even if you're wrong about them. > > > > the interesting part, i felt, was the stuff on ownership. very writerly. > > not > > so much anti-capitalist as yawning at capitalism in a poetry context. > which > > is right, i feel. capitalism in a poetry context is just more or less > > irrelevant. > > > > contrast that, however, with visual art. if you hang out with new york > > visual artists online or anywhere else, you see just how little sense any > > art makes to them t hat *doesn't* work within capitalism. galleries, > > products, and so on. if it doesn't make it monetarily, it just > doesn't > > count. it can't survive. in the 'market of ideas' in which new > york artists > > are immersed. > > > > which is too bad for new york art, it seems to me. but i guess it makes > > sense there. > > > > whereas the 'market of ideas' you allude to is less about a > capitalistic > > market as something different. which is important. and expensive, in a > > sense. > > > > the danger of poetry resides, in part, in its being able to operate, to > > some > > extent (more than visual art) in other dimensions than the genuinely > boring > > capitalistic market of ideas. > > > > genuinely boring. deeply. terminally. genuine stuff of the forces of > > dullness. wit ness the art it promulgates in mass media, which is little > > more > > than a provisional business proposition. > > > > which is one of the reasons i remain optimistic about the internet. as > > medium for something else. > > > > ja > > http://vispo.com > > > > ================================== > > The Poetics List is moderated & does not accept all posts. Check > guidelines > > & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html > > > > ================================== > The Poetics List is moderated & does not accept all posts. Check guidelines > & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html > > > > ================================== > The Poetics List is moderated & does not accept all posts. Check guidelines & > sub/u nsub info: http://epc.buffalo.edu/poetics/welcome.html > ================================== The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Sat, 26 Jul 2008 19:41:13 -0700 Reply-To: "Poetics List (UPenn, UB)" Sender: "Poetics List (UPenn, UB)" From: Jim Andrews Subject: Re: The "originality" of appropriation vs the mass media "appropriation" of appropriation-originality--NY Times article In-Reply-To: <1dec21ae0807241404x4ad90506nb23fe848ccc37eb1@mail.gmail.com> MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit > I always thought hypertext was a text with multiple authors, > created by the > addition of multiple, different texts? Was I wrong? > > Ciao, > Murat Hi Murat, If this is what you think hypertext is, then I can see why you might say that "hypertext, as a form, is the literal expression of the idea of non-ownership." Makes sense. But your def of hypertext is wrong. Hypertexts usually do link to other texts by other authors, and the links do erm sort of make them all into one text, in some sense, but the crucial thing in the definition of hypertext is the link. Whether it's to a different part of the same document or to a different document or image or program or whatever. See, for instance, the defs of hypertext at http://dictionary.reference.com/browse/hypertext , http://www.w3.org/WhatIs.html and http://en.wikipedia.org/wiki/Hypertext ja http://vispo.com ================================== The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Fri, 25 Jul 2008 08:37:18 -0600 Reply-To: "Poetics List (UPenn, UB)" Sender: "Poetics List (UPenn, UB)" From: "J. A. Lee | Crane's Bill Books" Organization: Crane's Bill Books Subject: Re: NOTHING BUT SHAME TO STONEWALL! MIME-Version: 1.0 Content-Type: text/plain; format=flowed; charset="iso-8859-1"; reply-type=original Content-Transfer-Encoding: 7bit Part of what's been going on is that so many post-Reagan gays, like so many of their straight counterparts, indignantly assert their right not to be associated with the kind of fiery agitators and revolutionists who made things happen in the sixties and seventies. Fine, if that's what you want. The problem is, those of us not interested in taking that God-Country-and-Family route become subject to such majoritarian bullying as "If you don't join the fight to allow gays to serve in the military, you are an obstacle in the path toward full equality." It's tribal. It's also somehow creepily related to earlier posts here suggesting that any poetry not immediately accessible to "ordinary people" is elitist. Jeffrey ----- Original Message ----- From: "CA Conrad" To: Sent: Wednesday, July 23, 2008 10:23 PM Subject: Re: NOTHING BUT SHAME TO STONEWALL! > James, I guess if queers want to join the KKK they should be allowed? > > We are a country at war, let us NOT forget. OVER A MILLION DEAD AND > COUNTING. > > The military machine is NOT something I will ever get behind, ever! > Because > of who WE ARE, and who the British are (they helped us invade Iraq), there > is NO WAY to negotiate being in favor of gays in the military without ALSO > being in favor of the military. > > Not too long ago the documentary/news(?) episodes of IN THE LIFE > interviewed > a queer man who joined the military after 911. He was outraged by what > had > happened, of course, as we all were. BUT, where does he wind up when they > ship his DUMB gay ass out? IRAQ! And he NEVER, not once does he EVER > QUESTION why he is in Iraq. His ENTIRE purpose (according to his own > opening statement) was to go after the people who were responsible for > 911. > THEN OF COURSE he's discovered as being QUEER and sent home, which was the > purpose of interviewing him. We were supposed to FEEL TERRIBLE for him. > Boo hoo, poor guy, he doesn't get to carry a machine gun and prove he's a > REAL man! > > Getting to put a rainbow sticker on a machine gun is what this is all > about. GAY PRIDE IN KILLING!? > > YES THIS IS TIME TO TAKE A STAND! How many people have you known who HOLD > THE GERMAN CITIZENS responsible for Nazi atrocities? We are already as > complicit in the eyes of the world. > > The original people who risked their lives at the Stonewall riots were > ALSO > VEHEMENTLY opposed to the war in Vietnam. Marsha P. Johnson is someone I > met in person, and I can tell you right now that she was NOT SOMEONE who > would be in favor of giving the LOVE up to the British Army! > > Gays in the military is NOT a civil rights issue! THERE'S NOTHING CIVIL > ABOUT INVADING, KILLING, TERRORIZING, MAIMING, MAKING ORPHANS, ETC., ETC., > ETC.! > > YES IT IS TIME TO TAKE A STAND AND SPEAK UP, REGARDLESS OF HOW IT MAY > SOUND! > > QUEERS SHOULD NOT BE ALLOWED IN THE ARMED SERVICES BECAUSE OUR ARMED > SERVICES HAVE PROVEN TO BE DANGEROUS, AND RESPONSIBLE FOR WAR CRIMES! > > We're supposed to be GRATEFUL that the British Army has "accepted" queers? > Well I DON'T ACCEPT THE BRITISH ARMY! FUCK THE BRITISH ARMY! > > NO QUEERS ALLOWED! Anyone, and I mean ANYONE we can prevent from joining > an > army like our army and the British army should be prevented! NO FAGS OR > DYKES ALLOWED IN UNIFORM! KICK THEM ALL OUT! SEND THEM HOME! > > CAConrad > http://PhillySound.blogspot.com > > ================================== > The Poetics List is moderated & does not accept all posts. Check > guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ================================== The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Fri, 25 Jul 2008 22:14:10 +0000 Reply-To: "Poetics List (UPenn, UB)" Sender: "Poetics List (UPenn, UB)" From: AWAREing Press Subject: Re: NOTHING BUT SHAME TO STONEWALL! In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain Content-Transfer-Encoding: quoted-printable CAConrad, it's evident to me that your concern is over the war, and not the= basic human rights of anyone who wishes to fight for or against the war, e= ither from within the military or from outside its ranks. Gays and bis can = kill people as easily as straights can kill people. (Is accidentally or int= entionally infecting someone with HIV a murder, or a mistake, or a write-of= f? Sex is dangerous too...) But I digress...=20 Did the KKK disband? I'm not sure. But there are plenty of minorities who g= ravitate toward things that can harm them. For example, any queers who belo= ng to the Log Cabin Republicans may at first seem to be doing a disservice = to homosexuals by actively participating in a party that continues to ban = gay marriage and condone bigotry and discrimination in lieu of adopting an = egalitarian stance regarding sexual preferences and sexual acts. Yet, the p= eople who join that faction have some vested interest in and attraction to = the (perhaps oxymoronic) tenet that it tries to uphold.=20 Same thing with those who delight in joining the military. By banning a gro= up--any group--from enlisting, we are promoting prejudice and therefore sen= ding signals that anyone who identifies as a part of that group is unworthy= , unlikeable, unfit, and less than human... It seems only fair that if a bi= sexual or homosexual person wishes to bear arms and engage in battle as san= ctioned by the United States or any other country, then they should be allo= wed to enlist. Is a guy who chooses to breed a better fighter than one who = lusts after his own sex? That is the argument brewing. To that, we need to = say: "No, a person's sexual appetite has no bearing on how good of a soldie= r he is." (Otherwise, we'd amass an army of man-hating lesbians to fight an= all male "enermy" army.) Police officers, too, fall into this dilemma. Any= profession, actually, can be reduced to whether or not a man will fuck or = fight an enemy of the same, or opposite, sex... A homo on Wall Street? no w= ay! he'd want to take the competition to bed! etc. On the flip side, your "FUCK THE BRITISH ARMY" does have historical merit, = as immigrants to what became the United States said much the same thing bef= ore the country got its footing. Our ancestors' guerilla tactics and snipin= g at the red coats, and throwing all that tea into the Atlantic, was a logi= cal inevitability after the Mayflower folk and others expatriated in droves= to the "unsettled land". (Ignorning, of course, the fact that there were m= illions of people already living here.) Yes, it's too bad that war and host= ility exist. But to berate a law intended to dismiss an egregious human rig= hts error seems more like misplaced anger than productive action.=20=20=20 James BTW: From what I know about the Stonewall riot, it consisted of a few drag = queens throwing pumps at police after the legendary Judy Garland passed out= and died in a pool of drug and alcohol-induced puke. Nobody "risked their = lives" to continue with the drag show and the cocktail banter.=20 -------------- Original message from CA Conrad : ----= ----------=20 > James, I guess if queers want to join the KKK they should be allowed?=20 >=20 > We are a country at war, let us NOT forget. OVER A MILLION DEAD AND=20 > COUNTING.=20 >=20 > The military machine is NOT something I will ever get behind, ever! Becau= se=20 > of who WE ARE, and who the British are (they helped us invade Iraq), ther= e=20 > is NO WAY to negotiate being in favor of gays in the military without ALS= O=20 > being in favor of the military.=20 >=20 > Not too long ago the documentary/news(?) episodes of IN THE LIFE intervie= wed=20 > a queer man who joined the military after 911. He was outraged by what ha= d=20 > happened, of course, as we all were. BUT, where does he wind up when they= =20 > ship his DUMB gay ass out? IRAQ! And he NEVER, not once does he EVER=20 > QUESTION why he is in Iraq. His ENTIRE purpose (according to his own=20 > opening statement) was to go after the people who were responsible for 91= 1.=20 > THEN OF COURSE he's discovered as being QUEER and sent home, which was th= e=20 > purpose of interviewing him. We were supposed to FEEL TERRIBLE for him.= =20 > Boo hoo, poor guy, he doesn't get to carry a machine gun and prove he's a= =20 > REAL man!=20 >=20 > Getting to put a rainbow sticker on a machine gun is what this is all=20 > about. GAY PRIDE IN KILLING!?=20 >=20 > YES THIS IS TIME TO TAKE A STAND! How many people have you known who HOLD= =20 > THE GERMAN CITIZENS responsible for Nazi atrocities? We are already as=20 > complicit in the eyes of the world.=20 >=20 > The original people who risked their lives at the Stonewall riots were AL= SO=20 > VEHEMENTLY opposed to the war in Vietnam. Marsha P. Johnson is someone I= =20 > met in person, and I can tell you right now that she was NOT SOMEONE who= =20 > would be in favor of giving the LOVE up to the British Army!=20 >=20 > Gays in the military is NOT a civil rights issue! THERE'S NOTHING CIVIL= =20 > ABOUT INVADING, KILLING, TERRORIZING, MAIMING, MAKING ORPHANS, ETC., ETC.= ,=20 > ETC.!=20 >=20 > YES IT IS TIME TO TAKE A STAND AND SPEAK UP, REGARDLESS OF HOW IT MAY SOU= ND!=20 >=20 > QUEERS SHOULD NOT BE ALLOWED IN THE ARMED SERVICES BECAUSE OUR ARMED=20 > SERVICES HAVE PROVEN TO BE DANGEROUS, AND RESPONSIBLE FOR WAR CRIMES!=20 >=20 > We're supposed to be GRATEFUL that the British Army has "accepted" queers= ?=20 > Well I DON'T ACCEPT THE BRITISH ARMY! FUCK THE BRITISH ARMY!=20 >=20 > NO QUEERS ALLOWED! Anyone, and I mean ANYONE we can prevent from joining = an=20 > army like our army and the British army should be prevented! NO FAGS OR= =20 > DYKES ALLOWED IN UNIFORM! KICK THEM ALL OUT! SEND THEM HOME!=20 >=20 > CAConrad=20 > http://PhillySound.blogspot.com=20 >=20 > =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D= =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=20 > The Poetics List is moderated & does not accept all posts. Check guidelin= es &=20 > sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html=20 =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Sat, 26 Jul 2008 21:49:30 -0500 Reply-To: "Poetics List (UPenn, UB)" Sender: "Poetics List (UPenn, UB)" From: Maria Damon Subject: Re: City Psyche - New de blog In-Reply-To: <631622.18560.qm@web82604.mail.mud.yahoo.com> MIME-Version: 1.0 Content-Type: text/plain; charset=windows-1252; format=flowed Content-Transfer-Encoding: quoted-printable great stuff, stephen! poetry lives in the cracks, between the surface=20 and its surface. Stephen Vincent wrote: > http://stephenvincent.net/blog/ > =20 > =20 > For all of you fellow domestic summer weekend slackers(!), you might b= e interested in a new "City Psyche" blog series I have started - camera a= nd journal in hand - exploring San Francisco streets again. To get some s= ome sense, the opening passage goes: > =20 > =20 > A current challenge is to look for signs (text, image, etc.) that work= as collective epiphanies of life in this City, if not across the nation,= globe, etc. That is to explore the ways in which individual and collecti= ve psyche emerge in an identifiable configuration. The process is probabl= y most taken from some combination of Jersey Grotowski=92s, Towards a Poo= r Theatre, and the principles of Arte Povera. The brief sum of which is= to work the streets and - not ruling out the complex - to find texts and= images within simple and/or found materials. The additional task is not = to belabor a critical definition of any discovery. In fact, the primary i= mpulse is to use eyes and ears - or any of the other senses - reveal what= makes for awe. I don=92t mean awe in a shallow, romantic sense. But to f= ind those situations in which the senses are penetrated in such a way as = to make you stop in your own tracks, either for a second or an enduring s= pace of time.=20 > For example, I am walking across Guerrero at 19th Street at dusk on= a Friday evening. A young woman on a cell-phone is in the cross-walk jus= t ahead of my step. =93Don=92t be fashionably late, sucker,=94 she says, = her voice at full volume. > Your comments always appreciated.=20 > Stephen V > http://stephenvincent.net/blog/ > =20 > > =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D= =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D > The Poetics List is moderated & does not accept all posts. Check guidel= ines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html > =20 > =20 =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Sun, 27 Jul 2008 00:06:56 -0400 Reply-To: "Poetics List (UPenn, UB)" Sender: "Poetics List (UPenn, UB)" From: Alan Sondheim Subject: Dreams of Better Worlds Concrete MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII; format=flowed Dreams of Better Worlds Concrete | http://www.alansondheim.org/ bild jpgs | http://www.alansondheim.org/bild.mp4 | http://slurl.com/secondlife/Odyssey/48/12/22 | Images from intractive avatar game in The Accidental Artist exhibition, | SL; avatar movement deconstructs architecture, frees the space. No | score, no wins or losses; continuous play produces continuous | deconstruction. The video is in black and white; color from the site | refuses to compress properly. Think of it: Second Life (or similar virtual spaces) as a simulacrum of humanity's dream of flying, of malleable space and time; think of SL as a laboratory for the practical/theoretical phenomenology of space and time. What occurs in human flight, in the presence of strangers, in weight= lessness, in sudden weight, in anonymity, in exposure, in agoraphobia or clausterphobia? I work daily and nightly in the exhibition space, trying things out, not primarily for the aesthetics, but for the cog-sci, psycho- logical, psi-a comprehension that may or may not occur. Lacan or Minsky might not be at home in these spaces, but they exist on the periphery of theory. It's far too easy to dismiss virtual spaces in relation to what might be considered the other, in terms of community, politics, political economy, information economy, religion, etc. But first there is community in SL, ideological struggle, etc., although not played out against the scarcity of necessary resources; bandwidth and prim number are irrelevant compared to lack of food or sleep. On the other hand it's the very absence of noise that makes SL more like a savanna than an urban center, and a savanna that at times allows one to speak and perceive with a clarity bordering on the uncanny. While it may be slightly difficult learning to move smoothly through SL, it's no more difficult than learning a sport or board-game, and the results are equally enriching. I don't want to sound like an advertisement for SL or virtual worlds in general - but I do want to indicate their potential for psychological and phenomenological experimentation. What one sees can be seen from one's home; there's an established intimacy that the heavy cultural institut- ionalization of museums and galleries doesn't have. The economy is on a far smaller scale as well; over the years I've been on SL for example,, I've paid eight dollars and eighty cents in real money for uploads to the SL server - a small price, given the potential. Most of what I construct - animations, textures, sounds, texts, prims, are created with open source software outside SL. To fly, to make objects disappear and appear at will, to revolve or otherwise motivate them, to ignore or stress gravity, to move among the problematic of things, to move through them, to court invisibility, to view oneself from one's body or alterity, to speak or write (courting both phoneme and grapheme), to operate within or beneath erasure, to create or annihilate, send objects into or out of the world - to do any of these things, and more, in any combination - within the limits of the