========================================================================= Date: Tue, 29 Feb 2000 19:43:21 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Philip Nikolayev Subject: Re: Gream? Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" I have seen it used as a variant of grim, but I believe it may also refer to a kind of white or pale color. But not sure. Philip At 10:47 AM 2/29/00 PST, you wrote: >I'm passing this question on from Linh Dinh who is living in Saigon these >days. > >Does anybody know the answer to this question. You can back- or forward >channel the answer directly to me. I've already asked the person I know with >the largest vocabulary and he was stumped also. > >Ron > >------------------- > >Dear Ron, > >I talked to Hoang Hung, a man who's trying to translate Ginsberg's Kaddish >into Vietnamese, and he was stumped on one word. He asked me what "gream" >is? I said, How the fuck do I know? Do you know what that word means? Please >let me know if you do. I think Vietnamese readers deserve a kaddish. > Thanks, > > Linh > > >______________________________________________________ >Get Your Private, Free Email at http://www.hotmail.com > ========================================================================= Date: Tue, 29 Feb 2000 17:46:28 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: todd baron Subject: Re: gender essentially tacky Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit e: I need yr address pls. sorry for public note. alls, Tb ---------- >From: Elizabeth Treadwell >To: POETICS@LISTSERV.ACSU.BUFFALO.EDU >Subject: gender essentially tacky >Date: Tue, Feb 29, 2000, 1:54 PM > > Dear David B, I wasn't blaming _you_ (yall). Just trying to put fingers on > things, which as ever requires a certain dumbing-down of one's experience, > as I, like Brian, and I'm sure many others here, live in a social context > that is, well, for another cliche, > diverse(/confusing/thrilling/irritating/!-home), and always have. Still, > essentials have their place in trying to understand the world, if not in > writing POETRY, at least, for me, in writing POSTS to POETIX. And I would > argue still that this list is a bit of a male bastion, tho I have a separate > set of complaints about the women's poetry list. What do I do about it? > Speak up and get in trouble if necessary; sound like a careless brat, which, > some days I am. > > Who said pubbing one's own work was tacky? Well, I have done so. So. So did > a lot of people we now respect. Like Gertrude Stein and Virginia Woolf (not > that I'm them, duh); like what went on with James Joyce and Sylvia Beach? > (not that I;m them). That relation verges on, well, tacky to me. Anyhow, I > did it once, and I just did it again as the Milk Bees in Dlb's Lucille > series (PLUG). Did it for fun (cliche essentialism agin ohno! toto) and for > my new niece. (I'm sure some are barfing at this sentimental gesture.) But > don't worry I also have written some other things other people have printed; > don't worry I also publish other people in much vaster numbers than I do > myself. Am I tacky or paranoid? Self-serving? OH WELL. > > The work 'll stand or fall, as ever. > > I liked what Gary said about what sustains one as a pubber/editor -- and I > love seeking out new writers, doing that research. (Todd, Please send me the > Remap! I've been waiting for months!) > > Back to David B, Charles Bukowski has a similar story in his novel Post > Office, where he actually confronts the person blaming him (black postal > colleague) and says his folks were in Germany during US slave times. (But > then isn't he still getting the benefits , such as they are, of being white, > right then and there?) (I am white -- or at least have the "benefit" > (experience?) of looking so -- in case this has not been obvious in my > obsession with gender to the obliquing of race -- tho I say that more as -- > well, it's too confusing to ramble into -- I'm a mix (and who cares here but > me)) > > But even those on the margins will have their prejudices, and why not, we're > all human. I'm just grateful not to have been flogged for admitting I only > read mags with a chunk of women authors. (Or maybe no one reads my posts.) > > And I love Bukowski for his prejudices, not despite them, tho I wouldn't > have dated the guy (nor he me no doubt). For another completely obvious comment. > > XXX -- fearing all I've said -- > Eliz. > > ___________________________________________ > Elizabeth Treadwell > Double Lucy Books & Outlet Magazine > http://users.lanminds.com/dblelucy > ========================================================================= Date: Wed, 1 Mar 2000 13:35:10 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Poetics List Subject: Gary Hill, George , Charles Stein, performance in Seattle / Quasha MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: quoted-printable This message had to be reformatted. Chris -- Date: Tue, 29 Feb 2000 23:21:39 -0800 From: George Quasha On the Boards presents A new intermedia collaboration Spring from Undertime (Awaking Awaiting) by Internationally-acclaimed artist Gary Hill, and writers/artists George Quasha and Charles Stein March 3 - 4, 2000. On the Boards explores the intersection between the visual and performing arts when internationally-acclaimed Seattle artist Gary Hill and writer/collaborators George Quasha and Charles Stein premiere a new intermedia work, Spring from Undertime (Awaking Awaiting), March 3 and 4, 2000. The artists utilize a wide variety of innovative projection, video and lighting techniques, as well as live and recorded spoken word, and sound manipulation to investigate the perceptions of =ECreal=EE and =ECelectronic=EE information, and explore such abstract concepts as perception, language, and time. This adventurous performance for live performers, computers, laserdisc players, samplers, midi controllers, infrared and strobe lights and other sound/image generating devices is the culmination of a two week residency by the artists, and is supported in part by the Seattle Arts Commission=EDs Diverse Works program. For performers, computers, multiple projections, laserdisc players, sampler, midi controllers, infrared and strobe lights, video cameras and other sound/image generating devices. Tapping into live and prerecorded images, sound, texts and language fragments, installation artist Gary Hill and poet/artists George Quasha and Charles Stein collaborate in two nights of situation-specific performance. Though utilizing a wide range of technical devices =F3 infrared and strobe lights, multiple video projections, multi-sound processing and state of the art display and transformation of electronic and live information =F3 the real matter of the event is time & awareness. The mind of the artists and the mind of the audience are called to a common place of co-creative inquiry. What is time and what can it be through newly excited awareness? What happens to real time when spontaneous sequences of image, sound and language open into a whirlpool of new relations? What if time itself transforms in the neurological gaps between time & image & language mating in unprecedented ways? Can we awaken through invisible actions and shifting realities to a deeper sense of time =F3 its productivity, its flow, its possibility? Performances are Friday, March 3 and Saturday March 4 at On the Boards, Behnke Center for Contemporary Performance, 100 West Roy Street (corner of West Roy Street and 1st Avenue West, at the base of Queen Anne Hill). All performances are in the Mainstage Theater at 8PM. Tickets are $17. Students, seniors and groups (6 or more) receive a $2 discount (call 217-9888 for info). Tickets are available at On the Boards=ED Box Office (100 West Roy) or by calling On the Boards=ED Box Office at (206) 217-9888, Ticketmaster at (206) 292-ARTS Gary Hill=EDs contemporary video art and installations are internationally renowned. A resident of Seattle, his multiple award-winning works have been exhibited all over the world, with many solo exhibitions and retrospectives, several of which have featured collaborations with George Quasha and Charles Stein. A representative list of the museums in which Mr. Hill=EDs work has appeared include: The Guggenheim Museum in Soho, The Stedelijk Museum in Amsterdam, The Hirshhorn Museum in D.C., the Museum of Modern Art in New York, the Museum of Modern Art in Oxford, The American Film Institute, the Kunsthalle in Vienna, the Museum of Contemporary Art in Chicago, the Museum of Contemporary Art in Los Angeles, the Whitney Museum, as well as Seattle=EDs Henry Art Gallery. George Quasha, poet, artist and publisher, is the author of a number of published books of poetry (most recently, Ainu Dreams), as well as editor of several anthologies of poetry. Since 1978 he has been the co-publisher/editor of Station Hill Press in Barrytown, New York, where he also resides. His visual art works have appeared in books and periodicals as well as group art exhibitions. Ongoing dialogical collaborations with Charles Stein and Gary Hill, begun in the 1970s, include sound and text-related performance, installation and performance art collaborations, and have been seen throughout Europe and the U.S. His collaborative writing related to Gary Hill=EDs work, along with Charles Stein, include three publications, and a variety of art catalogues. Charles Stein, poet and photographer, is the author of ten books of poetry (e.g., The Hat-Rack Tree), many of which also include his photographs. He is also the author of several essays on philosophical and literary subjects. He plays Gregory Bateson in Gary Hill=EDs Why Do Things Get in a Muddle?, and is one of the two performers with George Quasha in Gary Hill=EDs Tale Enclosure. Mr. Stein also resides in Barrytown, New York, where he is Senior Editor at Station Hill Press. His photography has appeared in solo exhibitions throughout New York, as well as featured on the cover of numerous books of poetry and fiction . He has taught at SUNY Albany, Bard College, and The Naropa Institute. ========================================================================= Date: Wed, 1 Mar 2000 13:36:08 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Poetics List Subject: Gary Hill, George Quasha, Charles Stein, performance in Seattle / Quasha MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: quoted-printable This message had to be reformatted. Chris -- Date: Tue, 29 Feb 2000 23:36:13 -0800 From: George Quasha On the Boards (Seattle) presents A new intermedia collaboration Spring from Undertime (Awaking Awaiting) by Internationally-acclaimed artist Gary Hill, and writers/artists George Quasha and Charles Stein March 3 - 4, 2000. On the Boards explores the intersection between the visual and performing arts when internationally-acclaimed Seattle artist Gary Hill and writer/collaborators George Quasha and Charles Stein premiere a new intermedia work, Spring from Undertime (Awaking Awaiting), March 3 and 4, 2000. The artists utilize a wide variety of innovative projection, video and lighting techniques, as well as live and recorded spoken word, and sound manipulation to investigate the perceptions of =ECreal=EE and =ECelectronic=EE information, and explore such abstract concepts as perception, language, and time. This adventurous performance for live performers, computers, laserdisc players, samplers, midi controllers, infrared and strobe lights and other sound/image generating devices is the culmination of a two week residency by the artists, and is supported in part by the Seattle Arts Commission=EDs Diverse Works program. For performers, computers, multiple projections, laserdisc players, sampler, midi controllers, infrared and strobe lights, video cameras and other sound/image generating devices. Tapping into live and prerecorded images, sound, texts and language fragments, installation artist Gary Hill and poet/artists George Quasha and Charles Stein collaborate in two nights of situation-specific performance. Though utilizing a wide range of technical devices =F3 infrared and strobe lights, multiple video projections, multi-sound processing and state of the art display and transformation of electronic and live information =F3 the real matter of the event is time & awareness. The mind of the artists and the mind of the audience are called to a common place of co-creative inquiry. What is time and what can it be through newly excited awareness? What happens to real time when spontaneous sequences of image, sound and language open into a whirlpool of new relations? What if time itself transforms in the neurological gaps between time & image & language mating in unprecedented ways? Can we awaken through invisible actions and shifting realities to a deeper sense of time =F3 its productivity, its flow, its possibility? Performances are Friday, March 3 and Saturday March 4 at On the Boards, Behnke Center for Contemporary Performance, 100 West Roy Street (corner of West Roy Street and 1st Avenue West, at the base of Queen Anne Hill). All performances are in the Mainstage Theater at 8PM. Tickets are $17. Students, seniors and groups (6 or more) receive a $2 discount (call 217-9888 for info). Tickets are available at On the Boards=ED Box Office (100 West Roy) or by calling On the Boards=ED Box Office at (206) 217-9888, Ticketmaster at (206) 292-ARTS Gary Hill=EDs contemporary video art and installations are internationally renowned. A resident of Seattle, his multiple award-winning works have been exhibited all over the world, with many solo exhibitions and retrospectives, several of which have featured collaborations with George Quasha and Charles Stein. A representative list of the museums in which Mr. Hill=EDs work has appeared include: The Guggenheim Museum in Soho, The Stedelijk Museum in Amsterdam, The Hirshhorn Museum in D.C., the Museum of Modern Art in New York, the Museum of Modern Art in Oxford, The American Film Institute, the Kunsthalle in Vienna, the Museum of Contemporary Art in Chicago, the Museum of Contemporary Art in Los Angeles, the Whitney Museum, as well as Seattle=EDs Henry Art Gallery. George Quasha, poet, artist and publisher, is the author of a number of published books of poetry (most recently, Ainu Dreams), as well as editor of several anthologies of poetry. Since 1978 he has been the co-publisher/editor of Station Hill Press in Barrytown, New York, where he also resides. His visual art works have appeared in books and periodicals as well as group art exhibitions. Ongoing dialogical collaborations with Charles Stein and Gary Hill, begun in the 1970s, include sound and text-related performance, installation and performance art collaborations, and have been seen throughout Europe and the U.S. His collaborative writing related to Gary Hill=EDs work, along with Charles Stein, include three publications, and a variety of art catalogues. Charles Stein, poet and photographer, is the author of ten books of poetry (e.g., The Hat-Rack Tree), many of which also include his photographs. He is also the author of several essays on philosophical and literary subjects. He plays Gregory Bateson in Gary Hill=EDs Why Do Things Get in a Muddle?, and is one of the two performers with George Quasha in Gary Hill=EDs Tale Enclosure. Mr. Stein also resides in Barrytown, New York, where he is Senior Editor at Station Hill Press. His photography has appeared in solo exhibitions throughout New York, as well as featured on the cover of numerous books of poetry and fiction . He has taught at SUNY Albany, Bard College, and The Naropa Institute. ========================================================================= Date: Wed, 1 Mar 2000 00:14:19 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Brendan Lorber Subject: DOUBLE OR NOTHING Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" It's your choice. You could spend yr Saturdays doing nothing at all -- or you could pull off something at least twice as fulfilling. I'd recommend the latter, namely: taking a swim in the underground river of words at THE DOUBLE HAPPINESS READING SERIES. Come drink of the fountain of wisdom? Perception? Acuity? Or just get a two-for-one drink at the bar & listen to the double bill of fine poets we've lined up each and every Saturday. DOUBLE HAPPINESS is located in what may still be a speakeasy underneath 173 Mott Street at Broome. The readings begin at 4:00pm & they'll run you a cool $4. It's very easy: 4 Saturdays, 4 o'clock, 4 dollars. The money goes to the poets. Everything else is yours. Brendan Lorber has been delighted to call himself your host all through February & continues to do so in March as well. He may continue even after that, although he won't actually be "the host" anymore. I wouldn't trust much of what he says actually. Like right now -- why's he talking about himself in the third person like this? Lets move on. Here's the cast of characters this month at DOUBLE HAPPINESS March 4: Ange Mlinko / Andrew Epstein Ange Mlinko is the author of Matinees (Zoland Books). She keeps coming back to Brooklyn (via Morocco, Providence, and Boston). Andrew Epstein is the author of the chapbook A Possible House. His work appears in Raritan, The Review of Contemporary Fiction, Verse, Ribot, Combo & LUNGFULL! ******************************************** March 11: Issue Zero: The Literary Magazine Conference in New York As you may have already heard, ISSUE ZERO is a three-day conference that takes place at the St. Mark's Poetry Project on Friday March 10 at 10:30 pm, at Double Happiness on Saturday March 11 at 4:00pm and The Zinc Bar on Sunday March 12 at 5:00pm. Representatives of literary magazines from around the country will convene to discuss their journals & read some of their favorite work from within. Participants will be different each evening & Double Happiness' lineup looks like: Fence / Ixnay / Read Me / The Germ / Chain / Fish Drum / Tool A Magazine. ******************************************** March 18: Tom Devaney / Kimberly Lyons Tom Devaney's first book of poems is The American Pragmatist Fell In Love (Banshee Press). His work has appeared in many magazines across the country and most recently on the walls of San Francisco in the pieces of a young graffiti artist name "Zero," who read his poem "Obi-Wan Kenobi" in LUNGFULL! Magazine where Devaney is a contributing editor. He also writes puppet plays for the experimental puppet group "The Lost Art of Puppet" and continues to write about idea in art and poetry he calls "animated realism." He lives in Brooklyn and teaches English as an adjunct at Brooklyn College. Kimberly Lyons is the author of several chapbooks including _Six Poems_ (Lines), _Strategies_ (Prospect Books) and In Padua (St. La Zare Press). She was also program coordinator for the St. Marks Poetry Project. ******************************************** March 25: Sharon Mesmer / Denver Butson Sharon Mesmer's old book is Half Angel, Half Lunch (Hard Press, 1998) Her new book is The Empty Quarter (Hanging Loose Press, 2000). She has been published recently in the anthologies Outlaw Bible of American Poetry, Poems for the Nation (edited by Allen Ginsberg), THUS SPAKE THE CORPSE: An Exquisite Corpse Anthology and Crimes of the Beats as well as in Poets & Writers, Lingo, the Japanese magazines Barfout! and More or Less, and She's a recipient of 1999 NYFA in poetry. Denver Butson's first book of poetry, triptych, was published by The Commoner Press in 1999. Mechanical Birds his second book, will be appear on St. Andrews College Press early in 2000. His poetry, can also be found in The Yale Review, The Ontario Review, Quarterly West, Caliban, Mid-American Review, Rolling Stock, New Virginia Review, Onthebus, Exquisite Corpse, Cairn, and LUNGFULL!, among other journals. He is one of four poets represented in Ikons, an anthology of young Virginia writers on St. Andrews College Press. Questions? Kind sentiments? How's my driving? Call 212.533.9317 or lungfull@interport.net. If you'd like more information on LUNGFULL! Magazine -- say, how to subscribe, advertise or submit -- again drop me a line. I look forward to gradually being able to see you there, as all our eyes adjust to the darkness. Vernal equinoxiously, Brendan Lorber ========================================================================= Date: Tue, 29 Feb 2000 23:11:03 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: David Bromige Subject: Re: gender essentially tacky In-Reply-To: <200002292154.NAA09189@lanshark.lanminds.com> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" >Back to David B, Charles Bukowski has a similar story in his novel Post >Office, where he actually confronts the person blaming him (black postal >colleague) and says his folks were in Germany during US slave times. (But >then isn't he still getting the benefits , such as they are, of being white, >right then and there?) Elizabeth, thanks for your post. Lots in it, I only want to deal with one point right now : yes, CB is still white, & there's the rub. He is caught, innocent yet complicit, in history. As Jamie I and countless other men are caught in history, the history of the patriarchy. As, in your different way, are you women. I dont mean we can't alter the situation. But there's no blank slate to start from. Even after I wrote to dissociate myself from 'men,' I was a man. Any time I go on automatic pilot, I will be 'men' again. But the system is not one I dreamed up then imposed. So I am guilty of what I have not done (as well as of what I have done), but not as a sin of omission. Rather it's a case of 'the sins of the fathers...' But no more than CB could give up the advantagre of being white, do I think I am entirely capable of giving up the advantage of being a man. So, then what? Rail? Why not? It's just that I don't see the use of approaching the difficulty in this way. I can only try to change if specific patterns are indicated. What would you like me to stop doing, & how would that help you? Do I argue just like a man? Sigh. Probably. PS : I know the CB anecdote, and I think mine is more to the point. The German housekeeper and the English cowhand came to no definite unraveling, they slowly grew to see one another in three or four dimesnions. Thinking of it as literature, I would end my anecdote with the cowhand sitting at the kitchen table stunned to be hated for being something he had not much good to say of himself, at that point in adolescence. CB tells us only what we already know. Talk about tacky! I feel like I have cooties, being linked, however casually, to CB! Ugh. Get these things off me! -- Please dont do that again, unless you really have to. Try Grahame Greene next time, or at least John Fowles. Whenever John Martin would give me the latest CB, I'd read it all that same day, then have to lie down with nausea. It was like a candy, I couldnt stop till it was all gone. I get the heaves just writing about his writing. Yuck! Did he really get me to _do_ that? And that tacky feeling, is something like I feel when I am addressed as 'men.' Help! History is a gluepot, & I am a dinosaur. Hmm, let's take up ageism next.... Best to you, & keep those cards n letters coming in. David B. ========================================================================= Date: Wed, 1 Mar 2000 03:57:17 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: protolanguage (continuation) MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII --- protolanguage (continuation) exit cd /usr/games ./adventure n d d look d e e e e s n n look w w look building go building n s s w e d u w w w w w w w w w w s s s s s m n n n n n n n n n w w look down enter building take lamp take food take water eat food drink water drop bottle inventory light lantern look take keys exit building look down down look slit down w w enter valley look down up w e e e s s unlock grate with key lift grate look enter grate move grate enter w take cage e w look w take rod say XY||Y XY||YZZY XYZZY XYZZY look up e w w cage bird put bird in cage catch bird wave wand look w down w wave wand cross bridge take diamonds cross bridge look cross bridge look cross bridge look e up up down down wave wand inventory light lanterns look kill snake e w down e down n s south jump hug snake open snake wave wand at snake yes yes okay fine up up s s s n n n e e e e e e n w s quit yes ___ ========================================================================= Date: Wed, 1 Mar 2000 05:17:07 PST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Stephen Ellis Subject: Re: cultural capital and prestige Mime-Version: 1.0 Content-Type: text/plain; format=flowed So is it that "cultural capital" is the realm of the worker, and "prestige" that of the boss? It's a weird kind of contraction - as if prestige were the result of converting the perpetually expanding boundaries or "turning gearwheels" of cultural capital into an over-riding kind of "pay-per-view" perpetuum of "taste" that sustains what looks suspiciously like a kind of proprietary monarchy. Prestige operates very much like a flywheel - once it's in motion, it takes very little energy to keep it going; it depends on a closed system that is perpetually off balance, a form of mechanical efficiency, tho it probably isn't quite so inflexible. One question that comes up in this kind of systemization is, where does innovation arrive from? Like, what's its source? Or how does it enter the system, become part of it, change it, wreak it? Or does it even "do" any of these things? There's a weird sort of inversion in this, in that, tho innovation is a singulular effort, and may lead to and end in a position of prestige, prestige itself works to thwart further innovation that wld threaten its position. So maybe cultural capital works antithetically or bi-directionally - on the one hand, upholding the high chair of prestige by providing "meanings" that support it, while at the same time working interpretively to innovate against its otherwise dead(ly) incumbency. Prestige is essentially a form of unification or flag-loyalty, unity being, according to Ed Dorn, "a psycho-philosophical pressure [that] has nothing to do with a poem. The instrumentation of language itself is an active audience, with its own ideas and its own content and its own need to make its expression ... " - cultural capital being thus very active, and not at all a reservoir of knowledge one then applies or reads into a particular context; that's the realm of prestige - distribution from above, rather than construction from the ground up. They're like, what's the word? - co-tangent? - or they intersect and at those points one hopes to find (or found) the conflict that moves one "forward" or "deeper" into, well, just what, exactly? A subtle form of cultural warfare? Or certainly a vying for a kind of power, if not so much to possess it, then to see it through to some sense of flexibility not so easily ruled. S E >From: MAYHEW >Reply-To: UB Poetics discussion group >To: POETICS@LISTSERV.ACSU.BUFFALO.EDU >Subject: cultural capital and prestige >Date: Tue, 29 Feb 2000 14:00:09 -0600 > >Jim Andrews said that noone had answered his question so I will try to do >so very simplistically: > >How is cultural capital different from prestige? A well educated reader >from a background in which books are read could be said to have cultural >capital. In other words, he or she has the cultural baggage needed to >read, say, difficult modernist poetry. A work or author that possessed >value, according to those who possessed this cultural capital, would >accordingly have prestige. I might have cultural capital as a reader >without enjoying a high degree of prestige as a poet, for example. > >Jonathan Mayhew >jmayhew@ukans.edu > >_____________ ______________________________________________________ Get Your Private, Free Email at http://www.hotmail.com ========================================================================= Date: Wed, 1 Mar 2000 09:09:35 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Judy Roitman Subject: Re: poetry in translation (was Re-map query/Baron) In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" >""1) What anthologies / collections / etc. of poetry in translation have >you recently purchased. > >2) Does the work of poets from other countries (specifically >non-English speaking countries) have any importance to your own work. > >3) What purpose does, or should, the publication of works in >translation have, if any. > >I don't want to sound like I am complaining, but am feeling somewhat >discouraged by the whole thing, & wonder if anyone actually cares for, >or is interested in, works in translation."" > > >I don't find reading poetry in translation very satisfying as a general >rule, and am troubled by the ready acceptance of shoddy translations. >Since professionally I read Spanish poetry constantly, I rarely look at >translations. Everyone always asks me why I am not a translator, and I >think that this will be my eventual path. Very little Spanish poetry after >Hernandez and Lorca has been translated, and seeing some existing versions >makes me think I could do much better. I still distrust translation as a >matter of principle though. More often than not it establishes a >sentimental relation to the original text. In other words, I have to >assume that Rilke is a great poet in order to slog through some turgid >English version. I attribute the defects to the translator while >extending a line of credit to Rilke. It drives me crazy because I don't >know what I'm reading after a while... This being said, I think I have >much less "translation tolerance" than others, and my sense is that there >is a great hunger for good translations. > > >Jonathan Mayhew >jmayhew@ukans.edu > >_____________ My husband being a translator I of course am both quite fond of the art and quite aware of the amount of bad translation out there (in the peculiar dialect I have come to know as "translationese" -- not quite English, certainly not as vibrant as a pidgin or creole....) And knowing no language other than English I am grateful for the good translations that exist. Translation is a service, an important although never perfect one, local to its time and place, almost an act of anthropology (communication across cultures) mixed with perhaps telepathy and communion with the dead. Only as a student reading required readings is one forced to slog through turgid English versions due to some hearsay relation to the original text. As for what one is reading when one is reading a translation: one is reading a translation. Of course. I have never read Celan. But I read Joris' translation of Celan, and his notes on his translation, and this opened up possibilities in English that I had never imagined. Why not? --------------------------------------------------------------------------- Judy Roitman | "Whoppers Whoppers Whoppers! Math, University of Kansas | memory fails Lawrence, KS 66045 | these are the days." 785-864-4630 | fax: 785-864-5255 | Larry Eigner, 1927-1996 ---------------------------------------------------------------------------- http://www.math.ukans.edu/~roitman/ ---------------------------------------------------------------------------- ========================================================================= Date: Wed, 1 Mar 2000 09:46:32 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Gary Sullivan Subject: gream context MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit "You made it--I came too--Eugene my brother before (still grieving now and will gream on to his last stiff hand, as he goes thru his cancer--or kill --later perhaps--soon he will think--)" ========================================================================= Date: Wed, 1 Mar 2000 08:05:53 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: David Kirschenbaum Subject: New Boog chapbooks by E. Berrigan and Sharma Mime-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Now available Boog Literature chapbook #26 Edmund Berrigan, Life First printing, 100 copies, 26 of which are signed and lettered by the author and cover artist Will Yackulic 28 pages; 4-page white tip-in sheet; and 4-page, red, white, and black laser printed cover wrap with drawing of the author. Saddle-stapled. $6 ($9 institutions). 74 printed (50 available) 28 pages; 4-page signed and lettered ivory tip-in sheet; and 4-page, red, white, and black laser printed cover wrap with drawing of the author. Hand-sewn. $12 ($18 institutions). 26 printed (18 available) Boog Literature chapbook #27 Prageeta Sharma, A Just-So Poem First printing, 100 copies, 26 of which are signed and lettered by the author and artist Hedi Sorger 8 pages with illustrations; 4-page white tip-in sheet; and 4-page, red, white, and gold laser printed cover wrap with collage/drawing. Saddle-stapled. $4 ($6 institutions). 74 printed (50 available) 8 pages with illustrations; 4-page signed and lettered ivory tip-in sheet; and 4-page, red, white, and gold laser printed cover wrap with collage/drawing. Hand-sewn. $8 ($12 institutions). 26 printed (18 available) Checks payable to: Boog Literature 351 W.24th Street Apt. 19E New York, NY 10011-1510 Email: booglit@excite.com Tel: (212) 206-8899 all prices are postpaid for list members Boog Literature chapbooks are edited and published by David A. Kirschenbaum. Send SASE, or email, for catalog. as ever, David _______________________________________________________ Get 100% FREE Internet Access powered by Excite Visit http://freeworld.excite.com ========================================================================= Date: Wed, 1 Mar 2000 11:08:17 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Poetry Project Subject: gender Mime-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" I'm overjoyed to see gender raised yet again on this list and am as always fascinated by the responses it garners. I love talking about gender. I want to hear more about the 8 genders. I'd like to talk about how being maybe 2 or 3 genders at once maybe affects things associated with writing, like posting to e-mail lists, sending in work to be published, public reading personas (!), publishing one's own work. I also like talking about lost women writers--like how I just discovered an old book by Dorothy Richardson, and who she was, and why her books aren't in print anymore, and why maybe that happened. Liquid gender. I read that article in the NYTimes last weekend about how there were some "good" Germans who did help Jews escaping the holocaust, and how they weren't put in such mortal danger by doing so, and that this makes those who didn't help that much more complicit in evil. I don't think it's really that acceptable to say that "my ancestors didn't buy slaves so I am not part of racism now." Or that "while many other men may be sexists, I myself am a wonderful feminist." Personally, I prefer show not tell. Each time gender is raised on this list, it seems there's a sort of rush to establish oneself as an ardent feminist for various reasons, while I think that for the most part gender is raised so we can talk about gender, not how oneself is not a sexist, feinting at imaginary opponents so to speak. Peace & love to all. Marcella ========================================================================= Date: Wed, 1 Mar 2000 11:09:34 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Gary Sullivan Subject: fatbrain MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Hi Katie, fatbrain.com and iUniverse.com were featured in the latest Poets & Writers Online, as ways for poets to circumvent the publishing industry (Jaclyn Pare's "Is Democracy Ever a Bad Idea?"). Looks like both are more-or-less similar to The International Library of Poetry (http://www.poetry.com), although admittedly fatbrain only charges $1 per page to house your stuff. Constantly on the lookout for fun material to collage, I went to the fatbrain.com site to check out the poetry pdf files for sale. Found what follows. I haven't excerpted or edited; these appear just so on the site iteself. I think there are now 39 pdf files for sale; I just couldn't keep going after "god grows a moustache" (the 12th or so entry), it was *too* perfect: " Kings for a Day " Poetry; Saint Michael Author; 12/1999; $2.00 ; 1 pages How fine is line between poerty and prophecy, here is and attempt to define the line. "Laughing at the World" through Poetry; Saint Michael Author; 10/1999; $19.95 ; 15 pages My poetry is a composite of collected dreams and meditations centered on Christ, Jesus and His teachings. Enveloping both the Old and New Testament writings. I was born in Seattle Washington 57, grew up in Alaska and spent many years as a merchant marine sailing on Tow Boats in the Pacific. My own personal relationship with God and the reading of His Holy Bible, Lead me by inspirational dream and visions to Jerusalem Israel and the mid East where I sojourned between the River of Egypt and the Euphrates for over 7 years. These poems are a few I feel moved to release publicly at this time. (Poetry) A Therapeutic Relationship; Ann Hollander 10/1999; $4.95 ; 1 pages This poem is about the author's feelings for her psychotherapist. It deals with issues of trust, psychological healing, hopes and dreams. Birds in Wires \ A collection of prose and poetry; Alexander Girshin Author; 11/1999; $2.00 ; 7 pages Sample of a poem: After the Fall Nothing is real - not death, not life. It all seems like a big old stupid dream. I cannot relate to anything that is around me. Nothing is real. It's like those English drama episodes on A&E. All things move at the wrong speed, at a lesser quality. There is no hope, only anxiety. There is no love, only a lust for human energy. I am sick but I do not feel sick because, I am the sickness. Now I am utterly alone, separated from humanity, separated from nature; standing on a dry, barren plain under a purple-black sky I hear the indignant voice, "You have sinned." Black Roses: Poetry of Shadow and Passion; Jari Winter Self Published; 10/1999; $2.00 ; 1 pages Eight poems, some with meter, all with meaning. Boss - Poetry In The House; Gerard Johnson 12/1999; $2.00 ; 1 pages This is how some of us feel about those in charge. See if you feel the same. Bright Little Leaf 'a book of children's poetry for young readers those young at heart'; Harry S. Harvey Jr. 12/1999; $11.99 ; 32 pages Bright Little Leaf is a poem about an autumn leaf not content with her lot in life. She has literally "soaring" aspirations and a definite itinerary. Her ultimate fate however, is not quite what she envisions. Bright Little Leaf's full color illustrations are appealing, vivid and very imaginative. It is a delightfully engaging and informative book for young readers and those young at heart. Some who grew up with "the tube," having had virtually everything spelled out in black and white and later in color, and being left with less and less to imagine lapsed into jaded and desensitized perspectives. Their awesome power of imagination having been stunted or withered by lack of challenge and stimulation. They know that leaves don't sing_leaves only rustle, and winds don't talk_winds just whine, whistle or howl. Ah! But hope springs eternal! Let young children in wonderment, shut their eyes for a brief moment and ask them to listen intently; they will hear a small autumn leaf "sing" and a frisky fall wind gallantly "speak" to her plea! The magic lives on! Changing Impressions -- Selected Poetry of David Scott; David Scott Author; 01/2000; $5.00 ; 26 pages Our perspectives change as we mature. As a young man, I was caught up in the senses. Love was visual and involved a lot of touching. Now I see love as extending far beyond the senses. It is both spiritual and human, and it transcends time. These poems reflect those changing perspectives. Cigarettes & Frustration - Poetry of an Induced Reflection: 1995-1998; Gary T. DuVall 10/1999; $5.00 ; 33 pages Dena Maria Martin brings us into the mind of a woman trapped in a home for the elderly. Dark Journey - Poetry of the Crestfallen; Michael V. Tulloch, Jr. ; 10/1999; $3.00 ; 6 pages Meanderings in slate worlds, haunting the obverse of mirrors...six scratchings of verse and near-rhyme... Dark Techno Acid Poetry; dothar 10/1999; $3.00 ; 20 pages A collection of dozens of dark and brooding poems, song lyrics and assorted ramblings constructed while at various bizzarre venues and places from Amsterdam to the far North. god grows a mustache (poetry); Richard Keating 10/1999; $2.50 ; 25 pages god grows a mustache consists of 25 excerpts from Richard Keating's full-length collection of poetry entitled, when you are finished it should look like this. ========================================================================= Date: Wed, 1 Mar 2000 11:13:14 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Gary Sullivan Subject: gream update In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit I asked Michael Stanislawski, a professor here who's more-or-less fluent in both Yiddish & Hebrew if he'd ever run across "gream," and he said it's neither. He looked at it in context & suggested it might be a coined word (my own suspicion). It's also a not-super-uncommon surname; maybe a pun on some Gream we might have known about when Kaddish was written? But, looks like a coined word (or typo/misprint?): grieve/scream? ========================================================================= Date: Wed, 1 Mar 2000 13:10:22 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jack Foley Subject: Extras to FlashPoint Mime-Version: 1.0 Content-Type: text/plain; charset=US-ASCII Content-Transfer-Encoding: quoted-printable ** PRIVATE ** In anticipation of the next issue of FlashPoint (http://webdelso.com/FLASHP= OINT/) two extras which may be of interest to you have been added to the = current issue. They are: Kent Johnson on Buffalo '99=20 and Deconstructing the Demiurge: Tale of the Tribe --JR Foley, Editor ========================================================================= Date: Wed, 1 Mar 2000 08:11:04 -1000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Susan M. Schultz" Subject: [Fwd: [Fwd: Gream?]] MIME-Version: 1.0 Content-Type: multipart/mixed; boundary="------------A492785D01022BCC7C130ADE" This is a multi-part message in MIME format. --------------A492785D01022BCC7C130ADE Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Re: the "gream" question; one of my students sleuthed out the following information. --------------A492785D01022BCC7C130ADE Content-Type: message/rfc822 Content-Transfer-Encoding: 7bit Content-Disposition: inline Received: from relay4.hawaii.edu ([128.171.94.12]) by hawaii.rr.com with Microsoft SMTPSVC(5.5.1877.197.19); Wed, 1 Mar 2000 02:57:37 -1000 Received: from uhunix1.its.hawaii.edu ([128.171.44.6]) by relay4.Hawaii.Edu with SMTP id <130020(7)>; Wed, 1 Mar 2000 02:57:37 -1000 Received: from localhost by uhunix1.its.Hawaii.Edu with SMTP id <135729(5)>; Wed, 1 Mar 2000 02:57:32 -1000 From: Jesse John Rowell X-Sender: jrowell@uhunix1 To: "Susan M. Schultz" Subject: Re: [Fwd: Gream?] In-Reply-To: <38BCA8F0.D06A5141@hawaii.rr.com> Message-ID: MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Date: Wed, 1 Mar 2000 02:57:37 -1000 Return-Path: jrowell@hawaii.edu X-Mozilla-Status2: 00000000 Dr. Schultz, the web site http://www.multimania.com/gream/principale.html might help where you'll find "gream" is a French pun: NB : GRIM (en anglais : menacant) + SCREAM -> GREAM. Probably not applicable to Whitman, but worthy of laughter. Or. . .this is Whitman's way of encoding death: Grim Reaper -> Gream. Hope that helps, although I'm sure it doesn't. --------------A492785D01022BCC7C130ADE-- ========================================================================= Date: Wed, 1 Mar 2000 16:34:08 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: J Kuszai Subject: 4 new books from Meow Press Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Announcing 4 New Chapbooks from Meow Press: Madonna Fatigue, by Heather Fuller Two of Everything, by Lisa Jarnot Catalogue, by Alan Loney and Signature, by Stephen Ratcliffe While I am announcing these books today, they will not be available through Small Press Distribution for another week, since I am only assembling them now. But, I am very excited to be announcing so many publications at once; it's the product of some dedicated work in late December and the (since then) very limited amount of time I am able to spend in production. Many people on this list will know the poets whose works are listed here: Lisa, Heather and Stephen are well known in American poetry circles; but that audience is less likely to know the work of Alan Loney, who has at least two books on Auckland University Press. The New Zealanders on the list will have to help me attest to the wonder and power of Alan's writing. Perhaps SPD carries his books; if not, they're worth hunting down and ordering direct. While I prefer that orders go through Small Press Distribution, I will accept package orders on all four (plus one from the back list) for twenty dollars, USA shipping incl. If you think you might be interested, you should really think about it first. TRADE COPIES AVAILABLE. Inquire within. http://www.sunbrella.net ========================================================================= Date: Thu, 2 Mar 2000 09:46:49 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Poetics List Subject: Re: ReMap Query / baron MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit This message had to be reformatted. -- Date: Fri, 25 Feb 2000 20:27:46 -0800 From: "todd baron" L: you are on the track! Yes--the commodity is important to poets--odd--nothing to "win" or gain but poor paper. I agree abt our publications--and yet I must say that when people appear on ReMaps they do get free subs cuz I can't pay them without doing this. I think we must do these gestures--daily. As for yr work--I read allot of what you sent--but personally became disheartened by yr response abt my work not being right because you published work that was not like mine. I was lost as to what that meant. Also--poverty my friend. With a baby and a house and a wife and an odd normal existence where each dollar counts-1,-2,-3-,-I got lazy. You're right! I should have continued reading yrs. My fault. As for yr work--I did respond! Reemmeber? I did I swear! And that yr work did not fit the theme of LOVE that our current issue published. I was specific--I swear! Plus--some of the work we all publish others don't want to read--right? I wanted to read everything that came my way--but we must respond to o each other. dialogue. which this is. sorry this sounds personal as I read it but--my poetics is also my response. anyways-- lets continue the talk! Send me the address I lost of yrs please. alls, Tb ---------- From: Leonard Brink To: POETICS@LISTSERV.ACSU.BUFFALO.EDU Subject: Re: ReMap Query / baron Date: Thu, Feb 24, 2000, 10:59 PM Dear Todd: As you know, I've published Inscape (7 issues) for a couple of years now and that's withering on the vine for a lack of interest, too. It seems to me that when our readership is composed mainly of poets and other editors, those poets and editors expect to receive complimentary copies, and if a poet's work is not being published by a particular mag they may not see much point in subscribing to it because it isn't honoring the work that they're most interested in (their own). I also think that magazines like ReMap and Inscape, which are produced in a manner that is affordable for the publisher to make and distribute without much, if any ,additional support from the government or subscribers, are not as attractive to the poetry community as perfect bound journals which resemble commodities/commercial products of mass reproduction. And, if you'll permit me a personal observation, you solicited work from me for ReMap but never responded as to whether that work had been accepted or not. I know of another magazine, to which I was the 7th subscriber ever, signing up for a 3 year subscription, who similarly does not respond to solicited work or even send me the copies I paid for as a subscriber! So there's the matter of personal incompetence to consider when analyzing the eventual failure of a project. In the case of Inscape I've started a new, more narrowly focused, project taking this stuff into consideration. ========================================================================= Date: Wed, 1 Mar 2000 13:50:46 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Gwyn McVay Subject: Re: poetry in translation In-Reply-To: MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Judy Roitman mentions: >>>But I read Joris' translation of Celan, IMNSHBCC&MDSO,* one of the most breathtaking fucking readings you can ever bend open the spine of. Had to mention that. Gwyn McVay * In My Not-So-Humble But Carefully Considered & Master's-Degree-Supported Opinion ========================================================================= Date: Wed, 1 Mar 2000 13:59:14 -0500 Reply-To: patrick@proximate.org Sender: UB Poetics discussion group From: Patrick Herron Subject: Re: [Fwd: [Fwd: Gream?]] In-Reply-To: <38BD5D38.7EE0E453@hawaii.rr.com> MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 8bit Found on the web at: http://www.kabalarians.com/male/gream.htm Gream Your name of Gream gives you a strong sense of responsibility in business and material affairs, and the practicality and determination to make a success of anything you undertake. Your ability to organize and direct the efforts of others enables you to excel in any managerial position because you have the ability to grasp the concept of a goal complete with an understanding of the steps to be taken. This name has allowed you to develop depth and breadth of mind. You are able to retain facts, to add new information to your existing store of knowledge. You never seem to be out of your depth of understanding. For these reasons others who may not have the same quickness of mind classify you as a "know it all" and, although you may be highly respected, this characteristic is unlikely to endear you to your associates. You have a very responsible nature, are capable and mature, and are willing to assume a position as a pillar of the community. You are quite healthy, but possible trouble areas are found in the generative organs. Gream, the brief analysis of this baby name is not complete. There are many additional factors (nicknames, last name, names and initials in your business signature, and birthdate, etc.) to be considered, or that affect your personality and life. A personalized Name Report™ will give you a comprehensive description of your unique abilities, inner potential, strengths and weaknesses, compatibility in personal and business relationships, career aptitudes, health, and degree of happiness and success. Hee. Hah. Hoh. I shall name all of my children Gream, though I might be forced to worry about their "trouble areas" in their "generative organs." Patrick -----Original Message----- From: UB Poetics discussion group [mailto:POETICS@LISTSERV.ACSU.BUFFALO.EDU]On Behalf Of Susan M. Schultz Sent: Wednesday, March 01, 2000 1:11 PM To: POETICS@LISTSERV.ACSU.BUFFALO.EDU Subject: [Fwd: [Fwd: Gream?]] Re: the "gream" question; one of my students sleuthed out the following information. ========================================================================= Date: Wed, 1 Mar 2000 13:23:06 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Judy Roitman Subject: found poetry Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" This came through on e-mail today from god knows what source through god knows what channels and was so charming I just had to forward it to people who might appreciate it: "send me mail of math for my eacher she neds it for lessons" --------------------------------------------------------------------------- Judy Roitman | "Whoppers Whoppers Whoppers! Math, University of Kansas | memory fails Lawrence, KS 66045 | these are the days." 785-864-4630 | fax: 785-864-5255 | Larry Eigner, 1927-1996 ---------------------------------------------------------------------------- http://www.math.ukans.edu/~roitman/ ---------------------------------------------------------------------------- ========================================================================= Date: Wed, 1 Mar 2000 11:28:07 -0800 Reply-To: degentesh@earthlink.net Sender: UB Poetics discussion group From: Katie Degentesh Organization: Pretty good Subject: Re: fatbrain MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Gary: Yup! I have no argument against it: everything that's currently calling itself 'poetry' on the Fatbrain site is ... well, I hesitate to call it _pure_ crap, because there's definitely a certain amount of collage and to be had from trying to read it, but! But they want me to create a poetry category! So I'm posting in an attempt to attract stuff that has literary value as something other than collage fodder. Although the pieces which appear below are available for sale on the site, Fatbrain isn't promoting them. They recognize (probably only because I've pointed it out to them, but) the fact that there's currently no literary content on their site, and want to attract it. If I can attract actual content, I can create a promotional page, on which sample poems, poet photos, and interviews with poets, can be featured. The kind of content you've sampled below (and there's TONS of it, not only in the poetry category: one of my favorite entries is a board game for 5th graders: "Pogrom: A Game of Jewish History") won't appear on the promotional page -- people have to access it either by a) getting an e-mail from their dear friend Saint Michael telling them to check out his latest "peotry" at the below URL or b) thumbing through the Subject Search stacks, much as they might to in order to find first editions of Rod McKuen in the dustiest corners of a run-down bookstore. Re: the $1 fee: this isn't currently being charged, and won't start to be charged for at least another month, possibly longer, so if you happen to have PDF files, and wouldn't mind having a URL to which to point people, you haven't even got a buck to lose by trying it briefly. Gary Sullivan wrote: > Hi Katie, > > fatbrain.com and iUniverse.com were featured in the latest Poets & Writers > Online, as ways for poets to circumvent the publishing industry (Jaclyn > Pare's "Is Democracy Ever a Bad Idea?"). Looks like both are more-or-less > similar to The International Library of Poetry (http://www.poetry.com), > although admittedly fatbrain only charges $1 per page to house your stuff. > > Constantly on the lookout for fun material to collage, I went to the > fatbrain.com site to check out the poetry pdf files for sale. Found what > follows. I haven't excerpted or edited; these appear just so on the site > iteself. I think there are now 39 pdf files for sale; I just couldn't keep > going after "god grows a moustache" (the 12th or so entry), it was *too* > perfect: > > " Kings for a Day " Poetry; Saint Michael > Author; 12/1999; $2.00 ; 1 pages > How fine is line between poerty and prophecy, here is and attempt to define > the line. > > "Laughing at the World" through Poetry; Saint Michael > Author; 10/1999; $19.95 ; 15 pages > My poetry is a composite of collected dreams and meditations centered on > Christ, Jesus and His teachings. Enveloping both the Old and New Testament > writings. I was born in Seattle Washington 57, grew up in Alaska and spent > many years as a merchant marine sailing on Tow Boats in the Pacific. My own > personal relationship with God and the reading of His Holy Bible, Lead me by > inspirational dream and visions to Jerusalem Israel and the mid East where I > sojourned between the River of Egypt and the Euphrates for over 7 years. > These poems are a few I feel moved to release publicly at this time. > > (Poetry) A Therapeutic Relationship; Ann Hollander > 10/1999; $4.95 ; 1 pages > This poem is about the author's feelings for her psychotherapist. It deals > with issues of trust, psychological healing, hopes and dreams. > > Birds in Wires \ A collection of prose and poetry; Alexander Girshin > Author; 11/1999; $2.00 ; 7 pages > Sample of a poem: After the Fall Nothing is real - not death, not life. It > all seems like a big old stupid dream. I cannot relate to anything that is > around me. Nothing is real. It's like those English drama episodes on A&E. > All things move at the wrong speed, at a lesser quality. There is no hope, > only anxiety. There is no love, only a lust for human energy. I am sick but > I do not feel sick because, I am the sickness. Now I am utterly alone, > separated from humanity, separated from nature; standing on a dry, barren > plain under a purple-black sky I hear the indignant voice, "You have > sinned." > > Black Roses: Poetry of Shadow and Passion; Jari Winter > Self Published; 10/1999; $2.00 ; 1 pages > Eight poems, some with meter, all with meaning. > > Boss - Poetry In The House; Gerard Johnson > 12/1999; $2.00 ; 1 pages > This is how some of us feel about those in charge. See if you feel the same. > > Bright Little Leaf 'a book of children's poetry for young readers those > young at heart'; Harry S. Harvey Jr. > 12/1999; $11.99 ; 32 pages > Bright Little Leaf is a poem about an autumn leaf not content with her lot > in life. She has literally "soaring" aspirations and a definite itinerary. > Her ultimate fate however, is not quite what she envisions. > Bright Little Leaf's full color illustrations are appealing, vivid and > very imaginative. It is a delightfully engaging and informative book for > young readers and those young at heart. > Some who grew up with "the tube," having had virtually everything spelled > out in black and white and later in color, and being left with less and less > to imagine lapsed into jaded and desensitized perspectives. Their awesome > power of imagination having been stunted or withered by lack of challenge > and stimulation. They know that leaves don't sing_leaves only rustle, and > winds don't talk_winds just whine, whistle or howl. Ah! But hope springs > eternal! Let young children in wonderment, shut their eyes for a brief > moment and ask them to listen intently; they will hear a small autumn leaf > "sing" and a frisky fall wind gallantly "speak" to her plea! > The magic lives on! > > Changing Impressions -- Selected Poetry of David Scott; David Scott > Author; 01/2000; $5.00 ; 26 pages > Our perspectives change as we mature. As a young man, I was caught up in the > senses. Love was visual and involved a lot of touching. Now I see love as > extending far beyond the senses. It is both spiritual and human, and it > transcends time. These poems reflect those changing perspectives. > > Cigarettes & Frustration - Poetry of an Induced Reflection: 1995-1998; Gary > T. DuVall > 10/1999; $5.00 ; 33 pages > Dena Maria Martin brings us into the mind of a woman trapped in a home for > the elderly. > > Dark Journey - Poetry of the Crestfallen; Michael V. Tulloch, Jr. > ; 10/1999; $3.00 ; 6 pages > Meanderings in slate worlds, haunting the obverse of mirrors...six > scratchings of verse and near-rhyme... > > Dark Techno Acid Poetry; dothar > 10/1999; $3.00 ; 20 pages > A collection of dozens of dark and brooding poems, song lyrics and assorted > ramblings constructed while at various bizzarre venues and places from > Amsterdam to the far North. > > god grows a mustache (poetry); Richard Keating > 10/1999; $2.50 ; 25 pages > god grows a mustache consists of 25 excerpts from Richard Keating's > full-length collection of poetry entitled, when you are finished it should > look like this. ========================================================================= Date: Wed, 1 Mar 2000 11:43:48 PST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Ron Silliman Subject: Greamly Mime-Version: 1.0 Content-Type: text/plain; format=flowed I want to thank Peter, Philip, Gary, Susan & her student Jesse John for all adding to my knowledge, which I've passed on to Linh. The grieve or grim combine with scream seems pretty consistent (especially in context). The fact that that French site has what looks like a Blair Witch knock-off with that title really cements it. Putting the crypt in cryptic, Ron ______________________________________________________ Get Your Private, Free Email at http://www.hotmail.com ========================================================================= Date: Wed, 1 Mar 2000 13:56:23 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Gary Sullivan Subject: Books for sale MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit * * * Books for Sale * * * from Poetasters & Whacks ! Books you need to succeed! "If you're not successful, you're not a writer!" --W.L. Whittmann Directory of Literary Periodicals 1999 Edition Nearly 600 entries, 550 of which are no longer valid. A "Black Hole" edition. 270 pages, paperback. WAS $12.95, NOW ONLY $7.77! A Directory of American Poets and Writers: 2000 This millennial edition of the ever-popular Directory lists the contact names, addresses, phone numbers, e-mail addresses, passwords and Social Security Numbers for over 7,400 poets, fiction writers, and performance writers. Writers love nothing more than getting a phone call, e-mail or unannounced house visit from a stranger like you. A must for anyone who needs or wants to harrass writers for blurbs, advice, publishing secrets, and more. You're not crazy for wanting to "stalk" Maya Angelou. This book helps you realize your darkest fantasies. Begin a cottage industry and telemarket hair products to creative individuals without the time or energy to leave the house. Call known enemies and "conference" them together. Endless possibilities. 560 pages, paperback. $29.99 The Art of Drinking: John Gardner's Notes on Craft Edwin Kosto and Anne Trimble, eds. Rigorous. Engaging. "How to Tell Double Vision from Simultaneous Submissions." Advice and hair raising tales of public disorderliness by this once-popular dipsomaniac. "The Night Me and Ray Carver Went Out Looking for Sauce and Wound up in I Guess You Could Call It a Whorehouse." Literary criticism meets slice-of-life memoir. "Puking in the Pool: A Memory of Abandoning My Daughter for Time to Write Fiction." A must for anyone who has ever survived a creative writer of any kind. "I Guess I Just Drank and Drank Until I Puked." Illuminating. Kosto and Trimble are to be applauded, hands-down the best editorial team since Teake and Fontaine. "Face Down in a Pool of My Own Blood: When to Abandon the Rewriting Process." Posterity. Kudos. 228 pages, indexed then wiped with a sponge. Paperback. WAS $10.00, NOW ONLY $6.00! Literary Agents: An Essential(TM) Guide (Vols. I and II) Do you need a literary agent? How many more books like this one should you buy? Is this book something you really need? Is there a way you can pay P&W twice for this book? Every writer you know who has gotten an agent has been dropped by him or her in the following 6 months - 1 year: How can you make sure this doesn't happen to you? What forms of subtle blackmail are *not* (technically) illegal? In this fully revised and updated edition of this essential guide, you'll find the answers to these questions and more. Buy both volumes and receive our popular Annotated Listing(R) of agents, compiled in 1971, now on CD-ROM. 568 pages, paperback. $27.99 per volume. Poet's Pal(TM): A Guide to "Giving It Up" By Dorianne Addonizio Do you ever find yourself wondering if you shouldn't just give up the boring, thankless task of writing poems and write pornography instead? This book will help you. Well-known pornographer Dorianne Addonizio addresses a range of subjects, including "The Inner Family: Obstacle to Success?," "Pornographer, Know Thyself," "Draft Avoidance," and "If It's Not Porno When Bataille Writes It, How Can It Be Porno When You Write It?: Twenty-Minutes-a-day to Re-realizing Your First Published Collection of Filth." 251 color photographs; all positions. 284 Pages, paperback. WAS $13.00, NOW $7.80 ========================================================================= Date: Wed, 1 Mar 2000 15:19:02 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Safdie Joseph Subject: Dorn: One More Memorial MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" On Saturday night, March 25, at 7:00 PM, at the Hugo House in Seattle, a few friends and "admirers" of Ed Dorn's work will gather for a memorial reading. The plan is for each reader (among them, Tom Raworth, Charles Potts, John Daley, Belle Randall, Bob Rose, Judith Roche, Paul Nelson, Phoebe Bosche and myself) to read for about ten minutes, either something of Ed's or something written in response to Ed's work. We're working on setting up a video link to Chicago, where other people might be gathering to do the same thing, but that's as yet unsure. More details will be forthcoming as we get a little nearer to the actual event. What I'd like to do now is invite anyone within the sight of these words who might find themselves close to Seattle around that time to attend and/or participate -- (Billy Little: still on the list? How about others in Vancouver?) Back-channel queries will get you everything I know so far. Thanks! I hope to see some of you there. Joe Safdie ========================================================================= Date: Wed, 1 Mar 2000 15:33:33 -0800 Reply-To: degentesh@earthlink.net Sender: UB Poetics discussion group From: Katie Degentesh Organization: Pretty good Subject: [Fwd: FW: Michael Palmer/Eugene Ostashevsky UC Berkeley Holloway Poetry Reading] MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit -------- Original Message -------- Subject: FW: Michael Palmer/Eugene Ostashevsky UC Berkeley Holloway Poetry Reading Date: Wed, 1 Mar 2000 14:26:41 -0800 From: "Chris Chen" To: Hi Katie: Please forward to all interested parties. Thanks. --Chris Chen >>>>>>>>>>>>>>HOLLOWAY POETRY SERIES READING Reading begins at 8 pm Maude Fife Room (3rd Floor, Wheeler Hall) Tuesday March 14 FREE ADMISSION <><>Opening Reader: <><>Eugene Ostashevsky Eugene Ostashevsky is a former founding member of 9X9 Industries, a San Francisco writers' consortium which received a Zellerbach Family Fund grant and a 1998 Pushcart prize. His poems have also appeared in 6,500, Lungfull!, Oxygen, Fourteen Hills, and other periodicals. In addition, he has published translations of several contemporary Russian poets including Alexei Parshchikov, Dmitry Golynko-Volfson and Aleksandr Skidan. His chapbooks with art by Darin Klein and Eugene Timerman are available at Blue Books and at City Lights. ------------------------------------------------------------------- <><><><><><>FEATURED POET <><><><><><>MICHAEL PALMER Michael Palmer is the author of eight books of poetry: The Lion Bridge: Selected Poems 1972-1995 (New Directions, 1998), At Passages (1996), Sun (1988), First Figure (1984), Notes for Echo Lake (1981), Without Music (1977), The Circular Gates (1974), and Blake's Newton (1972). His work has appeared in literary magazines such as Boundary 2, Sulfur, Conjunctions, and O-blek. Michael Palmer's honors include two grants from the Literature Program of the National Endowment for the Arts and a Guggenheim Foundation fellowship. In 1999 he was elected a Chancellor of The Academy of American Poets. ------------------------------------------------------------------- >>>>>>>>>>>>Upcoming Holloway Readings: Siobahn Campbell Tuesday, April TBA Louise Gluck Friday, April 14 8pm Bay Area Small Press Poets, May TBA <><><><><><><><><><><><><><><><><> HOW TO GET TO UC BERKELEY Visitor Services (for questions): 101 University Hall 510-642-5215 510-642-INFO visitor_info@pa.urel.berkeley.edu Campus Map: http://www.berkeley.edu/campus_map/ >From Northbound Highway 101 (San Francisco/Daly City) Follow 101 North and then switch to 80 East, San Francisco/Oakland Bay Bridge After the Bay Bridge,Exit to I-80 East (Berkeley/Sacramento) Exit on University Avenue Continue East on University Avenue for approximately 1.5 miles to Oxford Street From Highway 24 From Highway 24 exit Telegraph Ave. Continue on Telegraph until it dead ends at the campus on Bancroft. Make a left on Bancroft. Make a right on Fulton, which will be come Oxford St in 2 blocks. Continue on Oxford to University. From Westbound Highway 13 Highway 13 becomes Tunnel Road Continue on Tunnel Road. Tunnel Road becomes Ashby Avenue near the Claremont Hotel Turn right at Shattuck Avenue Turn right at University Avenue and continue east one block to Oxford Street. From I-80 East or West Exit University Avenue Continue east on University Avenue for approximately 1.5 miles to Oxford Street From Westbound I-580 Exit I-80 East (to Berkeley, Sacramento) Exit at University Avenue Continue east on University Avenue for approximately 1.5 miles to Oxford Street From North I-880 (San Jose; Hayward; Oakland Airport) Stay in left center lanes Exit 80 East (to Berkeley) Exit at University Avenue Continue East on University Avenue for approximately 2 miles to Oxford Street ========================================================================= Date: Wed, 1 Mar 2000 17:36:57 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: David Bromige Subject: Re: gream update In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" the ghat that got the gream? ========================================================================= Date: Wed, 1 Mar 2000 21:57:11 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Stephen Vincent Subject: Re: fatbrain MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit What distinguishes Fatbrain from a Vanity Publisher? ========================================================================= Date: Wed, 1 Mar 2000 21:42:08 -500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group Comments: Sender has elected to use 8-bit data in this message. If problems arise, refer to postmaster at sender's site. From: Jim Rosenberg Subject: Sound Pieces Available Comments: To: wr-eye-tings@cedar.miyazaki-mu.ac.jp MIME-Version: 1.0 Content-type: text/plain; charset=ISO-8859-1 Content-transfer-encoding: 8BIT [Apologies for cross posting ...] Many years ago (early 70s) I did pieces for multiple simultaneous voices. Thanks to the generosity of the Electronic Poetry Center, those pieces are now available at: http://writing.upenn.edu/epc/authors/rosenberg/ I very nearly lost these works. On the above page I thank the many people to whom I owe a debt of gratitude for saving these works, but here I especially want to thank David Bromige, Loss Pequeño Glazier, and Martin Spinelli. I need to say a special word about David. As the web page explains, my visit to David's house in Sebastopol all those many years ago changed my life in incalculable ways. It was a house overflowing with the voices of poets. David is a launcher. For whatever number of moons we have him around, let's treasure him. Thank you David ... --- Jim Rosenberg http://www.well.com/user/jer/ CIS: 71515,124 WELL: jer Internet: jr@amanue.com ========================================================================= Date: Wed, 1 Mar 2000 20:20:22 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Katie Degentesh Subject: in case you missed the release of 6,500 Comments: To: katie@degentesh.com Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Our feathered event made headlines in yesterday's SF Chronicle gossip column: http://www.sfgate.com/cgi-bin/article.cgi?file=/chronicle/archive/2000/02/29/DD3 1779.DTL 9X9X9X9X9X9X9X9X9X9X9X9X9X9X9X9X9X9X9X9X9X9X9 1999 (NINETEEN NINETY (NINE BY NINE) INDUSTRIES) 199X9 9X9 INDUSTRIES http://www.paraffin.org/nine/ nine@paraffin.org ORDER A COPY OF 6,500, ISSUE #2: "THE MAGAZINE OF FICTION, POETRY, AND MEN AND WOMEN IN SWEATSHIRTS" SEND $8 TO: 9X9 INDUSTRIES PO BOX 14842 SF, CA 94114 9X9X9X9X9X9X9X9X9X9X9X9X9X9X9X9X9X9X9X9X9X9X9 ========================================================================= Date: Thu, 2 Mar 2000 20:23:23 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: geraldine mckenzie Subject: email addresses Mime-Version: 1.0 Content-Type: text/plain; format=flowed Can anyone help me with email addresses for Bradford Morrow, Ed Foster and/or Todd Thilleman. Please back-channel. Thanks Geraldine McKenzie ______________________________________________________ Get Your Private, Free Email at http://www.hotmail.com ========================================================================= Date: Thu, 2 Mar 2000 02:37:46 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group Comments: RFC822 error: Incorrect or incomplete address field found and ignored. From: Jim Andrews Subject: RIDING THE MERIDIAN--WOMEN AND TECHNOLOGY, AT DEFIB MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit DEFIB HYPERTRANSCRIPT OF DISCUSSION Jennifer Ley and contributing editors and authors discuss Riding the Meridian--Women and Technology in the hypertranscript version (http://webartery.com/defib/canned/8Meridian/index.html) of the Defib IRC session devoted to the new issue. RIDING THE MERIDIAN--WOMEN AND TECHNOLOGY Riding the Meridian's Women and Technology issue features a roundtable discussion with professors and theorists N. Katherine Hayles and Marjorie Perloff, Eastgate aquisitions editor Diane Greco, and hypertext writers Shelley Jackson and Linda Carroli. The new issue also contains a Progressive Dinner Party showcasing 39 women who create hypertext web work, created by contributing editors Carolyn Guertin and Marjorie Luesebrink [with commentary by Hayles and Talan Memmott], and new work by Miriam Axel-Lute, Michelle Cameron, Wendy Taylor Carlisle, Ruth Daigon, Claire Dinsmore, Johanna Drucker, Claudia Grinnell, Diane Gromala, Christine Kennedy, Adriene Jenik, Tina LaPorta, Mez, Jessy Randall, Neca Stoller, Sue Thomas and Teresa White. Guertin also examines the underpinings of the upcoming Eastgate release Califia, by M.D. Coverley, while CK Tower (editor of Conspire, which will feature a concurrent issue dedicated to women who write) interviews Daniela Gioseffi, and Tabetha Dunn, geniwate and Deena Larsen talk to us about tech. Also, Judy Malloy answers questions about her work and her ongoing online forum, Gender and Identity in New Media. DEFIB Defib features discussion of the work and issues of Web art. It happens first and third Sundays at noon PST (20:00 GMT, 6am Queensland). For a schedule of upcoming events, please see http://webartery.com/defib/futureevents.htm. For hypertranscripts of previous discussions, please see http://webartery.com/defib/pastevents.htm. ========================================================================= Date: Thu, 2 Mar 2000 09:57:27 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jack Foley Subject: FlashPoint Correction Mime-Version: 1.0 Content-Type: text/plain; charset=US-ASCII Content-Transfer-Encoding: quoted-printable Luigi at "RDRAKE" kindly pointed out to me that the URL for "FlashPoint" = in yesterday's notice about the Kent Johnson article and "Deconstructing = the Demiurge" was misspelled. The correct URL is http://webdelsol.com/FLAS= HPOINT. Put a "www." before the "webdelsol.com" and you can get there, = too. Sorry for the proofreading failure. --JR Foley ========================================================================= Date: Thu, 2 Mar 2000 08:19:05 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Karen Kelley Subject: More found poetry (was: Re: [Fwd: [Fwd: Gream?]]) MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 7bit Went to the kabalarians site. Trippy. Found this...well...perhaps it's found philosophy. **************************************************************************** ******** Ask yourself: "If I did not have a name, how could I identify myself? If I had no name, who would I be?" Your name is extremely important. Your name is your life! It is how you identify yourself. It is how others identify you. **************************************************************************** ********* Karen (to whom the kalabarians said: You cannot find peace of mind. Your whole nervous system could be affected by the intense emotional influence of this name.) ---------- > From: Patrick Herron > To: POETICS@LISTSERV.ACSU.BUFFALO.EDU > Subject: Re: [Fwd: [Fwd: Gream?]] > Date: Wednesday, March 01, 2000 10:59 AM > > Found on the web at: http://www.kabalarians.com/male/gream.htm > > Gream > Your name of Gream gives you a strong sense of responsibility in business > and material affairs, and the practicality and determination to make a > success of anything you undertake. Your ability to organize and direct the > efforts of others enables you to excel in any managerial position because ========================================================================= Date: Thu, 2 Mar 2000 12:53:40 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Wanda Phipps Subject: Writing Online Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Hey, Check out some of my work in new issues of the following online journals: Big Bridge, Vol. 1, No. 4 (http://www.bigbridge.org/) With Andrei Codrescu,Tom Carey, Jack Collom, Roger Snell, Wanda Phipps, Larry Sawyer, Laurie Stone, Michael Rothenberg, Jayne Lyn Stahl and Jane Nakagawa, Gloria Frym, Mike Topp & others How2, Vol. 1, No. 3 (http://www.facstaff.bucknell.edu/rsims/new-issue/current/index.html) In the New Writing section guest edited by Kim Lyons with work by Wanda Phipps, Lee Ann Brown, Hoa Nguyen, Barbara henning, Kristin Prevallet, Marcella Durand, Martha King and others And, a little late notice, but there's also some of my work on: Poetic Voices, Vol. 4, Iss. 1 (http://members.aol.com/PoeticVoices/2000JanCont.html) with Jack Collom, Tom Devaney, Gary Gach, Ricky Garni, Joanne Kyger, Wanda Phipps, Michael Rothenberg, John Tranter & others Enjoy!! Wanda Phipps Check out my re-designed and updated homepage MIND HONEY at www.users.interport.net/~wanda A honey pot of new poems!!! And if you've been there already try it again--we're always adding cool new stuff! ========================================================================= Date: Fri, 3 Mar 2000 07:38:43 +1300 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Tony Green Subject: Re: 4 new books from Meow Press MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit -----Original Message----- From: J Kuszai To: POETICS@LISTSERV.ACSU.BUFFALO.EDU Date: Thursday, 2 March 2000 13:34 Subject: Alan Loney >Announcing 4 New Chapbooks from Meow Press .... etc apropos: >Catalogue, by Alan Loney > >Many people on this list will know the poets whose works are listed here: >Lisa, Heather and Stephen are well known in American poetry circles; but >that audience is less likely to know the work of Alan Loney, who has at >least two books on Auckland University Press. The New Zealanders on the >list will have to help me attest to the wonder and power of Alan's writing. >Perhaps SPD carries his books; if not, they're worth hunting down and >ordering direct. I'd gladly endorse what you say about Alan Loney's writing -- several of us here regard him as a national treasure -- as poet, as book-designer, printer & typographer, as controversialist, & as editor of "Parallax" (early 80s) & more recently of "A Brief Description of the Whole World". He's been a central figure in New Zealand poetry & poetics for 30 years. >http://www.sunbrella.net > ========================================================================= Date: Thu, 2 Mar 2000 11:06:26 -0800 Reply-To: degentesh@earthlink.net Sender: UB Poetics discussion group From: Katie Degentesh Organization: Pretty good Subject: Re: fatbrain MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit That's a really good question. I think it applies to all digital publishing (including those who get their books posted on Amazon with the new "print on demand" feature they have). But as far as Fatbrain is concerned, these are the differences I see: a) It's free, at least for the moment -- actually, I think they're going to waive the $1/month fee entirely for poets. b) You can sell digital versions of chapbooks or journals that were already published elsewhere, without any real cost to you except the hassle of getting them into digital form, and retain all rights. c) Easy public access. Anyone with web access can go to your URL, download your book, and print it out. With a vanity press, people generally only have access to your book if they have access to your basement. It's *not* distinguishable from a vanity press in that the simple fact of having material available for sale on Fatbrain doesn't get you any literary distinction whatsoever. However, the site is set up so that there are category pages where the editors pick out the good pieces, interview the authors, feature excerpts, etc. So, if there are enough poets who are interested, this part of the site could become a forum for poets, or a place to go to get hard-to-find chapbooks or backissues of lit mags, etc. Kind of like a digital library. I highly doubt that anyone's