computer - limits which are perhaps far too often emphasized (instead of seeing potential and the potential for expansion) - this is what, for the moment while the net is up and running - this is what we can work with, in how- ever limited our physical off-world conditions might be - and this is the promise, holding for the slightest while - for the premise of communica- tion or its lack, analogic inert and digital coded and their intermingled limits. It continues to surprise me, how many complaints there are about these worlds, from lambda-moo and earlier, and how little joy is expressed over their current possibilities - what they can do _now._ Forget the holodeck; there are already (what would have passed for) miracles afoot. This isn't arguing against the need for deconstruction and critique of SL's and other virtual worlds' political economy - just that one can proceed in addition from the bottom up, seeing for example what happens when a prim is grounded or sent elsewhere, say, into another physics, with a shape-rider upon it, another shape-rider perhaps desperately controlling the action, such as it is. Then again, what constitutes a prim, a thing, a thing-in-itself, a proto- col, a code, an atom, a table of elements or fundamental particles, a resonance or plasma sending material worlds askew, exhausted, towards the defuge of potential (but never complete) annihilation? And what better way to think these things through, than to try them, on however distorted or miniscule a scale. - ================================== The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Sun, 27 Jul 2008 04:08:27 -0400 Reply-To: "Poetics List (UPenn, UB)" Sender: "Poetics List (UPenn, UB)" From: "Steven D. Schroeder" Subject: Anti- Featured Poet #9 Mime-Version: 1.0 Content-Transfer-Encoding: quoted-printable Content-Type: text/plain; charset="ISO-8859-1" The new feature at Anti- is a visual poetry special by Michael Basinski. Thanks to assistant editor A. J. Patrick Liszkiewicz for doing pretty muc= h everything to make it possible. http://anti-poetry.com/ Steven D. Schroeder Editor, Anti- =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Sun, 27 Jul 2008 02:12:09 -0600 Reply-To: "Poetics List (UPenn, UB)" Sender: "Poetics List (UPenn, UB)" From: Andy Nicholson Subject: Las Vegas MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 7bit Content-Disposition: inline Dearest anyone in the Las Vegas area, I'm in the process of moving to the Las Vegas area. Do good bookstores exist out here? Please let me know what I might be able to find, as far as independent bookstores or any interesting reading series--a few word about art galleries and music would be great as well. Andy Nicholson andynicholson.blogspot.com ================================== The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Sun, 27 Jul 2008 07:16:59 -0400 Reply-To: pmetres@jcu.edu Sender: "Poetics List (UPenn, UB)" From: Philip Metres Subject: new on Behind the Lines poetry blog MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit The latest on http://www.behindthelinespoetry.blogspot.com Mairead Byrne's "The Russian Week" The latest from Ali Abunimah On the Beating of Mohammed Omer Visiting Walden/Thoreau's Legacies Guided by Voices' "Back to the Lake" Cluster Bombs Save Lives (And if You Don't Agree With Us, We'll Take a Couple Limbs)/Cognitive Mapping and Poetry "Washing Away War" Remembering (Again) the Catonsville Nine About the Selling of John Lennon's "Give Peace a C... "Safety Instructions" to Appear on a Cleveland RTA... Lather Up, People, It's Time for Your Shampoo Check Out Poetry Daily Today: "For the Fifty..." Suheir Hammad's "On the Brink Of (for Rachel Corri... Behind the Bulldozer Rampage/The Story of Hosam Dw... Nil'in, in the Footsteps of Bil'in/Another Palesti... The Strokes' "Hard to Explain"/(Guilty Pleasures S... Birth/Independence Days: Thinking of Whitman & Beginnings Emily Wilson's Review of John Tipton's translation... Alain Badiou's "Fifteen Theses on Contemporary Art... Two Takes on "You Don't Mess with the Zohan"/Depic... Listen to Martin Espada's "The God of the Weather-... Lewis Carroll's "The Hunting of the Snark" Meets G... Philip Metres Associate Professor Department of English John Carroll University 20700 N. Park Blvd University Heights, OH 44118 phone: (216) 397-4528 (work) fax: (216) 397-1723 http://www.philipmetres.com http://www.behindthelinespoetry.blogspot.com ================================== The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Sun, 27 Jul 2008 07:18:42 -0400 Reply-To: pmetres@jcu.edu Sender: "Poetics List (UPenn, UB)" From: Philip Metres Subject: hello! (from) Cleveland! Comments: cc: mldeed@VERIZON.NET MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Try Mac's Backs Paperbacks in Cleveland Heights, and Visible Voice Books in Tremont--both host good reading series in Cleveland. Philip Metres Associate Professor Department of English John Carroll University 20700 N. Park Blvd University Heights, OH 44118 phone: (216) 397-4528 (work) fax: (216) 397-1723 http://www.philipmetres.com http://www.behindthelinespoetry.blogspot.com ================================== The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Sun, 27 Jul 2008 10:21:36 -0500 Reply-To: "Poetics List (UPenn, UB)" Sender: "Poetics List (UPenn, UB)" From: Michael Ford Subject: Re: Cleveland poetry info request In-Reply-To: <488A1213.9080004@verizon.net> MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 7bit Content-Disposition: inline While I've never been to Cleveland, my friend js makkos runs a performance space there, the language foundry. They might have some events listed on their website. http://www.languagefoundry.org/ Michael Ford On Fri, Jul 25, 2008 at 12:49 PM, Martha Deed wrote: > I plan to be in Cleveland for a week or so beginning August 6th. > > Any bookstore or poetry readings to suggest? > > Thanks. > Martha Deed > > ================================== > The Poetics List is moderated & does not accept all posts. Check guidelines > & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html > ================================== The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Sun, 27 Jul 2008 07:37:15 -1000 Reply-To: "Poetics List (UPenn, UB)" Sender: "Poetics List (UPenn, UB)" From: Gabrielle Welford Subject: Re: poems by MINA LOY for the URCHIN series /\\///\\\\/////\\\\\\///////\\\\\\\\/////////\\\\\\\\\\/////////// In-Reply-To: MIME-version: 1.0 Content-transfer-encoding: 7BIT Content-type: TEXT/PLAIN; charset=US-ASCII i very very much love mina loy. have a paper about her thought and wilhelm reich's if any would like to see it. went to hear nick karavatos in ukiah the other night. what a miracle! another poetics poet in ukiah, Cal. i like him too. sharp dense poetry like fireflies sometimes. g On Thu, 24 Jul 2008, CA Conrad wrote: > poems by MINA LOY for the URCHIN series > /\\///\\\\/////\\\\\\///////\\\\\\\\/////////\\\\\\\\\\/////////// > > details here: http://urchinpoetry.blogspot.com/ > > ================================== > The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html > ================================== The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Sun, 27 Jul 2008 12:41:06 -0700 Reply-To: "Poetics List (UPenn, UB)" Sender: "Poetics List (UPenn, UB)" From: Nicholas Perrin Subject: KSW Positions Colloquium Schedule MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii for more information, or to register (or to access over 100 hours of audio and other resources) visit: www.kswnet.org }some details of this schedule may still change{N 49 15.832 - W 123 05.921 :::::Positions Colloquium::::: August 19 - 24, 2008 at/withVIVO Media Arts Centre 1965 Main St, VancouverTUESDAY 19 August Afternoon-Evening Session only *not* at VIVO, location TBA 4:00 pm - late Opening day social - a party + bbq with readings by poets who have been members of the KSW board or collective. }tentatively including {Sachiko Murakami, Donato Mancini, Maxine Gadd, Peter Culley, Steve Collis, Ted Byrne, Andrea Actis + surprise guests WEDNESDAY 20 August Morning - Afternoon Session 11:00 am Panel presentation Title / theme: "On Line: Poetics and the Distribution of Meaning" Moderator and Curator: Andrew Klobucar Panellists: Darren Wershler-Henry, Brian Kim Stefans, Judy Radul, Sianne Ngai 1:00 pm Theatrical presentation Kevin Killian and Dodie Bellamy w/guests "The Clifford Irving Show" Dinner Break 3:30 pm (circa) Evening Session 7:00 pm Readings, presentations, and performances by: Darren Wershler-Henry, Brian Kim Stefans, Colin Smith, Robert Fitterman, Clint Burnham THURSDAY 21 August Morning - Afternoon Session 11:00 am Panel presentation Moderator and Curator: Rita Wong Title / theme: "Alpha Bets: Language Gambles on a Gift Economy" Panellists: Juliana Spahr, Pat O'Riley, Reg Johanson, Peter Cole1:00 pm Talk Michael Davidson "On the Outskirts of Form: Cosmopoetics in the Shadow of NAFTA."Dinner Break 3:30 pm (circa) Evening Session 7:00 pm Readings, presentations, and performances by: Rita Wong, Juliana Spahr, PILLS (A. Vidaver, R. Johanson, R. Farr), Pat O'Riley, Peter Cole, Louis Cabri, Jules Boykoff FRIDAY 22 August Morning - Afternoon Session 11:00 am Seminar Seminar leaders: Kaia Sand and Jules Boykoff Title / theme: "Landscapes of Dissent: Guerilla Poetry & Public Space" Respondents: Catriona Strang, Colin Smith, Juliana Spahr, Nicholas Perrin, Laura Elrick, Clint Burnham 1:00 pm Panel presentation Moderator and Curator: Jeff Derksen Title / theme: "Neoliberalism and the Politics of Poetics" Panellists: Rodrigo Toscano, Rod Smith, Dorothy Lusk, Roger Farr, Laura Elrick Dinner Break 3:30 pm (circa) Evening Session 7:00 pm Readings, presentations, and performances by: Rodrigo Toscano, Rod Smith, Kaia Sand, Dorothy Trujillo Lusk, Jeff Derksen SATURDAY 23 August Morning-Afternoon Session 11:00 am Seminar Seminar leader: Sianne Ngai Title / theme: "The Zany Science: Post-Fordist Performance and the Problem of Fun" Respondents: Tyrone Williams, Mark Wallace, Andrew Klobucar, Rob Fitterman, Stacy Doris, Michael Davidson, Louis Cabri, Dodie Bellamy 1:00 pm Audio feature Lisa Robertson and Stacy Doris "The Perfume Recordist" Dinner Break 3:30 pm (circa) Evening Session 7:00 pm Readings, presentations, and performances by: Tyrone Williams, Mark Wallace, Catriona Strang, Judy Radul, Laura Elrick SUNDAY 24 August Afternoon-Evening Session only *not* at VIVO, location TBA 3:00 pm - whenever closing-day social ================================== The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Sun, 27 Jul 2008 17:31:30 -0400 Reply-To: "Poetics List (UPenn, UB)" Sender: "Poetics List (UPenn, UB)" From: "steve d. dalachinsky" Subject: Re: August 2 and 3 Gig Info Comments: To: 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, 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 On Sun, 27 Jul 2008 17:18:46 -0400 "steve d. dalachinsky" writes: Brad Farberman, guitar Steve Dalachinksky, poetry Chris Dimeglio, trumpet Greg Heffernan, cello Jason Kao Hwang, violin Sunday, August 3, 9PM @ The Lucky Cat 245 Grand Street between Driggs and Roebling L train to Bedford ------------------------------------------------------------------------- -------------------------------------- Matthew Shipp (piano) & steve dalachinsky (poetry) in concert for their new book Logos & Language at the Cornelia Street Cafe 29 Cornelia St (off Bleecker St. & W. 4th) Saturday - August 2, 2008 at 6 PM $ 10 admission (applies to a free drink or food) info : 1212 989- 9318/9 or 1212 - 925-5256 A, C, E trains to West 4th ST or 1 train to Christopher Street see ya soon, and I'll plan on coming to your Cornelia Street gig, Brad 516-582-6272 ____________________________________________________________ Click here to find the perfect picture with our powerful photo search features. ================================== The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Sun, 27 Jul 2008 18:43:31 -0700 Reply-To: "Poetics List (UPenn, UB)" Sender: "Poetics List (UPenn, UB)" From: Jim Andrews Subject: Re: The "originality" of appropriation vs the mass media "appropriation" of appropriation-originality--NY Times article In-Reply-To: <072520081845.15356.488A1F65000D480000003BFC22092299270B0A96079B0A019FCD0605@comcast.net> MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Hi Krysia, money talks, certainly. but it doesn't write very well and apparently is not particularly discerning concerning poetry. whatever one may say about the state of poetry, at least it is not dominated by the rich. there is very little money to be made at it, in it, through it. i remember attending a talk by a prominent canadian art curator. he said "an artist without a gallery is nothing". i can't see a publisher, say, having the presumption to feel that a poet without a traditional publisher is 'nothing'. well, they *might* feel that way, but the reality is different. the internet has opened possibilities for poetry that have decreased the power traditional publishers--and the whole apparatus of print--have over what gets disseminated and put before the public. there actually has been the decentralization in matters of poetry that theory posited more or less across the board--which hasn't happened. ja http://vispo.com ================================== The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Sun, 27 Jul 2008 19:34:10 -0700 Reply-To: ndm_g@yahoo.com Sender: "Poetics List (UPenn, UB)" From: Andy Gricevich Subject: Project Spicer: invitation MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Hello, listservians! I've just started PROJECT SPICER, a blog meant as a repository for notes, essays, thoughts, discussions, facts and factoids about Jack Spicer's magnificent poetry. Anyone who'd like to is welcome to join as a member (in which case you can post past or present text), to comment, to correspond or just read. I'll also be cultivating a set of links to Spicer-related pages; if you've got one you think I should put in the sidebar, let me know. It's at http://projectspicer.blogspot.com And I'm at agricevich@gmail.com all the best to all, Andy G. ================================== The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Mon, 28 Jul 2008 00:43:30 -0700 Reply-To: jkarmin@yahoo.com Sender: "Poetics List (UPenn, UB)" From: Jennifer Karmin Subject: Aug 7: Books & Bookshelves in SF MIME-Version: 1.0 Content-Type: text/plain; charset=utf-8 Content-Transfer-Encoding: quoted-printable BOOKS & BOOKSHELVES=20 presents JENNIFER KARMIN=20 DANA TEEN LOMAX=20 SARAH ROSENTHAL=20 THURSDAY, AUGUST 7=20 7:30pm 99 SANCHEZ STREET between 14th St & Duboce Ave in San Francisco JENNIFER KARMIN curates the Red Rover reading series and is a founding memb= er of the public art group Anti Gravity Surprise. Her multidisciplinary pro= jects have been presented in national festivals, on city streets, and at ar= tist-run spaces such as the Urban Institute for Contemporary Arts, Woodland= Pattern Book Center, and Betalevel. She teaches creative writing to immig= rants at Truman College and works as a Poet-in-Residence for the Chicago Pu= blic Schools. Recent poems are published in Bird Dog, MoonLit, Womb, Seven= Corners, Milk Magazine, and the anthologies A Sing Economy (Flim Forum Pre= ss, 2008), The City Visible: Chicago Poetry for the New Century (Cracked Sl= ab Books, 2007), and Growing Up Girl: An Anthology of Voices from Marginali= zed Spaces (GirlChild Press, 2006). DANA TEEN LOMAX is the author of Curren=C2=A2y (Palm Press, 2006), Room (a+= bend press, 1999), and the contributing co-editor of Letters To Poets, Conv= ersations About Poetics, Politics and Community (Saturnalia Books, 2008). = Her writing has been published in numerous journals and magazines, includin= g Jacket, The Bay Poetics Anthology, Tripwire, Moria, sonaweb, Dusie, mem, = and many others. She is presently working on Q, =E2=80=9Chome movies=E2=80= =9D about raising a daughter on prison grounds and a poetry manuscript enti= tled Shhh! Lullabies for a Tired Nation. She works as the Interim Directo= r of Small Press Traffic Literary Arts Center in San Francisco, teaches wri= ting at San Francisco State University and the University of San Francisco,= and lives in northern California with her family. SARAH ROSENTHAL is the author of How I Wrote This Story (Margin to Margin, = 2001), sitings (a+bend, 2000), and not-chicago (Melodeon, 1998). Her poems,= stories, reviews, essays, and interviews have appeared in numerous journal= s including How(2), Bird Dog, Fence, Lungfull, Denver Quarterly, and Bosto= n Review. Her poetry has been anthologized in Bay Poetics (Faux Press, 2006= ), The Other Side of the Postcard (City Lights, 2005), and hinge (Crack Pre= ss, 2002). She is the recipient of the Leo Litwak Fiction Award, the Prima= vera Fiction Prize, and a Vermont Studio Center Artist=E2=80=99s Grant. She= recently edited a collection of interviews with Bay Area avant-garde write= rs, A Community Writing Itself. She writes curricula for the Developmental = Studies Center, a nonprofit educational publishing house=0A=0A=0A =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Mon, 28 Jul 2008 07:56:20 -0700 Reply-To: tsavagebar@yahoo.com Sender: "Poetics List (UPenn, UB)" From: Thomas savage Subject: Re: The "originality" of appropriation vs the mass media "appropriation" of appropriation-originality--NY Times article In-Reply-To: <1dec21ae0807241404x4ad90506nb23fe848ccc37eb1@mail.gmail.com> MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: quoted-printable I don't know about hypertext.=A0 But as to questions of ownership, I go to = movies, theater, opera, etc. and write.=A0 Sometimes a phrase or two from w= hat I'm watching ends up in the poem.=A0 I used to be concerned about the o= wnership of all this but am less so now.=A0 In my new book Brainlifts, whic= h is made up of some poems written in this way, I deal with this potential = problem by beginning a note=A0 at the bottom of each poem "written at..." a= nd whatever event I was watching and listening to while writing the poem.= =A0 I hope this is sufficient.=A0 In fact, I suspect it isn't even necessar= y but I was advised to do this by several people and have done so.=A0 Regar= ds, Tom Savage --- On Thu, 7/24/08, Murat Nemet-Nejat wrote: From: Murat Nemet-Nejat Subject: Re: The "originality" of appropriation vs the mass media "appropri= ation" of appropriation-originality--NY Times article To: POETICS@LISTSERV.BUFFALO.EDU Date: Thursday, July 24, 2008, 5:04 PM Jim, I always thought hypertext was a text with multiple authors, created by the addition of multiple, different texts? Was I wrong? Ciao, Murat On Thu, Jul 24, 2008 at 2:31 PM, Jim Andrews wrote: > > "The death of the author" is also at the heart of hypertext, which, as a > > form, is the literal expression of the idea of non-ownership. > > Hypertext is about 'links'. That doesn't always relate to 'ownership', > Murat. To put it another way, I don't think that hypertext, as a form, > implies anything about ownership. Ideas of ownership are as additional > axioms in the unetverse. > > One may link to a page and, instead of the page coming up when the link i= s > clicked, a dialog box may come up asking for one's username and password. > > Someone said something like "information wants to be free". I expect what > underlies that sentiment is what motivates your statement. One has to giv= e > to get. Give good information to get any sort of possibility of making > money > in conjunction with the giving. Or something like that. But that is less = a > specifically hypertext-related phenomenon as something more general, I > think. > > ja > http://vispo.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 > The Poetics List is moderated & does not accept all posts. Check guidelines > & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.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 The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html=0A=0A=0A = =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Mon, 28 Jul 2008 10:36:24 -0400 Reply-To: "Poetics List (UPenn, UB)" Sender: "Poetics List (UPenn, UB)" From: Michael Kelleher Subject: Literary Buffalo E-Newsletter 07.28.08-08.03.08 MIME-Version: 1.0 Content-Transfer-Encoding: quoted-printable Content-Type: text/plain; format=flowed; charset=ISO-8859-1 LITERARY BUFFALO 07.28.08-08.03.08 BABEL 2008-2009 SUBSCRIPTIONS ARE GOING FAST=21=21 Chinua Achebe, Nigeria, September 25. Book: Things Fall Apart. Michael Ondaatje, Canada, October 29. Book: The English Patient. Marjane Satrapi, Iran, April 1. Book: Persepolis. Isabel Allende, Chile, April 17. Book: House of the Spirits. Previous subscribers: =2475. New subscription: =24100. Patron subscription: =24250. (Patron subscribers receive VIP seating and a= ttendance at all pre-event author receptions.) Patron Pair: =24400. WE ARE ALREADY 88% SOLD OUT FOR NEXT SEASON. We expect to sell out next season by subscription. If we do not, tickets fo= r individual events will go on sale September 1. ___________________________________________________________________________ EVENTS THIS WEEK 07.30.08 Rooftop Poetry Club at Buffalo State College Reading featuring Karen Sands O?Connor & Joseph Cooper Wednesday, July 30, 7 p.m. E.H Butler Library, Rooftop Garden Buffalo State College 07.31.08 Talking Leaves?Books Mac Nelson Talk/Book Signing for, ?Twenty West: The Great Road Across America.? Thursday, July 31, 7 p.m. Talking Leaves?Books, 3158 Main St. ___________________________________________________________________________ LITERARY BUFFALO RSS FEED You can now subscribe to the Literary Buffalo RSS feed for up to the minute= info on literary happenings around town: feed://www.justbuffalo.org/rss/ ___________________________________________________________________________ FACEBOOK Join the Friends of Just Buffalo Literary Center Facebook Group: http://www.facebook.com/group.php?gid=3D13187515545&ref=3Dts ___________________________________________________________________________ WESTERN NEW YORK ROMANCE WRITERS group meets the third Wednesday of every m= onth at St. Joseph Hospital community room at 11a.m. Address: 2605 Harlem R= oad, Cheektowaga, NY 14225. For details go to www.wnyrw.org. ___________________________________________________________________________ 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 add= ed the ability to join online by paying with a credit card through PayPal. = Simply click on the membership level at which you would like to join, log = in (or create a PayPal account using your Visa/Amex/Mastercard/Discover), a= nd voil=E1, you will find yourself in literary heaven. For more info, or t= o join now, go to our website: http://www.justbuffalo.org/membership/index.shtml ___________________________________________________________________________ UNSUBSCRIBE If you would like to unsubscribe from this list, just say so and you will i= mmediately be 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 =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Mon, 28 Jul 2008 11:40:20 -0400 Reply-To: "Poetics List (UPenn, UB)" Sender: "Poetics List (UPenn, UB)" From: Murat Nemet-Nejat Subject: Re: The "originality" of appropriation vs the mass media "appropriation" of appropriation-originality--NY Times article In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 7bit Content-Disposition: inline Jim, If links were only within one's own text -or within one single text- that would not be particularly interesting. What makes the concept of hypertext radical is the joining of multiple authors into a single, meta-text. Honestly, it does not matter to me how others may define hypertext. The ability to link, by itself, is a technical advance. It is in the concept of authortship that linkage becomes a conceptual jump. Also, of course, links may alter our senses of time and space and linear continuity, relating to the idea of worm holes. But that is a subject to discuss another day. Ciao, Murat On Sat, Jul 26, 2008 at 10:41 PM, Jim Andrews wrote: > > I always thought hypertext was a text with multiple authors, > > created by the > > addition of multiple, different texts? Was I wrong? > > > > Ciao, > > Murat > > Hi Murat, > > If this is what you think hypertext is, then I can see why you might say > that "hypertext, as a form, is the literal expression of the idea of > non-ownership." Makes sense. But your def of hypertext is wrong. > > Hypertexts usually do link to other texts by other authors, and the links > do > erm sort of make them all into one text, in some sense, but the crucial > thing in the definition of hypertext is the link. Whether it's to a > different part of the same document or to a different document or image or > program or whatever. See, for instance, the defs of hypertext at > http://dictionary.reference.com/browse/hypertext , > http://www.w3.org/WhatIs.html and http://en.wikipedia.org/wiki/Hypertext > > ja > http://vispo.com > > ================================== > The Poetics List is moderated & does not accept all posts. Check guidelines > & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html > ================================== The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Tue, 29 Jul 2008 00:06:11 +0800 Reply-To: "Poetics List (UPenn, UB)" Sender: "Poetics List (UPenn, UB)" From: Christophe Casamassima Subject: Text suggestions for young writers and readers? Content-Disposition: inline Content-Transfer-Encoding: quoted-printable Content-Type: text/plain; charset="iso-8859-1" MIME-Version: 1.0 Hey, friends, I'm teaching English composition this fall thematically centered on languag= e problems. I'm looking for readings that reflect the following: post-colonial, african-american, immigrant literatures=20 theories of cultural diversity in america and their effect on standard engl= ish=20 how technology changes the way we read, write and think. please suggest a number of short texts (essays, readings, stories, manifest= os, etc.) that I can give to my classes. Please eMail me at cacasama@towson= .edu (I check this eMail frequently). Thanks for any help! Christophe Casamassima --=20 Powered By Outblaze =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Mon, 28 Jul 2008 10:11:46 -0700 Reply-To: "Poetics List (UPenn, UB)" Sender: "Poetics List (UPenn, UB)" From: Paul Nelson Subject: Long Live Johnny Griffin MIME-Version: 1.0 Content-Type: text/plain; charset=windows-1252 Content-Transfer-Encoding: quoted-printable One of the last original Beboppers died in France Saturday, Johnny Griffin.= I told my London friend Charlie to see him at Ronnie Scott's in May, he di= d and Charlie was quite grateful for the tip. =0A=0Ahttp://www.nytimes.com/= 2008/07/26/arts/music/26griffin.html=0Ahttp://www.npr.org/templates/story/s= tory.php?storyId=3D92943737=0A=0AOne of DuSable High's greatest lights: htt= p://en.wikipedia.org/wiki/DuSable_High_School=0A=0A=0A=0A From Bron= zeville=92s DuSable=0AHigh (=93Peace is possible, but=0Ajustice=0Aat any ra= te=94) came sixty-five=0A =0Amuscular inches of Bebop and hot=0Alava. John= ny Griffin =96 =93speed, control,=0Aharmonic acuity.=94 Johnny Griffin =96= =0Asd of Monk=92s Music =93like trying=0Ato=0Abreak out of a room made of = =0Amarshmallows.=94=0A Johnny Griffin=0Awho mell= owed that fire=0Ainto one slow French burn=0Adied Saturday always a = Chicago=0Aguy, always ready to turn breath=0A into fire.=0A=0A Paul E. Ne= lson =0A=0AGlobal Voices Radio=0ASPLAB!=0AAmerican Sentences=0AOrganic Poet= ry=0APoetry Postcard Blog=0A=0AIlalqo, WA 253.735.6328 or 888.735.6328 =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Mon, 28 Jul 2008 10:29:03 -0700 Reply-To: "Poetics List (UPenn, UB)" Sender: "Poetics List (UPenn, UB)" From: Joel Weishaus Subject: Fw: John Ashbery's Created Spaces MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable 50th Issue Celebration ----- Original Message -----=20 From: Rain Taxi Announcements=20 To: weishaus@pdx.edu=20 Sent: Monday, July 28, 2008 8:56 AM Subject: John Ashbery's Created Spaces Rain Taxi is extremely pleased to announce the publication of "A Dream = of this Room: A Portfolio of Works on John Ashbery's Textual and = Domestic Environments," now available at www.raintaxi.com.=20 Edited by Micaela Morrissette, this "Created Spaces" collection features = a variety of writers and artists exploring Ashbery's unique poetics of = domestic space-the result is a critical gathering not to be missed. = Spread the word! And stay tuned for Part Two of our Summer Online = Edition, posting in August... ALSO: for those who live in the Twin Cities area or might be visiting = this summer, please join us for our 50th Issue Celebration on August = 20th! Click here for details!=20 ................................................................ Rain Taxi abhors spam and sends email only to those who have asked to = receive it. You are subscribed with the address weishaus@pdx.edu. If you = would like to add another email to our list and/or unsubscribe, visit = http://www.raintaxi.com/contact.shtml. Please do not reply to this = email, as this email address is send-only. =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Mon, 28 Jul 2008 15:41:34 -0500 Reply-To: dgodston@sbcglobal.net Sender: "Poetics List (UPenn, UB)" From: Daniel Godston Subject: Synesthesic Cell Structures MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Synesthesic Cell Structures a performance event with music, film, and poetry Monday, August 18 (8 p.m.) at The Cell The sonic flavors of brushstrokes, the smells of musical improvisation, the tactile textures of poetic images, synesthesia. Over centuries artists working in a range of media have been inspired by other art forms, and they have drawn on expressions in other art forms to explain and map out creative forays along spectrums of genres. Hunches about these connections can lead to investigations into parallel processes and new angles. During this event we explore correspondences among and interstices between art forms-focusing on music, film, and poetry. The following films will be shown while music and poetry is performed: Ginta Gets His Car Washed, by Rona Mark; Tumbleweed, by Brian Fitzhugh; Sumi-e, by Jayve Montgomery; Becoming Formless and Love in Outer Space and Under Water, by Annie Heckman; Reflect and Cityscape #1 by Mikey Peterson; and several others. Performers: Bruce Eisenbeil -- guitar Tara Betts -- poetry Tom Abbs -- upright bass, violin, didgeridoo, & tuba Reed Robins -- keyboards Dan Godston -- trumpet & poetry Josh Sinton -- baritone saxophone & bass clarinet Ravish Momin -- percussion $10 suggested donation The Cell 338 W. 23rd St. New York, NY 10011 www.thecelltheatre.org http://us.imdb.com/name/nm0548285/ http://www.edfilmfest.org.uk/films/strange-girls/full-details http://tarabetts.net/ http://www.reedrobins.com/ http://www.eisenbeil.com/ http://www.jumparts.org/tomabbs.html http://annieheckman.com http://www.myspace.com/dangodstonmusic http://www.myspace.com/joshsinton http://www.ravishmomin.com/ ================================== The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Mon, 28 Jul 2008 16:54:03 -0500 Reply-To: dgodston@sbcglobal.net Sender: "Poetics List (UPenn, UB)" From: Daniel Godston Subject: Multiartscape Triptyk at the Lily Pad MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Multiartscape Triptyk at the Lily Pad Sunday, August 17 (7 p.m.) Join us as we travel along multimedia terrains of artistic expression. During this event we pass markers along roads that take switchback turns through music, poetry, & dance. Performers: Forbes Graham -- trumpet Jane Wang -- cello & piano Daniel Johnson -- poetry Suzanne Bouffard -- tap dance Dan Godston -- horns & poetry Kevin Micka aka Animal Hospital - guitar, percussion & effects $10 suggested donation The Lily Pad Inman Square 1353 Cambridge St. Cambridge, MA http://www.lily-pad.net/ http://www.myspace.com/forbesgraham http://www.danielbjohnson.com http://www.myspace.com/janewangcomposer http://tapboston.havetodance.com/suzanne_bouffard.html www.myspace.com/dangodstonmusic ================================== The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Mon, 28 Jul 2008 16:06:55 -0700 Reply-To: "Poetics List (UPenn, UB)" Sender: "Poetics List (UPenn, UB)" From: Catherine Daly Subject: Re: Las Vegas In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 7bit Content-Disposition: inline the vegas valley book fair is fun On Sun, Jul 27, 2008 at 1:12 AM, Andy Nicholson wrote: > Dearest anyone in the Las Vegas area, > > I'm in the process of moving to the Las Vegas area. Do good bookstores > exist out here? Please let me know what I might be able to find, as > far as independent bookstores or any interesting reading series--a few > word about art galleries and music would be great as well. > > Andy Nicholson > andynicholson.blogspot.com > > ================================== > The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html > -- All best, Catherine Daly c.a.b.daly@gmail.com ================================== The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Sun, 27 Jul 2008 18:08:45 -0400 Reply-To: "Poetics List (UPenn, UB)" Sender: "Poetics List (UPenn, UB)" From: Sara Phillips Subject: poetry and archives? Mime-Version: 1.0 Content-Transfer-Encoding: quoted-printable Content-Type: text/plain; charset="windows-1252" Hi all,=20 I'm working on a dissertation that explores the intersection between the=20= archive and long poems. Do you know of any poetry from 1990 on that direc= tly=20 treats the subject of the archive, or acts like an archive? I'm intereste= d in=20 poets who might classify themselves as scholar-poets, or have an=20 interdisciplinary approach (are perhaps archivists or librarians themselv= es).=20 I ran across a new book by Kate Eichhorn called Fond (Bookthug, 2008), an= d=20 am looking for others.=20 Many thanks! Sara Phillips =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Mon, 28 Jul 2008 18:20:44 -0500 Reply-To: "Poetics List (UPenn, UB)" Sender: "Poetics List (UPenn, UB)" From: Joe Moffett Subject: Re: poetry and archives? MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Armand Schwerner's The Tablets would be a must for such a project. The = full edition of The Tablets was published in 1999. I have a chapter on = The Tablets paired with The Maximus Poems in my book The Search for = Origins in the Twentieth-Century Long Poem that might be helpful to you. =20 Sounds like an interesting dissertation. I'd like to hear more about = it. =20 -- Joe=20 =20 Dr. Joe Moffett Associate Professor of English Kentucky Wesleyan College 3000 Frederica Street Owensboro, KY 42301 =20 jmoffett@kwc.edu ________________________________ From: Poetics List (UPenn, UB) on behalf of Sara Phillips Sent: Sun 7/27/2008 5:08 PM To: POETICS@LISTSERV.BUFFALO.EDU Subject: poetry and archives? Hi all, I'm working on a dissertation that explores the intersection between the archive and long poems. Do you know of any poetry from 1990 on that = directly treats the subject of the archive, or acts like an archive? I'm = interested in poets who might classify themselves as scholar-poets, or have an interdisciplinary approach (are perhaps archivists or librarians = themselves). I ran across a new book by Kate Eichhorn called Fond (Bookthug, 2008), = and am looking for others. Many thanks! Sara Phillips =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D= =3D=3D=3D=3D=3D=3D=3D=3D=3D The Poetics List is moderated & does not accept all posts. Check = guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.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 The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Mon, 28 Jul 2008 19:45:02 -0400 Reply-To: "Poetics List (UPenn, UB)" Sender: "Poetics List (UPenn, UB)" From: Gerald Schwartz Subject: Denver...? MIME-Version: 1.0 Content-Type: text/plain; charset="Windows-1252" Content-Transfer-Encoding: quoted-printable Any readings, performances, activities in Denver between the Aug 1 and Aug 8th? I thank you. Gerald S. =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Mon, 28 Jul 2008 20:22:40 -0500 Reply-To: "Poetics List (UPenn, UB)" Sender: "Poetics List (UPenn, UB)" From: Maria Damon Subject: Re: poetry and archives? In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=windows-1252; format=flowed Content-Transfer-Encoding: 7bit check out Paul Metcalf's work; not "poetry" per se. Sara Phillips wrote: > Hi all, > > I'm working on a dissertation that explores the intersection between the > archive and long poems. Do you know of any poetry from 1990 on that directly > treats the subject of the archive, or acts like an archive? I'm interested in > poets who might classify themselves as scholar-poets, or have an > interdisciplinary approach (are perhaps archivists or librarians themselves). > > I ran across a new book by Kate Eichhorn called Fond (Bookthug, 2008), and > am looking for others. > > Many thanks! > Sara Phillips > > ================================== > The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html > ================================== The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Mon, 28 Jul 2008 20:27:18 -0500 Reply-To: "Poetics List (UPenn, UB)" Sender: "Poetics List (UPenn, UB)" From: Maria Damon Subject: Re: KSW Positions Colloquium Schedule In-Reply-To: <481644.78220.qm@web56402.mail.re3.yahoo.com> MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit wow, this looks like my idea of heaven. Nicholas Perrin wrote: > for more information, or to register (or to access over 100 hours of audio and other resources) visit: > www.kswnet.org > > > }some details of this schedule may still change{N 49 15.832 - W 123 05.921 > :::::Positions Colloquium::::: August 19 - 24, 2008 > at/withVIVO Media Arts Centre > 1965 Main St, VancouverTUESDAY 19 August > Afternoon-Evening Session only > *not* at VIVO, location TBA > 4:00 pm - late > Opening day social - a party + bbq with readings by poets who have been members of the KSW board or collective. > }tentatively including {Sachiko Murakami, Donato Mancini, Maxine Gadd, Peter Culley, Steve Collis, Ted Byrne, Andrea Actis > + surprise guests > WEDNESDAY 20 August > Morning - Afternoon Session > 11:00 am > Panel presentation > Title / theme: "On Line: Poetics and the Distribution of Meaning" > Moderator and Curator: Andrew Klobucar > Panellists: Darren Wershler-Henry, Brian Kim Stefans, Judy Radul, Sianne Ngai > 1:00 pm > Theatrical presentation > Kevin Killian and Dodie Bellamy w/guests > "The Clifford Irving Show" Dinner Break > 3:30 pm (circa) > Evening Session > 7:00 pm > Readings, presentations, and performances by: > Darren Wershler-Henry, Brian Kim Stefans, Colin Smith, Robert Fitterman, Clint Burnham > THURSDAY 21 August > Morning - Afternoon Session > 11:00 am > Panel presentation > Moderator and Curator: Rita Wong > Title / theme: "Alpha Bets: Language Gambles on a Gift Economy" > Panellists: Juliana Spahr, Pat O'Riley, Reg Johanson, Peter Cole1:00 pm > Talk > Michael Davidson > "On the Outskirts of Form: Cosmopoetics in the Shadow of NAFTA."Dinner Break > 3:30 pm (circa) > Evening Session > 7:00 pm > Readings, presentations, and performances by: > Rita Wong, Juliana Spahr, PILLS (A. Vidaver, R. Johanson, R. Farr), Pat O'Riley, Peter Cole, Louis Cabri, Jules Boykoff FRIDAY 22 August > Morning - Afternoon Session > 11:00 am > Seminar > Seminar leaders: Kaia Sand and Jules Boykoff > Title / theme: "Landscapes of Dissent: Guerilla Poetry & Public Space" > Respondents: Catriona Strang, Colin Smith, Juliana Spahr, Nicholas Perrin, Laura Elrick, Clint Burnham > 1:00 pm > Panel presentation > Moderator and Curator: Jeff Derksen > Title / theme: "Neoliberalism and the Politics of Poetics" > Panellists: Rodrigo Toscano, Rod Smith, Dorothy Lusk, Roger Farr, Laura Elrick > Dinner Break > 3:30 pm (circa) > Evening Session > 7:00 pm > Readings, presentations, and performances by: > Rodrigo Toscano, Rod Smith, Kaia Sand, Dorothy Trujillo Lusk, Jeff Derksen > SATURDAY 23 August > Morning-Afternoon Session > 11:00 am > Seminar > Seminar leader: Sianne Ngai > Title / theme: "The Zany Science: Post-Fordist Performance and the Problem of Fun" > Respondents: Tyrone Williams, Mark > Wallace, Andrew Klobucar, Rob Fitterman, Stacy Doris, Michael Davidson, > Louis Cabri, Dodie Bellamy > 1:00 pm > Audio feature > Lisa Robertson and Stacy Doris > "The Perfume Recordist" Dinner Break > 3:30 pm (circa) > Evening Session > 7:00 pm > Readings, presentations, and performances by: > Tyrone Williams, Mark Wallace, Catriona Strang, Judy Radul, Laura Elrick > SUNDAY 24 August > Afternoon-Evening Session only > *not* at VIVO, location TBA > 3:00 pm - whenever > closing-day social > > > > > ================================== > The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html > ================================== The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Tue, 29 Jul 2008 00:46:48 -0700 Reply-To: "Poetics List (UPenn, UB)" Sender: "Poetics List (UPenn, UB)" From: Jim Andrews Subject: Re: The "originality" of appropriation vs the mass media "appropriation" of appropriation-originality--NY Times article In-Reply-To: <1dec21ae0807280840l546286a1re43d42cda7c3c7b1@mail.gmail.com> MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit > Jim, > If links were only within one's own text -or within one single text- that > would not be particularly interesting. What makes the concept of hypertext > radical is the joining of multiple authors into a single, meta-text. > > Honestly, it does not matter to me how others may define hypertext. The > ability to link, by itself, is a technical advance. It is in the > concept of > authortship that linkage becomes a conceptual jump. Also, of course, links > may alter our senses of time and space and linear continuity, relating to > the idea of worm holes. But that is a subject to discuss another day. > > Ciao, > Murat very interesting, Murat. my reflections on your post have tended to go in various directions. i think it's true that the act of creating a site or a blog and how it links out to other sites, blogs, and specific texts within those is more significant than we often realize. google and other technologies do not create that web. google merely maps it, as it were, provides a way to navigate it. if one has a site or a blog, it's good to keep the links working, when possible, and to delete them if they're not going to work anymore. tools like Xenu ( http://home.snafu.de/tilman/xenulink.html ) make this manageable; it tells you what links on your site are not working. i use it several times per year and do the work to fix the links on vispo.com that aren't working. sometimes the pages have moved. sometimes they don't exist anymore. one comes to see which of the projects one has linked to have authors that are serious about some sort of long-term committment to what they have created. the definition of hypertext. the literary significance of hypertext. the formal significance of hypertext. the technical significance of hypertext. different but related things. and also in relation to many other things. such as the notion of a network. one may have hypertext without a network, on a single computer. and of course hypertext is in relation to html (hypertext markup language) and http (hypertext transport protocol). and the browsers that read html and negotiate http requests. and hyptertext is also in relation to, say, javascript, a programming language that browsers (and other programs) can execute. here is a "joining of multiple authors into a single, meta-text", Murat: http://vispo.com/StirFryTexts/1.html . You can click the colophon to cycle between the three texts (by Jerome McGann, Joseph Weizenbaum, and Leo Marx) or mouseover the texts to have them intermingle. There are no 'links' here in the conventional sense, but the piece can be conceptualized as involving links, nonetheless. ja http://vispo.com ================================== The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Tue, 29 Jul 2008 16:39:12 -0400 Reply-To: "Poetics List (UPenn, UB)" Sender: "Poetics List (UPenn, UB)" From: CA Conrad Subject: Re: NOTHING BUT SHAME TO STONEWALL! MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 7bit Content-Disposition: inline James, let me say first that your p.s. (or BTW) about Stonewall diminished the importance, as well as the received blow of the night. It was not some silly drag throng screeching at police, it was FIERCE drag queens, transgender folks, AND BUTCH lesbians who took the cops on. Marsha P. Johnson was the first. And upon meeting her shortly before her murder she pointed out to me that she was homeless, living in Tompkins Square Park, and organizing homeless people for Homeless Theater. But my point further is, that NOT only was this RIOT initiated by drag queens and butch lesbians, BUT BY AFRICAN AMERICAN drag queens and butch lesbians. The famous Martin Duberman book STONEWALL has a photograph on the cover which doesn't begin to make clear that STONEWALL was a black gay bar. Point further is that YES these people risked their lives. You think FIGHTING with cops, especially 1969 cops who KNEW JUST HOW sanctioned gay bashing was, was not risking your life? And whether or not we want to discuss HOW BRUTAL that night was, THAT NIGHT led to a revolution, one which I for one am most grateful for! Was Marsha P. Johnson a revolutionary? YOU BET SHE WAS! To the point of gays in the military, how can I make myself any clearer than I already have? My biggest problem (not with you or what you say so much as MY BIGGEST PROBLEM IN GENERAL WITH) with this idea of "equal rights" is that I'm more interested in NOT BEING KILLED or harassed, first and foremost. To sound utterly paranoid, though I do not believe I am, I FIRMLY BELIEVE that Bill Clinton had every intention of bringing queers to the Right of politics by giving focus to the military. I heard with my OWN EARS during his first campaign for the presidency Bill Clinton give a speech in DC at a gay pride function where he told us YES of course you should be allowed to marry and have the same rights, blah blah blah, to which he did nothing. Gays in the military was BENT (so to speak) on making the queer community forego it's radical ends, because the radical ends, such as ACT UP, were bridging to other activist groups, and IF HE COULD GET US TO get on the same page as the military, THEN HE HAD US RIGHT WHERE HE WANTED US. The idea of ASKING to fight FOR a country in battle when that very country's governmental body disallows marriage, disallows work in some states, disallows adoption, etc. etc., is ludicrous! It's like when African Americans were asked to fight in war when they had to drink out of separate water fountains, not vote, sit on the back of the bus. But I say NO to the military. We need to get THE FUCK OUT of Iraq and start making room for ALL AND ANY Iraqi citizen who needs shelter and help HERE in the states! There's no way we can EVER repay the people of that nation for what we have done, and the VERY LEAST we can do is make room for them here. It's impossible for us to imagine what life is like over there. I said this to someone recently, about allowing Iraqis into the states for assistance, and he said, "But our economy is already in shambles!" OUR ECONOMY? THAT'S what we should worry about? NOT helping suffering people whose suffering OUR TAX DOLLARS paid for? I OWN the bullets I paid for by saying we need to help these people! The president has no trouble sleeping at night but I do! Oh, and the so-called Stonewall Diversity Committee is going to hear from me because I'm going to attend a fricken meeting and tell them all to FUCK OFF with their honoring an army guilty of war crimes! That award is a disgrace waiting to be called what it is! And no James, I actually don't think it's separate issues. I'm all for gays being thrown out of the military. Yes, discriminate at will if it means depriving the war machine its fodder! CAConrad http://PhillySound.blogspot.com ================================== The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Tue, 29 Jul 2008 16:47:30 -0400 Reply-To: "Poetics List (UPenn, UB)" Sender: "Poetics List (UPenn, UB)" From: CA Conrad Subject: Re: poems by MINA LOY for the URCHIN series /\///\\/////\\\///////\\\\/////////\\\\\/////////// MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 7bit Content-Disposition: inline Gabrielle, not sure where you live, but YOU, and everyone and ANYONE is welcome to read Mina Loy's poems at the URCHIN reading event in Philadelphia. I'm hoping someone wants to read her manifesto for women's rights. If not I WILL, BECAUSE I LOVE IT! Where she asks IS THIS ALL YOU WANT TO HAVE WHAT MEN HAVE, I ask the same for queers about what heterosexuals have. MINA LOY WILL NOT STOP INSPIRING THE WORLD! Details for the event: http://UrchinPoetry.blogspot.com CAConrad http://PhillySound.blogspot.com ================================== The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Tue, 29 Jul 2008 13:41:28 -0800 Reply-To: "Poetics List (UPenn, UB)" Sender: "Poetics List (UPenn, UB)" From: Jerome Rothenberg Subject: Poems & Poetics: The Blog as Anthology & Manifesto MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable In the two months that I've been using the blog as a medium, I've been = thinking how much it reinforces my need to assemble and anthologize or = to use the anthology as such as a kind of manifesto. The process before = this has occupied much of my energy over the last forty years, but the = difference here is that I can work on my own time and move almost = instantly from private idea to public appearance. I don't know how far = this takes either me or it, and for the moment I don't really care - the = great pleasure coming in the act itself. I also welcome the chance to = honor poets who have been close to me and to preview - for myself and = anyone who watches - work in its slow progression to publication in = paper or book form (or work, for that matter, that will never find any = other format). I assume that this matches the experience of others = working in this medium. =20 The following anyway are the last ten entries on the blog, = poemsandpoetics.blogspot.com, and will be followed in the nesxt couple = of weeks by further previews from Poems for the Millennium, volume 3, = and by contributions from Pierre Joris and Charles Bernstein, among = others: =20 From The Medusa Interview: Anthologies, Modernism, & Postmodernism =20 Ian Tyson's "17 Horse Songs X-XIII" with a Note on Ian Tyson... =20 Reconfiguring Romanticism (6): Poe's Eureka, with commentary, for Hanon = Reznikov=20 =20 Rae Armantrout, BABEL, a Poem & a Comment, plus an excerpt from = Collected Prose=20 =20 A Note and Poem (Bless=E8d Terror) for Jean Pierre Faye and "Change"=20 =20 Reconfiguring Romanticism (5): Dionysios Solomos Poem & Commentary..=20 =20 Clayton Eshleman: The Left Foot of King Ramesses I, with a note on = Clayton Eshleman=20 =20 Gematria (1): Seven Poems in Dedication=20 Reconfiguring Romanticism (4): Hugo & Dickinson=20 =20 That Dada Strain Continued: Three from Tristan Tzara, with a Note on = Tristan Tzara Jerome Rothenberg "Language is Delphi." 1026 San Abella Drive --Novalis Encinitas, CA 92024 jrothenberg at cox.net =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Tue, 29 Jul 2008 00:19:18 -0400 Reply-To: "Poetics List (UPenn, UB)" Sender: "Poetics List (UPenn, UB)" From: Alan Sondheim Subject: Trails MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII; format=flowed surely this qualifies as poetics... Trails I can see if someone has come into the exhibition space in Second Life; they leave a trail behind them, objects and spews that slowly disappear - in the meantime, the space is oddly denuded. I want to explain why the space looks like an acid trip, why it's so crowded, so preposterous. And the reason has to do with anti-art, or non-art, making something that construes an environment instead of presenting an object or installation for contemplation. The objects in the SL exhibition have depth; they're not pieces or scatter pieces or process work - they're environment, an environmental space close to useless, replete, fecund. What appears to be actions are trajectories, complex interactive fields that mimic sentience. Objects and spews head toward the depths; Julu is down there among them, moving in and out of the way, looking for the teleport sphere to return her to the surface. The teleport sphere is a phallic object, contained, curtailed; it is the only sculpture in the neighborhood. http://www.alansondheim.org/inthepit.mp4 Think of the space, spacings, as an ensemble of interrelated ecological niches; there are local customs, nestings, vectors, behaviors and behavior collisions. The space is utterly transformed through participatory move- ment that environmental resonates. It's only this way that complex and alien phenomenologies assert them- selves - there's no piece or artwork presenting one or another problema- tic, only a skein or membrane simultaneously tending towards thought and its absence. ================================== The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Wed, 23 Jul 2008 12:47:43 -0400 Reply-To: "Poetics List (UPenn, UB)" Sender: "Poetics List (UPenn, UB)" From: Cheryl Pallant Subject: poets in S. Korea MIME-Version: 1.0 Content-Transfer-Encoding: quoted-printable Content-Type: text/plain; charset="iso-8859-1" Does anyone know of any poets in S. Korea? I'll be teaching for the year = at Keimyung University in Daegu, 200 miles south of Seoul. I'd love to = meet some poetry kin. Cheryl Pallant ____________________ www.cherylpallant.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 The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Mon, 28 Jul 2008 19:04:37 +0000 Reply-To: "Poetics List (UPenn, UB)" Sender: "Poetics List (UPenn, UB)" From: AWAREing Press Subject: Re: NOTHING BUT SHAME TO STONEWALL! In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain Content-Transfer-Encoding: quoted-printable CAConrad, it's evident to me that your concern is over the war, and not the= basic human rights of anyone who wishes to fight for or against the war, e= ither from within the military or from outside its ranks. Gays and bis can = kill people as easily as straights can kill people. (Is accidentally or int= entionally infecting someone with HIV a murder, or a mistake, or a write-of= f? Sex is dangerous too...) But I digress...=20 Did the KKK disband? I'm not sure. But there are plenty of minorities who g= ravitate toward things that can harm them. For example, any queers who belo= ng to the Log Cabin Republicans may at first seem to be doing a disservice = to homosexuals by actively participating in a party that continues to ban = gay marriage and condone bigotry and discrimination in lieu of adopting an = egalitarian stance regarding sexual preferences and sexual acts. Yet, the p= eople who join that faction have some vested interest in and attraction to = the (perhaps oxymoronic) tenet that it tries to uphold.=20 Same thing with those who delight in joining the military. By banning a gro= up--any group--from enlisting, we are promoting prejudice and therefore sen= ding signals that anyone who identifies as a part of that group is unworthy= , unlikeable, unfit, and less than human... It seems only fair that if a bi= sexual or homosexual person wishes to bear arms and engage in battle as san= ctioned by the United States or any other country, then they should be allo= wed to enlist. Is a guy who chooses to breed a better fighter than one who = lusts after his own sex? That is the argument brewing. To that, we need to = say: "No, a person's sexual appetite has no bearing on how good of a soldie= r he is." (Otherwise, we'd amass an army of man-hating lesbians to fight an= all male "enermy" army.) Police officers, too, fall into this dilemma. Any= profession, actually, can be reduced to whether or not a man will fuck or = fight an enemy of the same, or opposite, sex... A homo on Wall Street? no w= ay! he'd want to take the competition to bed! etc. On the flip side, your "FUCK THE BRITISH ARMY" does have historical merit, = as immigrants to what became the United States said much the same thing bef= ore the country got its footing. Our ancestors' guerilla tactics and snipin= g at the red coats, and throwing all that tea into the Atlantic, was an ine= vitability after the Mayflower folk and others expatriated in droves to the= "unsettled land". (Ignorning, of course, the fact that there were millions= of people already living here.) Yes, it's too bad that war and hostility e= xist. But to berate a law intended to dismiss an egregious human rights err= or seems more like misplaced anger than productive action.=20=20=20 James BTW: From what I know about the Stonewall riot, it consisted of a few drag = queens throwing pumps at police after the legendary Judy Garland passed out= and died in a pool of drug and alcohol-induced puke. Nobody "risked their = lives" to continue with the drag show and the cocktail banter.=20 -------------- Original message from CA Conrad : ----= ----------=20 > James, I guess if queers want to join the KKK they should be allowed?=20 >=20 > We are a country at war, let us NOT forget. OVER A MILLION DEAD AND=20 > COUNTING.=20 >=20 > The military machine is NOT something I will ever get behind, ever! Becau= se=20 > of who WE ARE, and who the British are (they helped us invade Iraq), ther= e=20 > is NO WAY to negotiate being in favor of gays in the military without ALS= O=20 > being in favor of the military.=20 >=20 > Not too long ago the documentary/news(?) episodes of IN THE LIFE intervie= wed=20 > a queer man who joined the military after 911. He was outraged by what ha= d=20 > happened, of course, as we all were. BUT, where does he wind up when they= =20 > ship his DUMB gay ass out? IRAQ! And he NEVER, not once does he EVER=20 > QUESTION why he is in Iraq. His ENTIRE purpose (according to his own=20 > opening statement) was to go after the people who were responsible for 91= 1.=20 > THEN OF COURSE he's discovered as being QUEER and sent home, which was th= e=20 > purpose of interviewing him. We were supposed to FEEL TERRIBLE for him.= =20 > Boo hoo, poor guy, he doesn't get to carry a machine gun and prove he's a= =20 > REAL man!=20 >=20 > Getting to put a rainbow sticker on a machine gun is what this is all=20 > about. GAY PRIDE IN KILLING!?