going to make a huge profit at it, but I don't see any harm in it -- it's not much different than self-publishing your own chapbook, which I've done, and although chapbooks lose a lot texture-wise when they're digitized, at least you can make the poetry more accessible. I would do it, if I didn't work the job (I can't very well promote my own work on the site, so it's pointless for me to publish on it). Stephen Vincent wrote: > What distinguishes Fatbrain from a Vanity Publisher? ========================================================================= Date: Thu, 2 Mar 2000 11:11:37 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Elizabeth Treadwell Subject: liquid gender Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" To David B., did want to say to you that I feel the same complicity. And I admit that what I do about it is not always helpful; also the comparison with CB was not an insult from my end, nor really a comparison (also: his work was beloved by me at an earlier stage). To Marcella D., I love and adore your framing. I myself do not feel safe saying I am a wonderful ardent feminist, and I'm a bold (sometimes) girl. What does that say about gender and politics and self, and most importantly here, gender in writing? Not to mention the complicity above mentioned. I'm not proclaiming myself evil (of course) but I can't say I understand everything, esp about race -- which is why I wish more people would speak up. Scary to say these things. Some specifics: I wish more people would speak up esp about poetics and gender. Reading intrigued in _The Gender of Modernism_ last night, a spot where Zora Neale Hurston says (about "Negro speech" -- in 1934) "In story telling 'so' is universally the connective. It is used even as an introductory word, at the very beginning of a story. In religious expression 'and' is used. The trend in stories is to state conclusions; in religion, to enumerate." and my friend Sarah Anne Cox (whose book it is) has noted in the margin "Also in Ancient Greek". I'm also interested in Angela Carter's irritation with Jean Rhys for being so abject or whatever. I don't see Rhys that way. (Altho I was obsessed with her writing at a more abject ?? period in my life.) (Actually tho I am still obsessed with her. There is a very dear moment in her letters about needing a bottle of wine and a new dress to get inspired to write again -- this in deep old age and poverty.) Elizabeth ___________________________________________ Elizabeth Treadwell Double Lucy Books & Outlet Magazine http://users.lanminds.com/dblelucy ========================================================================= Date: Thu, 2 Mar 2000 11:40:12 -0600 Reply-To: jlm8047@louisiana.edu Sender: UB Poetics discussion group From: Jerry McGuire Organization: USL Subject: poet search Comments: To: MODERN_POETS-L@lists.missouri.edu MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit I'm trying to find the author of the poem that begins with the following lines. Anyone help me? How To Like It These are the first days of fall. The wind at evening smells of roads still to be traveled, while the sound of leaves blowing across the lawns is like an unsettled feeling in the blood, the desire to get in a car and just keep driving. A man and a dog descend their front steps. The dog says, Let's go downtown and get crazy drunk. Let's tip over all the trash cans we can find. This is how dogs deal with the prospect of change. Thanks, Jerry -- ________________________________________________________ Jerry McGuire Director of Creative Writing English Department Box 44691 University of Louisiana at Lafayette Lafayette LA 70504-4691 337-482-5478 ________________________________________________________ ========================================================================= Date: Thu, 2 Mar 2000 14:16:02 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Gary Sullivan Subject: How2 MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit This *is* really great, Wanda! and also features new writing by the too-little seen but fantastic Lynn Behrendt (the first work of hers to show up on the web), as well as Nada Gordon, Ange Mlinko and Laurie Price ... "How2, Vol. 1, No. 3 (http://www.facstaff.bucknell.edu/rsims/new-issue/current/index.html) ========================================================================= Date: Thu, 2 Mar 2000 12:29:41 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Elizabeth Treadwell Subject: Linda Russo's post-marginalia / gender Comments: cc: WOM-PO@listserv.muohio.edu Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" All, & I crosspost to women's and buffalians, Linda Russo is doing some fabulous critical work into gender and canonization and other things (excuse me Linda if I have misconstrued/flattened your approach) which can be read in _Verdure_ and at How2 n 3. I'm not sure if How2 n 3 is quite up yet but when it is there is a link thru my site (their url too complex to recall in this moment). I love her coinage (or usage) of the term post-marginal, for a quick soundbite into it. I also eagerly await the Talisman anthology which will include her history of women's publishing. And I plan to put Marcella Durand's history of women's publishing in NYC from Outlet (4/5) up on the Lucy site soon (if that's ok with her?) -- all of these readings might provide better ways in to discussing (literary/literal) gender than I have. from Linda Russo's How2 piece: "At a point when innovative women poets are no longer marginal [she formulates this earlier in the essay], does it make sense to speak of subversion as a poetic tactic? Or a poetic trinket? Is gender still a relevant for locating subversive (or not) poetic practices by women? It remains, indeed, a crucial queston for existence on a material, daily level. ..... Margin and subversion, once-useful points of critique that did frame the problematic have now become subsumed in the frame, have become part of its materials and methods. Once politicized, now aestheticized. Thus having announced one's affiliation to a certain aesthetic or tradition by taking up a particular set of strategies, announcing, as it were, one's position in the field of production, the question becomes whether this alignment further politicizes or merely aestheticizes those strategies as "givens"." My immediate questions: do I feel I've announced my affiliation? Do you? How does the remainder of the question on a material, daily level continue to impact our writing? Can poetry really get so far ahead of reality? ET ___________________________________________ Elizabeth Treadwell Double Lucy Books & Outlet Magazine http://users.lanminds.com/dblelucy ========================================================================= Date: Thu, 2 Mar 2000 15:11:39 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Poetry Project Subject: announcements Mime-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Next week at the Poetry Project: Monday, March 6 at 8 pm (sign-up at 7:30) OPEN MIKE READING Share Your Wares! Wear Your Shears! Wednesday, March 8 at 8 pm HETTIE JONES & FIELDING DAWSON Hettine Jones is the author of Drive, which received the 1999 Norma Farber Award, and How I Became Hettie Jones. Fielding Dawson's newest novel, No Man's Land, was published this January. Friday, March 10th at 10:30 pm ISSUE ZERO: A LITERARY MAGAZINE CONFERENCE The continuation of ISSUE ZERO with a Talk Show/Panel hosted by BRENDAN LORBER and DOUGLAS ROTHSCHILD, the fabulously fibrillating hosts of the Zinc Bar Reading Series. Magazine Editors who will be talk-showing and panelling include: Jordan Davis and Chris Edgars from The Hat, Gary Sullivan from readme, Michael Rothenberg from Big Bridge, and Robert Hershon from Hanging Loose. For a full schedule of events, please go to: http://www.poetryproject.com/zero.html. **** NEW NEW NEW on the WEB WEB WEB SITE! The March issue of POETS & POEMS is now up! With work by SUMMI KAIPA, ERIC PRIESTLEY, DALE SMITH, ELIZABETH TREADWELL and LOURDES VAZQUEZ. Go to http://www.poetryproject.com/poets.html And new in FEATURES, Dale Smith's companion essay to his poems, "Tribute to Paul Metcalf." Go to http://www.poetryproject.com/metcalf.html. And just to prove that the internet is stronger, faster, and able to leap tall buildings in a single bound (but alas oh-so-vulnerable to kryptonite and hackers!), the APRIL schedule of events at the Project is now up at http://www.poetryproject.com/calendar.html. (and what a calendar it is...) **** Public Service Announcements: This Friday and Saturday, March 3 & 4th at 8 pm REGISPECTIVE!!!! Regie Cabico performs in his evening-length mix of spoken word, slam, and comedy. $10 at the Kitchen (212) 255-5793 512 W. 19th St. between 10th & 11th Ave. Ange Mlinko & Andrew Epstein at Double Happiness This Saturday, 4 pm, 173 Mott St. Ange's first reading since her return from Morocco!!!!!! **** "1978: Played with my Portuguese friend little Johnny on the streets of New York. We would meet on the street & get into fights, then became friends when he was spotted playing 'wiffle ball' with a mutual association. While watching TV program Underdog, realized that, like my brother Anselm, I'd have to go to school, & that I would never see Underdog again. Never have seen it since." From _Life_, Edmund Berrigan, Booglit, 2000 **** ========================================================================= Date: Thu, 2 Mar 2000 14:31:51 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Gary Sullivan Subject: "How To Like It" In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Hi Jerry, The poem you quoted is by Stephen Dobyns, published in Ploughshares volume 11, number 1, 1985. No, I've never read Stephen Dobyns or Ploughshares before. Alta Vista search! Have Fun, Gary ========================================================================= Date: Thu, 2 Mar 2000 12:36:45 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: David Bromige Subject: Re: poet search Comments: To: jlm8047@louisiana.edu In-Reply-To: <38BEA77B.E7F5B5FD@usl.edu> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Jerry, don't know, but it's a lot like a Rilke poem called "Fall." ("Herbst," I guess). We had some duelling translations of this on the Poetics List two-three years ago....anyone recall more on this? David ========================================================================= Date: Thu, 2 Mar 2000 14:37:45 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: MAYHEW Subject: poet search MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII My first thought for the "How to Like It" poem was Richard Hugo, though I didn't think Hugo was quite so dreadful. I looked him up in Amazon.com--they have lists of poems in individual collections provided by a service called "poem finder." It wasn't Hugo, but amazon told me that people who had bought books by him also bought those by Bly, Stafford, Hall, and Dobyns. It had a vaguely Staffordesque pseudo-Frostian tone (that original bit about roads not taken), but the drunken dog doesn't seem like anything he would write. Donald Hall is a little more refined and Bly more pretentious. So Dobyns it is! Though it could have been by countless others. It can be found in Velocities, New and Selected Poems. Jonathan Mayhew jmayhew@ukans.edu _____________ ========================================================================= Date: Thu, 2 Mar 2000 15:51:57 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: hassen Subject: 28 excuses for calling in late to work MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit humble servant of divine david hess i happily offer the following on his behalf *he invites others to add/construct/share h ___________________________________________________________ 28 Excuses for calling in late to work: Shoelace broke Forgot how to drive Ate too many raisins last night Addicted to licking stamps Vacuumed up soap by accident Stubbed toe on shoe box Garage door opener on fire Choking on puffed rice Ass piercing infected Still at weenie roast Stuck upside down in rocking chair Hit in the head by airborne morning newspaper Left alarm clock at the circus Sore from playing with wall fixture Tried to eat a beanbag Got splinter from falling asleep on wooden spatula Pajamas still need breaking in Squirrels are flipping out about selling my nut collection Run over by a balloon Fell on meat Cramp from watching dust settle Can't find directions to front door Hiccups and fleas Low down in the hay Oatmeal poisoning Bone spasms Muskrat broke in and stole wristwatch Attacked by a Schnauffenlauffen ========================================================================= Date: Thu, 2 Mar 2000 21:39:34 -0000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Lawrence Upton MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 8bit Mainstream Poetry announces the publication of Alaric Sumner's 'Bucking Curtains', texts by Paul Buck (from his own work published in his magazine 'Curtains') and Samuel R. Delany's introduction to Vincent Czyz's 'Adrift in the Vanishing City' (Voyant 1998); other sources include Tennyson and Derrida. There are also visual pages constructed from enormously enlarged pictures of the face of Christopher Knowles, collaborator with Robert Wilson. This first performance was given by Alaric and Lawrence Upton. in Totnes, Devon on 1st March 2000 The format is double-sided A3 landscape - 26 sides... £3 + £1 for postage in UK payable to Lawrence Upton, b-c for o/s UK send to 32 Downside Road, Sutton, Surrey SM2 5HP ========================================================================= Date: Thu, 2 Mar 2000 14:15:34 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Damion Searls Subject: Re: liquid gender (and universal connectives) (also Rembrandt) Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Elizabeth Treadwell writes: >I wish more people would speak up esp about poetics and gender. Reading >intrigued in _The Gender of Modernism_ last night, a spot where Zora Neale >Hurston says (about "Negro speech" -- in 1934) "In story telling 'so' is >universally the connective. It is used even as an introductory word, at the >very beginning of a story. In religious expression 'and' is used. The trend >in stories is to state conclusions; in religion, to enumerate." >and my friend Sarah Anne Cox (whose book it is) has noted in the margin >"Also in Ancient Greek". What a fascinating thought! Nowadays, isn't "like" universally the connective, at least in dialogue? Does that mean that "the trend in stories is to state conclusions; in religion, to enumerate"; and in conversation to draw connections? Like, here's a relevant anecdote (and an announcement): UC Berkeley is sponsoring a talk tomorrow by oft-scintillating litcritic > >Harry Berger, Jr. >Professor Emeritus >Department of Literature >UC Santa Cruz > >"Rembrandt's" Silly Cavalier: >On a Problem of Attribution >and How Not to Solve it > >Friday, March 3 >4:00 pm, 308J Doe Library >Co-sponsored by Dutch Studies and English , so I wrote my friend Gary Schwartz, a Dutch art critic and Rembrandt-attribution expert, and was like, do you have any questions you think I should ask Berger? (I know Berger's work on Renaissance fictionality, and on Vermeer.) He was like, (rather acidically in a way,) I know Berger and >From our talks I get the impression that he >takes everything as a metaphor for something else. This can be stimulating, >but I fail to see the point of it as a general policy, when things in >themselves are so interesting. If you want to annoy him by questioning the >basis for all his thinking of the past 30 years, you could ask him that. (Not sure what the Hurston quote has to do with gender, Elizabeth, so I feel less bad about ignoring gender in my post.) Love, Damion ========================================================================= Date: Thu, 2 Mar 2000 17:54:30 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: George Bowering Subject: Re: poet search In-Reply-To: <38BEA77B.E7F5B5FD@usl.edu> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" >I'm trying to find the author of the poem that begins with the following >lines. Anyone help me? > >How To Like It > >These are the first days of fall. The wind >at evening smells of roads still to be traveled, >while the sound of leaves blowing across the lawns >is like an unsettled feeling in the blood, >the desire to get in a car and just keep driving. >A man and a dog descend their front steps. >The dog says, Let's go downtown and get crazy drunk. >Let's tip over all the trash cans we can find. >This is how dogs deal with the prospect of change. > > > Thanks, > > Jerry Well, we know from the spelling that it is a USAmerican poet, and we know from the casual lines of equal length and no great excitement re rhythm that it is an academic poet of the kind we used to associate with Iowa. Does that narrow it down? ========================================================================= Date: Fri, 3 Mar 2000 14:04:05 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Poetics List Subject: Poet NANCY WILLARD MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: quoted-printable this had to be reformatted a bit. ____________________________________ NANCY WILLARD will include a Special Reading of poetry to accompany slide show of photographs by Photographer ERIC LINDBLOOM - the limited edition of forthcoming THE RIVER RUNS TWO WAYS -photos of historic Hudson Valley. Celebrated Poet NANCY WILLARD Reads at Creative Arts Caf=C8 Poetry Series Mt. Kisco, NY: The Creative Arts Cafe at the Northern Westchester Center for the Arts will feature Westchester County=EDs Nancy Willard, award winning poet, author and educator Monday, March 6th at 7:30 PM. A reception, book signing and open mike will follow. Nancy Willard is the author of two novels, eleven books of poetry, two collections of essays, and numerous children=EDs books, including A VIST TO WILLIAM BLAKE=EDS INN: POEMS FOR INNOCENT AND EXPERIENCED TRAVELERS, which won the Newbury Medal. Her recent titles include SWIMMING LESSONS: NEW AND SELECTED POEMS (Knopf), STEP LIGHTLY: POEMS FOR THE JOURNEY, an anthology, (Harcourt), and two books for children, THE TALE I TOLD SASHA (Little Brown) and SHADOW STORY (Harcourt). Nancy Willard will read selections of her poetry and provide a special poetry/ slide presentation of new work written in response to photographs. After her reading there will be a discussion, book signing and reception. An OPEN MIKE for poets in the audience will follow the intermission. There is a suggested donation of $7.00/ $5.00 for seniors and students. The Northern Westchester Center for the Arts is located at 272 No. Bedford Road in Mt. Kisco, NY 10549. There is a Suggested Donation of $7.00, $5.00 for students and seniors. Please call 914 241 6922 for directions from NYC and information regarding a schedule of weekly poetry readings. ========================================================================= Date: Fri, 3 Mar 2000 03:00:56 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: cancer MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII --- cancer This is the closeness of your other Thu Mar 2 21:56:33 EST 2000 Mach64: Font cache: 0 fontsThu Mar 2 21:56:42 EST 2000 Debug: GameOverThu Mar 2 21:56:42 EST 2000 This is the distance of her disease Thu Mar 2 21:56:33 Mar 2 21:56:42 EST 2000 (--) Mach64: Pixmap cache: 0 256x256 slots, 0 128x128 slots, 0 64x64 slotsThu Mar 2 21:56:42 EST 2000 el: waiting for windowmanagerThu Mar 2 21:56:42 EST 2000 KCharset: Wrong charset!Thu Mar 2 21:56:42 EST 2000 Debug: menu load not supportedThu Mar 2 21:56:42 EST 2000 Thu Mar 2 21:56:42 EST 2000 {k:104}GameOver bash: GameOver: command not found {k:105}Debug: GameOver bash: Debug:: command not found {k:106} Debug: GameOver bash: Debug:: command not found {k:107}Debug: GameOver bash: Debug:: command not found {k:108}Debug: GameOver bash: Debug:: command not found {k:109}Debug: GameOver bash: Debug:: command not found {k:110} {k:110}waiting for X server to shut down bash: waiting: command not found {k:111}waiting: ___ ========================================================================= Date: Fri, 3 Mar 2000 07:17:16 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Rachel Loden Subject: serving suggestion MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Come, Kapellmeister, let the violas throb. My regiment sails at dawn! --Groucho Marx, in "Monkey Business" Finalists for the Bay Area Book Reviewers Award in poetry are: Adrienne Rich, MIDNIGHT SALVAGE Michael McClure, TOUCHING THE EDGE Philip Levine, THE MERCY Rachel Loden, HOTEL IMPERIUM There's a review of HOTEL at _Salon_ ("Inspired by everything from Lenin's corpse to the fate of Ronald Reagan's overcoat, Loden makes the fragmentation and senselessness that are the 20th century's legacy dance with a kind of macabre glee"): http://www.salon.com/books/feature/2000/02/11/poetry/index.html Another (by this list's own Joseph Safdie) is at Gary Sullivan's _Read Me_ ("weds the techniques of poetry with the police procedural"): http://www.jps.net/nada/loden.htm And there are others (_Publishers Weekly_, _American Letters & Commentary_) and links to poems at my website: http://www.thepomegranate.com/loden/hotel.html Or backchannel for more information-- Thanks all, Rachel rloden@concentric.net ========================================================================= Date: Fri, 3 Mar 2000 11:44:17 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group Comments: RFC822 error: MESSAGE-ID field duplicated. Last occurrence was retained. Comments: RFC822 error: MESSAGE-ID field duplicated. Last occurrence was retained. From: Loss =?iso-8859-1?Q?Peque=F1o?= Glazier Subject: New at the EPC Mime-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable An announcement that the EPC home page has recently been updated. Recent features and resources include: Pieces for Simultaneous Voices (Rosenberg) , Karen Mac Cormack Author Page, How2 (connect), Readme #2 (connect) , Reina Mar=EDa Rodr=EDguez Author Page, including links to a= number of video resources and our new E-poetry page. We welcome you to visit our new featured sites and resources when you have time. ========================================================================= Date: Fri, 3 Mar 2000 13:04:58 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Brian Lennon Subject: Re: fatbrain MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Yes and lately I almost prefer such archives of seemingly misbegotten Desire to reading or thinking about such things as "what in the #!@%&*!!! is experimental poetry?" and etc. To be sure, this is voyeurism, in a cultural capitalist such as myself --- so good to get down with the people, no?? --- but I can't help finding a poignancy there that I can't chalk up wholly to my own elitism (which is considerable). The next cultural criticism will have to deal with Internet ruins as a locus of whatever we used to call Desire. Are we missing the analyst that modernist technology had in Walter Benjamin? I think we need one, though I can hear groaning and even barfing at the very idea--- yet it's one of my personal canards that 'everyone wants to be a writer' (this is what gets me through daily encounters with 22-yr-old dot-com-er multimillionaires and others who are really getting somewhere in life), just as marx's was that everyone wants (and deserves) to live a good life... well not to self-flagellate overmuch. perhaps it's only a kind of web-surfing psychosis Brian Lennon ------------------------- Date: Wed, 1 Mar 2000 11:09:34 -0500 From: Gary Sullivan Subject: fatbrain Hi Katie, fatbrain.com and iUniverse.com were featured in the latest Poets & Writers Online, as ways for poets to circumvent the publishing industry (Jaclyn Pare's "Is Democracy Ever a Bad Idea?"). Looks like both are more-or-less similar to The International Library of Poetry (http://www.poetry.com), although admittedly fatbrain only charges $1 per page to house your stuff. Constantly on the lookout for fun material to collage, I went to the fatbrain.com site to check out the poetry pdf files for sale. Found what follows. I haven't excerpted or edited; these appear just so on the site iteself. I think there are now 39 pdf files for sale; I just couldn't keep going after "god grows a moustache" (the 12th or so entry), it was *too* perfect: " Kings for a Day " Poetry; Saint Michael Author; 12/1999; $2.00 ; 1 pages How fine is line between poerty and prophecy, here is and attempt to define the line. "Laughing at the World" through Poetry; Saint Michael Author; 10/1999; $19.95 ; 15 pages My poetry is a composite of collected dreams and meditations centered on Christ, Jesus and His teachings. Enveloping both the Old and New Testament writings. I was born in Seattle Washington 57, grew up in Alaska and spent many years as a merchant marine sailing on Tow Boats in the Pacific. My own personal relationship with God and the reading of His Holy Bible, Lead me by inspirational dream and visions to Jerusalem Israel and the mid East where I sojourned between the River of Egypt and the Euphrates for over 7 years. These poems are a few I feel moved to release publicly at this time. (Poetry) A Therapeutic Relationship; Ann Hollander 10/1999; $4.95 ; 1 pages This poem is about the author's feelings for her psychotherapist. It deals with issues of trust, psychological healing, hopes and dreams. Birds in Wires \ A collection of prose and poetry; Alexander Girshin Author; 11/1999; $2.00 ; 7 pages Sample of a poem: After the Fall Nothing is real - not death, not life. It all seems like a big old stupid dream. I cannot relate to anything that is around me. Nothing is real. It's like those English drama episodes on A&E. All things move at the wrong speed, at a lesser quality. There is no hope, only anxiety. There is no love, only a lust for human energy. I am sick but I do not feel sick because, I am the sickness. Now I am utterly alone, separated from humanity, separated from nature; standing on a dry, barren plain under a purple-black sky I hear the indignant voice, "You have sinned." Black Roses: Poetry of Shadow and Passion; Jari Winter Self Published; 10/1999; $2.00 ; 1 pages Eight poems, some with meter, all with meaning. Boss - Poetry In The House; Gerard Johnson 12/1999; $2.00 ; 1 pages This is how some of us feel about those in charge. See if you feel the same. Bright Little Leaf 'a book of children's poetry for young readers those young at heart'; Harry S. Harvey Jr. 12/1999; $11.99 ; 32 pages Bright Little Leaf is a poem about an autumn leaf not content with her lot in life. She has literally "soaring" aspirations and a definite itinerary. Her ultimate fate however, is not quite what she envisions. Bright Little Leaf's full color illustrations are appealing, vivid and very imaginative. It is a delightfully engaging and informative book for young readers and those young at heart. Some who grew up with "the tube," having had virtually everything spelled out in black and white and later in color, and being left with less and less to imagine lapsed into jaded and desensitized perspectives. Their awesome power of imagination having been stunted or withered by lack of challenge and stimulation. They know that leaves don't sing_leaves only rustle, and winds don't talk_winds just whine, whistle or howl. Ah! But hope springs eternal! Let young children in wonderment, shut their eyes for a brief moment and ask them to listen intently; they will hear a small autumn leaf "sing" and a frisky fall wind gallantly "speak" to her plea! The magic lives on! Changing Impressions -- Selected Poetry of David Scott; David Scott Author; 01/2000; $5.00 ; 26 pages Our perspectives change as we mature. As a young man, I was caught up in the senses. Love was visual and involved a lot of touching. Now I see love as extending far beyond the senses. It is both spiritual and human, and it transcends time. These poems reflect those changing perspectives. Cigarettes & Frustration - Poetry of an Induced Reflection: 1995-1998; Gary T. DuVall 10/1999; $5.00 ; 33 pages Dena Maria Martin brings us into the mind of a woman trapped in a home for the elderly. Dark Journey - Poetry of the Crestfallen; Michael V. Tulloch, Jr. ; 10/1999; $3.00 ; 6 pages Meanderings in slate worlds, haunting the obverse of mirrors...six scratchings of verse and near-rhyme... Dark Techno Acid Poetry; dothar 10/1999; $3.00 ; 20 pages A collection of dozens of dark and brooding poems, song lyrics and assorted ramblings constructed while at various bizzarre venues and places from Amsterdam to the far North. god grows a mustache (poetry); Richard Keating 10/1999; $2.50 ; 25 pages god grows a mustache consists of 25 excerpts from Richard Keating's full-length collection of poetry entitled, when you are finished it should look like this. ========================================================================= Date: Fri, 3 Mar 2000 13:25:14 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Brian Lennon Subject: Re: gender MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Dodie, Thanks for your reply. I'm certain that something like that is an issue here in NYC too. Though exactly how, I'm not sure I can say. There are so many subcells of every 'scene' --- itself a hydra. It interests me how traditional power relations (those, that is, of what one flatters oneself is a distant 'mainstream' society) seem to reassert themselves even among the most enlightened --- that revolving dialectic of idealism and totalitarianism. The trick maybe is not to be pessimistic about social change, but (as you've already said) to remain alert to the challenges that come not from an otherized enemy, but from within oneself? Brian ------------------------------ Date: Mon, 28 Feb 2000 09:57:06 -0800 From: Dodie Bellamy Subject: Re: gender Brian, Thanks for bringing this issue up of gender essentialism. I too have felt uncomfortable here with the use of "gender," which seems to mean the plain old male/female dichotomy that we might see, for instance in a Sandra Dee movie. In the experimental poetry world, particularly here in San Francisco, it seems to me that there is a rigid definition of gender roles. Women with power being powerful *ladies.* If one is not a lady one must either make oneself exotic at parties or be considered a bit freakish. And, yes, there are race and class issues involved in all of this--sorry to mention that hoary thing again. I'm not denying that the world is rampant with sexism, and I'll be the first to admit that there are a lot of asshole guys on this list and in the poetry world and beyond--but I think that the formula of men = oppressors, women = oppressed is simplistic. This is coming from the perspective of someone whose writing project is to present a radical female perspective but who has received encouragement/career help from men--much more so than women. Any theoretical writing that has influenced my writing has been female/feminist, but the women I find who are interested in discussing these sorts of writings are female academics--not poets. I've seen plenty of women censoring other women, and if I'm to be ruthlessly honest, I've done it myself. People are pissy and judgmental and have their own little agendas. Welcome to the world. Dodie ========================================================================= Date: Fri, 3 Mar 2000 13:30:34 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Linda Russo Subject: VERDURE has sprung MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit VERDURE a new magazine of poetry and poetics announces its arrival. with writing by Benjamin Friedlander, Jonathan Skinner, Nick Lawrence, Eleni Stecopoulos, Loss Pequen~o Glazier, Graham Foust, Allen Gilbert and co-editors Linda Russo and Chris Alexander, and more. the first issue is FREE to those who so desire. Simply send $1 for postage (or the relative equivalent in stamps) to Russo/Alexander, VERDURE, 19 Hodge Avenue, no. 9, Buffalo, NY 14222. Checks write to Linda Russo.Thereafter will proceed on a subsciption basis.VERDURE plans to appear thrice yearly. Subscriptions $10. currently VERDURE seeks essays, reviews, etc., and responses to our reader survey: Q: Draw a map of poetry's progress out of the current dilemma. DL for next issue: March 25. Give us your green thoughts and weeds and branches. ========================================================================= Date: Thu, 2 Mar 2000 18:32:48 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jordan Davis Subject: Davis & Gardner in Providence 3/5 7pm MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Reading in Providence Jordan Davis & Drew Gardner read at the T F Green Russell Lab Brown campus at Young Orchard Street Sunday, March 5 at 7 pm Introductions by Macgregor Card & Sean Casey This reading is sponsored by the magazines The Germ & Issues. ========================================================================= Date: Fri, 3 Mar 2000 13:51:31 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: Review of some internet books (fwd) MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Including Jerry Everard's Virtual States, at http://trace.ntu.ac.uk/shop/review001.htm - also reviews latest issue of Angelaki on Machinic Modulations (edited by John Armitage), Taylor's Hackers, and Aarseth's Cybertext - Alan Internet Text at http://www.anu.edu.au/english/internet_txt Partial at http://lists.village.virginia.edu/~spoons/internet_txt.html Trace Projects at http://trace.ntu.ac.uk/writers/sondheim/index.htm ========================================================================= Date: Thu, 2 Mar 2000 21:15:36 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Carol Hamshaw Subject: [Fwd: [ISEA-FORUM:612] announcing gURL grants!] MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit girls 13-19 in U.S AND Canada eligible! pass it on. isea wrote: > X-Sender: rhiz3@cmail1.panix.com > Date: Wed, 23 Feb 2000 22:36:33 -0500 > To: list@rhizome.org > From: Mark Tribe > Subject: RHIZOME_RAW: announcing gURL grants! > Mime-Version: 1.0 > Sender: owner-list@rhizome.org > Precedence: bulk > Status: RO > > Date: Wed, 23 Feb 2000 12:35:35 -0800 (PST) > From: gURL connection > Reply-to: announce@gURL.com > To: mark@rhizome.com > Subject: announcing gURL grants! > Errors-to: announce@gURL.com > Mime-version: 1.0 > Content-Type: multipart/alternative; boundary="452889004.951338135405.JavaMail.root@app81.merchantmail.net" > X-cid: 903424051 > X-Loop-Detect: 1 > > Introducing...the gURL grants program! > > We are happy to announce that gURL will be > giving away grants of between $1,000 and $3,000 > to girls who are interested in using the money to pursue > their creative and intellectual interests. > > Do you: > need money to finish a project you've started? > want to take a class or go to a specialized summer camp? > have an exciting idea that you want to explore but need > equipment to do it? > > If you have something like this in mind, apply for a gURL grant! > Girls 13-19 from the United States and Canada > (excluding Quebec) are eligible. > > For more info, go to: > http://gURL1.m0.net/m/s.asp?H903424051X547086 > > Note: The deadline for summer gURL grant applications is March 15. > > As always, let us know what you think! > > Enjoy, > the gURLstaff > > ------------------------------------------------------------isea-forum-+ > _______________________________________________________________________________ > > >>> Pour être retiré de cette liste d'envois, > > écrire à: listproc@uqam.ca > > avec comme seule ligne de message: > > unsubscribe ISEA-FORUM > > Note: la commande doit apparaître dans le corps du message, > NON PAS dans le Sujet. > ------------------------------------------------------------isea-forum-- -- Carol L. Hamshaw Administrator Edgewise ElectroLit Centre http://www.edgewisecafe.org ========================================================================= Date: Fri, 3 Mar 2000 13:12:35 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jordan Davis Subject: HAAAT MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Now available: THE HAT 3 "The Ronald Reagan playground equipment springtime issue" Garrett Caples Theresa Caruso Jeff Clark Tom Clark Jack Collom Clark Coolidge Jacques Debrot Jean Donnelly Brandon Downing Gretchen Elkins Darlene Gold Loren Goodman Tim Griffin M. Kettner Kenneth Koch Katy Lederer Rachel Levitsky Brendan Lorber Caitlin Grace McDonnell Marianne Shaneen Lytle Shaw Rod Smith David Trinidad Sam Truitt Lloyd Turner Teju Vaswani Lewis Warsh Jacqueline Waters Karen Weiser Bill Zavatsky 1 issue $7 two-issue subscription $12 lifetime subscription $1000 make checks payable to Jordan Davis and send to: THE HAT c/o Edgar 331 E 9th St #1 New York NY 10003 ========================================================================= Date: Fri, 3 Mar 2000 13:13:40 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jordan Davis Subject: March at Poetry City (NYC) MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Going to be in New York this month? Here's the news from POETRY CITY, the reading series in the offices of TEACHERS & WRITERS COLLABORATIVE, 5 Union Square West, NYC. Readings are usually Thursdays at 7, and they're always free. March 2 & 9 - NO READINGS! Have two pleasant evenings. March 16 - T&W @ NCTE's SPRING CONVENTION (backchannel for details) - NO READING... ...until Friday March 17 - THALIA FIELD & MAGDALENA ZURAWSKI March 23 - MIEKAL AND & KAREN WEISER March 30 - NOTHING at T&W, so why not come up to the EXOTERICA reading series at PEN & GUITAR in the Bronx? It'll be me, JORDAN DAVIS, reading with DAVID SHAPIRO.... (backchannel for details) See you here, Jordan ========================================================================= Date: Fri, 3 Mar 2000 12:23:39 -0600 Reply-To: jlm8047@louisiana.edu Sender: UB Poetics discussion group From: Jerry McGuire Organization: USL Subject: Re: POETICS Digest - 1 Mar 2000 to 2 Mar 2000 (#2000-37) MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Thanks for the help with my mystery poet--both to those who had it right (Stephen Dobyns, from Cemetery Nights) and those who came up with fascinating guesses (Wm Stafford, Rilke, Joshua Beckman, Robert Sward, Ed Field). I guess it didn't sound like ecriture feminine. Jerry ========================================================================= Date: Fri, 3 Mar 2000 14:23:37 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: hassen Subject: Re: 28 excuses for calling in late to work MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit d hess wrote >>>>>>>>>>>>>>>>>>>>>>>>>> 28 Excuses for calling in late to work: Shoelace broke Forgot how to drive Ate too many raisins last night Addicted to licking stamps Vacuumed up soap by accident Stubbed toe on shoe box Garage door opener on fire Choking on puffed rice Ass piercing infected Still at weenie roast Stuck upside down in rocking chair Hit in the head by airborne morning newspaper Left alarm clock at the circus Sore from playing with wall fixture Tried to eat a beanbag Got splinter from falling asleep on wooden spatula Pajamas still need breaking in Squirrels are flipping out about selling my nut collection Run over by a balloon Fell on meat Cramp from watching dust settle Can't find directions to front door Hiccups and fleas Low down in the hay Oatmeal poisoning Bone spasms Muskrat broke in and stole wristwatch Attacked by a Schnauffenlauffen <<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<< discovered that guy from ripley's believe it or not eating my car (brief inventory indicates various bolts, steering wheel, 1 tire, all window cranks, hood ornament & distributor cap missing. perhaps already passed) ========================================================================= Date: Fri, 3 Mar 2000 14:51:35 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Maria Damon Subject: Re: serving suggestion In-Reply-To: <38BFD77C.9ED69D18@concentric.net> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" WOO-HOO, way to go la loden At 7:17 AM -0800 3/3/00, Rachel Loden wrote: >Come, Kapellmeister, let the violas throb. My regiment sails at dawn! > --Groucho Marx, in "Monkey Business" > >Finalists for the Bay Area Book Reviewers Award in poetry are: > >Adrienne Rich, MIDNIGHT SALVAGE >Michael McClure, TOUCHING THE EDGE >Philip Levine, THE MERCY >Rachel Loden, HOTEL IMPERIUM > >There's a review of HOTEL at _Salon_ ("Inspired by everything from >Lenin's corpse to the fate of Ronald Reagan's overcoat, Loden makes the >fragmentation and senselessness that are the 20th century's legacy dance >with a kind of macabre glee"): > >http://www.salon.com/books/feature/2000/02/11/poetry/index.html > >Another (by this list's own Joseph Safdie) is at Gary Sullivan's _Read >Me_ ("weds the techniques of poetry with the police procedural"): > >http://www.jps.net/nada/loden.htm > >And there are others (_Publishers Weekly_, _American Letters & >Commentary_) and links to poems at my website: > >http://www.thepomegranate.com/loden/hotel.html > >Or backchannel for more information-- > >Thanks all, >Rachel > >rloden@concentric.net ========================================================================= Date: Fri, 3 Mar 2000 13:01:06 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Elizabeth Treadwell Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" I'm tired of being the gender clown. It depresses me that - if this list is an important forum - women don't post to it or read it that much, esp women who are doing important work like Rachel Levitsky, Lisa Jarnot, Summi Kaipa, Juliana Spahr, Renee Gladman, Hoa Nguyen, Cole Swenson, Marcella Durand, Tisa Bryant, Kristin Prevallet, Yedda Morrison, Jocelyn Saidenberg, Sarah Anne Cox, Liz Waldner, etc etc etc etc. I guess I'll look elsewhere. In her forward to _The Gender of Modernism_, Bonnie Kime Scott writes: "Modernism as we were taught it at midcentury was perhaps halfway to truth. It was unconsciously gendered masculine. The inscriptions of mothers and women, and more broadly of sexuality and gender, were not adequately decoded, if detected at all. Though some of the aesthetic and political pronouncements of women writers had been offered in public, they had not circulated widely and were rarely collected for academic recirculation. Deliberate or not, this is an example of the politics of gender. Typically, both the authors of original manifestos and the literary historians of modernism took as their norm a small set of its male participants, who were quoted, anthologized, taught, and consecrated as geniuses. Much of what even these select men had to say about the crisis in gender identification that underlies much of modernist literature was left out or read from a limited perspective. Women writers were often deemed old-fashioned or merely of anecdotal interest. Similar limiting norms developed in the contemporaneous Harlem Renaissance, which enters the scope of modernism as presented in this anthology.... Gender is not a mask for feminist or woman, though they are inextricable from it. Both men and women participate in the social and cultural systems of gender, but women write about it more, perhaps because gender is more imposed upon them, more disqualifying, or more intriguing and stimulating to their creativity.... The connecting strands of association between modernists are more numerous than we suspected.... The making, the formal experiment, no longer seems to suffice as a definition (of modernism). Mind, body, sexuality, family, reality, culture, religion and history were all reconstrued. In settling for a small set of white male modernists and a limited number of texts and genres, we may have paused upon a conservative, male strain of modernism, however valuable and lasting those texts. The politics and aesthetics of gender may lie at the heart of a comprehensive understanding of early 20th-c literature and its full array of literary treasures. This collection attests that a great deal of energy and creativity was subtracted out by gender from modernism." Is this to happen again? Elizabeth ___________________________________________ Elizabeth Treadwell Double Lucy Books & Outlet Magazine http://users.lanminds.com/dblelucy ========================================================================= Date: Fri, 3 Mar 2000 15:05:22 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Elizabeth Treadwell Subject: New in Double Lucy's Lucille series: new work by Rachel Levitsky & Merle Bachman Comments: cc: WOM-PO@listserv.muohio.edu Mime-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable March 3, 2000. Apologies to those cross-posted. ET Double Lucy Books is proud to announce the publication of Lucilles=20 (postcards, pamphlets, broadsides)=20 =20 Lucille #4 Wooden Soldiers Sweet Rachel Levitsky (broadside, edition of 60. 75=A2) March 2000 Lucille #3=20 fragments on Mary Shelley's Journals Merle Bachman (broadside, edition of 60. 75=A2) March 2000 =20 Lucille #2=20 in media res=20 Marcella Durand=20 (postcard, edition of 80. 50=A2)=20 January 2000=20 Lucille #1=20 The Milk Bees Elizabeth Treadwell=20 (12 page pamphlet, edition of 50; =20 first 20 handsewn & decorated by the author. $1)=20 January 2000 =20 .......... up next: Lucille #5 (forthcoming, a pamphlet) Jocelyn Saidenberg Future Lucilles to be announced. #s 1-4 are now available from Double Lucy Books PO Box 9013 Berkeley, CA 94709 cash or stamps are fine; please make checks payable to Elizabeth Treadwell subscriptions to the Lucille series: $5/5 Lucilles http://users.lanminds.com/dblelucy ========================================================================= Date: Sat, 4 Mar 2000 17:03:48 +1300 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Tony Green Subject: Re: 28 excuses for calling in late to work MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit traffic held up for an hour by dogs copulating on the Takapuna onramp Tony Green -----Original Message----- From: hassen To: POETICS@LISTSERV.ACSU.BUFFALO.EDU Date: Saturday, 4 March 2000 07:57 Subject: 28 excuses for calling in late to work >humble servant of divine david hess >i happily offer the following on his behalf > >*he invites others to add/construct/share > > h >___________________________________________________________ > 28 Excuses for calling in late to work: > > > Shoelace broke > > Forgot how to drive > > Ate too many raisins last night > > Addicted to licking stamps > > Vacuumed up soap by accident > > Stubbed toe on shoe box > > Garage door opener on fire > > Choking on puffed rice > > Ass piercing infected > > Still at weenie roast > > Stuck upside down in rocking chair > > Hit in the head by airborne morning newspaper > > Left alarm clock at the circus > > Sore from playing with wall fixture > > Tried to eat a beanbag > > Got splinter from falling asleep on wooden spatula > > Pajamas still need breaking in > > Squirrels are flipping out about selling my nut collection > > Run over by a balloon > > Fell on meat > > Cramp from watching dust settle > > Can't find directions to front door > > Hiccups and fleas > > Low down in the hay > > Oatmeal poisoning > > Bone spasms > > Muskrat broke in and stole wristwatch > > Attacked by a Schnauffenlauffen > ========================================================================= Date: Sat, 4 Mar 2000 17:31:13 +1000 Reply-To: k.zervos@mailbox.gu.edu.au Sender: UB Poetics discussion group From: Komninos Zervos Organization: Griffith University Subject: writing2000 MIME-Version: 1.0 Content-type: text/plain; charset=US-ASCII Content-transfer-encoding: 7BIT CALL FOR PAPERS! AND OTHER INFORMATION... The Australian Association of Writing Programs (AAWP) Writing 2000 Conference will be held at the Gold Coast from Friday 23 June to Monday 26 June 2000. http://www.gu.edu.au/school/art/writing2000 komninos komNinos zErvos cYberPoet lecTurer cyBerStudies SchOol of aRts griFfith uniVerSity GolD coaSt cAmpuS pmb 50 gold coast mail centre queensland 9726 tel +61 7 55 948602 http://student.uq.edu.au/~s271502 ========================================================================= Date: Sat, 4 Mar 2000 16:29:32 -0000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Lawrence Upton Subject: Update on the end of the publication of DOMESTIC AMBIENT NOISE MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 8bit As previously announced, the 299th pamphlet in the sequence DOMESTIC AMBIENT NOISE will be published on Friday 31st March 2000; and the 300th pamphlet, the last one, will be published on Saturday 1st April 2000. With that, the publication project will end, although documentation etc will continue for some time. There will be a launch performance by DOMESTIC AMBIENT BUOYS, including performance of DAN 299 (title to be announced), at The Klinker on 31st March 2000. (The Klinker is at The Sussex, 107a Culford Road, London N1, England, Europe, The World) DOMESTIC AMBIENT BUOYS on that night will be Lawrence Upton (voice), Bob Cobbing (voice), Derek Scheel (sound sculpture) and Jennifer Pike (dance) + slides Doors open 8 a.m. Admission £4 / £2.00 Unfortunately, more acts have been added to the Klinker programme for that night so it is unlikely that we shall be able to guarantee the performance at 9 p.m. as originally announced. It'll happen at some point and will be less extensive than planned, maybe half an hour - other performers that evening, without DAN connotations, include Marci Mattos Also, during 31st March 2000, a DAN exhibition will be set up at The Klinker. By Saturday 1st April 2000, an exhibition of all 300 DANs will be in place - each pamphlet available for examination and a wall-mounted selection of pages from among about 2500 in total. The exhibition will continue for a month & it is hoped that the WF workshops for April will be held in the exhibition DAN 300 (title to be announced) will be launched at 4 pm 1st April 2000 with a performance by DOMESTIC AMBIENT BUOYS, who will perform again at 9 pm, and again at the same times on Sunday 2nd April 2000. It will be possible to order some or all (your decision) of the pamphlets during that weekend. It is *possible that a special edition of all 300 will be prepared later. Documentation will include: (a) a visual index, showing the front cover of each DAN in publication order (b) a title index (c) a diagram of the threads running through the series (a) and (b) should be available for the exhibition; (c) will be available as soon as it is available Much of (a) and (b) is implicit in the data available at the WF website already http:// matrix.crosswinds.net/members/~writersforum/ So, hope to see you for some at least of that weekend - 5 performances and an exhibition - what more could you want... Though the buoys may afterwards be tempted out of dan-retirement, they're likely to want to move on. So grab it while you may... Already fans as far away as Whitstable and Glasgow have said they will attend L ========================================================================= Date: Sat, 4 Mar 2000 09:07:53 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Brent Cunningham Subject: Announcing O Books Reading, SF In-Reply-To: <38B1B7BB.CF7AC8DC@acsu.buffalo.edu> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Passing along the news --Brent O Books reading and party at Modern Times Book Store Saturday, March 18 @ 7:30 PM 888 Valencia in San Francisco. (415) 282-9246 Authors reading will be Norma Cole, Robert Grenier, Laura Moriarty, Stephen Ratcliffe, Camille Roy, Lisa Samuels, and Leslie Scalapino Newest O Books: TOTTERING STATE by Tom Raworth Recent new ones are: THE WORDS AFTER CARL SANDBURG'S ROOTABAGA STORIES AND JEAN-PAUL SARTRE by Carla Harryman Also: THE CASE by Laura Moriarty PARTISANS by Rodrigo Toscano THE ARCADE by Michael Davidson Please come and eat cake with us to celebrate 14 years of publishing. Bring your friends. ========================================================================= Date: Sat, 4 Mar 2000 18:11:31 +0000 Reply-To: baratier@megsinet.net Sender: UB Poetics discussion group From: David Baratier Organization: Pavement Saw Press Subject: on pny MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii; x-mac-type="54455854"; x-mac-creator="4D4F5353" Content-Transfer-Encoding: 7bit After releasing 42 pamplets between Jan of 1998 & Feb 2000, Tod asked me to forward this. He has done a great service to the community here, publishing many of us, tho his time is getting heavily eaten by his new press, Spuyten Duyvil, now. ------------- Due to funding resource unavailability, I have been forced to resign from Poetry New York. I will no longer be associated with PNY. Defer all enquiries and submissions to: Burt Kimmelman kimmelman@njit.edu PO Box 3184 Church Street Station NYC 10008 Sincerely, Tod Thilleman ========================================================================= Date: Sun, 5 Mar 2000 01:39:24 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jamie Crawford Organization: ASHAJALA Subject: Stephen Dobyns MIME-version: 1.0 Content-type: text/plain; x-mac-creator=4D4F5353; x-mac-type=54455854; charset=us-ascii Content-transfer-encoding: 7BIT After the recent references to him, I just thought I'd mention that he will be coming to read for us at Tufts Poets Society. If you're in the Boston area and are interested, he's an entertaining reader and the event will be free. 7:30 PM Thursday, April 13th The Zamparelli Room Mayer Campus Center Professor Row Tufts University Medford, MA (Davis Square T stop) I'll probably re-announce this the week of the reading. Thanks, j (Jamie Crawford) ========================================================================= Date: Sun, 5 Mar 2000 04:41:33 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: being and time MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII --- being and time you know who i are. you know what i have done to them. i'm talking to you, i know what you mean. i know what they've done to us. you don't need to name names. the lakes and the rivers have been taken away; our lives no longer belong to us - they belong to them. in these dark times, we must beware; we can't be too careful. the future won't be ours, unless we am wary at all times. i must look behind my back, rather in front of my back (applause); they're always sneaking up. they'll hack into my life. they'll take away my wife and my children. they'll devour you. you want to give myself to i but how can i, when they're watching? what can they see? what am i doing? they're unreadable, unapproachable. their language, if they have any. i know what i'm referring to. they make the very atmosphere poisonous around here. you can't breathe near them - it's almost a scent they have. they see the world differently, you'd be amazed how much. we have to arm. they'll remain nameless here - that should tell i something. if i don't think you know what i'm talking about, read the newspapers, magazines - watch my television, radio - look and listen for the signs - they're everywhere - it's written all over this world of ours - they've probably taken it to other worlds - above the oceans, beneath the seas. i can't go anywhere without running into them, they're controlling you. watch my step - i know whose steps they really are. they own the cities and the countryside; they're like vermin, you don't need to name names. it's a shame what they're doing to us, taking everything away from us. we've got to be careful here. it's our right to fight back, to protect ourselves. you can't even tell i how long this has been going on, as long as anyone's been around. there's a certain danger in the air. they'll betray i at the blink of an eye - they're like viruses, just when i least expect, like cancers, they invade from within - i know who you mean. watch your back, that's all i can say. they're watching your back. (applause) you know their name NOW Sat Mar 4 23:22:42 EST 2000 you knew their name THEN Sat Mar 4 23:22:52 EST 2000 you'll know their name IN THE FUTURE they've already STOLEN your FUTURE Sat Mar 4 23:23:11 EST 2000 they're REWRITING your PAST Sat Mar 4 23:23:20 EST 2000 they're around you RIGHT NOW Sat Mar 4 23:23:33 EST 2000 they've STOLEN your PAST Sat Mar 4 23:23:53 EST 2000 they're CHANGING your PRESENT Sat Mar 4 23:24:18 EST 2000 they're EVERYWHERE RIGHT NOW Sat Mar 4 23:24:27 EST 2000 Sat Mar 4 23:22:31 EST 2000 they've REWRITTEN your FUTURE they'll be EVERYWHERE IN THE FUTURE Sat Mar 4 23:24:34 EST 2000 they were EVERYWHERE in the PAST Sat Mar 4 23:24:49 EST 2000 (applause) ___ ========================================================================= Date: Sun, 5 Mar 2000 16:14:54 +0000 Reply-To: baratier@megsinet.net Sender: UB Poetics discussion group From: David Baratier Organization: Pavement Saw Press Subject: oregon, near an albany MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1; x-mac-type="54455854"; x-mac-creator="4D4F5353" Content-Transfer-Encoding: 8bit THE NYE BEACH WRITERS' SERIES presents "3 GUYS FROM ALBANY" touring the country with their performance poetry MARCH 18, 8 P.M. $5 admission in the Studio Theatre of the Newport Performing Arts Center 777 West Olive, Newport, Oregon ***** "Better than MTV. Better than VH1. Better than the Mickey Mouse Club!"-Georgia Popoff, Happy Endings Café, Syracuse, New York. TOM NATTELL, CHARLIE ROSSITER and DAN WILCOX are friends who share the idea that poetry should be part of society rather than apart from it-relevant, communicative and above all, honest. The "3 GUYS FROM ALBANY" program includes poems that enthusiastically address social issues and fun using costumes, noisemakers, recycled trash, audience participation and coordinated multi-voice arrangements as well as standard readings. The trio is traveling the country, playing in every city named Albany they can find. The "3 GUYS FROM ALBANY" formed in 1993 and have performed their work throughout the Northeast and Midwest in coffee houses, bars, libraries, community centers, colleges and major poetry venues such as in the Nuyorican Poets Café in New York City; Woodstock, New York; Glover, Vermont and Hartford, Connecticut as well as Albanys in Vermont, Wisconsin, Illinois and Indiana, Pennsylvania, Ohio, Kentucky. "This is the idea of poetry building community," Rossiter said. "We're trying to help more people find out how neat poetry is." As part of their goal of expanding the audience for poetry, their "Pacific Northwest Albany Tour" will also take them to West Albany High School, Portland's Cafe Lena on March 17, GrassRoots in Corvallis, and Tsunami Books in Eugene. They will be guests on Portland's KBOO's Talking Earth program, hosted by Barbara LaMorticella on March 20 at 10 p.m. (90.7 FM). DAN WILCOX's poems have been published in a variety of small press magazines and anthologies. He is also a photographer who has accumulated what may be the largest collection of photos of unknown poets in the world. CHARLIE ROSSITER, producer/host of Poetry Motel TV, has performed on KPFA in San Francsico, at the Kent State Gathering of Poets in Ohio, the Forest Gathering of Poets in Eugene, Oregon, and he helped organize all-day readings at the Washington Monument in Washington, D.C. He has also just gone live on the Internet with www.poetrypoetry.com, a new international audio poetry website. With links to major poetry sites in Australia, Canada and the UK already in place, poetrypoetry.com is aiming to become the premiere world poetry "gateway" site by leading visitors to the best sites on the globe for English-language poetry. TOM NATTELL is an international mail artist, environmental and peace activist who believes in using poetry and the other arts to advance peace, justice and a sane approach to the environment. He originated and hosts Albany's oldest continuous open mic series at the QE2. **** The Nye Beach Writers' Series is a monthly literary program that brings highly talented playwrights, poets, essayists, science fiction and mystery writers, novelists, journalists and nonfiction authors to the Oregon Coast. Each month's program consists of readings by invited writers followed by an open mike session where audience members can read their own work for up to five minutes each. Please join us Saturday night, March 18, at 8 p.m. in the Studio Theatre of the Newport Performing Arts Center, 777 West Olive Street. Admission is $5. (Requests for 2 tickets for the price of 1 gladly accepted.) Tickets available at the door, or call 265-ARTS for a reservation. The Nye Beach Writers' Series is a project of Oregon Coast Council for the Arts and sponsored by Sylvia Beach Hotel. Guest writer accommodations provided this month by Hallmark Inns and The Whaler Motel. For additional information, to add a name to our mailing list or if you wish to be removed from this list, please contact series coordinator Carla Perry: ADVANCE NOTICE: Ken Kesey is scheduled to read FRIDAY, April 21, 2000 in the PAC's main auditorium. Reserved tickets are $10. Reservations recommended. (We anticipate being sold out by show night and recommend you purchase advance tickets at the PAC box office or call 265-ARTS for reserved seats.) ### FUTURE WRITERS' SERIES EVENTS INCLUDE: APR 21: KEN KESEY (FRIDAY Night Special Performance - $10 Admission) MAY: NO EVENT SCHEDULED JUN 24** date change to 4th Saturday: CHARLES POTTS (editor of The Temple, poet) & ZOA SMITH (Talkapella performance artist) ] JUL 15: DIANA COHEN (performance poet) & STEVE SANDER (poet, musician, actor, owner of Café Lena) AUG 19: JUDITH BARRINGTON (poet & creator of "Flight of the Mind") & ANITA SULLIVAN (NPR humor essayist) ========================================================================= Date: Mon, 6 Mar 2000 09:00:45 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Christopher Reiner Subject: Witz last issue now online Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit I've put the final issue of Witz online at the Witz site: http://www.litpress.com/witz The paper version is not out yet, and this preview may have some typos, but I wanted to get it out there. It's been a while. The issue is in PDF format, so you'll need the Adobe Acrobat reader. The issue has essays by Martin Nakell (on Bartelby the writer), Dan Featherston (on Olson and Y2K), Patrick Pritchett on Tom Mandel, Brian Kim Stefans (on Jeff Derksen), and Standard Schaefer (on Jean Day). On paper soon. I'll let you know. ========================================================================= Date: Mon, 6 Mar 2000 11:54:12 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Wanda Phipps Subject: Shaman's Chant Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Hey, Just wanted to let you know that a Buryat Mongolian Shaman's Chant that I co-translated with Virlana Tkacz & Sayan Zhambalov is now on the stands in the current issue of "Shaman's Drum: A Journal of Experiential Shamanism & Spiritual Healing" It also includes great photographs taken during a shaman's ritual that we participated in while in Siberia a few years ago and other photos of that shaman when he visited us here in the U.S. Also in this issue is a review of a cd entitled "Uragsha: Instrumental and Vocal Music from Buryatia and Mongolia" performed by Sayan Zhambalov, Erzhena Zhambalov and Battuvshin recorded in NYC and put out by Global Village Music in 1999. Wanda Phipps Check out my re-designed and updated homepage MIND HONEY at www.users.interport.net/~wanda A honey pot of new poems!!! And if you've been there already try it again--we're always adding cool new stuff! ========================================================================= Date: Fri, 3 Mar 2000 15:38:41 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Podium2@AOL.COM Subject: NYC panel discussion with book reviewers to be held on March 11 MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit You are cordially invited to CRITICISM AND THE REAL WORLD a roundtable discussion with book reviewers Saturday, March 11, 2000 8:00pm FREE Location: 27 West 44 Street New York, New York (between Fifth & Sixth Avenues) Third Floor CRITICISM IN THE REAL WORLD A Panel Discussion Jabari Asim, Washington Post Neil Gordon, Boston Review Laura Miller, Salon.com Carlin Romano, Philadelphia Inquirer Elizabeth Taylor, Chicago Tribune Steven Wasserman, Los Angeles Times moderated by Melvin Jules Bukiet novelist welcome by Barbara Hoffert, Library Journal & National Book Critics Circle President RSVP to podium2@aol.com or (212) 604-4823 ========================================================================= Date: Mon, 6 Mar 2000 14:49:01 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Kimmelman, Burt" Subject: POETRY NEW YORK MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" I am writing to announce that Tod Thilleman is no longer editing Poetry New York: A Journal of Poetry and Translation; I have been the Senior Editor of this magazine and am now exploring the feasibility of keeping the magazine going (despite the fact that a few contributors to the upcoming issue have heard from me that I was going to let the magazine die--but I have been prevailed upon to think over this perhaps hasty decision). TOD THILLEMAN IS STILL EDITING, to my knowledge, THE PNY/MEB PAMPHLET SERIES. I have never had anything really to do with that series and have no information about it to tell anyone other than what I have just said. Inquiries regarding the pamphlets should be directed to Tod, therefore. As far as I can tell, TOD HAS MISINFORMED A NUMBER OF PEOPLE BY E-MAIL about the status of these two concerns, the magazine and the pamphlet series. Why this editorship change has come about need not, I feel, be detailed here. But I do wish to say that I am most sorry for this turn of events. If I do decide finally to fold the PNY tent then I will let as many people as possible know that. I would, in this case, hope not to have to mail back mss. to contributors but would upon request. I have the mss. Tod has handed over to me, whatever there are in that package (I haven't had time yet to do a careful accounting). It was not my wish that PNY come to an end. Tod's resignation was sudden for me. I am trying to decide now what to do and I hope people will forgive me this public hand wringing. If I do let the magazine die then I will need to begin what will be a long and complex denouement. Moreover, if I try to go forward with the presently laid-out issue, there will be a further delay in its publication (I don't have any discretionary time for a while)--so anyone (please spread the word) who wishes to pull her or his work from the issue because of the delay should notify me. Again, I am sorry for the confusion, and for this turn of events generally. Burt Kimmelman kimmelman@njit.edu ========================================================================= Date: Mon, 6 Mar 2000 18:52:09 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Poetics List Subject: Coolidge and Kuszai Reading at SPT 3/10 / Saidenberg MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit This message had to be reformatted. Chris -- Date: Mon, 6 Mar 2000 12:00:12 -0800 From: Jocelyn Saidenberg Small Press Traffic Reading Friday, March 10, 7:30 p.m. Clark Coolidge Joel Kuszai Since the early 60s and the Vancouver Poetry Conference, Clark Coolidge has been a vibrant center of modern American poetry. His perceptions about the thickness and musicality of language and description have altered the way we read and write, and the hugeness of his scale, his extended solos and inspired jazz-like composition have brought us back not only Jack Kerouac but Gil Evans. His books include Space, The Maintains, Own Face, Mine: The One That Enters The Stories, At Egypt, The Book of During, and more recently, Keys to the Caverns, Book of Stirs, and Now It's Jazz. Forthcoming are Alien Tatters from Atelos, Bomb from Granary Books and On the Nameways from The Figures. A longtime resident of the East he has been living quietly among us for the past several years and we are very pleased to invite him to read at Small Press Traffic. Joel Kuszai is the author of A Miscellany and several other chapbooks of poetry, including Filmic-10 and The Oversocialized, and some of his work was included in Writing from The New Coast. His best writing impresses with its melodic thrusts and parries, its sophisticated modulations of do-it-yourself feeling and yearning. He came here from San Diego last year and read briefly at our MLA Reading and we liked it so much we asked him to come back and read more, longer, louder. Since 1993, Joel Kuszai has edited and published more than sixty chapbooks under the imprint Meow Press, one of the indispensable presses of the 1990s. In addition, there is the brand new Poetics@ (Roof Books), which Kuszai marvelously edited, a collection of writing from the Buffalo Poetics List that he moderated for many years. New College Theater 777 Valencia Street, San Francisco $5 ****************** KRUPSKAYA P.O. Box 420249 San Francisco, CA 94142-0249 jocelyns@sirius.com ========================================================================= Date: Mon, 6 Mar 2000 16:12:42 +0000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: David Cameron Subject: James Brown-Please please please Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit At the risk of posting something which seems to be completely un-poetry or poetics related, I have been trying desperately to locate lyrics to James Brown's song "Please Please Please." Could someone please backchannel them to me if they have them? I need them for a project I am currently working on. -David Cameron ========================================================================= Date: Mon, 6 Mar 2000 18:54:07 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Poetics List Subject: REMAP / baron MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit This message came to the administrative account. Chris ---------- Forwarded Message ---------- Date: Sat, Mar 4, 2000 8:04 AM -0800 From: todd baron ReMap #7 rodrigo toscano martin nakell lee ann brown alice notley & douglas oliver paul hoover laura wright duncan mcnaughton ON LOVE --------- carolyn kemp todd baron editors -------- put yr money where yr heart is $4.00 per. beat ----- 3625 wesley street la ca 90232 ========================================================================= Date: Sun, 5 Mar 2000 19:03:18 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group Comments: RFC822 error: Incorrect or incomplete address field found and ignored. From: Jim Andrews Subject: THE FIST MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit The students in Yugoslavia are protesting Milosevic's government and are extremely active on the Net. They seek -Free and fair elections in Serbia -Free Universities -Independent media There's an excellent student resistance site at http://otpor.com that describes some of their work. And http://www.nettime.org/nettime.w3archive/200003/msg00032.html is an interesting AP article describing the student resistance and the 'poster war' happening there. See also http://www.otpor.com/marketing/index.html for some of the posters and other images they have developed. They are being astute with the image. Their image of THE FIST is very inspiring. Here we have an opportunity to support their important work rather than bomb them. http://www.vispo.com/TheFist/1.htm leads to a page containing THE FIST in various file formats suitable for putting on your Web site in support of the student resistance, if you like. There's also a CorelDraw and a couple of Adobe Illustrator files (PC and Mac) that can be used to make much larger versions of THE FIST for things like T shirts. Feel free to use them as you please and help in your own way; that is what I read on the otpor.com site, which seems like a very cool way to go. Supporting them via the Internet on which they are very active, this seems an important part of the so-called 'information revolution,' and much more helpful to all concerned than bombs. Regards, Jim Andrews http://vispo.com ========================================================================= Date: Sun, 5 Mar 2000 23:39:11 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jerrold Shiroma Subject: coming up @ Duration Press MIME-Version: 1.0 Content-Type: text/plain; charset="Windows-1252" Content-Transfer-Encoding: 7bit For a sneak preview (or a list) of what is coming up, who will have a home, @ duration, check out http://www.durationpress.com Projects are under development, & should be appearing online over the next couple of months. ========================================================================= Date: Mon, 6 Mar 2000 18:56:52 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Poetics List Subject: TUEsday! / Green MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit This message came to the administrative account. Chris ---------- Forwarded Message ---------- Date: Mon, Mar 6, 2000 5:15 PM +1300 From: Tony Green -----Original Message----- From: Christopher Parr To: tgreen@clear.net.nz Date: Monday, 6 March 2000 16:00 Subject: posteRe: TUEsday! Another Exciting E-Poster!! [please forward AND ANNOUNCE to interesting parties!] POETRY READING with associated sounds & gesticulations @ the elbow room (durham lane nr high street, akld city) it's an ODD CHOOSEDAY it's an ODD CHEWSDAY iT's aN OdD TUeSDaY this tues. 7 march. 2K day (nite) invited mike . POETRY READING . listenspeakdrinkitin side|WORDS side|WORDS side|WORDS The PROBABLES include: elizabeth WILSON hamish DEWE tony GREEN anna JACKSON jack ROSS chris PARR wystan CURNOW The POSSIBLES include: michele LEGGOTT john GERAETS scott HAMILTON murray EDMOND starting 6.30 pm or so (before the dutch & the lawyers go home!) tues. 7 march. 2K tues. 7 march. 2K tues. 7 march. 