=20 >=20 > YES THIS IS TIME TO TAKE A STAND! How many people have you known who HOLD= =20 > THE GERMAN CITIZENS responsible for Nazi atrocities? We are already as=20 > complicit in the eyes of the world.=20 >=20 > The original people who risked their lives at the Stonewall riots were AL= SO=20 > VEHEMENTLY opposed to the war in Vietnam. Marsha P. Johnson is someone I= =20 > met in person, and I can tell you right now that she was NOT SOMEONE who= =20 > would be in favor of giving the LOVE up to the British Army!=20 >=20 > Gays in the military is NOT a civil rights issue! THERE'S NOTHING CIVIL= =20 > ABOUT INVADING, KILLING, TERRORIZING, MAIMING, MAKING ORPHANS, ETC., ETC.= ,=20 > ETC.!=20 >=20 > YES IT IS TIME TO TAKE A STAND AND SPEAK UP, REGARDLESS OF HOW IT MAY SOU= ND!=20 >=20 > QUEERS SHOULD NOT BE ALLOWED IN THE ARMED SERVICES BECAUSE OUR ARMED=20 > SERVICES HAVE PROVEN TO BE DANGEROUS, AND RESPONSIBLE FOR WAR CRIMES!=20 >=20 > We're supposed to be GRATEFUL that the British Army has "accepted" queers= ?=20 > Well I DON'T ACCEPT THE BRITISH ARMY! FUCK THE BRITISH ARMY!=20 >=20 > NO QUEERS ALLOWED! Anyone, and I mean ANYONE we can prevent from joining = an=20 > army like our army and the British army should be prevented! NO FAGS OR= =20 > DYKES ALLOWED IN UNIFORM! KICK THEM ALL OUT! SEND THEM HOME!=20 >=20 > CAConrad=20 > http://PhillySound.blogspot.com=20 >=20 > =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D= =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=20 > The Poetics List is moderated & does not accept all posts. Check guidelin= es &=20 > sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html=20 =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Wed, 30 Jul 2008 07:07:33 +0800 Reply-To: "Poetics List (UPenn, UB)" Sender: "Poetics List (UPenn, UB)" From: andrew burke Subject: Re: poets in S. Korea In-Reply-To: <007b01c8ece3$d4e83c20$0250a68d@dakini> MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 7bit Content-Disposition: inline Good luck, Cheryl. I've taught in China and it is a rich experience. I would suggest two things: keep a blog going of photos and notes and messages to 'the outside world' while you are there, and a daily journal, either handwritten or computerised. Throw in everything you can - the simplest things in such a change of environment are quickly accepted, so you should capture their novelty in the first place. I am certain others who have done like trips would say the same. Andrew 2008/7/24 Cheryl Pallant > Does anyone know of any poets in S. Korea? I'll be teaching for the year at > Keimyung University in Daegu, 200 miles south of Seoul. I'd love to meet > some poetry kin. > > > Cheryl Pallant > ____________________ > www.cherylpallant.com > > ================================== > The Poetics List is moderated & does not accept all posts. Check guidelines > & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html > -- Andrew http://hispirits.blogspot.com/ http://www.flickr.com/photos/aburke/ ================================== The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Tue, 29 Jul 2008 18:22:18 -0500 Reply-To: "Poetics List (UPenn, UB)" Sender: "Poetics List (UPenn, UB)" From: mIEKAL aND Subject: Re: poems by MINA LOY for the URCHIN series /\///\\/////\\\///////\\\\/////////\\\\\/////////// In-Reply-To: Mime-Version: 1.0 (Apple Message framework v926) Content-Type: text/plain; charset=WINDOWS-1252; format=flowed; delsp=yes Content-Transfer-Encoding: quoted-printable Onyx-eyed Odalisques and ornithologists observe the flight of Eros =20 obsolete And =93Immortality=94 mildews...in the museums of the moon =96Mina Loy= =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Tue, 29 Jul 2008 20:30:38 -0400 Reply-To: "Poetics List (UPenn, UB)" Sender: "Poetics List (UPenn, UB)" From: Aryanil Mukherjee Subject: Re: John Ashbery's Created Spaces In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; format=flowed; charset="iso-8859-1"; reply-type=original Content-Transfer-Encoding: 7bit Thank you for sending this to the group. Its a fascinating issue ! ----- Original Message ----- From: "Joel Weishaus" To: Sent: Monday, July 28, 2008 1:29 PM Subject: Fw: John Ashbery's Created Spaces 50th Issue Celebration ----- Original Message ----- From: Rain Taxi Announcements To: weishaus@pdx.edu Sent: Monday, July 28, 2008 8:56 AM Subject: John Ashbery's Created Spaces Rain Taxi is extremely pleased to announce the publication of "A Dream of this Room: A Portfolio of Works on John Ashbery's Textual and Domestic Environments," now available at www.raintaxi.com. Edited by Micaela Morrissette, this "Created Spaces" collection features a variety of writers and artists exploring Ashbery's unique poetics of domestic space-the result is a critical gathering not to be missed. Spread the word! And stay tuned for Part Two of our Summer Online Edition, posting in August... ALSO: for those who live in the Twin Cities area or might be visiting this summer, please join us for our 50th Issue Celebration on August 20th! Click here for details! ................................................................ Rain Taxi abhors spam and sends email only to those who have asked to receive it. You are subscribed with the address weishaus@pdx.edu. If you would like to add another email to our list and/or unsubscribe, visit http://www.raintaxi.com/contact.shtml. Please do not reply to this email, as this email address is send-only. ================================== The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html -- No virus found in this incoming message. Checked by AVG. Version: 7.5.526 / Virus Database: 270.5.6/1577 - Release Date: 7/28/2008 6:55 AM ================================== The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Tue, 29 Jul 2008 18:04:21 -0700 Reply-To: damnthecaesars@yahoo.com Sender: "Poetics List (UPenn, UB)" From: richard owens Subject: Re: poets in S. Korea In-Reply-To: <007b01c8ece3$d4e83c20$0250a68d@dakini> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii CHERYL: Brother Anthony, a member of the Catholic order of Taize, lives in Seoul & is quite generous re introducing people to Korean poetry and poets. you can contact him through his website, which is itself an _amazing_ resource for Korean poetry: http://hompi.sogang.ac.kr/anthony/ also, poet Kevin Thurston is preparing to move to Korea. you can contact him through his blog: http://fuckinglies.blogspot.com Kevin also pointed out to me that Francis at Redfox Press, although he was previously located in Ireland, is now located in Seoul. he's an _excellent_ book artist. his blog: http://franticham.blogspot.com/ Taegu is a wonderful city, tho I'm not familiar with any poets currently living there. the train ride from Taegu to Seoul however is about 2.5 hrs -- & every train has a vendor that sells beer, which makes the an incredibly scenic ride _much_ more pleasant! best ... rich ... ........richard owens 810 richmond ave buffalo NY 14222-1167 damn the caesars, the journal damn the caesars, the blog --- On Wed, 7/23/08, Cheryl Pallant wrote: From: Cheryl Pallant Subject: poets in S. Korea To: POETICS@LISTSERV.BUFFALO.EDU Date: Wednesday, July 23, 2008, 12:47 PM Does anyone know of any poets in S. Korea? I'll be teaching for the year at Keimyung University in Daegu, 200 miles south of Seoul. I'd love to meet some poetry kin. Cheryl Pallant ____________________ www.cherylpallant.com ================================== The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ================================== The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Tue, 29 Jul 2008 20:00:20 -0600 Reply-To: "Poetics List (UPenn, UB)" Sender: "Poetics List (UPenn, UB)" From: Scott Howard Subject: Denver Events, August: Reconfigurations Party & Readings @ Dikeou Collection; 8/8 MIME-Version: 1.0 Content-Type: text/plain; charset=windows-1252 Content-Disposition: inline Content-Transfer-Encoding: quoted-printable poetry at dikeou http=3A//www=2Edikeoucollection=2Eorg/ friday august 8 7pm=3A RECONFIGURATIONS=2C readings=2C discussion=2C journal trading and= release party for Volume One=2C http=3A//reconfigurations=2Eblogspot=2E= com/ RECONFIGURATIONS=3A A Journal for Poetics =26 Poetry / Literature =26 Cu= lture is celebrating their first year of production=2E Volume One was p= ublished in November=2C 2007=2E The editors are currently accepting wor= k for Volume Two=2E Submission period runs through the end of August=2E= RECONFIGURATIONS invites attendees to read selections aloud from Volume = One at this event=2E Personal laptops for direct access encouraged=2C b= ut not necessary=2E Please bring journals=2C lit magazines and books yo= u=92d like to exchange with others=2C as well=2E RECONFIGURATIONS is an electronic=2C peer-reviewed=2C international=2C a= nnual journal for poetics and poetry=2C creative and scholarly writing=2C= innovative and traditional concerns with literary arts and cultural stu= dies=2E RECONFIGURATIONS publishes in November and is registered under = a Creative Commons 3=2E0 License=2E RECONFIGURATIONS is an open-access=2C= independently managed journal=2E ISSN forthcoming=2E The Dikeou Collection is located in the Colorado Building=2C 1615 Califo= rnia St=2C at 16th St=2C Suite 515=2C Denver=2C CO 80202=2E Free and op= en to the public Wednesday-Friday 11-5pm or by appointment=2E For more = info contact 303-623-3001 or info=40dikeoucollection=2Eorg For more info about poetry events contact Rachel Cole=2C rachel=40dikeou= collection=2Eorg /// =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Tue, 29 Jul 2008 23:19:09 -0400 Reply-To: "Poetics List (UPenn, UB)" Sender: "Poetics List (UPenn, UB)" From: Tisa Bryant Subject: Bench of Memory at Slavery's Gateway Mime-Version: 1.0 (Apple Message framework v926) Content-Type: text/plain; charset=WINDOWS-1252; format=flowed; delsp=yes Content-Transfer-Encoding: quoted-printable Bench of Memory at Slavery=92s Gateway By FELICIA R. LEE SULLIVAN=92S ISLAND, S.C. =97 Toni Morrison has said that her acclaimed =20= novel =93Beloved,=94 which features the ghost of a baby killed by her =20= enslaved black mother, came out of the need for a literature to =20 commemorate slaves and their history. =93There is no suitable memorial, =20= or plaque, or wreath or wall, or park or skyscraper lobby,=94 Ms. =20 Morrison said in a 1989 magazine interview. =93There=92s no 300-foot =20 tower, there=92s no small bench by the road.=94 This weekend, on Sullivan=92s Island, off the South Carolina coast, Ms. =20= Morrison, the Nobel laureate, and some 300 people held a memorial =20 ceremony to dedicate her long-awaited =93bench by the road.=94 The crowd = =20 included members of the Toni Morrison Society, National Park Service =20 rangers, Ms. Morrison=92s friends and family, and people from Charleston = =20 and nearby areas. They gathered Saturday afternoon under a blazing =20 sun, accompanied by the rhythms of African drums, for a service that =20 included the pouring of libations and a daisy wreath cast into the =20 water to remember their ancestors. =93It=92s never too late to honor the dead,=94 said Ms. Morrison, 77, = the =20 author of eight novels, as she sat down on the 6-foot-long, 26-inch-=20 deep black steel bench facing the Intracoastal Waterway. =93It=92s never = =20 too late to applaud the living who do them honor,=94 she said. =93This = is =20 extremely moving to me.=94 Sullivan=92s Island, home to Fort Moultrie, was a point of entry into =20= North America for about 40 percent of the millions of Africans who =20 were enslaved in this country. Carlin Timmons, a park ranger, said =20 that all the estimates were rough, but that historians believe 12 =20 million to 15 million Africans came to the Americas and the Caribbean. =20= Of those 4 to 10 percent were brought to North America. The bench was secured by the National Park Service, which laid the =20 foundation that included a bronze plaque explaining its significance. =20= It was the first entry in the =93Bench by the Road=94 project, created = by =20 the Toni Morrison Society, a nonprofit group of scholars and readers =20 dedicated to examining Ms. Morrison=92s work. The society, which was =20 also holding a conference in nearby Charleston, plans in the next five =20= years to call on individuals, corporations and community groups to =20 help them place benches at 10 sites. The spots under consideration have significance in Ms. Morrison=92s =20 novels and in black history. They include Fifth Avenue in Harlem, =20 where the Silent Parade protesting the East St. Louis, Ill., riots was =20= held in 1917 (featured in the novel =93Jazz=94) and the site of Emmett =20= Till=92s 1955 murder in Mississippi, which helped galvanize the civil =20= rights movement. =93We have come back to the place we started from,=94 Carolyn C. Denard, = a =20 founder and the board chairwoman of the Toni Morrison Society, told =20 the audience sitting under a big white tent, some furiously fanning =20 themselves. Dr. Denard, a dean at Brown University, said groups like =20 the Carolina Committee on Remembrance helped with the project. At its founding in 1993 the society adopted as its motto =93a bench by =20= the road,=94 based on Ms. Morrison=92s comments in the 1989 article in =20= World, the magazine of the Unitarian Universalist Association. On =20 Saturday part of that interview was read, along with a passage from =20 =93Beloved,=94 which calls on black people to love one another in the = face =20 of oppression and brutality. =93When I wrote those words that they read, I was just reminiscing about = =20 the necessity for literature, the necessity for African-Americans to =20 make their own art in their own words,=94 Ms. Morrison said in an =20 interview after the ceremony. One of her favorite sites for a bench would be in Oberlin, Ohio, a =20 stop on the Underground Railroad near her hometown of Lorain, she =20 said. While a number of museums dedicated to black history have sprung =20= up around the country since 1989, as well as much new scholarship =20 about black history Ms. Morrison said she liked the idea of an =20 =93unpretentious=94 bench for its simplicity and accessibility. =93Well, the bench is welcoming, open,=94 she said. =93You can be = illiterate =20 and sit on the bench, you can be a wanderer or you can be on a search.=94 And that search is for anyone, not just black people, she added. If =20 anything, with all the talk about race in this year of Senator Barack =20= Obama=92s historic candidacy, Ms. Morrison said, she would like to see =20= white people hold a conversation among themselves about the legacy of =20= slavery. =93African-Americans don=92t own slavery,=94 Ms. Morrison said. =93It=92s = not a =20 brand because there were slave masters and there were abolitionists =20 and there were other people who died to see to it that justice was =20 done.=94 But before there is reconciliation or healing, there needs to be a =20 better acknowledgment of the past, said many of the participants in =20 Saturday=92s ceremony and the society=92s conference. That meeting=92s = theme =20 was =93Modernism,=94 with scholarly sessions like =93 =91Tar Baby=92 and = Global =20 Capitalism=94 and =93A Modernist Look at Milkman and Hagar in Morrison=92s= =20 =91Song of Solomon.=92 =94 Thomalind Polite, a 34-year-old speech therapist from Charleston who =20 helped Ms. Morrison throw the wreath into the water, said she came to =20= honor her seventh-generation ancestor Mrs. Polite=92s distant relative, =20= whose name was Priscilla, was 10 when she was stolen from Sierra Leone =20= in 1756 and brought to Sullivan=92s Island, Mrs. Polite said. She wiped =20= away a tear as she held the hand of her 6-year-old daughter, Faith. =93I feel like a circle closed,=94 Mrs. Polite said of the ceremony to =20= honor Priscilla and the mostly nameless, faceless people who came to =20 the island, surviving the Middle Passage, the brutal trans-Atlantic =20 journey from West Africa. =93She=92s finally getting the honor she =20 deserves.=94 By next summer an exhibition on the African presence is planned for =20 the visitors=92 center in Fort Moultrie, said Michael Allen, an =20 education specialist with the National Park Service. He noted that the =20= first plaque commemorating Africans like Priscilla was placed in 1999, =20= the money raised by, among others, graduates of black high schools in =20= Charleston. Mr. Allen spoke to the audience about the lives of those Africans. =20 They were quarantined in so-called =93pest houses=94 on Sullivan=92s = Island =20 =97 long torn down =97 before they were sold into slavery. Many in the =20= crowd wept as they read the plaque on the ground, which says that the =20= bench honors the memory of enslaved Africans who arrived on Sullivan=92s = =20 Island and of those who died during the Middle Passage. It concludes, =20= =93Nearly half of all African-Americans have ancestors who passed =20 through Sullivan=92s Island.=94 On Friday night Ms. Morrison treated conference attendees to a reading =20= from her ninth novel, =93A Mercy,=94 to be published in November by = Alfred =20 A. Knopf. In the late 17th century a slave mother has given up her =20 daughter Florens to an Anglo-Dutch trader as partial payment for a =20 debt from a Maryland plantation owner. Ms. Morrison said in the interview that the novel was her chance to =20 uncouple notions about race from the experience of slavery. Many white =20= indentured servants had an experience that was not so different from =20 that of the enslaved Africans, she said. =93There is a certain history that the historians know about and =20 artists, I think, know less about,=94 Ms. Morrison said. =93There is no topic on anybody=92s table which does not involve black =20= people,=94 she continued, mentioning education and health care. =93And =20= when that disappears in time, then they have to do what they have been =20= avoiding, which is talk about poor people.=94 _______________________________________________ Art is the accomplice of love. _______________________________________________ =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Wed, 30 Jul 2008 03:50:34 -0400 Reply-To: mtcross@buffalo.edu Sender: "Poetics List (UPenn, UB)" From: Michael T Cross Subject: Michael Cross and Rob Halpern: San Francisco reading, 8/2/08 Content-Disposition: inline Content-Transfer-Encoding: quoted-printable Content-Type: text/plain; charset="iso-8859-1" MIME-Version: 1.0 Dear friends, Please join me and Tanya Hollis on Saturday, August 2nd, at our apartment i= n SF's Mission=20 District, as we host a reading by Michael Cross and Rob Halpern. Michael is= in town for an all-too- rare visit from Seattle, and Rob is celebrating the publication of his new = chapbook, Imaginary=20 Politics, from Taproot Editions.There will be a reception beginning at 7pm,= with the readings to=20 begin at 8. Please email if you need directions to my place, and please fee= l free to forward this=20 announcement far and wide. Best regards, Taylor Brady MICHAEL CROSS is the author of In Felt Treeling, forthcoming from Chax Pres= s. During his time in=20 Oakland, he edited the anthology Involuntary Visions: After Akira Kurosawa'= s Dreams. He is=20 currently the editor and publisher of atticus/finch books, and with Kyle Sc= hlesinger and Thom=20 Donovan co-edits the forthcoming journal ON. Michael is a doctoral candidat= e in the Poetics=20 Program at SUNY Buffalo. He lives in Seattle. ROB HALPERN is the author of Rumored Place, Disaster Suite, and in collabor= ation with Taylor=20 Brady, Snow Sensitive Skin. His new chapbook, just out from Taproot Edition= s, is Imaginary=20 Politics. Forthcoming in the next year are Music for Porn (from Factory Sch= ool) and Disaster=20 Lyrics (from Palm Press). He is active in the Nonsite Collective (www.nonsi= tecollective.org), and=20 is working with Kathleen Fraser to edit the poems of the late Frances Jaffe= r. Recent scholarship=20 has included publications and presentations on George Oppen, Georges Perec,= and the social body of=20 editorship, critique and contestation in experimental poetry and narrative = during the 1970s in San=20 Francisco. =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Wed, 30 Jul 2008 06:30:34 -0400 Reply-To: "Poetics List (UPenn, UB)" Sender: "Poetics List (UPenn, UB)" From: Murat Nemet-Nejat Subject: Re: The "originality" of appropriation vs the mass media "appropriation" of appropriation-originality--NY Times article In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 7bit Content-Disposition: inline Jim, Thank you for the lead. Murat On Tue, Jul 29, 2008 at 3:46 AM, Jim Andrews wrote: > > Jim, > > If links were only within one's own text -or within one single text- that > > would not be particularly interesting. What makes the concept of > hypertext > > radical is the joining of multiple authors into a single, meta-text. > > > > Honestly, it does not matter to me how others may define hypertext. The > > ability to link, by itself, is a technical advance. It is in the > > concept of > > authortship that linkage becomes a conceptual jump. Also, of course, > links > > may alter our senses of time and space and linear continuity, relating to > > the idea of worm holes. But that is a subject to discuss another day. > > > > Ciao, > > Murat > > > very interesting, Murat. my reflections on your post have tended to go in > various directions. > > i think it's true that the act of creating a site or a blog and how it > links > out to other sites, blogs, and specific texts within those is more > significant than we often realize. google and other technologies do not > create that web. google merely maps it, as it were, provides a way to > navigate it. if one has a site or a blog, it's good to keep the links > working, when possible, and to delete them if they're not going to work > anymore. tools like Xenu ( http://home.snafu.de/tilman/xenulink.html ) > make > this manageable; it tells you what links on your site are not working. i > use > it several times per year and do the work to fix the links on vispo.comthat > aren't working. sometimes the pages have moved. sometimes they don't exist > anymore. one comes to see which of the projects one has linked to have > authors that are serious about some sort of long-term committment to what > they have created. > > the definition of hypertext. the literary significance of hypertext. the > formal significance of hypertext. the technical significance of hypertext. > different but related things. and also in relation to many other things. > such as the notion of a network. one may have hypertext without a network, > on a single computer. and of course hypertext is in relation to html > (hypertext markup language) and http (hypertext transport protocol). and > the > browsers that read html and negotiate http requests. > > and hyptertext is also in relation to, say, javascript, a programming > language that browsers (and other programs) can execute. > > here is a "joining of multiple authors into a single, meta-text", Murat: > http://vispo.com/StirFryTexts/1.html . You can click the colophon to cycle > between the three texts (by Jerome McGann, Joseph Weizenbaum, and Leo Marx) > or mouseover the texts to have them intermingle. There are no 'links' here > in the conventional sense, but the piece can be conceptualized as involving > links, nonetheless. > > ja > http://vispo.com > > ================================== > The Poetics List is moderated & does not accept all posts. Check guidelines > & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html > ================================== The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Wed, 30 Jul 2008 11:05:56 -0400 Reply-To: "Poetics List (UPenn, UB)" Sender: "Poetics List (UPenn, UB)" From: Anna Vitale Subject: Re: poetry and archives? MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 7bit Content-Disposition: inline Susan Howe's Pierce-Arrow ================================== The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Wed, 30 Jul 2008 11:51:06 -0400 Reply-To: "Poetics List (UPenn, UB)" Sender: "Poetics List (UPenn, UB)" From: Ian Randall Wilson Subject: Video Project - I Need Your Help In-Reply-To: MIME-Version: 1.0 Content-Transfer-Encoding: 7bit Content-Type: text/plain; charset="us-ascii" I'm doing a video project where actors will say a line on camera about why they read. ? It would great if list members could give me their one line reason why they read, concurrent with permission to use the line in my project.? There won't be any explicit credit for your contribution and the only consideration will be my gratitude for the assistance. ? Ian Wilson ? ================================== The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Wed, 30 Jul 2008 01:04:27 -0400 Reply-To: "Poetics List (UPenn, UB)" Sender: "Poetics List (UPenn, UB)" From: Alan Sondheim Subject: Yamantaka MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII; format=flowed To access the Odyssey exhibition The Accidental Artist: http://slurl.com/secondlife/Odyssey/48/12/22 Yamantaka http://www.alansondheim.org/ yamantaka series - yam jpgs, yamantak.mp4 Compression's terrible. Emptiness lasts thirty seconds, up from twenty; I'm not sure how many meters define the zone of influence. The stills indicate the layout. This is a plateau of sorts. There's nothing beyond this, only another direction. In the full video, Julu touches the sphere, heads beneath the water. There she searches, finds another sphere, rises once again to the surface or ground floor of the exhibition. What's in the basement is debris from movement, i.e. debris tracking Julu's movement on the surface or beneath the surface. What's above is the absence of debris tracking Julu's movement on the surface or beneath the surface. There's no way to adequately compress the enormous detail involved in the exhibition. You can move or fly through the exhibition, experience emptiness, clarity, in untoward terms. You can forget the terms. You can do all sorts of things but you can do better than this. ================================== The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Wed, 30 Jul 2008 12:18:32 -0400 Reply-To: "Poetics List (UPenn, UB)" Sender: "Poetics List (UPenn, UB)" From: Kyle Schlesinger Subject: Ted Greenwald's 3 back at SPD Mime-version: 1.0 Content-type: text/plain; charset="ISO-8859-1" Content-transfer-encoding: quoted-printable Apologies to anyone who tried to order Ted Greenwald=B9s new book 3 from Smal= l Press Distribution a few weeks ago. They sold out almost instantly, but mor= e hardcover and paperbacks are now in stock. Poet Ron Padgett writes: =B3Ted Greenwald's 3 takes the mind in at least thre= e different directions simultaneously, in hardboiled, richly detailed, well-made poems whose giddy wordplay, pantoum-like interweavings, and nimbl= e jumpcuts create a sort of 21st-century Poet in New York. An inspired challenge and a delight.=B2 =20 Filmmaker Nathanial Dorsky writes: =B3Within this selection of three works, w= e come upon the most unusual, if not revolutionary moment in the universe called Ted Greenwald. Suddenly the risk of self as such takes place. Though his poetry always bares the honest song of a fragmented accumulation, the float of our existence, here Ted reveals an exposition of tender, romantic suchness amidst rhythmic refrains classically structured and filled with sunlight and place, the vulnerable underbelly of his Arcadian being is unveiled.=B2 =20 While poet Tom Raworth reminds us to "Just read the fucking book." =20 And Charles Bernstein wrote on his blog (07.24.08) =B33 brings together three structurally related long poems, featuring Greenwald=B9s characteristic vernacular insistence: =8CGoing into School that Day=B9 (1986), =8CAnyway=B9 (2001)= , and =8CDawn On=B9 (2002). =B3Going into School that Day,=B2 a love poem, alternates between twenty-five sonnets and twenty-five quatrains in which every line but the sixth appears twice (A B C A / C E A B). =8CAnyway=B9 consists of 33 double tercets, each line having mostly two but occasionally three phrases, with two to four phrases from the first tercet repeated in the second. The syntactically denser final poem, =8CDawn On,=B9 is 1521 lines; it=B9s the closest Greenwald comes to a poem like Zukofsky=B9s =B3A=B2-23 (though Greenwald style is much looser). =8CDawn On=B9 repeats only sporadic phrases or word pairs, in unexpected sequences; but the overall effect, as with the other poems in th= e trilogy, is a modular static/dynamic line structure, in which lines delink from their linear order to create a moir=E9-like effect, something Greenwald has called =8Cjumping the line.=B9=B2 The cover was designed by typographic aficionado Rich Kegler of P22 http://www.p22.com/ Distributed by Small Press Distribution http://spdbooks.org/ or direct from Cuneiform Press via PayPal at www.cuneiformpress.com Thanks! Kyle http://cuneiformpress.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 The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Wed, 30 Jul 2008 01:07:05 +0100 Reply-To: "Poetics List (UPenn, UB)" Sender: "Poetics List (UPenn, UB)" From: Geraldine Monk Subject: Am I here? MIME-Version: 1.0 Content-Type: text/plain; format=flowed; charset="iso-8859-1"; reply-type=original Content-Transfer-Encoding: 7bit If so hello. If not - not. And so it always was but not always maybe, With guarded hope, Geraldine ================================== The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Wed, 30 Jul 2008 14:50:05 -0700 Reply-To: amyhappens@yahoo.com Sender: "Poetics List (UPenn, UB)" From: amy king Subject: Invitation To Participate in Poems, Poets, Love! A HOWL Festival Event (from Nathaniel Siegel) Comments: To: "NewPoetry: Contemporary Poetry News & Views" MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-7 Content-Transfer-Encoding: quoted-printable =20 poems ! poets !! LOVE !!! =A0 On Monday Sept 8th 2008 a HOWL ! Festival event: Nathaniel Siegel hosts an Open Reading From 12noon to 6pm At The Bowery Poetry Club 308 Bowery New York 10012 Phone 1 212 614 0505 www.bowerypoetry.com =A0 You are invited to read ! Here=A2s how to participate: RSVP via email to nathanielsiegel@nyc.rr.com with your name, the title of the poem you plan on reading & or the name of the poet whose work you will be reading=20 & the time you would like to be signed up for. =A0 poems ! poets !! LOVE !!! is FREE and Open to the Public ! =A0 The HOWL ! Festival=A0 www.howlfestival.com =A0 _______ Recent http://www.tarpaulinsky.com/Reviews/kiss-me.html http://jacketmagazine.com/34/dickow-king.shtml Alias http://www.amyking.org Your Suggestions http://amyking.wordpress.com/2008/06/12/poetry-exercises-wanted/=0A=0A=0A = =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Wed, 30 Jul 2008 14:54:20 -0700 Reply-To: amyhappens@yahoo.com Sender: "Poetics List (UPenn, UB)" From: amy king Subject: Invitation To Participate in Poems, Poets, Love! A HOWL Festival Event (from Nathaniel Siegel) MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-7 Content-Transfer-Encoding: quoted-printable poems ! poets !! LOVE !!!=20 =A0=20 On Monday Sept 8th 2008 a HOWL ! Festival event:=20 Nathaniel Siegel hosts an Open Reading=20 From 12noon to 6pm=20 At The Bowery Poetry Club=20 308 Bowery New York 10012=20 Phone 1 212 614 0505=20 www.bowerypoetry.com=20 =A0=20 You are invited to read !=20 Here=A2s how to participate:=20 RSVP via email to=20 nathanielsiegel@nyc.rr.com=20 with your name, the title of the poem you plan on reading & or=20 the name of the poet whose work you will be reading =20 & the time you would like to be signed up for.=20 =A0=20 poems ! poets !! LOVE !!! is FREE and Open to the Public !=20 =A0=20 The HOWL ! Festival=A0 www.howlfestival.com _______ Recent http://www.tarpaulinsky.com/Reviews/kiss-me.html http://jacketmagazine.com/34/dickow-king.shtml Alias http://www.amyking.org Your Suggestions http://amyking.wordpress.com/2008/06/12/poetry-exercises-wanted/=0A=0A=0A = =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Wed, 30 Jul 2008 14:48:59 -0700 Reply-To: "Poetics List (UPenn, UB)" Sender: "Poetics List (UPenn, UB)" From: Barry Schwabsky Subject: Re: Am I here? MIME-Version: 1.0 Content-Type: text/plain; charset=utf-8 Content-Transfer-Encoding: quoted-printable ----- Origi= I hope you are here, Geraldine Monk, admirable poet.=0A=0A=0A=0A----- Origi= nal Message ----=0AFrom: Geraldine Monk =0ATo: PO= ETICS@LISTSERV.BUFFALO.EDU=0ASent: Wednesday, 30 July, 2008 1:07:05 AM=0ASu= bject: Am I here?=0A=0AIf so hello.=C2=A0 If not - not.=C2=A0 =0A=0AAnd so = it always was but not always maybe,=0A=0AWith guarded hope, =0A=0AGeraldine= =0A=0A=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D= =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=0AThe Poetics List is moderated & does= not accept all posts. Check guidelines & sub/unsub info: http://epc.buffal= o.edu/poetics/welcome.html=0A =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Wed, 30 Jul 2008 14:57:43 -0700 Reply-To: audreylfb@yahoo.com Sender: "Poetics List (UPenn, UB)" From: Audrey Berry Subject: Re: Video Project - I Need Your Help In-Reply-To: <8CAC073361DE0CE-C70-46E4@webmail-nh13.sysops.aol.com> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii read in general or read poetry at readings? --- On Wed, 7/30/08, Ian Randall Wilson wrote: > From: Ian Randall Wilson > Subject: Video Project - I Need Your Help > To: POETICS@LISTSERV.BUFFALO.EDU > Date: Wednesday, July 30, 2008, 11:51 AM > I'm doing a video project where actors will say a line > on camera about why they read. > > ? > > It would great if list members could give me their one line > reason why they read, concurrent with permission to use the > line in my project.? There won't be any explicit credit > for your contribution and the only consideration will be my > gratitude for the assistance. > > ? > > Ian Wilson > > ? > > > > > > ================================== > The Poetics List is moderated & does not accept all > posts. Check guidelines & sub/unsub info: > http://epc.buffalo.edu/poetics/welcome.html ================================== The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Wed, 30 Jul 2008 15:01:45 -0700 Reply-To: amyhappens@yahoo.com Sender: "Poetics List (UPenn, UB)" From: amy king Subject: A New Coconut! MIME-Version: 1.0 Content-Type: text/plain; charset=windows-1252 Content-Transfer-Encoding: quoted-printable Dear Coconut friends, =A0 Coconut 13=97with new poems by Rae Armantrout, David Lehman, Ariana Reines, Teresa K. Miller, Kate Colby, Carrie Olivia Adams, James Belflower, Anne Marie Rooney, Kristi Maxwell, Jason Zuzga, Megan Kaminski, Christopher Higgs, Nellie Haack, Claire Donato, Ravi Shankar, Emily Anderson, Laynie Browne, Jonathan Doherty, Kathleen Jesme, Matina Stamatakis, Mike Young, and Terence Winch--is now live on the web!!! =A0 Also,=A0please keep an eye on=A0the Best American Poetry=A0blog (http://the= bestamericanpoetry.typepad.com/)=A0for a new Coconut feature series, beginning this coming Sunday, August 3,=A0and continuing=A0all the way through the end of October!! =A0 See you under the palms! Bruce Covey =A0 http://www.coconutpoetry.org http://www.coconutpoetry.org http://www.coconutpoetry.org _______ Recent http://www.tarpaulinsky.com/Reviews/kiss-me.html http://jacketmagazine.com/34/dickow-king.shtml Alias http://www.amyking.org Your Suggestions http://amyking.wordpress.com/2008/06/12/poetry-exercises-wanted/=0A=0A=0A = =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Wed, 30 Jul 2008 15:12:25 -0700 Reply-To: amyhappens@yahoo.com Sender: "Poetics List (UPenn, UB)" From: amy king Subject: Invitation To Participate in Poems, Poets, Love! A HOWL Festival Event (from Nathaniel Siegel) MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: quoted-printable poems ! poets !! LOVE !!! =A0 =A0 =A0 On Monday Sept 8th 2008 a HOWL ! Festival event: =A0 Nathaniel Siegel hosts an Open Reading =A0 From 12noon to 6pm =A0 At The Bowery Poetry Club =A0 308 Bowery New York 10012 =A0 Phone 1 212 614 0505 =A0 www.bowerypoetry.com =A0 =A0 =A0 You are invited to read ! =A0 Here's how to participate: =A0 RSVP via email to =A0 nathanielsiegel@nyc.rr.com =A0 with your name, the title of the poem you plan on reading & or =A0 the name of the poet whose work you will be reading =A0 & the time you would like to be signed up for. =A0 =A0 =A0 poems ! poets !! LOVE !!! is FREE and Open to the Public ! =A0 =A0 =A0 The HOWL ! Festival=A0 www.howlfestival.com =A0 _______ Recent http://www.tarpaulinsky.com/Reviews/kiss-me.html http://jacketmagazine.com/34/dickow-king.shtml Alias http://www.amyking.org Your Suggestions http://amyking.wordpress.com/2008/06/12/poetry-exercises-wanted/=0A=0A=0A = =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Wed, 30 Jul 2008 15:02:34 -0700 Reply-To: "Poetics List (UPenn, UB)" Sender: "Poetics List (UPenn, UB)" From: Joel Weishaus Subject: Re: poetry and archives? MIME-Version: 1.0 Content-Type: text/plain; format=flowed; charset="iso-8859-1"; reply-type=original Content-Transfer-Encoding: 7bit Anna: You can't do this; but of course you can, and I've done it myself: making a recommendation without saying why. It's a protocol of e-mail that defeats discussion, which is what lists such as this are for. You made me see the error, thank you, and that I am interested in knowing your reasons for recommending Susan Howe's "Pierce-Arrow." Best, Joel ______________________ Joel Weishaus Research Faculty Department of English Portland State University Portland, Oregon http://web.pdx.edu/~pdx00282 ----- Original Message ----- From: "Anna Vitale" To: Sent: Wednesday, July 30, 2008 8:05 AM Subject: Re: poetry and archives? > Susan Howe's Pierce-Arrow > ================================== The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Wed, 30 Jul 2008 18:51:16 -0400 Reply-To: "Poetics List (UPenn, UB)" Sender: "Poetics List (UPenn, UB)" From: Kyle Schlesinger Subject: Re: poetry and archives? In-Reply-To: Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit Again, not poetry, but Rebecca Comay's massive Lost in the Archives is an indispensable collection. Kyle http://cuneiformpress.blogspot.com/ > From: Anna Vitale > Reply-To: "Poetics List (UPenn, UB)" > Date: Wed, 30 Jul 2008 11:05:56 -0400 > To: > Subject: Re: poetry and archives? > > Susan Howe's Pierce-Arrow > > ================================== > The Poetics List is moderated & does not accept all posts. Check guidelines & > sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ================================== The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Thu, 31 Jul 2008 00:28:45 +0100 Reply-To: "Poetics List (UPenn, UB)" Sender: "Poetics List (UPenn, UB)" From: Geraldine Monk Subject: Re: Am I here? MIME-Version: 1.0 Content-Type: text/plain; format=flowed; charset="utf-8"; reply-type=original Content-Transfer-Encoding: 7bit Thanks Barry. I've spent days trying to get through and almost gave up - so a small triumph for perseverance. Geraldine ----- Original Message ----- From: "Barry Schwabsky" To: Sent: Wednesday, July 30, 2008 10:48 PM Subject: Re: Am I here? ----- Origi I hope you are here, Geraldine Monk, admirable poet. ----- Original Message ---- From: Geraldine Monk To: POETICS@LISTSERV.BUFFALO.EDU Sent: Wednesday, 30 July, 2008 1:07:05 AM Subject: Am I here? If so hello. If not - not. And so it always was but not always maybe, With guarded hope, Geraldine ================================== The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ================================== The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ================================== The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Wed, 30 Jul 2008 19:34:40 -0400 Reply-To: "Poetics List (UPenn, UB)" Sender: "Poetics List (UPenn, UB)" From: Dan Wilcox Subject: Final Poets in the Park, Aug. 2, Albany, NY Mime-Version: 1.0 (Apple Message framework v624) Content-Transfer-Encoding: quoted-printable Content-Type: text/plain; charset=ISO-8859-1; format=flowed The Poetry Motel Foundation presents Poets in the Park, 2008 Final reading scheduled for August 2 Susan Brennan & Philip Good Poets in the Park has been celebrating poetry in July at the Robert=20 Burns statue in Washington Park, Albany, NY since 1989.