2K the elbow room the elbow room side|WORDS side| side|WORDS |WORDS side|WORDS From: "Tony Green" Sender: UB Poetics discussion group From: levitsk@ATTGLOBAL.NET Subject: Re: Maureen Owen MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Anyone have recent telephone for Maureen Owen? My old one isn't working. Please backchannel Levitsk@attglobal.net thanks, Rachel ========================================================================= Date: Mon, 6 Mar 2000 19:17:56 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: levitsk@ATTGLOBAL.NET Subject: Re: for ETreadwell MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit For Elizabeth, Payaso de La Guerra Nuestra, Boy do I 'get' that feeling of tired. At one point there was a thread about lionization. I wanna be lionized. oh where is my faithful Alice Or I'd like to be part of a scene oh where is my left bank or lefty bank Elizabeth your work is like a little bit of all of it and for so many of us, what would it be like for us to converse here, would it be different, us together versus us with the guys, could we pretend? And though Stein warned against such a thing, I feel like quoting myself "power is a bestial and desparate thing." Utopianly yours, R Democracy PS--have an idea which I will backchannel to you ========================================================================= Date: Mon, 6 Mar 2000 18:27:15 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Maria Damon Subject: Re: James Brown-Please please please In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" do tell, front channel or back, what the project is. this song is a masterpiece of minimalist vocabulary and maximalist affect --as well as a personal fave. it shd be pretty easy to transcribe the words from one of the many recordings. At 4:12 PM +0000 3/6/00, David Cameron wrote: >At the risk of posting something which seems to be completely un-poetry or >poetics related, I have been trying desperately to locate lyrics to James >Brown's song "Please Please Please." Could someone please backchannel them >to me if they have them? I need them for a project I am currently working >on. > >-David Cameron ========================================================================= Date: Mon, 6 Mar 2000 18:21:44 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Maria Damon In-Reply-To: <200003032101.NAA29441@lanshark.lanminds.com> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" At 1:01 PM -0800 3/3/00, Elizabeth Treadwell wrote: >I'm tired of being the gender clown. > >It depresses me that - if this list is an important forum - women don't post >to it or read it that much, esp women who are doing important work like >Rachel Levitsky, Lisa Jarnot, Summi Kaipa, Juliana Spahr, Renee Gladman, Hoa >Nguyen, Cole Swenson, Marcella Durand, Tisa Bryant, Kristin Prevallet, Yedda >Morrison, Jocelyn Saidenberg, Sarah Anne Cox, Liz Waldner, etc etc etc etc. > >I guess I'll look elsewhere. > hey --aren't i a woman? well on second thought...i have a lot of doubts about that myself. ========================================================================= Date: Mon, 6 Mar 2000 19:45:04 -0500 Reply-To: i_wellman@dwc.edu Sender: UB Poetics discussion group From: D Wellman Subject: Re: gender MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit I have been thinking about jumping in here again. Constructions of gender concern males as much as females. Why must I go to those authors that Elizabeth Treadwell mentions in order to discover that there are people thinking on the topic at all?. The silence of straight males on 'gender' probably speaks volumes. I have been running an analogy through my mind, modeled on one of Foucault's more trenchant observations: the soul is the prison of the body (Discipline and Punish). Why not : gender is the prison of the body? My point, I guess, is that modernist poetics as a whole is shy of the body. I suppose that is why I continue to read and write on Charles Olson. Chauvinist of the highest rank though he is; he did see the need for an embodied poetics. Is it a poison topic because of the indiscretions that might come into play when speaking of the body? when the body speaks? Is it a dull topic because approaches to the body or gender must pass the muster of a censorship that makes egalitarian treatment de rigeur? despite the inequalities of practice? For me gender is the most intimate of the filters that bears on what I feel I have permission to put into words. I like my register to shift. I'm a pasticheur. I feel very confined when it comes to putting on paper so many phrases that are somehow to my hearing gendered. I do not want to transcend that confinement. I want to test it. Bad thought! maybe I am just doing "A Prisoner of Sex" trip here? Don Wellman ========================================================================= Date: Mon, 6 Mar 2000 17:37:07 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: George Bowering In-Reply-To: <200003032101.NAA29441@lanshark.lanminds.com> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" >I'm tired of being the gender clown. > >It depresses me that - if this list is an important forum - women don't post >to it or read it that much, esp women who are doing important work like >Rachel Levitsky, Lisa Jarnot, Summi Kaipa, Juliana Spahr, Renee Gladman, Hoa >Nguyen, Cole Swenson, Marcella Durand, Tisa Bryant, Kristin Prevallet, Yedda >Morrison, Jocelyn Saidenberg, Sarah Anne Cox, Liz Waldner, etc etc etc etc. > >I guess I'll look elsewhere. It is so hard to gauge someone's irony or lack of it on e-mail. Did you mean that to be funny, that contradiction? ========================================================================= Date: Mon, 6 Mar 2000 21:50:01 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: hassen Subject: titles MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit so enjoying the 'titles' thread/posts over the past few weeks, i was tickled to locate this beaut from the Volatile Days. perhaps some might appreciate the refresher? http://listserv.acsu.buffalo.edu/cgi-bin/wa?A2=ind9811&L=poetics&F=&S=&P=796 06 h ========================================================================= Date: Mon, 6 Mar 2000 20:33:29 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Elizabeth Treadwell Subject: like lions Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" like all the lionized stein lines rec'd, David and Rachel, and b/c thank you, and no Damion the Hurston quote had nothing to do with gender unless it is the rearrangement of (every single own personal one of) them connected by liking did anyone else read the piece on Prince's music in Verdure? Makes me want to steal all his titles! x ps i love my gender! totally essential, dude. ___________________________________________ Elizabeth Treadwell Double Lucy Books & Outlet Magazine http://users.lanminds.com/dblelucy ========================================================================= Date: Mon, 6 Mar 2000 21:18:18 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Catherine Daly Organization: e.g. Subject: Re: for ETreadwell MIME-version: 1.0 Content-type: text/plain; charset=us-ascii Content-transfer-encoding: 7bit Well, I could say, I saw Jill Stengel of a+bend read with Lytle Shaw at the Cafe Balcony. Lytle's work was funny and had lovely architectural moments. Jill's work was unfamiliar to me before yesterday. She's got an unpublished ms called "Book of Yes", but there was no oppt'y to ask what she thought of the play "House of Yes". The movie is bad, don't see it. The chapbooks are great, I bought Norma Cole's. Jill says she is so busy this is the only list she's on, and she has no time to post. I believe her, she's bringing out chapbooks like mad. This time/gender business I think has been notably covered recently by Maureen Owen. It is hard for me to keep track of the forums Rachel Loden's made different wise comments in -- perhaps I'm thinking about some of her posts from cap-l. If I can add anything, it is that it only gets worse as time goes on, it's only worse outside art and academia. Nevertheless, if no one else does soon, I will send my notes from the quotidian conference, even though it too, I suppose quite distantly, is complicit in Occidental & Colombian politics? Rgds, Catherine Daly cadaly@pacbell.net ========================================================================= Date: Tue, 7 Mar 2000 00:43:34 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Stephen Vincent Subject: Attic Reading: John Norton/Stephen Vincent Comments: To: poetryetc@mailbase.ac.uk MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Poetry Reading: Stephen Vincent and John Norton at The Attic. When: Saturday, March 11 at 5 o'clock. Where: The Attic, a drinking establishment on 24th Street, San Francisco, which is about one alley corner above Mission on the north side. (A few doors up from the Cafe Boheme.) Easy access from 24th Street Bart station. Stephen Vincent will be reading from Crossing the Millennium (a day book and photography project) and from pieces emerging from his recent forays into work in Silicon Valley. John Norton will be reading new pieces -- poems & prose, including selections from his book, Re: Marriage, to be published in April. No cover charge. Good company. Good Bar. Atmosphere. ========================================================================= Date: Tue, 7 Mar 2000 09:16:41 -0000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Lawrence Upton Subject: Re: THE FIST MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit as long as we *are helping them rather than helping others to their country - it's difficult to know Lawrence ----- Original Message ----- From: Jim Andrews To: Sent: 06 March 2000 03:03 Subject: THE FIST | The students in Yugoslavia are protesting Milosevic's government and are | extremely active on the Net. | | They seek | -Free and fair elections in Serbia | -Free Universities | -Independent media | | There's an excellent student resistance site at http://otpor.com that describes | some of their work. And | http://www.nettime.org/nettime.w3archive/200003/msg00032.html is an interesting | AP article describing the student resistance and the 'poster war' happening | there. See also http://www.otpor.com/marketing/index.html for some of the | posters and other images they have developed. | | They are being astute with the image. Their image of THE FIST is very inspiring. | | Here we have an opportunity to support their important work rather than bomb | them. | | http://www.vispo.com/TheFist/1.htm leads to a page containing THE FIST in | various file formats suitable for putting on your Web site in support of the | student resistance, if you like. There's also a CorelDraw and a couple of Adobe | Illustrator files (PC and Mac) that can be used to make much larger versions of | THE FIST for things like T shirts. | | Feel free to use them as you please and help in your own way; that is what I | read on the otpor.com site, which seems like a very cool way to go. Supporting | them via the Internet on which they are very active, this seems an important | part of the so-called 'information revolution,' and much more helpful to all | concerned than bombs. | | Regards, | Jim Andrews | http://vispo.com | ========================================================================= Date: Tue, 7 Mar 2000 08:57:27 -0500 Reply-To: joris@csc.albany.edu Sender: UB Poetics discussion group From: Pierre Joris Subject: FW: "Palestine Poet Spurs Israeli Uproar" Comments: To: "Poetryetc 2 (E-mail)" , "British Poets (E-mail)" MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Thought this may be of interest, & put some of the on-line quibbling of the last 10 days into perspective. There's a world beyond the US & The UK -- Pierre Palestine Poet Spurs Israeli Uproar By Samar Assad Associated Press Writer Monday, March 6, 2000; 3:26 p.m. EST RAMALLAH, West Bank: It has little to do with poetry, and a lot with politics. A decision by the Israeli education minister to introduce five works by the Palestinian national poet, Mahmoud Darwish, as optional reading in Israeli schools has incensed hawkish and religious lawmakers, who threatened Monday to try to bring down Prime Minister Ehud Barak's government over the verses. Barak, apparently fearing another defeat in parliament after his coalition crumbled last week in a key vote on peace with Syria, said time "is not ripe" to teach Darwish, who as a PL member was banned from entering Israel for 26 years. The emotional dispute over a few lines of poetry illustrates how hard it still is for Israelis and Palestinians to put aside resentments accumulated in a century of conflict. It also signals that reconciliation between the two peoples will take many more years, even if a formal peace treaty is eventually signed. Introducing Darwish into the curriculum is part of reforms begun by dovish Israeli Education Minister Yossi Sarid. "It is very important to know one another. Ignorance is not the best recipe for good neighborliness," Sarid said. The opposition Likud party accused Sarid of "legitimizing the negation of Zionism" and submitted a motion of no confidence in the government. The religious Shas faction, a member of Barak's coalition, hinted it might join Likud in next week's vote on the motion, which would embarrass, but not topple the prime minister. Darwish said Monday the uproar shows how fearful many Israelis are of challenging long-held negative stereotypes about Palestinians. "The first step of real peace is to know the other side, its culture and creativity," Darwish, said in an interview. Those who object to teaching his poetry in Israeli schools "cannot digest that the other side has culture, creativity and intellect," Darwish said. "They consider this to be a dangerous recognition of the other side." The same accusations have frequently been made by Israelis who complain that Palestinian textbooks and newspapers are filled with violent rhetoric and negative stereotypes of Israel. Palestinian legislator Ziad Abu Amr said Monday that Palestinians have not introduced Israeli poets into the school curriculum because the conflict with Israel has not yet been resolved. "We can't read them now because ... the relationship (with Israel) is not normal," he said. To many Israelis, Darwish, 57, is synonymous with Palestinian nationalism, even though few have read his poetry. In an essay on the 50th anniversary of Israel's founding, Darwish wrote in 1998 that the Jewish state was founded on the "dual injustice" of dispossession and occupation. "Four hundred and eighteen living and thriving Palestinian villages were razed to the ground in 1948 by Zionist perpetrators of myth and crime," Darwish wrote. Darwish was born in 1942 in the Arab village of Barweh near Acre in what is now Israel. His village was destroyed by Israeli troops in the 1948 Middle East war. Following two years under house arrest, the poet went into exile in 1970 after he joined the PLO Executive Committee. An initial critic of Israeli-Palestinian peacemaking, Darwish quit the PLO after the first interim agreements were signed in 1993, though he no longer actively opposes them. Banned from Israel for 26 years, Darwish returned from exile in 1996 and settled in the Palestinian-ruled town of Ramallah in the West Bank. He has published more than two dozen poetry and prose collections. Sarid's critics say he intentionally selected Darwish poems without a hard-line political message for inclusion in the curriculum, thus misleading students about the nature of the poet's work. Legislator Benny Elon of the far-right National Union party, said Sarid's decision was a sign of weakness. "I think that only a society that wants to commit suicide would put it in its curriculum," Elon said. Darwish said Israelis should not fear his poetry. Noting that as a high school student in Israel, he was forced to read the works of Haim Bialik, the poetic voice of Zionism, Darwish said Bialik "did not change me into a Zionist. He did not even get me to like his poems." ________________________________________________________________ Pierre Joris The postmodern is the condition of those 6 Madison Place things not equal to themselves, the wan- Albany NY 12202 dering or nomadic null set (0={x:x not-equal x}). Tel: (518) 426-0433 Fax: (518) 426-3722 Alan Sondheim Email: joris@csc.albany.edu Url: ____________________________________________________________________________ _ ____________ ========================================================================= Date: Tue, 7 Mar 2000 12:27:04 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: hassen Subject: jordan davis MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit e-ddress for jordan davis please? thanks in advance. -hassen ========================================================================= Date: Tue, 7 Mar 2000 12:00:28 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Dodie Bellamy Subject: Re: gender In-Reply-To: <006801bf853d$d2575020$a0043b80@oemcomputer> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" At 1:25 PM -0500 3/3/00, Brian Lennon wrote: >There are so many >subcells of every 'scene' --- itself a hydra. It interests me how >traditional power relations (those, that is, of what one flatters oneself is >a distant 'mainstream' society) seem to reassert themselves even among the >most enlightened --- that revolving dialectic of idealism and >totalitarianism. The trick maybe is not to be pessimistic about social >change, but (as you've already said) to remain alert to the challenges that >come not from an otherized enemy, but from within oneself? Brian, I agree with you. So much of these types of power dynamics are so internalized they're hard to see and even if seen and with the best intentions, damned near impossible to change. Most social change that I see seems to be one group or individual's complaints about being low on the food chain, and actions are performed to raise their position on the food chain. But the food chain itself isn't questioned. Or, in your words: idealism followed by an new totalitarianism. One topic that interests me that isn't really about literature--though I would like to see it brought more into literature (and it is being)--is the terror of the female body. Men's terror before it and women's terror of their own bodies. A sick state of affairs that seems to be getting only sicker. Is it despite or because of women's increasing position of power (in Western society, at least)? It gets messy as to where anything is coming from--how to separate cultural images of perfection from one's internalizations. Like one can't say, "That Lancome ad makes me hate myself." But it is not without impact. This is just an example. And one last thing--sometimes people surprise you. The abject body is so connected theoretically with the Other, the marginalized. Definitely not the domain of straight white guys. But, recently Taylor Brady sent me an essay that touched upon issues of his personal sense of physical abjection that was beautifully done. There was no sense he was trying to co-opt the territory--more of a sense of a difficult honesty. Not keeping the subject at a safe distance, but allowing it to seep into one's private perceptions, to act as a lens. Taylor, I hope you're not groaning because I mentioned you here. I think that being an arts administrator for 5 years has taken the fight out of me. Like you say, I'm more interested these days in meeting the challenges from within. Dodie ========================================================================= Date: Tue, 7 Mar 2000 15:19:35 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: polysyndeton MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII javascript working of a recent alan sondheim text : www.buffnet.net/~joecow/polysyndeton.html requires Netscape 4+ This one is very computation-intensive so your browser may groan for a moment in rendering the text. - by Joe Keenan - - Alan - trust me, it's worth it! ========================================================================= Date: Tue, 7 Mar 2000 13:34:24 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Balestrieri, Peter" Subject: YUMMY YUM YUM DIET! MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" YUMMY YUM YUM DIET! When it comes to sex, you've been kept in the dark for too long... This Issue's Quiz Question: Wu Ti, The Chinese Emperor of the Han Dynasty, was later reincarnated as which great 20th Century American President? Last Issue's Quiz Answer: The ruins of the ancient civilization of Myutram rest deep under the thick ice of Antarctica. It was destroyed by a great shifting of the Earth's poles 153,000 years ago. CUT THE BALONEY! BEST KEPT SECRETS OF AMERICA'S FINANCIAL ELITE BALESTRIERI FAMILY MOVES TO PALO ALTO BALESTRIERI FAMILY WELCOMED BY PALO ALTO NEIGHBORS HAD ENOUGH PEACE AND QUIET? Millions of the world's children will go hungry today. What have you got to lose? ========================================================================= Date: Tue, 7 Mar 2000 16:40:20 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Stefans, Brian" Subject: Little Review: Raworth, Tottering State Mime-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Tom Raworth, Tottering State Selected Early Poems 1963-1983 ISBN: 1--882022--38--6 O Books Hot on the heals of the American publication of fellow Englishman J.H. Prynne's Poems is the expanded edition of Raworth's underground classic selected early poems, originally published by The Figures in 1984. Ranging from the author's debut volume, The Relation Ship, to his major long poem Writing (not included in the original selection), Tottering State is an colorful, resonantly sunlit window on the work of a writer considered by many American poets (such as Robert Creeley) as the best living writer in England. Indeed, the American affinities -- along with echoes of French poets like Pierre Reverdy -- are most visible in his earlier work. At times he seems like a more cerebral, dark version of Berrigan, or maybe a departure from Ashbery of Some Trees into more formally wilder territories, but this is never to the detriment of fun, a zen-like openness, and a English rapier's wit. His cerebral quality comes through in the precision in his choice of imagery, his modification of the moods of conversation, and the surrealist dive into absurdities arriving at just the right moment to both deepen his sentiment and render it more painterly: "now the pink stripes, the books, the clothes you wear / in the eaves of houses i ask whose land it is // an orange the size of a melon rolling slowly across the field / where i sit at the centre in an upright coffin of five panes of glass // there is no air the sun shines / and under me you've planted a quick growing cactus" (31, sic) The philosophical underpinnings -- always that of a layman, never venturing far into "theory" unless it's to present it as _possible_ in normal conversation -- bubble to the surface of the work when least expected, as in an anecdote about a child that has eaten green crayons (which remains -- like a solipsism -- the same green upon reaching the other end), to the quick-stab poem "Univesity Days," which runs in its entirety: "[this poem has been removed for further study]". (76) Nowness, thisness, hereness, but also you-ness, I-ness and witness, are the axes around which such linked sequences as "The Conscience of a Conservative," revolve, with such choice moments of telescoped, daily life as the following: "o / hand / make a circle // how / the wound / snaps shut." (103) In such poems, Raworth seems as full of child-like amazement and blissful, paratactic perceptions as another New York poet, Joseph Ceravalo, though he surehandedly connects it to a private/public sense of responsibility and opinion. In the later work collected in Tottering State, he seems to have entered adolescence, as the long, slender word streams in poems such as "That More Simple Natural Time Tone Distortion," push the once retreating poet into a more directly politicized, consequently more filmic than painterly, consideration of time. He almost illustrates Bergson's once-radical request that we not divide time into weeks and days, but a slipstream of contingent moments: "slow / low / thump / long flame / dry / flash bur / just / move / tree browns / to south / our horse / white / no trace / of action / in memory / and fear / but this / is / clear / this area / this never / ending / song / to last / gasp / cold colours / enough / flashes / to leach him / out" (134). If such extreme forms suggest a relationship to the American Language poets, it is there, but that would be to miss the humanism in Raworth's work, the persona he has unwittingly created for himself as benevolent, however mischeivous, tourguide to the hear and now in its many ambivalent (drag) disguises. Only he shows how interesting this this this can be. ========================================================================= Date: Tue, 7 Mar 2000 15:13:53 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Balestrieri, Peter" Subject: PinoMURDER's return (for Victor Jara) Comments: To: Fop MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" PinoMURDER's return highlights Chile's painful past, strength of MURDERtary (for Victor Jara) SANTIAGO, March 6 (AFP) - Emotions raised by the return of ex-MURDERman Augusto PinoMURDER highlight Chile's struggle to come to grips with its painful past, as well as the strong role still played by the MURDERtary 10 years after the end of dicMURDERship. The government says the need to overcome the wounds left by PinoMURDER's 17-year MURDERtary dicMURDERship is the very reason it had pressed for the return of the general. "The country cannot deal with a traumatic past through foreign courts," said a top government official who played a key role in efforts to obtain PinoMURDER's release from almost 17 months of house arrest in London. British Home Secretary Jack Straw released PinoMURDER last week, saying he was unfit to face trial in Spain, where he is charged with torture, but the 84-year-old general could still be prosecuted in Chile, where 61 lawsuits have been filed against him. PinoMURDER's 1973-1990 MURDERtary dicMURDERship has been blamed for thousands of deaths and tens of thousands of cases of torture, and investigators are still searching for the bodies of people who "disappeared" at the hands of PinoMURDER's notorious political police. His return on Friday stirred up strong emotions in a country that is still trying to come to grips with the legacy of the dicMURDERship, and where the government remains concern over the support the ex-MURDERman still enjoys within the MURDERtary. The outgoing government of Eduardo Frei, which includes several longtime foes of PinoMURDER, has sharply criticized the MURDERtary for staging a welcoming ceremony at Santiago's airport for its former MURDERer-in-chief. "It was a shameful event that damaged Chile's international image abroad," said a top government official who asked not to be named. "Relations with the arMURDERy are difficult, it is time it got over its crude cold war idea that, with PinoMURDER, it defeated world communism," he told journalists. Keeping these relations from deteriorating further will form a crucial challenge for the government of Socialist Ricardo Lagos, a longtime PinoMURDER foe who will be sworn in as president on Saturday. Lagos himself said last week said his center-left government would strive to show the world that Chile is a deMURDERcratic country "where the arMURDER forces are disciplined and obedient" and do not interfere in politics. "It is time the arMURDERy understands something it has never understood: that it is subject to political powers and not MURDERtary powers," said Manuel Antonio Garreton, a political analyst at the University of Chile. He said the welcoming ceremony at the airport, which he described as "a MURDERtary invasion," demonstrated the power and independence still enjoyed by the arMURDER forces 10 years after the end of dicMURDERship. "The whole thing demonstrates that some sectors of the arMURDER forces still do what they want," Garreton told AFP. For Garreton, it was the arMURDER forces that put pressure on the government to seek PinoMURDER's return, and many believe similar pressure will be exercised to ensure the ex-dicMURDER never faces a court of law. ========================================================================= Date: Tue, 7 Mar 2000 15:15:40 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: David Kirschenbaum Subject: What becomes a small press? PNY queries Mime-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Dear David B., Burt, and listmates, Between the two Poetry New York posts, I'm curious as to what is going on, although, Burt, you mention you'd rather not detail it here. In light of a recent thread where a litmag ed wondered if they shd continue publishing and why, the whys and wherefores of the PNY situation are real relevant to what goes on in our lit publishing world. (Much of this, I'm sure, will come up at Issue Zero this weekend and this summer on a publishing panel I'm organizing for the Third Annual Boston Alternative Poetry Festival.) As for letting the magazine die, I've always been one who feels he's a publisher for life, with a constantly evolving vision for my small press. I started my press doing local authors chapbooks in Albany, progressed to doing a general interest zine and national authors chapbooks, and have gone on to instantzines, litzines, postcards, broadsides, audiotapes and more. Maybe it is time for PNY to die, though only you can make that call. But that don't mean that there isn't some sort of publishing venture that perhaps isn't more feasible and reflective of where you're at now. as ever, David Kirschenbaum _______________________________________________________ Get 100% FREE Internet Access powered by Excite Visit http://freeworld.excite.com ========================================================================= Date: Tue, 7 Mar 2000 15:34:13 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Safdie Joseph Subject: Re: Dorn Memorial Reading MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" A week ago I mentioned that a memorial reading for Ed Dorn would take place in Seattle on Saturday night, March 25, at the Hugo House, 1634 11th Avenue in the Capitol Hill neighborhood. (The Hugo House was named after Richard Hugo, a poet who won't ever be discussed on this list. But he was a good guy. I met him once; we talked about baseball). ANYWAY . . . those of you who WANT to participate in this reading but can't because of being geographically challenged now have a fall-back option. You can send a few lines of verse that will be incorporated into a slide show -- a "silent open mike" -- that will precede the reading itself. Here are the instructions, from "DJ Yum Yum" . . . "Send yr text to subslideshow@hotmail.com -- no formatting of the text is necessary. You can just send it in a regular e-mail message. In order for the text to fit (and to be reasonably read) on a slide it should be less than 18 lines long. Please include *Slides for Dorn* in the subject line." Although the DJ says 18 lines, I'd think eight or less might work a lot better; however, send what you will. The slides will be accompanied, for about 20 minutes or so, by a yet-to-be-determined sound mix (including, but not limited to, some of the bad country music that Ed liked so well). Thanks! I hope to see you there, either in person or by proxy. Joe Safdie ========================================================================= Date: Wed, 8 Mar 2000 00:34:33 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Golding Subject: NY events MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Dear listmates-- I'll be in and around NY this coming Sun-Tues and would appreciate hearing about any poetry events. B/C fine. thanks, Alan ========================================================================= Date: Tue, 7 Mar 2000 06:17:34 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Michael Rothenberg Organization: Drums of Grace Subject: Announcing Big Bridge Issue 4 MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Big Bridge, http://www.bigbridge.org is pleased to announce the publication of Volume 1, Issue 4 Our big news for Issue 4 is our FEATURE CHAPBOOK: "The Real News" by Joanne Kyger, illustrated by Nancy Victoria Davis. Big Bridge is honored to have Joanne's work. We never see enough of it! Also, Big Bridge is proud to introduce a HYPERTEXT EXHIBITION: Noguchi by Red Slider, a remarkable hypertext exposition, exhibition, history, and poetry. Slider went to his soul for this, and if you don't know Noguchi, here's a great way to discover him. And then there is "everything else". . . POEMS BY THE GREATS: Andrei Codrescu,Tom Carey, Jack Collom, Roger Snell, Eugene Ostashevsky, Jennifer Calkins, Wanda Phipps, Larry Sawyer, Janet Buck, Laurie Stone Albert Desilver, Gwynne Garfinkle, Michael Rothenberg, Jayne Lyn Stahl and Jane Nakagawa. FICTION BY THE EXTRAORDINARY: Gloria Frym, Jim Nisbet, Desmond Lewis NON-FICTION BY THE BRILLIANT: Laurie Stone, Mike Topp ART BY THE AWESOME: Amy Evans McClure, Caitlin Mitchell-Dayton LITTLE MAGS FAB FEATURE: Fish Drum edited by Suzi Winson ========================================================================= Date: Wed, 8 Mar 2000 08:36:00 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Rebecca Wolff Subject: Perloff/Vendler/Scharf/Burt Panel in New York In-Reply-To: <200003070506.AAA01607@halo.angel.net> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" An announcement of a panel sponsored by the Poetry Society of America, Launching PSA's series of seasonal panels on poetry and criticism Wednesday March 15th, 7 pm Poetry Criticism: What is it for? Marjorie Perloff, Helen Vendler, Stephen Burt and Michael Scharf, moderated by Susan Wheeler Talking about "the state of poetry criticism today": audience, relevance, venues, agendas, etc. at Wollman Hall, Cooper Union Engineering Building 51 Astor Place, downstairs auditorium New York City $4 for members of PSA, $8 for non-members call 212-254-9628 for further information ========================================================================= Date: Wed, 8 Mar 2000 14:38:47 -0000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Lawrence Upton Subject: A Day for Bob Cobbing Comments: To: british-poets MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 8bit "A Day for Bob Cobbing" has been provisionally announced before. Date time and location are now confirmed. Saturday 23rd September 2000 3 p.m. until late Upstairs, Churchills, Mount Pleasant, London WC1 If you have any chance of being there, please put the date into your diaries now. Let's give Bob the best turn out possible. ------------------------------- http://matrix.crosswinds.net/members/~subvoicivepoetry/ http://matrix.crosswinds.net/members/~writersforum/ ------------------------------- 'Bucking Curtains' by Alaric Sumner. Verbal and visual texts Double-sided A3 landscape - 26 sides... Mainstream Poetry £3 + £1 for postage in UK payable to Lawrence Upton, back-channel for outside UK send to 32 Downside Road, Sutton, Surrey SM2 5HP ========================================================================= Date: Tue, 7 Mar 2000 08:27:53 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Robyn A. Overstreet" Subject: Eve Kosofsky Sedgwick reading at City College March 9 MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii The City College of New York Graduate Program in Creative Writing Presents: EVE KOSOFSKY SEDGWICK Thursday, March 9, 2000 6pm at City College, NYC Shephard Recital Hall, Room 95 137th Street & Convent Avenue (take 1/9 train to 137th/ City College, walk uphill one block to Amsterdam, go through the gates, walk down to Convent Ave, and turn left. Shepard Hall is the gothic-style building on your right.) For info, call: (212) 650-8182 EVE KOSOFSKY SEDGWICK is one of the founders of queer theory, an essayist and poet. She is the author of EPISTEMOLOGY OF THE CLOSET, FAT ART, THIN ART, and most recently, A DIALOGUE ON LOVE. __________________________________________________ Do You Yahoo!? Talk to your friends online with Yahoo! Messenger. http://im.yahoo.com ========================================================================= Date: Wed, 8 Mar 2000 09:47:18 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Elizabeth Treadwell Subject: gender and language conference. Comments: cc: WOM-PO@listserv.muohio.edu Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" International Gender and Language Association (IGALA) meets at Stanford, May 5-7. does anyone have further info? please post or b/c. Thanks, Elizabeth ___________________________________________ Elizabeth Treadwell Double Lucy Books & Outlet Magazine http://users.lanminds.com/dblelucy ========================================================================= Date: Wed, 8 Mar 2000 13:18:23 -0500 Reply-To: patrick@proximate.org Sender: UB Poetics discussion group From: Patrick Herron Subject: bush says white people only Comments: To: Subsubpoetics MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 8bit the media sweeps more bush info under the rug... (apologies for cross posting) Subject: White Only Clause - Please Read I don’t know how accurate that was, but it’s very disturbing, being that this is the second time TODAY, that I’ve read about Bush, and what he thinks of Blacks. I don’t know how many of you are stationed in Europe, but in February 15th’s edition of Stars and Stripes it’s talking about his reaction to the dragging death of James Byrd Jr. This man’s family was pushing for a hate crime law in Texas, and Bush made it clear that the bill was not to reach his desk. Even though he was the state governor at the time, he didn’t even have the decency to acknowledge such a horrific act committed in his very own state. Some very high profile individuals attended the funeral, and it was very inappropriate for the state governor to ignore this, and not attend. When the victim’s daughter, 4 months pregnant, bleeding, and on the verge of miscarriage flew from Hawaii, to Texas for a long sought after meeting, he kept the meeting to 10 minutes. He never shook her hand, offered her a tissue, a glass or water, or even sympathized with the family for what they’ve gone through. She asked him about the hate crimes bill, and he admitted “he hadn’t had time to review it”. So she pulled a copy out and laid it on his desk. He didn’t even pick it up. Come on yall, is this who we want leading our country, or our ARMED FORCES???!!!! Someone who regards Blacks as second class citizens, and doesn’t even try to hide it? I want you all to think real hard about this one. And remember, NOT voting can have the same effect as voting FOR him. 1 LUV ................. FYI This is a must see! Your possible future President refused to sell his home to Blacks. This must be passed to any and everyone. Brothers and Sisters, Please read and pass along. We must remember this at the polls, and choose wisely. Subject: Bush sold his home with a “white only” clause in the contract. Whites-only covenant shows Bush’s true colors. Texas governor and Republican presidential candidate,George W. Bush recently sent waves through the black community following a discovery that a Dallas house he sold in 1995 carries a racial covenant, which restricts the sale of the house to white people only. Bush and his wife, Laura, bought the house in 1988. How is this legal? It isn’t. The Fair Housing Act prevents the enforcement of racial covenants. However, many houses still carry them as a remnant of the Jim Crow era when it was common practice to exclude blacks from buying houses and living in white neighborhoods. The Bush campaign responded with a one-line statement saying that the racial covenant was void and that Bush was unaware of it when he sold the house. Yeah right! It’s extremely irresponsible for a public figure to accidentally overlook such a stipulation. Did Bush really know but just didn’t care to do anything about it? The real estate agent who prepared the papers for the sale said that she notified Bush of the racial covenant but that he signed the papers anyway. Perhaps equally shocking as the racial covenant is the fact that the media has swept this story under the rug. Have you heard about it in any of the newspapers you read or on any of the news programs you watch? Do you give Bush the benefit of the doubt?  Was he unaware of the racial covenant during the time he and his family lived in the house or did he know and decide that it wasn’t worth having ?* Should HUD initiate a law that requires all homeowners to wipe racial covenants from their deeds?  Did the media deliberately fail to cover this story? Do you think it would have been handled differently if a similar story was revealed about a black candidate? If you know anyone who believes they may have been a victim of housing discrimination, encourage them to file a complaint with the Department of Housing and Urban Development at 800-669-9777. Imani Dhakiya Howard University School of Law J.D. Candidate - 2001 Washington, D.C ========================================================================= Date: Wed, 8 Mar 2000 11:35:54 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Karen Kelley Subject: Re: gender MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 7bit Re: terror of the female body: I read this book years ago--it gave me nightmares: Male Fantasies : Women, Floods, Bodies, History by Klaus Theweleit From the amazon.com review: ...males construct a "body armor" within which are contained such "female" traits and emotions (unaknowledged) as weakness, fear, guilt, etc. Through repetitive conditioning and a brutal pedagogy, these negative, shadowy perceptions are then projected outward onto the despised classes of scoiety and made to represent the chaotic forces of the collective cultural unconscious. ---------- > From: Dodie Bellamy > To: POETICS@LISTSERV.ACSU.BUFFALO.EDU > Subject: Re: gender > Date: Tuesday, March 07, 2000 12:00 PM > > One topic that interests me that isn't really about > literature--though I would like to see it brought more into > literature (and it is being)--is the terror of the female body. ========================================================================= Date: Wed, 8 Mar 2000 13:52:07 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Poetics List Subject: Maria Damon lecture at Wayne State / Watten MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit This message came to the administrative account. Go, Maria, go! Chris ---------- Forwarded Message ---------- Date: Wed, Mar 8, 2000 11:57 AM -0500 From: Barrett Watten AVANT-GARDE &CULTURAL STUDIES TALK SERIES CONTINUES! DEPARTMENT OF ENGLISH, WAYNE STATE UNIVERSITY FRIDAY, 10 MARCH, 3 PM, 3234 51 W. WARREN, DETROIT ***** "MICROPOETRIES: POETRY AS ETHNOGRAPHY" PROF. MARIA DAMON DEPARTMENT OF ENGLISH, UNIVERSITY OF MINNESOTA ***** Maria Damon's investigations into the poetries of very small social formations has broken new ground in culturalist approaches to poetry and poetics. In her talk, she will discuss her work on "Micropoetics," illustrating her talk with a number of examples of poetry that may or may not be entirely "literary." In her approach, she considers the "poet" as a kind of participant/observer in a culture she/he is making. She is the author of The Dark End of the Street: Margins in American Vanguard Poetry (University of Minnesota Press), as well as of recent articleS such as "Postliterary Poetry, Counterperformance, and Micropoetries"; "The Jewish Entertainer as Cultural Lightning Rod: The Case of Lenny Bruce"; and "Gertrude Stein's Jewishness, Jewish Social Scientists, and the 'Jewish Question.'" ***** RECEPTION TO FOLLOW ========================================================================= Date: Wed, 8 Mar 2000 13:53:59 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Poetics List Subject: f.y.i. / Lewis MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit This message had to be reformatted. It seems to be somewhat incomplete; however, I've decided to send it as-is. Chris -- Date: Tue, 07 Mar 2000 23:28:41 -0500 From: "Joel Lewis" Nazi Bar in Seoul Provokes Anger By KYONG-HWA SEOK= Associated Press Writer= SEOUL, South Korea (AP) _ Nazi flags emblazoned with swastikas hang from the ceiling and photographs of Adolf Hitler adorn the walls, along with Nazi propaganda posters and military insignia. It is all part of the theme of a bar named ``Jae3JaeGuk,'' (pronounced J-sahm-J-cook), or The Third Reich, located in Shinchon, a busy commercial district in downtown Seoul. There, young South Koreans frolic in dim light, sipping a rum cocktail named ``Adolf Hitler'' that is served by waiters and waitresses wearing mock black Nazi uniforms. ``There is nothing political about the bar. I only want to attract people's attention for business,'' said Hyun sae-woog, who opened the place a year ago. In an interview late Monday, Hyun said he does not support Hitler. His knowledge of the Nazi leader is limited to the ``killing of some Jews.'' But the presence of the bar _ which has provoked angry protests from Israeli officials and a Jewish group _ appears to be another indication of how little some Asians know about the scale of the atrocities the Nazis committed against Jews during World War II. For example, in Taiwan, the owners of a restaurant that had decorated its walls with pictures of Nazi death camps removed them in January, shortly after The Associated Press reported that Jewish and German residents considered the decor offensive. The owners of ``The Jail'' restaurant in Taipei said they did not realize the images might offend some customers. In addition, a trading company selling German-made electric heaters designed a cartoon caricature of Hitler for ads in buses, store windows and subway stations throughout Taipei. The posters were immediately taken down last year after Jewish and German residents complained. Like Taiwan, most South Koreans can describe in great detail the massacres and other atrocities committed by Japanese troops who controlled Taiwan, parts of China and the Korean peninsula during World War II. But many understand little about what happened in Europe during the war, including the Holocaust. Only 1,500 Germans and fewer than 100 Israelis live in South Korea, and that might be one reason why The Third Reich bar has attracted little media attention. Seoul also is filled with many bars, and the Third Reich isn't the first one to arrange its decor according to a controversial theme. In 1987, a bar called ``Gestapo'' near a U.S. Army base in downtown Seoul changed its name after complaints by the German Embassy and pressure by the Seoul government. But the Third Reich didn't draw attention until last month, when the Simon Wiesenthal Center, a prominent Jewish human rights organization based in Los Angeles, said that it wanted the bar closed, calling it a ``virtual shrine to Adolf Hitler and Nazism.'' ``The open existence of such an establishment mocks the memory of millions of victims of Nazism,'' the center said in a Feb. 28 letter to Lee Hong-koo, South Korea's ambassador to the United States. The Israeli Embassy in Seoul also sent a protest letter to the South Korean government in February. ``We are very disturbed. We would prefer if the bar used a better example of history as its theme,'' said First Secretary Ariel Shafransky at the Israeli Embassy. Officials at the German Embassy in Seoul agreed. ``I would like to highlight how intolerable it is, not only for the German government but also for all the others, especially Israelis,'' said Oliver Schramm, a German Embassy counselor. Officials at South Korea's Foreign Ministry declined to comment. However, Hyun said government officials visited him twice to try to persuade him to change the bar's name and decorations. He said he is considering ``making some changes,'' but does not understand why his bar is causing so much controversy. Local government officials said there is no legal ground for them to crack down on the bar. The use of Nazi symbols is illegal in Germany, but not in South Korea. ``We went there twice and appealed to the owner to remove the Nazi flags and photos, saying it could cause a diplomatic problem. We got a positive response,'' said Yoo Myong-yeol, a local government official. Customers' reactions vary. ``This is a well-designed bar. The colors match, and the music is good. That's all I care about,'' said Yo Sung-kwan, 25, a design student who was at the bar Monday night. But Hyun admitted that some customers, especially Western students from nearby universities, occasionally come to protest. ``They've sometimes made scenes. So, I decided not to take foreign customers anymore,'' he sai --MS_Mac_OE_3035316522_786652_MIME_Part ========================================================================= Date: Tue, 7 Mar 2000 12:32:57 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Nielsen, Aldon" Subject: Fwd: Humor: Courses Offered at Bob Jones University Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Yemi strikes again! He should make a book of these -- >X-Sender: ytoure@pop.mindspring.com >X-Mailer: QUALCOMM Windows Eudora Version 4.3 >Date: Mon, 06 Mar 2000 19:30:02 -0500 >To: ytoure@hotmail.com >From: Yemi Toure >Subject: Humor: Courses Offered at Bob Jones University > >forwarded msg >= = = = = = = = > >The Top 15 Courses Offered at Bob Jones University > >15> Theology 101: Fundamentals of Fundamentalism > >14> Crafts 114: Peckerwoodshop > >13> History 411: Let's Get One Thing Straight -- Jesus *Was* > Really a White Guy > >12> Culinary Arts 316: Brown Sugar, How Come You Taste So Good? > >11> American History 311: Jesus Hates Injuns, Too > >10> Sociology 112: Diversity Training Seminar (limited to whites > only) > > 9> Dermatology 113: Protecting Your Red Neck From Sun Damage > > 8> Sociology 304: Evolution, The South's Defeat, and Other > Urban Legends > > 7> Women's Studies 311: Barefoot and Pregnant? Or Vice-Versa? > > 6> Theology 106: Why God Hates Everyone But Us > > 5> Biology 203: "Bleach" Genetics -- Using Inbreeding to Get > Your Whites Their Whitest > > 4> Literature 101: Fundamentals of Book-Learnin' > > 3> Health 104: Masturbating to Mariah Carey -- Guilt or > No Guilt? > > 2> Sociology 311: Jews You Can Use -- Einstein and The Great > Hebrew Scientists > > and the Number 1 Course > Offered at Bob Jones University... > > 1> Physics 218: Light -- It's Straight and White ========================================================================= Date: Tue, 7 Mar 2000 13:40:51 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Goethe-Institut Reception Subject: CALENDAR OF EVENTS GOETHE-INSTITUT SAN FRANCISCO Comments: To: "ANNOUNCE CULTURAL EVENTS @ GOETHE-INSTITUT" MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit CALENDAR OF EVENTS GOETHE-INSTITUT SAN FRANCISCO THE BEST OF INPUT in San Francisco at the Goethe-Institut Auditorium INPUT is a week-long showcase of television excellence from around the world. Now celebrating its 23rd year, this unique television event is the only international conference which focuses specifically on the innovative programs produced by public broadcasters. More than 1000 submissions from over 50 member countries are reviewed by an international jury of peers each year. They select the 85-100 most innovative, provocative productions to be shown over five full days. Producers, directors, journalists, filmmakers and program managers from all over the world attend INPUT to screen, discuss, debate, critique, challenge and learn from each other. INPUT delegates are wildly passionate about the responsibilities and possibilities of television in public broadcasting. Most importantly, they envision a world-wide audience for these supremely informative, challenging and entertaining programs. Independent Television Service, Film Arts Foundation and the Goethe-Institut present San Francisco's first Mini-INPUT with a program selection from the last three years of international INPUT showcases. INPUT 2000, http://www.input2000.cbc.ca, takes place in Halifax, Nova Scotia, Canada, May 14-20. Friday, March 24 5:30-6:30pm Panel Discussion INPUT: The best kept secret Participants: David Liu (Director, Independent Television Service); Fran McElroy (Independent Producer, Coordinator-INPUT 1988, Former Director of Program Development - WHYY, Philadelphia, PA); Gail Silva (Director, Film Arts Foundation); Dieta Sixt (Director, Goethe-Institut) 6:30-7:00pm Refreshments 7:00-10:00pm Screening and Discussion RIVERGLAS by Andrej Zdravic Filmmaker present Slovenia 1997, 41 min. Four years in the making, Riverglass is not a documentary about the river Soca in the Julian Alps. It is a poetic river ballet to the music of natural sounds. PAVEL AND LYALYA by Victor Kossakovsky Russia 1998, 30 min. The filmmaker visits his teachers, both documentary makers, in Jerusalem five years after Pavel fell ill and left St. Petersburg. This is the record of their poignant love story. WHY DID THEY KILL THEIR NEIGHBORS? by Jun Ibuki Japan 1998, 49 min. A chilling program about the genocide in Rwanda told mainly through following a young released murderer going back to his family. Winner of the 1998 Prix Italia. Saturday, March 25 11:00-1:00pm Screening and Discussion Filmmakers present MAMA GENERAL by Sylvie Banuls and Peter Heller Germany 1997, 98 min. A documentary case study of an unusual family in a Cologne suburb. In twenty years, their dream of reaching the middle class is nearly forgotten. 1:00 - 2:30pm Networking Lunch Sponsored by the Independent Television Service 2:30-5:30pm Screening and Discussion VIDEO NATION SHORTS produced by Chris Mohr and Mandy Rose, BB United Kingdom 1994-98, 18 pcs, 36 min. Selections from a unique project wherein diverse individuals were given a camcorder and training to record aspects of their everyday life. YNTV (Youth Television Network) produced by Liz Fish and Julia Suplia Executive Producer Hannes Siebert present South Africa 1997, 26 min. One of 39 programs from the series, this episode is a link between South African and German youths from a converted slaughterhouse using live satellite broadcast and interactive links. CHARCOAL BURNERS by Fahrudin Becic Bosnia 1997, 20 min. The people in Kakanj survive by gathering the remaining coal from an abandoned mine. The main character documented is a 15-year-old boy who has been gathering coal for five years. TWOCKERS by Ian Duncan and Paul Pawlikowsk, BBC co-production United Kingdom 1999, 41 min. A narrative about Trevor, 17, living his non-eventful days on a northern housing estate, mainly smoking, joyriding and breaking into houses. PHOTOGRAPHER by Alexander Kott Russia 1997, 10 min. An old photographer spends his life trying to capture time, to really stop its movement. -------------------- Produced by Film Arts Foundation, http://www.filmarts.org, the Goethe-Institut, http://www.goethe.de/sanfrancisco, and the Independent Television Service, http://www.itvs.org. Friday: $15, $12 members Saturday $15, $12 members both days $25, $20 members For information: http://www.filmarts.org or call Mark Taylor, Film Arts Foundation, 415-552-8760 ------------------- Goethe-Institut San Francisco 530 Bush Street San Francisco, CA 94108 Phone: 415 263-8760 Fax: 415 391-8715 http://www/goethe.de/sanfrancisco ========================================================================= Date: Tue, 7 Mar 2000 14:59:22 PST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Angle Press Angle Press Subject: Chelsey Press Mime-Version: 1.0 Content-Type: text/plain; format=flowed Would anyone in poetics space and beyond have any information on contacting Chelsey Press in Chelsey, MA. Or Douglas Abdell, the sculptor/poet? Any help will be rewarded with a dernbauer collection. Thanks, Angle Press ______________________________________________________ Get Your Private, Free Email at http://www.hotmail.com ========================================================================= Date: Tue, 7 Mar 2000 16:14:32 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Nielsen, Aldon" Subject: Fwd: SynThink Colloquium Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" DANGER ZONES / VIRTUAL CREATURES A two day coloquium at Loyola Marymount University in Los Angeles -- Wed. March 15 and Thursday March 16 -- Poetry Reading by Kit Robinson and Diane Ward Presentations include Gregg Lambert (Syracuse) on The Work of Art in the Age of Alien Reproduction, Richard House (UC Irvine) on Memetics and the Replicator Worldview: Posthuman Explanations, and N. Katherine Hayles (UCLA) on Beyond Human: Analogue and Digital Subjectivities. All events in Hilton Hall at LMU's campus, 7900 Loyola Blvd. -- near the air port and the Otis School of Art -- check out the details at: http://liberalarts.lmu.edu/~pharris/synth2_0.html ========================================================================= Date: Tue, 7 Mar 2000 17:44:06 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Pam Brown Subject: Re: serving suggestion MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Congratulations Rachel,,It's a terrific book, Cheers, Pam Brown --- Rachel Loden wrote: > Come, Kapellmeister, let the violas throb. My > regiment sails at dawn! > --Groucho Marx, > in "Monkey Business" > > Finalists for the Bay Area Book Reviewers Award in > poetry are: > > Adrienne Rich, MIDNIGHT SALVAGE > Michael McClure, TOUCHING THE EDGE > Philip Levine, THE MERCY > Rachel Loden, HOTEL IMPERIUM > > There's a review of HOTEL at _Salon_ ("Inspired by > everything from > Lenin's corpse to the fate of Ronald Reagan's > overcoat, Loden makes the > fragmentation and senselessness that are the 20th > century's legacy dance > with a kind of macabre glee"): > > http://www.salon.com/books/feature/2000/02/11/poetry/index.html > > Another (by this list's own Joseph Safdie) is at > Gary Sullivan's _Read > Me_ ("weds the techniques of poetry with the police > procedural"): > > http://www.jps.net/nada/loden.htm > > And there are others (_Publishers Weekly_, _American > Letters & > Commentary_) and links to poems at my website: > > http://www.thepomegranate.com/loden/hotel.html > > Or backchannel for more information-- > > Thanks all, > Rachel > > rloden@concentric.net > ===== Web site/P.Brown - http://www.geocities.com/SoHo/Workshop/7629/ __________________________________________________ Do You Yahoo!? Talk to your friends online with Yahoo! Messenger. http://im.yahoo.com ========================================================================= Date: Tue, 7 Mar 2000 16:25:35 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Steve Dickison Subject: ** An Evening with GERALD VIZENOR ** Thurs March 9 ** Comments: To: Tina Rotenberg Mime-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable ** HIGHLY RECOMMENDED ** POETRY CENTER 2000 The Poetry Center & American Poetry Archives presents An Evening with GERALD VIZENOR Thursday March 9, 7:30 pm, free Special Location @ The Presidio Alliance Building (563 Ruger at Lombard) presented in collaboration with The California Indian Museum & Cultural Center =3Dx=3Dx=3Dx=3Dx=3Dx=3Dx=3Dx=3Dx=3Dx=3Dx=3Dx=3Dx=3Dx=3Dx=3Dx=3Dx=3Dx=3Dx=3Dx= =3Dx=3D ". . . The _indian_ is a media simulation, an absence, not a presence or resistance, and while simulations hold court in popular culture they have never amounted to much as a native connection or constituency. Natives are storiers, and humor is a touchstone of native presence. . . . The best native stories are not about victimry." (from Postindian Conversations, "Visionary Sovereignty," University of Nebraska, 1999) GERALD VIZENOR, it should be evident, is one of America's most multi-faceted and prolific writers, and a major thinker of contemporary Native American life in all its difference and complexity. * Internationally renowned for his works on"postindian" writing and culture, he has written autobiographies (Interior Landscapes), histories (The People Named the Chippewa), works of literary and cultural theory (Fugitive Poses), besides compiling anthologies and authoring several novels, among these American Book Award Winner, Griever: An American Monkey King in China. * His newest novel, Chancers, is due later this year, from Oklahoma. * Postindian Conversations is also new, from Nebraska-based on a remarkable series of interviews with A. Robert Lee, and exploring the vast areas mapped out by Vizenor's work over the past decades. * =3Dx=3Dx=3Dx=3Dx=3Dx=3Dx=3Dx=3Dx=3Dx=3Dx=3Dx=3Dx=3Dx=3Dx=3Dx=3Dx=3Dx=3D THE PRESIDIO ALLIANCE BUILDING is located in the Presidio at 563 Ruger just inside the Lombard Gate free parking adjacent for MUNI bus schedule call 415-673-6864 The Poetry Center's programs are supported by funding from the National Endowment for the Arts, the California Arts Council, Grants for the Arts-Hotel Tax Fund of the City of San Francisco, Poets & Writers, Inc., and The Fund for Poetry, as well as by the Dean of the College of Humanities at San Francisco State University, and by donations from our members. Join us! =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D Steve Dickison, Director The Poetry Center & American Poetry Archives ~ San Francisco State Univers= ity 1600 Holloway Avenue ~ San Francisco CA 94132 ~ 415-338-3401 ~ ~ ~ L=E2 taltazim h=E2latan, wal=E2kin durn b=EE-llay=E2ly kam=E2 tad=FBwru Don't cling to one state turn with the Nights, as they turn ~Maq=E2mat al-Hamadh=E2ni (tenth century; tr Stefania Pandolfo) ~ ~ ~ Bring all the art and science of the world, and baffle and humble it with one spear of grass. ~Walt Whitman's notebook ========================================================================= Date: Wed, 8 Mar 2000 13:00:03 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Judy Roitman Subject: Re: gender In-Reply-To: <38C45110.1472E569@ma.ultranet.com> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" >Chauvinist of the highest rank though he is; >he did see the need for an embodied poetics. > Which brings up another issue: what would an "embodied poetics" look like? I'd be very interested in what folks have to say, can imagine lots of mutually incompatible possibilities. --------------------------------------------------------------------------- Judy Roitman | "Whoppers Whoppers Whoppers! Math, University of Kansas | memory fails Lawrence, KS 66045 | these are the days." 785-864-4630 | fax: 785-864-5255 | Larry Eigner, 1927-1996 ---------------------------------------------------------------------------- http://www.math.ukans.edu/~roitman/ ---------------------------------------------------------------------------- ========================================================================= Date: Wed, 8 Mar 2000 11:04:25 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Dodie Bellamy Subject: Re: gender In-Reply-To: <200003081848.NAA22699@fb02.eng00.mindspring.net> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" Karen, I came across this book when I was reading about serial killers last year--and it did sound interesting but so creepy I didn't check it out. Thanks for bringing it up again. Dodie At 11:35 AM -0800 3/8/00, Karen Kelley wrote: >Re: terror of the female body: I read this book years ago--it gave me >nightmares: > >Male Fantasies : Women, Floods, Bodies, History >by Klaus Theweleit > >From the amazon.com review: > >...males construct a "body armor" within which are contained such "female" >traits and emotions (unaknowledged) as weakness, fear, guilt, etc. Through >repetitive conditioning and a brutal pedagogy, these negative, shadowy >perceptions are then projected outward onto the despised classes of scoiety >and made to represent the chaotic forces of the collective cultural >unconscious. ========================================================================= Date: Wed, 8 Mar 2000 14:15:54 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: Re: gender In-Reply-To: MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Or lots of possibilities, you could go from Olson to avatars - anyone on a MOO or MUD is working within embodied poetics - I've used the term "wryt- ing" to describe the wavering of ontologies in cyberspace. The embodiment isn't literal of course, but to the extent that the body acts/desires, these appear directly - the action paralleled by online performatives con- trolled by the body, as well as, say in ytalk or icq, the literal repre- sentation (iconic) of the occurring of writing. Desire appears in numerous ways, through lag to ytalk/icq backtracking, to hypertext (and other) choices to literal representations of the body in cuseeme; it's almost as if poetics becomes auratic, a presencing or configuration of styles and contents, in cyberspace - as if within the plane of the virtual (or bits and bytes) language/coding take on increasing aspects of the real - alan - On Wed, 8 Mar 2000, Judy Roitman wrote: > >Chauvinist of the highest rank though he is; > >he did see the need for an embodied poetics. > > > > Which brings up another issue: what would an "embodied poetics" look like? > I'd be very interested in what folks have to say, can imagine lots of > mutually incompatible possibilities. > > > > --------------------------------------------------------------------------- > Judy Roitman | "Whoppers Whoppers Whoppers! > Math, University of Kansas | memory fails > Lawrence, KS 66045 | these are the days." > 785-864-4630 | > fax: 785-864-5255 | Larry Eigner, 1927-1996 > ---------------------------------------------------------------------------- > http://www.math.ukans.edu/~roitman/ > ---------------------------------------------------------------------------- > Internet Text at http://www.anu.edu.au/english/internet_txt Partial at http://lists.village.virginia.edu/~spoons/internet_txt.html Trace Projects at http://trace.ntu.ac.uk/writers/sondheim/index.htm ========================================================================= Date: Wed, 8 Mar 2000 14:29:47 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Kimmelman, Burt" Subject: Re: What becomes a small press? PNY queries MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" David et al., The reasons why PNY may end its present incarnation (there was an earlier Poetry New York edited by Harvey Shapiro begun in the late 40s and this was where Olson published "Projective Verse" but there are many other now famous moments in that journal's run of issues) do not have to do with the sellability of the paper lit mag. I had a conversation yesterday with Faye Kosmidis who runs DeBoer Distribution; she said that mags are not doing as well as they were--but there are exceptions to this rule too such as one she mentioned whose editor, also a novelist whose recent book got reviewed a bit, was recently featured on a TV show. PNY, if it will continue, will do so probably not with the expectation that it will break even financially although it might do so if it were terribly stripped down (the new issue, for instance, aside from the fine verse in it, has amazing images by Basil King that simply require color--and even if the images were shown on the Internet, they would not look the same, which is not to say they would look bad, or do the same things for us as they would in a physical book on physical paper). These are the wages of our time--can't live with the paper mag, can't live without it. The changes regarding PNY have nothing to do with the changing market. I didn't want the changes to occur. Enough said. Burt -----Original Message----- From: David Kirschenbaum [mailto:booglit@EXCITE.COM] Sent: Tuesday, March 07, 2000 6:16 PM To: POETICS@LISTSERV.ACSU.BUFFALO.EDU Subject: What becomes a small press? PNY queries Dear David B., Burt, and listmates, Between the two Poetry New York posts, I'm curious as to what is going on, although, Burt, you mention you'd rather not detail it here. In light of a recent thread where a litmag ed wondered if they shd continue publishing and why, the whys and wherefores of the PNY situation are real relevant to what goes on in our lit publishing world. (Much of this, I'm sure, will come up at Issue Zero this weekend and this summer on a publishing panel I'm organizing for the Third Annual Boston Alternative Poetry Festival.) As for letting the magazine die, I've always been one who feels he's a publisher for life, with a constantly evolving vision for my small press. I started my press doing local authors chapbooks in Albany, progressed to doing a general interest zine and national authors chapbooks, and have gone on to instantzines, litzines, postcards, broadsides, audiotapes and more. Maybe it is time for PNY to die, though only you can make that call. But that don't mean that there isn't some sort of publishing venture that perhaps isn't more feasible and reflective of where you're at now. as ever, David Kirschenbaum _______________________________________________________ Get 100% FREE Internet Access powered by Excite Visit http://freeworld.excite.com ========================================================================= Date: Wed, 8 Mar 2000 15:20:31 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Tracey Gaughran Subject: Re: gender In-Reply-To: Mime-version: 1.0 Content-type: text/plain; charset="ISO-8859-1" Content-transfer-encoding: quoted-printable Dodie Bellamy wrote: > One topic that interests me that isn't really about literature--though I > would like to see it brought more into literature (and it is being)--is t= he > terror of the female body. Men's terror before it and women's terror of > their own bodies. A sick state of affairs that seems to be getting only > sicker. Is it despite or because of women's increasing position of power > (in Western society, at least)? It gets messy as to where anything is > coming from--how to separate cultural images of perfection from one's > internalizations. Like one can't say, "That Lancome ad makes me hate > myself." But it is not without impact. This is just an example. Perhaps you=B9re right that one can=B9t say "that Lancome ad makes me hate myself," but I think one might be able to say "that Lancome ad is a distorted projection of the female body siphoned through the culturally installed lens of a male gaze," or something vaguely similar. Am I getting too old school? I'm digging back to theorists like Mulvey re: cinema, but I think the same ideas can be easily extended to other cultural production like print media (gawd, look at Cosmo for crissakes! Or any women=B9s =8Clifestyle=B9 or =8Cfashion=B9 magazine, for that matter. These are supposed to b= e FOR WOMEN?). I don=B9t think it would be a huge leap to argue that the male gaze -- the conception of male positioned as spectator of the female -- is woven into the very matrix of female representation within (Western) culture, including (perhaps especially, as they are whoring -- err, I mean, =8Cselling,=B9 after all) representational conventions in magazine adverts and the like. Even the most cursory glance at most glossy print mags serves to underscore the idea that nearly all images of the female body are explicitl= y constructed -- sexualized, =8Cperfected=B9 (and by perfected I mean the demographically average, usually white, certainly heterosexual male=B9s idea of the physically ideal female...which is not to say that this ideal was no= t foisted on him/them as it has been on all of us) -- in order to conform to the prescribed male gaze as a kind of =8Cdefault=B9 position, a naturalized framework upon which nearly all commercially produced images of the female body are assembled. And, of course, ala Mulvey, this framework is a prison -- a method of containing/controlling what Dodie rightly calls the male terror of the female body. And perhaps the (as it seems at least to me) mach-speed increase in graphically sexualized and reductive/reducing representations of female body in mags & their ads of late (the whole waif thing could be a topic in and of itself; =8Cheroin chic,=B9 in which women are posed as half-dead, unconscious, catatonic, etc. (see: ravished, willing, submissive?)) could be seen as an (over)reaction to women=B9s increasing, and potentially threatening, power? Perhaps I=B9m overstating/simplifying, and I realize that I could get into a lot of trouble here on the list so I=B9ll stop. But certainly, if even partly true, the above would certainly help explain why it is that representations of the female body that refuse to subscribe to the tenants of this framewor= k (that attempt to represent more =8Crealistic=B9 or =8Caverage=B9 female bodies) consistently meet enormous resistance, particularly from males. But I could be totally wrong here. Clearly enjoying my first post, Trace ========================================================================= Date: Wed, 8 Mar 2000 15:27:29 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Tracey Gaughran Subject: Re: Perloff/Vendler/Scharf/Burt Panel in New York In-Reply-To: Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit To any/all planning on attending this panel: Might I humbly request a play-by-play of sorts after you've taken this in? I won't be able to attend and am quite sad about it. Thanks, Trace Rebecca Wolff wrote: > An announcement of a panel sponsored by the Poetry Society of America, > Launching PSA's series of seasonal panels on poetry and criticism > > Wednesday March 15th, 7 pm > > Poetry Criticism: What is it for? > Marjorie Perloff, Helen Vendler, > Stephen Burt and Michael Scharf, moderated by Susan Wheeler > > Talking about "the state of poetry criticism today": > audience, relevance, venues, agendas, etc. ========================================================================= Date: Wed, 8 Mar 2000 15:16:09 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Charles Alexander Subject: Re: gender In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" The key text here with Olson would probably Proprioception, a digging in to understand body, soul, word -- all as physical, thus making a continuity among them and from them to place, geography, etc. Not so much representations of one's body, as a sense of everything as 'body.' charles At 02:15 PM 3/8/00 -0500, you wrote: >Or lots of possibilities, you could go from Olson to avatars - anyone on a >MOO or MUD is working within embodied poetics - I've used the term "wryt- >ing" to describe the wavering of ontologies in cyberspace. The embodiment >isn't literal of course, but to the extent that the body acts/desires, >these appear directly - the action paralleled by online performatives con- >trolled by the body, as well as, say in ytalk or icq, the literal repre- >sentation (iconic) of the occurring of writing. Desire appears in numerous >ways, through lag to ytalk/icq backtracking, to hypertext (and other) >choices to literal representations of the body in cuseeme; it's almost as >if poetics becomes auratic, a presencing or configuration of styles and >contents, in cyberspace - as if within the plane of the virtual (or bits >and bytes) language/coding take on increasing aspects of the real - alan - > >On Wed, 8 Mar 2000, Judy Roitman wrote: > >> >Chauvinist of the highest rank though he is; >> >he did see the need for an embodied poetics. >> > >> >> Which brings up another issue: what would an "embodied poetics" look like? >> I'd be very interested in what folks have to say, can imagine lots of >> mutually incompatible possibilities. >> >> >> >> --------------------------------------------------------------------------- >> Judy Roitman | "Whoppers Whoppers Whoppers! >> Math, University of Kansas | memory fails >> Lawrence, KS 66045 | these are the days." >> 785-864-4630 | >> fax: 785-864-5255 | Larry Eigner, 1927-1996 >> ---------------------------------------------------------------------------- >> http://www.math.ukans.edu/~roitman/ >> ---------------------------------------------------------------------------- >> > >Internet Text at http://www.anu.edu.au/english/internet_txt >Partial at http://lists.village.virginia.edu/~spoons/internet_txt.html >Trace Projects at http://trace.ntu.ac.uk/writers/sondheim/index.htm > > ========================================================================= Date: Wed, 8 Mar 2000 16:33:26 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Thomas Bell Organization: @Home Network Subject: Re: gender Comments: To: i_wellman@dwc.edu MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Nice post, Don. it's hard to imagine embodied postics discused on this list by males, but I think it's worth a try. I'll try to put something together later, but wanted to mentiion that I'm planning on starting a print/web journal and press called _Repo Repro_. Focus of the journal/press? will be on embodied poetry and poetics and differences/similarities between web and print publication. The first piece is up at http://sites.netscape.net/trbell/RepoRepro/listenan.htm Let us repo our bodies and repro them. My piece of course, but I am interested in submissions and ideas. The Repro (xeroxed, acctually) version of this (Listening to Rain) is available for $2.50 ppd from me c/o Repo Repro, 2518 Wellington Pl., Murfreesboro, TN 37128. tom bell D Wellman wrote: > -- //\\//\\//\\//\\//\\//\\//\\//\\//\\//\\//\\//\\ OOOPSY \///\\\/\///\\\/ <><>,...,., WHOOPS J K JOVE BY HHH ZOOOOZ ZEUS'WRATHHTARW LLLL STOPG [ EMPTY ] SPACER index of online work at http://members.home.net/trbell essays: http://members.tripod.com/~trbell/criticism/gloom.htm ========================================================================= Date: Wed, 8 Mar 2000 18:04:26 -0500 Reply-To: BobGrumman@nut-n-but.net Sender: UB Poetics discussion group From: Bob Grumman Subject: Re: Perloff/Vendler/Scharf/Burt Panel in New York MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit I wouldn't mind a report on this panel, either--ought to be good for a few laughs. Thinking about it, I started wondering again about today's poetry critics. The very few that are published in periodicals with circulations of more than a few hundred deal with dead poetry only, so far as I can tell. But what do I know? Which leads to a suggestion: that some dedicated soul gather a list of poetry critics active in this country, and tell where they're being published and what kind of poetry they're discussing. I wish I had time to do it myself. Actually, one of the hopes I had for my website was to form a gallery of poetry critics. I got some material from two or three poet/critics, and some bios of poet/critics for my bio section but little else. And the website went into the null zone due to lack of public interest--and laziness on my part. Although it is still out there, and I do hope to add to it one of these days. I might note, too, that I suggested to an editor of that annual Poets & Writers compilation of poets and fiction writers that they add critics but she felt it'd be too much work. Apparently they are under-staffed. I believe we have way too many poets and way too few critics. And vastly too little real poetry criticism--and not even ample reviews of poetry. --Bob G. ========================================================================= Date: Wed, 8 Mar 2000 18:05:46 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Thomas Bell Organization: @Home Network Subject: Re: gender Comments: To: i_wellman@dwc.edu MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Tension denied recoils, coils on itself All those 350hp torque to finish first. Where better to start than Artaud: "muscles twisted, as if flayed, the sense of being made of glass and breakable, a fear, a recoiling from movement and noise. An unconscious confusion in walking, gestures, movements. A will that is perpetually strained to make the simplest gestures. renunciation of the simple gesture, a staggering and central fatigue...", "Description of a Physical State" or Kristeva: "A subject of this type crosses through the linguistic network and makes use of it to indicate, as if via anaphora or hieroglyphs, that he or she is not representing a reality posed in advance and for ever detached from the pulsational process, but that he or she is experimenting or using the objective process through immersion in it and re-emerging from it via the drives." "The Subject in Process' or someone as passe as Jackson Pollack? tom bell D Wellman wrote: -- //\\//\\//\\//\\//\\//\\//\\//\\//\\//\\//\\//\\ OOOPSY \///\\\/\///\\\/ <><>,...,., WHOOPS J K JOVE BY HHH ZOOOOZ ZEUS'WRATHHTARW LLLL STOPG [ EMPTY ] SPACER index of online work at http://members.home.net/trbell essays: http://members.tripod.com/~trbell/criticism/gloom.htm ========================================================================= Date: Wed, 8 Mar 2000 18:14:05 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Thomas Bell Organization: @Home Network Subject: Re: gender MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Tracey Gaughran wrote: > ad is a > distorted projection of the female body siphoned through the culturally > installed lens of a male gaze," or something vaguely > similar. I.m not defending the male gaze which is responsible for a lot, but I think that when you atlk about ads in glossy fashion magazines you are talking about the female constrution of the male gaze tom bell -- //\\//\\//\\//\\//\\//\\//\\//\\//\\//\\//\\//\\ OOOPSY \///\\\/\///\\\/ <><>,...,., WHOOPS J K JOVE BY HHH ZOOOOZ ZEUS'WRATHHTARW LLLL STOPG [ EMPTY ] SPACER index of online work at http://members.home.net/trbell essays: http://members.tripod.com/~trbell/criticism/gloom.htm ========================================================================= Date: Wed, 8 Mar 2000 16:43:45 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Brian Clements Subject: Re: Perloff/Vendler/Scharf/Burt Panel in New York MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" A great suggestion, Tracey. Many of us abroad and otherwise in exile from NYC would greatly appreciate a review of this event. ========================================================================= Date: Wed, 8 Mar 2000 16:51:43 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Damion Searls Subject: More on Klaus Theweleit (was re: gender) Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Karen, Dodie, et al., I was going to mention Theweleit's book MALE FANTASIES (2 vol., Minnesota UP, still in print, translated from German, intro. to vol. 1 by the always-awesome Barbara Ehrenreich) in response to Dodie's post, so thanks Karen for bringing it up even sooner! Below is a mini-synopsis for those who don't know this important, politically interesting, personally interesting, and *poetically* interesting book. ALSO, Theweleit himself is giving the keynote talk at a German Studies conference at UC Berkeley this Saturday at 2:10 -- backchannel me if you want directions. MALE FANTASIES started as Theweleit's doctoral dissertation from the early 1970s, but from the beginning it was a protest -- common throughout Germany in the 1960s -- against the silence of the older generation concerning the nazi past. In Theweleit's case (as in many other cases), the protest had formal as well as content-based features: epigraphs from Jimi Hendrix and Bob Dylan, lots of short chapters, a thoroughly nonacademic style, a brief autobiographical introduction (on how beatings at the hands of his father were "his first lesson in fascism" and his mother's silence was his "second lesson in fascism"), and, perhaps most interestingly, hundreds of visual elements -- old postcards, cartoons, comic strips, propaganda posters, other mostly pop-cultural ephemera -- interspersed throughout the book. These are not illustrations, and are mostly not discussed in the text, but serve as a kind of counterpoint and generalization to whatever he is discussing. The aspect of generalization is important because, even though he mostly discusses a specific set of texts (see below), he is trying to offer (as the title suggests) a psychoanalysis of Masculinity as such (at least in "our" culture). So all the broad pop-cultural examples which resonate with his points implicitly argue that what he discusses is *everywhere*. His specific "sample" are writings by and about the Freikorps: German military and paramilitary groups from between the World Wars which came out of the defeated WWI armies, grew into a core constituency of the SS, and spent the intervening years doing things like going around breaking strikes, killing communists, etc. A bunch of them also kept diaries or wrote novels, and there are a bunch of novels from the period about them (i.e. heroicizing them as the stalwart bastions against communists, women, liberals, "softness," etc.). Theweleit analyzes some key formulaic features of this body of literature -- men and their horses, communist nurses with weapons hidden under their skirts who almost kill the hero before he realizes their threat and blows the nurses up in time, fear of water/floods/mud/swamps/women, etc.etc.etc. Vol. 1 of MALE FANTASIES basically covers what these texts construe as threats, vol. 2 covers the corresponding self-representations ("steel-blue eyes," goosestep marches, whiteness, etc.etc.). Because Theweleit can plausibly view the texts he discusses as "formulaic" and "nonliterary" (for every example he gives, there are dozens of other identical examples (or so he says (but I believe him))), he is ultimately able to use literature to give a psychoanalysis of the culture without having to deal with the problem of the relationship BETWEEN literature and culture. (I.e., he sees these books as symptoms, not literary representations and manipulated constructions, of cultural phenomena.) (Compare, say, Faulkner, where it's harder to say whether he's brilliantly perceiving, analyzing, anatomizing, and presenting to the reader his culture's misogyny/racism/whatever, or whether he's simply exhibiting his own misogyny/racism/whatever in a particularly over-the-top way.) Anyway, great book. (How many people do *you* know whose dissertations have been translated, introduced by Barbara Ehrenreich, or are still in print 30 years later?) Damion Searls ========================================================================= Date: Wed, 8 Mar 2000 16:52:49 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Damion Searls Subject: Re: gender & bodies Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" One of the most moving lines of poetry I know is Whitman's description of his genitalia as "Root of wash'd sweet-flag! timorous pond-snipe! nest of guarded duplicate eggs!" It's not that I'm into pond-snipe or exclamation marks per se, but how amazing for a man in "our" culture to be able to look at himself like that! How far I am from that kind of relationship to my body, or to other men's bodies; or to women's bodies, for different reasons (including an awareness of gender issues and a [perhaps liberal-guilt-induced] discomfort with the idea of viewing women's bodies in that way [though I don't even really know what "that way" means -- Whitman's description doesn't seem, say, "objectifying"]). Of course I, as a man in my culture, didn't really get it, until a (female) teacher of mine said: "What an incredible line -- how amazing for a man in our culture to be able to look at himself like that!" In other words, I'm not sure it's only the *abject* body which (in Dodie's words) >is so connected theoretically with the Other, the marginalized. >Definitely not the domain of straight white guys. So go Taylor Brady! Damion Searls ========================================================================= Date: Wed, 8 Mar 2000 17:36:46 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Dodie Bellamy Subject: Re: gender In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" At 3:20 PM -0500 3/8/00, Tracey Gaughran wrote: >I'm digging back to theorists like Mulvey re: cinema, but I >think the same ideas can be easily extended to other cultural production >like print media (gawd, look at Cosmo for crissakes! Or any women's >'lifestyle' or 