=A0The series,=20 formerly run by the late Tom Nattell and now hosted by Dan Wilcox,=20 continue with readings on Saturdays, July 12 through August 2 & start=20 at 7:00 PM, free & open to the public -- donations are accepted.=A0This=20= year the readings are also sponsored by the Hudson Valley Writers=20 Guild. The final reading in the series will be on Saturday August 2 with poets=20= Susan Brennan & Philip Good. Susan Brennan's poems appear in Terra Incognita (translated),=20 Unpleasant Events Schedule, Calabash Journal, Painted Bride Quarterly,=20= Cake Train, Rain Dog Review, MARGIE, Hungers (chapbook-Lunar Offensive=20= Press), Ganargua Review.=A0Her manuscript, "Speaking in Stars," has been=20= nominated as a finalist for several book awards.=A0She is the producer=20= and host of Radio Poetique, a poem-audio project. She received her MFA=20= in Poetry at NYU and is a Jivamukti yoga teacher. Brooklyn is her=20 home.=A0 Philip Good's poetry is published in many magazines including, The=20 School of Visual Arts Literary Magazine - WORDS, A journal from The=20 Jack Kerouac School of Disembodied Poetics - BOMBAY GIN, and from New=20 Orleans - YAWP.=A0Online his work can be found at www.Bigbridge.org,=20 www.corspse.org, www.toolamagazine and=20 www.annetnanepo.novumverbum.org.=A0A map of his reading appearances=20 include New York City, New Orleans, Paris and Prague. The Robert Burns statue is near where Henry Johnson Blvd. passes=20 through Washington Park and crosses Hudson Ave.=A0Please bring your own=20= chairs or blankets to sit on.=A0Rain site is the Social Justice Center,=20= 33 Central Ave., 7PM. This project is made possible in part through COMMUNITY ART$GRANTS, a=20 program funded through the State and Local Partnership Program of the=20 New York State Council on the arts, a State agency and the Arts Center=20= of the Capital Region. For more information contact Dan Wilcox, at dwlcx@earthlink.net;=20 518-482-0262. #### =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Wed, 30 Jul 2008 16:43:18 -0700 Reply-To: "Poetics List (UPenn, UB)" Sender: "Poetics List (UPenn, UB)" From: patrick dunagan Subject: Great Overland Book Co. & Big Bell Present: MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: quoted-printable Content-Disposition: inline *** Great Overland Book Co. & Big Bell Present: Maxine Chernoff, Paul Hoover Sunnylyn Thibodeaux & Patrick James Dunagan August 4th at 7 pm Great Overland Books 345 Judah at 9th Ave. Maxine Chernoff is the author of six works of fiction and ten books of poetry, most recently *Among the Names *and *The Turning, *both from Apogee. She coedits *New American Writing* and with Paul Hoover has translated the *Selected Poems of Friedrich **H=F6lderlin**, *which will appear from Omnidawn Press in September. Paul Hoover's most recent poetry collections are *Edge and Fold *(Apogee Press, 2006) and *Poems* *in Spanish* (Omnidawn, 2005), nominated for the Northern California Book Reviewers Award. With Nguyen Do, he edited and translated the anthology, *Black Dog, Black Night: Contemporary Vietnamese Poetry* (Milkweed Editions, 2008). With Maxine Chernoff, with whom he edit= s the literary magazine, *New American Writing*, he edited and translated *Selected Poems of Friedrich H=F6lderlin* (Omnidawn, 2008). His collection of literar= y essays, *Fables of Representation*, was published by University of Michigan Press in 2004. Professor of Creative Writing at San Francisco State University, he edited the anthology, *Postmodern American Poetry* (W. W. Norton, 1994). Patrick James Dunagan lives in San Francisco and works at the library of USF. Poems and book reviews have recently appeared or are forthcoming in *B= lue Book*, *Cannibal*, *Galatea Ressurrects*, *Jacket*, *Morning Train, One Les= s Magazine*, *St Mark's Poetry Project Newsletter*, and *Vanitas*. Chapbooks include: *Of Stone* (Snag), *After the Sinews* (Auguste), and* Fess Parker*(Red Ant). *Easy Eden, *a collaboration with Micah Ballard, is due out in 2008 from PUSH. Sunnylyn Thibodeaux is from New Orleans. Her poems have appeared in Blue Book, Big Bridge, Night Palace, Morning Train, and other various magazines. Small books include: Curves & Curses, Last We Spoke, 20/20 Yielding, United Untied, and Hidden Driveways Ahead (forthcoming). With Micah Ballard, she co-edits Auguste Press. *** =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Wed, 30 Jul 2008 14:08:51 -1000 Reply-To: "Poetics List (UPenn, UB)" Sender: "Poetics List (UPenn, UB)" From: Gabrielle Welford Subject: Re: Michael Cross and Rob Halpern: San Francisco reading, 8/2/08 In-Reply-To: <46688.1217404234@buffalo.edu> MIME-version: 1.0 Content-transfer-encoding: 7BIT Content-type: TEXT/PLAIN; charset=US-ASCII ah, alas, i cannot come (i truly wish i could...) because: On August 2 at 6:30 pm at Redwood Gardens Senior Living Center in Berkeley (and Aug. 3 at Ashkenaz), members of Ka Lei Maile Alii, a Native Hawaiian Civic Club from Honolulu, will offer a program which includes a powerpoint presentation about Hawaiian history, sovereignty and nationhood by David Keanu Sai, and a re-enactment play, "The Queen's Women" or "Ka lei maile alii" (the affectionate name--the maile lei of the alii-- given by Queen Liliu'okalani to her closest friends). There will be a display table and refreshments before and a feedback session after the play. Hope some of you can come to the Aug. 3 performance. Written in 2001, the play is based on an article which you can read at http://www.hawaii-nation.org/sfcall.html. It was written in 1897 by a San Francisco journalist, Miriam Michelson (played by yours truly) and covers a meeting at Hilo Salvation Army Hall, where 300 people came together to sign petitions against annexation of Hawai'i by the U.S. Michelson took down word for word the speeches and the audience's responses, and these are transmitted in the play. The Queen's women gathered 21,000 signatures in a few months, and the men gathered another 20,000. The petition was successful. Annexationists were unable to push through a legal treaty annexing the islands. They had to take Hawai'i by sleight of hand, which has significance today. Keanu Sai gives his presentation about sovereignty and nationhood, its meaning then and today. He also talks about the Akaka Bill's attempt to make Native Hawaiians a tribe under jurisdiction of the U.S. Department of the Interior, and what that means for present-day Hawaiians. A KPFA radio interview with Keanu Sai can be accessed by going to www.kpfa.org. You click on programs, click on Thursday, July 17, click on APEX Express at 7:00 p.m. It's very informative. On Wed, 30 Jul 2008, Michael T Cross wrote: > Dear friends, > > Please join me and Tanya Hollis on Saturday, August 2nd, at our apartment in SF's Mission > District, as we host a reading by Michael Cross and Rob Halpern. Michael is in town for an all-too- > rare visit from Seattle, and Rob is celebrating the publication of his new chapbook, Imaginary > Politics, from Taproot Editions.There will be a reception beginning at 7pm, with the readings to > begin at 8. Please email if you need directions to my place, and please feel free to forward this > announcement far and wide. > > Best regards, > Taylor Brady > > MICHAEL CROSS is the author of In Felt Treeling, forthcoming from Chax Press. During his time in > Oakland, he edited the anthology Involuntary Visions: After Akira Kurosawa's Dreams. He is > currently the editor and publisher of atticus/finch books, and with Kyle Schlesinger and Thom > Donovan co-edits the forthcoming journal ON. Michael is a doctoral candidate in the Poetics > Program at SUNY Buffalo. He lives in Seattle. > > ROB HALPERN is the author of Rumored Place, Disaster Suite, and in collaboration with Taylor > Brady, Snow Sensitive Skin. His new chapbook, just out from Taproot Editions, is Imaginary > Politics. Forthcoming in the next year are Music for Porn (from Factory School) and Disaster > Lyrics (from Palm Press). He is active in the Nonsite Collective (www.nonsitecollective.org), and > is working with Kathleen Fraser to edit the poems of the late Frances Jaffer. Recent scholarship > has included publications and presentations on George Oppen, Georges Perec, and the social body of > editorship, critique and contestation in experimental poetry and narrative during the 1970s in San > Francisco. > > ================================== > The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html > ================================== The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Wed, 30 Jul 2008 23:43:27 -0400 Reply-To: "Poetics List (UPenn, UB)" Sender: "Poetics List (UPenn, UB)" From: ALDON L NIELSEN Subject: Re: HeatStrings blog In-Reply-To: 549153.20031.qm@web53311.mail.re2.yahoo.com MIME-Version: 1.0 Content-Type: text/plain; charset=utf-8 > In progress at the Heat Strings blog -- photos and sound tracks from the Pan African Literary Forum, Ghana http://heatstrings.blogspot.com <<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<>>>>>>>>>>>>>>>>>>>>>>>>>> >>>>>>>>>>>>> "Study the fine art of coming apart." --Jerry W. Ward, Jr. 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 ================================== The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Wed, 30 Jul 2008 23:52:42 -0400 Reply-To: "Poetics List (UPenn, UB)" Sender: "Poetics List (UPenn, UB)" From: sara marcus Subject: Reading: Eileen Myles, Kate Huh, Sara Marcus--Monday, August 4 MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 7bit Content-Disposition: inline Please join Visual AIDS and La MaMa La Galleria for an evening of readings by Kate Huh, Sara Marcus, and Eileen Myles. Monday, August 4, 6:30-8:00 PM La MaMa La Galleria 6 E. 1st Street, New York City between Bowery & 2nd Avenue FREE Full announcement here: http://newsgrist.typepad.com/visualaids/ Organized by Dean Daderko. This is also the closing night of SIDE X SIDE. Kate Huh is a NYC based artist/activist. She has exhibited her visual art and films throughout the United States and Europe since 1982. Her work is currently on exhibit in SIDE X SIDE. She is the creator of the zine Rebel Fux!. Her film titles include; Rebel Fux! The Movie 2000, Market This (produced in collaboration with the Paper Tiger TV collective) 2001, Punk Ass Kid 2003 and War Dreams 2007. She is currently the Co-Director of MIX NYC, the Queer Experimental Film Festival. Sara Marcus's poetry, prose, criticism, and journalism appear in Encyclopedia, EOAGH, Tantalum, The Advocate, The Forward, and Time Out New York. She is writing a history of Riot Grrrl and has work forthcoming in The Art of Touring (Yeti Press), The Believer, an exhibition catalogue for sculptor Wade Kavanaugh, and a poetry chapbook from Felt Press. She is the curator of the series QT: Queer Readings at Dixon Place. Marcus lives in Brooklyn and Troy, NY. Eileen Myles is currently poet of the dunes, but otherwise is poet of the blocks and avenues and lives in the Lower East Side since 1977. Her book of travels, art, poetry and queerness, The Importance of Being Iceland is out from Semiotexte/MIT next fall. She's also written a knockout novel The Inferno that is forthcoming. ________________________________ Visual AIDS was founded in 1988 by arts professionals as a response to the effects of AIDS on the arts community and as a way of organizing artists, arts institutions, and arts audiences towards direct action, Visual AIDS has evolved into an arts organization with a two-pronged mission. 1) Through the Frank Moore Archive Project, the largest slide library of work by artists living with HIV and the estates of artists who have died of AIDS, Visual AIDS historicizes the contributions of visual artists with HIV while supporting their ability to continue making art and furthering their professional careers. 2) In collaboration with museums, galleries, artists, schools, and AIDS service organizations, Visual AIDS produces exhibitions, publications, and events utilizing visual art to spread the message "AIDS IS NOT OVER." For more info, visit ================================== The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Thu, 31 Jul 2008 04:54:05 +0000 Reply-To: "Poetics List (UPenn, UB)" Sender: "Poetics List (UPenn, UB)" From: Jesse Glass Subject: Brother Anthony of Taize in Seoul MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Brother Anthony Teague has given his days to translating South Korean poets. He was the head of the English dept. at Sogang University when I last saw him years back and if he's still there, it would be well worth a trip to see him. He's a wonderful man and a fine poet in his own right. Check out his translations of Ko Un The Sound of My Waves (Cornell University East Asia Program), and Beyond Self--108 Korean Zen Poems of Ko Un. He's done many more than these, though. Jesse ================================== The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Wed, 30 Jul 2008 23:58:58 -0700 Reply-To: "Poetics List (UPenn, UB)" Sender: "Poetics List (UPenn, UB)" From: Nico Vassilakis Subject: Subtext/Seattle - George Bowering & Marion Kimes - 8/6/08 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable MIME-Version: 1.0 Subtext continues its monthly reading series with readings by George Boweri= ng & Marion Kimes at our new home at=20 the Chapel Performance Space on the 6th of August 2008. Donations for admi= ssion will be taken at the door on the=20 evening of the performance. The reading starts at 7:30pm. George Bowering is a prolific Canadian novelist=2C poet=2C historian=2C and= biographer. He was born in Penticton=2C British Columbia=2C=20 and raised in the nearby town of Oliver=2C where his father was a high-scho= ol chemistry teacher. His most recent books include=20 Baseball Love (Talonbooks=2C 2006)=2C and Vermeer's Light: Poems 1996-2006. Bowering is the best-known of a group of young poets including Frank Davey= =2C Fred Wah=2C Jamie Reid=2C and David Dawson who=20 were together at the UBC in the 1950s. There they founded the journal Tish.= Bowering lives in Vancouver=2C BC and is Emeritus=20 at Simon Fraser=2C where he has worked for more than 25 years. He describes= himself as a Protestant agnostic. In 2002=2C Bowering=20 was appointed the first ever Canadian Poet Laureate. http://www.library.utoronto.ca/canpoetry/bowering/index.htm http://en.wikipedia.org/wiki/George_Bowering Marion Kimes brought her love of the live reading here in 1981. Over the y= ears a fine pile of small-press books & broadsides=20 has accumulated beside a long list of readings=2C fests & projects. Her bo= oks include CROW'S EYES=2C of multiplication & light (Nine Muses)=2C=20 Whirled=2C and NAMORATUNG'A (Woodworks). She has been a driving force in = Red Sky Theatre for many years. http://www.ravenchronicles.org/nwwriter/index/kimes/kimes.htm The future Subtext schedule is: September 3=2C 2008: Group Reading: Writing to Point / Writing to Enclave October 1=2C 2008: Donato Mancini (Vancouver) & Shin Yu Pai For info on these & other Subtext events=2C see our website at http://subte= xtreadingseries.blogspot.com More info at Nonsequitur web site - http://nseq.blogspot.com Details on the Chapel at: http://gschapel.blogspot.com SPECIAL THANKS to NONSEQUITUR for co-sponsoring this event. =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Thu, 31 Jul 2008 18:25:20 +0000 Reply-To: "Poetics List (UPenn, UB)" Sender: "Poetics List (UPenn, UB)" From: AWAREing Press Subject: Re: SHAME TO STONEWALL! In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset="utf-8" Content-Transfer-Encoding: quoted-printable Points noted, CAConrad. Although, if I may be so bold, I will reiterate my = original point: sexual identity/orientation/preference is no grounds for di= smissal from any military. In fact, throughout history, men (and a few wome= n) in armies far and wide have actively engaged in homosexual behavior. Who= are you, or anyone else, to say that this group or that group should be ba= rred from enlisting? What next, a return to denial of blacks and other "col= oreds" to fight in an "American" army? By using the queer politics as a way= to diminish the scope of our armed forces, you seem to be a bigot using a = law to further an anarchistic, hazy agenda. =20=20 Resisting arrest and public intoxication, which were the actual crimes comm= itted at Stonewall, are a far cry from a fed-up Rosa Parks calmly asserting= herself via passive resistence on a city bus. Sure, it was time for change= , but peaceful marches and ploys to congressmen would've been a far better = choice than dressing up and acting out-- The "riot" was all about the drink= ing establishment being raided and shut down, rather than gay rights and eq= uality-- Bars and coffeeshops catering to a variety of types were being shu= t down all over the city. Gays were as much a target as other minorities, b= ut we don't hear about their sequined stomps. Further more, CAConrad, by labeling someone "fierce" or "butch" you are sur= ely being glib and stereotypical. (And I, for one, detest Jerry Springer an= d its colorful characters taken from real life; these sorts of role models = can't be a good thing.) This is not the swingin' 70s, and many facets of re= centy history are being rethought. Presenting an obnoxious behavior, as I'v= e learned the hard way, is no longer celebrated. And congratulating someone= for being drunk and disorderly is way way way out of date. James -------------- Original message from CA Conrad : ----= ----------=20 > James, let me say first that your p.s. (or BTW) about Stonewall diminishe= d=20 > the importance, as well as the received blow of the night. It was not som= e=20 > silly drag throng screeching at police, it was FIERCE drag queens,=20 > transgender folks, AND BUTCH lesbians who took the cops on. Marsha P.=20 > Johnson was the first. And upon meeting her shortly before her murder she= =20 > pointed out to me that she was homeless, living in Tompkins Square Park, = and=20 > organizing homeless people for Homeless Theater.=20 >=20 > But my point further is, that NOT only was this RIOT initiated by drag=20 > queens and butch lesbians, BUT BY AFRICAN AMERICAN drag queens and butch= =20 > lesbians. The famous Martin Duberman book STONEWALL has a photograph on t= he=20 > cover which doesn't begin to make clear that STONEWALL was a black gay ba= r.