'fashion' magazine, for that matter. These are supposed to be >FOR WOMEN?). I don't think it would be a huge leap to argue that the male >gaze -- the conception of male positioned as spectator of the female -- is >woven into the very matrix of female representation within (Western) >culture, including (perhaps especially, as they are whoring -- err, I mean, >'selling,' after all) representational conventions in magazine adverts and >the like. Tracy, Welcome to the bullpit. What you write above reminds me of something Naomi Wolf writes in *The Beauty Myth* re: the male gaze and gendered body types: fat men are fat gods. One of Wolf's main arguments is that the plummeting weight of models/cultural representations of the idealized female body is a response to feminist gains. The body as a site of social control. I know that Wolf is pop and has been criticized but I think lots of what she says in that book makes sense. I particularly like her comparisons of beauty rituals with religious rituals. On a more academic note, I just got Susan Bordo's *Unbearable Weight: Feminism, Western Culture and the Body." I've just had time to dip into it, but looks good. It includes her anthologized essay "Reading the Slender Body," plus a thoughtful examination of postmodern feminist critiques of the totalitarian undercurrents of much feminist thought, and a reading of the social construction of the eating disorders as a category/categories. A very readable book. You can have your Foucault and eat it too. Dodie ========================================================================= Date: Wed, 8 Mar 2000 20:54:16 -0500 Reply-To: dbuuck@sirius.com Sender: UB Poetics discussion group From: "dbuuck@sirius.com" Subject: mag conf in nyc this weekend - notes? Content-Transfer-Encoding: Quoted-Printable MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Is there anyone (or 2 or 3...) out there who might feel inclined to share with the rest of us their reports on the small= press confab this coming weekend in NYC? would be much appreciated... (at least by me, maybe others..?) thanks David Buuck ------------------------------------------------------------------- This message has been posted from Mail2Web http://www.mail2web.com/ Web Hosting for $9.95 per month! Visit: http://www.yourhosting.com/ ------------------------------------------------------------------- ========================================================================= Date: Wed, 8 Mar 2000 21:16:37 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Steve Shoemaker Organization: Wake Forest University Subject: Re: Perloff/Vendler/Scharf/Burt Panel in New York MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Yes, let me second the request for a report. I've always sort of thought of Vendler and Perloff as matter and antimatter, academically speaking, and have sometimes found myself idly imagining what would happen if they were in a room together... steve ========================================================================= Date: Thu, 9 Mar 2000 01:08:01 +0000 Reply-To: baratier@megsinet.net Sender: UB Poetics discussion group From: David Baratier Organization: Pavement Saw Press Subject: Larry's Readings MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii; x-mac-type="54455854"; x-mac-creator="4D4F5353" Content-Transfer-Encoding: 7bit Starts at 7pm March 13th - Jim Gorman March 20th - Farika, yes, the slam queen March 27th - Steve Abbott April 3 - Stephen Ellis from Maine, most recent collection _The Long and Short of It_ Spuyten Duyvil April 10 - Gina Tabasso, Assoc Editor Grasslands Review April 17 - Maj Ragain whose collected _Fresh Oil Loose Gravel_ from Burning Press & _One sucker Burleyfried_ Bottom Dog Press are both fiery April 24 - Tom Beckett of Interruptions, Invisible Arias May 1 (William Redding Contest Winner, no entrance fee) May 8 Deborah Stokes 2 Sets, 20-25 minutes each followed by an Open Mike Larry's 2040 N. High St Columbus Ohio Funded by the Ohio Arts Council: a statewide organization supporting the arts ========================================================================= Date: Thu, 9 Mar 2000 08:01:35 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Rebecca Wolff Subject: Re: Perloff/Vendler/Scharf/Burt Panel in New York In-Reply-To: <200003090506.AAA04164@halo.angel.net> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" I've had a few such requests already, making it clear that PSA, at which I work, should make sure to make an audio (or even video, since there will be one) tape available to the list for some small fee. I'll talk to the big boss about it. Rebecca Wolff Date: Wed, 8 Mar 2000 15:27:29 -0500 From: Tracey Gaughran Subject: Re: Perloff/Vendler/Scharf/Burt Panel in New York To any/all planning on attending this panel: Might I humbly request a play-by-play of sorts after you've taken this in? I won't be able to attend and am quite sad about it. Thanks, Trace ========================================================================= Date: Thu, 9 Mar 2000 10:13:02 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Blair Seagram Subject: looking for lionel trilling on mansfield park MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii; x-mac-type="54455854"; x-mac-creator="4D4F5353" Content-Transfer-Encoding: 7bit does anyone know where i can find an essay by Lionel Trilling that discusses Jane Austen's Mansfield Park? ========================================================================= Date: Thu, 9 Mar 2000 10:21:58 -0700 Reply-To: Laura.Wright@Colorado.EDU Sender: UB Poetics discussion group From: Wright Laura E Subject: Gilfillan, Jarnot, Friedman read in Boulder MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit The Left Hand Reading Series presents: Merrill Gilfillan, Lisa Jarnot, and Michael Friedman Thursday, March 16th at 8:30 pm PLEASE NOTE OUR NEW LOCATION: at the V Room in the Dairy Center for the Arts, 2590 Walnut Street in Boulder, CO. Don't hesitate to call us for directions. Laura Wright: (303) 544-5854 or Mark DuCharme(303) 938-9346 Merrill Gilfillan has been writing since the Kennedy administration. His recent books include Satin Street (poems), Grasshopper Falls (short stories, to appear this spring), and Chokecherry Places: Essays from the High Plains which was awarded a Western States Book Award in 1999. Lisa Jarnot is the author of Some Other Kind of Mission, Sea Lyrics, Heliopolis, and The Eightfold Path. Her newest collection of poetry, Ring of Fire, will be available from Zoland Books this year. She is currently writing a biography of the poet Robert Duncan, and is a visiting poet at the University of Colorado at Boulder this spring. Michael Friedman's most recent collections of poetry are Species, Arts & Letters and Cameo. Since 1986 he has edited the award-winning literary journal Shiny. He grew up in Manhattan, lives in Denver and is an adjunct member of the faculty of the MFA writing program at Naropa University in Boulder. There will be a short Open Reading immediatedly before the featured readings. Sign up for the Open Reading will take place promptly at 8:30 p.m. ========================================================================= Date: Thu, 9 Mar 2000 11:10:23 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Elizabeth Treadwell Subject: website for gender language conference, fyi Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" International Gender and Language Association (IGALA) meets at Stanford, May 5-7. www-linguistics.stanford.edu/conferences/igala/ ___________________________________________ Elizabeth Treadwell Double Lucy Books & Outlet Magazine http://users.lanminds.com/dblelucy ========================================================================= Date: Thu, 9 Mar 2000 21:07:02 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Poetics List Administration Subject: POETICS: approval required (8D00E469) MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit This announcement came to the administrative account. - T. Shaner Poets: Mark Owens, Aaron Kiley & Ric Carfagna When: Sunday March 12, 2000 @ 7:30 PM Where : The Raven Bookstore 4 Old South Street, Northampton, MA ========================================================================= Date: Thu, 9 Mar 2000 14:27:13 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Poetry Project Subject: announcements Mime-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" At the Poetry Project Tomorrow, Friday, at 10:30 pm ISSUE ZERO TALK SHOW with A GATHERING OF THE TRIBES / BIG BRIDGE / HANGING LOOSE / SKANKY POSSUM / THE HAT / SHARK / BUNNY RABBIT hosted by Brendan Lorber & Douglas Rothschild. To be continued through the weekend at Double Happiness and the Zinc Bar! For a full&complete schedule go to http://www.poetryproject.com/zero.html Monday, March 13 at 8 pm LISA LUBASCH & MIKE KELLEHER Lisa Lubasch is the author of How Many More of Them Are You? from Avec Books. Mike Kelleher is the editor of a l y r i c m a i l e r and the Readings Coordinator of the just buffalo literary center. Wednesday, March 15 at 8 pm SHARON MESMER & ROBERT HERSHON Sharon Mesmer's first collection of fiction, The Empty Quarter, was recently published by Hanging Loose Press. Robert Hershon's most recent book of poetry is The German Lunatic, published this year by Hanging Loose. Friday, March 17 at 10:30 pm DOWNTOWN READING BASH In celebration of the publication of Downtown Poets, contributors Vipin, Jushi, Yoko Otono, Thaddeus Rutkowski, Susan Maurer, editor Dorothy Friedman-August and others will read. All events are $7, $4 for students and seniors, and $3 for members unless otherwise noted. The Poetry Project is wheelchair accessible with assistance and advance notice. Please call (212) 674-0910 for more information, or visit our web site at http://www.poetryproject.com. **** New at the Poetry Project web site! Elizabeth Young reviews a+bend press in the Tiny Press Center at http://www.poetryproject.com/aplus.html. Also, new and updated listings at the Tiny Press Center at http://www.poetryproject.com/introtp.html **** Public Service Announcements: HOW(2)HOW(2)HOW(2) Issue Three of the groundbreaking webzine HOW(2) is now up on the Internet! Poetry, reviews, talks, interviews, artwork, discussions, and more. Here is the address (bookmark it!): http://www.departments.bucknell.edu/stadler_center/how2 **** Imaginatively imagination a killer don't know what to eat tonight for dinner or if I'll kill her I think I'll kill her from _Dearly,_ by Rachel Levitsky, a+bend press **** ========================================================================= Date: Thu, 9 Mar 2000 13:08:59 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Gary Sullivan Subject: Films and Detritus from Outhouse MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit FILMS AND DETRITUS FROM OUTHOUSE FILMS (by Artist) Alcola, Angel "Fluff," 1990 16mm film, color/B&W/sound 6.5 minutes, $16 Rotating bits of fluff. A mobius strip for the mind. Memory meets multilayered monotony. Six minutes expand to seemingly endless ("boundless") Time. Baskin, Rolf "It (You) Was (S/he): or 'I' Rhymes with 'Eye,' Doesn't It?" 1989, 16mm, 5 min., b&w, $5 Baskin threaded various lengths of found film through an old arts administrator. Connover, Stephanie "Mountain View?" 1997 (super 8) 3 minutes, $7 Shot in Mountain View, California, this is a montage film that expresses a connection between Connover and the suburban landscape of northern California. The impotence of natural rhythm is exploited and convoluted through camera and editing techniques. It incorporates two shots of found footage plus manipulations such as scrunching, punting, pinking and "yelling at." This film features Stockard Ruhbard. Dickles, William "Serial Metabolism," 1984-1986, 16mm, color/so, 20m, $25 An examination of the American nude lifestyle. "William Dickles is a masterful film editor. His sensitivity to nudity is exuberant and refreshing. He is skillful not only in manipulating the flow of images but the flow of ideas as well. This fusing of naked people and waking consciousness creates the magic of SERIAL METABOLISM "-Bruce Bobin, Associate Curator of Film, Whitter's Museum of American Art Hubble, Heni "MEMO MOTION," 1995, 16mm cinemascope, color, sound, 17 min., $32 Winner -- 1995 Hamburger Film Festival Short Film Jury Gorgonzola Award Memo Motion tells about death -- not as a visual gag, but as a necessary means to communicate visual motives. One thinks of a still life, or a woman cleaning a room, not -- as is common in contemporary filmmaking -- metaphors and symbols. There we are, where we started: death. -- Stefan Haupt-Ruggles Mankus, Nona "Magnolia Vitrino's Bloody Salt Diamond Machine," 1986, 16mm, color, sound, 35 min. $76 The inner life of a prostitute imprisoned for killing an alienated black jack dealer devolves into an "energy field" of harrowing hallucinatory desolation and violence. Kelley Thomas of the San Diego Observer called it "Brilliant...an awe-inspiring work of art of the highest level; one of the year's top five films." Smith, Oliver "Orient on Fire!," 1971 B&W 48 minutes, $150 In this, his best known film, exotic characters cavort in a quasi-documentary of flaccid penises and bouncing breasts. The work's coda, however, is devoid of any sign of human presence. Abstract, hand-manipulated flutters. DETRITUS Ann Papy Sprocket Enlargements Prices start at $2,000 each. Signed and numbered by the artist. Jon Metier Frozen Vegetables Prices start at $300 each. "These vegetables are from my films. But they are no longer my vegetables. At the same time, they are frozen. What are they, then? They are my obsessions. I got obsessed with the possibilities of frozen vegetables. It began as a chance curiosity and then became an obsession. I don't really know what these vegetables are. But I recognize them as vegetables. And I like seeing them again, these vegetables, frozen, like memories." Flaxusfluff Prices start at $125 each. Signed lint and fluff bits from Flaxus founders Geog Freres, Yimiko Kazua, Michel Tries, Alecsandre Alexus, et al. **Take 20% Off in Our "March Mayem" Blowout Outhouse Flushaway!** Complete catalog: OUTHOUSE P.O. Box 39458 Flushing, IL 60009 (601) 555-3483 ========================================================================= Date: Wed, 8 Mar 2000 22:32:56 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: GasHeart@AOL.COM Subject: Philly: Theater, Music, Film - issue #25 MIME-Version: 1.0 Content-Type: text/plain; charset="ISO-8859-1" Content-Transfer-Encoding: quoted-printable 1. photograhy exhibit, reception, thurs., march 9, 5-7pm 2. poetry party, at Yunomi, new space, thurs., march 9, 8:30pm 3. St. Anyone's Day, fri., march 17th, 8pm at Yunomi, also Yunomi calandar 4. video/technology and dance all day sat., march 11 at the painted bride 5. Spiral Q Puppet Theater Seeks Staff Artists! 6. Kelly Link speaks at March 10 Science Fiction Society meeting, 9pm 7. Star Wars: Myths and Archetypes, Jungian Lecture, Thurs., March 16, 2000,= =20 7pm 8. Gasoline Boycott? april 7th - 9th 9. for geeks only, who will be registering a web domain name anyway . . .=20 ________________________________________________________________ 1. photograhy exhibit, reception, thurs., march 9, 5-7pm Hello Philadelphia poets! Please come by Thursday early evening for a reception celebrating new photography by Robin Hiteshew: Thursday, March 9, 2000 5:00-7:00pm at the Kelly Writers House 3805 Locust Walk + + + + + + + + + + + + + + + + + + + + + + + + + PHILADELPHIA VIEWS: Photography by Robin Hiteshew + + + + + + + + + + + + + + + + + + + + + + + + + Join us for an opening reception celebrating new work by photographer, poet, and organizer Robin Hiteshew Robin M. Hiteshew has degrees from Temple and Case Western Reserve Universities. He has studied photography with Karen Fromson and Charles Metzger, and has had numerous exhibitions. His work has been shown at the Philadelphia Sketch Club, Swarthmore College, Perkins Art Center, the University of Pennsylvania, Princeton University and Case Western Reserve University. In addition to the current show, Philadelphia Views, at the Kelly Writers House, he has an upcoming exhibition of his photography at the Library of Congress American Folklife Center. His work has been published extensively, including in The New York Times, the Philadelphia Inquirer, Sing Out! The Folk Song Magazine, and The Irish Echo. ---------------------------- The Kelly Writers House wh@dept.english.upenn.edu 3805 Locust Walk 215-573-WRIT Philadelphia, PA 19104 http://www.english.upenn.edu/~wh ______________________________________________________________ 2. poetry party, at Yunomi, new space, thurs., march 9, 8:30pm Invitation: Barbara Cole, Shawn Walker and myself invite you to our party Thursday night, 8:30pm, at Yunomi Gallery (46th at Springfield, one block south of Baltimore), food, byob, and a burst of readings by Gregg Biglieri, Louis Cabri, Barbara Cole, Chris McCreary, Tom Orange (from Wash.), Shawn Walker, Maggie Zurowski. Hope to see you there! lcabri@dept.english.upenn.edu ________________________________________________________ 3. St. Anyone's Day, fri., march 17th, 8pm at Yunomi, also Yunomi calandar Yunomi invites you to a ST. ANYONE'S DAY CELEBRATION Friday, March 17th @ 8pm 46th & Springfield Ave. BYOB Festivities by: St. Summi Kaipa performing her poetry St. Josie Smith performing dance, "Wallflower" St. Shoddy, the Puppet Company performing "Saint versus Snake: a Spectacle of Herpetophobia" St. third Policeman bringing music to the corner of 46th & Springfield 8888888888888888888888888888 Keep reading for: * info about the artists=20 * general information about Yunomi * artists currently showing * spring calendar 888888888888888888888888 Summi Kaipa is a graduate of the Iowa Writer's Workshop. She edits Interlope, a journal devoted to publishing innovative writing by Asian American writers, and is the co-founder of 98 Hill St., a small press which publishes chapbooks by emerging Bay Area poets. =20 Josie Smith will be dancing to music from The Bastard Finders in her performance of "Wallflowers." Josie is a member and employee of Mariposa=20 Food Co-op in West Philadelphia. The Shoddy Puppet Company will perform "Saint versus Snake: a spectacle about herpetophobia." The Company has toured all over the United States and specializes in radical puppet theater. Warning: Their piece will contai= n=20 strong language. 88888888888888888888888888888 Yunomi (Japanese for "tea cup") is a space (shop, reading room, performance venue) where local artists show their work. The shop is located on 46th & Springfield, one block south of Baltimore Avenue. Mike Higgins and I run the shop with help and contributions from friends, and we're open Monday, Wednesday, Friday 5-10 pm Saturday, Sunday 3-10 pm **Support the work of artists and craftspeople in your neighborhood. ** You can also bring a book, have a cup of tea, and just hang out and relax if you like. Call with any questions: 215-387-3311. **If you are getting rid of a piano - we need one, and we'll pay to have it=20 moved! 8888888888888888888888888888888888 ARTISTS with work showing at Yunomi: Paintings by: Dante Celia, Bob Zecker, Jean-Paul Stanley, Tenbroek, James E. Johnson, Gareth Evans (http://www.amerikanimage.com/) Photographs by: Michael Lecke (http://www.beespace.com/), Genevieve Leiper Poetry Chapbooks and Broadsides (various local and independent presses) Handicrafts: Melissa Santangelo - hand-painted furniture & clocks Laura Sherman - mobiles, dreamcatchers Nancy Wygant - wall hangings, children's toys Joseph Kelly - cards & prints Theresa Cerceo - handpainted bags Kelly Werkheiser - Lunar Eclipse Designs Jewelry Pamela Cole - collage work Nancy Walker - crochet rugs Rebecca Waleski - Gem*in*I Jewelry Maria Kydonieus does card readings, astrology, and numerology on Sundays=20 (6pm). Laura Sherman does Mehndi (henna body painting) by appointment (call ahead!)= . 88888888888888888888888888888 yunomi upcoming calendar march 11: performance by Chris Evans, 8pm 12, 26: British Comedy Hour, 8 pm (sundays) 17: Summi Kaipa, Josie Smith and The Third Policeman, 8 pm (friday) 18: open stage, 8-10 pm (3rd saturday) 25: sidewalk sale (join us with your own table!) 8:30 am =E0 (raindate: 26t= h) april 7: Nijmie Durinko, Judith Berman & Jolan Bogdan, 8 pm (first friday series) 9, 23, 30: British Comedy Hour, 8 pm (sundays) 22: open stage, 8-10 pm (3rd saturday) may 5: Jenn McCreary & Jena Osman (first friday series) 14, 28: British Comedy Hour, 8 pm (sundays) 19: Albert de Silver, 8 pm (poetry reading) 20: open stage, 8-10 pm (3rd saturday) *************** yunomi books & handicrafts by local artists monday, wednesday, friday 5-10 pm saturday, sunday 3-10 pm also at yunomi . . .=20 Saturday, March 11 8pm Chris Evans A boy who becomes a building. A play that becomes a poem. "For me, the city represents something strange, powerful, beautiful and disgusting." _____________________________________________________________ 4. video/technology and dance all day sat., march 11 at the painted bride Hi Josh - You'll find a rather long winded press release below - the event we're havin= g this weekend should be of special interest to any videographers & dance peop= le out there. The Bride is publicizing Saturday's symposium as a day & evening event for $25!- a little steep for my friends, but if anyone is interested i= n attending the Symposium without the evening performance the cost is $10. Tho= se people should contact me so I can make a list and submit it to the Bride. (m= y=20 # is 215-389-3033). In addition, if people just want to check out the installations, they can come to the Bride between 5:30-7:00 on Saturday. If you're able to send this information out - I thank you kindly. Take Care Patricia The Painted Bride Arts Center 230 Vine Street Phila., PA 19106 215-925-9914 Contact: Phil Sumter, Publicist, 215-925-9929 Terry Fox, Dance Curator, 215-925-8095 The Painted Bride Arts Center concludes its Dance and Technology series with *Representations of the Dancing Body in Technology: A Symposium,* and an=20 evening dance concert by Kathy Rose on=20 Saturday, March 11, 2000. -------------------- The final event comprises a day-long symposium beginning at 1:00 PM, an installation reception, and the evening performance at 8:00 PM. Ticke= ts for the full day and evening performance will be $25.00. Cathy Weis conducts a dance/video workshop; Todd Winkler of Brown University gives an interactive lecture/demonstration of David Rokeby -------------------- =C6s Very NervousSystem; Molly Davies gives a hands-on video workshop=20 (participants are urged to bring a video camera.) Elizabeth Zimmer, Luke=20 Kahlich, Manfred Fischbeck,Davies, and Winkler form a panel moderated by=20 dance-writer and symposium curator, Merilyn Jackson, called AUTOBODY:=20 At 5:30 PM a reception opens an installation of dance and technology-related work: Stand-alone and interactive video works by Michael Cole, Patricia=20 Graham,Davies, Weis, Fischbeck and Rose. Live Webcasts between the symposium= =20 and the Performance Studies International Conference (PSi 2000) [cq]occurrin= g simultaneously in Tempe, AZ, will take place. -------------------- =C6RA, will receive its Philadelphia premiere at the Bride. She has garnered= =20 numerous awards, among them seven NEA grants and performs throughout the United States and Europe. CalArts honored= =20 her as a Distinguished Alumni, and UArts gave her the Silver Star Outstandin= g=20 Alumni Award. In addition to teaching at those institutions, she was Visitin= g=20 Lecturer in Animation at Harvard University in 1978/79. KLEOPAT -------------------- =C6RA, a one hour long work, is the artist's most intricate piece, portraying the journey of a ritual figurine through 11 scenes. It interweaves film imagery -- both live action=20 and animated -- with live performance. Molly Davies -------------------- =C6 excerpts two sections from, *Drawing from the Body: Autopsy*, a thirty minute installation performance with a live video feed from two camer= as and *Dressing*, a three-monitor installation of a four-minute, three=20 synchronous tape piece.=20 -------------------- =C6s her work has been shown at Centre Pompidou, Paris, Tempere Theater Festival, Finland, Jacob -------------------- =C6s Pillow, and the Whitney Museum. Her installation *David Tudor -------------------- =C6s Ocean* was presented by the Kitchen in 1997 and the Walker Art Center in 1998. Tudor is but one of many composers s= he has collaborated with, among them, John Cage, Alvin Curran and Lou Harrison. Throughout this decade she has focused on dance, moving from a collaboration with David Rousseve to her present partnering with dancer Polly Motley.=20 Motley,whose background is in experimental dance/theater, has worked with a=20 host ofdance, music and video artists, including Simone Forti and Charles=20 Amirkhanian.She is the dancer in these video studies of the body. Todd Winkler works with David Rokeby's Very Nervous System (VNS).=20 -------------------- =C6 1996 work *Fractured* asked, "When technology and the human body became partners, who leads?" It won her a Bessie and, title aside, exemplifi= es how her work integrates dance, sound, design and technology. Her cross-disciplinary work appeals to our highly mediated world. Diagnosed with Multiple Sclerosis in 1989, she began redefining and restructuring performan= ce space and partnering through technology. Her work reflects major themes=20 exploredin this symposium: the assisted, absent, or represented body. She=20 demonstratesher Live Internet Performing Structure (LIPS), in which "dancers= =20 partnerelectronic images as well as live performers in another country." Michael Cole, left a nine-year dancing career with the Merce Cunningham Danc= e Company. -------------------- =C6s Department of Dance, brings her live outdoor dance indoors and curbs it into a stand-alone video work. Patricia Graham wrote the original=20 monologue for *Lapse* and collaborated on the sound score with David Sherick= .=20 David Forlanomade the video. Its "pedestrian" thoughts and movement suggest=20 pedestrianthinking doesn't go anywhere. As an installation, the jumpsuit she= =20 wore in thevideo hangs immobile next to the little video of the dancer movin= g=20 in place.=20 One thing comments on the other in more and more convoluted ways. Manfred Fischbeck relocated with Gruppe Motion from Berlin to the US after=20 they showed their multi-media dance: *Count Down For Orpheus* in the late=20 60s.=20 "Group Motion -------------------- =C6s performances of "Orpheus" at Judson Church and Jacob -------------------- =C6s Pillow led to collaborations with other artists such as filmmakers Pete= r=20 Rose and Warren Muller," says Fischbeck, a stalwart of Philadelphia dance fo= r=20 thirty years.=20 -------------------- painted bride, saturday, march11 The Painted Bride Arts Center 230 Vine Street 215-925-9914 ___________________________________________________________ 5. Spiral Q Puppet Theater Seeks Staff Artists! The Spiral Q Puppet Theater is looking for artists / culture workers from a diverse backgrounds with experience in Arts and Education. Applicants should have an ability to plan and carry out open studio workshops with diverse (age, race, sexual orientation) groups of people and neighborhoods. Those who have a history or strong desire to work in diverse communities, and are sensitive to those complexities, will take priority in the selection process. We will hire 3 artists to work 3/4 time from May-October 2000. Artists of Color are strongly encouraged to apply. DESIRED SKILLS: curriculum development / lesson planning painting / rendering basic design and carpentry skills puppet design animatronics theater making / civic theater good communication / interpersonal skills group facilitation / conflict resolution SPIRAL Q TRAININGS: Spiral Q will provide a training in Pageant and Parade History ABOUT SPIRAL Q: Spiral Q Puppet Theater began as a small volunteer initiative in 1996 to use the language of puppetry to communicate and bring visibility to important AIDS and health issues. Local activist and artist Matthew (Mattyboy) Hart and other like-minded individuals began exploring the historical use of giant puppets, banners and street theater as important aspects of civic demonstrations, helping to communicate the people's message. Since then Spiral Q has evolved into a full-time community arts organization. Spiral Q Puppet Theater seeks to mobilize communities, empower working peopl= e=20 and illuminate the victories, frustrations and possibilities of living in the neighborhoods of Philadelphia and similar urban settings through the=20 construction of full-scale giant puppet parades, toy theater and neighborhoo= d=20 park pageantry. Through its puppet parades and pageants, Spiral Q Puppet=20 Theater is resurrecting and reclaiming these almost forgotten forms of peopl= e=20 theater to amplify and unite the power and vitality of those working=20 for change through art making, protest, and civic theater.=20 Spiral Q Puppet Theater seeks staff artists! ABOUT SPIRAL Q: Please send all resumes and correspondence to: The Spiral Q Puppet Theater=20 1307 Sansom St., #3 Philadelphia PA 19107-4523 ____________________________________________________________ 6. Kelly Link speaks at March 10 Science Fiction Society meeting, 9pm Salutations, gentlefolk, On March 10th, Ms. Kelly Link will be our guest writer at the Philadelphia Science Fiction Society meeting Her short story _Travels with the Snow Queen_,=20 an exploration of the myths taught through fairy tales,=20 won a 1997 James Tiptree Award,=20 and _The Specialist's Hat_ won a 1999 World Fantasy Award. =20 She is cofounder of Dunce Cap Press,=20 and an editor of the small press magazine=20 _Lady Churchill's Rosebud Wristlet_.=20 The Philadelphia Science Fiction Society=20 meets in the South America Room,=20 on the second floor of International House,=20 at 37th and Chestnut Sts. on the Penn campus. =20 Our featured speaker should begin her talk at 9 PM (following our business meeting)=20 After adjournment, many of us do more socializing, etc...=20 On April 14th, Keith Birdsong, best known as cover artist of many Star Trek and Quantum=20 Leap novels, but also responsible for the "Native American=20 Dances", and several of the '20th Century' commemorative=20 series US postage stamps, will be our guest artist. And on May 12th, Paul Levinson will be our guest author. =20 He is the president of the Science Fiction Writers of=20 America, author of _The Silk Code_, his recent first SF novel,=20 and the nonfiction works _Digital McLuhan_, _BestSeller_,=20 and _The Soft Edge_, and founder of Connected Education, Inc. The Philadelphia Science Fiction Society is a non-profit=20 organization which meets monthly - usually on the 2nd Friday.=20 We hold Philcon, the annual Philadelphia Science Fiction=20 conference, in November, and host book discussion groups,=20 writers' workshops, movie-viewing expeditions, writing=20 contests for youngsters, etc.=20 Hope to see you there ! Yours, John Desmond - jafd26@aoldotcom ______________________________________________________________ 7. Star Wars: Myths and Archetypes, Jungian Lecture, Thurs., March 16, 2000,= =20 7pm Hello, I would like to encourage you to attend the next lecture of the C.G. Jung=20 Center of Philadelphia. The Lecture meets at 7 PM at the Philadelphia Ethica= l=20 Society, 1906 South Rittenhouse Square, Philadelphia, PA 19103 LECTURE by Marita Digney on Thursday, March 16, 2000 Star Wars: Something New Under the Suns Using visual and sound images we will explore the religious and psychologica= l=20 themes in the Star War Epic. Writing in 1957, Carl Jung identified the world= =20 wide interest in extraterrestrial visitors as a projection of the religious=20 longing for the savior from another world. We will look at universal=20 religious images and consider the nature of good and evil as portrayed in th= e=20 four films. Is Star Wars a new expression of ancient truths or is something=20 wholly new emerging in the world of Naboo, intergalactic Republics and Jedi=20 Knights? We will consider Star Wars as a modern myth and examine ways it=20 speaks a truth about the heroic journey for each of us and our Age. Marita Digney, D.Min., Zurich trained Jungian Analyst, licensed psychologist= ,=20 founder of C.G. Jung Society of West Jersey, faculty of C.G. Jung Institute=20 of Philadelphia, past president of C.G. Jung Center of Philadelphia, private= =20 practice on Rittenhouse Square. Hope to see you there! Brad Horn C. G. Jung Center of Philadelphia Audio tapes of most presentations are listed on our web site and are=20 available through the Jung Center for $10.00 each. You can avoid the extra=20 $2.00 shipping charge by picking them up at an event. For tapes, weekly updates, to be placed on our mailing list, or more=20 information, call 610-642-7011, or email us at PhilaJung@aol.com, or visit=20 our web site at: http://members.aol.com/philajung _________________________________________________________ 8. Gasoline Boycott? april 7th - 9th is this a good or bad thing, i don't know, not sure what the point is, but=20 people are being asked, by multiple emails, to refrain from buying gas on=20 these days to "send a message" about the high price of gasoline ______________________________________________________ 9. for geeks only, who will be registering a web domain name anyway . . .=20 now this is confusing but here it goes . . . up until now, it costed $60 per= =20 year to register a domain name, but now the monopoly has been broken, it=20 costs $10, but we need to buy in bulk, . . . this request was sent to me fro= m=20 reliable people in the non-profit community, i checked that out first. . . s= o=20 this is on the level . . . they have like 15 annual contracts already and=20 need 11 more to reach the total of 26. critpath (AIDS/ACT-UP group) is already onboard with 3 years worth, spiral=20 puppet is in on this already, too . . .=20 it is a $50 savings ($60---->$10) times 26, . . . totals $1300 savings if this makes any sense to you contact albo directly, i don't think this is=20 limited to non-profits albo@CritPath.org _________________________________________________________ other things going on around town, . . . it's spring! it's spring! call in=20 sick and enjoy the day! . . . the flower show is at the convention center, 12th and arch st., worth seeing= ,=20 but $16 is a bit steep, i went at 7pm (after the crowds left) till 9:30,=20 definitely the way to go, . . .it is there till sunday, i think Tom Green is really really funny, i can't believe this is on tv, totally=20 surreal, every tuesday at 10pm (9 central) on MTV Dr. Seuss theme park at Universal Orlando, anyone go yet? Yellow Submarine themed ride in Berlin, Germany, sanctioned by Apple Corps,=20 new, anyone see it yet? David Byrne (from Talking Heads) art in Cleveland, Ohio museum i saw the movie Pitch Black, i liked it, but not for everyone, some cool=20 special effects . . . marooned spaceship, survivors fight the elements Wonder Boys was real good, with Michael Douglas, funny, interesting, . . .=20 college professor writes, flirts, does some freaky things . .=20 Ghost Dog was real good, too, . . . directed by Jim Jarmusch, . . . with=20 Forest Whitaker, urban black self taught samurai new movie i haven't seen yet, The Ninth Gate, goth themed, statuesque women,= =20 and directed by Roman Polanski, who also directed The Tenant (rent that if=20 you get the chance, if you dare), also directed andy warhol's dracula=20 (uncredited), Rosemary's Baby, and Chinatown. coming attraction looked=20 interesting. cafe scene in philly, . . . lionfish on 2nd street, closed . . . quarry=20 street cafe, on 3rd st., closed, building bought, . . . . . new cafe in west= =20 philly opened by Alexis, musician from Stinkin' Lizaveta, cool place, called= =20 The Comet, their new baby is called Haley, Yanni's dad's ceramics on sale=20 there, location, 41st St. near walnut st. fringe fest deadline 3/15, 215-413-9006 pafringedb@aol.com or pafringe@aol.c= om for application, mailed to you =20 contact Gary Ross, Runnergar@prodigy.net 215-535-0359 to participate in the= =20 Frankford Arts Fest, get application in the body of an email that's all for now, . . . .feel free to email me to say hi or add/delete, .=20= .=20 . for upcoming art events, try to let me know early, . . .=20 -josh cohen GasHeart@aol.com . . . . . . . ========================================================================= Date: Thu, 9 Mar 2000 14:43:20 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Dominic Fox Subject: Bits MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii (variously cross-posted: apologies to anyone who has to read this more than once) Inside the West there are enlightenment ideals of progress and emancipation, and although everything isn't perfect just yet, everything is getting better all the time. _Les choses sont avec nous_. Outside the West there is footbinding and genital mutilation, and the only way things ever get better is if the Western people make the non-Western people try to be more like them. _Les choses sont contre vous_. You will be sorry if you try to leave the West. Where will you go? To the places where there is widow-burning and female infanticide and dreadful poverty. To the places where there are death squads and corrupt politicians and men whose heads do grow beneath their shoulders. You will be sorry if you go to the places where there are machetes and machine guns and helicopter gunships from the West. You will be sorry if you go to the places where there is no clean water and there are terrible diseases and everybody tries to give you AIDS. You must say: I do not want your dreadful diseases. You must say: I do not want to buy a politician. You must say: I did not pay for this helicopter gunship. You will be sorry if we have to drop some napalm on you. You will be sorry if you make us put some nerve gas in your air. You will be sorry if you do not overthrow your corrupt politicians. You must say: I did not mean to invade that country. You must say: the corrupt politicians are torturing me. You must say: I am a premature baby, I am a woman in a headscarf, I am a dissident intellectual. You will be sorry if you try to leave the non-West. They will not let you leave! And if they do let you leave, the West will not let you come in! But you must let the West come in. The West can go everywhere. The West already is everywhere, like cowshit.com in Calcutta. You are not sorry enough, but you will be. You are not premature enough. You have not been tortured enough. You may be a dissident, but what's this about being an intellectual? Your stories are all lies. You do not come from where you say you come from. You did not see the things you say you saw. Those were not our helicopter gunships, those were not our corrupt politicians. Go back to where you came from. Go back to the places where there is foot-burning and dreadful infanticide. _Les choses sont contre vous_. I am sorry but that is how it is, objectively: there is no other way that it is. This is reality for me and reality for you. Reality for me is helicopter gunships. Reality for you is dreadful diseases. This is objective. Go back. Your stories are all AIDS and premature babies. You have not been objective enough. Go. __________________________________________________ Do You Yahoo!? Talk to your friends online with Yahoo! Messenger. http://im.yahoo.com ========================================================================= Date: Thu, 9 Mar 2000 20:00:43 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: an amazing book I just discovered!!! (review!!!) MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII --- A review of an interesting book of philosophy!!! "Nous avons ecrit _l'Anti-Oedipe_ a deux." Thus begins Gilles Deleuze's and Felix Guattari's Capitalisme et Schizophrenie, Mille Plateaux. This book is a godsend to organization, even though the "a deux" seems to imply rhizomatic thinking from the very beginning. Well, this form of thinking has been around for millennia - for a good example, see Genesis which was written by a number of people at different times interspersing comment- aries and texts among each other. And you don't have to look any farther than Herry Lovelich's Holy Grail materials to see how the middle ages tended to mix things up. Or think about all the quotes in Heian literat- ure, which makes a lot of it seem like a group read if not a group rite. But what can we say about an Oedipal smearing among two men? Was either the father to the other? That would take some doing to investigate. In- stead I want to concentrate on the "avons" of task completion; there were so many smaller texts, that this use of the tense seems to imply that things were already done and it's time to move on, but is it? One thing about the book is all the terms they introduce, which really does create a sense of belonging among believing readers, as well as a kind of trans- lation from ordinary english; while "collaboration" does not imply "rhizo- matic" for example, if you combine it with Koestler's "holarchy" or Bohm's "implicate order" you get some of the same. And yet it's rhizome here and rhizome there, for people who have never dug kudzu out of the ground, or don't even know what it is. You can hardly kill it; gasoline or other pen- etrants do it best, but at what cost to the environment? Like everything else, spread is not necessarily a good thing - mafias and their interre- lationships are rhizomatic in a bad sense, for example, exfoliating like wildfires around the world. I can imagine a thousand plateaus, like the Argentinian pampas, with rhizomes growing between the surface - Hakim Bey might have something to say about that. But it's the universalism of the royal "Nous" that gets me, even though there are two authors - on one hand it sounds really democratic - "all of us did this or that" - but on the other, that "avons" gets us back to, well, "our" accomplishments in pro- ducing a best-seller, which, everyone knows, had something or other to do with Situationism, may 68, Leotard's Libidinal Economy, the New Philoso- phers, and incipient Baudrillardism which strikes post-McLuhanist blows in the guise of ignorance about America. That's really great - what if, for example, Shirley MacLaine had written the "Nous" since she channels and has probably out-rhizomed just about anyone? I love the way my heart pumps blood into my veins. ___ ========================================================================= Date: Thu, 9 Mar 2000 11:43:18 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Nielsen, Aldon" Subject: Where is Brett Evans Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" can anyone supply an email address for Brett Evans? ========================================================================= Date: Thu, 9 Mar 2000 19:46:47 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: charles alexander Subject: Re: gender In-Reply-To: <38C6EADA.3D21556C@home.com> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" At 06:05 PM 3/8/00 -0600, tom bell wrote: >or someone as passe as Jackson Pollack? It's "Pollock" and I didn't know he was passe. Maybe I'm passe then, as I think I can still learn some things from him. His retrospective a year ago in New York was fantastic. charles ========================================================================= Date: Thu, 9 Mar 2000 19:28:34 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Kathy Lou Schultz Subject: Re: gender Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit There's always more to "chew on" re: women/food/eating disorders. Anorexia used to primarily be a disease of class-privileged white women -- "you can never be too rich or too thin." Yet idealized body types vary widely among communities, often along race & class lines (though the dominant culture's Barbie affects everyone: white, thin, blond, "clean"). Horrifying to me how anorexia and bulimia are increasingly cropping up in other communities, such as among African-American women. Then there's always the pairing of "fatness" with "laziness." How many times have you heard someone throw out the phrase "fat & lazy" ? This is a class construct; again: never too rich, never too thin. Yet if we're going to put some of culpability of this onto men, and the "male gaze," the male gaze is not monolithic. In Black communities, working class communities, Latino communities, etc. differing standards abound. It's always fascinating to me how my body is read as "text" in street-level kinds of interactions. This has to do with race and gender, yes, but also with body type. Kathy Lou ^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^ Kathy Lou Schultz Editor & Publisher Lipstick Eleven/Duck Press http://www.duckpress.org 42 Clayton Street San Francisco, CA 94117-1110 ---------- >From: Dodie Bellamy >To: POETICS@LISTSERV.ACSU.BUFFALO.EDU >Subject: Re: gender >Date: Wed, Mar 8, 2000, 5:36 PM > >Tracy, > >Welcome to the bullpit. What you write above reminds me of something >Naomi Wolf writes in *The Beauty Myth* re: the male gaze and gendered >body types: fat men are fat gods. One of Wolf's main arguments is >that the plummeting weight of models/cultural representations of the >idealized female body is a response to feminist gains. The body as a >site of social control. I know that Wolf is pop and has been >criticized but I think lots of what she says in that book makes >sense. I particularly like her comparisons of beauty rituals with >religious rituals. > >On a more academic note, I just got Susan Bordo's *Unbearable Weight: >Feminism, Western Culture and the Body." I've just had time to dip >into it, but looks good. It includes her anthologized essay "Reading >the Slender Body," plus a thoughtful examination of postmodern >feminist critiques of the totalitarian undercurrents of much feminist >thought, and a reading of the social construction of the eating >disorders as a category/categories. A very readable book. You can >have your Foucault and eat it too. > >Dodie ========================================================================= Date: Thu, 9 Mar 2000 23:02:56 -0500 Reply-To: i_wellman@dwc.edu Sender: UB Poetics discussion group From: D Wellman Subject: Re: Bits & Gender MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Women in the West, like their sisters in North Africa, eat 1/10 the calories of their male counterparts. Maybe the hungry woman who is not from the West is self-sacrificing for altruistic purposes. Dieting as back lash according to Faludi. Sadism seems global. Learned today that as many as 200 of the high school students in my charming New England town are homeless. Considering the scopeof homelessness,we have an internal refugeeproblem in New Hampshire. Tom Bell wrote that the male gaze with reference to glam mags is a female construction. You have to go one more step to be clear on this: every woman carries within her a surveyor (censor) who is male (John Berger). A woman's appearance determines what kind of access a man may have to her body. This is a societal construction of gender, not something that women have contrived for their own convenience. Evidence of patriarchy, evidence of sadism all around us. That is why I think we have to deal with this thread as male straight, female straight, gay, lesbian, bisexual (3 or 4 varieties), intersexual (as many as 7 varieties I have heard). Berger also offered something about 'subjectivity+objectivity+subjectivity' as a formula that allows us to deal with our everyday nakedness, subjectivity twice-removed. Oh it is all so dated, 1968 I think. Someone like Lynda Nead or Caroline Schneeman (one of those on whom Nead models her thoughts) seems to have pushed much further than Berger. My point is that there is much more going on than a level of whining distinctive of the west. What is happening everywhere has to be dealt with if one wants an embodied poetics. The ritualized forms of an embodied poetics in Africa and in the west can be gruesome. And what I have most wanted to say is that we can't transcend this gruesomeness or people's reactions to it, but if the subject does count for a poetics, it is as part of the stuff that has to be objectified if the subject wants to view his her own nakedness. Thanks Tom Bell for the Kristeva quote that says this better than I have. By the way my own subjectivity floats all over the place--so I wonder how many differently embodied voices I might possibly claim as mine, even if only incidentally. This is related to how the tongue, the foot, and the breath are embodied in the line, but also to how certain glows and pains register there. Don Wellman ========================================================================= Date: Thu, 9 Mar 2000 21:10:28 PST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Ron Silliman Subject: Starting from gender Mime-Version: 1.0 Content-Type: text/plain; format=flowed This idea of "starting from," be it Olson or Artaud, seems like a very odd concept to me. It seems that one of the most profound things we all have to deal with is how it always predates us, is there always already in the only way that phrase can really mean something: watch how little girls and boys code it (or "miscode" it) over and over. But if I had to "start from" an author in thinking about this, I'd pick The Psychoanalysis of Edward the Dyke by Judy Grahn. And I too would love to hear reports of the Vendler/Perloff et al discussion. In fact, a full-length video clip up on EPC would definitely get downloaded by yours truly if it were to be made available.... Ron ______________________________________________________ Get Your Private, Free Email at http://www.hotmail.com ========================================================================= Date: Fri, 10 Mar 2000 00:47:52 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jamie Crawford Organization: ASHAJALA Subject: poetry links? MIME-version: 1.0 Content-type: text/plain; x-mac-creator=4D4F5353; x-mac-type=54455854; charset=us-ascii Content-transfer-encoding: 7BIT I'm in the process of putting together a website for TPS (Tufts Poets Society) and was wondering if anyone and everyone had suggestions for poetry links I might use. I, of course, could do searches, but this seemed much easier. I am particularly looking for: 1) archives of "classic" poems (really...anything that's been in print for more than five years would be lovely 2) biographical sites concentrating on poets or poetry sites with biographical information 3) magazines (electronic or paper) 4) places in the Boston area that hold readings or support poetry or are of importance historically...ranging from the Grolier to Walden to Lizzard Lounge, etc. (none of which I have links for) 5) individual Boston area poets 6) any other unique sites that might spark something Thanks so much, j ========================================================================= Date: Fri, 10 Mar 2000 00:39:41 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Wanda Phipps Subject: The Apocalyptic Jubilee Band Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Hey I'm singing back-up on a couple of songs with Stephan Smith & the Apocalyptic Jubilee Band making it's cosmic debut: This Monday, March 13th at the Living Room,10:30 p.m.! corner of Stanton and Allen, 533-7235 Ladies and Gentleman, you are cordially invited to a one time, live rehearsal, first ever public performance of the band that gets you UP and in the Movement: Stephan Smith and The Apocalyptic Jubilee Band are finishing their deep funking, harder than rocking, softer than rainfall, and more pointed than an arrow debut album of songs that threaten to break the cycles of history and make the deaf dance, the blind sing, and the violent roll around with their bellies up begging to be tickled with the only peace on earth, the banging banging beat of the Apocalyptic Jubilee. And, they're coming to your neighborhood this Monday. Starring all you who come and shake your world turning freedom machines, and: Mary "So Very" Harris, straight from Ruffhouse Records (fugees, nas, lauryn hill), Spearhead, Macy Gray, Fishbone and Weapon of Choice, on the drums and vocals like no one since Billy Holiday Sharief "Ali" Hobley, the universal funkmaster, stamen of the Black Lily, the Roots' Motive Record camp and Chocalate Genius, on elextric guitar, keyboard, bass and vocals Andrew Weiss, the one and only bass-o-sauraus from WEEN, Yoko Ono, Butthole Surfers and countless others, on samples, noise, bass and waste And last but not least, your bonafide Intergalactic Peckerwood, Stephan "Said " Smith on Vocals, guitars, synthesizers, bass, banjo, harmonicas, violins and various other friendly noize machines. Bring the whole family to this bodacious and unforgettable, first and only first night out but get there early if you want to be close! ========================================================================= Date: Fri, 10 Mar 2000 01:37:10 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: www.africam.com MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Every so often something on the Web fills me with a sense of Ellroyal wonder, and that makes it all worthwhile - check out http://www.africam.com/ if you haven't already. It's dawn there now. Alan ========================================================================= Date: Fri, 10 Mar 2000 11:22:35 +0000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: R I Caddel Subject: Postgraduate English (UK) Comments: To: british n irish poets , poetics , pound list MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII ---------- Forwarded message ---------- Date: Fri, 10 Mar 2000 11:05:08 +0000 (GMT) From: Postgraduate English To: R I Caddel Postgraduate English (UK) A Journal and Forum for Postgraduates in English in the UK No 1 (March 2000) now released on http://www.dur.ac.uk/~dng0zz5/journal1.htm We have great pleasure in publishing the first number of this new e-journal and issuing a call for papers for the next issue. Postgraduate English is specifically designed for Postgraduates Students in English Studies in the UK and the EU. The journal is biannual, appearing in March and September of each year. There are three major sections: "Articles" will publish refereed submissions from postgraduate students in the UK and the EU, adding a brief response from one of our referees; "PG-Tips" is a compendium of useful internet links; and "Forum" is a site for essays and pieces of academic journalism on matters related to postgraduate life. It also contains software for online conferences. "Articles" will be updated with new material every March and September, while the other two sites will be updated when the need or opportunity arises. A special feature of this first issue is a full detailed report, in "Forum", of the conference "Postgraduate Futures" held at the Anglia Polytechnic University in July 1999. Papers are still invited for vol. 2 of this new journal (September 2000). Postgraduates in English in the UK or in any EU country are welcome to submit papers of up to 7,000 words, which should conform to MLA guidelines in presentation and should be despatched no later than the 30th of June. A prize of 300 will be awarded to the best paper to appear in the journal during 2000. Further details on the journal's page "submissions". Brian Burton and Susan Walker (editors) Timothy Clark (advisory editor) Address all correspondence to either Postgraduate.English@durham.ac.uk or The Editors, Postgraduate English, English Studies, University of Durham, DH1 3JT, UK. Editorial Board Dr. Carol Anderson (Glasgow), Dr. Andrew Bennett (Bristol), Dr. Julia Boffey (Q.M. and Westfield), Dr. Fran. Brearton (Scarborough), Dr. Sean Burke (Durham), Dr. Timothy Clark (Durham), Dr. Fabio Cleto (Bergamo), Dr. Aidan Day (Edinburgh), Dr. Robin Dix (Durham), Professor Richard Ellis (Notingham Trent), Dr. Gary Hall (Teesside), Dr. Victor Houliston (Witwatersrand), Professor Nancy Huse (Augustana College, IL), Professor Kate Fullbrook (UWE), Dr. Paulina Kewes (Aberystwyth), Professor Ben Knights (Teesside), Dr. Gordon McMullan (King's College), Professor Michael O'Neill (Durham), Professor Vincent Newey (Leicester), Dr. Ralph Pite (Liverpool), Dr. Caroline Rooney (Kent), Professor Nicholas Royle (Sussex), Dr. Mark Sandy (Durham), Dr. Heather Scutter (Monash), Dr. Sarah Squire (Oxford), Dr. Matthew Steggle (Sheffield Hallam), Dr. Randall Stevenson (Edinburgh), Dr. John Strachan (Sunderland), Dr. Cewri Sullivan (Bangor), Dr. Richard Terry (Sunderland), Dr. Chris Thurgar-Dawson (Teeside), Professor Lisa Vargo (Saskatchewan), Professor Merle Williams (Witwatersrand), Dr. Marcus Wood (Sussex). ========================================================================= Date: Fri, 10 Mar 2000 06:53:26 -0500 Reply-To: Ron Silliman Sender: UB Poetics discussion group From: Ron Silliman Subject: Miriam Patchen dies.... MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit From: Lawrence Ferlinghetti To: Gary Snyder ; Daniel Moore Sent: Thursday, March 09, 2000 12:32 PM Subject: [Fwd: Miriam Patchen dies....] FOLLOWING MESSAGE JUST CAME IN FROM JOEL CLIMENHAGA: Wednesday, March 8, 2000 Dear Good People: Miriam Patchen died this past Monday. Jonathan Clark found her today She had been sitting in a chair reading her mail, so her dying was peaceful Undoubtedly there will be arrangements for some sort of memorial service in her memory sometime down the line If you'd like to have more information about all that, let me know In the meantime, send the news to anyone you think would be interested in knowing of her death [I've called a number of people already Even so, don't hesitate to send the news to anyone you think might be interested.] Joel Climenhaga ========================================================================= Date: Fri, 10 Mar 2000 00:38:25 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Kathy Lou Schultz Subject: FW: Ad yr favorite critic Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit Some Critics (off the top o' my head) who write about 20th C. poetry/poetics in interesting and well-circulated (well, at least available) pubs: Aldon Nielsen Michael Davidson Nathaniel Mackey Maria Damon Bob Perelman Charles Bernstein Charles Altieri Tyrus Miller Harryette Mullen Robert Kaufman Albert Gelpi Rachel Blau Deplessis Yes, many of them are not-uncoincidentally poets, yet also trained-as, active-as, interesting-as scholars (no small feat). I don't pretend in any way shape or form to be at all comprehensive, but the fact that I could think of several interesting critics in only a few minutes is heartening, at least to me. KL ^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^ Kathy Lou Schultz Editor & Publisher Lipstick Eleven/Duck Press http://www.duckpress.org 42 Clayton Street San Francisco, CA 94117-1110 ---------- >From: Bob Grumman >To: POETICS@LISTSERV.ACSU.BUFFALO.EDU >Subject: Re: Perloff/Vendler/Scharf/Burt Panel in New York >Date: Wed, Mar 8, 2000, 3:04 PM > >I wouldn't mind a report on this panel, either--ought to be good for a >few laughs. Thinking about it, I started wondering again about today's >poetry critics. The very few that are published in periodicals with >circulations of more than a few hundred deal with dead poetry only, so >far as I can tell. But what do I know? Which leads to a suggestion: >that some dedicated soul gather a list of poetry critics active in this >country, and tell where they're being published and what kind of poetry >they're discussing. I wish I had time to do it myself. Actually, one >of the hopes I had for my website was to form a gallery of poetry >critics. I got some material from two or three poet/critics, and some >bios of poet/critics for my bio section but little else. And the >website went into the null zone due to lack of public interest--and >laziness on my part. Although it is still out there, and I do hope to >add to it one of these days. > >I might note, too, that I suggested to an editor of that annual Poets & >Writers compilation of poets and fiction writers that they add critics >but she felt it'd be too much work. Apparently they are under-staffed. > >I believe we have way too many poets and way too few critics. And >vastly too little real poetry criticism--and not even ample reviews of >poetry. > > --Bob G. ========================================================================= Date: Fri, 10 Mar 2000 05:30:34 PST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Stephen Ellis Subject: Re: What becomes a small press? PNY queries Mime-Version: 1.0 Content-Type: text/plain; format=flowed re: the possible demise of PNY there are extenuating circumstances, probably those Burt K. sd he'd rather not go into detail about. Joint editorship always involves personal wrangles; the PNY tale is maybe more of the same. Tod Thilleman, listed on the intro pg of the latest edition of PNY as Editor, in a post to me a while back mentioned in passing that he'd just completed the next issue, wch wld be his last. About a week later came a mysterious post from Tod saying that he was no longer involved w/ PNY, and all inquiries shld be directed to Burt Kimmelman. At my request for further detail, Thilleman responded that Burt had locked him out of the PNY account, and had slandered him to his face, saying that Tod hadn't answered his email of several days previous, that Tod was drinking and smoking too much, was unstable, what with his being "out of work" for the past three years, had gone off the deep end, and that he (Kimmelman) feared the worst, ie., Tod sleeping in the gutter on the bowery, surrounded by the $500 in the PNY account. Tod sd he responded to this w/ "a tactful letter" saying he was all done. Since to my knowledge, Tod did a considerable portion of the leg work in getting PNY out, his sudden absence may be an additional "reason" for Kimmelman to consider "letting the magazine die." While (lack of) money and time are always essential issues to consider with respect to publishing ventures, personal conflicts, and the ways issues concerning available money and time intensify these, are pretty important considerations in the poetry publishing scene, and, I think, should be onjectified in the same manner - as issues for discourse, not just among those most intimately involved, but for all those whose interests might lead them down similar (troubling) paths. I'm not saying that Kimmelman's response to David Kirschenbaum's questions were dishonest - he DID say changes at PNY were unrelated to "a changing market" - he just didn't take it far enough into the essential personal issues wch, for the good of all those involved in like ventures, could've been addressed more clearly, and in greater detail, since they seem to have been the real "cause" of the current breakdown and/or break out of PNY. S E >From: David Kirschenbaum >Reply-To: UB Poetics discussion group >To: POETICS@LISTSERV.ACSU.BUFFALO.EDU >Subject: What becomes a small press? PNY queries >Date: Tue, 7 Mar 2000 15:15:40 -0800 > >Dear David B., Burt, and listmates, > >Between the two Poetry New York posts, I'm curious as to what is going on, >although, Burt, you mention you'd rather not detail it here. In light of a >recent thread where a litmag ed wondered if they shd continue publishing >and >why, the whys and wherefores of the PNY situation are real relevant to what >goes on in our lit publishing world. (Much of this, I'm sure, will come up >at Issue Zero this weekend and this summer on a publishing panel I'm >organizing for the Third Annual Boston Alternative Poetry Festival.) > >As for letting the magazine die, I've always been one who feels he's a >publisher for life, with a constantly evolving vision for my small press. I >started my press doing local authors chapbooks in Albany, progressed to >doing a general interest zine and national authors chapbooks, and have gone >on to instantzines, litzines, postcards, broadsides, audiotapes and more. > >Maybe it is time for PNY to die, though only you can make that call. But >that don't mean that there isn't some sort of publishing venture that >perhaps isn't more feasible and reflective of where you're at now. > >as ever, >David Kirschenbaum > > > > > >_______________________________________________________ >Get 100% FREE Internet Access powered by Excite >Visit http://freeworld.excite.com ______________________________________________________ Get Your Private, Free Email at http://www.hotmail.com ========================================================================= Date: Fri, 10 Mar 2000 11:02:02 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Brian Lennon Subject: Re: Perloff/Vendler/Scharf/Burt Panel in New York In-Reply-To: <200003100511.AAA26031@mailrelay1.cc.columbia.edu> MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Bob, you know, I don't mean to make you a straw man here, since we don't know each other personally, and a short email is never representative of anyone's views. Yet --- you know, to this "where is the good poetry criticism" sort of thing, I often just want to say, open your eyes! I agree that there's still far too little committed poetry criticism being done, and I also feel it's deplorable that writing the poems is preferred to writing poetry criticism (or better yet, doing both); but you know, there's only as much out there as one cares to see. I feel compelled to credentialize before I say what I'm going to say next, so, for the record: I read and admire the poetry/poetics criticism in any number of small coterie efforts, including the focused forums like Tripwire, Shark, How2, PPNewsletter, etc. --- BUT: things are changing in the mid-circulation mainstream, too. I've seen Jordan Davis review effectively in the otherwise scattered Boston Book Review; at least half, and often more, of the Publisher's Weekly poetry section is now written by (and often about) Listees; and Boston Review is covering more engage poets with engage reviews - my claim, because I have a small hand in it. 99% of the poetry books reviewed in these publications is by live contemporary poets. Granted, it's often mixed with deadening reviews of deadening work, or the reviews are too short to really get anywhere; but, you know, as much as I admire the coterie efforts, they have little impact on what someone who's only ever read Lowell and Plath thinks 'good poetry' is. There are really talented new poet-critics out there --- I think of Katy Lederer, Jen Hofer, and Summi Kaipa b/c I know them, and Brian Kim Stefans b/c I see his name everywhere --- but how many more there must be --- who I wish would move into more of the mainstream publications, where their writing might change people's minds. Yes, there's the risk of watching them commoditize your dissent; but criticism that preaches to the converted is going nowhere. To me, 'otherstream' labor like your Comprepoetica, Bob, is an indispensable part of the social process by which good poetry criticism develops. But, as you say in one of your commentaries on the site, mainstream cognizance of that criticism is another goal. For that, I think one need assume more of a *civic* than a communitarian role, in the sense that 'civic' implies a community that often disagrees with and sometimes outright ignores you. Brian Lennon > ------------------------------ > > Date: Wed, 8 Mar 2000 18:04:26 -0500 > From: Bob Grumman > Subject: Re: Perloff/Vendler/Scharf/Burt Panel in New York > > I wouldn't mind a report on this panel, either--ought to be good for a > few laughs. Thinking about it, I started wondering again about today's > poetry critics. The very few that are published in periodicals with > circulations of more than a few hundred deal with dead poetry only, so > far as I can tell. But what do I know? Which leads to a suggestion: > that some dedicated soul gather a list of poetry critics active in this > country, and tell where they're being published and what kind of poetry > they're discussing. I wish I had time to do it myself. Actually, one > of the hopes I had for my website was to form a gallery of poetry > critics. I got some material from two or three poet/critics, and some > bios of poet/critics for my bio section but little else. And the > website went into the null zone due to lack of public interest--and > laziness on my part. Although it is still out there, and I do hope to > add to it one of these days. > > I might note, too, that I suggested to an editor of that annual Poets & > Writers compilation of poets and fiction writers that they add critics > but she felt it'd be too much work. Apparently they are under-staffed. > > I believe we have way too many poets and way too few critics. And > vastly too little real poetry criticism--and not even ample reviews of > poetry. > > --Bob G. ========================================================================= Date: Fri, 10 Mar 2000 10:04:31 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Judy Roitman Subject: embodied poetics: a summary In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" So far three alternatives (in not way mutually exclusive) have appeared: focus on the physical body (e.g., Whitman's genitalalia) creation of the persona body (e.g., Sondheim's avatars) the process by which language arises & perhaps its true so-to-speak subject (e.g., Kristeva, Olson) Then there is the kabbalistic or perhaps quasi-kabbalistic notion of language as intrinsically embodied, we are only the vehicle. Of course I am oversimplifying everything & would appreciate expansions & other notions. --------------------------------------------------------------------------- Judy Roitman | "Whoppers Whoppers Whoppers! Math, University of Kansas | memory fails Lawrence, KS 66045 | these are the days." 785-864-4630 | fax: 785-864-5255 | Larry Eigner, 1927-1996 ---------------------------------------------------------------------------- http://www.math.ukans.edu/~roitman/ ---------------------------------------------------------------------------- ========================================================================= Date: Fri, 10 Mar 2000 11:32:39 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Brian Lennon Subject: Re: gender MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Dodie (and Tracey), This male fear of the female body is quite real. And I have no doubt that it may in some cases be exacerbated by what we're calling 'women's increasing power.' I hope, though, that this increasing power will also make it more difficult (even just cognitively) to restrict the representation of 'woman' to anything in particular. Men (speaking generally) may inherit a socialized power that compensates powerfully for failing to meet the ideal of male physical beauty. Women (speaking generally) still do not inherit this power. The fear of someone else's, or of one's own body --- always (to wax uncharacteristically Whitmanesque) fear of a good thing, no? Or is it fear, I wonder, of the protector role itself, which everyone, M and F, assumes and relinquishes at different times. I wonder, e.g., if that particularly fraught and icky father-daughter 'protectiveness' isn't part socialized property consciousness (this bad), but also partly a fear of the horrible truth that you can only protect someone else's finite body with the finitude of your own. In the adolescent boys' locker room, a heightened sense of one's own vulnerability as 'meat': torturable, the body as a liability. Fear of the body --- it's fear of what might happen if you let go, care and be cared for, fall into a lulling sleep. Not the cliche that it seems. You see it on the subway every day. Meat-Boy's mother expresses shock and surprise at his torment, because she loves him; her shock makes Meat-Boy feel even more compromised, and so he decides that his mother has no idea what it's like 'out there,' how Hobbesian it really is --- which maybe (to wax uncharacteristically psychoanalytic) is one reason why up-middle-class women and men feel that they can't comprehend each other, and others maybe have other problems. Brian ========================================================================= Date: Thu, 9 Mar 2000 23:42:50 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: David Kellogg Organization: Duke University Subject: Re: Perloff/Vendler/Scharf/Burt Panel in New York MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Steve Shoemaker wrote: > Yes, let me second the request for a report. I've always sort of > thought of Vendler and Perloff as matter and antimatter, academically > speaking, and have sometimes found myself idly imagining what would > happen if they > were in a room together... Steve, As some on this list know, I don't consider them all that different. Sure they have antithetical tastes, except for Ashbery and Ginsberg and a couple of others. But they both are basically close readers; they both defend poetry's continued and specifically AESTHETIC vitality; they both think poetry's better than most other forms of cultural production and "believe" in it, high-art style; they both in their different ways offer "circles of belief" about poetry (to misuse Bourdieu for a moment); and they both are more or less hostile and/or resistant to political, social, and other non-aesthetic approaches to poetry. I said once, some years ago on this list, that Helen Vendler was Marjorie Perloff's evil twin. (Marjorie misread that as saying that _she_ was the evil one -- not so). A joke, but not far off then, or I think now. They have been in rooms together several times. The most relevant time was the 1984(?) Alabama conference, "What is a Poet?," which Hank Lazer edited for a book. Also I think early in their careers they were both fellows of the English Institute at Harvard at the same time, along with Barbara Herrnstein Smith, who I think is more antithetical to both of them than they are to each other. Now _that_ would have been a room! David Kellogg kellogg@duke.edu Duke University, University Writing Program (919) 660-4357 ========================================================================= Date: Fri, 10 Mar 2000 01:03:47 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Podium2@AOL.COM Subject: NYC events this weekend: National Book Critics Circle-related events MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit ----------------------------------------------------------- NBCC-related events this Weekend in NYC All are free unless otherwise noted. Saturday March 11 8 p.m., 27 West 44 Street, Third floor Criticism In The Real World Jabari Asim, Washington Post; Neil Gordon, Boston Review; Laura Miller, Salon.com; Carlin Romano, Philadelphia Inquirer; Elizabeth Taylor, Chicago Tribune; Steven Wasserman, Los Angeles Times. Moderated by novelist Melvin Jules Bukiet; Sunday, March 12 7 p.m., 40 Washington Square South Readings by National Book Critics Circle Finalists Monday, March 13 12:00-1:15 p.m., 40 Washington Square South "Who Needs A Publisher? Or, for That Matter, an Editor? And Who Needs Reviews?: Our Industry in the Electronic Age" A Panel Discussion Sponsored by the NBCC Moderated by Art Winslow, The Nation 6:00 p.m., 40 Washington Square South NBCC Awards Ceremony A $35 optional reception follows. ========================================================================= Date: Fri, 10 Mar 2000 00:13:45 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jerrold Shiroma Subject: New From Burning Deck MIME-Version: 1.0 Content-Type: text/plain; charset="Windows-1252" Content-Transfer-Encoding: 7bit Announcing two new publications from Burning Deck Press: A Test of Solitude: Sonnets Emmanuel Hocquard translated from the French by Rosmarie Waldrop ISBN 1-886224-33-1 Serie d'ecriture 72 pages $10.00 "Emulating Wittgenstein, who repaired to an isolated cabin in Norway to write and reflect, Hocquard takes up his own test of solitude on a farm not far from Bordeaux. What he writes there are unconventional sonnets that arrive at their stipulated line-count by an ingenious variety of means. They record with deceptive simplicity daily actions and experiences. At the same time, an inquiry is being conducted, a test of solitude that is also a test of poetry." --Steve Evans, Notes to Poetry ceteris paribus Gale Nelson ISBN 1-886224-37-4 128 pp $12.00 Ceteris paribus is a phrase commonly used by economists and means "assuming all other things are held constant." With this phrase, a host of unintended results can be explained away as having been caused by changes int he real world, and the model itself is sustained. As the economy collapses around their ears, the bewildered theorists of the dismal science may claim that were certris paribus only possible, the predicted outcome would have obediently presented itself. In Gale Nelson's poetry, language misbehaves much like the economy. The multiplicity of factors at play on the page--and among pages--keeps the poem from settling anywhere near constancy. Each time order seems just around the corner, variances begin to seep in--and anything becomes possible. Both titles are available from Small Press Distribution, & are featured titles for this month, receiving a 20% discount. http://www.spdbooks.org ========================================================================= Date: Fri, 10 Mar 2000 13:54:25 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Macgregor Card Subject: Germ/Issues presents Moxley/Krukowski--Providence Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ** Germ $ Issues presents a mandatory poetry forum: ** Jennifer Moxley / Damon Krukowski in IDES OF MARCH '00 cause we know poets that stay together slay together opened by Brown's own Ben "animal house" Lerner. Wednesday March 15 -- 8pm at Russell Lab (TF Green) Brown University, Providence RI 5 Young Orchard St. (x-streets: Hope, Governer) Jennifer Moxley is the author of _Imagination Verses_ and _Wrong Life_, and edits The Impercipient Lecture Series. Her poems have appeared in every journal that counts, and are collected in _An Anthology of New (American) Poets_. She's moved from Providence, to Paris, to Maine. Damon Krukowski is the author of _5000 Musical Terms_ and _Vexations_, he's highly magazined, and included in the anthology _Writing from the New Coast_. He publishes Exact Change Books, with co-founder Naomi Yang. Both rock musicians, they were part of the trio Galaxie 500 (87-91) and have since toured and recorded as "Damon & Naomi". He lives in Cambridge, MA. Ben Lerner lives by the sword and dies by it too. You've seen him around. For more info contact: Macgregor_Card@Brown.edu or Sean_Casey@Brown.edu ========================================================================= Date: Thu, 9 Mar 2000 15:24:13 PST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Stephen Ellis Subject: Palestinian poet spurs Israeli Uproar Comments: cc: joris@csc.albany.edu Mime-Version: 1.0 Content-Type: text/plain; format=flowed Pierre, Thanks for posting this. It's interesting that, although Assad provides a very general context (the usual Palestinian/Israeli tensions) for this story, he neglects to mention issues surrounding Darwish's request to Israeli authorities in (I believe it was) 1997 for a visa to travel from Ramallah (a Palestinian autonomous area) to Acco, a town in Israel proper, to attend the funeral of a colleage. (Palestinians living anywhere in the West Bank [or in Jordan] are restriced in terms of traveling in or through Israel.) The request was denied, but later a "secret deal" was arranged that allowed Darwish to visit Acco for something like 48 hours. Given that the "secret deal" - like all "screts" in that area of the world - was not so secret, there was at the time an outcry from both sides about "double standards." A Netanyahu government spokesman claimed that the deal was a "human gesture", tho permission for Darwish's visit was doubtless also to placate hard(er)-line Palestinians unhappy with the Netanyahu regime's recalcitrance viz the Oslo accords. Many hard-line Palestinians recognized this, and, tho holding back from public criticism of Darwish, sd privately that they thought he should not have gone. Weird that in both cases, Darwish "represents" an ideology whose over-simplicity is only tangentially related to his poetic work, wch goes mostly unread by either side. While the Israelis view him as a PLO terrorist and enemy of the state, the more radical factions of Hamas and the Islamic Brotherhood view him as an apologist for Israel and an enemy of God, while Arafat (and many ex-PLO members of the autonomous area's governing body) views him as a traitor to be kept at home with a cozy reputation, watched constantly by the police. A state poet on all counts - elevated to that position by the joint mistrust of a non-reading public, loved by each and all, tho only to ends of their own. Would that we all were so lucky. S E >From: Pierre Joris >Reply-To: joris@csc.albany.edu >To: POETICS@LISTSERV.ACSU.BUFFALO.EDU >Subject: FW: "Palestine Poet Spurs Israeli Uproar" >Date: Tue, 7 Mar 2000 08:57:27 -0500 > >Thought this may be of interest, & put some of the on-line quibbling of the >last 10 days into perspective. There's a world beyond the US & The UK -- >Pierre > >Palestine Poet Spurs Israeli Uproar > > >By Samar Assad >Associated Press Writer >Monday, March 6, 2000; 3:26 p.m. EST > >RAMALLAH, West Bank: It has little to do with poetry, and a lot with >politics. > >A decision by the Israeli education minister to introduce five works by >the Palestinian national poet, Mahmoud Darwish, as optional reading in >Israeli schools has incensed hawkish and religious lawmakers, who >threatened Monday to try to bring down Prime Minister Ehud Barak's >government over the verses. > >Barak, apparently fearing another defeat in parliament after his coalition >crumbled last week in a key vote on peace with Syria, said time "is not >ripe" to teach Darwish, who as a PL member was banned from entering Israel >for 26 years. > >The emotional dispute over a few lines of poetry illustrates how hard it >still is for Israelis and Palestinians to put aside resentments >accumulated in a century of conflict. It also signals that reconciliation >between the two peoples will take many more years, even if a formal peace >treaty is eventually signed. > >Introducing Darwish into the curriculum is part of reforms begun by dovish >Israeli Education Minister Yossi Sarid. "It is very important to know one >another. Ignorance is not the best recipe for good neighborliness," Sarid >said. > >The opposition Likud party accused Sarid of "legitimizing the negation of >Zionism" and submitted a motion of no confidence in the government. The >religious Shas faction, a member of Barak's coalition, hinted it might >join Likud in next week's vote on the motion, which would embarrass, but >not topple the prime minister. > >Darwish said Monday the uproar shows how fearful many Israelis are of >challenging long-held negative stereotypes about Palestinians. "The first >step of real peace is to know the other side, its culture and creativity," >Darwish, said in an interview. > >Those who object to teaching his poetry in Israeli schools "cannot digest >that the other side has culture, creativity and intellect," Darwish said. >"They consider this to be a dangerous recognition of the other side." > >The same accusations have frequently been made by Israelis who complain >that Palestinian textbooks and newspapers are filled with violent rhetoric >and negative stereotypes of Israel. > >Palestinian legislator Ziad Abu Amr said Monday that Palestinians have not >introduced Israeli poets into the school curriculum because the conflict >with Israel has not yet been resolved. "We can't read them now because >... the relationship (with Israel) is not normal," he said. > >To many Israelis, Darwish, 57, is synonymous with Palestinian nationalism, >even though few have read his poetry. In an essay on the 50th anniversary >of Israel's founding, Darwish wrote in 1998 that the Jewish state was >founded on the "dual injustice" of dispossession and occupation. "Four >hundred and eighteen living and thriving Palestinian villages were razed >to the ground in 1948 by Zionist perpetrators of myth and crime," Darwish >wrote. > >Darwish was born in 1942 in the Arab village of Barweh near Acre in what >is now Israel. His village was destroyed by Israeli troops in the 1948 >Middle East war. Following two years under house arrest, the poet went >into exile in 1970 after he joined the PLO Executive Committee. An >initial critic of Israeli-Palestinian peacemaking, Darwish quit the PLO >after the first interim agreements were signed in 1993, though he no >longer actively opposes them. Banned from Israel for 26 years, Darwish >returned from exile in 1996 and settled in the Palestinian-ruled town of >Ramallah in the West Bank. He has published more than two dozen poetry and >prose collections. > >Sarid's critics say he intentionally selected Darwish poems without a >hard-line political message for inclusion in the curriculum, thus >misleading students about the nature of the poet's work. Legislator Benny >Elon of the far-right National Union party, said Sarid's decision was a >sign of weakness. "I think that only a society that wants to commit >suicide would put it in its curriculum," Elon said. > >Darwish said Israelis should not fear his poetry. > >Noting that as a high school student in Israel, he was forced to read the >works of Haim Bialik, the poetic voice of Zionism, Darwish said Bialik >"did not change me into a Zionist. He did not even get me to like his >poems." > > >________________________________________________________________ >Pierre Joris The postmodern is the condition of those >6 Madison Place things not equal to themselves, the wan- >Albany NY 12202 dering or nomadic null set (0={x:x not-equal x}). >Tel: (518) 426-0433 >Fax: (518) 426-3722 Alan Sondheim >Email: joris@csc.albany.edu >Url: >____________________________________________________________________________ >_ >____________ ______________________________________________________ Get Your Private, Free Email at http://www.hotmail.com ========================================================================= Date: Thu, 9 Mar 2000 18:04:12 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Thomas Bell Organization: @Home Network Subject: Re: coming up @ Duration Press MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Jerrold, I am working on developing a print/web journal/press called Repo Repro. It will focus focus on similarities/differences in web and print publications (Repro) and use of the body (experiential/projective) in poetry. The first work (mine, naturally!) is up at http://sites.netscape.net/trbell/RepoRepro/listenan.htm and print versions are available from me (2518 Wellington Pl., Murfreesboro, TN 37128) for $2.50ppd. At this point in time I'm not writing to be included on your duratiion page but more for advice, suggestions, etc. For example, I'm not sure how to explain this clearly and simply. tom bell Jerrold Shiroma wrote: > > For a sneak preview (or a list) of what is coming up, who will have a > home, @ duration, check out > > http://www.durationpress.com > > Projects are under development, & should be appearing online over the > next couple of months. -- //\\//\\//\\//\\//\\//\\//\\//\\//\\//\\//\\//\\ OOOPSY \///\\\/\///\\\/ <><>,...,., WHOOPS J K JOVE BY HHH ZOOOOZ ZEUS'WRATHHTARW LLLL STOPG [ EMPTY ] SPACER index of online work at http://members.home.net/trbell essays: http://members.tripod.com/~trbell/criticism/gloom.htm ========================================================================= Date: Fri, 10 Mar 2000 14:32:18 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Judy Roitman Subject: Re: FW: Ad yr favorite critic In-Reply-To: <20000310082946.MNOX5318.mtiwmhc22.worldnet.att.net@[12.72.64.100]> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" >Some Critics >(off the top o' my head) >who write about 20th C. poetry/poetics in interesting and well-circulated >(well, at least available) pubs: >Aldon Nielsen >Michael Davidson >Nathaniel Mackey >Maria Damon >Bob Perelman >Charles Bernstein >Charles Altieri >Tyrus Miller >Harryette Mullen >Robert Kaufman >Albert Gelpi >Rachel Blau Deplessis > Susan Howe --------------------------------------------------------------------------- Judy Roitman | "Whoppers Whoppers Whoppers! Math, University of Kansas | memory fails Lawrence, KS 66045 | these are the days." 785-864-4630 | fax: 785-864-5255 | Larry Eigner, 1927-1996 ---------------------------------------------------------------------------- http://www.math.ukans.edu/~roitman/ ---------------------------------------------------------------------------- ========================================================================= Date: Fri, 10 Mar 2000 20:40:17 GMT Reply-To: housepre@telusplanet.net Sender: UB Poetics discussion group From: derek beaulieu Subject: Re: poetry links? Comments: To: Jamie Crawford a few llinks that im quite fond of for new and old poetry - certianly stuff taht will start discussions are: [sic]magazine - www.sicmagazine.com coach house book - www.chbooks.com yrs derek beaulieu >I'm in the process of putting together a website for TPS (Tufts Poets >Society) and was wondering if anyone and everyone had suggestions for >poetry links I might use. I, of course, could do searches, but this >seemed much easier. >I am particularly looking for: > >1) archives of "classic" poems (really...anything that's been in print >for more than five years would be lovely > >2) biographical sites concentrating on poets or poetry sites with >biographical information > >3) magazines (electronic or paper) > >4) places in the Boston area that hold readings or support poetry or are >of importance historically...ranging from the Grolier to Walden to >Lizzard Lounge, etc. (none of which I have links for) > >5) individual Boston area poets > >6) any other unique sites that might spark something > >Thanks so much, >j > ========================================================================= Date: Fri, 10 Mar 2000 12:45:56 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Gary Sullivan Subject: Miriam Patchen In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 8bit I saw Miriam Patchen read from Kenneth Patchen's work in San Francisco, maybe 1986? Mid eighties, I guess. Very moving. There are (at least) a couple things about Miriam Patchen on the web: one, an article written by Diane Sussman for the May 3rd, 1995 issue of the Palo Alto Weekly; another, a synopsis of a film made about Miriam Patchen made by Kim Roberts, but didn't list the date. They're both below: People: Miriam Patchen: peace and love "I can't do anything. I just feed squirrels and I give cookies to children." Despite what she says, cookies and squirrels are hardly the sum of Miriam Patchen's life. Patchen has contended with poverty, multiple sclerosis, clashes with the government and two great loves--including one that thrust her into the heady world of beat poets and the New York art avant-garde. Even so, Patchen feels more like one who was borne along by circumstance than one who set her own destiny. "Maybe if I hadn't married, I would have become important and straightened out the world. I always wanted to straighten out the world. "I'm not smart," she continued. "I've just been with two remarkable men." She certainly seems smart--and cantankerous, unsentimental and unconcerned about public opinion. From her black house to her straggly long gray hair, she suggests a woman used to, and fond of, her freedom. "I should be wearing my hair braided," she said. "That's the only appropriate way for an old woman to wear long hair." But, she added, "I find it awfully hard to be a totally appropriate old woman." For 37 years, Patchen, now 80, was married to poet-painter Kenneth Patchen. The celebrated artist, whose work is now on display at the Palo Alto Cultural Center, died in the couple's Palo Alto cottage in 1972. The rumpled cottage is a testimony to their time together. Patchen's paintings hang at crooked angles on the orange walls while photographs of him, a few with broken glass, dot the tables. It's as if the mementos are too sacred to be touched, moved or cleaned. "I think he is always going to be with me and around me. I knew that was why I was supposed to be with him. I knew he needed me to carry his work into the world." Patchen has her own niche now: peace work and her love of recent decades, a man she calls only by his first name, Laurent. Every Tuesday, Patchen, Laurent and a small band of people spend two hours outside Town & Country Village holding signs that read, "Honk for peace." It's an activity she has been doing for 20 years. Miriam and Kenneth Patchen met when they were university students in Massachusetts. They were an unlikely couple. He was artistic, a pacifist, a leftist. She was pragmatic, insecure and wanted her independence. Still, she was drawn to him. "I knew the first time I met him, he was a master poet. I knew I had to help him." His parents opposed the match. "I was Catholic and a foreigner, which is to say, from Massachusetts." The two married in 1934. They started out poor and stayed poor. "Even the Guggenheim (award) he gave away," she said. For a while, they got by on relief. Later, when Patchen was bedridden with back pain, Miriam worked at the jewelry counter in San Francisco's posh City of Paris department store. "Here was I, in this dress I made from a 74-cent bolt of cloth, in this glamorous, glamorous spot." The Patchens moved to Palo Alto in 1958 for medical care--she for treatment of multiple sclerosis, he for treatment of his back. They bought a house with a $2,000 down payment from Miriam's mother, but only after being assured payments would be no more than $50 per month. Although she always hoped for a more rural house, or at least a house made of wood, her "cement block" contains too many memories to leave. "I still feel him," she said. "I just belong to him." --Diane Sussman * * * "Miriam Is Not Amused" A Film By Kim Roberts • 23 min. • 16 mm Witty, wry and lyrical, Miriam Is Not Amused is a multilayered portrait of Miriam Patchen- activist, widow, and muse of famed poet Kenneth Patchen. The film combines rare archival footage with intimate observations of Miriam now. From her non-traditional upbringing in the 20’s and 30’s, through the years spent in the shadow of her celebrated husband, to her current reinvention as a political provocateur, Miriam reveals the choices and the compromises of her extraordinary life. With a sharp tongue and quick wit, Miriam turns the tables on filmmaker and audience by challenging her own relevance as a documentary subject, and legendary artistic muse. ========================================================================= Date: Fri, 10 Mar 2000 14:11:49 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Dodie Bellamy Subject: Re: Perloff/Vendler/Scharf/Burt Panel in New York In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" At 11:02 AM -0500 3/10/00, Brian Lennon wrote: >There are really >talented new poet-critics out there --- I think of Katy Lederer, Jen >Hofer, and Summi Kaipa b/c I know them, and Brian Kim Stefans b/c I see >his name everywhere --- but how many more there must be --- who I wish >would move into more of the mainstream publications, where their writing >might change people's minds. Yes, there's the risk of watching them >commoditize your dissent; but criticism that preaches to the converted is >going nowhere. Brian, I've been reviewing for the San Francisco Chronicle, so your post spoke to much I've been thinking about. I do not think that writing for the SF Chronicle has brought me much respect from my peers--one instead gets the sense that one is "stooping." But, this doesn't bother me much--it has little to do with why I'm doing it. My experience with the Chronicle has been one of paying my dues, doing books they wanted reviewed--not all of them, I always negotiated--to moving into a relationship where they're open to books I might propose to review. That isn't as marvelous as it would sound. First of all, there is the issue of their not wanting people to review books of their friends (journalistic ethics). As you well know, for most writers many of the books that they admire will have been written by their friends. So, that's one area of difficulty. Another difficulty is how difficult it is to write about difficult work (see that: 3 difficulties and I haven't even gotten to the point) in a form that will work for a mainstream audience. I recently reviewed Dennis Cooper's new book *Period* (my suggestion, will be published March 19). I've been a long-time admirer of Cooper's work, so I asked to do this before I had read the book. The book turned out to be formally difficult and theoretical--and I could not use my "usual" bag of tricks to deal with it since none of them would be appropriate for a newspaper review. It ended up being an enormous amount of work understanding the book to the point that I felt comfortable writing about it, and then translating it to this foreign form. (And, yes, I did love the book, and I recommend it to you all.) I must say that the Chronicle was very supportive of my final version, which still pushing the envelope. One other thing, writing in a manner that avoids the first person was wrenching for me, but the more I do it (I am allowed an occasional well placed "I" from time to time, but not much) the more I enjoy it. It feels more distilled, a letting go of the ego, though I don't think it really is. I haven't yet braved reviewing any poetry for them. Dodie ========================================================================= Date: Fri, 10 Mar 2000 15:14:51 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Pam Brown Subject: Re: www.africam.com MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Alan, But what's distressing about dawn in Africa is the plight of the homeless & ill in Mozambique isn't it ? Pam Brown --- Alan Sondheim wrote: > Every so often something on the Web fills me with a > sense of Ellroyal > wonder, and that makes it all worthwhile - check out > > http://www.africam.com/ > > if you haven't already. It's dawn there now. > > Alan > ===== Web site/P.Brown - http://www.geocities.com/SoHo/Workshop/7629/ __________________________________________________ Do You Yahoo!? Talk to your friends online with Yahoo! Messenger. http://im.yahoo.com ========================================================================= Date: Fri, 10 Mar 2000 18:59:33 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Thomas Bell Organization: @Home Network Subject: Re: gender/embodied poetics MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit it was suggested bc that I post the following fc: i seem to be making this up as i go and it may have been said before better, but what i am talking about is using my body in writing. Actually in my case this involves an imagined gesture that leads to the visual elements in my work. i'm pretty much left-brained verbal, but i've been drawing with my left hand (which may tap the right brain) and i feel a physical? sensation when i draw (somewhat as if i were mentally rehearsing throing a basketball. It comes out on the page as a visual and i see in interacting with the words i write. i'm not sure how clear this is? i posted to poetics basically to get some feedback and generate a discussion but i'm doubtful that will happen. let me know if you want to hear more. tom bell Charles, the passe was tongue in cheek but i'll take responsibility for the spelling error. tom charles alexander wrote: > > At 06:05 PM 3/8/00 -0600, tom bell wrote: > > >or someone as passe as Jackson Pollack? > > It's "Pollock" and I didn't know he was passe. Maybe I'm passe then, as I > think I can still learn some things from him. His retrospective a year ago > in New York was fantastic. > > charles -- //\\//\\//\\//\\//\\//\\//\\//\\//\\//\\//\\//\\ OOOPSY \///\\\/\///\\\/ <><>,...,., WHOOPS J K JOVE BY HHH ZOOOOZ ZEUS'WRATHHTARW LLLL STOPG [ EMPTY ] SPACER index of online work at http://members.home.net/trbell essays: http://members.tripod.com/~trbell/criticism/gloom.htm ========================================================================= Date: Fri, 10 Mar 2000 16:53:56 -0500 Reply-To: BobGrumman@nut-n-but.net Sender: UB Poetics discussion group From: Bob Grumman Subject: Re: Perloff/Vendler/Scharf/Burt Panel in New York MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit > the Publisher's Weekly poetry section is now written by (and often > about) Listees; and Boston Review is covering more engage poets with > engage reviews - my claim, because I have a small hand in it. Good. This is news to me. The announcements and ads of these two publications didn't strike me favorably--perhaps because they aren't reviewing MY favorite contemporary poets. But if either or both really are reviewing poetry at the level that most of the people involved with this poetry list read, write and review, great. Finding out that kind of thing was really the main aim of my post. (Well, next to spouting off.) > 99% of the poetry books reviewed in these publications is by live > contemporary poets. Granted, it's often mixed with deadening > reviews of deadening work, or the reviews are too short to really > get anywhere; but, you know, as much as I admire the coterie > efforts, they have little impact on what someone who's > only ever read Lowell and Plath thinks 'good poetry' is. > There are really talented new poet-critics out there --- I > think of Katy Lederer, Jen Hofer, and Summi Kaipa b/c I know > them, and Brian Kim Stefans b/c I see his name everywhere --- > but how many more there must be --- who I wish > would move into more of the mainstream publications, where > their writing might change people's minds. My complaint is, or was supposed to be, exactly this: that all the good criticism is being written in the nowhere-stream. Publisher's Weekly and the Boston Review are out in the open, though--but is anyone writing criticism for them like Frank Kermode's for the London Review? He's excellent, I think, but has no more interest in contemporary poetry than Harold Bloom. > Yes, there's the risk of watching them commoditize your dissent; > but criticism that preaches to the converted is going nowhere. I'm all for being commoditized. > To me, 'otherstream' labor like your Comprepoetica, Bob, is an > indispensable part of the social process by which good poetry > criticism develops. But, as you say in one of your commentaries > on the site, mainstream cognizance of that criticism is another > goal. For that, I think one need assume more of a *civic* than a > communitarian role, in the sense that 'civic' implies a community > that often disagrees with and sometimes outright ignores you. > > Brian Lennon Thanks for the response, Brian. Makes sense to me. As did Kathy Lou Schultz's, to which I responded back-channel not knowing she had posted her comments here as well as to me. I didn't say anything back to her worth putting here, though--as far as I know. --Bob G. > > ------------------------------ > > > > Date: Wed, 8 Mar 2000 18:04:26 -0500 > > From: Bob Grumman > > Subject: Re: Perloff/Vendler/Scharf/Burt Panel in New York > > > > I wouldn't mind a report on this panel, either--ought to be good for a > > few laughs. Thinking about it, I started wondering again about today's > > poetry critics. The very few that are published in periodicals with > > circulations of more than a few hundred deal with dead poetry only, so > > far as I can tell. But what do I know? Which leads to a suggestion: > > that some dedicated soul gather a list of poetry critics active in this > > country, and tell where they're being published and what kind of poetry > > they're discussing. I wish I had time to do it myself. Actually, one > > of the hopes I had for my website was to form a gallery of poetry > > critics. I got some material from two or three poet/critics, and some > > bios of poet/critics for my bio section but little else. And the > > website went into the null zone due to lack of public interest--and > > laziness on my part. Although it is still out there, and I do hope to > > add to it one of these days. > > > > I might note, too, that I suggested to an editor of that annual Poets & > > Writers compilation of poets and fiction writers that they add critics > > but she felt it'd be too much work. Apparently they are under-staffed. > > > > I believe we have way too many poets and way too few critics. And > > vastly too little real poetry criticism--and not even ample reviews of > > poetry. > > > > --Bob G. ========================================================================= Date: Fri, 10 Mar 2000 18:26:02 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Rachel Loden Subject: "The sea is awash with roses" MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit The sea is awash with roses O they blow Upon the land The still hills fill with their scent O the hills flow on their sweetness As on God's hand O love, it is so little we know of pleasure Pleasure that lasts as the snow But the sea is awash with roses O they blow Upon the land --Kenneth Patchen Miriam Patchen (1915?-2000) ========================================================================= Date: Sat, 11 Mar 2000 10:05:36 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Rebecca Wolff Subject: Re: critics/commodities In-Reply-To: <200003110506.AAA05622@halo.angel.net> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" I'm curious, Brian, to know what you think about this same argument as it might apply to publishing poetry in literary journals in general. As evidenced or at least stated last night at the first night of Issue Zero, the lit mag conference organized by Brendan Lorber here in New York City, there is a parallel idea or belief that the smaller, less glossy, and more "community"- or coterie-oriented the publication, the somehow healthier for the state of the art in general. I felt funny hearing/watching this claim being made, as editor of a journal (Fence) whose conception and continued aim inheres with an involvement with mainstream everything. The argument against Fence's validity as a credible organ for dissemination of poetry being that it is "coopting" or diluting or superficializing experimental poetries' political raisons d'etre for mainstream gloss patronage by juxtaposing experimental poetries with what I sometimes call idiosyncratic poetries, i.e., poetry that is excellent in some way and that is not easily recognizable as having been raised in any particular camp. My interest in poems is not in their community-based rightness but in my apprehension of them on a page. 'Spose that's largely a removal from social context, but not if you believe that the page is part of that context, and that the culture of readership is one of consumerism--at least in terms of print magazines. Such that there is the hope of "changing people's minds" on all sides of the . . . umm . . . wall. Just wondering if you--or anyone out there--see any relationship between these things. Brian Lennon said: "There are really talented new poet-critics out there --- I think of Katy Lederer, Jen Hofer, and Summi Kaipa b/c I know them, and Brian Kim Stefans b/c I see his name everywhere --- but how many more there must be --- who I wish would move into more of the mainstream publications, where their writing might change people's minds. Yes, there's the risk of watching them commoditize your dissent; but criticism that preaches to the converted is going nowhere." ========================================================================= Date: Mon, 13 Mar 2000 13:38:17 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Poetics List Subject: / todd baron MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit This message came to the administrative account. Chris ---------- Forwarded Message ---------- Date: Sat, Mar 11, 2000 9:33 AM -0800 From: todd baron dear remap contributors. (and sorry to all others) A computer crash and subsequent new computer purchase has seemingly played havoc with addresses for you all. I have tried to contact some of you personally--but alas! I need addresses for Laura Morriarity Chris Reiner Paul Hoover If you all are "listening" it would help to e-mail me at toddbaron@earthlink.net thanks for all considerations and ears. ========================================================================= Date: Mon, 13 Mar 2000 13:39:18 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Poetics List Subject: O Books Reading and Party March 18 at Modern Times / Scalapino MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit This message came to the administrative account. Chris ---------- Forwarded Message ---------- Date: Sat, Mar 11, 2000 12:47 PM -0800 From: Leslie Scalapino O Books Reading and Party at Modern Times Bookstore (888 Valencia Street in San Francisco) on Saturday, March 18, 7:30 PM. Readers will be Robert Grenier, Laura Moriarty, Norma Cole, Lisa Samuels, Leslie Scalapino, and Camille Roy. Please come and celebrate 14 years of O Books publishing. Eat cake with us. ========================================================================= Date: Sat, 11 Mar 2000 13:03:46 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: David Bromige Subject: Re: FW: Ad yr favorite critic In-Reply-To: <20000310082946.MNOX5318.mtiwmhc22.worldnet.att.net@[12.72.64.100]> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" > >Some Critics >(off the top o' my head) >who write about 20th C. poetry/poetics in interesting and well-circulated >(well, at least available) pubs: >Aldon Nielsen >Michael Davidson >Nathaniel Mackey >Maria Damon >Bob Perelman >Charles Bernstein >Charles Altieri >Tyrus Miller >Harryette Mullen >Robert Kaufman >Albert Gelpi >Rachel Blau Deplessis Peter Quartermain Kathleen Fraser Ron Silliman Barrett Watten Robert Grenier Leslie Scalapino Nick Piombino Robin Blaser George Bowering Steve Fredman Jerome McGann Marjorie Perloff Steve McCaffery Robert Sheppard Mark Wallace Steve Evans ========================================================================= Date: Sat, 11 Mar 2000 14:44:31 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Elizabeth Treadwell Subject: my very silly gender story Comments: cc: working-novelists@onelist.com Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Catalog of Theory *Cliff Notes for J. Crew They were running on the beach and so shoreline happy in love. They were sitting on the patio and so daylight drinking lemonade or an evening Updike martini. They had a new baby on the storefront all in white. She was laughing so hard because she had a new sweater and was so happy in love. *Cliff Notes for Women's Wear Daily Theorem of standing alone glacially. Theorem of exposed thighs. Theorem of (Woman's Day) hamburger helper delight. Theorem of post theorem of standing alone spatially or satiated. *Theorem of Penthouse She was simply amazingly amazed and overcome simply with how many times her blankety blank could unfold or curve. ___________________________________________ Elizabeth Treadwell Double Lucy Books & Outlet Magazine http://users.lanminds.com/dblelucy ========================================================================= Date: Sat, 11 Mar 2000 19:37:05 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: David Bromige Subject: Re: The Apocalyptic Jubilee Band In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" > > > This Monday, March 13th at the Living Room,10:30 p.m.! > corner of Stanton and Allen, 533-7235 folks, dont forget that we may not live in yr community. Please post which city. thanks, david ========================================================================= Date: Sun, 12 Mar 2000 09:25:01 +0000 Reply-To: archambeau@lfc.edu Sender: UB Poetics discussion group From: Robert Archambeau Organization: Lake Forest College Subject: Re: Perloff/Vendler/Scharf/Burt Panel in New York MIME-version: 1.0 Content-type: text/plain; charset=us-ascii Content-transfer-encoding: 7bit Brian's point about poetry criticism being there if you look for it, in both the small press and some mid-circulation publications, strikes me as valid. But the small press seems to me to lag a bit in this department, and there seems to me to be less criticism of a larger-than-review scale than there could be. Think of all the poetry magazines out there, and how many of them don't even carry reviews, let alone more ambitious essays about poetry, poetics, and the scenes, events and institutions that give poetry its contexts. One of the reasons for starting Samizdat last year was to make a forum for many different kinds of prose about poetry: reviews, editorials, longer essays on the poets we print, and reports on poetry scenes around the world. There are some journals doing similar work (the Electronic Book Review, for example, and John Tranter's always-amazing Jacket, to name the online outlets), but I wish there were more. The genre I'd really like to see more of is the essay that reviews a bunch of poets at once, and puts them into some kind of context. Michael Anania said that a "curious silence" surrounds American poetry, and part of that silence comes from not putting the poets into conversation with one another, as this kind of review can do. Well, back to my jet-lagged coffee swilling, my two cents spent and my phone ringing. Bob ------- Robert Archambeau Lake Forest College http://www.lfc.edu/~archamb/ ========================================================================= Date: Sun, 12 Mar 2000 14:05:43 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Ramez Qureshi Subject: Report requests MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Dear Listees: For those in the NYC area. I was unable to make the Issue Zero magazine conferece, and will be unable to attend the exciting Perloff-Vendler showdown this Wednesday. Will someone (the more the merrier) please be so kind and generous as to discuss the issues raised/that will be raised at these two interesting events. With GREAT thanks in advance, Ramez ========================================================================= Date: Sun, 12 Mar 2000 15:29:06 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Steve Shoemaker Organization: Wake Forest University Subject: Boston scene MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Looks like I'll be moving to Boston in August so if any kind, generous folks can give me some tips on the scene, front or backchannel, I'd appreciate it. I know various Boston-related stuff has floated by on this list, even recently, but I wasn't paying close enuff attention since i wasn't sure where i was going until just recently. Sounds like Jamie Crawford's website, when it's done, will be a good place to start poetry-wise, but I'd love to hear from anyone about poetry, mags, books, music, food, galleries, neighborhoods, where to spot the CarTalk guys, etc. thanks, steve ========================================================================= Date: Mon, 13 Mar 2000 13:43:07 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Poetics List Subject: Invitation to exhibit/ Edible book high tea - Melbourne / Tony Green MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit This message was forwarded to the administrative account. Chris ---------- Forwarded Message ---------- Date: Mon, Mar 13, 2000 9:56 AM +1300 From: Tony Green -----Original Message----- From: stiffe To: Australian Contemporary Art Mailing List Date: Sunday, 12 March 2000 10:00 Subject: Invitation to exhibit/ Edible book high tea - Melbourne Australian Contemporary Art Mailing List - http://www.arts.monash.edu.au/visarts/globe/ghome.html The First International Edible Book Tea will take place on 1 April 2000 in artist book centers and with book lovers throughout the world. For this High/Low Tea, all works of art must be edible and have something to do with books! Each participating group or individual is responsible for its/his/her own audience and website. From 2 - 4 p.m. in your respective time zone, you will sip High/Low Tea while viewing the edible exhibit. At 4 p.m., you will photograph the work and eat it too. Two copies of each participant's menu must be laminated and preserved. The pictures of the books and menus have to be sent to the Central Archive in Santa Monica:, P.O. Box 3640, Santa Monica, CA 90408. A description and links of all participants around the world will be available at Books2eat website http://www.geocities.com/books2eat/ Papermakers of Victoria is hosting a Melbourne high tea which will be held at Currawong Bush Park, Reynolds road, Doncaster from 4pm-6pm. For a map see http://home.vicnet.net.au/~papervic/high.html. If you wish to participate in this event please contact Gail Stiffe stiffe@bluep.com. There will be a charge of $10 for entry which will cover documentation and lamination costs. ====================== Gail Stiffe, Melbourne, Australia ================================================ Website for Hands on Paper http://www.bluep.com/~stiffe ================================================ Papermakers of Victoria http://home.vicnet.net.au/~papervic ================================================== Victorian Bookbinders Guild http://home.vicnet.net.au/~bookbind ====================================================== ______________________________________________________________________ To unsubscribe, write to acam-unsubscribe@listbot.com Start Your Own FREE Email List at http://www.listbot.com/links/joinlb ========================================================================= Date: Fri, 10 Mar 2000 12:47:52 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Nielsen, Aldon" Subject: Re: evil twins In-Reply-To: <38C87D4A.8B073F2B@duke.edu> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" David Kellogg and Aldon Nielsen: both read poetry closely both participate in circles of disbelief both attended EASTERN universities both read _WHAT IS A POET?_ and still wondered what the answer to the question was have appeared in the same questionable journal not only with one another BUT WITH MARJORIE PERLOFF both buy drinks with their own money at the Marxist Cash Bar of the MLA both think Helen Vendler is a symptom of something both thought "Yasusada" was something drunken southerners called you as an insult AND the only time anyone has ever seen them together, they were in the same room! coincidence? perhaps . . . ========================================================================= Date: Fri, 10 Mar 2000 16:39:30 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Kyle Conner Subject: HIGHWIRE READING 3/18 Comments: To: abdalhayy@aol.com, aberrigan@excite.com, abirge@nimbus.ocis.temple.edu, agil@erols.com, allison_cobb@edf.org, ALPlurabel@aol.com, amorris1@swarthmore.edu, Amossin@aol.com, apr@libertynet.org, avraham@sas.upenn.edu, ayperry@aol.com, Babsubus@aol.com, baratier@megsinet.net, bcole@nimbus.ocis.temple.edu, bdowns@columbiabooks.com, Becker@law.vill.edu, bette343@hotmail.com, BMasi@aol.com, bochner@prodigy.net, booglit@excite.com, BrianJFoley@aol.com, BStrogatz@aol.com, cahnmann@dolphin.upenn.edu, chris@bluefly.com, Chrsmccrry@aol.com, coryjim@earthlink.net, Cschnei978@aol.com, daisyf1@juno.com, danedels@sas.upenn.edu, dburnham@sas.upenn.edu, dcpoetry@mailcity.com, dcypher1@bellatlantic.net, DennisLMo@aol.com, DROTHSCHILD@penguinputnam.com, dsilver@pptnet.com, dsimpson@NETAXS.com, ejfugate@yahoo.com, ekeenagh@astro.ocis.temple.edu, eludwig@philadelphiaweekly.com, ENauen@aol.com, ErrataBlu@aol.com, esm@vm.temple.edu, Feadaniste@aol.com, fleda@odin.english.udel.edu, Forlano1@aol.com, FPR@history.upenn.edu, fuller@center.cbpp.org, GasHeart@aol.com, gbiglier@nimbus.ocis.temple.edu, gmarder@hotmail.com, gnawyouremu@hotmail.com, goodwina@xoommail.com, HighwireGallery@aol.com, hstarr@dept.english.upenn.edu, hthomas@Kutztown.edu, icepalace@mindspring.com, insekt@earthlink.net, ivy2@sas.upenn.edu, jeng1@earthlink.net, jennifer_coleman@edf.org, jimstone2@juno.com, jjacks02@astro.ocis.temple.edu, JKasdorf@mcis.messiah.edu, JKeita@aol.com, jlutt3@pipeline.com, jmasland@pobox.upenn.edu, JMURPH01@email.vill.edu, johnfattibene@juno.com, josman@astro.ocis.temple.edu, jschwart@thunder.ocis.temple.edu, jvitiell@nimbus.ocis.temple.edu, jwatkins@unix.temple.edu, kelly@dept.english.upenn.edu, Kjvarrone@aol.com, kmcquain@ccp.cc.pa.us, kristing@pobox.upenn.edu, ksherin@dept.english.upenn.edu, kzeman@sas.upenn.edu, lcabri@dept.english.upenn.edu, lcary@dept.english.upenn.edu, leo@isc.upenn.edu, lgoldst@dept.english.upenn.edu, lisewell@worldnet.att.net, llisayau@hotmail.com, lorabloom@erols.com, lsoto@sas.upenn.edu, lstroffo@hornet.liunet.edu, MARCROB2000@hotmail.com, marf@NETAXS.com, matthart@english.upenn.edu, Matthew.McGoldrick@ibx.com, mbmc@op.net, melodyjoy2@hotmail.com, mgpiety@drexel.edu, mholley@brynmawr.edu, michaelmccool@hotmail.com, miyamorik@aol.com, mmagee@dept.english.upenn.edu, mnichol6@osf1.gmu.edu, mollyruss@juno.com, mopehaus@hotmail.com, MTArchitects@compuserve.com, mwbg@yahoo.com, mytilij@english.upenn.edu, nanders1@swarthmore.edu, nawi@citypaper.net, odonnell@siam.org, penwaves@mindspring.com, pla@sas.upenn.edu, poetry4peeps@hotmail.com, putnamc@washpost.com, QDEli@aol.com, rachelmc@sas.upenn.edu, rdupless@vm.temple.edu, rediguanas@erols.com, repohead@rattapallax.com, richardfrey@dca.net, robinh5@juno.com, ron.silliman@gte.net, SeeALLMUSE@aol.com, sernak@juno.com, Sfrechie@aol.com, singinghorse@erols.com, stewart@dept.english.upenn.edu, subpoetics-l@hawaii.edu, susan.wheeler@nyu.edu, SusanLanders@yahoo.com, swalker@dept.english.upenn.edu, Ron.Swegman@mail.tju.edu, Tasha329@aol.com, tdevaney@brooklyn.cuny.edu, thorpe@sas.upenn.edu, tosmos@compuserve.com, travmar03@msn.com, twells4512@aol.com, upword@mindspring.com, v2139g@vm.temple.edu, vhanson@netbox.com, vmehl99@aol.com, wh@dept.english.upenn.edu, wvanwert@nimbus.ocis.temple.edu, wwhitman@libertynet.org, ywisher@hotmail.com, zurawski@astro.temple.edu MIME-Version: 1.0 Content-Type: text/plain; charset=US-ASCII Content-Transfer-Encoding: 7bit Come back to Highwire... D A V I D B A R A T I E R M A R A L Y N L O I S P O L A K This is going to be one powerhouse reading HIGHWIRE GALLERY, 139 N. 2nd St. (above NEXUS) Philadelphia Saturday, March 18, 8PM AND...Please bring your used clothing to donate to Poetry for the People's clothing drive! They are particularly interested in good clothing that could be worn to a job interview, though they will accept anything that's in fairly good condition. There will be representatives from PFTP at Highwire readings throughout April collecting clothing. Please support this great initiative to help people in shelters better their condition by finding work! DAVE BARATIER is a poetry dynamo. He has so many projects going, you'd think he was a cottage industry. Most recently, his chapbook THE FALL OF BECAUSE was published by Pudding House Press. He resides in Columbus, OH, where he hosts a reading series and where his PAVEMENT SAW Press and journal is based. He has a new prose novel coming out on Spuyten Divil Press. His incisive interview with poet Simon Perchik is published in the on-line journal JACKET. MARALYN LOIS POLAK is the self-proclaimed 'Bitch Goddess of the Philadelphia Poetry Scene.' We don't yet know what this means. What we do know is that she is very active as a poet, writer and performer in Philadelphia. She has performed one-woman shows in two previous Fringe festivals and is the author of The Writer As Celebrity: Intimate Interviews, Facing the Music, El Otro Lado, Horse Slaves, and The Bologna Sandwich and Other Poems of LOVE and Indigestion. POEMS **************************************************************** THE POETRY CAPITANOS Live up the black, crashing parties in their chartreuse sweatshirts, with the biggest bats of meaning, megaphones of mystery. Abruptly, gossiping about theory dissipates and Joe gets smacked upside the head for those who are tackling a darkness are reprimanding utterances severed from context. The scholars, in strict literary fashion, dampen our discourse on flora and weather beaten properties until we seek refuge in the kitchen talking about dishwashing jobs and how cooking preserves. -Baratier from PORN 2. SWEPT AWAY Then I developed my theory of feminist porn: to a strong woman, NOTHING could be more titillating-- more pornographic-- than being subjugated by an even stronger man. That was why Lina Wertmuller's film "Swept Away" swept ME away in a moist pool of experience, gave me chils up and down my spine. "Senior Carunchio", the rich woman panted, shipwrecked on a desert island with her social inferior. This was a premise straight out of Shaw, who recognized that the so-called primitive underclass was better eqipped to survive in the middle of nowhere, implying they were probably hornier, and sexier. Addled by lust, the woman sadly learns that her topsy-turvy love would never work In Real Life. -Polak ========================================================================= Date: Sun, 12 Mar 2000 17:51:59 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Kimmelman, Burt" Subject: Re: What becomes a small press? PNY queries MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Dear Stephen Ellis, Enquiring minds want to know, eh? Sorry not to be as forthcoming as you would desire. Now, is your stake in all this brouhaha about PNY your concern for literary history? Or, perhaps you are simply trying to help out an apparently maligned friend. I'm sorry, but your whole line of inquiry (or is it meant as innuendo) -- which calls for some sort of full disclosure on my part, supposedly justified by the caution it would provide to other editors of po mags -- seems to me to be motivated, when you get right down to it, by nothing more or less than an unsated prurience. And frankly, this thread of discussion about PNY's troubles, even as it involves me, strikes me as now turning toward the utterly banal at best. Perhaps if at some point in time Mr. Thilleman's biographer -- or yours, even! -- should need some further clarification as to the how and why of what was the Thilleman-Kimmelman relationship in its entire trajectory from first blush to last snarl, then I'll find within my hard scheming heart that small measure of candor to oblige with some juicy tidbits that would, really, amount to nothing. Burt Kimmelman -----Original Message----- From: Stephen Ellis To: POETICS@LISTSERV.ACSU.BUFFALO.EDU Sent: 3/10/00 8:30 AM Subject: Re: What becomes a small press? PNY queries re: the possible demise of PNY there are extenuating circumstances, probably those Burt K. sd he'd rather not go into detail about. Joint editorship always involves personal wrangles; the PNY tale is maybe more of the same. Tod Thilleman, listed on the intro pg of the latest edition of PNY as Editor, in a post to me a while back mentioned in passing that he'd just completed the next issue, wch wld be his last. About a week later came a mysterious post from Tod saying that he was no longer involved w/ PNY, and all inquiries shld be directed to Burt Kimmelman. At my request for further detail, Thilleman responded that Burt had locked him out of the PNY account, and had slandered him to his face, saying that Tod hadn't answered his email of several days previous, that Tod was drinking and smoking too much, was unstable, what with his being "out of work" for the past three years, had gone off the deep end, and that he (Kimmelman) feared the worst, ie., Tod sleeping in the gutter on the bowery, surrounded by the $500 in the PNY account. Tod sd he responded to this w/ "a tactful letter" saying he was all done. Since to my knowledge, Tod did a considerable portion of the leg work in getting PNY out, his sudden absence may be an additional "reason" for Kimmelman to consider "letting the magazine die." While (lack of) money and time are always essential issues to consider with respect to publishing ventures, personal conflicts, and the ways issues concerning available money and time intensify these, are pretty important considerations in the poetry publishing scene, and, I think, should be onjectified in the same manner - as issues for discourse, not just among those most intimately involved, but for all those whose interests might lead them down similar (troubling) paths. I'm not saying that Kimmelman's response to David Kirschenbaum's questions were dishonest - he DID say changes at PNY were unrelated to "a changing market" - he just didn't take it far enough into the essential personal issues wch, for the good of all those involved in like ventures, could've been addressed more clearly, and in greater detail, since they seem to have been the real "cause" of the current breakdown and/or break out of PNY. S E >From: David Kirschenbaum >Reply-To: UB Poetics discussion group >To: POETICS@LISTSERV.ACSU.BUFFALO.EDU >Subject: What becomes a small press? PNY queries >Date: Tue, 7 Mar 2000 15:15:40 -0800 > >Dear David B., Burt, and listmates, > >Between the two Poetry New York posts, I'm curious as to what is going on, >although, Burt, you mention you'd rather not detail it here. In light of a >recent thread where a litmag ed wondered if they shd continue publishing >and >why, the whys and wherefores of the PNY situation are real relevant to what >goes on in our lit publishing world. (Much of this, I'm sure, will come up >at Issue Zero this weekend and this summer on a publishing panel I'm >organizing for the Third Annual Boston Alternative Poetry Festival.) > >As for letting the magazine die, I've always been one who feels he's a >publisher for life, with a constantly evolving vision for my small press. I >started my press doing local authors chapbooks in Albany, progressed to >doing a general interest zine and national authors chapbooks, and have gone >on to instantzines, litzines, postcards, broadsides, audiotapes and more. > >Maybe it is time for PNY to die, though only you can make that call. But >that don't mean that there isn't some sort of publishing venture that >perhaps isn't more feasible and reflective of where you're at now. > >as ever, >David Kirschenbaum > > > > > >_______________________________________________________ >Get 100% FREE Internet Access powered by Excite >Visit http://freeworld.excite.com ______________________________________________________ Get Your Private, Free Email at http://www.hotmail.com ========================================================================= Date: Mon, 13 Mar 2000 10:08:43 +1100 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: John Tranter Subject: Re: Perloff/Vendler/Scharf/Burt Panel in New York Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed I'd like to print something about this stellar shunt-collision in Jacket magazine; a report, perhaps, and papers therefrom if possible. As Jacket is free, I'm afraid I cannot offer to pay for contributions. Anyone interested? JT from John Tranter, 39 Short Street, Balmain NSW 2041, Sydney, Australia tel (+612) 9555 8502 fax (+612) 9818 8569 Editor, Jacket magazine: http://www.jacket.zip.com.au/welcome.html Homepage: five megabytes of glittering literature, free, at http://www.alm.aust.com/~tranterj/index.html visit Australian Literary Management, at http://www.alm.aust.com/~lyntranter/index.html ========================================================================= Date: Sun, 12 Mar 2000 18:33:40 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group Comments: RFC822 error: Incorrect or incomplete address field found and ignored. From: derek beaulieu Subject: housepress continues to accept submissions MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit housepress continues to accept submissions of: haiku experimental & "alternative" "pataphysics L=A=N=G=U=A=G=E concrete visual sound poetry transcripts B&W illustrations comixs (panels, strips & serials) & just plain damn good writing for possible publication as chapbooks or in various series of ephemera. if yr interested, or if you have something to send, write: derek beaulieu 1339 19th ave nw calgary alberta canada t2m 1a5 housepre@telusplanet.net http://www.telusplanet.net/public/housepre ========================================================================= Date: Mon, 13 Mar 2000 03:47:17 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII - stories about death death is absolutely neutral & one is fated to die & death can come at any time & death is completely random & death is the absolute end & there is nothing beyond death & there is no good way to die & all deaths are equi- valent & all deaths end the same & death kills ghosts & death has no excuses & death has no morals & death has no ethics & death is existence & one cannot prepare for death & all life occurs in life & death is always invisible & life is a withdrawal & death has no movement & death kills worlds & death has no place in the universe & death is universal & death devours death & death is neither subject nor object & death is always tired & death leaves a trail & death leaves a trace & death is traceless & there is no history after death & death is final & death has no stories & death is always absent & there is no death & there is no passage & death is not brutal & death is inconceivable & death has no attributes & ____ ========================================================================= Date: Mon, 13 Mar 2000 09:30:13 -0500 Reply-To: joris@csc.albany.edu Sender: UB Poetics discussion group From: Pierre Joris Comments: To: "British Poets (E-mail)" , "North African Literature and Translation (E-mail)" MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 8bit For anybody in the Albany, NY area, here's a must event, this Wednesday: The New York State Writers Institute, The English and LLC Departments invite you to: A Talk & Poetry Reading (in French & English) by Moroccan Poet Abdellatif Laâbi Wednesday March 15 4 p.m. Assembly Hall Campus Center The University at Albany Abdellatif Laâbi was born in Fès (Morocco) in 1942. In 1966 he founded the literary & political magazine Souffles which will play a major role in the cultural renewal of the Maghreb. His struggle for freedom will land him in jail from 1972 to 1980. Since 1985 he lives in exile in France.Duration Press has just published a “Selected Poems” in English which will be available (a few copies for free!) at the event.Among his many books (all written in French) are: · Le Règne de barbarie. Paris: Seuil, 1980. · Sous le bâillon le poème. Paris: L'Harmattan, 1981. · Le Chemin des ordalies. Paris: Denoël, 1982. · Discours sur la colline arabe. Paris: L'Harmattan, 1985. · L'Ecorché vif. Paris: L'Harmattan, 1986. · Tous les déchirements. Paris: Messidor, 1990 (épuisé). · Le soleil se meurt. Paris: La Différence, 1992. · Le Spleen de Casablanca. Paris: La Différence, 1996. · Fragments d’une genèse oublièe : Editions Paroles d’aube (1998) · Un continent humain; entretiens, textes inédits. Vénissieux: Paroles d'aube, 1997. ________________________________________________________________ Pierre Joris How looking forward and squinting at score 6 Madison Place is an important part of the performance Albany NY 12202 Allen Fisher Tel: (518) 426-0433 Fax: (518) 426-3722 Email: joris@csc.albany.edu Url: ____________________________________________________________________________ _ ========================================================================= Date: Mon, 13 Mar 2000 09:58:08 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Pritchett,Patrick" Subject: Re: Miriam Patchen dies.... MIME-Version: 1.0 Content-Type: text/plain Oh, this is sad news. I remember meeting her three summers ago at Naropa. It was just after Ronald Johnson had read and many of us had gathered at a restaurant for drinks. I forget now how old she was but she was _quite_ old I believe, and completely lively and beautiful. Aldon Nielsen will recall this, I think, because he was sitting right there, too, but in any event at one point in the long evening she leaned forward toward us and declared brightly, as if unmasking a conspiracy, "I am not the woman in those poems!" Patrick Pritchett ========================================================================= Date: Mon, 13 Mar 2000 10:36:56 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: MAYHEW Subject: Perloff/Vendler Comments: cc: kellogg@DUKE.EDU MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII David K writes: "they both are basically close readers; they both defend poetry's continued and specifically AESTHETIC vitality; they both think poetry's better than most other forms of cultural production and "believe" in it, high-art style; they both in their different ways offer "circles of belief" about poetry (to misuse Bourdieu for a moment); and they both are more or less hostile and/or resistant to political, social, and other non-aesthetic approaches to poetry." I respectfully disagree: 1. Perloff and Vendler are close readers in antithetical ways. Perloff is a formalist and Vendler is a New Critic. Also, there is no other way of reading poetry. "Distant reading" just doesn't cut it. 2. The choice of authors read is not inconsequential, it goes beyond "taste." Does it really make no difference if the text studied is by John Cage or James Merrill? Is the aestheticism of these two prominent critics the same, then? What does a "non-aesthetic" approach to poetry look like, anyway? Does any concern with the social or political drive out the aesthetic by definition? (or vice-versa?) This statement also ignores the extent to which Perloff does in fact contextualize poetry in its social and historical milieu. 3. Is it really true that Perloff believes poetry to be "better" than music, art, cinema, drama, the novel? I've never seen her make a statement to that effect. As far as "believing" in poetry, sure. It would be pretty absurd for someone to devote an entire lifetime to something without some sort of conviction as to its importance. The same goes for Vendler. But I don't think their "style" of belief is identical either. 4. So Vendler and Perloff are not really "all that different"--they are both influential critics who write a lot of books out of strong belief systems about poetry and oppose certain forms of socio-political criticism, though not necessarily for the same reasons. Jonathan Mayhew jmayhew@ukans.edu _____________ ========================================================================= Date: Mon, 13 Mar 2000 12:23:03 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Stefans, Brian" Subject: Little Review: Writing Class: The Kootenay School of Writing Anth ology Mime-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Writing Class: The Kootenay School of Writing Anthology edited by Andrew Klobucar and Michael Barnholden New Star Books $16, paper ISBN: 0--921586--68--X The KSW was, and continues to be, a grassroots organization in all senses of the word; shunning any sort of professionalism and codification of attitudes, and opting instead for an "anarcho-syndicalist" model of community, this group of experimental -- and highly political -- poets has formed something of the the underskin to Vancouver aeshetic radicalism since the mid-1980s. As the informative introduction by the editors states, the school surfaced as a response to the closing by British Columbia's right-wing Social Credit government of the David Thompson University Centre in Nelson, a small city that had, since the 19th-century (when the Doukhobors, a Russian radical spiritualist sect, settled there) a reputation for progressive, even utopian, attitudes. Started by writers such as Gary Whitehead, Calvin Wharton and Jeff Derksen (who has since become an important Canadian critic as well as poet), the school forged early, however troubled, ties with radical labor movements in Vancouver, most notably with the Wobblies. The writers themselves found inspiration in the New American poetics of the sixties (channeled through the Tish school of Canadian poets), but later made a turn toward "Language writing" techniques, though always maintaining a distinctive refusal to assimilate into any sort of literary or academic culture. Indeed, the "class" of this book's title leans more toward this forging of identity against the mainstream -- as a self-conscious "class" of writers -- than anything to do with "workshops" and preparations to fame. Such fruitful, long-term community radicalism is rare; indeed, testament to the anti-authoritarian nature of the group is the sub-group, "The Giantesses," formed by women writers -- such as Lisa Robertson and Catriana Strang -- who were troubled by the KSW's male hegemony. This anthology doesn't include theoretical or descriptive statements by the poets, which is unfortunate, though little theory, in fact, was produced; the members felt that published "discourse," even manifestos, played into the norms of class rule. The poetry, however, by relative unknowns such as Gerald Greene (a intricate, long poem called "Resume" [i.e. the document with your work history on it, not the verb]), Peter Culley (elegant social-pastorals such as "Winterreise"), Kevin Davies (the bracket-within-brackets section of his book Pause Button), Kathryn Mcleod (technically hardcore and dazzling work, like "The Infatuation"), Dan Farrell's entire "Thimking of You" (long out of print) and Dorothy Trujillo Lusk's sand-blasting "Oral Tragedy," along with excellent work by Robertson and Derksen, are bound to pique interest in this distinctly West Coast phenomenon. The question, of course, is if the language of an activist, radical, at times abrasive, group is taken out of the contingencies of its immediate situation, can the poems achieve the effects intended, that of rearticulating and rendering visible the toxicities of class relations, or will they retreat into the history of literature, as the secret hobbies of a learned social strata? Writing Class doesn't answer this question, but nonetheless it is a call-to-arms in the wilds of contemporary times in which commerce has superceded community as our main "moral" interest, both on this continent and abroad. This book, more than any anthology of "avant-garde" American poetry produced in the States recently, fulfills the promise of Donald Allen's seminal New American Poetry, bringing as it does a truly secret, unacknowledged and often masterful group of subversive works into the light. ========================================================================= Date: Mon, 13 Mar 2000 14:07:16 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Poetics List Subject: Ronald Johnson Conference @ SUNY Buffalo MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: quoted-printable What follows is the updated schedule (as of Friday last) for the Ronald Johnson Conference, which will be taking place this week in Buffalo. Queries may be directed to the conference organizer, Joel Bettridge, whose email address appears below. Chris % Christopher W. Alexander % poetics list moderator -- Date: Fri, Mar 10, 2000 4:47 PM -0500 From: Joel M Bettridge Panels, Readings and etc=85 =3DWednesday, March 15=3D Poetry Reading by Ron Silliman (Wed@4 event, CFA Screening Room, 4:00pm) =3DThursday, March 16=3D "Remembering Ronald Johnson" (at Cornershop, 8:00pm) Talk by Robert Creeley =3DFriday, March 17=3D All panels will be held in the Rare Books/Poetry Collection on the North Campus of SUNY Buffalo CATERED BREAKFAST (9:00am - 9:35) & Opening by Joseph Conte Utterance and Soundscape (9:45am - 11:15am) Chair: Graham Foust 1. Patrick Pritchett 2. Gerald Schwartz 3. Jonathan Skinner Johnson and Leibniz and Bronk and Ives (11:30am - 1:00pm) Chair: Joel Bettridge 1. Andrew Sutherland 2. Mark Scroggins 3. Ed Foster LUNCH BREAK Vision and its Material (2:30pm - 4:00pm) Chair: Linda Russo 1. Anna Reckin 2. Peter O'Leary 3. Mike Basinski =3DSaturday, March 18=3D CATERED LUNCH (12:00pm - 1:00pm) After ARK & RADI OS (1:00pm - 2:30pm) Chair: Jonathan Skinner 1. Paul Naylor 2. Logan Esdale 3. Nick Lawrence All About ARK (2:45pm - 4:15pm) Chair: Nick Laudadio 1. Theodor Humphrey 2. Pierre Joris 3. Eric Selinger Poetry Reading at Rust Belt Books (8:00pm) Ed Foster Pierre Joris Peter O'Leary Patrick Pritchett ========================================================================= Date: Mon, 13 Mar 2000 13:53:59 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: David Kellogg Organization: Duke University Subject: Re: evil twins MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit "Nielsen, Aldon" wrote: > David Kellogg and Aldon Nielsen: > > both read poetry closely > both participate in circles of disbelief > both attended EASTERN universities > both read _WHAT IS A POET?_ and still wondered what the answer to the > question was > have appeared in the same questionable journal not only with one another > BUT WITH MARJORIE PERLOFF > both buy drinks with their own money at the Marxist Cash Bar of the MLA > both think Helen Vendler is a symptom of something > both thought "Yasusada" was something drunken southerners called you as an > insult > > AND the only time anyone has ever seen them together, they were in the same > room! > > coincidence? perhaps . . . Aldon, this is pretty scary. But I already have a twin. And since he works for a biotechnology company, he is by definition an evil twin. David Kellogg kellogg@duke.edu Duke University, University Writing Program (919) 660-4357 ========================================================================= Date: Mon, 13 Mar 2000 14:10:43 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Joel M Bettridge Subject: Events for Ronald Johnson Conference this week in Buffalo MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Wednesday, March 15 Poetry Reading by Ron Silliman (Wed@4 event, CFA Screening Room, 4:00pm) Thursday, March 16 "Remembering Ronald Johnson" (at Cornershop, 8:00pm, 82 Lafayette, Buffalo) Talk by Robert Creeley Friday, March 17 (all panels will be in the Poetry and Rare Books Library on UB's North Campus) CATERED BREAKFAST (9:00am - 9:35) & Opening by Joseph Conte Utterance and Soundscape (9:45am - 11:15am) Chair: Graham Foust 1. Patrick Pritchett 2. Gerald Schwartz 3. Jonathan Skinner Johnson and Leibniz and Bronk and Ives (11:30am - 1:00pm) Chair: Joel Bettridge 1. Andrew Sutherland 2. Mark Scroggins 3. Ed Foster LUNCH BREAK Vision and its Material (2:30pm - 4:00pm) Chair: Linda Russo 1. Anna Reckin 2. Peter O'Leary 3. Mike Basinski Saturday, March 18 CATERED LUNCH (12:00pm - 1:00pm) After ARK & RADI OS (1:00pm - 2:30pm) Chair: Jonathan Skinner 1. Paul Naylor 2. Logan Esdale 3. Nick Lawrence All About ARK (2:45pm - 4:15pm) Chair: Nick Laudadio 1. Theodor Humphrey 2. Pierre Joris 3. Eric Selinger Poetry Reading at Rust Belt Books (8:00pm) Ed Foster Pierre Joris Peter O'Leary Patrick Pritchett ========================================================================= Date: Mon, 13 Mar 2000 12:07:44 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: charles alexander Subject: Re: FW: Ad yr favorite critic In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" and Hank Lazer Marjorie Perloff At 02:32 PM 3/10/00 -0600, you wrote: >>Some Critics >>(off the top o' my head) >>who write about 20th C. poetry/poetics in interesting and well-circulated >>(well, at least available) pubs: >>Aldon Nielsen >>Michael Davidson >>Nathaniel Mackey >>Maria Damon >>Bob Perelman >>Charles Bernstein >>Charles Altieri >>Tyrus Miller >>Harryette Mullen >>Robert Kaufman >>Albert Gelpi >>Rachel Blau Deplessis >> > >Susan Howe > > > >--------------------------------------------------------------------------- >Judy Roitman | "Whoppers Whoppers Whoppers! >Math, University of Kansas | memory fails >Lawrence, KS 66045 | these are the days." >785-864-4630 | >fax: 785-864-5255 | Larry Eigner, 1927-1996 >---------------------------------------------------------------------------- >http://www.math.ukans.edu/~roitman/ >---------------------------------------------------------------------------- > > ========================================================================= Date: Mon, 13 Mar 2000 12:26:19 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: charles alexander Subject: jonathan brannen Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Does anyone have the current email address for Jonathan Brannen? I need it soon, and don't like to ask for it this way, but . . . Thank you, Charles Alexander chax@theriver.com ========================================================================= Date: Mon, 13 Mar 2000 14:28:44 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Kristin Dykstra Subject: Re: poetry in translation (was Re-map query/Baron) MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit --On Tuesday, February 29, 2000, 2:26 PM -0600 MAYHEW wrote: > 3) What purpose does, or should, the publication of works in > translation have, if any. what purpose does photography have? I am thinking about Orvell's study, _The Real Thing_, in which he makes note of the Victorian fascination not only with exactness/replication but distortion/alteration in the new medium of photography. similar poles seem to run through most commentaries on translation: (1) the value of an exactness already impossible in the act of translation (who said that literature is by definition untranslatable? apologies if that was posted already)--i.e. the value of the attempt to "reproduce" the original; (2) the value of the translator's separate production in a different place and time. I have just been looking in Xcp4 at "The Guest of Literature: The Issue of Hospitality in Literary Translation," by Piotr Gwiazda. It opens with Blanchot's remark, "We do not see why the act of the translator should not be appreciated as the quintessential literary act, one which proposes that the reader remain ignorant of the text it reveals to him and from which his ignorance will not distance him. Instead, it will bring him closer by becoming active, by representing to him the great interval that separates him from it." Gwiazda notes "the deep difficulty of accepting translation as a distinct type of literature," then comments, "Blanchot's words propose a displacement of translation from the shadow of literature, or rather the shadow *between* literatures, where it looms as both familiar and alien, close and remote, welcome and unwelcome; where it sojourns as a guest. Translation implies an almost political process of balancing and negotiation; a transfer; a difference." Gwiazda frames the rest of the essay around the way that readers approach translation suspiciously--with "the vigilance which is not unlike the typical treatment of a stranger, a foreigner, and most of all--a guest." --an interesting piece & worth looking up, anyway ========================================================================= Date: Mon, 13 Mar 2000 12:50:37 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Karen Kelley Subject: Re: Ronald Johnson Conference @ SUNY Buffalo MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Please, attendees--post something about this event for those of use who can't go. ----- Original Message ----- From: Poetics List To: Sent: Monday, March 13, 2000 11:07 AM Subject: Ronald Johnson Conference @ SUNY Buffalo What follows is the updated schedule (as of Friday last) for the Ronald Johnson Conference, which will be taking place this week in Buffalo. Queries may be directed to the conference organizer, Joel Bettridge, whose email address appears below. ========================================================================= Date: Mon, 13 Mar 2000 12:24:04 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: David Bromige Subject: Re: my very silly gender story In-Reply-To: <200003112244.OAA24539@lanshark.lanminds.com> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" congratulations, Elizabeth. This is found language with a vengeance. Love it. David ========================================================================= Date: Mon, 13 Mar 2000 12:36:52 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: David Bromige Subject: E-ddress for paul naylor? In-Reply-To: <763762.3161943558@poetrygrad1.lib.buffalo.edu> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" anyone? please b-c. than ks, david ========================================================================= Date: Mon, 13 Mar 2000 15:41:33 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Daniel Kane Subject: good poetry site MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII in my own 'umble opinion, the poet interview series on www.writenet.org is unbelievably spectacular. you'll find it at http://www.writenet.org/poetschat/poetschat.html ========================================================================= Date: Mon, 13 Mar 2000 16:34:07 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Stefans, Brian" Subject: Re: critics/commodities Mime-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Well, I'll pipe in since the name has been mentioned (and I am beginning to lose track which Brian is meant -- nice to know the age of Brians has survived glam). I do hope to write for more "mainstream" journals on the things I'm interested in, but don't really have the time, frankly, to do the job very well, and my only goal in writing for these journals/magazines would be to present some not-yet-uttered perspective on things, new and old, and some degree of depth but, as well, in a language that is both appealing and detailed, transformative, and not highbrow and oriented toward merely revising extant opinions on things for the sake of it -- which is to say in a way literary criticism is generally not written, I feel. I don't have that language myself, but think it could be done and is worth the effort. I'm not polemical by nature, believe it or not (I think I am read as a polemecist, but that's because, in some ways, some of the things I write tap into other people's deep-seated ideological notions, notions which they don't choose, or are unable, to recognize); I'm more of a diplomat, I think, but like to stir things up anyway, for fun, and get people talking if possible. I don't, however, think that the little magazines, or the poetics list, are lesser forums for poetry criticism -- quite the opposite, I feel if I were to write some fabulous essay for some glossy journal that cost $10 and which might not be of any other interest to me except for a poem here or there, and most of which is bosh, I would end up having to xerox my fabulous essay just to get it read, because I would never ask them to buy it; consequently, I would be signalling my approval of the editorship of said magazine, or maybe the contents, and hence in a way the status quo, which is not something I'd like to do. So the pressure, then, would be to write something very controversial for said glossy journal, with the hopes that it would cause a stir and people would go out and buy their only issue of, say, Parnassus: Poetry in Review, just to see what said tyro (in this case, me, but it could be anyone) wrote. To write a rather tame, coherent and nice thing for that journal would be to condemn oneself (in my mind) to more obscurity than to write something interesting on the list, which as far as I can tell is being read by a lot of interesting people -- 867 of whom are Americans! What should really happen, I feel, is that papers like the Village Voice should give a few more pages to really good writing about poetry, and should try to integrate it into their image (or non-image, which is better) of New York and world culture; similar journals in other cities should do the same. But then again, as poets, the only thing we can really think about is how to write poems that have anything at all to do with "today," and in a fashion that is both interesting and upsetting (i.e. can drive them nutty so that they want to know more) to a lot of people, rather than soothing and boring (making them think that, if they don't hurry to get in line for Scream 4, they may have to wait an extra week to see it), which is tough. So the criticism question always ends there, as far as I'm concerned. I actually had this idea, recently, anticipating this panel with Perloff/Vendler et al, that literary criticism was really only a matter of creating myths, whether they be of persons, or of reading styles, or even of meaning, since poetry itself is really just data that, without criticism, would really just be scattered over the terrain with no linkages between them, and which can be approached individually without an apparatus at all, picked up, discarded, etc. I don't think poems take on their talismanic flavour without something of what criticism provides -- either as history or theoretical framework -- though a "time before criticism" is hard to imagine. The "myths" of criticism provide the social glue that lumps poems and poets together, or poems and poems together, or whatever, and is necessary in that way in order to continue public interest when private interest is waning (I even read criticism sometimes, when I'm a little bored with poetry). Of course, "folk" poetries -- like oral poetries or other types of quasi-non-literal poetry, like that of OE, would not fit into this, but they also don't possess that talismanic flavour that we generally feel poems are supposed to have to be "poems." This would be a severe reduction in the idea of the critic's "task," they would be merely story tellers with no claims to greater truths (certainly not in the area of refining aesthetic sensibility, which is what they often think they are doing) -- fine, that's good, hope someone's bothered by it. I also think most of my poems are literary crticism, of sorts. As a last note, I have written longer essays, but they've always appeared in little journals or specialist journals, like Korean Culture. The only people concerned were those I mentioned in the essay. Last last note, I'm only interested in criticism insofar as it concerns ideas for writing poetry. Cheers, Brian ========================================================================= Date: Mon, 13 Mar 2000 17:00:19 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Daniel Bouchard Subject: boston seen Mime-Version: 1.0 Content-Type: multipart/alternative; types="text/plain,text/html"; boundary="=====================_25522239==_.ALT" --=====================_25522239==_.ALT Content-Type: text/plain; charset="us-ascii" Date: Sun, 12 Mar 2000 15:29:06 -0500 From: Steve Shoemaker Subject: Boston scene Looks like I'll be moving to Boston in August so if any kind, generous folks can give me some tips on the scene, front or backchannel, I'd appreciate it. I know various Boston-related stuff has floated by on this list, even recently, but I wasn't paying close enuff attention since i wasn't sure where i was going until just recently. Sounds like Jamie Crawford's website, when it's done, will be a good place to start poetry-wise, but I'd love to hear from anyone about poetry, mags, books, music, food, galleries, neighborhoods, where to spot the CarTalk guys, etc. ***** Steve, First the important stuff: you can spot the office of the Car Talk guys, if not the guys themselves, in Harvard Square looking away from Harvard Yard toward the third floor of the rounded building above the Curious George that ornaments the Wordsworth bookstore. (Don't bother with the bookstore but read all the H.A. Rey you can get your hands on!) The Car Talk office window is labeled "Dewey, Cheatham, and Howe" and I think on Friday nights they play poker there, often with master bookbinder Bob Marshall, whose shop is just down the hall and is an enjoyable and lively place to drop by on a Saturday morning. Below their office is the office of a real estate agent who is president of the cartel of real estate agents in Massachusetts and whom I personally heard testify in the State House to the effect that "no one wants to live near public housing because it brings property values down." His appearance was intended to help defeat a bill that would have provided money for public housing taken from sales of very expensive housing in Cambridge. The bill died in committee. To the credit of the legislators on the panel, they slammed the president/agent for his comments. Above the DC&H office, on the top floor, is an antiquarian bookshop run by the former publisher of the Pym-Randall Press, who is also a Ford Maddox Ford scholar. Very pricey. On Saturdays in the fall, if you know the bookbinder, you can get out onto the roof of the building as the Harvard band goes by. It's not much of a thrill but it's there. Well, that's one building, and I hope I've been helpful. I'll try to write more later. - db ><>>>>>>>>>>>>>>>>>>>>>>>>> Daniel Bouchard Senior Production Coordinator The MIT Press Journals Five Cambridge Center Cambridge, MA 02142 bouchard@mit.edu phone: 617.258.0588 fax: 617.258.5028 <>>>>>>>>>>>>>>>>>>>>>>><>> --=====================_25522239==_.ALT Content-Type: text/html; charset="iso-8859-1" Content-Transfer-Encoding: 8bit Date:         Sun, 12 Mar 2000 15:29:06 -0500
From:         Steve Shoemaker <shoemask@WFU.EDU>
Subject:      Boston scene

Looks like I'll be moving to Boston in August so if any kind, generous folks can give me some tips on the scene, front or backchannel, I'd appreciate it.  I know various Boston-related stuff has floated by on this list, even recently, but I wasn't paying close enuff attention since i wasn't sure where i was going until just recently.  Sounds like Jamie Crawford's website, when it's done, will be a good place to start poetry-wise, but I'd love to hear from anyone about poetry, mags, books, music, food, galleries, neighborhoods, where to spot the CarTalk guys, etc.