=20 >=20 > Point further is that YES these people risked their lives. You think=20 > FIGHTING with cops, especially 1969 cops who KNEW JUST HOW sanctioned gay= =20 > bashing was, was not risking your life?=20 >=20 > And whether or not we want to discuss HOW BRUTAL that night was, THAT NIG= HT=20 > led to a revolution, one which I for one am most grateful for! Was Marsha= =20 > P. Johnson a revolutionary? YOU BET SHE WAS!=20 >=20 > To the point of gays in the military, how can I make myself any clearer t= han=20 > I already have? My biggest problem (not with you or what you say so much = as=20 > MY BIGGEST PROBLEM IN GENERAL WITH) with this idea of "equal rights" is t= hat=20 > I'm more interested in NOT BEING KILLED or harassed, first and foremost.= =20 >=20 > To sound utterly paranoid, though I do not believe I am, I FIRMLY BELIEVE= =20 > that Bill Clinton had every intention of bringing queers to the Right of= =20 > politics by giving focus to the military.=20 >=20 > I heard with my OWN EARS during his first campaign for the presidency Bil= l=20 > Clinton give a speech in DC at a gay pride function where he told us YES = of=20 > course you should be allowed to marry and have the same rights, blah blah= =20 > blah, to which he did nothing.=20 >=20 > Gays in the military was BENT (so to speak) on making the queer community= =20 > forego it's radical ends, because the radical ends, such as ACT UP, were= =20 > bridging to other activist groups, and IF HE COULD GET US TO get on the s= ame=20 > page as the military, THEN HE HAD US RIGHT WHERE HE WANTED US.=20 >=20 > The idea of ASKING to fight FOR a country in battle when that very countr= y's=20 > governmental body disallows marriage, disallows work in some states,=20 > disallows adoption, etc. etc., is ludicrous! It's like when African=20 > Americans were asked to fight in war when they had to drink out of separa= te=20 > water fountains, not vote, sit on the back of the bus.=20 >=20 > But I say NO to the military. We need to get THE FUCK OUT of Iraq and sta= rt=20 > making room for ALL AND ANY Iraqi citizen who needs shelter and help HERE= in=20 > the states! There's no way we can EVER repay the people of that nation fo= r=20 > what we have done, and the VERY LEAST we can do is make room for them her= e.=20 > It's impossible for us to imagine what life is like over there.=20 >=20 > I said this to someone recently, about allowing Iraqis into the states fo= r=20 > assistance, and he said, "But our economy is already in shambles!" OUR=20 > ECONOMY? THAT'S what we should worry about? NOT helping suffering people= =20 > whose suffering OUR TAX DOLLARS paid for? I OWN the bullets I paid for by= =20 > saying we need to help these people! The president has no trouble sleepin= g=20 > at night but I do!=20 >=20 > Oh, and the so-called Stonewall Diversity Committee is going to hear from= me=20 > because I'm going to attend a fricken meeting and tell them all to FUCK O= FF=20 > with their honoring an army guilty of war crimes! That award is a disgrac= e=20 > waiting to be called what it is!=20 >=20 > And no James, I actually don't think it's separate issues. I'm all for ga= ys=20 > being thrown out of the military. Yes, discriminate at will if it means= =20 > depriving the war machine its fodder!=20 >=20 > CAConrad=20 > http://PhillySound.blogspot.com=20 >=20 > =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D= =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=20 > The Poetics List is moderated & does not accept all posts. Check guidelin= es &=20 > sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html=20 =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Thu, 31 Jul 2008 10:49:28 -0500 Reply-To: "Poetics List (UPenn, UB)" Sender: "Poetics List (UPenn, UB)" From: Tom Orange Subject: Am I here? MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 7bit Content-Disposition: inline great big welcomes, geraldine! tom orange ------------------------------ Date: Wed, 30 Jul 2008 01:07:05 +0100 From: Geraldine Monk Subject: Am I here? If so hello. If not - not. And so it always was but not always maybe, With guarded hope, Geraldine ================================== The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Thu, 31 Jul 2008 18:39:39 +0000 Reply-To: "Poetics List (UPenn, UB)" Sender: "Poetics List (UPenn, UB)" From: AWAREing Press Subject: Re: poetry and archives? In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset="utf-8" Content-Transfer-Encoding: quoted-printable Joe, that's a terrific suggestion. Though I've not read the entire work, I = have proofread a portion of it, which is to be included in the forthcoming = "Light Years: An Anthology on Sociocultural Happenings (Multimedia in the E= ast Village, 1960-66)," edited by Carol Berge and published by AWAREing Pre= ss and Spuyten Duyvil. Schwerner's chapter admits to a portion of the table= ts being either lost or untranslatable, which is as comical as it is profou= nd, and an elegant stab at finding an epitome of the 1960s. Carol spent 20 years assembling this anthology of memoirs and ephemera. For= more info, including an excerpt from the introduction, visit www.awareingi= nc.net and click on the AWAREing Press page. James -------------- Original message from Joe Moffett : ------= --------=20 Armand Schwerner's The Tablets would be a must for such a project. The full= edition of The Tablets was published in 1999. I have a chapter on The Tabl= ets paired with The Maximus Poems in my book The Search for Origins in the= =20 > Twentieth-Century Long Poem that might be helpful to you.=20 >=20 > Sounds like an interesting dissertation. I'd like to hear more about it.= =20 >=20 > -- Joe=20 >=20 > Dr. Joe Moffett=20 > Associate Professor of English=20 > Kentucky Wesleyan College=20 > 3000 Frederica Street=20 > Owensboro, KY 42301=20 >=20 > jmoffett@kwc.edu=20 >=20 > ________________________________=20 >=20 > From: Poetics List (UPenn, UB) on behalf of Sara Phillips=20 > Sent: Sun 7/27/2008 5:08 PM=20 > To: POETICS@LISTSERV.BUFFALO.EDU=20 > Subject: poetry and archives?=20 >=20 >=20 >=20 > Hi all,=20 >=20 > I'm working on a dissertation that explores the intersection between the= =20 > archive and long poems. Do you know of any poetry from 1990 on that direc= tly=20 > treats the subject of the archive, or acts like an archive? I'm intereste= d in=20 > poets who might classify themselves as scholar-poets, or have an=20 > interdisciplinary approach (are perhaps archivists or librarians themselv= es).=20 >=20 > I ran across a new book by Kate Eichhorn called Fond (Bookthug, 2008), an= d=20 > am looking for others.=20 >=20 > Many thanks!=20 > Sara Phillips=20 >=20 > =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D= =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=20 > The Poetics List is moderated & does not accept all posts. Check guidelin= es &=20 > sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html=20 >=20 >=20 >=20 > =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D= =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=20 > The Poetics List is moderated & does not accept all posts. Check guidelin= es &=20 > sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html=20 =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Thu, 31 Jul 2008 19:01:05 +0000 Reply-To: "Poetics List (UPenn, UB)" Sender: "Poetics List (UPenn, UB)" From: AWAREing Press Subject: Re: Poems & Poetics: The Blog as Anthology & Manifesto In-Reply-To: <00a501c8f1c3$dbb4b8f0$6500a8c0@yourw04gtxld67> MIME-Version: 1.0 Content-Type: text/plain; charset="utf-8" Content-Transfer-Encoding: quoted-printable Jerome, the blog is maybe a high-tech evolving of what was known as the Mim= eograph Revolution in the 1960s, in which artists, writers, poets and print= ers joined forces to disseminate new work as quickly as possible. Expeditin= g innovations to the masses! And so, another boon, and another blow, to the= artist... My concern is that a copyright date, affixed by the creator of a= n original piece, can be easily overwritten by a villainous plagiarist or a= rt image thief... Am I crazy to worry? My MySpace page, which I tore down a= fter about a month, had 147 hits on the blog page, but less than 100 on the= main page, after the first week. Disconcerting, those numbers-- especially= when most of the people offering friendship weren't people at all, but 'bo= ts, advertising pay-for-smut links. To provide an open forum, a peek at an = artist-at-work, is a way to approach the blog, though I remain skeptical of= too many unknown apprentices.=20=20=20=20 James -------------- Original message from Jerome Rothenberg : --------------=20 In the two months that I've been using the blog as a medium, I've been thin= king how much it reinforces my need to assemble and anthologize or to use t= he anthology as such as a kind of manifesto. The process before this has oc= cupied much of my energy over the last forty years, but the difference here= is that I can work on my own time and move almost instantly from private i= dea to public appearance. I don't know how far this takes either me or it, = and for the moment I don't really care - the great pleasure coming in the a= ct itself. I also welcome the chance to honor poets who have been close to = me and to preview - for myself and anyone who watches - work in its slow pr= ogression to publication in paper or book form (or work, for that matter, t= hat will never find any other format). I assume that this matches the exper= ience of others working in this=20 > medium.=20 >=20 >=20 > The following anyway are the last ten entries on the blog, poemsandpoetic= s.blogspot.com, and will be followed in the nesxt couple of weeks=20 > by further previews from Poems for the Millennium, volume 3, and by=20 > contributions from Pierre Joris and Charles Bernstein, among others:=20 >=20 >=20 > From The Medusa Interview: Anthologies, Modernism, & Postmodernism=20 >=20 > Ian Tyson's "17 Horse Songs X-XIII" with a Note on Ian Tyson...=20 >=20 > Reconfiguring Romanticism (6): Poe's Eureka, with commentary, for Hanon R= eznikov=20 >=20 > Rae Armantrout, BABEL, a Poem & a Comment, plus an excerpt from Collected= Prose=20 >=20 > A Note and Poem (Bless=C3=A8d Terror) for Jean Pierre Faye and "Change"= =20 >=20 > Reconfiguring Romanticism (5): Dionysios Solomos Poem & Commentary..=20 >=20 > Clayton Eshleman: The Left Foot of King Ramesses I, with a note on Clayto= n=20 > Eshleman=20 >=20 > Gematria (1): Seven Poems in Dedication=20 >=20 > Reconfiguring Romanticism (4): Hugo & Dickinson=20 >=20 > That Dada Strain Continued: Three from Tristan Tzara, with a Note on Tris= tan=20 > Tzara=20 >=20 > Jerome Rothenberg "Language is Delphi."=20 > 1026 San Abella Drive --Novalis=20 > Encinitas, CA 92024=20 > jrothenberg at cox.net=20 >=20 > =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D= =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=20 > The Poetics List is moderated & does not accept all posts. Check guidelin= es &=20 > sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html=20 =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Thu, 31 Jul 2008 12:01:20 -0700 Reply-To: "Poetics List (UPenn, UB)" Sender: "Poetics List (UPenn, UB)" From: Daniel Godston Subject: poets in S. Korea MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Brother Anthony is an excellent translator. I have several books of Korean poetry which he has translated, including those by Ko Eun ("The Sound of My Waves"), Chon Sang Pyong ("Back to Heaven"), and several others. "The Book of Korean Shijo" (Harvard East Asian Monographs, trans. by Kevin O'Rourke) is a great book. ----- Original Message ---- From: richard owens To: POETICS@LISTSERV.BUFFALO.EDU Sent: Tuesday, July 29, 2008 8:04:21 PM Subject: Re: poets in S. Korea CHERYL: Brother Anthony, a member of the Catholic order of Taize, lives in Seoul & is quite generous re introducing people to Korean poetry and poets. you can contact him through his website, which is itself an _amazing_ resource for Korean poetry: http://hompi.sogang.ac.kr/anthony/ also, poet Kevin Thurston is preparing to move to Korea. you can contact him through his blog: http://fuckinglies.blogspot.com Kevin also pointed out to me that Francis at Redfox Press, although he was previously located in Ireland, is now located in Seoul. he's an _excellent_ book artist. his blog: http://franticham.blogspot.com/ Taegu is a wonderful city, tho I'm not familiar with any poets currently living there. the train ride from Taegu to Seoul however is about 2.5 hrs -- & every train has a vendor that sells beer, which makes the an incredibly scenic ride _much_ more pleasant! best ... rich ... ........richard owens 810 richmond ave buffalo NY 14222-1167 damn the caesars, the journal damn the caesars, the blog --- On Wed, 7/23/08, Cheryl Pallant wrote: From: Cheryl Pallant Subject: poets in S. Korea To: POETICS@LISTSERV.BUFFALO.EDU Date: Wednesday, July 23, 2008, 12:47 PM Does anyone know of any poets in S. Korea? I'll be teaching for the year at Keimyung University in Daegu, 200 miles south of Seoul. I'd love to meet some poetry kin. Cheryl Pallant ____________________ www.cherylpallant.com ================================== The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ================================== The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ================================== The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Thu, 31 Jul 2008 13:07:01 -0700 Reply-To: "Poetics List (UPenn, UB)" Sender: "Poetics List (UPenn, UB)" From: Stephen Vincent Subject: Re: Am I here? In-Reply-To: <004901c8f1d8$50e08320$8706edc1@user4a6p3c2av0> MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Isn't it the time of year that Brits pretend to be nice to each other in Nice! Get out of town, Girl, and shrink your antennae! Nobody is to be heard from, sighted or otherwise. & the language is dead,too. So, if you have to, crawl in bed with a crook called 'sleep' and enjoy the robbery. How is that for gruff!? Tin Turn goes the Abbey. Hi Geraldine! Stephen V http://stephenvincent.net/blog/ Geraldine Monk wrote: If so hello. If not - not. And so it always was but not always maybe, With guarded hope, Geraldine ================================== The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ================================== The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Thu, 31 Jul 2008 08:37:44 -0500 Reply-To: "Poetics List (UPenn, UB)" Sender: "Poetics List (UPenn, UB)" From: =?ISO-8859-1?Q?S=E9amas_Cain?= Subject: Re: poetry and archives? In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: quoted-printable Content-Disposition: inline Sara Phillips, You might investigate the work of John M. Bennett. He is a scholar-poet, a multi-lingual poet, a poet and visual-artist, a concrete poet, etc., AND he is an archivist and librarian. Several of his books are "archives" in several senses of the word, PLUS he has developed actual institutional Archives (more than one, of his own work or the work of others) that are detailed and amazing and dimensional. I give his contact information below ... Bestwishes, S=E9amas Cain http://alazanto.org/seamascain http://seamascain.writernetwork.com http://www.mnartists.org/Seamas_Cain ________________________ Dr. John M. Bennett Curator, Avant Writing Collection Rare Books & Manuscripts Library The Ohio State University Libraries 1858 Neil Av Mall Columbus, OH 43210 USA (614) 292-3029 bennett.23@osu.edu www.johnmbennett.net http://www.library.osu.edu/sites/rarebooks/avantwriting/ ___________________________________________ On Sun, Jul 27, 2008 at 5:08 PM, Sara Phillips wrote: > Hi all, > > I'm working on a dissertation that explores the intersection between the > archive and long poems. Do you know of any poetry from 1990 on that direc= tly > treats the subject of the archive, or acts like an archive? I'm intereste= d in > poets who might classify themselves as scholar-poets, or have an > interdisciplinary approach (are perhaps archivists or librarians themselv= es). > > I ran across a new book by Kate Eichhorn called Fond (Bookthug, 2008), an= d > am looking for others. > > Many thanks! > Sara Phillips > =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Thu, 31 Jul 2008 11:38:23 -0700 Reply-To: "Poetics List (UPenn, UB)" Sender: "Poetics List (UPenn, UB)" From: Martha Cinader Mims Subject: seeking internet radio open mic participants Mime-Version: 1.0 (Apple Message framework v753.1) Content-Transfer-Encoding: quoted-printable Content-Type: text/plain; charset=WINDOWS-1252; delsp=yes; format=flowed Listen & Be Heard Poetry Cafe will host its first open mic internet =20 radio show on August 19, at 8pm Pacific Standard Time. If you have a =20 computer with a built in microphone, and some earphones (to avoid =20 feedback) then you can call in to the radio show without paying a =20 telephone bill. If you don=92t have a microphone in your computer, or =20= even if you don=92t have a computer, you can still call in to the radio =20= show at (718) 506-1481 between 8 pm and 9:30 pm Pacific Standard =20 Time, and read your poem. You will hear the show on the line while =20 you are waiting=85 To tune into the show, whether or not you want to call in, go =20 tohttp://www.blogtalkradio.com/listenandbeheard/2008/08/20/Listen-Be-=20 Heard-Open-Mic. The first portion of the show will feature poets who signed the open =20 mic list ahead of time at Listen & Be Heard Poetry Cafe Blog (http://=20 www.listenandbeheard.net/home). This will allow me to collect a bio, =20 a picture and a poem if you wish that I can feature on the web page =20 about the show ahead of time. You will have a chance to participate in two rounds of open mic. The =20 first round will be the traditional Listen & Be Heard lightning =20 round. You will have thirty seconds or less to read a poem. This =20 allows all the poets to be heard right at the beginning. I will then =20 go to the second round when each of the featured poets will have five =20= minutes to read a poem or selection of poems, and make an =20 announcement about your book, cd, upcoming appearances or whatever. If you want to be a featured poet in the open mic please sign the =20 open mic list and I will get in touch with you by e-mail. After each of the featured open mic poets have read, I will open it =20 up to listeners who have just tuned in to read one poem. I spent about ten years as a radio producer and host at WBAI Radio =20 Pacifica in New York City in the 1990=92s. I=92m looking forward to =20 getting back into radio via the internet, and thank you to =20 BlogTalkRadio for the opportunity! Martha Cinader Mims Listen & Be Heard Network editor@listenandbeheard.net http://www.listenandbeheard.net =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html ========================================================================= Date: Thu, 31 Jul 2008 18:23:34 -0400 Reply-To: "Poetics List (UPenn, UB)" Sender: "Poetics List (UPenn, UB)" From: "Kuebrich, Benjamin Darnell Mr." Subject: Oxford Magazine 22 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: quoted-printable MIME-Version: 1.0 fiction from Karen Heuler and Cynthia Reeves, essays from Rachael Peckham a= nd Sonya Huber, poetry from Mani Rao and Christopher Barnes, and an intervi= ew with David Graeber. www.oxfordmagazine.org =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D The Poetics List is moderated & does not accept all posts. Check guidelines & sub/unsub info: http://epc.buffalo.edu/poetics/welcome.html