*****

Steve,

First the important stuff: you can spot the office of the Car Talk guys, if not the guys themselves, in Harvard Square looking away from Harvard Yard toward the third floor of the rounded building above the Curious George that ornaments the Wordsworth bookstore. (Don't bother with the bookstore but read all the H.A. Rey you can get your hands on!) The Car Talk office window is labeled "Dewey, Cheatham, and Howe" and I think on Friday nights they play poker there, often with master bookbinder Bob Marshall, whose shop is just down the hall and is an enjoyable and lively place to drop by on a Saturday morning. Below their office is the office of a real estate agent who is president of the cartel of real estate agents in Massachusetts and whom I personally heard testify in the State House to the effect that "no one wants to live near public housing because it brings property values down." His appearance was intended to help defeat a bill that would have provided money for public housing taken from sales of very expensive housing in Cambridge. The bill died in committee. To the credit of the legislators on the panel, they slammed the president/agent for his comments. Above the DC&H office, on the top floor, is an antiquarian bookshop run by the former publisher of the Pym-Randall Press, who is also a Ford Maddox Ford scholar. Very pricey. On Saturdays in the fall, if you know the bookbinder, you can get out onto the roof of the building as the Harvard band goes by. It's not much of a thrill but it's there.

Well, that's one building, and I hope I've been helpful.

I'll try to write more later.

- db










><>>>>>>>>>>>>>>>>>>>>>>>>>
Daniel Bouchard
Senior Production Coordinator                           
The MIT Press Journals                          
Five Cambridge Center                   
Cambridge, MA 02142

bouchard@mit.edu
phone: 617.258.0588
  fax: 617.258.5028
<>>>>>>>>>>>>>>>>>>>>>>><>>
--=====================_25522239==_.ALT-- ========================================================================= Date: Mon, 13 Mar 2000 20:10:20 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Ramez Qureshi Subject: Re: Perloff/Vendler MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit In a message dated 3/13/2000 1:55:39 PM Eastern Standard Time, jmayhew@EAGLE.CC.UKANS.EDU writes: << David K writes: "they both are basically close readers; they both defend poetry's continued and specifically AESTHETIC vitality; they both think poetry's better than most other forms of cultural production and "believe" in it, high-art style; they both in their different ways offer "circles of belief" about poetry (to misuse Bourdieu for a moment); and they both are more or less hostile and/or resistant to political, social, and other non-aesthetic approaches to poetry." I respectfully disagree: 1. Perloff and Vendler are close readers in antithetical ways. Perloff is a formalist and Vendler is a New Critic. Also, there is no other way of reading poetry. "Distant reading" just doesn't cut it. 2. The choice of authors read is not inconsequential, it goes beyond "taste." Does it really make no difference if the text studied is by John Cage or James Merrill? Is the aestheticism of these two prominent critics the same, then? What does a "non-aesthetic" approach to poetry look like, anyway? Does any concern with the social or political drive out the aesthetic by definition? (or vice-versa?) This statement also ignores the extent to which Perloff does in fact contextualize poetry in its social and historical milieu. 3. Is it really true that Perloff believes poetry to be "better" than music, art, cinema, drama, the novel? I've never seen her make a statement to that effect. As far as "believing" in poetry, sure. It would be pretty absurd for someone to devote an entire lifetime to something without some sort of conviction as to its importance. The same goes for Vendler. But I don't think their "style" of belief is identical either. 4. So Vendler and Perloff are not really "all that different"--they are both influential critics who write a lot of books out of strong belief systems about poetry and oppose certain forms of socio-political criticism, though not necessarily for the same reasons. >> Close reading is always a good thing, even if you're also bringing in contextual criticism. Yet we all know how slippery a term "formalist" is. Every "New Critic," or neo-New Critic, as the case may be with Vendler, is a formalist, but not vice versa. Although I do know what Mayhew is saying when he writes that Vendler is a "New Critic," whereas Perloff is a "Formalist," I would like the benefit of the mind that came up with this discriminating statement. Could you, Jonathan, elaborate, on Vendler qua "New Critic," versus Perloff qua "Formalist." -Ramez ========================================================================= Date: Mon, 13 Mar 2000 21:01:18 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Kathy Lou Schultz Subject: Re: my very silly gender story Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit Dear Elizabeth, Can I be your biggest fan? If I were, I would be called a groupie, because we commonly come in groups. Unlike lesbians, who come in bunches -- like bananas. One day it occurred to me: I didn't have to marry a rock star, I could BE a rock star. (Insert desired profession or quality here ____ ) For Hilary it didn't work out so good; she still had to marry the president. When I was a girl, I fucked a boy in the ass. And afterward, I was still a girl. When I wore lipstick people smiled at me more and were pleased. ^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^ Kathy Lou Schultz Editor & Publisher Lipstick Eleven/Duck Press http://www.duckpress.org 42 Clayton Street San Francisco, CA 94117-1110 ---------- >From: Elizabeth Treadwell >To: POETICS@LISTSERV.ACSU.BUFFALO.EDU >Subject: my very silly gender story >Date: Sat, Mar 11, 2000, 2:44 PM > >Catalog of Theory > >*Cliff Notes for J. Crew >They were running on the beach and so shoreline happy in love. >They were sitting on the patio and so daylight drinking lemonade or an >evening Updike martini. >They had a new baby on the storefront all in white. >She was laughing so hard because she had a new sweater and was so happy in love. > >*Cliff Notes for Women's Wear Daily >Theorem of standing alone glacially. >Theorem of exposed thighs. >Theorem of (Woman's Day) hamburger helper delight. >Theorem of post theorem of standing alone >spatially or satiated. > >*Theorem of Penthouse >She was simply amazingly >amazed and overcome simply >with how many times her >blankety blank could >unfold or curve. >___________________________________________ >Elizabeth Treadwell >Double Lucy Books & Outlet Magazine >http://users.lanminds.com/dblelucy ========================================================================= Date: Mon, 13 Mar 2000 21:13:58 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Kevin Killian Subject: Dario Argento in San Jose Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" I found God a week ago Thursday, but then it slipped my mind, now I've got it straight again but have forgotten some of the details. But here in San Francisco some of us who love the films of the Italian horror director Dario Argento were terribly excited when we found out that he was to be the guest of honor at the 10th San Jose Film Festival, and was slated to appear, in person, to introduce four of his films on four consecutive days. On March 2nd Pam Lu and I drove down to San Jose, about an hour from downtown San Francisco, and we stopped off at a cute bungalow nearby the theater. There in this cite bungalow live the poets David Larsen and Beth Murray, the only people I know in San Jose (and the editors of the "San Jose Manual of Style" which is a really cool theory journal). They made a lavish Italian dinner and we practiced speaking Italian and then we went to the show (Beth stayed home out of a fore-dained pre-knowledge that she wouldn't like "Suspiria"). The theater was not too crowded and we slipped into our seats quietly, reverential hush. Then I spotted Dario Argento standing in the back of the darkened auditorium, particles of popcorn scented lobby light illuminating the curve of his shoulders and his weird, untamed and greasy hair, now gray, but purple in the light. I squealed because I had seen a god, nudging my companions. "It's him," I breathed. Some San Jose functiunary came on and gave a short civic boosting speech and then brought on "Dario" (as the fans call him, familiarly) and we screamed with pleasure. He is a goofy clownish guy in person, just as odd as the publicity pictures for the past 30 years have suggested, but very sweet and Roberto Benigni, or else this is a strategy to get his savage message past the hearts of the adoring multitudes who love this kind of language play and "how do you say" kind of bumblingitis. I think this the case. If you haven't seen these pictures, imagine an extremely tall, cadaverously spooky looking man with a head the exact shape of a skull, eye burning out of deep-set sockets, --looks like he's been dead for several days. He is horribly creepy, like a gravedigger or zombie, and looks totally cruel and debauched, like the picture of Dorian Gray in the attic. But as I say, in life he is considerablu shorter, plumper and sweeter. Dario gave a short little "thank you" talk and then the lights went down and they showed "Suspiria" in a widescreen print I had never seen before. Pam and I noticed several details right away that you couldn't see in the regular pan and scan TV print we had watched often before, for example, when Jessica Harper first gets off the plane and walks through the airplane terminal right there on her right, striding towards the camera, is none other than Daria Nicolodi, dressed in a fetching 70s style--we cheered, having a perverse love for Daria (who is the former wife of Dario and the lead in several of his mid-career pictures) (not the world's greatest actress, and remarkably plain for a movie star, but an indelible presence of Italian cinema) (and also the co-writer of "Suspiria"). What else, we asked ourselves, had we missed? -- and the answer turned out to be plenty!! I won't bore you all with our group analysis of the film. Either you like it or you hate it but try if you can to imagine our thrill when after the movie ended a compact Monty Woolley type brought Dario back on stage to ask him questions, and then opened up the questions to the audience. I will share the revelations back channel if pressed, but let me think of the top 2 or 3 things he said. "Suspiria," which takes place largely in a scary ballet academy for teens and young people, was originally written to feature children--really young children, say, ten or so, but the producers thought it would be bad taste to have so many children murdered. But his vision triumphed in that he asked all the actors to act as if they were children (which explains why so many of the performances, which we had thought were just sort of "European" and unfocussed, are so brilliant. Also that's why the doorknobs are up so high on all the doors, to further this effect. Check it out! When asked why the animals in his films-- such as the maggots and the seeing eye dog in "Suspiria"--are so much better at acting than his actors, he retorted by claiming that everyone's talking about the "final masterpiece of Kubrick" but that Tom Cruise and Nicole Kidman are nothing more than big Muppets. Animals, he said, are better actors by nature (a Bressonian credo too). At this juncture David sneaked down to the front of the stage and snapped a picture of him with my camera. When the Q & A thing was over, he stayed to sign autographs and have his picture taken with whoever wanted it. We each stood on a little line, no longer than your average line for taking Holy Communion in a Catholic Church, and shook his hand, got our photos signed, clapped him on the back and tried to thank him for coming 18 hours on Alitalia all the way from the "Profondo Rosso" studio in Rome all the way to San Jose. Apparently he thought it *was* San Francisco, but I set him straight. So that's why I've been out of touch . . . Kevin Killian PS Other good films with Daria Nicolodi include "Deep Red," "Tenebrae," "Phenomena" and "Opera"-- you must see her, she's like nothing else in the world and just about indescribable as an icon. ========================================================================= Date: Mon, 13 Mar 2000 14:03:28 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Steve Dickison Subject: ** Mexican Writers DAVID TOSCANA & =?iso-8859-1?Q?M=F3NICA?= =?iso-8859-1?Q?_?= =?iso-8859-1?Q?LAV=EDN?= ** Thurs Mar 16 ** Comments: To: Tina Rotenberg Mime-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable POETRY CENTER 2000 The Poetry Center & American Poetry Archives presents a special reading by Mexican writers DAVID TOSCANA & M=F3NICA LAV=EDN introduced by Juvenal Acosta Thursday afternoon March 16, 4:30 pm, free @ The Poetry Center, SFSU Humanities 512 =3Dx=3Dx=3Dx=3Dx=3Dx=3Dx=3Dx=3Dx=3Dx=3Dx=3Dx=3Dx=3D DAVID TOSCANA's novel Tula Station, new in translation this spring from St. Martin's, has been compared (in Publishers Weekly) to the writings of Julio Cort=E1zar, the young Carlos Fuentes, and Umberto Eco. * He is the author as well of three other novels, and is recognized as one of the most significant young Mexican writers. * A participant (in 1994) in the International Writing Program at the University of Iowa, he lives in his hometown of Monterrey, Nuevo Leon State, in northern Mexico. * M=F3NICA LAV=EDN lives in Mexico City, and is the author of several collecti= ons of short stories, including Cuentos de desencuentros y otros (Stories of misencounters and others, 1986) and Ruby Tuesday no ha muerto (Ruby Tuesday is not dead, 1998)--which won the Gilberto Owen National Literary Prize-as well as two novels. * Ms. Lav=EDn will be in residence at the Banff Center for the Arts during summer 2000, and she's the recipient of a grant from the US-Mexico Fund for Culture to support the production and publication of a new anthology of Mexican fiction writers born in the fifties, forthcoming from City Lights Books of San Francisco. * Mr. Toscana and Ms. Lav=EDn will be introduced by poet JUVENAL ACOSTA. =3Dx=3Dx=3Dx=3Dx=3Dx=3Dx=3Dx=3Dx=3Dx=3Dx=3Dx=3Dx=3Dx=3Dx=3Dx=3Dx=3Dx=3Dx=3Dx= =3Dx=3Dx=3Dx=3Dx=3Dx=3Dx=3Dx=3Dx=3Dx=3Dx=3Dx=3Dx=3D THE POETRY CENTER is located in Humanities 512 on the SW corner of the San Francisco State University Campus, 1600 Holloway Avenue 2 blocks west of 19th Avenue on Holloway take MUNI's M Line to SFSU or from Daly City BART free shuttle or 28 bus Readings that take place at The Poetry Center are free of charge. The Poetry Center's programs are supported by funding from the National Endowment for the Arts, the California Arts Council, Grants for the Arts-Hotel Tax Fund of the City of San Francisco, Poets & Writers, Inc., and The Fund for Poetry, as well as by the Dean of the College of Humanities at San Francisco State University, and by donations from our members. Join us! =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D Steve Dickison, Director The Poetry Center & American Poetry Archives ~ San Francisco State Univers= ity 1600 Holloway Avenue ~ San Francisco CA 94132 ~ 415-338-3401 ~ ~ ~ L=E2 taltazim h=E2latan, wal=E2kin durn b=EE-llay=E2ly kam=E2 tad=FBwru Don't cling to one state turn with the Nights, as they turn ~Maq=E2mat al-Hamadh=E2ni (tenth century; tr Stefania Pandolfo) ~ ~ ~ Bring all the art and science of the world, and baffle and humble it with one spear of grass. ~Walt Whitman's notebook ========================================================================= Date: Mon, 13 Mar 2000 21:58:24 +0100 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Marjorie Perloff Subject: Re: Evil Twins MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii; x-mac-type="54455854"; x-mac-creator="4D4F5353" Content-Transfer-Encoding: 7bit Well, now that I've had a good laugh at Aldon's wonderful post, let me throw my own evil words into this ring: no one so far seems to have noticed how sexist this whole little game is! Why should anyone compare Helen and Me except that we're both ladies of a certain age, and overweight to boot! I noticed that the third person David Kellogg brought into the conversation was Barbara H. Smith--a third woman. Why do I have more in common with HV than with, say, Richard Howard? John Hollander? Cal Bedient? Michael Scharf, whom I don't yet know, said in his article that Helen and I are both "late career professionals." I ask you all: does anyone call Harold Bloom a late-career professional? Or Hillis Miller? Scharf also said Helen and I have a similar career trajectory. For the record, let me clear that one up for anyone who cares, although why should anyone? Helen is Boston Irish Catholic, brought up very Catholic and rebelled against it. I am Jewish, Viennese, a refugee, with strong European ties and hence much more interested in German and French and Italian poetry (also Middle European) than is Helen. Helen went to Harvard but in the early 60s Harvard was very sexist and wouldn't hire her so she taught for years at Boston University. I was a housewife-returnee to school who went to Catholic University in Washington since that was the only place I could go. I was one of the only grad students who wasn't in a religious order but it was kind of fun. However, I had no Ivy league connections of any sort. Unlike Helen, though, I also didn't encounter the sexism she did at Harvard because on the unfashionable circuit I was on, there wasn't much sexism. And so on and so forth. So much for similar career trajectories. About as similar as Donald Davie and me, right? As for reading habits and such, I'll have to leave that up to others. For those interested in my own view, I have a long review essay on Helen's criticism in Contemporary Literature from c. 1985 or so. Incidentally, I didn't know when I was asked to be in this program who else would be in it. So it's not exactly a set up, at least not on Helen's and my part. From Evil Twin Numero Uno. ========================================================================= Date: Tue, 14 Mar 2000 01:26:41 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: phenomenology of cancer MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII - phenomenology of cancer revolution of the body & dispersions, nomadicisms & deregulation economies & descent of time & noise within decoupling systems & chemotherapy univer- sals & radiation and imminence & 'periodically, throughout the year, the volunteers host parties in the unit to celebrate holidays & patients & families are encouraged to participate in these events' & neutrality of intent & into the thing & bewilderment, withdrawal, 'i will give you up' & punishment of the body, pummeling & 'you can always feel free to call the unit at any time' & feeding the cancer, nourishing the cancer & not-eating & not-drinking & patches & morphine & shutting down & knowing it's time to go & what is there within me & what is there beside me & i am talking to the other ___ ========================================================================= Date: Tue, 14 Mar 2000 09:14:02 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Susan Wheeler Subject: Re: POETICS Digest - 10 Mar 2000 to 13 Mar 2000 (#2000-43) In-Reply-To: <200003140510.VAA27901@kestrel.prod.itd.earthlink.net> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" >What follows is the updated schedule (as of Friday last) >for the Ronald Johnson Conference, which will be taking >place this week in Buffalo. Queries may be directed to >the conference organizer, Joel Bettridge, whose email >address appears below. If any on-list participants in this happen to have an extra copy of their papers for this they wouldn't mind sticking in the mail to me at 37 Washington Square West, #10A, NY NY 10011, I'd appreciate it -- and/or posted account? Wish I could be there -- Susan ========================================================================= Date: Tue, 14 Mar 2000 09:20:11 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Susan Wheeler Subject: Perloff/Vendler/Scharf/Burt Shindig Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Vis a vis this discussion, I'm not above instruction -- or prompting. Anything you listees will be/ would be curious to hear them expound on? Susan ========================================================================= Date: Tue, 14 Mar 2000 09:27:17 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Douglas Organization: Sun Moon Books Subject: new books Comments: cc: djmess@sunmoon.com MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit As I get ready to leave for Brazil for poetry readings and a performance of my play there, I thought the group might be interested in new Sun & Moon and Green Integer titles, all available at a 20% discount. Send checks with your order for the price listed plus $1.00 postage per title. Write the checks to Douglas Messerli and mail to 6026 Wilshire Blvd., Los Angeles, CA 90036 New Sun & Moon titles: ATMOSPHERE CONDITIONS by Ed Roberson Noted poet Ed Roberson's new book of poetry, winner of the National Poetry Series for 1998, selected by Nathaniel Mackey. This is a conceptually rich and beautifully lyrical book of new poetry. Regular $10.95 Buffalo list price: $8.76 EARTHLIGHT, by Andre Breton A new reprinting of the important collection of Breton's poetic achievement, translated by Bill Zavatsky and Zack Rogow, winner of the PEN/Book-of-the-Month Club Translation Prize upon its original publication in 1993. Regular $12.95 Buffalo list price: $10.36 GREEN INGETER TITLES Manifestos Manifest by Vicente Huidobro Translated from the French by Gilbert Alter-Gilbert One of the great poets of the 20th century, Vicente Huidobro was born in Chile in 1893. He was one of the leading modernists, friends with a range of poets including Guillaume Apollinaire, Pierre Reverdy, Juan Larrea and Jorge Luis Borges. His greatest work is Altazor, but he wrote many other excellent books, including fiction. This is a collection, in its first English language translation, of his manifestos surrounding his movement "Creationism." An important book in world poetry. Regular $12.95 Buffalo list price: $10.36 What Is Man? by Mark Twain Twain's long dialogue, written in 1906, about the nature of mankind. A sceptical presentation of ideas through a discussion of an old and a young man, Twain's philosophical dialogue is as fresh today as it was at the beginning of the century. Regular $10.95 Buffalo list price: 8.76 Abingdon Square, Maria Irene Fornes The New York Times has described this play as Fornes's most elegant play. The Cuban-born playwright was celebrated this year with performances of new and old plays by the Signature Theater in New York. Author of Fefu and Her Friends and numerous other works, she is one of the treasures of American theater. Regular: $9.95 Buffalo list price: 7.96 Crowtet I by Mac Wellman Containing two plays, A Murder of Crows and The Hyacinth Macaw, this book represents poet-playwright Mac Wellman's unofficial gloss on the apocrypha of contemporary low-rent American. As such, they are, as the author puts it: "decidedly secular exegesis in the spiritual station of the Onion," blasphemous, hell-raising, full of astounding yearning and haunted by unnameable conbobertaion. Regular: $11.95 Buffalo list price: 9.56 The Resurrection of Lady Lester by OyamO This play is, in part, a retelling of the life of Lester Young, the great jazz saxophonist of the late 1930s and early 1940s. Earlyl in his career Young left the Count Basie band to replace the reigning saxophone leged of the day, Coleman Hawkins, in the Fletcher Henderson band. But Lester, refusing to imitate Hawkins' bold and breathy style, resigned the Henderson band, rejoining Basie in his Reno Club combo, becoming one of the star soloists. Young often recorded with Billie Holiday, whom he dubbed Lady Day, becoming a close professional and personal friend of the singer. After his induction into the army in 1944 and imprisonment for, allegedly, drug jpossession (a photograph of Young's white second wife reveals what may have been the real cause of his arrest), his star declined, and his last days were spent iln a seedy hotel overlooking Birdland, the New York jazz club. Regular: $8.95 Buffalo List price: 7.16 COMING SOON: Republics of Reality by Charles Bernstein Threadsuns by Paul Celan Polyverse (second printing) by Lee Ann Brown ========================================================================= Date: Tue, 14 Mar 2000 13:02:48 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Tracey Gaughran Subject: Re: Dario Argento in San Jose Kevin, I LOVE "Suspiria" -- a film that, it seems to me, has never received the attention it deserves (when brought up in conversation, the usual response from friends and foes alike seems to be "Suspir-wha?"). The look of the film is stunning and the music of alone is enough to give anyone the willies, though what I'm constantly haunted by is the scene in which the protagonist gets stuck in that nasty, pointy barbwire room of doom (forgive the utter lack of specificity/description -- its been several years since I've taken this in). Epic nightmares and neuroses are made of such stuff. In any case (I do have a point here), what are some other films by Argento I might take in? Recommendations? Any personal favorites? Always looking to have the shite scared out of me, Trace UB Poetics discussion group wrote: > I found God a week ago Thursday, but then it slipped my mind, nowI've got it straight again but have forgotten some of the details. But here in San Francisco some of us who love the films of the Italian horror director Dario Argento were terribly excited when we found out that he was to be the guest of honor at the 10th San Jose Film Festival, and was slated to appear, in person, to introduce four of his films on four consecutive days. ========================================================================= Date: Tue, 14 Mar 2000 13:38:52 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Brian Michael Lennon Subject: Re: Perloff/Vendler/Scharf/Burt Panel in New York Dodie, I really think there's something to that, 'paying one's dues' --- it's been good for me, personally, in terms of being out there in the world, where people are going to edit and interfere with and misunderstand and mock me, and also in terms of learning how to be fair (though not necessarily 'nice') to work that might not have me as its ideal reader. And reviewing on assignment has helped me be a better reviewer of work that I choose myself --- helped me learn to concretize my admiration and not just hemorrhage those adjectival plumes that pass for 'creative criticism.' I don't think it's 'stooping' at all, to review in the Chronicle (I've reviewed there too) -- except to stoop into the world, which is where one ought to be at least part of the time. That abhorrence of the first person is common in normative academic writing as well as journalism, and while I wish it weren't so, it is, and I think it's worth learning those systems in order to change them - as you've said, they do break down gradually over time. Brian ========================================================================= Date: Tue, 14 Mar 2000 13:41:22 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Brian Michael Lennon Subject: Re: critics/commodities Rebecca, One of the most mournful on this list of late, for me, has been the 'does anyone but contributors read my zine?' thread --- b/c it contrasts so sharply with the (admirable) ferocity sometimes displayed here re the value of a do-it-yourself politics/aesthetics. I read this not as proving that self-styled oppositional poets are all secretly selfish consumers, but that the ideal community is simply hard to create, and often fails for reasons that remain mysterious. I fail to see how anyone who SELLS a magazine or book, however tiny or matte, is standing outside a market, or immune to its influence, and therefore more in touch with a community, which in turn makes poetry healthier. On the other hand, I think when you take consumerism as a given, it applies other destructive pressures to poetry. (Am deliberately avoiding marxist jargon, but those who insist, can translate.) What I'm thinking of as 'civic' not 'communitarian' readership (or editorship, or criticism) will perhaps seem burdened with odious associations -- liberalism, democracy, etc. I can't do much about that, except to say I'm not taking these associations as given, either. To me it stands for the move away from 'community' conceived exclusively as safety --- a place where no one disagrees with you, market forces can't get to you, everyone knows either their Marx OR their Daniel Bell, is writing poems either about gardening OR about class struggle. I think, Rebecca, that when you do something like Fence you necessarily open yourself to attack from both sides of it. Do you ever find a community, then, except for a community of fence-sitters, seemingly more fractious and nomadic than the rest. Well, yes! Would that I had a tribe, and its tale to tell, and that I could do so without ever inciting someone to alienate me from it for a profit. Whether I can, though, is to me still an open not a closed question. My own attraction to in-betweenness has nothing to do with aesthetic taste --- it's about the political efficacy, even the radicalism, of remaining curious about the world. Brian ========================================================================= Date: Tue, 14 Mar 2000 14:29:47 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: MAYHEW Subject: formalism/new criticism MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Ramez writes: "Every "New Critic," or neo-New Critic, as the case may be with Vendler, is a formalist, but not vice versa. Although I do know what Mayhew is saying when he writes that Vendler is a "New Critic," whereas Perloff is a "Formalist," I would like the benefit of the mind that came up with this discriminating statement. Could you, Jonathan, elaborate, on Vendler qua "New Critic," versus Perloff qua "Formalist." " Here is the rationale behind my perhaps pedantic distinction: For me, the New Criticism was NOT primarily formalist; New Critics paid relatively little attention to poetic form per se, in contrast to the Slavic Formalists. So I don't agree that every New Critic was/is a formalist by definition. Perloff draws, I think, on a formalist tradition that is quite alien to Vendler's way of thinking. Now the *idea of form figures prominently in New Criticism, standing in for certain ideological values, but I don't think they really got around to analyzing it beyond that. The prosodical analysis in _Understanding Poetry_ is really quite inept. I really can't see Jakobson and Cleanth Brooks as sharing a common approach to poetry. I object on principal to calling formalist a criticism that fails to take form into account, where "formalist" is simply a code word for "non-sociological." Jonathan Mayhew jmayhew@ukans.edu _____________ ========================================================================= Date: Mon, 1 Jan 1990 00:50:27 -0500 Reply-To: Brian Stefans Sender: UB Poetics discussion group From: Brian Stefans Subject: Re: critics/commodities MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit One thing I might add to my previous, rather confused post (someone just walked into the office, and I was trying to write while talking to him, tacking sentences here and there -- this is true) is that I've been interested in collecting the writing of some of our scattered critics as well. The only one I've actually gotten is Steve Evans, the complete leather-bound edition of whose Notes to Poetry can be found on my site (http://home.earthlink.net/~bstefans/) (Before you go there, please note that it needs a lot of work, the links are semi-dead, the "forthcoming" projects are indeed forthcoming, but as of now are a neat pile next to my desk.) Anyway, I couldn't think of anyone off the top of my head who was writing like this, with the idea of a critical project in mind, and who had adapted his strategy so well to the new medium, or even the "coterie" aspect of the old medium -- anyone come to mind? I'm very open to suggestions; I have a few ideas myself but haven't followed through. I'm also open to anyone who wants to make an editorial contribution to the site, by they way -- this would be in collecting, say, links for a special page devoted to this or that. But that's another story... I was talking to an older, somewhat disgruntled but interesting and engaged poet the other day, and I was surprised to hear him say that he thought this generation of poets, meaning those about 25-35 (and mostly in New York, since that's what he's looking at) are better poets than critics, which struck me as surprising since I was thinking something of the opposite, but he was mostly reading things like Publisher's Weekly, and maybe the back section to Lingo or something. I think the issue is pretty complicated, but I don't think it's that important to fetishize the idea of "criticism", especially criticism by poets, without maybe looking at the history and asking who were, indeed, the good critic-poets, and were they ever, in fact, writing "criticism" and not something like "theory" -- by this last term, I mean something like Pound's "Do's and Dont's of an Imagist," which is what "theory" (like "Symbolist" theory) used to be. But as Bruce Andrews pointed out to me in a conversation once, correctly, Pound didn't write about "new" books, he mostly wrote about his previous generation, like Swinburne or James, and occasionally would write an essay in support of a new writer, like Joyce and Lewis, partly for polemical reasons. (So in a sense, he was never really a "critic" -- though his "never trust a man [sic, or need I even mention this] who has not himself written a good work" always struck me as quite accurate, the key term being "trust," which is what all critics ask, but which I hesitate to give, my hope also being nobody ever trusts me even if they like my poems.) I actually think one of Pound's better essays in this line, which Eliot surprisingly deemed worthy of the Selected Essays, is the one on Williams, which is not really polemical as we know it -- hence, as it was a stretch for Pound to appreciate this sensibility that was so different than his, it's a bit more imaginative, to me. Anyway, who after Pound and Eliot (and, say, before Bernstein) could be said to be writing "criticism" -- stuff that's wide ranging, dealing with sensibilities very different from your own (my own kind of highest goal as a critic) -- and not polemic, or theory, or broad-based statements on the state of the art? This isn't to say unbiassed -- all of the good critics are biassed, or want to paint a picture (maybe create a myth, as I mentioned). I know there are easy answers to this -- Nathaniel Mackey immediately comes to mind (he's fantastic and, I think, underrecognized). I'm thinking of real-time, play-by-play criticism, not more philosophical ruminations, which are often useful and great to read (I like Leslie Scalapino's book by Roof, for example, very interesting and precise, though found much of the "good stuff" somewhat couched in various literary gestures, which perhaps I just have to learn to read). I love to read excellent critical writing by younger poets who either didn't strike me as critics -- like Anselm Berrigan -- or who are fairly reticent about pushing their views -- like Pamela Lu or Miles Champion. Not sure if I'd want to ask these people to do more than they're doing; it seems that if a piece of critical writing is a mere side event to one's engagement with the art, it's often quite good, but once people get a little vain or start to wield that sledge-hammer of cultural capital (and they won't, without a doubt), it can crumble a bit, especially when it tries to hard to be witty, which is tough in criticism. To go back to my last post, I think part of my problem with bigger journals, as well, is the timetable they operate on -- things sit around for months, even years, since space is limited, budgets are limited, etc. I have an essay I wrote two years ago, a monster on Asian American poetry, which I finished in the summer of 98, which is basically a dated contraption right now; my little essay on Moxley is sweating it out in an editor's drawer, and I've had some things on which I spent much time on, and which were comissioned, rejected by editors since they didn't fit the model. Anyway, so with one's limited resouces -- running a small business is time consuming -- one ceases to aspire to that timetable, or to those "heights"; consequently, the silenct upon publication is deafening, a big "who cares?" seems to loom out of the distance. Lastly, I think that I have a fear of print these days, the internet just seeming to be a more alive place to put words; I can't help but think that words _stop_ when they are in print, they seem kind of helpless there (not to connect myself with a great writer like Proust, but I think he had a similar instinct; he was notorious for filling in all the white spaces between the lines of the printer's proofs, probably because the words just seemed to waver before his eyes). Anyway, touch of insomnia this early Tuesday morning... Brian ========================================================================= Date: Tue, 14 Mar 2000 08:55:14 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Kevin Fitzgerald Subject: Re: poetry in translation Mime-Version: 1.0 Content-Type: text/plain Content-Transfer-Encoding: 7bit Thanks for mentioning the essay on translation that cites Blanchot. It seems that, in the quote included in the post, Blanchot is saying that, by compounding the distance between the original text and the reader, the translation makes obvious the gulf, at once present and absent, that always exists between any text and its reader. Talk of Blanchot in this context reminds me of the comment Blanchot-translator Robert Lamberton makes in a note included in his version of 'Thomas the Obscure'. Lamberton relates that Blanchot, in response to Lydia Davis' translation of his 'L'Arret de mort', stressed, after acknowledging the importance of her role, the fact that 'Death Sentence' should ultimately be regarded as a work by Lydia Davis. I'll have to look for the Xcp essay. 'The Negative Eschatology of Maurice Blanchot' http://www.newcollege.edu/poetics/fitzgerald ------Original Message------ From: Kristin Dykstra To: POETICS@LISTSERV.ACSU.BUFFALO.EDU Sent: March 13, 2000 7:28:44 PM GMT Subject: Re: poetry in translation (was Re-map query/Baron) I have just been looking in Xcp4 at "The Guest of Literature: The Issue of Hospitality in Literary Translation," by Piotr Gwiazda. It opens with Blanchot's remark, "We do not see why the act of the translator should not be appreciated as the quintessential literary act, one which proposes that the reader remain ignorant of the text it reveals to him and from which his ignorance will not distance him. Instead, it will bring him closer by becoming active, by representing to him the great interval that separates him from it." Gwiazda notes "the deep difficulty of accepting translation as a distinct type of literature," then comments, "Blanchot's words propose a displacement of translation from the shadow of literature, or rather the shadow *between* literatures, where it looms as both familiar and alien, close and remote, welcome and unwelcome; where it sojourns as a guest. Translation implies an almost political process of balancing and negotiation; a transfer; a difference." Gwiazda frames the rest of the essay around the way that readers approach translation suspiciously--with "the vigilance which is not unlike the typical treatment of a stranger, a foreigner, and most of all--a guest." --an interesting piece & worth looking up, anyway ----------------------------------------------- FREE! The World's Best Email Address @email.com Reserve your name now at http://www.email.com ========================================================================= Date: Tue, 14 Mar 2000 00:23:09 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Julie Johnson-Hall Subject: Re: poetry links? MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Not to be unabashedly self-promoting, but the duration press website (www.durationpress.com)has a rather large links page. Also of note is Spencer Selby's list (which can be found @ www.poetrypress.com) ----- Original Message ----- From: "Jamie Crawford" To: Sent: Thursday, March 09, 2000 9:47 PM Subject: poetry links? > I'm in the process of putting together a website for TPS (Tufts Poets > Society) and was wondering if anyone and everyone had suggestions for > poetry links I might use. I, of course, could do searches, but this > seemed much easier. > I am particularly looking for: > > 1) archives of "classic" poems (really...anything that's been in print > for more than five years would be lovely > > 2) biographical sites concentrating on poets or poetry sites with > biographical information > > 3) magazines (electronic or paper) > > 4) places in the Boston area that hold readings or support poetry or are > of importance historically...ranging from the Grolier to Walden to > Lizzard Lounge, etc. (none of which I have links for) > > 5) individual Boston area poets > > 6) any other unique sites that might spark something > > Thanks so much, > j ========================================================================= Date: Tue, 14 Mar 2000 17:17:09 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: William A Sylvester Subject: Re: Invitation to exhibit/ Edible book high tea - Melbourne / Tony Green In-Reply-To: <777519.3161943787@poetrygrad1.lib.buffalo.edu> MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Edible Book? Lewis McAdams back in the sixties read a poem from a cookie tin--each letter had been backed, so when he was through he threw. He threw the letters to the audience and they ate the poem. That was back in the daze of the Electronic Poetry Workshop. On Mon, 13 Mar 2000, Poetics List wrote: > This message was forwarded to the administrative account. Chris > > ---------- Forwarded Message ---------- > Date: Mon, Mar 13, 2000 9:56 AM +1300 > From: Tony Green > > -----Original Message----- > From: stiffe > To: Australian Contemporary Art Mailing List > Date: Sunday, 12 March 2000 10:00 > Subject: Invitation to exhibit/ Edible book high tea - Melbourne > > Australian Contemporary Art Mailing List - > http://www.arts.monash.edu.au/visarts/globe/ghome.html > > The First International Edible Book Tea will take place on 1 April 2000 in > artist book centers and with book lovers throughout the world. > For this High/Low Tea, all works of art must be edible and have something > to do with books! Each participating group or individual is responsible for > its/his/her own audience and website. From 2 - 4 p.m. in your respective -> time zone, you will sip High/Low Tea while viewing the edible exhibit. At 4 > p.m., you will photograph the work and eat it too. > Two copies of each participant's menu must be laminated and preserved. The > pictures of the books and menus have to be sent to the Central Archive in > Santa Monica:, P.O. Box 3640, Santa Monica, CA 90408. A description and > links of all participants around the world will be available at Books2eat > website > http://www.geocities.com/books2eat/ > > Papermakers of Victoria is hosting a Melbourne high tea which will be held > at Currawong Bush Park, Reynolds road, Doncaster from 4pm-6pm. For a map > see http://home.vicnet.net.au/~papervic/high.html. > If you wish to participate in this event please contact Gail Stiffe > stiffe@bluep.com. There will be a charge of $10 for entry which will cover > documentation and lamination costs. > > ====================== > Gail Stiffe, > Melbourne, Australia > ================================================ > Website for Hands on Paper http://www.bluep.com/~stiffe > ================================================ > > Papermakers of Victoria http://home.vicnet.net.au/~papervic > ================================================== > Victorian Bookbinders Guild http://home.vicnet.net.au/~bookbind > ====================================================== > > > ______________________________________________________________________ > To unsubscribe, write to acam-unsubscribe@listbot.com > Start Your Own FREE Email List at http://www.listbot.com/links/joinlb > ========================================================================= Date: Tue, 14 Mar 2000 18:08:20 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Patrick F. Durgin" Subject: Re: critics/commodities In-Reply-To: <200003141841.NAA03454@howsit.cc.columbia.edu> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Rebecca & Brian (Lennon) et al. Rebecca, the page in a consumerist context: I agree. In fact, those doing corporate-model production and those doing cottage-industry production, so long as they are self-conscious about why they are both able and willing to engage in these forms of publication, are really preaching the same verse(s), as far as I can tell. The argument against one or another on an aesthetic program, I think, is rather pointless in terms of the "conversion" notion, which Brian brought up. Experimental forms of writing, editing, and publishing seem to be about preaching convertibility, not conversion, if this makes any sense. Distribution is not at all a separate issue, either, and so I'm impatient with efforts to convert "tried-and-true" circuits of distribution to the gospel, so to speak. But, I want to ask both of you, and anyone else reading in: I fail to see how aesthetics are not implicated, indeed entirely bound up with, as Brian writes, "the political efficacy, even the radicalism, of remaining curious about the world"? Patrick At 01:41 PM 03/14/2000 -0500, you wrote: >Rebecca, > >One of the most mournful on this list of late, for me, has been the 'does anyone >but contributors read my zine?' thread --- b/c it contrasts so sharply with the >(admirable) ferocity sometimes displayed here re the value of a do-it-yourself >politics/aesthetics. I read this not as proving that self-styled oppositional >poets are all secretly selfish consumers, but that the ideal community is simply >hard to create, and often fails for reasons that remain mysterious. > >I fail to see how anyone who SELLS a magazine or book, however tiny or matte, is >standing outside a market, or immune to its influence, and therefore more in >touch with a community, which in turn makes poetry healthier. On the other hand, >I think when you take consumerism as a given, it applies other destructive >pressures to poetry. (Am deliberately avoiding marxist jargon, but those who >insist, can translate.) > >What I'm thinking of as 'civic' not 'communitarian' readership (or editorship, >or criticism) will perhaps seem burdened with odious associations -- liberalism, >democracy, etc. I can't do much about that, except to say I'm not taking these >associations as given, either. To me it stands for the move away from >'community' conceived exclusively as safety --- a place where no one disagrees >with you, market forces can't get to you, everyone knows either their Marx OR >their Daniel Bell, is writing poems either about gardening OR about class >struggle. I think, Rebecca, that when you do something like Fence you >necessarily open yourself to attack from both sides of it. Do you ever find a >community, then, except for a community of fence-sitters, seemingly more >fractious and nomadic than the rest. Well, yes! Would that I had a tribe, and >its tale to tell, and that I could do so without ever inciting someone to >alienate me from it for a profit. Whether I can, though, is to me still an open >not a closed question. My own attraction to in-betweenness has nothing to do >with aesthetic taste --- it's about the political efficacy, even the radicalism, >of remaining curious about the world. > >Brian > > k e n n i n g a newsletter of contemporary poetry, poetics, and nonfiction writing http://www.avalon.net/~kenning 418 Brown St. #10, Iowa City, IA 52245, USA ========================================================================= Date: Tue, 14 Mar 2000 20:27:21 -0500 Reply-To: BobGrumman@nut-n-but.net Sender: UB Poetics discussion group From: Bob Grumman Subject: Re: Evil Twins MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit A sexist game? You're being too modest, Marjorie: Vendler is the most visible critic of American non-innovative-since-Eliot poetry, you the most visible critic of American innovative-up-to-1980 poetry. That's why comparing the two of you is amusing. --Bob G. ========================================================================= Date: Tue, 14 Mar 2000 20:41:01 -0500 Reply-To: BobGrumman@nut-n-but.net Sender: UB Poetics discussion group From: Bob Grumman Subject: Re: Perloff/Vendler/Scharf/Burt Shindig MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Sure: why is visual poetry still pretty much ignored by publications with circulations above a few hundred? Comments on the Harper's of about a year ago that gave a few pages to poetry might be interesting, too. How about whether the panel thinks the later half of the twentieth century America produced a set of poets at the level of Pound, Eliot, Cummings, Jeffers, Williams and Stevens in the earlier half of the twentieth century. --Bob G. ========================================================================= Date: Tue, 14 Mar 2000 22:10:33 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Ramez Qureshi Subject: Re: formalism/new criticism MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit In a message dated 3/14/2000 5:49:14 PM Eastern Standard Time, jmayhew@EAGLE.CC.UKANS.EDU writes: << Ramez writes: "Every "New Critic," or neo-New Critic, as the case may be with Vendler, is a formalist, but not vice versa. Although I do know what Mayhew is saying when he writes that Vendler is a "New Critic," whereas Perloff is a "Formalist," I would like the benefit of the mind that came up with this discriminating statement. Could you, Jonathan, elaborate, on Vendler qua "New Critic," versus Perloff qua "Formalist." " Here is the rationale behind my perhaps pedantic distinction: For me, the New Criticism was NOT primarily formalist; New Critics paid relatively little attention to poetic form per se, in contrast to the Slavic Formalists. So I don't agree that every New Critic was/is a formalist by definition. Perloff draws, I think, on a formalist tradition that is quite alien to Vendler's way of thinking. Now the *idea of form figures prominently in New Criticism, standing in for certain ideological values, but I don't think they really got around to analyzing it beyond that. The prosodical analysis in _Understanding Poetry_ is really quite inept. I really can't see Jakobson and Cleanth Brooks as sharing a common approach to poetry. I object on principal to calling formalist a criticism that fails to take form into account, where "formalist" is simply a code word for "non-sociological." Jonathan Mayhew jmayhew@ukans.edu >> Thank you for your elaboration. This is pretty much what I thought you'd say. Your statement that the New Criticism was not "formalist" is most provacative indeed. I think part of the problem here revolves around my pinpointing formalism as a "slippery term." I want to stick by my statement that every New Critic is a "formalist" but not vice versa. My rationale? You are designating formalist as criticism that addresses poetic form. In this case I definitely see your point. Maybe the closest Eliot gets on form to Jakobson on Baudelaire's "Les Chats" is on conceit, which is more or less a grain of sand next to an ocean. You then write that you object on "principle" (I'm curious on knowing your principle (by the way this is not at all written in a hostile tone)) that you object to using "formalist" to label criticism that is "'non-sociological'." However, most people will agree, that "formalist" criticism also encompasses "content" concerneed criticicism; hence, the New Critics would fall into the "formalist" camp. I hope this clarifies my position that all New Criticism is formalalist but not vice versa. I'd like to open up this discussion to anyone else who'd jump in. Regards, Ramez ========================================================================= Date: Tue, 14 Mar 2000 23:42:03 +0000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jonathan Skinner Organization: periplum Subject: Re: POETICS Digest - 10 Mar 2000 to 13 Mar 2000 (#2000-43) MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit This is for the Perloff/Vendler/Scharf/Burt Panel in New York thread (I'm on digest): for current reviews (often by poets) of current poetry try Lagniappe (link through the EPC). JS ========================================================================= Date: Tue, 14 Mar 2000 17:04:22 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: todd baron Subject: Re: Dario Argento in San Jose Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit remap for yr current address dears. alls, Tb ---------- >From: Kevin Killian >To: POETICS@LISTSERV.ACSU.BUFFALO.EDU >Subject: Dario Argento in San Jose >Date: Mon, Mar 13, 2000, 9:13 PM > > I found God a week ago Thursday, but then it slipped my mind, now > I've got it straight again but have forgotten some of the details. > But here in San Francisco some of us who love the films of the > Italian horror director Dario Argento were terribly excited when we > found out that he was to be the guest of honor at the 10th San Jose > Film Festival, and was slated to appear, in person, to introduce four > of his films on four consecutive days. On March 2nd Pam Lu and I > drove down to San Jose, about an hour from downtown San Francisco, > and we stopped off at a cute bungalow nearby the theater. There in > this cite bungalow live the poets David Larsen and Beth Murray, the > only people I know in San Jose (and the editors of the "San Jose > Manual of Style" which is a really cool theory journal). They made a > lavish Italian dinner and we practiced speaking Italian and then we > went to the show (Beth stayed home out of a fore-dained pre-knowledge > that she wouldn't like "Suspiria"). The theater was not too crowded > and we slipped into our seats quietly, reverential hush. Then I > spotted Dario Argento standing in the back of the darkened > auditorium, particles of popcorn scented lobby light illuminating the > curve of his shoulders and his weird, untamed and greasy hair, now > gray, but purple in the light. I squealed because I had seen a god, > nudging my companions. "It's him," I breathed. Some San Jose > functiunary came on and gave a short civic boosting speech and then > brought on "Dario" (as the fans call him, familiarly) and we screamed > with pleasure. He is a goofy clownish guy in person, just as odd as > the publicity pictures for the past 30 years have suggested, but very > sweet and Roberto Benigni, or else this is a strategy to get his > savage message past the hearts of the adoring multitudes who love > this kind of language play and "how do you say" kind of bumblingitis. > I think this the case. If you haven't seen these pictures, imagine > an extremely tall, cadaverously spooky looking man with a head the > exact shape of a skull, eye burning out of deep-set sockets, --looks > like he's been dead for several days. He is horribly creepy, like a > gravedigger or zombie, and looks totally cruel and debauched, like > the picture of Dorian Gray in the attic. But as I say, in life he is > considerablu shorter, plumper and sweeter. > > Dario gave a short little "thank you" talk and then the lights went > down and they showed "Suspiria" in a widescreen print I had never > seen before. Pam and I noticed several details right away that you > couldn't see in the regular pan and scan TV print we had watched > often before, for example, when Jessica Harper first gets off the > plane and walks through the airplane terminal right there on her > right, striding towards the camera, is none other than Daria > Nicolodi, dressed in a fetching 70s style--we cheered, having a > perverse love for Daria (who is the former wife of Dario and the lead > in several of his mid-career pictures) (not the world's greatest > actress, and remarkably plain for a movie star, but an indelible > presence of Italian cinema) (and also the co-writer of "Suspiria"). > What else, we asked ourselves, had we missed? -- and the answer > turned out to be plenty!! > > I won't bore you all with our group analysis of the film. Either you > like it or you hate it but try if you can to imagine our thrill when > after the movie ended a compact Monty Woolley type brought Dario back > on stage to ask him questions, and then opened up the questions to > the audience. I will share the revelations back channel if pressed, > but let me think of the top 2 or 3 things he said. "Suspiria," which > takes place largely in a scary ballet academy for teens and young > people, was originally written to feature children--really young > children, say, ten or so, but the producers thought it would be bad > taste to have so many children murdered. But his vision triumphed in > that he asked all the actors to act as if they were children (which > explains why so many of the performances, which we had thought were > just sort of "European" and unfocussed, are so brilliant. Also > that's why the doorknobs are up so high on all the doors, to further > this effect. Check it out! When asked why the animals in his > films-- such as the maggots and the seeing eye dog in "Suspiria"--are > so much better at acting than his actors, he retorted by claiming > that everyone's talking about the "final masterpiece of Kubrick" but > that Tom Cruise and Nicole Kidman are nothing more than big Muppets. > Animals, he said, are better actors by nature (a Bressonian credo > too). At this juncture David sneaked down to the front of the stage > and snapped a picture of him with my camera. > > When the Q & A thing was over, he stayed to sign autographs and have > his picture taken with whoever wanted it. We each stood on a little > line, no longer than your average line for taking Holy Communion in a > Catholic Church, and shook his hand, got our photos signed, clapped > him on the back and tried to thank him for coming 18 hours on > Alitalia all the way from the "Profondo Rosso" studio in Rome all the > way to San Jose. Apparently he thought it *was* San Francisco, but I > set him straight. > > So that's why I've been out of touch . . . > > > > Kevin Killian > > PS Other good films with Daria Nicolodi include "Deep Red," > "Tenebrae," "Phenomena" and "Opera"-- you must see her, she's like > nothing else in the world and just about indescribable as an icon. > ========================================================================= Date: Wed, 15 Mar 2000 00:10:23 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII -- (i find myself saying) hi hi hi hi hi (recognition) oh boy oh boy oh boy (pain) sit down sit down (space) aaaaaaaaa (pain) ___________ (morphine) alan (recognition) hi hi hi (recognition) what what what (reflex) lousy (condition of leg) ________ ________ ________ (beginning the dying process) (plateau) hi hi hi hi hi (recognition) oh boy oh boy oh boy (pain) sit down sit down (space) aaaaaaaaa (pain) ___________ (morphine) alan (recognition) hi hi hi (recognition) what what what (reflex) lousy (condition of leg) ________ ________ ________ (beginning the dying process) (plateau) hi hi hi hi hi (recognition) oh boy oh boy oh boy (pain) sit down sit down (space) aaaaaaaaa (pain) ___________ (morphine) alan (recognition) hi hi hi (recognition) what what what (reflex) lousy (condition of leg) ________ ________ ________ (beginning the dying process) (mother) ________ ________ ________ (mother) I find myself saying (recognition) -- ========================================================================= Date: Tue, 14 Mar 2000 22:32:20 PST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mark DuCharme Subject: Re: Dario Argento in San Jose Mime-Version: 1.0 Content-Type: text/plain; format=flowed Thanks, Kevin, for your Argento post-- & I for one would love to hear more backchannel, if you have time! In response to Tracey: >From: Tracey Gaughran >what are some other films by Argento I might take in? >Recommendations? Any >personal favorites? I think Kevin listed some of HIS recommendations at the end of his post. My recommendations are: _Phenomena_ (a.k.a. _Creepers) _Deep Red_ (a.k.a. _Profundo Rosso_) _Opera_ (a.k.a. _Terror at the Opera_) Two of his films disturb me a little because of their depiction of violence against women; these are _Tenebrae_ (a.k.a. _Unsane_), one of Kevin's recommendations, and the recent _Stendhal Syndrome_. What disturbs me about these movies is that they seem to eroticize violence against women a little more blatently (to my mind) than his other films. I realize I may be splitting hairs here, since all of Argento's films contain depictions of women being murdered-- and horror films generally link sexual activity to being a murder victim (c.f. _Scream_). Then again, at least SOME of DA's movies have strong-- albeit young-- female heroes who survive (_Suspiria_, _Phenomena_). Argento is an interesting filmmaker: his actors rarely act well, yet he pays meticulous attention to the visual image. His plots are poorly constructed, yet the build-up of suspense & tension in his best films is near-brilliant. Obviously he holds this wierd fascination for some of us. How to account for that, I cannot entirely explain. Mark DuCharme ______________________________________________________ Get Your Private, Free Email at http://www.hotmail.com ========================================================================= Date: Tue, 14 Mar 2000 23:18:12 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Elizabeth Treadwell Subject: cinderella Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" I tried to get my students to work with fairytales in their poems, Kathy Lou, and one just told a joke instead. Which had to do with Cinderella needing one last thing for the ball -- a TAMPON. Fairygodmom turned a pumpkin into one. When the clock struck Cindy tried to run to the bathroom "I really really gotta go!" but her dance partner begged for her name at least. "Cinderella". His "Peter Pumpkin Eater". She -- no more worries. x et ___________________________________________ Elizabeth Treadwell Double Lucy Books & Outlet Magazine http://users.lanminds.com/dblelucy ========================================================================= Date: Tue, 14 Mar 2000 23:19:04 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Elizabeth Treadwell Subject: re Marjorie Perloff Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Yes, hello! Thank you Marjorie P, for spelling it out! Jeex. love, gender clown of late ___________________________________________ Elizabeth Treadwell Double Lucy Books & Outlet Magazine http://users.lanminds.com/dblelucy ========================================================================= Date: Tue, 14 Mar 2000 18:15:22 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: David Kellogg Organization: Duke University Subject: Re: Evil Twins Comments: To: Marjorie Perloff MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Marjorie, Aldon's post _was_ great, wasn't it? AS FOR my post: I shouldn't have said anything. Sorry. Against my own wishes, I'm getting to be known as some sort of anti-Perloffian when that's hardly the case. MY PLEDGE: After this post, I will never mention your name on this list. All I was doing was responding to Steven Shoemaker, who wrote that he "thought of Vendler and Perloff as matter and antimatter." That still seems to me a not-very-helpful image, but I should have questioned the whole binary opposition explicitly instead of trying to set up a different one from another perspective. As I tried (uselessly it appears) to explain on the list, similarity/dissimilarity is largely a matter of perspective. AS FOR sexism, I'll have to think about that. Seriously. I think such charges should not be taken lightly, but neither should they be made lightly. Would it have been better to have compared Charles Bernstein to J.D. McClatchy? But nobody said they were matter and antimatter; there was nothing to respond to. I think the reason nobody mentioned Bloom is that nobody cares what Bloom thinks anymore, at least about contemporary poetry. Your opinion and Vendler's matter now in a way that Bloom's don't. AS FOR twins: As I have said before, YOU'RE THE GOOD ONE. And who the hell is Michael Scharf? David Kellogg kellogg@duke.edu Duke University, University Writing Program (919) 660-4357 "when I'm gone / you will remember my name" -- Bob Dylan, "Till I fell in love with you" ========================================================================= Date: Tue, 14 Mar 2000 23:57:06 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Aaron Vidaver Subject: Re: Little Review: Writing Class: The Kootenay School of Writing Anthology Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Swell review, thanks Brian Stefans. Just a note to say that in Vancouver there's not much agreement about the historical account in the introduction to this book, particularly the suggested relations between KSW & the IWW. Also, "the Giantesses" refer to writers & visual artists Maxine Gadd, Rhoda Rosenfeld, Renee Rodin, Judith Copithorne, Jamila Ismail & Trudi Rubenfeld--they predate KSW, they were never a sub-group of it. The phrase is mistakenly used in the book to identify Lisa Robertson, Catriona Strang, Susan Clark & Christine Stewart. Ah, well. It's true that the anthology doesn't include supplementary theoretical statements. But I do think that the genre of the manifeso was important to many involved--see "Coasting" by Robertson, Strang, Jeff Derksen & Nancy Shaw (in Exact Change Yearbook 1995, A Poetics of Criticism, or Open Letter 9:3) & "Barscheit Nation" by Robertson, Strang & Stewart (in Barscheit 4, Mirage#4/Period(ical) 14, Writing from the New Coast: Technique, or Semiotexte Canadas). The notion that theoretical discourse was under suspicion in Vancouver, that it "played into the norms of class rule," isn't accurate--the Artist/Writer/Talks series in the late 80s & a set of panel discussions on translation, everyday life, the self, etc. in the early 90s are evidence of this. None of these talks or panels have been published or transcribed, so the impression of an anti-theoretical climate is sort of understandable. Also, much of the "theoretical" writing by these people is articulated through studies of visual art & culture--Mittenthal on Gary Hill, Culley on Stan Douglas, Robertson & Shaw on architecture & suburbs, for example--often in journals and catalogues published at a distance from writing/poetry communities. The significance of the New Poetics Colloquium in 1985 could have been played up more in the introduction to the anthology--those tapes are still here if some graduate student in Buffalo is seeking a thesis. Call KSW at 604-688-6001. Aaron Vidaver ========================================================================= Date: Wed, 15 Mar 2000 07:27:30 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Maria Damon Subject: Re: Evil Twins In-Reply-To: <38CD5590.E37FBE59@earthlink.net> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" points well taken marjorie! At 9:58 PM +0100 3/13/00, Marjorie Perloff wrote: >Well, now that I've had a good laugh at Aldon's wonderful post, let me >throw my own evil words into this ring: > >no one so far seems to have noticed how sexist this whole little game >is! Why should anyone compare Helen and Me except that we're both >ladies of a certain age, and overweight to boot! I noticed that the >third person David Kellogg brought into the conversation was Barbara H. >Smith--a third woman. Why do I have more in common with HV than with, >say, Richard Howard? John Hollander? Cal Bedient? >Michael Scharf, whom I don't yet know, said in his article that Helen >and I are both "late career professionals." I ask you all: does anyone >call Harold Bloom a late-career professional? Or Hillis Miller? ========================================================================= Date: Tue, 14 Mar 2000 20:05:03 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: David Kellogg Subject: Vendler MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Furthermore, my reference to Vendler as "evil" was made in jest and in the heat of the primary season. Cheers, David ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ David Kellogg Duke University kellogg@acpub.duke.edu Program in Writing and Rhetoric (919) 660-4357 Durham, NC 27708 FAX (919) 660-4372 http://www.duke.edu/~kellogg/ ========================================================================= Date: Wed, 15 Mar 2000 08:48:59 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Kevin Fitzgerald Subject: Vapor/Strains #4 Mime-Version: 1.0 Content-Type: text/plain Content-Transfer-Encoding: 7bit Announcing Vapor/Strains #4 Work by: Michael Basinski, Thomas Cierzo, Peter DeRous, Ray DiPalma, Kevin Fitzgerald, Peter Ganik, Eli Goldblatt, Jenna Roper Harmon, Brenda Iijima, Jim Leftwich, Laurence Lillvik, Sheila Murphy, Alice Notley, Douglas Oliver, John Olson, Spencer Selby, David Stone, Thomas Lowe Taylor $5 Now reading submissions for #5 of poetry, prose and reproducible artwork. Please send orders and/or submission to: Vapor/Strains c/o Jeff Enright 600 Bloomfield Hoboken, NJ 07030 Or email: vaporstrains@aol.com ----------------------------------------------- FREE! The World's Best Email Address @email.com Reserve your name now at http://www.email.com ========================================================================= Date: Wed, 15 Mar 2000 11:47:30 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Daniel Kane Subject: critical responses to Charlotte Bronte's poetry MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII A student of mine is trying to find essays etc. on C.B's poetry -- anyone know of particularly good, reader-friendly takes on Bronte's poetry? thanks, --daniel ========================================================================= Date: Wed, 15 Mar 2000 13:11:59 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Gary Sullivan Subject: Issue Zero Conference (Friday night) MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 8bit Hi Ramez, Well, I wasn't going to do this, in part because I was only at two of the three days, but also because I was completely exhausted -- burnt-out -- at each. Also, I'm posting too much this month, and this will be kind of involved & long ... but it doesn't look like anyone else is going to, so ... forgive the lackluster prose (I'm going on vacation next week -- the first in at least a year & a half) ... Anyway. As usual, I tried to do too many things on the weekend: wound up going to two movies, two of the Issue Zero events, and doing another cartoon for Rain Taxi (which is why I missed Issue Zero on Sunday). I can't separate the movies or even the cartoon from my feelings about the conference, in part simply due to proximity, but also because there were some interesting (to me, anyway) correspondences ... The Friday night Church event wasn't scheduled until 10:30 (I think there are church services before that), so I went to see "SEX: The Annabel Chong Story" with Greg Fuchs. It was a very oddly constructed biography, in that for the first 45 minutes, I was convinced it was basically a PR flick for the porno industry. After that, though, things got a little more intense. Grace Quek (aka Annabel Chong) is a complicated person, to say the least. She got into porn at the time she was going to grad school in southern California, as a gender studies major, I think. The initial impulse, or so it was described, was a kind of backlash to some of the more stifling/prudish elements in the Department. She had always been fairly promiscuous (a "stud," as she calls herself), and decided "why not make money doing what I love?" She does well in the porno industry, becoming a huge star after fucking 251 guys in 10 hours for very well-publicized gang-bang video: which was also the largest selling porno video of all time: 40,000 copies. I was shocked by how low that number was! Were they talking about a small press magazine? I don't think I misheard that number, either, because Greg heard it as 40,000 copies as well. (If anyone knows otherwise, please let me know.) She was supposed to be paid $10,000 for the event, but she wasn't, and after considering a legal battle, ultimately decided against it. "I didn't do it for the money, anyway," she says. (And, considering that she was only going to get $10,000 for this, which probably wouldn't last a year in soCal, I almost believe her.) At some point, Quek travels back to Singapore to visit her family, and reveal to them what she's been doing in America. After revealing this to her mother, who is intially blown away by the information, crying uncontrollably, she decides to quit the porno industry. But, back in America, the movie ends with her going off to the studio to try out again, after more than a year's absence from the industry. It's kind of a sad movie; what's saddest about it, I guess, is how Quek sort of goes from this at least intellectually distanced person w/respect to the industry, to just another cog in it. As Greg and I talked about it later, the issue of feminism came up, and whether or not Quek is really taking power, or what that power really is, as well as its limits, given that the industry is run by men, and that the audience is predominantly male. She talks about the gang bang as a kind of "fuck you" to the industry, to "standards," etc., and it's not convincing: as Greg said, some of Quek's rhetoric was kind of like the things you might hear someone say about their not-particularly intellectually stimulating performance art. (I love performance art, but, there's always the person very vocal about operating "in opposition" to cultural blah blah blah, I mean, it's become a cliche, I guess.) Anyway, we both were curious what others might say about the movie, about Quek, and I guess this is sort of plea for anyone to write about it (here, or backchannel) ... So, I got to the conference late, 11:00 p.m., and it hadn't started yet. I was still back in Annabel Chong World, even as everyone sort of settled in and the panel got underway. After a brief introduction by Regie Cabico, Brendan Lorber opened things up with an on-the-spot sort of gloss on where he & Douglas Rothschild had gotten the Zero of Issue Zero. My memory has it that some of the ideas floating around were small press' relative invisibility, but also starting from scratch I guess, as well as "publishing in 2000" ... First to speak was Michael Rothenberg from the online zine, Big Bridge, edited by himself and Wanda Phipps. He began with a prepared statement, the editorial statement you can find in the magazine itself: "We think walls are good for keeping out the cold and rain. And for displaying some art. They're useless in the creation and propagation of art. We don't care if Language poetry appears next to sonnets, or haiku next to spoken word and workshop poetry beside agit-smut. Our tastes are catholic—even though we're Jews and pagans and Buddhists and libertines and run-of-the-mill Christians. We don't care how art is shaped—round like moon, flat like roadkill, angular like love, twisted like political promises. We hear many voices (even when we're taking our meds) and are guided by whimsy and passion and urgency. We want more." He also talked about the history of his own publishing, which I think began with finer press stuff, which ultimately became too expensive to continue producing. The talked a bit about what's on the site, mentioning in particular the chapbooks by Philip Whalen, Joanne Kyger, Robert Creeley and Jack Collom. He described Big Bridge as a kind of bridge not only between writers of various aesthetic impulses/concerns, but also between print and internet culture, because they actively seek out people who do not necessarily publish on (or even look at) the web. Next was Emilie Clark from _Shark_. She described the magazine, which includes poetics and visual art and statements by visual artists, but "no poetry" (that got hisses from the audience, but not *real* hisses). She talked a bit about how some of the artist's statements they'd gotten read more like poetry than anything else, which I think is something she values -- she had also made the point, a bit earlier, about how most magazines dealing with art do tend to be connected with the gallery/museum system, and often serve primarily as PR for various art careers and, even more so, for galleries & museums. Which is why I'd let my subscription to Art News lapse many years ago, actually, just that feeling. I think Emilie also mentioned what is no doubt a commonplace among small magazine publishers: Beginning as a quarterly, or twice yearly, and winding up doing a twice yearly or annual. I think _Shark_ itself may have started as a quarterly and wound up being a twice yearly, but I'm not positive about that. Next up was Robert Hershon, from Hanging Loose. I remember from his talk that the magazine had originally been, literally, "hanging loose": it wasn't bound, so you could do, he said, whatever you wanted with the poems. Hang them up on the wall or refrigerator, etc. Though he didn't say it, my guess is that Hershon's impulse might have been to have the poems seen/read more as individual entities than as part of the mix? Maybe. He described the difficulty of trying to get them into Gotham Book Mart, that they had to make a display copy for each issue, which *was* bound, with a little note on it saying that actual copies weren't bound, and that if you wanted one, you had to ask the person behind the counter. He described the various frustrations with running a magazine, and said that by issue 50 (they're now on 75) he was prepared to quit, and just do books, because they're easier as far as distribution, mainly because they have no "expiration date." But, his coeditors talked him out of it. He also talked about how they'd come up with the idea of publishing teenage poets in the magazine -- I can't remember whose idea it was (not Hershon's), but Hershon was against it at first, argued vehemently against it, but was outvoted, and now really loves the idea, and has apparently published books by a number of poets who first published with Hanging Loose in the "teen" section. (I think Joanna Furhman, whose book is due out very soon, is one of them.) Amy Fussel (?) of Bunny Rabbit was next. I'm embarrassed to admit that I don't know her last name. (Someone please help.) Bunny Rabbit is a personal zine, on the order of Rebecca Levi's _Your Head on a Platter_, Nancy Bonnell-Kangas' _Nancy's Magazine_ or Arielle Greenberg's _William Wants a Doll_. Most of Amy's talk was about promotion of one kind or another, and the spirit, as someone said on the list here a day or so ago, of "do it yourself." (Brian Lennon? I think.) She had a couple of marvelous anecdotes, not about herself, but about how others had managed to "infiltrate" various markets or audiences. One involved an Italian artist who had gone to the printer who prints up the Italian version of Artforum and somehow convinced him or her to print up *his* cover for one of the issues. And the printer apparently did this. "I love that," Amy said. She talked also about McSweeny's, which I guess is edited by a guy who's since become famous, having a best-selling memoir out ... and apparently he's on a reading tour now, and brings along copies of the magazine to sell as well as the book, and really promotes it at his readings. "I love that," Amy said. I *don't* think Amy talked much about her magazine's contents, though I think it's largely her way of getting her writing and cartoons out into the world. I wanted a copy of the magazine really bad, largely based on Amy's personality (she was very energetic, funny), but by the time I got to speak to her, she'd run out. But, she promised to go to the Saturday event, and to bring along copies in exchange for some books I'd bring her. Jordan Davis and Chris Edgar from _The Hat_ were up next. I don't think they said much about the magazine; Jordan said he was coming down with something, and was exhausted, so that they were just going to read work from the magazine. I remember a poem by Steve Malmude, but I didn't make notes, and am hazy on what else was read, I want to say something by Alyssa Quart, too, but that may have been by another editor ... I do remember, though, Erik Sweet's "Black Smurf," which I guess startled or disturbed someone sitting in the front row enough that they made a fairly loud comment about it. Erik Sweet, who was there with Lori Quillen, was sitting a row or two behind the guy, and I think either Jordan or Chris pointed this out, maybe as well as the fact that Erik's rather tall, kind of husky. It was a nice moment; I like that someone would just blurt out what they thought of something. (And Erik, I think, was kind of flattered that his poem upset someone so much.) Tom Devaney spoke on behalf of _Skanky Possum_. His first comment was directed at Michael Rothenberg who, if you'll remember, said "We don't care how art is shaped—round like moon, flat like roadkill ..." Tom objected to Michael's use of "roadkill" and held up a copy of _Skanky_, revealing what looked from 6 or 7 rows back like a possum staring into the lights of an oncoming car. Everyone laughed. Tom then talked about the history of the magazine, how there had been _Mike and Dale's_, and that Mike and Dale had gone off to do different projects, Dale with Hoa on _Skanky_ and Mike on _Blue Notebook_ (?). He described how the magazine is put together, with hand-painted covers, during collating parties. I missed part of this talk because I had to use the restroom & really couldn't wait. He also said that Skanky was a press, too, publishing: Frank O'Hara's _What's with Modern Art?_, Hoa Nguyen's _Dark_, Carl Thayler's _Naltsus Bichidin_ and Leslie Davis's _Lucky Pup_. I think Hershon may have made a comment then, or maybe Devaney did, about how, yes, it was very tempting for magazine publishers to get into doing books. Last this evening was Steve Cannon, from _Gathering of the Tribes_. Steve is blind, and during his talk, which was a kind of rambling personal history as well as a history of the magazine itself, talked about going blind, which happened to him as an adult, after he'd become involved in the magazine. The magazine seemed to have come out of the various reading series Steve was going to or otherwise involved in, and at one point, and I'm not sure about this but my memory has it that it was prior to the first issue's coming out, his apartment building burnt down, and he found himself homeless. Friends helped him out, going so far as helping him with the magazine as well. I thought about what it would be like going blind and having this enormous enthusiasm for editing a magazine. What would you do? How would you continue to participate? *Would* you continue? I think Steve gets people to read contributions to him. There's also a gallery (!) and a website. Pretty amazing. Brendan then asked if anyone had any questions. Doug asked if I had any questions, I don't know why he singled me out, I may have looked like I wanted to ask something, which I actually did, but for some reason didn't just then. (I wanted to know what kind of material Amy was publishing in Bunny Rabbit -- all I knew at that point was that it was her own work.) Someone finally had a question, and Regie brought the mic to them. The question had to do with how much unsolicited material the editors wound up taking, and everyone came on the number 10% of unsolicited work, except for Michael, who said 50%, since it's a webzine. I tried to imagine what amount of unsolicited work I take for Readme, was it that high? and couldn't really figure it out, though I think it's actually less than 50%. The next question had to do with "trends" in poetry: Did any of the editors see any kind of trends? Michael said no, "thank goodness," and then hesitated and said that, really, what he was seeing was a kind of confluence of styles within any one particular poets' writing. Douglas said: "Oh, so Pound, so The Cantos are new." Either Doug or someone else said _Paterson_. I don't remember all of the discussion that followed this comment (maybe someone else will be prompted to join in). During everyone's talk, or most everyone's, I was of course also thinking about the movie I had just seen, as well as what I was going to do for my own presentation on Saturday. I could go on & on about various correlations between the Chong movie and the panel discussion, not to equate the two systems (porno industry & small press world), but definitely my own feelings about almost everyone's talk were somewhat colored by having just seen that movie. I'll post Saturday's event as a separate email ... and hope others will provide their own takes on what happened, as well as fill in the enormous blanks, & correct whatever errors, are in this one ... ========================================================================= Date: Wed, 15 Mar 2000 11:49:42 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Leonard Brink Subject: Avec Books Congratulates... MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Avec Books congratulates Lisa Lubasch, winner of the Norma Farber First Book Award given by the Poetry Society of America for _How Many More of Them Are You?_ (Avec Books, 1999). For additional information about this and our other titles, please visit our *NEW* website:www.poetrypress.com/avec It's still under construction but should be finished in a couple of weeks. _How Many More of Them Are You?_ is available from SPD:www.spdbooks.org Cydney Chadwick Director, Avec Books ========================================================================= Date: Wed, 15 Mar 2000 14:52:39 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Stefans, Brian" Subject: Accountant Mime-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Anyone know a good, poet-friendly accountant -- someone inexpensive, but who could help optimize returns (via 18th-century loopholes that let non-married poets with certain neo-classical sensibilities and bad food addictions get extra breaks). Please backchannel... thanks. ========================================================================= Date: Wed, 15 Mar 2000 15:20:09 -0500 Reply-To: i_wellman@dwc.edu Sender: UB Poetics discussion group From: D Wellman Subject: Re: phenomenology of cancer MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit I am spinning off of the last line of Alan Sondheim's post, quoted below. The 'other' seems always to be implicated in some for of "talking to" or discourse. I imagine who you are and you imagine who I am and those imagined othernesses or differences inform what we have to say to one another. Otherness comes more deeply into play if I am an anthropologist and you are the subject of my investigation, still it is mediated by discourse and that sense otherness may be more or less embodied through various mediated realties (interactive cyber realities), just as a guru or Jack Spicer might be a medium for embodying otherness. I am beset by two questions though. What about embodied subjectivity? Oh Whitman surely had this in the scope of his subjectivity, as some have noted. This was my rational for the objectifying subjectivity thread. My second question concerns gender. What permits or enables me in my projections of my sense of the differences at play in any bit of discourse to embody differences that are perverse, that cross gender norms, etc.? You see I am looking for something other than an essentialist answer to this question. Another version of the same question: is mimicry even possible anymore? Or is it always an insult? ========================================================================= Date: Wed, 15 Mar 2000 15:21:57 -0500 Reply-To: i_wellman@dwc.edu Sender: UB Poetics discussion group From: D Wellman Subject: Re: phenomenology of cancer (repost with quote) MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit I am spinning off of the last line of Alan Sondheim's post, quoted below. The 'other' seems always to be implicated in some for of "talking to" or discourse. I imagine who you are and you imagine who I am and those imagined othernesses or differences inform what we have to say to one another. Otherness comes more deeply into play if I am an anthropologist and you are the subject of my investigation, still it is mediated by discourse and that sense otherness may be more or less embodied through various mediated realties (interactive cyber realities), just as a guru or Jack Spicer might be a medium for embodying otherness. I am beset by two questions though. What about embodied subjectivity? Oh Whitman surely had this in the scope of his subjectivity, as some have noted. This was my rational for the objectifying subjectivity thread. My second question concerns gender. What permits or enables me in my projections of my sense of the differences at play in any bit of discourse to embody differences that are perverse, that cross gender norms, etc.? You see I am looking for something other than an essentialist answer to this question. Another version of the same question: is mimicry even possible anymore? Or is it always an insult? Alan Sondheim wrote: > - > > phenomenology of cancer > > revolution of the body & dispersions, nomadicisms & deregulation economies > & descent of time & noise within decoupling systems & chemotherapy univer- > sals & radiation and imminence & 'periodically, throughout the year, the > volunteers host parties in the unit to celebrate holidays & patients & > families are encouraged to participate in these events' & neutrality of > intent & into the thing & bewilderment, withdrawal, 'i will give you up' & > punishment of the body, pummeling & 'you can always feel free to call the > unit at any time' & feeding the cancer, nourishing the cancer & not-eating > & not-drinking & patches & morphine & shutting down & knowing it's time to > go & what is there within me & what is there beside me & i am talking to > the other > > ___ ========================================================================= Date: Wed, 15 Mar 2000 15:27:05 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Gary Sullivan Subject: Issue Zero Conference (Saturday Night) MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Okay, I don't know if this will give anyone a sense of anything more than just how bad my memory is, just how burnt-out I am, or what, but ... Saturday, I tried to prepare for my talk, and based it largely on the talks of the night before, which had mostly been personal history kind of things. I thought more about Steve Cannon, because I couldn't remember, and it just seemed amazing: Is he really blind? Had I just extrapolated that from his wearing sunglasses at the talk? Made it all up? It seemed too amazing to be real, and, you know, it wouldn't be beyond me to spin out some fantasy like that, based on a piddly clue like wearing sunglasses indoors. (He was seated the whole time I saw him.) But, I just thought, as I was writing down a few notes, how banal my own history was, and not really sure if I should even talk about it. Just before leaving for the conference, I tried to get hold of Drew Gardner, because I wanted to see if he'd go see Mike Kuchar's "The Craven Sluck" and "Sins of the Fleshapoids" at Millennium after the conference. I got there early and only Suzi Winson had arrived. People began showing up, and I saw Amy from Bunny Rabbit, and we traded zines for books, and I asked her if she knew of Nancy's Magazine, because most personal zinesters know about it, and sure enough she did. Not only that, but she also knew or knew of this whole sort of scene there in Columbus, Ohio, where Nancy lives. Finally, the place filled up and things got going. Melanie Nielsen and Deidre Kovacs went first, beginning with a prepared statement about Big Allis, talking about how Jessica Grim had first been involved, and how Deidre was now working with Melanie instead. There were lists of numbers, how many people they'd published, how many pages (600+ I think), and how long they'd been going, more than 10 years I think. Then they read first something by Jerry Estrin and then something by Hannah Weiner. My memory being what it isn't right now, I may have the order wrong, but next I believe was Jenn and Chris McCreary from Ixnay. They talked about I think wanting to begin publishing books, but someone wound up doing a magazine as well. They read a few things from the magazine, including a piece by Pattie McCarthy, and I want to say Ethel Rackin, but not sure about that. Someone who kept better notes could tell you. Suzi Winsom was next, from Fish Drum. She talked about the origin of the name, and I think a bit about the kinds of work they're publishing. I don't think she read the note that's on their website, but here it is in absence of my own ability to describe what *was* said: "Fish Drum exemplifies the exuberant, talky, often elliptical and abstract 'continuous nerve movie' that follows the working mind and has a relationship to the world and the reader. Fish Drum has a soft spot for schmoozy, emotional, imagistic stuff... also literate, personal material that sings and surprises...a place to discover zen oddities, carnivores, assorted larvae, immolation craters and wayward dragons." Philip Whalen fans will recognize "continuous nerve movie" from one of his descriptions of his own writing, and the first poem Suzi read was one of Whalen's. Again, no notes, and I don't recall what else was read. (*Please* someone who was there, fill this in!) Next was Jena Osman from Chain, who began by talking about how the first issue was put together: a sort of chain letter, where one person wrote something, sent it along to another writer, the second writer wrote something in response, and it was sent back, or on to a third writer, and so on. I can't remember if Jena mentioned the Gender and Editing section of that issue, or not. She read several things, brief excerpts, from pieces, pretty wonderful, from the magazine. I think one was Steve Carll's "Another Hermeneutics" (I'm looking at their website now to help jog my memory) ... Speaking of which, I'm not sure who came next at all, so this really isn't in any particular order. But, let's just say it was Erik Sweet and Lori Quillen from Tool A Magazine. They basically said that their editorial policy was "we publish what we like" which may actually appear in the magazine, too, on the copyright page. They read Jordan Davis's "He Is Lightning," and work by Laird Hunt, and I'm not sure, I wonder if *they* weren't the ones who read the Alyssa Quart piece. I'm kind of thinking yeah. Macgregor Card did a whole sort of "visual aid" / performance thing for The Germ. He passed out copies of "Goblin Market," and got everyone to read along. "We're all -- small press publishers -- kind of a goblin market," he said. I couldn't really see all the visual stuff from where I was sitting (off to one side, and bad lighting in the bar). He was pretty effusive, fun. Max Winter was there on behalf of Fence. He talked a bit about the aesthetics of the magazine, of a real or perceived "fence" between the mainstream & elsewhere, and said the magazine existed to bring both of the two worlds into dialog with each other. He read several things, again really nice, but I didn't take notes! and don't remember who they were by. David Cameron spoke on behalf of 6500. I saw copies of the mag there, on a table, they were pretty gorgeous. He gave a prepared statement that had been sent to him, kind of a humorous statement about accepting work only by redheads, but now opening up the magazine to people without red hair (either bald, or with hair color other than red). I don't remember that he read any work from the magazine. I went on last, and, based on everyone's reading work from their magazines at this event, completely abandoned my earlier plan to give a "history." I read a passage from Jack Smith's _Historical Treasures_, where he talks about calling up the Village Voice and asking if he can review his upcoming theatrical performance, and being told, finally, "If we let you do it, everyone would want to do it." To which Smith says (to his readers) "If everyone wanted it, isn't that the point ... to have something that everyone wants?" I said this was basically the spirit in which we were all working, though I didn't (as I'd planned) elaborate. I listed the people who'd been interviewed & who were now being interviewed for the mag, and basically said it was a poetics mag. I completely forgot to talk about what *kind* of poetics mag (an informal poetics mag, largely inspired by Film Culture, my all time favorite magazine of any kind). I read three things, a brief portion of an interview with Mark Jacobs that Peter Balestrieri did (which I won't say anything about here, since it'll be in the next issue), and a poem of Daniel Davidson's, and then a section from Nada Gordon's poem "essay." When I announced the poem, Nada yelled out: "You're going to read a love poem written to you from your girlfriend?!?" To which I reminded her of the Jack Smith thing I'd just read ... then read from Nada's poem, and that was that. Forgive my horrendous memory and lack of notes. I'm really hoping others will flesh these pale attempts out with their own obvservations. I felt bad about my own presentation, mainly because I didn't say what I should have said about the mag, and also that I managed to mostly avoid the microphone up until the very end, but the Kuchar movies cheered me up. And, again, these were related in my mind to the whole conference, given Kuchar's totally d.i.y. approach, his use of friends, making movies that *he* really wanted to see (or in one case that the star wanted to see -- there was a 12 minute recent short that Kuchar ended with, which hadn't been announced). Looking back on the conference as a whole, or at least these two days, I was most surprised by the lack of anyone's kind of pointing to previous examples of magazines that had inspired them(positively or negatively). Why had I forgotten to mention Film Culture? Maybe Michael Rothenberg or Bob Hershon talked about this a bit ... I do remember one of them very briefly discussing the general "magazine situation" around the time they began publishing. Anyway, this would have been something I'd liked to have heard about. Oh, I remember telling Brian Stefans that "I sucked," after he very nicely said "that was good." I meant it, but he said that it did give him some sense of community, so I guess that's good. It's true, though, thinking back on it, that the Saturday people talked less about this than the Friday night people; it seemed maybe to be more of a compelling issue for some of the older publishers there (Cannon and Rothenberg in particular). Anyway, this bleeds into Sunday, why I missed the Sunday conference: I was doing this cartoon all about community; specifically, sort of just recognizing various Brooklyn poets that I know & hang out with. I'd had huge problems doing this thing, have been working on it for over a month now, beginning and then having to throw the thing away (four, five times). I couldn't get people to look like themselves! & worse, the drawings themselves were just awful. So, I was struggling to get this thing on community done and actually *missed* being with one, Sunday -- kind of ironic. I did finally manage to finish the cartoon, but only because I hit on this idea: instead of doing drawings of my friends, do drawings of sketchbook drawings of them! It worked. This (this email) should have been over long ago, but Saturday night, there was a party at Sean Killian's, and a number of the magazine people showed up; I guess it was party for the mag conference. I went with Drew, after the movies, and met Nada there. We talked mostly with Brendan, who brought up the thing Rothenberg had said Friday night, about no particular style, or poets working a kind of confluence of styles, and said he really found that to be one of the most exciting things about current writing. We talked about other things, too (he was determined not to leave the wicker chair he had plopped down in, and didn't); I remember at one point asking him about writers from I guess Elinor Nauen or Greg Masters' generation, what was happening with them, if he'd read much of their stuff, if they were still active, or what ... Okay. I'm babbling. Hope someone, at the very least, will describe Sunday ... Gary ========================================================================= Date: Wed, 15 Mar 2000 23:54:39 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: family emergency MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII because of the family emergency here in Pennsylvania, I'm going back on nomail on Poetics for a while; if you want to reach me, please write to sondheim@panix.com apologies, Alan ========================================================================= Date: Thu, 16 Mar 2000 09:04:57 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: MAYHEW Subject: literature in translation MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII The Blanchot essay derives from Walter Benjamin's "Task of the Translator," in fact if it is the essay I am thinking of it is actually about this Benjamin essay. The idea that translation is the quintessentially literary act is also found in Borges's essay, "Las versiones homericas," which has the peculiarity of comparing English tranlsations of Homer without quoting these translations in English. In other words, he compares his own translations into Spanish of Chapman, Pope, etc... Very weird. Borges thought the prejudice against translation a superstition based on the repetetitive reading of classical texts. We cannot imagine the text different than it is because it is too familiar to us. Jonathan Mayhew jmayhew@ukans.edu _____________ ========================================================================= Date: Thu, 16 Mar 2000 09:02:08 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Christopher Reiner Subject: Witz 1.2 Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit I've been checking the downloads from the Witz site, and I find that although lots of people have downloaded the new issue and the more recent issues, hardly anyone has picked up Witz 1.2. So, even though it's eight years old, I just wanted to put a good word in for it. There's a great piece by John High on the Moscow poetry scene circa 1992 (which seems more than a little sad now), an extensive interview with Steve McCaffery (by Clint Burnham), and reviews of books by Anne Tardos, Barry Silesky, Rochelle Owens, and Stephen-Paul Martin (they're the authors, not the reviewers). The direct link to the issue (in PDF format, so it's easy to print out and read) is: http://www.litpress.com/witz/witzonline12.html --Chris Reiner ========================================================================= Date: Thu, 16 Mar 2000 11:57:17 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Brian Michael Lennon Subject: Report: Perloff/Vendler/Burt/Scharf: Poetry Criticism: What Is It For? 3.15.2000, NYC A few notes before settling down at this library terminal for the day. Short-term memory has never been good, and my retelling is highly colored, I'm sure, by my own views, so I welcome correction/elaboration from anyone mentioned here. ------------------------- Perloff/Vendler/Burt/Scharf: Poetry Criticism: What Is It For? 3.15.2000, NYC There, but where, how? One of those premature spring evenings that 3 years away from NYC made so much more ephemeral, & to be savored. Walked down to Cooper Union from the 8 St N stop without my usual irritation at diagonal wanderers, friends chatting three abreast, cellphone screamers, and other sidewalk traffic. Once there, about 200(?) people, filling all seats, a few sitting in aisles. Aura of anticipation. Each of the four panelists either gave a paper (Burt, Scharf) or spoke largely ex tempore (Perloff, Vendler). Susan Wheeler moderated. Of the four, Perloff and Scharf were most committed to the idea that poetry journalism, reviewing and/or criticism was in a crisis. Burt had complaints of a slightly different nature. Vendler admitted that she'd been lucky to have as much space as she wanted (in The New Yorker and elsewhere) to write what she wanted to write, and so had worked in a place of high privilege. Stephen Burt spoke first. Among other things, he suggested (as best I can paraphrase) that it's not such a big deal to write poetry scholarship one day, a poetry review for a poetry-literate audience the next, and a poetry review for a so-called "general" audience on the third day, or indeed to be juggling all these tasks at the same time. By "not such a big deal," I mean he implied that these stand for a set of skills one can acquire and use without getting tangled in the ideology of which one of them ought properly to exclude the others. Different audiences simply exist, in other words, and can be written for. He also said that one problem with poetry reviewing is that editors don't allot enough wordspace to reviews, and that they often resist the reviewer's discussion of formal or other technical intricacies of a poem (use of the line, for example). Marjorie Perloff noted that although the state of poetry reviewing and criticism in general-circ publications is presently dismal, there probably was no Golden Age when it was much better. Go back and look at the New York Times Book Review from the turn of the century, she said. What *is* different, she seemed to say, is the quality or quantity of engagement in tiny elite publications today, compared to those of the high modernist period. She used the phrase "putting oneself on the line" several times to signify the (productive) combativeness of modernist poetry reviewing, & suggested that contemporary reviewers in the tiny magazines are "too polite" in comparison. And also that what's crucial in vital criticism is a mix of sympathy and distance -- she used Brian Henry reviewing Charles Bernstein as an example. The idea being that people of the same political-aesthetic community often review each other badly out of an excess of sympathy, and people too far apart, community-wise, review each other badly out of ignorance of each other's essential contexts. Michael Scharf sounded a similar note in his talk. Lyric or "self"-centered poetry, he said, is better-selling and (not coincidentally) more extensively reviewed than what he called "recent alternatives to the lyric," and so there has developed a kind of literary-journalistic "shorthand" that allows one to say someting about a book of lyric poems in a short space (say, 300-800 words) without having to first establish each term of the discussion in its historical context. There's no such general journalistic shorthand for poetry that challenges the premises of the lyric, he seemed to say, and so not only is the stuff more often passed over for review (we're talking about general-circ organs like, e.g., NYTBR) but the reviewer often can't get anywhere in the alloted wordspace. He implied (though it may just be me reading-in) that the frustration of this encourages reviewers of "recent alternatives to lyric" to retire into mainly sympathetic closed communities ---e.g., tiny-circ journals --- where their voices aren't getting heard by anyone but their (actual or potential) friends. Helen Vendler spoke anecdotally about how one could, so to speak, fall in love with or acquire a religious feeling for writing *about* poetry as much as with or for the poetry itself. She talked about a kind of "closed-circuit" relation between the poet and critic, which in her experience was often most compelling when it was most focused and seemingly exclusive of some (not all) aspects of world-context. Criticism that can be imagined to please or have pleased the poet, she said, was largely on the right track. She admitted that she'd never been a "joiner," had never belonged to a political party or had a religious affiliation, had never voted, and didn't really consider herself "in culture" in the sense that other panelists had used as a ground for their arguments. Her final self-characterization seemed to be: she loved poetry, loved writing about poetry, and knew that her "closed-circuit" method was but one of many valid and indeed necessary approaches to poetry and its discourse. Afterward, with Susan Wheeler moderating, a few of these things got elaborated. Stephen Burt suggested that Marjorie Perloff was calling for more "negative" criticism, and they went back and forth on that for a while. There was some discussion of the principle "if you don't have anything nice to say, don't say anything." Marjorie Perloff clarified that she had been talking about productive combativeness, not hatchet criticism. Then there were questions & comments from the audience. Michael Scharf had said something in his talk about how MFA programs had become part of the business of helping people get their "selves" onto paper, and Katy Lederer challenged him on the generalization, saying it's maybe just an easy thing now to bash on MFA programs. There was some discussion about whether "contemporary avant-garde poets" went or had gone to MFA programs or not, with Michael maintaining that very few of them did, and Katy (I think; help, Katy?) that, well, some of them did. At this point I thought about the rumor that was always floating around Iowa City, that "many" of the self-styled avant-gardians of the 70s and early 80s had gone through the Iowa program and sort of buried their MFA credential afterward. I won't name names I've heard, since it's no more than rumor. Not that it's anyone's fault for going to Iowa and being disappointed, but it's obviously a problem for those who set themselves, or this List, up as ideally untainted by what "Iowa" (and, while I'm at it, Graham) is made to stand for. Someone asked a question about what does poetry criticism or reviewing do for "the reader." Answers from panelists seemed to suggest that a critic is just a reader who takes the time or has the courage to make a permanent record of what she thinks about what she's read. That they're not, in other words, separate social categories. There was a question about "what good is (academic) poetry scholarship," to which Marjorie Perloff answered that in its committment to history, scholarship was perhaps the most valuable of all forms of writing about poetry (ideally, anyway). Brian Kim Stefans asked what I thought was an excruciatingly smart question/paragraph about historicity and poetry criticism, which didn't get fielded particularly well, and I thought it would have been nice to have him down there on the panel as well, and then I thought that it would have been nice to have a so-called young female up-and-coming poetry critic down there too. Altogether, I think the "clash of the Titans" some had expected did not occur. Not only because, as Marjorie Perloff pointed out here a few days ago, both she and Vendler have been caricatured in their opposition, but also because maybe because there's some truth to the postmodenist canard that when you really get people talking, binaries tend to fissure into so many other binaries that they're not binaries anymore. Afterward, we stood outside smoking like schoolboys/girls, and I remembered sulking outside my high school building in suburban Long Island, in an upper-middle-class metalhead phase of the mid-80s, smoking butts --- got a butt, got a butt? --- and talking about the just-premiered Monsters of Rock (the Lollapalooza of metal) at the NJ Meadowlands... ========================================================================= Date: Thu, 16 Mar 2000 13:58:05 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Stefans, Brian" Subject: Criticism Conference Mime-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" I tried to take some notes about the conference, but I can't read my handwriting (does the phrase "prathas abaut epistimomolg" mean anything to anyone?) Generally, though, I would say that there was a skittishness about delving deeper into much of what was being alluded to. For example, much of the talk centered around the idea of "negative" criticism, which basically means those reviews of books in which the critic foregrounds his/her displeasure with a particular text. This was placed on the tolerance/intolerance axis that Marjorie set up, her argument being that "tolerance" should not be fetishized for a critic -- that is, that a critic need not advertise her ability to appreciate poetry from a diverse range of sources to claim respectability, that a critic need not make claims to non-partisanship, etc. -- which, I think, is a generally a good principle. The question, though, of "intolerance" and by extension the idea of "negative" criticism, was not approached with any degree of depth. The problem with this is because there was a degree of muddiness about the following (as far as I could tell): 1) the distinction between criticism of new books, that is "reviews," which provide opinions to people with little or no knowledge of the text at hand, versus that criticism of older books, literary periods, the life-works of a writer and his/her value for the future, and expository writing that describes more than evaluates, etc. 2) the distinction between that criticism written by a poet -- which, I think, by nature has to do with how such a book could create possibilities for future writing (by oneself most importantly, by others secondary, though the poet-critic usually reverses these values in public) -- and that written by a professional critic, one who's aims are to, one suspects, create a consistency among her distinctions and propositions, to create a sort of critical vocabulary that could be extended to other works not being discussed, and which would, one presumes, have a wider scope of views and claims even to knowledge (all of which a "poet-critic" could do, though we don't necessarily ask this) 3) the distinction between how criticism could work in one sort of literary society, and how it would work in the "public," which would be the readership of, say, the New York Times Book review (being an exponentially larger number of people than those in the "community" type society) 4) the distinction between critical writing that is consciously "dialogic" and ephemeral and sets out to be, in the real-time attempt to find new values or discredit old or poorly stated ones (that is, writing for the poetics list was universally considered "preaching to the converted" even when, as in the example Perloff cited, this preaching was in the form of an argument [twixt Standard and myself, in this case]; most of Pound's criticism actually, is of this sort, and was being read by his right-wing audiences in The New Age, etc.), and that which is didactic and wishes to present a closed, finished set of values for the evaluation of literature, deduced from scholarship and "close readings", etc. I'm sure some will disagree with me that these distinctions were not made, or need to be made. However, it was unclear why, for instance, Ezra Pound and T.S. Eliot (and Williams?) were figured as poet-critics who were very frank in public about their evaluations of their peers work, and were not merely writing "positive" criticism about their friends -- it's worth noticing that most of the "negative" criticism we read of these guys about their peers is in their posthumous letters, not in their essays. Pound, for instance, was very frank in his essays about saying there was lots of garbage out there, and that it was dangerous to society, but he rarely named poets, and when he did it wasn't in the form of a "negative" evaluative essay so much as in a nasty aside, or in the description of tendencies. What we know of Eliot's feelings for Williams are in his letters (he was "negative" about Edgar Lee Masters, and quite forthright yet decorous -- a model! -- but this was very early). Famously, O'Hara never wrote criticism of his friends that wasn't laudatory, nor does Ashbery, and yet the health of the "New York School" among themselves is inarguable. The role "professional" critics played in describing either of these groups of people is also arguable -- one might say they played no role except to provide further scholarship or insights (Kenner on Pound, Perloff on O'Hara, etc.), but not to provide "real-time" senses of how this work is good, good for today, or bad, whether for "society" or the individual who wants to spend some money buying poetry, etc. -- i.e. "negative criticism." But the other thing that wasn't clear -- and this is more to the point -- was from what sort of ethical or philosophical or political or religious platform -- that is, from what series of values, however named -- was one to write this "intolerant" or negative criticism to which, Perloff suggests, one would aspire to do, at least on occasion. Because there were no allusions to wider spheres of knowledge, or greater truth values beyond "pleasure" to the critic and possible reader, the discussion centered around these issues: how a "negative" review would hurt a poet's feelings (Perloff stated, quite frankly, that she couldn't review a book of Philip Levine's negatively because he had been so kind to her about her previous negative review of one of his books; so she just didn't write one); how the limited amount of space in certain publications affects the possibilities of a review (which is arguable; some 250-word reviews say more than entire chapters; and some 3-page essays live much longer than entire books); how writing -- or rather "preaching" -- for those who are in one's "community" is rather useless compared to what a critic could be doing to create genuine popularity for new, difficult texts in what is considered "society" (no recognition at all of how limited this society is -- is Amiri Baraka in Newark getting his literary opinions from the Boston Review?; ironic, also, that Perloff would be so dismissive of interactions among poets of smaller communities -- she didn't say that what I wrote to Standard was worthless, but rather that writing to him at all was worthless -- when in fact her reputation is based on her knowledge of smaller, self-contained communities, like that of Toronto). It seems that the sort of psychological violence that a "negative" criticism could have could be justified by one's idea -- as a provider of "truth," the Promethean idea which most of us, in our humility, don't hold as our model for anything, poetry or criticism -- would override concerns for a person's feelings on occasion, and in fact would ennoble the task of criticism rather than make it appear a mere slug-fest. Were it to be ennobled, that poet being criticized would not be hurt by the criticism -- good luck! -- which is, of course, where this world of pluralism (where one can't even anticipate how a review would be received by he poet) has left us -- which I think is a good thing, now's our task to figure out how to make this work in a lively fashion. Colorful detail: I felt Helen Vendler was the most "avant-garde" of the critics in her rather bold statement concerning the fact that she never voted, never engages in society, etc. etc.; that her relationship to the poem was purely circular; I was reminded Roussel's legendary voyage(s?) to Africa in which he never left his room on the ship, or even of Dickinson. No one decided to take her up on this statement, when it seemed, to me, that the axis that thinking that would really divide a Vendler and a Perloff/Scharf and to some extent Burt, on the idea of which critics were contrasting the poems being reviewed to a sort of "ideal" state of poetry, with eternal values that exist regardless of society and contingency (Great Chain of Being, Platonic idealism, relationship to divinity, social coherence -- whatever the system), and which are looking at the poems as they exist in their own time and place (the "gestural", as Michael Scharf put it, the pragmatists approach), which assumes the possibility of not knowing everything about the poem because it came from, say, the Caribbean. Burt's statement, which had ambitions to making great claims, and had a slew of references from Alan Turing to Samuel Johnson and named a thousand contemporary poets [but quoted the old ones], in the end was very confused because he was unclear about this issue, and so his attempts to construct an image of the historical moment was, to me, a muddle -- this being a time of "epistemological" poetry (I think he meant "ontological" half the time, and his example was Michael Palmer) whereas the Modernists were concerned with myths and anthropology (as if anthropologists like Levi-Strauss and Bourdieu aren't leading figures in poetry discourse, and as if anthropology and social discourse aren't informing each other more and more, and as if Henry James, James Joyce, Virginia Woolf, Gertrude Stein, Wallace Stevens, a slew of Europeans [Rilke, Pessoa to a degree, Rimbaud, the aforementioned Roussel, the Cubist painters, etc.] weren't concerned with issues of epistemology (or ontology). It strikes me that critics would be better off not trying to "name their age," or at least play it safe and name it when the dust has settled -- the "Pound Era" has at least a nice ring to it; the "new ellipticists" (or whatever) sounds like what a praying mantis must look like walking with a sprained ankle ("an insect is an idea made of joints, as Dr. Williams used to say) -- to think the term is being used in a classroom is unsettling, but better there than, say, the "public." Anyway, I think this sacrifice -- at least for the goal of making a pleasant evening out of it, noble in itself -- of the possibility of a larger sphere of values determining one's aesthetic judgments beyond taste is why the discussion centered around the rather mundane -- uninteresting and/or superficially considered -- world of literary politics, how those in power presently use it or are able to use it, and why no answer to the question of why criticism should exist at all, or how wisely to use this power, could be answered -- anecdote and "taste" took their places. And so a critic is to be appreciated because we more or less find his or her taste similar to ours. Why read a critic one doesn't like if they are not, in fact, presenting you with possible new values (especially if they are covering poets you are sure you don't like)? And it's pretty obvious that ideology and the discourse of science has fallen entirely to the wayside, since Marx (at least as responsible for the criticism of the "self" as Freud and, in a way, Darwin, and certainly the most vicious in the tearing up of bourgeois, private space) was not mentioned, which is fine -- new languages are always needed. But no one else was mentioned either -- though Turing would have been a good start! Anyway, rant and rave... ========================================================================= Date: Thu, 16 Mar 2000 12:24:24 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Catherine Daly Organization: e.g. Subject: self-promoting poetry links MIME-version: 1.0 Content-type: text/plain; charset=us-ascii Content-transfer-encoding: 7bit A poem quoting Mr. Bromige and Ms. Rettalack in Streetnotes. This was written when I went to Hong Kong. "Harbormaster of Hong Kong" recommended to me by Mr. Bromige, I went over to Sun & Moon and bought it, brought it with me. Xcp: STREETNOTES Spring 2000 Exhibit is now Online http://bfn.org/~xcp/streetnotes.html More poems at Slope: Slope #3 (March-April 2000) is officially online at http://www.slope.org Rgds, Catherine Daly cadaly@pacbell.net P.S. The second part of the *free* LMU SynThink conference starts at 2, poetry reading (Kit Robinson, Diane Ward) tonight at ...?. ========================================================================= Date: Thu, 16 Mar 2000 15:55:43 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Poetry Project Subject: announcements Mime-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Next week at the Poetry Project: Monday, March 20 at 8 pm SUMMI KAIPA & JENI OLIN Summi Kaipa is the editor of Interlope and the author of The Epics (Leroy Press). Her poems are in the most current issue of Poets & Poems on the Poetry Project's website at http://www.poetryproject.com/poets.html. Jeni Olin is the author of A Valentine to Frank O'Hara (Erudite Fangs/Smokeproof). Wednesday, March 22 at 8 pm JULIE PATTON & DREW GARDNER Julie Patton is a librettist, self-proclaimed "phonemenologist," visual artist, and vocalist who has performed in the U.S. andn abroad. She is currently teaching a writing workshop at the Poetry Project. Drew Gardner's newest book, Student Studies, is forthcoming from Meow Press. Friday, March 24 at 10:30 pm RATTAPALLAX OPEN MIKE CONTEST Featured readings by David Hunter Sutherland and Mark Nichols followed by an open-mike poetry contest. The top 7 readers will receive a free computer. Poems must be 1 1/2 minutes or less. Admission to events is $7; $4 for students; and $3 for members. The Poetry Project is wheelchair-accessible with assistance and advance notice. Please call (212) 674-0910 for more information. The Poetry Project is located in St. Mark's Church at the corner of 2nd Ave. and 10th St. in Manhattan. *** PUBLIC SERVICE ANNOUNCEMENTS (Warning: Obsfucated PSA to follow....) We hear that Magdalena Zurawski and Thalia Field are reading tomorrow, Friday, at Teachers & Writers, and we think that the reading may be at 7 pm. However, we strongly suggest contacting T&W to confirm. (212 691-6590) This Saturday at 4 pm, Kimberly Lyons and Tom Devaney read at Double Happiness, 173 Mott Street, just south of Broome. Donation $4. And this very same Saturday, at 8:00 pm, Ammiel Alcalay will read with Somalian (now exiled from Somalia) author Nuruddin Farah at The Society for Ethical Culture, located at 53 Prospect Park West [between 1st & 2nd Streets], Brooklyn. Tickets are $5 and can be bought in advance at The Community Bookstore & Cafe of Park Slope, 143 Seventh Avenue (718. 783. 3075 bookstore@communitybookstore.com). Sunday at 6:37 pm, Rachel Levitsky will read with Leanne Trapedo Sims at the Zinc Bar, 90 West Houston, between LaGuardia & Thompson Sts. Donation $3. *** "Arma virumque cano, that's the story of America," Miriam said when I told her I was writing this book It's true that arms & bloodshed too often tint the time-track but it's also true the Nation shakes aside the violence & shines And who am I, someone could ask, to write a history of America? I am a bard trained with my every breath for 41 years to chant & sing, whisper, shout, keen, dance with joy & try to trace with grace what the Fates & Human Mammals have wrought in the Time-Track of America & now my time arrives to grasp my sunflower walking stick to speak my nation Seething Nation! Vast & Flowing Day & Night & Storm! _America A History in Verse: Volume I 1900-1939_, by Edward Sanders *** ========================================================================= Date: Thu, 16 Mar 2000 09:57:08 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Ron Henry Subject: AUGHT no. 4 now online In-Reply-To: <200003150510.AAA06401@router2.mail.cornell.edu> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Readers of POETICS: The online poetry journal AUGHT is pleased to announce that its fourth number is now online. Interested readers can link to the AUGHT web page via http://people2.clarityconnect.com/webpages6/ronhenry/aught.htm AUGHT no. 4 features an exciting batch of new innovative work by the poets Jonathan Monroe, Catherine Daly, Stephen Bett, Dee Shapiro, Emily Sunderland, Joel Chace, Rus Bowden, Francis Raven, and Geneva Chao. Previous issues remain online and can be accessed through the above link as well. We will also consider submissions for future issues at any time; please review our editorial statement on the web page and email inquiries or work (ASCII or RTF format) to ronhenry@clarityconnect.com or rgh3@cornell.edu. Thank you! -- Ron Henry / ronhenry@clarityconnect.com Aught, a journal of poetry http://people2.clarityconnect.com/webpages6/ronhenry/aught.htm ========================================================================= Date: Fri, 17 Mar 2000 09:58:30 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Steve Shoemaker Organization: Wake Forest University Subject: Re: Evil Twins MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit For some reason, I haven't received the Marjorie Perloff post everyone is responding to, and so have only seen scattered quotations. But let me just say it's completely mortifying to me that my matter/antimatter quip seems to have been implicated--however circuitously--in charges of sexism. This seems to me mainly an example of how almost any post can mutate rapidly and dangerously beyond anything one might have foreseen or intended. And so a good illustration of why I don't post to the list more often. steve ========================================================================= Date: Fri, 17 Mar 2000 07:18:07 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Brent Cunningham Subject: SPD Open House Party (SF) In-Reply-To: <200003161900.OAA12502@interlock.randomhouse.com> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" All and sundry (please forward): Join hundreds of book lovers at the country’s only exclusively literary book distributor, Small Press Distribution, Saturday, April 1 * Noon to 4pm at its warehouse, 1341 7th St., off Gilman, in Berkeley * BROWSE among more than 8,000 titles (at a 20% discount) * CONSUME food & drink from Bay Area culinary outlets * LISTEN to readings by Bay Area poets (1-2:30 PM) Marci Blackman (SF), Mary Burger (SF), Brenda Hillman (Berkeley), Truong Tran (SF) and Elizabeth Willis (Santa Cruz) SPD, founded in Berkeley in 1969, is a non-profit literary arts organization whose mission is to nurture an environment in which the literary arts can thrive. SPD accomplishes this mission by providing wholesaling services to nearly 500 small, independent literary presses, advocacy and public programs. www.spdbooks.org or contact 510-524-1668 for more details. ========================================================================= Date: Fri, 17 Mar 2000 11:10:36 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Tracey Gaughran Subject: Re: Dario Argento in San Jose In-Reply-To: <20000315063221.1334.qmail@hotmail.com> Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit Mark DuCharme wrote: > I think Kevin listed some of HIS recommendations at the end of his post. My > recommendations are: > > _Phenomena_ (a.k.a. _Creepers) > _Deep Red_ (a.k.a. _Profundo Rosso_) > _Opera_ (a.k.a. _Terror at the Opera_) Ahh, thanks for that clarification. Now you see how little I know about Argento's films overall -- I didn't recognize the titles Kevin listed as Argento's, being only familiar with _Suspiria_. Regarding violence against women in horror films generally: you might want to check out Carol J. Clover's _Men, Women and Chainsaws: Gender in the Modern Horror Film_. Also, I think its good to note that lately there has been a general turn in the genre away from (directly) linking sexual activity with being a victim (the _Scream_ series, _The Blair Witch Project_, and even the most recent _Halloween_ installment (H20)), though I have to wonder if this shift denotes a new level of consciousness among filmmakers in the genre, or if its simply a calculated attempt to reconfigure the formula so that the predictability factor is lessened (in the 70s & 80s i think it was clear that horror film sex = death, and so once two characters started fooling around their fate was obviously sealed -- where's the scare in that?). The kids tire of a one-trick pony? Well, only after some 20 years of the same trick, it seems. Aside: several years back I was in SF visiting my friend Johnny Huston, who writes for the SF Bay Guardian (though at this time he might have been at the Weekly), and we went to see a revival of the horror film _Eyes Without a Face_ (insert strains of Billy Idol), which he had to write a review of at the time. Have any of you seen this? French, mid- to late-fifties I believe, though I must again plead ignorance w/r/t the director. Amazing -- particularly for its time -- and somewhat aligned with _Suspiria_ in atmosphere and artfulness. Highly recommended. Tracey, who will get back to the poetry of poetics at some point or other. ========================================================================= Date: Fri, 17 Mar 2000 11:50:36 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: MAYHEW Subject: Re: formalism/new criticism MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII This distinction might be of more archeological interest now, and I don't wish to belabour the point. My point was that calling New Criticism formalist was a purely negative characterization. That is, it is formalist to the extent that it rejects other, non-formalist approaches, but not formalist in any positive sense (attending to form itself). So formalism becomes a kind of empty word; hence my principle is that this use of the word is somewhat "lazy" (no hostility intended of course!). So I still don't understand Ramez's idea that formalism subsumes New Criticism. It is maybe a distant cousin, like the stylistics of Leo Spitzer and Damaso Alonso. If the New Critics had been formalists, they would have been more interested and responsive to Zukovsky, Oppen, Williams, Creeley, etc... Jonathan Mayhew jmayhew@ukans.edu _____________ ========================================================================= Date: Fri, 17 Mar 2000 12:01:18 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Elizabeth Treadwell Subject: march 30, big reading, big fun at the a+bend press 1 yr anniversaryparty Comments: cc: WOM-PO@listserv.muohio.edu Mime-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Hi, I am forwarding this from Jill Stengel of a+bend press. It should be fun. Elizabeth > >one year, eleven readings, and twenty books later=E2=80=A6 > >it=E2=80=99s the a+bend press anniversary and benefit party!!! > >Thursday March 30 at 7:30 p.m. >hosted by Blue Books at New College, 766 Valencia Street, San Francisco > >=E2=80=A6readings=E2=80=A6performances=E2=80=A6drinks=E2=80=A6books=E2=80= =A6door prizes=E2=80=A6at least one film...other=20 >stuff=E2=80=A6 > >Help celebrate the one year anniversary of a+bend press! Help support the= =20 >arts! >Hang out with a bunch of poets, artists, and performers! Bring your= friends!=20 >Have a drink! Have a good time! > >a+bend press authors scheduled to read/perform: >David Bromige, Norma Cole, Sarah Anne Cox, Susan Gevirtz, Lisa Jarnot, = =20 >Lisa Kovaleski, Dana Teen Lomax, Rose Najia, Standard Schaefer, Kathy Lou= =20 >Schultz, Katherine Spelling, Jill Stengel, Brian Strang, Elizabeth= Treadwell,=20 >T. L. Alexandria Volk, Jo Ann Wasserman, and others to be announced=E2=80= =A6 > >Admission is $10 and includes an a+bend press book of your choice. If you= =20 >don=E2=80=99t want a book, admission is $7. (No one turned away for lack of= funds.) > >=E2=80=9CBooze, books, and brilliance=E2=80=A6sounds like a party to me!=E2= =80=9D Brandon Downing of=20 >Blue Books > >To help celebrate a year of beautiful books, fabulous writing, and= wonderful=20 >readers (YOU!): on this night, all a+bend press titles will sell for $3.50,= =20 >sales tax included, instead of the usual price of $5. For a complete list= of=20 >titles, please go to the new (i.e., still under construction) a+bend press= =20 >website at http://www.durationpress.com/. > >If, alas, you cannot attend the reading, please feel free to send a= donation=20 >and/or a book order to a+bend press, Jill Stengel, editor, 3862 21st= Street,=20 >San Francisco, CA 94114. If you mention this invitation and your order is= =20 >postmarked on or before March 30, the event price for the books will be=20 >honored. Please include a dollar or two for postage. > >Thank you for your interest and support. >_________________________________________________ >please notify sender if you wish to be removed from this list > > ========================================================================= Date: Fri, 17 Mar 2000 12:22:10 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Elizabeth Treadwell Subject: Treadwell & Myles reading in San Francisco Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Hi again, also I am reading with the fabulous Eileen Myles at Small Press Traffic next Friday March 24 at 7:30. New College Theater, 777 Valencia Street, SF....http://www.sptraffic.org -Eliz ___________________________________________ Elizabeth Treadwell Double Lucy Books & Outlet Magazine http://users.lanminds.com/dblelucy ========================================================================= Date: Fri, 17 Mar 2000 15:41:18 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Poetry Project Subject: on modernism Mime-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Q: How many poets does it take to wallpaper a bathroom? A: Three, if you slice them thinly enough. ========================================================================= Date: Fri, 17 Mar 2000 00:41:16 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Rebecca Wolff Subject: Poetry Society Also Congratulates In-Reply-To: <200003170506.AAA05578@halo.angel.net> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Lisa Lubasch! Congratulations to Lisa, to Avec Press, and to judge John Yau for picking this excellent first book for the 2000 Norma Farber First Book Award. I will post Yau's citation as soon as we receive it at the old Society. Brenda Shaugnessy's Interior with Sudden Joy (FSG) was the runner-up. ========================================================================= Date: Fri, 17 Mar 2000 07:41:18 PST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Ron Silliman Subject: Re: Criticism Conference Mime-Version: 1.0 Content-Type: text/plain; format=flowed Brian Kim Stefans writes: Famously, O'Hara never wrote criticism of his friends that wasn't laudatory, nor does Ashbery, and yet the health of the "New York School" among themselves is inarguable. The role "professional" critics played in describing either of these groups of people is also arguable -- one might say they played no role except to provide further scholarship or insights (Kenner on Pound, Perloff on O'Hara, etc.), but not to provide "real-time" senses of how this work is good, good for today, or bad, whether for "society" or the individual who wants to spend some money buying poetry, etc. -- i.e. "negative criticism." ------ But I'm not so certain. I think that you can point to Bloom's advocacy for a particular Ashbery certainly altered (transformed?) the public response his work got in the 1970s, which in turn led to a series of books (beginning with Convex Mirror) that are by far the works of least lasting interest. Also the critical neglect of Berrigan, Ceravolo, Padgett, virtually all of the 2nd, 3rd & 4th gen. of the NY School has had consequences I would suspect for each and all. That doesn't mean that they did not push on anyway and do excellent work. But imagine what Ted Berrigan might be doing still if only he'd ever gotten a tenure track teaching job with health benefits. Brian's evil twin, Ron Silliman ______________________________________________________ Get Your Private, Free Email at http://www.hotmail.com ========================================================================= Date: Thu, 16 Mar 2000 20:37:37 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Joshua B McKinney Subject: Query: Mary Hilton - Primitive Publications Mime-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Good People: Does anyone have an e-mail address for Mary Hilton, editor of the Primitive Publications Chapbook Series? Please backchannel. Josh McKinney ========================================================================= Date: Mon, 20 Mar 2000 14:42:03 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Poetics List Subject: Boston again / Bouchard MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit This message had to be reformatted. Chris % Christopher W. Alexander % poetics list moderator ---------- Forwarded Message ---------- From: Daniel Bouchard Date: Wed, 15 Mar 2000 10:23:41 -0500 >Sounds like Jamie Crawford's website, when it's done, will be a good place to start >poetry-wise, but I'd love to hear from anyone about poetry, mags, books, >music, food, galleries, neighborhoods, Poetry: there's a hundred poets in Boston, most of whom don't know each other but may have heard each other's names. I can introduce you to some people I know once we meet but I will also be counting on you to introduce me to my own neighbors after you've had a chance to settle. Books: you're welcome to my new book when we meet up. Music: I don't get out much but there's good scenes in Allston and Cambridge (venues rather, I don't know the "scenes"). Mags: The first issue of Pressed Wafer is just out. Edited by Bill Corbett, Joe Torra, and myself. We also did two chapbooks--Beth Anderson's and Fred Moten's. Watch for info concerning release parties in both Boston and NYC in April. Mike Magee's excellent Combo is in Pawtucket, RI (but really, I suspect, in Philly still) and the Rhode Island border is a short distance away. Jacques Debrot has a new magazine I think but I haven't seen it yet; he's in southeastern Mass. but in the poetry world we still call it Boston. There's lots of others too. I should be checking out Jamie Crawford's website too instead of yammering so much. Food: there are more Indian restaurants in Central Square, Cambridge, than anywhere else in New England-- 26 I think. This may not be accurate but it's reason enough not to stay home on a Thursday night. Readings: not on your list but I know there's a reading series evolving into a monthly--Aaron Kiely's in Porter Square, Cambridge. Average audience over the past few months has been about 20 people; not bad. Check out Anselm Berrigan and Sean Cole this Saturday. MIT brings superb poets 2 or 3 times in the spring and fall. This season: Fanny Howe and Clark Cooldige. Galleries and neighborhoods: some are not to be missed; others overrated and overpriced. - db ><>>>>>>>>>>>>>>>>>>>>>>>>> Daniel Bouchard Senior Production Coordinator The MIT Press Journals Five Cambridge Center Cambridge, MA 02142 bouchard@mit.edu phone: 617.258.0588 fax: 617.258.5028 <>>>>>>>>>>>>>>>>>>>>>>><>> ========================================================================= Date: Fri, 17 Mar 2000 18:41:01 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jacques Debrot Subject: criticism conference MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Ron Silliman, I mostly agree w/ your post, but I do take issue w/ your characterization of Ashbery's post-Mirror poetry. I think, for example, that the 90s books badly date McGann's mid-80s assessment of Ashbery's work as increasingly conformist. & in the *immediate* aftermath of Mirror (more or less) there is, of course, As We Know--a really remarkable poem. You're right, though, to point to the black hole the 2nd, 3rd, and so on NYS gens. fell into-- mostly as a result of their estrangement from, and antagonism to critical discourse. Ultimately, poets have to write their own literary criticism--for the reasons that Brian gives--but also in order to *create* definitions of poetic value. Btw, speaking of the recent confab, a copy of Michael Sharf's chapbook TELEMACHIAD came in the mail the other day--it's wonderful! Thanks Mike (?). --Jacques ========================================================================= Date: Sat, 18 Mar 2000 10:58:54 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jocelyn Saidenberg Subject: Myles and Treadwell Reading at SPT 3/24 Mime-Version: 1.0 Content-Type: multipart/alternative; boundary="============_-1258716558==_ma============" --============_-1258716558==_ma============ Content-Type: text/plain; charset="us-ascii" Small Press Traffic Reading Friday, March 24, 7:30 p.m. Eileen Myles Elizabeth Treadwell We work hard to bring you legend after legend, week after week. The poet Eileen Myles, based in New York and Provincetown, has read and performed her work all over the world but nobody loves her more than audiences in San Francisco. She's a great raconteur and a brilliant stylist; she slips in and out of personae the way her writing blurs the boundaries between artifice and "real life," stardom and poverty, romance and repulsion, prose and poetry, hurling invective like Catullus, crooning lullabies like Catullus. She is a creature of the night sky like the moon over Avenue A. Eileen Myles contributes articles and reviews to Art in America, The Nation, Nest, Civilization & The Stranger. Her books include School of Fish, Maxfield Parrish, Not Me and Chelsea Girls (stories). She's lately finished a novel Cool for You. Elizabeth Treadwell is the author of a novel, Eleanor Ramsey: the Queen of Cups as well as the following books of prose and poetry, Populace, Stolen Images of Dymphna, Eve Doe: Prior to Landscape (Movements 9-31), The Erratix & Other Stories, and Eve Doe (becoming an epic poem). What we like about Treadwell is her diversity of form, her insistent investigation into character, family history, landscape, the local. Her writing attempts simultaneously to recreate the particulars of a gendered life and to spark something new, a Bronte refulgent in the California sun. Born in Oakland in 1967, she currently lives in Berkeley, where she edits Outlet magazine and Double Lucy Books (http://users.lanminds.com/dblelucy). New College Theater 777 Valencia Street, San Francisco $5 ******************************* KRUPSKAYA P.O. Box 420249 San Francisco, CA 94142-0249 jocelyns@sirius.com www.durationpress.com/KRUPSKAYA ******************************* --============_-1258716558==_ma============ Content-Type: text/enriched; charset="us-ascii" PalatinoSmall Press Traffic Reading Friday, March 24, 7:30 p.m. Eileen Myles Elizabeth Treadwell We work hard to bring you legend after legend, week after week. The poet Eileen Myles, based in New York and Provincetown, has read and performed her work all over the world but nobody loves her more than audiences in San Francisco. She's a great raconteur and a brilliant stylist; she slips in and out of personae the way her writing blurs the boundaries between artifice and "real life," stardom and poverty, romance and repulsion, prose and poetry, hurling invective like Catullus, crooning lullabies like Catullus. She is a creature of the night sky like the moon over Avenue A. Eileen Myles contributes articles and reviews to Art in America, The Nation, Nest, Civilization & The Stranger. Her books include School of Fish, Maxfield Parrish, Not Me and Chelsea Girls (stories). She's lately finished a novel Cool for You. Elizabeth Treadwell is the author of a novel, Eleanor Ramsey: the Queen of Cups as well as the following books of prose and poetry, Populace, Stolen Images of Dymphna, Eve Doe: Prior to Landscape (Movements 9-31), The Erratix & Other Stories, and Eve Doe (becoming an epic poem). What we like about Treadwell is her diversity of form, her insistent investigation into character, family history, landscape, the local. Her writing attempts simultaneously to recreate the particulars of a gendered life and to spark something new, a Bronte refulgent in the California sun. Born in Oakland in 1967, she currently lives in Berkeley, where she edits Outlet magazine and Double Lucy Books (http://users.lanminds.com/dblelucy). New College Theater 777 Valencia Street, San Francisco $5 ******************************* KRUPSKAYA P.O. Box 420249 San Francisco, CA 94142-0249 jocelyns@sirius.com www.durationpress.com/KRUPSKAYA ******************************* --============_-1258716558==_ma============-- ========================================================================= Date: Sat, 18 Mar 2000 15:52:40 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: DEVELOPING ONLINE COMMUNITIES: A BOL CHAT MEETING (fwd) MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII - ---------- Forwarded message ---------- Date: Tue, 14 Mar 2000 08:22:39 -0500 From: Suler Reply-To: research@cmhcsys.com To: Multiple recipients of list Subject: DEVELOPING ONLINE COMMUNITIES: A BOL CHAT MEETING BEHAVIOR ONLINE (http://www.behavior.net) would like to invite you to attend a panel discussion entitled: "DEVELOPING ONLINE COMMUNITIES" Saturday, March 25, 4:00-5:00 pm Eastern US time (Universal/Greenwich Time: 21) Behavior Online (chat login) http://www.behavior.net/chat In this meeting a panel of internet experts will discuss a series of questions about developing online communities that will be posed to them by a moderator. After the panel discussion, the meeting will be opened up to questions and comments from the audience. Some of the issues to be explored will include: - Why create an online community? - The do's and dont's of developing one - Establishing the ideology and purpose of the community - Structuring the population and communication infrastructure - Dealing with the struggles and recognizing the triumphs - Understanding the life cycle of the community The program for the meeting is located at http://www.rider.edu/users/suler/psycyber/bolchatcom.html The panel discussion will begin at 4:00pm (Eastern US time). You are welcome to come early - and stay after the hour - to talk with colleagues. During the panel discussion, please refrain from sending public messages. You are welcome to "whisper" (send private messages) to other attenders, but keep in mind that if you whisper to someone, the chat program places a series of dots next to your name. You will not see the dots, but other users will. After the panel discussion, when the meeting is opened up to questions and comments from the audience, indicate that you want to speak by typing the message "hand." Questions will be taken in the order of hands raised. "(p)" will appear after the name of the panelists. Please do not send private messages to them during the panel discussion. We strongly recommend that you visit Behavior Online ahead of time and test out the chat software (http://www.behavior.net/chat). For this meeting, we will be using the chat software "FreeChat." Read the help page. It's easy to understand. There are some disadvantages to FreeChat as compared to other chat programs, but it requires no downloads, is easy to use, and is stable across many platforms. During the meeting, if you wish to see new messages as quickly as possible, set refresh to 5 and click on the refresh button often. If this frequent refresh is hard on your eyes, set refresh to a longer period (20, 40) and use the refresh button sparingly. Note that new messages since the last refresh appear in a different color at the top of the screen. THE PANELISTS: ROBIN HAMMAN, an American now living in the UK, Robin Hamman has been building online communities since 1985 when he started a private Bulletin Board Service (BBS) on his Apple IIe so that his friends could download games and have online discussions. In 1995 he began to formally study online communities while working on his Master's degree in Sociology at the University of Essex. Since then, he has completed his MPhil in Communication Studies (Liverpool, 1999) and has begun working on his PhD project at the Hypermedia Research Centre, University of Westminster. His project, an online community for people working in the London digital media industry, has received sponsorship from a large trade union, an EU funded think tank, and several corporations with commercial interests. Over the past five years, Robin has published articles in a number of periodicals, journals, and edited collections. He has been interviewed about his work by journalists in nearly a dozen countries. He has also been a freelance internet consultant and, since August '99, has worked as a communities producer at BBC Online (www.bbc.co.uk/gettalking). In his spare time, Robin edits a webzine called Cybersociology (www.cybersociology.com) and has moderated it's 750 member email list. HOWARD RHEINGOLD is a leading expert on internet history, culture, and community. His books include The Virtual Community (HarperCollins 1994, MIT Press 2000),Virtual Reality (Touchstone 1993), and Tools for Thought (Simon & Schuster, 1985, MIT Press 2000). He is Founder of Electric Minds (named by Time magazine one of the ten best web sites of 1996); one of the creators and former founding Executive Editor of HotWired (the online World Wide Web multimedia publication of Wired Ventures); Editor in Chief of The Millennium Whole Earth Catalog (HarperCollins 1994); former "Tomorrow" columnist for the San Francisco Examiner; and founder and host of the Brainstorms online community. His other books include Excursions to the Far Side of the Mind, They Have a Word For It, Higher Creativity (with Willis Harman), The Cognitive Connection (with Howard Levine), and Exploring the World of Lucid Dreaming (with Stephen LaBerge). Rheingold's books are translated into French, German, Italian, Japanese, Spanish, Swedish. His web site is located at http://www.rheingold.com ALAN SONDHEIM is a writer, teacher, videomaker, and cyberspace theorist who comoderates four email lists, Cybermind, Fiction-of-Philosophy, Cyberculture, and E-conf (electronic conferencing), on the Internet. For the past several years, Sondheim has been working on dynamic webpages and a long Internet Text, a continuous meditation on the philosophy and psycho- logy of cyberspace. Parts of this have been published in online and offline venues, including Nettime's Readme (Autonomedia). Sondheim was the second Virtual Writer-in-Residence for the trAce Online Writing Community, originating from Nottingham Trent University, England. In 1996, Sondheim edited Being On Line, Net Subjectivity, for Lusitania Press, guest-edited an issue of Art Papers on Future Culture, and edited issue #120 of New Observations on Cultures of Cyberspace. His other books include Individuals: Post-Movement Art in America (Dutton, 1977) and Disorders of the Real (Station Hill, 1988). His current project, the Internet Text, is available on the World Wide Web. JOHN SULER, Ph.D., (moderator for the panel) is Professor of Psychology at Rider University and a practicing clinical psychologist. His online hypertext book The Psychology of Cyberspace describes the results of his ongoing research on how individuals and groups behave in cyberspace. His work has been translated into several languages and has been reported by The New York Times, The Wall Street Journal, the BBC, the Chicago Sun Times, CNN, MSNBC, the APA Monitor, NBC Nightly News, US News and World Report, and The Chronicle of Higher Education. He is consulting editor for Behavior Online, the Journal of Virtual Environments, the journal CyberPsychology and Behavior, and the Contemporary Media Forum for The Journal of Applied Psychoanalysis. He is a founding member and on the executive board of the International Society for Mental Health Online, where he also created and moderates an online clinical group devoted to case studies of psychotherapy that involve the internet. He also created and facilitates the BOL forum The Psychology of Cyberspace and an e-mail group devoted to the study of how cyberspace and in-person lifestyles affect each other. John's other web projects include the Teaching Clinical Psychology and the award winning Zen Stories to Tell Your Neighbors web sites.. Transcripts of previous Behavior Online chat meetings are available at http://www.behavior.net/chatevents/index.html ========================================================================= Date: Sat, 18 Mar 2000 16:07:35 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "P.Standard Schaefer" Subject: Announcements: Rhizome, etc MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Rhizome 2000 is finally out. Some special considerations though. First, several hard drive crashes have left me without some addresses. If you are in the issue, please contact me at sschaefer@socal.rr.com or at 626-799-7105 Note: This is a new email address. My aol account is closed, $5.00 is a bargain for this rather ecclectic issue of new and old voices. Send checks made out to STANDARD SCHAEFER. 1307 Stratford Avenue South Pasadena, CA 91030 This is a new address as well. This issue includes several reviews as well as the poetry of Brian Kim Stefans, Carl Martin, Jacques Debrot's very funny comics, Joshua Beckman, Diane Ward, Martin-Corliss Smith, Leslie Scalapino, Ray DiPalma, Devin Johnston, Kasey Silem Mohammad, Peter Gizzi, Nick Piombino, Guy Bennett, Martha Ronk, Brian Lucas, Malinda Markham, Sean Casey, Albert DeSilver, Kathy Lou Schultz, Daniel J. Quick, Christine Hume, Stephen Bett, Franklin Bruno, Chris McCreary and Carrie Etter. Also, I'm happy to announce that Rhizome will continue for at least one more year. Send manuscripts to the address above. ========================================================================= Date: Sat, 18 Mar 2000 17:16:17 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Brian Lennon Subject: New hypermedia at The Iowa Review Web, March 2000 MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit ***sorry for xposting*** =====[ New at The Iowa Review Web, March 2000 ]===== Hypermedia: Joel Weishaus: _Reality Dreams, Scroll One_ Alan Sondheim & Barry Smylie: _Broken_ Kevin Fanning: _Mitosis_ and _The dear mr thomas letters_ Reviews: Brendan Wolfe on Duong Thu Huongs' _Memories of a Pure Spring_ Coming in April: New hypermedia by Diane Greco =====[ http://www.uiowa.edu/~iareview ]===== ========================================================================= Date: Sat, 18 Mar 2000 18:04:39 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Ramez Qureshi Subject: Re: formalism/new criticism... under the sign of de Duve MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit In a message dated 3/17/2000 4:06:23 PM Eastern Standard Time, jmayhew@EAGLE.CC.UKANS.EDU writes: << This distinction might be of more archeological interest now, and I don't wish to belabour the point. My point was that calling New Criticism formalist was a purely negative characterization. That is, it is formalist to the extent that it rejects other, non-formalist approaches, but not formalist in any positive sense (attending to form itself). So formalism becomes a kind of empty word; hence my principle is that this use of the word is somewhat "lazy" (no hostility intended of course!). So I still don't understand Ramez's idea that formalism subsumes New Criticism. It is maybe a distant cousin, like the stylistics of Leo Spitzer and Damaso Alonso. If the New Critics had been formalists, they would have been more interested and responsive to Zukovsky, Oppen, Williams, Creeley, etc... Jonathan Mayhew jmayhew@ukans.edu >> Much thanks for your response. I agree with you that the New Critics became negatively labeled as "formalists" not because they were particularly attentive to form, but because they were not more historical/contextual etc. i.e. I like your "principle." I don't know why the New Critics ignored Zukofsky, Oppen, etc. Was it because they were not true "formalists," as you suggest? Because their politics were so antithetical? Circumstance? Were they simply too much under the spell of the Eliot lineage? I'd like illumination on this. The reason I'm posting so much (I've lurked for about a year and a half or something) is that as an undergrad I had it hammered into me that the New Critics were "formalists," hence I am so provoked. I would agree with you now that the New Critics, as "formalists," where "formalism" means attentiveness to form, are distant cousins to formalism. ( By the way, with Vendler, where this all started, you may find her book on Billy the Bard more "formalist" in your sense, then her previous work.) However, I do insist that "formalism subsumes New Criticism" under a different definition of the word "formalist," which I do not think is a lazy perjorative monicker. "Formalist," as I said in a previous letter, has come to mean intrinsic criticism. The only treatment of this semantic aporia I can recall reading is in Thierry de Duve's _Kant after Duchamp_. de Duve, in speaking of Clement Greenberg, (arch-"formalist") , quotes C.G. as writing. "Anything...that does not belong to [the artwork's] 'content' has to belong to its 'form'....' The unspecifiability of its 'content' is what constitutes art as art." C.G. is speaking of modern art and making a value judgement that centers aesthetic value on form, and the generic. For C.G., art is itself the subject-matter of art. de Duve can thus write, "As a methodology of art criticism, formalism means that form and subject matter are the only things one can talk about... formalism cannot speak of content, it can speak of subject matter," in modern criticism, we have "individual forms whose generic art-content is appraised as if it were a function of their subject matter." For C.G., the subject matter is art itself, but the tendency has metastasized, so that the term "formalism" now encompasses all criticism which addresses the dialectic between content and whatever the subject matter of the given form of a work may be. Hope this clarifies my position. -Ramez ========================================================================= Date: Sun, 19 Mar 2000 14:48:08 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group Comments: RFC822 error: Incorrect or incomplete address field found and ignored. From: Prageeta Sharma Subject: Poetry reading! Prageeta Sharma MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Prageeta Sharma will be reading at Simon's Rock College on March 23, 2000. Reading at 7:30 P.M. in the Oak Room of Blodgett House on the campus of Simon's Rock College of Bard in Great Barrington, Massachusetts. The public is invited. No charge for admission. Hope to see you there! ------------------------------------------------------------------------ ------------------------------------------------------------------------ ========================================================================= Date: Sun, 19 Mar 2000 15:44:12 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: OF THE binding of names MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII - OF THE binding of names a shrieking angel falls in the water & his sodden wings will not fly again & BIND the name to the number & BIND & transform the number to the name & a shrieking angel will be reassigned, his name taken up across NETS in this & every other world, & his name REBOUND & his number reassigned i do fall into the depths of the waters i do swim among the winged and feathered hollows & there i do bind this wayward drowning angel & there i do spoof his useless address UNBOUND i will ride high in the midst of NETS & routers i am the NAME & the NUMBER i do BIND the NAME & the NUMBER to my great wings, to thy great wings ii Siehe, die Baume _sind,_ and, wandering among forests of directories and files, until at the end of the long path, there are only files, files are only things veering among beauty, such, placed and cited across the plateaus of disks and drives, huddled within the fragments of domains, turning, transformed, when the glider veers in our direction, UNBINDING names and numbers every file leaves itself space unfathomed, between one and another domain; it's here that wings, terror terrified holds to the semblance of the real but i, i have forsworn the real huddled in my wings, huddled in thy wings ___ ========================================================================= Date: Sun, 19 Mar 2000 15:13:56 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group Comments: RFC822 error: Incorrect or incomplete address field found and ignored. From: derek beaulieu Subject: Darren Wershler-Henry and tom muir reading in Calgary MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit filling Station magazine and the University of Calgary Department of English are proud to present: a free reading with Darren Wershler-Henry (_The Tapeworm Foundry_, House of Anansi, 2000) and Tom Muir (_Sub-Liminal_, housepress, 2000) March 22, 4:00pm University of Calgary Library 12th floor, special collections mackimmie library 2500 university dr. nw calgary alberta for more information, contact: derek beaulieu housepre@telusplanet.net ========================================================================= Date: Sun, 19 Mar 2000 17:37:00 -0800 Reply-To: minka@grin.net Sender: UB Poetics discussion group From: megan minka lola camille roy Subject: Bay Area Award Show Call For Entries (literature) MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit San Francisco experimental art space New Langton Arts is accepting applications for The Bay Area Award Show, Langton's annual showcase for talented emerging artists. The seventh annual Bay Area Award Show supports outstanding regional visual artists, musicians, poets, writers, video makers, performance artists, and internet based projects. Approximately two to four artists are selected in each discipline. Artists present their work either in a public performance or exhibition and receive significant honoraria and production funds, as well as ample technical, promotional and administrative support. This year's Award Show is held July 12 through September 9, 2000. Submissions are juried by Langton's curatorial committees, composed of professional artists and curators in the relevant discipline. Due Date: Applications are due April 21, 2000. They may be postmarked by that date or dropped off at Langton by 5:00 pm April 21. Late or incomplete submissions will not be accepted. Eligibility: Artists residing in San Francisco, Alameda, Contra Costa, San Mateo, Santa Clara, Marin, Sonoma, Napa and Solano Counties are eligible to apply in any of Langton's six disciplines: Visual, Literature, Music, Video, Performance, and Net art. Interdisciplinary projects are encouraged. Only complete applications will be evaluated. Criteria: *Aesthetic quality *Innovation in the discipline *The ability of the artist to professionally present an exhibition, performance, or reading. This opportunity should be significant to the artist's creative development. Langton initiated The Award Show intending inclusion as a critical and useful event in the artmaking practice and career of each Award Show artist. Past Recipients: Past recipients of Langton's Bay Area Award include, among others, the following artists: Literature Jocelyn Saidenberg (99), giovanni singleton (99), Laura Moriarty (98), Aaron Shurin (98), Renee Gladman (97), Tobey Kaplan (96), Scott McLeod (96), Kevin Killian (95). Final decisions: All applicants will be notified by mail no sooner than the week of May 8, 2000. Please do not call. Guidelines for application: Please Note: Every application is evaluated based on past work as it is presented in the artist's documentation. Please carefully consider the presentation in your documentation. Artists are strongly encouraged to make the best possible presentation-slides and video or audio documentation should be clear and well described. Any work that may be difficult to interpret or understand should be explained on the slide list or on a supplementary sheet for video or audio. All Applications must include: 1. A resume 2. A self-addressed stamped envelope with adequate return postage for all documentation. 3. Documentation specific to the program: Please do not send any original artwork or master slides or tapes. For Literature include a list of publications and a 5-10 page sample of a current manuscript. 4. Optional are an artist's statement; press clippings; catalogs or other background material; a proposal for new work with an estimated budget; or a self-addressed stamped postcard for acknowledgment of receipt of application. If you have questions or concerns please contact Program Director, James Bewley. ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ New Langton Arts 1246 Folsom Street San Francisco, CA 94103 415.626.5416 ph 415.255.1453 fx nla_arts@sirius.com www.newlangtonarts.org Featured NetWork site: http://www.auralaura.com ========================================================================= Date: Sun, 19 Mar 2000 20:14:52 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: mIEKAL aND Subject: first nyc reading in 7 years Comments: To: subsubpoetics@listbot.com MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii; x-mac-type="54455854"; x-mac-creator="4D4F5353" Content-Transfer-Encoding: 7bit I'll be reading at Poetry City, Mar 23 from the poems that I have been posting thru the list ...no computers, no music instruments, just me & some text.... a limited selection of Xexoxial Editions will also be on display.... would love to meet any & all, please introduce yrselves & the best thing is the reading is free.... besides what else is there to do on a Thursday night in a city of 8 million. thanks to jordan d for making this possible. __________________________________________________________________ mIEKAL aND, broken books equal hermetic alphabet-cluster Not the body, but the tree as cipher for a conspiracy in distribution, in print-making, in Gutenberg after effects, effervescents. Entreaty the translators to substitute private dreamsequences for what they thought the text should say. Why can I only write about the text, not of the text, by tEXTENSION I forget so easily what I have read, or make it my words to give it to you so you can make it yours. The society once in the forest never occured to log books from trees, when the clay made such a remarkable surface to mark the passage of events. Or in a parallel history the society in the trees, wooden computers brandishing the agricultual aftermath. Arborescent tech switches what transpires. __________________________________________________________________ POETRY CITY, the reading series in the offices of TEACHERS & WRITERS COLLABORATIVE, 5 Union Square West, NYC. Readings are usually Thursdays at 7, and they're always free. March 23 - MIEKAL AND & KAREN WEISER You all know Miekal. Karen has work in The Hat 3. She's studied at UC Santa Cruz, and the New School for Social Research. ========================================================================= Date: Sun, 19 Mar 2000 21:46:53 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Garrett Kalleberg Subject: The Transcendental Friend 13 03-2000-Trans Comments: To: Poetics List Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" Dreams of Being Eaten Alive - Ego unhinges siren & skull - That a steel door opens - like rainbow-hued serpents The Transcendental Friend 13 03-1999-Trans http://www.morningred.com/friend The Transcendental Friend - Special Translation Issue - Edited by G. Kalleberg & Leonard Schwartz. 13 poems by Brazilian poet Regis Bonvicino - translated by Michael Palmer, Dana Stevens, Jennifer Sarah Frota, John Milton, Odile Cisneros, Guy Bennet, and Robert Creeley with the author. Selections from David Rosenberg's extraordinary new translations from the Zohar - titled "Dreams of Being Eaten Alive." Translations from the German by Susan Bernofsky - featuring work by the German poets Durs Gruenbein & Matthias Goeritz, and the Lithuanian poet Antanas Gaillus (translated by way of German with the author). A juxtapositing or -positioning of - the poetry of Maria Maksimova, translated from the Russian by Laura D. Weeks, and Mexican poet Manuel Ulacia, translated from the Spanish by Suzanne Jill Levine. Transmission imagery details - BSA, Norton, Triumph, Norton, and Triumph, respectively. -- Garrett Kalleberg mailto:tf@morningred.com The Transcendental Friend can be found at: http://www.morningred.com/friend Immanent Audio Online at: http://www.morningred.com/immanentaudio ========================================================================= Date: Sun, 19 Mar 2000 21:22:38 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: David Bromige Subject: Re: formalism/new criticism In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" > >If the New Critics had been formalists, they would have been more >interested and responsive to Zukovsky, Oppen, Williams, Creeley, etc.. Absolutely. And this is also a clue that the New Formalists are not formalist at all. If they were, they wd groove on not only those Jonathan names, but Barret Watten and Ron Silliman into the bargain. 'New Formalist' is surely a misnomer for 'old rime-shcemes.' David ========================================================================= Date: Mon, 20 Mar 2000 00:10:33 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Lisa Jarnot Subject: subpress web site Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit Dear all, subpress collective now has a website at: http://members.xoom.com/subpress/newbooks.htm the site includes information on subpress books, plus links to information about our authors and their upcoming readings and book signings. there is also a subpress collective website in progress from Duration Press: http://www.durationpress.com best, Lisa Jarnot ========================================================================= Date: Sun, 19 Mar 2000 21:30:26 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: David Bromige Subject: Re: on modernism In-Reply-To: <200003172051.PAA00495@relay.thorn.net> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" >Q: How many poets does it take to wallpaper a bathroom? > >A: Three, if you slice them thinly enough. Do you know the difference between a roll of toilet paper, and a shower curtain? No!? --So it's _you_ , poetry project, who's responsible for this little mess?! ========================================================================= Date: Mon, 20 Mar 2000 12:46:17 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Rebecca Wolff Subject: oh no Comments: To: abs5710@is4.nyu.edu Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" I forgot to Bcc. I'm so sorry. In advance, I beg of you all to feel free to ask me or anyone else to take you off their announcement lists. Rebecca Wolff ========================================================================= Date: Mon, 20 Mar 2000 12:22:30 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Rebecca Wolff Subject: two readings, one a play Comments: To: abs5710@is4.nyu.edu, aquart@ibm.net, bmontakhab@aol.com, csg4@is7.nyu.edu, jmarabou@rocketmail.com, katy@bway.net, kreilkamp@hotmail.com, leeann@FERRO-LUZZI.ORG, mt144@columbia.edu, stephen.burt@yale.edu, lorin.stein@fsgee.com, maxw28@yahoo.com, mscharf@cahners.com, apr@libertynet.org, amorris1@swarthmore.edu, ACodrescu@aol.com, avraham@sas.upenn.edu, bcole@nimbus.ocis.temple.edu, lungfull@interport.net, BDOWNS@columbiabooks.com, Chrsmccrry@aol.com, cburstein33@hotmail.com, gbiglier@nimbus.ocis.temple.edu, rescuefantasy@mailcity.com, hstarr@dept.english.upenn.edu, ianjewell@netscape.net, jvitiell@nimbus.ocis.temple.edu, ksherin@dept.english.upenn.edu, Kjvarrone@aol.com, kristing@pobox.upenn.edu, Kyle.Conner@mail.tju.edu, lkoutimhot@aol.com, mmagee@dept.english.upenn.edu, mollyruss@juno.com, nawi@citypaper.net, poproj@artomatic.com, ron.silliman@gte.net, swalker@dept.english.upenn.edu, swineburne@yahoo.com, tsinioukov@napco.com, TDevaney@brooklyn.cuny.edu, tf@morningred.com, vhanson@netbox.com, wh@dept.english.upenn.edu, xentrica@earthlink.net, amye6@hotmail.com, BPoll90429@aol.com, bschafer_1998@yahoo.com, bes@infohouse.com, Cocadas@bway.net, Chasecliff@aol.com, djk5474@is2.nyu.edu, ENauen@aol.com, LiaGang@aol.com, Caschetta@aol.com, Methomeboy@aol.com, KarlsbergM@aol.com, reblev@ziplink.net, Sander@softskull.com, Rdturtle@aol.com, Tomaso@aol.com, karin@door.org, PAPIBOY@aol.com, HHughes334@aol.com, NDEBS@aol.com, aliebego@mail.slc.edu, jportnof@jcrew.com, JaneVI@aol.com, dshea@mail.slc.edu, artemis@inch.com, griffin_hansbury@mcgraw-hill.com, SLIDINGSCA@aol.com, Radclyfe@aol.com, puckerup@earthlink.net, amhnyc@earthlink.net, Corncub@aol.com, Larkin7@aol.com, joe319@rcn.com, poproj@artomatic.com, DUBRIS@aol.com, BestPoet@aol.com, levitsk@ibm.net, PoorMoi@aol.com, rmeyers@interport.net, DCLEHMAN@aol.com, ABrodeur@compuserve.com, jyas@mindspring.com, amysohn@pipeline.com, carolvh@webspan.net, david@hirmes.com, crawford@echonyc.com, erikduron@yahoo.com, jry201@is7.nyu.edu, JHodgman@WritersHouse.com, Justine_Cook@newyorker.com, Lea_Carpenter/Lipper@lipper.com, BlueGuitar@worldnet.att.net, Meghan@mindspring.com, m_laus@hotmail.com, moconnor@goodtimes.com, samanthas@mindspring.com, Sperry7373@aol.com, RoseKNY@aol.com, SuzanSher@aol.com, AZINK1@aol.com, jeffrey.sharlet@chronicle.com, JimCzarn@aol.com, jimlewis@mindspring.com, joeyx@email.msn.com, kseoff@newmex.com, Ohenrypriz@aol.com, lipsyte@feedmag.com, morsem@email.msn.com, altieri@uclink.berkeley.edu, maryjobang@aol.com, bedient@humnet.ucla.edu, rdupless@vm.temple.edu, stephen.burt@yale.edu, leeann@FERRO-LUZZI.ORG, scope@sdcc3.ucsd.edu, atticus40@aol.com, kcrown@rci.rutgers.edu, allisonc@tiger.hsc.edu, tdiggory@skidmore.edu, mdurand@sprynet.com, dworkin@princeton.edu, finchar@muohio.edu, efrost@mary.fordham.edu, acgold01@athena.louisville.edu, bhenry@oz.plymouth.edu, hogue@bucknell.edu, ejoyce@edinboro.edu, jj20@columbia.edu, ckasper@du.edu, kinnahan@mail.cc.duq.edu, klamm@u.washington.edu, ecl531@casbah.acns.nwu.edu, myra1569@aol.com, perelman@dept.english.upenn.edu, rabanna@aol.com, i_sadoff@colby.edu, lisewell@worldnet.att.net, prapra@aol.com, sikelianos@aol.com, sloanmm@aol.com, a.sumner@lrc.dartington.ac.uk, hthomas@kutztown.edu, lara-trubowitz@uiowa.edu, avickery@pip.elm.mq.edu.au, despina@uclink4.berkeley.edu, jweindog@aol.com, tdugan@barnard.columbia.edu, andrew@artforum.com, BardenDan@aol.com, CTEX123@aol.com, Christopher@Sorrentino.com, cjoyce@salonmagazine.com, davisam@erols.com, dogbowman@aol.com, gaffneyboro@earthlink.net, jpress@villagevoice.com, JYau974406@aol.com, laurami@earthlink.net, tillwhen@aol.com, mcsweeneys@earthlink.net, aberrigan@excite.com, MKROTZER@howdy.com, theblaker@earthlink.net, Nicole@BostonBookReview.com, janets@timeoutny.com, jdavis@panix.com, adrian_j_taylor@email.msn.com, hisraeli@aol.com, gissing@erols.com, frances@angel.net, aaron7k@hotmail.com, angus_forbes@hotmail.com, baltazar23@hotmail.com, jeffconant@hotmail.com, msharma@idea.cambridge.edu, dayspeak@hotmail.com, ALRF@aol.com, jarnot@pipeline.com, Gill8land@aol.com, hdmcgowan@yahoo.com, hsorger@earthlink.net, JennS@corbis.com, Vanillaban@aol.com, shark@erols.com, TDevaney@brooklyn.cuny.edu, pjmartin@bear.com, WrightCD@aol.com, kdlink@juno.com, vent@sirius.com, bopaul@hotmail.com, ben.reynolds@jhu.edu, hussmann@blue.weeg.uiowa.edu, ckasper@du.edu, morsepartners@msn.com, CBJKnox@aol.com, bmarden@earthlink.net, barrettj@umich.edu, sjohnson@seattleweekly.com, SSSCHAEFER@aol.com, Volkmeier@aol.com, amorris1@swarthmore.edu, Amossin@aol.com, apr@libertynet.org, avraham@sas.upenn.edu, bcole@nimbus.ocis.temple.edu, Becker@law.vill.edu, bochner@prodigy.net, BStrogatz@aol.com, coryjim@earthlink.net, daisyf1@juno.com, dcypher1@bellatlantic.net, DROTHSCHILD@penguinputnam.com, dsilver@pptnet.com, dsimpson@netaxs.com, ekeenagh@astro.ocis.temple.edu, ENauen@aol.com, esm@vm.temple.edu, Feadaniste@aol.com, fleda@odin.english.udel.edu, goodwina@xoommail.com, hstarr@dept.english.upenn.edu, hthomas@kutztown.edu, insekt@earthlink.net, ivy2@sas.upenn.edu, jjacks02@astro.ocis.temple.edu, JKasdorf@mcis.messiah.edu, JKeita@aol.com, JMURPH01@email.vill.edu, johnfattibene@juno.com, jvitiell@nimbus.ocis.temple.edu, Kjvarrone@aol.com, kmcquain@ccp.cc.pa.us, kristing@pobox.upenn.edu, ksherin@dept.english.upenn.edu, kzeman@sas.upenn.edu, lcabri@dept.english.upenn.edu, lcary@dept.english.upenn.edu, leo@isc.upenn.edu, lisewell@worldnet.att.net, llisayau@hotmail.com, lorabloom@erols.com, lsoto@sas.upenn.edu, marf@netaxs.com, Matthew.McGoldrick@ibx.com, mholley@brynmawr.edu, michaelmccool@hotmail.com, mmagee@dept.english.upenn.edu, mnichol6@osf1.gmu.edu, mollyruss@juno.com, MTArchitects@compuserve.com, nanders1@swarthmore.edu, nawi@citypaper.net, odonnell@siam.org, putnamc@washpost.com, QDEli@aol.com, rachelmc@sas.upenn.edu, rdupless@vm.temple.edu, rediguanas@erols.com, repohead@rattapallax.com, robinh5@juno.com, ron.silliman@gte.net, rosemarie1@msn.com, Sfrechie@aol.com, stewart@dept.english.upenn.edu, susanwheeler@earthlink.net, tdevaney@brooklyn.cuny.edu, twells4512@aol.com, vhanson@netbox.com, vmehl99@aol.com, wh@dept.english.upenn.edu, wvanwert@nimbus.ocis.temple.edu, wwhitman@libertynet.org, DALEEMING@aol.com, ASandgrund@proskauer.com, car621@earthlink.net, cwagner@apexmail.com, JYau974406@aol.com, mbyrne@ithaca.edu, Nuyopoman@aol.com, JSlavin629@aol.com, linhdinh99@yahoo.com, gmassman2@juno.com, BEDIENT@humnet.ucla.edu, wemartin@midway.uchicago.edu, creeley@acsu.buffalo.edu, Achee447@aol.com, john.hollander@yale.edu, glichten@erols.com, 110165.74@compuserve.com, keelanc@nevada.edu, tamara@rainier.tpdinc.com, th5@is3.nyu.edu, vent@sirius.com, lvrusso@acsu.buffalo.edu, Chip@steerforth.com, Jifberman@aol.com, jliese@gis.net, chicago-review@uchicago.edu, Easter8@aol.com, BAnastas@compuserve.com, amy@pw.org, rcampo@caregroup.harvard.edu, DLAlvarez@aol.com, idea@angel.net, dream@inch.com, eh19@is3.nyu.edu, PRAPRA@aol.com, LibAmerica@aol.com, andrewsbruce@netscape.net, dkane@panix.com, ascheibe@randomhouse.com, csg4@is7.nyu.edu, RaeA100900@aol.com, danon@is3.nyu.edu, LitLatte@aol.com, dblelucy@lanminds.com, allisonc@tiger.hsc.edu, jcwaller@earthlink.net, JNOGGLE@WELLESLEY.EDU, LLubasch@cs.com, lawlorma@ELMER5.NYUPRESS.BOBST.NYU.EDU, jdavis@panix.com, bomb@echonyc.com, RReagler@aol.com, rmgood@earthlink.net, JWPeretz@aol.com, anya@jup.com, mgelula@randomhouse.com, amccann@hotmail.com, cc471@columbia.edu, aaron7k@hotmail.com, jnovak@randomhouse.com, andrew@artforum.com, nguyenhoa@hotmail.com, d_stonecipher@yahoo.com, fuhrman@looksmart.com, onomatopoeia@mindspring.com, RMoodyCom@aol.com, poproj@artomatic.com, mdw@gwis2.circ.gwu.edu, GShapiroNY@aol.com, sbrown@channing-bete.com, JJULLICH@Claven.gsb.columbia.edu, tallweiss@worldnet.att.net, ebone@umich.edu, bstefans@randomhouse.com, aosborn@mail.utexas.edu, david_thorpe@newyorker.com, transhudsn@aol.com, nqa4943@is5.nyu.edu, morsem@email.msn.com, rmgood@earthlink.net, brighde@diacenter.org, HMahabir@ecfs.org, JoannaLyn@aol.com, jeffandmarisa@worldnet.att.net, ljhacken@earthlink.net, jciavarella@studioarchetype.com, cedgar@panix.com, kg35@earthlink.net, meagan_dietz@hotmail.com, aguilerm@tcd.ie, Amesjon@aol.com, REBStudio@aol.com, cathleen@erols.com, mbell@goucher.edu, TEVBlake@aol.com, dbobker@earthlink.net, boudinot@amazon.com, Mark.B@chula.ac.th, susan.brynteson@mvs.udel.edu, mecapone@syr.edu, LSchColl@aol.com, scrile@mindspring.com, walterd@faber.co.uk, Jane.O.Drummond@kp.org, fgiles@pobox.com, ggionfriddo@worldnet.att.net, rmgood@earthlink.net, Jewelooo@aol.com, mbhughes@mindspring.com, Lcicom@aol.com, TaraIson@aol.com, david_kirkpatrick@yahoo.com, Annotate@aol.com, tjleach@earthlink.net, dellmobile@dell.com, blerner@thegernertco.com, QuincyLong@aol.com, fmaazel@wso.williams.edu, HDMcGowan@yahoo.com, DMeans1@compuserve.com, moodyd@pennie.com, johnmoody@usa.net, morrow@mindspring.com, Tim_Moss@condenast.com, wrinkle@math.columbia.edu, nimickl@mindspring.com, Wighead@aol.com, aosborn@paulweiss.com, Shirltom@aol.com, Glenn.Patterson@net.ntl.com, randy@3-dcon.com, breisman@utkux.utcc.utk.edu, LaReisman@aol.com, Maryx2u@aol.com, roorbach.1@osu.edu, mrosenth@sescva.esc.edu, hillaryr@interport.net, mettle@sirius.com, ezruby@csi.com, dwryan@worldnet.att.net, JSalvator@aol.com, jsct@db1.cc.rochester.edu, James.R.Shepard@williams.edu, Shrionel@aol.com, robspill@ix.netcom.com, mark@markstevenson.com, susan@pierogi2000.com, stomkins@cshnyc.org, WestyNY@aol.com, jshardt@hotmail.com, Dougwrite@aol.com, 113577.1646@compuserve.com, birdbath@earthlink.net, drewgard@erols.com, jnovak@randomhouse.com, hunted@mindspring.com, brnxpoet@idt.net, kmasterson@nysca.org, WKirn@aol.com, valerie@vhamill.com, toddjcolby@aol.com, sbeacom@earthlink.net, MoxiGrrl16@aol.com, Sander@softskull.com, rmartin@seattleweekly.com, rmtimbre@aol.com, pdalbis@snet.net, pennynelson@netscape.net, paul@sevenstories.com, Nelsonph@aol.com, queenjane@earthlink.net, milesk@interport.net, Rovnerian@aol.com, Mikekrantz@aol.com, wallacem@interport.net, hawcubite@aol.com, silkrdco@aol.com, BrownE@newschool.edu, LitLatte@aol.com, lcez@hotmail.com, Icez@hotmail.com, LMM@cbsnews.com, laurami@earthlink.net, josh.korda@ogilvy.com, gissing@erols.com, amesjon@aol.com, johnshall@aol.com, jfahs@crespub.com, jmorrow@teleport.com, JMT@sirius.com, jmaszle@yahoo.com, hopewindle@earthlink.net, eggamoggin@erols.com, gary@incommunicado.com, jknipl@earthlink.net, friedad@post.com, JOHNNY6040@aol.com, eamon_dolan@hmco.com, rushkoff@well.com, Dinica_Quesada@dccomics.com, davidh@papermag.com, davidsol@panix.com, Dana_Dickey@condenast.com, BardenDan@aol.com, dagger13@earthlink.net, cmarks@inch.com, antimony39@hotmail.com, colsonw@hotmail.com, christian@longad.com, CTEX123@aol.com, casey@incommunicado.com, carawo@erols.com, browne@newschool.edu, hepkat@gurlmail.com, Ben_Schrank@PRIMEDIAMAGS.COM, benschrank@earthlink.net, BNeihart@aol.com, skissgirl@hotmail.com, apostman@tiac.net, amysohn@pipeline.com, davisam@erols.com, aemiller@hearst.com, Naparstek@aol.com, aaron_retica@newyorker.com, Star@linguafranca.com, barbara@harpers.org, besner@icfny.org, brooke318@hotmail.com, CReid@cahners.com, cami@teachforamerica.org, criccio@randomhouse.com, cmcgee@edit.nydailynews.com, clehmann@newsday.com, clara@harpers.org, dgolub@mail.com, dolsher@wnyc.org, emanus2@yahoo.com, Sheinkman@aol.com, Editrixie@aol.com, eznosow@fsgee.com, ira@silverberg.com, janets@timeoutny.com, jennifer@pencil.org, Jennifer_Senior@PRIMEDIAMAGS.COM, jwshenk@bigfoot.com, koffstein@bratskeir.com, ksmalley@routledge-ny.com, Meghan_O'Rourke@newyorker.com, miabird@hotmail.com, MICHAELC@nyhomes.org, minnaproctor@earthlink.net, Young@housingworks.org, Ndbur@aol.com, PWSymmes@aol.com, pnordlinger@nypost.com, rachel@grandstreet.com, rmoodycom@aol.com, sharonharper@compuserve.com, Sharris@icmtalent.com, susan@nerve.com, skaufman@icmtalent.com, vprescott@wnyc.org, zoems@hotmail.com, aemiller@hearst.com, girlbarden@aol.com, akeesey@teleport.com, bbaylor@bridgew.edu, bfilene@acpub.duke.edu, Ben_Marcus@brown.edu, BNeihart@aol.com, benschrank@earthlink.net, bindle@ix.netcom.com, theblaker@earthlink.net, B_Udall@ACAD.FANDM.EDU, lungfull@interport.net, ctex123@aol.com, cbaxter@umich.edu, czarah@aol.com, Chrhiebert@aol.com, BardenDan@aol.com, DANSTOLAR@aol.com, mcsweeneys@earthlink.com, palmer@inch.com, DikaEsme@aol.com, dla@GUGGENHEIM.ORG, gaffneyboro@earthlink.net, eball50467@aol.com, nixnox@mindspring.com, Gayle_Forman@PRIMEDIAMAGS.COM, simmons@usfca.edu, eggamoggin@erols.com, dunowlit@interport.net, farbman@ens.fr, hopewindle@earthlink.net, hshobe@darkwing.uoregon.edu, jefffickes@aol.com, johnbell@bellsouth.net, gissing@erols.com, jlm46@columbia.edu, kesslerj@pop.interport.net, kmcmenamin@bedfordstmartins.com, Kenkurson@aol.com, kevin@micromedic.com, wexy2@juno.com, lauram@salonmagazine.com, liannotti@hearst.com, leearm1@aol.com, elwinick@aol.com, LLjoyner@mindspring.com, mruderma@welchlink.welch.jhu.edu, mlinker@umd.umich.edu, mbf23@columbia.edu, violap@umich.edu, neilgiordano@mindspring.com, plandesman@earthlink.net, reverend@hotelzero.com, FJReiken@aol.com, staven@erols.com, showert@ix.netcom.com, sconnor@wesleyan.edu, Sarah.Kelly@revlon.com, tulfan517@aol.com, sconnor@aol.com, sorel@well.com, weesner@thecia.net, TDevaney@brooklyn.cuny.edu, tony.l.earley@vanderbilt.edu, WillA@fwpubs.com, zelig@microedge.com, Adrian_J_Taylor@msn.com, hhb9@columbia.edu, kaya@access1.net, agymah@juno.com, emayarceo@hotmail.com, rollergirl707@hotmail.com, spankypics@earthlink.net, fran@primordial.com, tcg@cosmoweb.net, TALMCT@aol.com, JOAHERSH@aol.com, cseligman@salonmagazine.com, Robert.Julavits@nick.com, gersh@capecod.net, susanna@gateway.net, christo@frontier.net, KenableKen@aol.com, CCHAFE@uniteunion.org, boom@javanet.com, ajg@brown.edu, tonetti@idt.net, elrude@umich.edu, LGrealy@aol.com, mboucher@macdowellcolony.org, orlean@juno.com, brounsj@mindspring.com, dan@self-help.org, jeff@seattlerep.org, JStone3967@aol.com, KCraft1066@aol.com, sarah.davis@joslin.harvard.edu, JULIREGAN@aol.com, myla@cobite.com, gcowles@snet.net, Brettberk@aol.com, anjali@mathompson.com, DMeans1@compuserve.com, Maxfranz@aol.com, erika111@juno.com, warchildny@earthlink.net, robweisbach@msn.com, cdickerman@yahoo.com, damendelsohn@mindspring.com, laurelberger@worldnet.att.net, jodavis@risd.edu, Sheinkman@aol.com, Terry.Karten@HARPERCOLLINS.com, Margo1472@aol.com, mnorton@arnellgroup.com, irisclement@yahoo.com, doengeja@hotmail.com, SQUEEZEAHB@aol.com, lsimpson@arnellgroup.com, sarnell@arnellgroup.com, Finghal@aol.com, meghandaum@mindspring.com, chrysostom2@yahoo.com, dcmb@metro.net, brianc@tatteredcover.com, cah@sonic.net, trane@uclink4.berkeley.edu, a.dinwoodie@worldnet.att.net, kfraser@sfsu.edu, hillary-gardner@uiowa.edu, saare89@yahoo.com, keelanc@nevada.edu, klarimer@pw.org, katy@bway.net, LIUT@nebula.wilpaterson.edu, watt@uclink4.berkeley.edu, wmcclure@awhitmanco.com, Paul_Meacham@notes.ymp.gov, meadjw@wfu.edu, bradleypaul@erols.com, kdp8106@cmsu2.cmsu.edu, detonated@aol.com, taeckens@acpub.duke.edu, david@silverberg.com, sam_witt@mindspring.com, Amywoolard@aol.com, VonWunder@aol.com, rcz1@is4.nyu.edu, caffeartista@listbot.com, alison_brower@glamour.com, criccio@randomhouse.com, ethan.nosowsky@fsgee.com, freeman109@hotmail.com, ksmalley@routledge-ny.com, minnaproctor@earthlink.net, young@housingworks.org, stevebarnard@email.msn.com, autojoe51@aol.com, Burman@roadrunnerrecords.com, kcody@concretemedia.com, aaron@concretemedia.com, sacole@rci.rutgers.edu, jeff.copetas@soundsbig.com, jdavis@concretemedia.com, cpfey@yahoo.com, tfreyer@dttus.com, agardner@bapf.org, caroline-gentile@kekst.com, david@goodman.com, hermanb@sullcrom.com, jak44@columbia.edu, alacavaro@newyorknet.net, michael@inkwellps.com, lawsky@lga.att.com, abrucemc@aol.com, metz@newsday.com, mitelman@phoenix.princeton.edu, mooney@bottlerocket.com, evemorgenstern@hotmail.com, cmustate@pratt.edu, jpernice@ix.netcom.com, rohrer@poetrysociety.org, andrewross@mindspring.com, Nville@aol.com, samsaturn@yahoo.com, jseiger@mindshare.net, shebana@aol.com, charlie@unitedtv.com, sarah_titley@greenwichacademy.org, arivais@juno.com, padelman@oellaw.com, mwallerstein@whfreeman.com, erich.wefing@jlmt.com, azawacki@aol.com, mzapruder@yahoo.com, abdalhayy@aol.com, aberrigan@excite.com, abirge@nimbus.ocis.temple.edu, agil@erols.com, allison_cobb@edf.org, ALPlurabel@aol.com, amorris1@swarthmore.edu, Amossin@aol.com, apr@libertynet.org, avraham@sas.upenn.edu, ayperry@aol.com, baratier@megsinet.net, bcole@nimbus.ocis.temple.edu, bdowns@columbiabooks.com, Becker@law.vill.edu, bette343@hotmail.com, bochner@prodigy.net, booglit@excite.com, BStrogatz@aol.com, cahnmann@dolphin.upenn.edu, chris@bluefly.com, Chrsmccrry@aol.com, coryjim@earthlink.net, Cschnei978@aol.com, daisyf1@juno.com, danedels@sas.upenn.edu, dcpoetry@mailcity.com, dcypher1@bellatlantic.net, DennisLMo@aol.com, DROTHSCHILD@penguinputnam.com, dsilver@pptnet.com, dsimpson@netaxs.com, ejfugate@yahoo.com, ekeenagh@astro.ocis.temple.edu, ENauen@aol.com, esm@vm.temple.edu, Feadaniste@aol.com, fleda@odin.english.udel.edu, Forlano1@aol.com, FPR@history.upenn.edu, fuller@center.cbpp.org, gbiglier@nimbus.ocis.temple.edu, gmarder@hotmail.com, gnawyouremu@hotmail.com, goodwina@xoommail.com, hstarr@dept.english.upenn.edu, hthomas@kutztown.edu, icepalace@mindspring.com, insekt@earthlink.net, ivy2@sas.upenn.edu, jeng1@earthlink.net, jennifer_coleman@edf.org, jimstone2@juno.com, jjacks02@astro.ocis.temple.edu, JKasdorf@mcis.messiah.edu, JKeita@aol.com, jlutt3@pipeline.com, jmasland@pobox.upenn.edu, JMURPH01@email.vill.edu, johnfattibene@juno.com, josman@astro.ocis.temple.edu, jvitiell@nimbus.ocis.temple.edu, jwatkins@unix.temple.edu, kelly@dept.english.upenn.edu, kelly@COMPSTAT.WHARTON.upenn.edu, Kjvarrone@aol.com, kmcquain@ccp.cc.pa.us, kristing@pobox.upenn.edu, ksherin@dept.english.upenn.edu, kzeman@sas.upenn.edu, lcabri@dept.english.upenn.edu, lcary@dept.english.upenn.edu, leo@isc.upenn.edu, lgoldst@dept.english.upenn.edu, lisewell@worldnet.att.net, llisayau@hotmail.com, lorabloom@erols.com, lsoto@sas.upenn.edu, marf@netaxs.com, MargBarr@aol.com, matthart@english.upenn.edu, Matthew.McGoldrick@ibx.com, mbmc@op.net, melodyjoy2@hotmail.com, mholley@brynmawr.edu, michaelmccool@hotmail.com, miyamorik@aol.com, mmagee@dept.english.upenn.edu, mnichol6@osf1.gmu.edu, mollyruss@juno.com, mopehaus@hotmail.com, MTArchitects@compuserve.com, mwbg@yahoo.com, mytilij@english.upenn.edu, nanders1@swarthmore.edu, nawi@citypaper.net, odonnell@siam.org, penwaves@mindspring.com, pla@sas.upenn.edu, putnamc@washpost.com, QDEli@aol.com, rachelmc@sas.upenn.edu, rdupless@vm.temple.edu, rediguanas@erols.com, repohead@rattapallax.com, richardfrey@dca.net, robinh5@juno.com, ron.silliman@gte.net, sernak@juno.com, Sfrechie@aol.com, singinghorse@erols.com, stewart@dept.english.upenn.edu, subpoetics-l@hawaii.edu, susan.wheeler@nyu.edu, SusanLanders@yahoo.com, swalker@dept.english.upenn.edu, Ron.Swegman@mail.tju.edu, Tasha329@aol.com, tdevaney@brooklyn.cuny.edu, thorpe@sas.upenn.edu, tosmos@compuserve.com, travmar03@msn.com, twells4512@aol.com, v2139g@vm.temple.edu, vhanson@netbox.com, vmehl99@aol.com, wh@dept.english.upenn.edu, wvanwert@nimbus.ocis.temple.edu, wwhitman@libertynet.org, zurawski@astro.temple.edu, wc18@is4.nyu.edu, kmasterson@nysca.org, cbkoplik@mailbox.syr.edu, camille@pifmagazine.com, r_boswell@email.msn.com, dedonato@earthlink.net, bclegg@robbinsoffice.com, julie@kaya.com, jblues@Rubenstein.com, Ciuraru@observer.com, tgilman@wnyc.org, pearl@panix.com, che@indieplanet.com, eulm@aol.com, lfrancia@mail.slc.edu, sesshu@earthlink.net, hannan@is3.nyu.edu, liuxx@gold.tc.umn.edu, Nooknoow@aol.com, trutkowski@mail.crain.com, ertabios@aol.com, sunyoung@kaya.com, elchino@earthlink.net, ttdle@aol.com, park@ssrc.org, chong@villagevoice.com, clangw@aol.com, liut@wpunj.edu, minak@iname.com, tubtim@msn.com, pbomer@sonicnet.com, chrisbarnett_98@yahoo.com, Ego710@aol.com, laurenmechling@hotmail.com, margaret@smtp.harpers.org, danon@is3.nyu.edu, lacy.schutz@dechert.com, Sheinkman@aol.com, TriniRita@aol.com, Papo421@aol.com, llwatt@bestweb.net, samtruitt@yahoo.com, mlinkomcnamara@yahoo.com, EHunt@newwf.org, amsaer@worldnet.att.net, spin0021@tc.umn.edu Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Monday, March 27th, 7:30 pm KGB Bar, 85 E. 4th Street New York Free Admission Agha Shahid Ali & Rebecca Wolff Reading poems *** Sunday, April 2nd, 4 pm Medicine Show Theater 549 W. 52nd Street, between 10th and 11th New York $5 A staged reading of a play by Rebecca Wolff called "Urbana" being billed as "A Cocktail Farce of Artistic Dynasty," directed by Lauren Hamilton with: Les Baum Diane Beckett Caitlin Gibbon Pam Gray Jon Malmed Kimber Riddle Welker White Cintra Wilson and Damian Young ========================================================================= Date: Fri, 17 Mar 2000 18:01:12 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: rlubasch Subject: Re: Poetry Society Also Congratulates MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit congrats again!!!!!!!! I love it ----- Original Message ----- From: Rebecca Wolff To: Sent: Friday, March 17, 2000 3:41 AM Subject: Poetry Society Also Congratulates > Lisa Lubasch! > > Congratulations to Lisa, to Avec Press, and to judge John Yau for picking > this excellent first book for the 2000 Norma Farber First Book Award. I > will post Yau's citation as soon as we receive it at the old Society. > > Brenda Shaugnessy's Interior with Sudden Joy (FSG) was the runner-up. > ========================================================================= Date: Mon, 20 Mar 2000 14:52:58 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Poetics List Subject: ELBOW READING wednesday 22nd / Green MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit This message came to the administrative account. Chris % Christopher W. Alexander % poetics list moderator ---------- Forwarded Message ---------- Date: Mon, Mar 20, 2000 5:11 PM +1200 From: Tony Green -----Original Message----- From: Christopher Parr Sender: UB Poetics discussion group From: David Kirschenbaum Subject: Now available, Booglit #7: Booglit All Stars Mime-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Now available: Booglit #7: Booglit All Stars David Kirschenbaum, editor and publisher Digest size, saddle-stapled, 32 pages + 4-page, white glossy laserset cardstock cover wrap with red and blue ink. First printing of 100 copies (65 in circulation). $7ppd individuals; $10.50ppd for institutions. Published for the Issue Zero literary magazine conference. Featuring 17 poems that have previously appeared in Booglit and one by Jeffrey Miller forthcoming in issue eight. Anselm Berrigan Brendan Lorber Eugene Brooks Jeffrey Miller Lee Ann Brown Sara Van Norman David Cameron Tricia Roush Geoffrey Cook Elio Schneeman Tim Dean Sparrow Lawrence Ferlinghetti Joshua Michael Stewart Barry Gifford Quincy Troupe Allen Ginsberg James Wilk Berrigan on Reggie Jackson; Allen's brother Eugene Brooks, Ferlinghetti, Gifford, and Lorber on/for Ginsberg (and Ginsberg himself, writing a few days before his death); Brown on the Gulf War; Cameron's love letter to Bobby Bonilla; Dean on d.a. levy (and one from levy's Cleveland companero Geoffrey Cook); Sparrow and Wilk on Mario Mezzacappa; Stewart on Jack Kerouac; Schneeman on Ted Berrigan; Miller for Tom Clark; Troupe on his dad's days in the Negro Leagues; Van Norman on absence; and Roush on relationships. Checks payable to: Booglit 351 W.24th Street Apt. 19E New York, NY 10011-1510 email inquiries: booglit@excite.com Be Good, David Kirschenbaum _______________________________________________________ Get 100% FREE Internet Access powered by Excite Visit http://freelane.excite.com/freeisp ========================================================================= Date: Mon, 20 Mar 2000 20:20:15 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group Comments: RFC822 error: MESSAGE-ID field duplicated. Last occurrence was retained. Comments: RFC822 error: MESSAGE-ID field duplicated. Last occurrence was retained. Comments: RFC822 error: MESSAGE-ID field duplicated. Last occurrence was retained. From: Charles Bernstein Subject: Shadowtime Comments: cc: core-l@listserv.acsu.buffalo.edu Mime-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable The first performance of sections of "The Doctrine of Similarity" will be on March 28, 8pm, at the 92nd Street Y in Manhattan, featuring the Arnold Schoenberg Choir, with Maurizio Pollini. =93The Doctrine of Similarity=94 is a section from Shadowtime, an opera by= Brian Ferneyhough for which I wrote the libretto. Shadowtime was commissioned by= the Munich Biennale and will have its premiere in 2002. =93The Doctrine of Similarity=94 is the first section of the opera to be performed. Here are some excerpts from the Program Notes: Shadowtime is based on the life and work of Walter Benjamin (1892-1940). In= its eight sections, the opera explores some of the major themes of Benjaman=92s= work, including the nature of language, the possibilities for a tranformational leftist politics, and the role of materiality in art.=20 =93The Doctrine of Similarity=94 consists of eight short movements for a= 48-voice chorus and six instruments. Each of the movements reflects on the nature of history, time, and translation/transformation -- all central preoccupations= for Benjamin. The title comes from an essay by Benjamin in which he considers= the ways that the physical sounds of language echo or mimic the primordial structures of the cosmos. In the work, various numeric patterns create reverberations within and between the text and music.=20 In terms of musical structure, the theme of temporality is explored by the= use of canon forms throughout the work. In the section called "Indissolubility,= =94 the concern with the temporal is represented by the choice of a multiple, palimpsestic parody of a late medieval motet from the Montpelier Codex. The libretto extends these investigations through the use of linguistic translations and displacements. While the text may roam in time, space, and content, it returns ever and again to the knotted dead end situations of= life in extremity where =93Sometimes / you burn a book because / It is cold / and= you need the fire / to keep warm / and / sometimes / you read a / book for the= same reason.=94 The libretto for "The Doctrine of Similarity" is forthcoming in West Coast= Line. The score has just been publshed by Edition Peters (No. 7564).=20 The line-up for the March 28 peformance: Maurizio Pollini, Piano Juliane Banse, Soprano Lorraine Hunt Lieberson, Mezzo-Soprano Michael Schade, Tenor Russell Braun, Baritone Steven Schick, Percussion Rolf Schulte, Violin Aleck Karis, Piano Alan Kay, Clarinet Jean Kopperud, Bass Clarinet Dennis Smylie, Contrabass Clarinet=20 SCHUBERT "Nachthelle," D. 892=20 SCHUBERT "Coronach (Totengesang der Frauen und M=E4dchen)," D. 836 SCHUBERT "St=E4ndchen," D. 920=20 SCHUBERT Ges=E4nge aus Wilhelm Meister, D. 877 SCHUBERT "Gesang der Geister =FCber den Wassern," D. 714 SCHUBERT "Psalm 92, Lied f=FCr den Sabbath," D. 953 FERNEYHOUGH "The Doctrine of Similarity" (World Premiere -= Commissioned by The Carnegie Hall Corporation: Libretto - Bernstein) SCHOENBERG De profundis (Psalm 130), Op. 50b SCHOENBERG Friede auf Erden, Op. 13 Pre-concert lecture starts at 7:00 PM with Ara Guzelimian.=20 More information: http://www.carnegiehall.org =20 ========================================================================= Date: Mon, 20 Mar 2000 16:51:43 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: George Bowering Subject: Re: formalism/new criticism In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" > > >>If the New Critics had been formalists, they would have been more >>interested and responsive to Zukovsky, Oppen, Williams, Creeley, etc.. > >Absolutely. And this is also a clue that the New Formalists are not >formalist at all. If they were, they wd groove on not only those Jonathan >names, but Barret Watten and Ron Silliman into the bargain. 'New Formalist' >is surely a misnomer for 'old rime-shcemes.' > >David Yes, those so-called"New Formalists are unknown in Canada. When I first heard the term I did indeed expect some people interested in matters of form, not realizing that they were just unthinking cooky-cutters. When I was 22 and studying linguistics and applying that study to my reading of Robert Duncan, I thought of myself as a formalist. ========================================================================= Date: Mon, 20 Mar 2000 23:36:33 -0500 Reply-To: patrick@proximate.org Sender: UB Poetics discussion group From: Patrick Herron Subject: Help the ArkestRa Comments: To: Subsubpoetics MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit There has been a fire in the Sun Ra house and extensive damage resulted. The people are all right but help is needed to repair the building immediately. Please send donations to: Marshall Allen, 5626 Morton Street, Philadelphia, 19144. Also, if you can help rebuild or repair the building or contribute construction materials, supplies, or other resources, please call (212) 841-0899 and leave your coordinates so Marshall can get in touch with you. the above info from http://www.users.interport.net/~eye/jazznyc.html - Art Attack Patrick Herron ========================================================================= Date: Mon, 20 Mar 2000 21:24:02 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: David Bromige Subject: Re: Childbirth and Metaphor In-Reply-To: <491C988C9AC7D11185C100008329E462E0BF13@SSYD010> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" >the ineffability of childbirth and the paucity of its >representations these would go hand in hand. dont mean that to sound snide. the apparently ineffable may yield some words. isnt it to that (im)possibility we poets are drawn? but i shd imagine any commentary on childbirth that used the word 'birth' would rule itself out. it wd be like 'i saw the secret of the universe on acid.' or 'how do i love thee, let me count the ways.' david ========================================================================= Date: Tue, 21 Mar 2000 08:58:14 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Leslye Layne Russell Organization: Alliance for Creative Living Subject: listing of MFA's in poetics/poetry writing MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Hi, I'm listing url's in my Poetry Links Library for low-residency MFA's (and PhD's if such programs exist) in Creative Writing-Poetry and Poetics. So far, I know of just a few: Goddard, Bennington, Norwich (all in Vermont), Antioch (LA), and Naropa (in the process of setting up the program). In addition, there is Goucher with an MFA in nonfiction writing. Any other suggestions, feedback on this? I'll appreciate any info! I've not found any place on the web that has a comprehensive list for this field. I think it could be useful. Also, has anyone seen or heard from Elliza McGrand lately? Neither of my email addresses for her or Jordanne Holyoak (editors of Free Cuisenart) have brought a response. Thanks! Layne http://www.sonic.net/layne A Quiet Place ========================================================================= Date: Tue, 21 Mar 2000 11:04:10 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Maria Damon Subject: job opening --not (exactly) poetics Comments: To: Subsubpoetics In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable JOB OPENING - PLEASE POST WIDELY!!!!!! University of Minnesota Gay, Lesbian, Bisexual, Transgender (GLBT) Programs Office Assistant Director The University of Minnesota, Twin Cities campus, is the flagship institution in the U of M system and a member of the Big Ten. It is situated in the urban setting of the Twin Cities, and has a current enrollment of approximately 47,000 students. The University of Minnesota invites applications for the Assistan= t Director of the GLBT Programs Office. The GLBT Programs Office, founded in 1993, is dedicated to improving campus climate for gay, lesbian, bisexual, and transgender people at the University of Minnesota and to addressing the harmful effects of discrimination based on sexual orientation and gender identification. The Gay, Lesbian, Bisexual, Transgender Programs Office is under the supervision of the Associate Vice President for Multicultural and Academic Affairs at the University of Minnesota. The Assistant Director works with other program staff and constituents to achieve the purposes of the GLBT Programs Office. These purposes include: providing services and programming for all members of the University community; assisting GLBT members of the University to foster a supportive community; educating and providing resources for all members of the University of Minnesota community about issues that impact the experience of GLBT faculty, staff, an= d students; and supporting the development of curriculum and research in GLBT studies. Title: Assistant Director /P&A (campus/college level 9336) 12 month/annual renewable Responsibilities: =85 Provide assistance and advising to students, families, and student organizations on personal and academic issues related to GLBT concerns. Provide crisis intervention, information and referral, and support as necessary. =85 Consult with New Student Programs, Housing and Residential Life and othe= r Office for Student Development (OSD) units concerning GLBT student life concerns, anti-GLBT bias related incidents, and other student related campus climate issues. Plan, develop, implement, and evaluate programs and services for students and student affairs staff regarding sexual orientation and gender identity. =85 Plan, develop, implement, and evaluate GLBT educational curricula, workshops, lectures, and in-services for diverse audiences. Train and manage activities of the GLBT Speakers' Bureau. =85 Serve as a liaison to GLBT constituency groups, such as the GLBT Alumni Group. Develop, plan, and implement programs in partnership with these constituency groups, such as GLBT Career Connection and mentorship programs, and the GLBT Scholarship Fund. Coordinate and assist in the development of promotional efforts for programs, including media consultations. =85 Participate in program and administrative planning including assisting w= ith budget preparation, hiring, supervision and evaluation of office staff, gran= t writing, report production, office policy and procedure development, and dat= a analysis. Represent the GLBT Programs Office on committees related to work portfolio. =85 Engage in work consistent with the mission of the Office for Multicultur= al Affairs to create and sustain a campus environment that values and actively supports an inclusive and diverse University community and perform other duties as assigned. Qualifications: Required: Bachelor's degree plus 2 years post-degree experience to include: =85 Demonstrated expertise in designing and implementing educational program= s. =85 Knowledge and significant experience in student services, counseling, or leadership. =85 Knowledge and experience regarding concerns and issues of GLBT people an= d the intersections of race, class, gender, disability, and sexual orientation. =85 Demonstrated ability to communicate and work effectively with diverse constituencies in a team environment. Preferred: -Master's degree or equivalent professional degree. -Experience working in a multicultural environment. Demonstrated commitment to diversity. -Excellent written and oral communication skills. -Excellent leadership, organizational, and programming skills. -Ability to be innovative and work independently. -Knowledge sufficient to use Macintosh computers for electronic mail, word processing (Microsoft Word) and data base development. Salary Range: $28,000 - $35,000 Applications: Application deadline is April 7, 2000. Final candidate interviews will be conducted during the week of April 24 - 28, 2000. To apply send a cover letter expressing your interest in this position and how your experience and qualifications qualify you for this position, a resume, and the names, addresses, email addresses, and telephone numbers of three current professional references to: John Felipe, Search Committee Chair C/O GLBT Programs Office Search 138 Klaeber Court 320 16th Avenue South East Minneapolis, MN 55455 =46or more information about the University of Minnesota, the Office of Multicultural Affairs, and the GLBT Programs Office, please see our web page at www.umn.edu/glbt The University of Minnesota is an equal opportunity employer. This material is available in alternative formats upon request. PLEASE NOTE NEW ADDRESS: Beth Zemsky, Director Gay, Lesbian, Bisexual, Transgender Programs Office University of Minnesota 320 16th Avenue S.E. 138 Klaeber Court Minneapolis MN 55455 PH: 612-625-8519 (direct line) or 612-625-0537 (main line) =46AX: 612-624-9028 web: www.umn.edu/glbt email: zemsk002@tc.umn.edu Nasreen Mohamed, Program Associate University Of Minnesota Gay, Lesbian, Bisexual, Transgender Programs Office and Diversity Institute 320-16TH Avenue S.E., #138 Klaeber court, Minneapolis MN 55455 PH:612-625- 0537 (main line) FAX:612-624-9028 EMAIL: Moha0015@tc.umn.edu WEB SITE: www.umn.edu ========================================================================= Date: Mon, 1 Jan 1990 04:13:37 -0500 Reply-To: Brian Stefans Sender: UB Poetics discussion group From: Brian Stefans Subject: criticism conference MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit I think Jacques gets what I would have said. In general, I would doubt that health insurance would have prolonged Ted Berrigan's output, or altered the quality of what he did put out -- or maybe it would have done both, he would have lived longer and written less. Who can say? I just don't think there's a mechanism there. I tend to think TB and Alice Notley lived according pretty specific ideas on how much they would want to assimilate into US culture in order to reap the benefits of a corporate lifestyle; there seems to be some issue there about being liberated from these structures while suffering whatever blows that entails. After all, he was the one who rejected a Master's degree though he had completed the thesis, and he did teach a fair amount. Which isn't to say attention wouldn't have been nice, just not sure how that would have worked for them (as it possible after the big public reception of the New Americans?). As for Ashbery being picked up by Bloom, I tend to think Ashbery, regardless of critical acclaim, would have taken the turns he did -- it's worth noticing that he was a very successful art editor and writer, and probably, without the awards, would have trucked along in that circuit pretty happily, which is to say he was never really a social radical, always kind of a nice fellow who got along with people and had three meals a day -- I think that same temperament went into the Tennis Court Oath and Hotel Lautreamont ("you mop your forehead with a rose, recommending its thorns"). I doubt he was much of a firebrand back then, though we like to think so with that book. ========================================================================= Date: Tue, 21 Mar 2000 09:58:13 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Writers House Subject: Thalia Field, webcast worldwide, Wednesday at 5pm MIME-Version: 1.0 Content-Type: text/plain; charset=US-ASCII Content-Transfer-Encoding: 7bit Dear Poetics List: Join us in the audience from wherever you are Wednesday at 6:00pm! If you'd like to participate in this live webcast, e-mail us at wh@english.upenn.edu. _____________________________________ T H A L I A F I E L D will read at the Kelly Writers House 3805 Locust Walk, Philadelphia on Wednesday, March 22, at 6:00 pm Thalia Field's first collection, *Point and Line*, was published this month by New Directions. Her work has appeared in *Conjunctions*, *Central Park*, *Avec*, *Chain*, and *LanguageAlive* (UK). ****NOTE! This program will be webcast live. If you can't get to the Writers House in Philadelphia and would like to participate via the live webcast, please write to us -- wh@english.upenn.edu -- and we will send you follow-up information. The webcast begins at 6:00 PM eastern time this Wednesday, March 22, at 6:00pm.***** Thalia Field was a senior editor at *Conjunctions* from 1995 until 1999, and guest-edited a special issue on experimental music theater. Thalia's plays and essays on poetry in american theater have been published by Theater magazine, and she performed an evening on poetry and theater at the Brooklyn Academy of Music with Suzan-Lori Parks. Thalia received a 1992 NEA commission for her opera, The Pompeii Exhibit. Thalia has taught through Teachers and Writers Collaborative, Theater for a New Audience and at Brown University, Bard College (where she is also an associate with the Institute for Writing and Thinking) and is currently on the faculty of Naropa University in Boulder, Colorado. ********* From "Southwest": C walks G to the bus. Look, the car wheels,--they repeat it as though by recognizing the same thing they're finally communicating. Boots don't leave prints in the dust unless a little water has recently been present. The air is afraid to add friction to anything. The danger of water is on hunger not thirst. There is a layer of forgetfulness on the plaza, drowsy sunburnt hues, while the so-called Martyrs overlook their crimes from monuments on the highest ground. There's no natural shade in this town, few clouds, the light leaves little to wonder about. Light is the liquid drowning us, in which we calculate impossible sequences. The body is the blueprint of all technology: our eyes, cameras; our proteins slosh around as multitudinous mega-computers. We wrote endless theories about "probability," now behind us. The plane over Los Alamos at night flies in a grid and, noiseless, can only be seen if you know what you're looking for. The passengers have been cut through the crumpled doors. Heavy car wheels roll on the sky without tread or traction. Some accidents choose us. What if we reached out and tampered with them? I guess we'll never know what could've happened, G says, throwing her suitcase in the belly of the bus. From her seat she watches C approach the car. He's going to interfere, she thinks, amazed. And arching his fingers back he opens his palm and presses the tire in the canyon between finger and thumb. ---------------------------- The Kelly Writers House wh@dept.english.upenn.edu 3805 Locust Walk 215-573-WRIT Philadelphia, PA 19104 http://www.english.upenn.edu/~wh ========================================================================= Date: Tue, 21 Mar 2000 13:43:38 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jordan Davis Subject: Re: Childbirth and Metaphor MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit The opening chapter of _White Mule_ by William Carlos Williams is a representation of childbirth. Jordan Davis > >the ineffability of childbirth and the paucity of its > >representations > > > > these would go hand in hand. ========================================================================= Date: Tue, 21 Mar 2000 12:38:27 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: George Bowering Subject: Re: Childbirth and Metaphor In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" > >the ineffability of childbirth and the paucity of its >>representations > > > >these would go hand in hand. > > >dont mean that to sound snide. > > >the apparently ineffable may yield some words. isnt it to that >(im)possibility we poets are drawn? but i shd imagine any commentary on >childbirth that used the word 'birth' would rule itself out. it wd be like >'i saw the secret of the universe on acid.' or 'how do i love thee, let me >count the ways.' > >david Yes, the ineffable does mean "the impossibility of being expressed in words," hence, probably Robert Kroetsch's greart essay "Effing the ineffable." But David, at least you will remember that despite the odds, there was a time in the seventies when every writer who had a first child wrote a book about having that child--Gladys Hindmarch, Margaret Atwood, Daphne Marlatt, etc. ========================================================================= Date: Tue, 21 Mar 2000 13:12:35 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Safdie Joseph Subject: Ed Dorn Memorial Reading MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" One more time, the details for this tribute: Saturday night, March 25 7:00-10:00 Richard Hugo House, Seattle 1634 11th Avenue A dozen or so readers -- of both Ed's work and/or their own in response to it -- will include Tom Raworth, Charles Potts, Belle Randall, Judith Roche, Paul Nelson and other local and national poets. We're asking a donation of $3 at the door to defray some of these folks' travel costs. Those of you who WANT to participate in this reading but can't do have a fall-back option. You can send a few lines of verse that will be incorporated into a slide show -- a "silent open mike" -- that will precede the reading itself. Here are the instructions, from "DJ Yum Yum" . . . "Send yr text to subslideshow@hotmail.com -- no formatting of the text is necessary. You can just send it in a regular e-mail message. In order for the text to fit (and to be reasonably read) on a slide it should be less than 18 lines long. Please include *Slides for Dorn* in the subject line." The slides will be accompanied, for about 20 minutes or so, by an evolving sound mix (including, but not limited to, some really atrocious country music). Hope to see you there, live or by proxy! Joe Safdie ========================================================================= Date: Tue, 21 Mar 2000 19:01:21 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Joel M Bettridge Subject: Ronald Johnson site MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit As part of last week's Ronald Johnson Conference here at UB Nick Laudadio has designed an RJ website. Right now it is at the Trifecta Press page (the link is on the first page) at: www.trifectapress.com. Some time in the next few weeks it will go up on the EPC. ========================================================================= Date: Tue, 21 Mar 2000 17:20:52 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Lisa Jarnot Subject: Re: POETICS Digest - 17 Mar 2000 to 20 Mar 2000 (#2000-47) Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit I didn't catch this original post, but I'm surprised at the characterization of 2nd/3rd generation New York School writers as estranged from and antagonistic to critical discourse-- It seems to me that a lot of the writing in the Poetry Project Newsletter, as well as the critical essays presented every year at the Poetry Project symposium are a source of valuable critical discourse for the New York/New York School community, and there are many other examples-- Bernadette Mayer's writings and projects on psychology, poetics, experiments, science writing, etc. Ron Padgett's writings for Teachers & Writers -- much critical discourse there on poetry and pedagogy, Ed Sanders' works in Investigative Poetry (I'll consider him a second generation New York School writer). and so on-- Alice's Notley's "Homer's Art" (Curriculum of the Soul), current critical works by younger New York writers like Kristin Prevallet (work on Helen Adam), Alan Gilbert (a recent essay on the poetics of Anselm Berrigan, Prageeta Sharma, Greg Fuchs, and Maggie Zurawski), and Daniel Kane (forthcoming critical book on 2nd generation New York School culture and performance scene origins), Eleni Sikelianos's work in translation and so on. best, Lisa Jarnot ---------- >From: Automatic digest processor >To: Recipients of POETICS digests >Subject: POETICS Digest - 17 Mar 2000 to 20 Mar 2000 (#2000-47) >Date: Tue, Mar 21, 2000, 12:10 AM > > > Date: Fri, 17 Mar 2000 18:41:01 EST > From: Jacques Debrot > Subject: criticism conference > > Ron Silliman, > > I mostly agree w/ your post, but I do take issue w/ your characterization of > Ashbery's post-Mirror poetry. I think, for example, that the 90s books badly > date McGann's mid-80s assessment of Ashbery's work as increasingly > conformist. & in the *immediate* aftermath of Mirror (more or less) there > is, of course, As We Know--a really remarkable poem. > > You're right, though, to point to the black hole the 2nd, 3rd, and so on NYS > gens. fell into-- mostly as a result of their estrangement from, and > antagonism to critical discourse. Ultimately, poets have to write their own > literary criticism--for the reasons that Brian gives--but also in order to > *create* definitions of poetic value. > > Btw, speaking of the recent confab, a copy of Michael Sharf's chapbook > TELEMACHIAD came in the mail the other day--it's wonderful! Thanks Mike (?). > > --Jacques > > ---------------- ========================================================================= Date: Tue, 21 Mar 2000 22:07:59 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Elizabeth Treadwell Subject: Re: Childbirth and Metaphor Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" at the beginning of DBarnes' Nightwood there is an amazing description of childbirth. ___________________________________________ Elizabeth Treadwell Double Lucy Books & Outlet Magazine http://users.lanminds.com/dblelucy ========================================================================= Date: Wed, 22 Mar 2000 09:44:58 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Michael Rothenberg Organization: Drums of Grace Subject: PUBLICATION NOTICE: Punk Rockwell by Michael Rothenberg MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit PUNK ROCKWELL is now available from Tropical Press. Punk Rockwell, A Novel by Michael Rothenberg Tropical Press PO Box 161174 Miami, FL 33116-1174 14.95 plus 2.50 shipping and handling ABOUT PUNK ROCKWELL: Spy-for-hire Punk Rockwell is a charismatic intellectual, a sexual survivor, a mimic, a clown -- and a renegade man of action. His mission: tracking down a mysterious precious cache of "caviar", a synthetic ecological cure-all that represents Russia's last chance to rescue its land, its people, and its economy in the decaying free-fall of a post-Cold War world. Rockwell's quest leads him on a perilous whirlwind chase through Mexico, Latin America, Russia, along the California coast, and deep into the Florida Everglades. Narrated by poet/eco-warrior Jeffrey Dagovich, the book uses poetic vision, psycho-narration and memory jags to explore the dark, complex relationships among Dagovich, his artist wife Emily, Punk Rockwell, and Angelina -- an eternal beauty who once saved Fidel Castro's life. An adventure tale by an adventurous writer, PUNK ROCKWELL is strange, sexy and innovative. * "Rothenberg's PUNK ROCKWELL follows and breaks all the rules of fiction simultaneously. A slow-motion, spiraling bullet aimed right between the eyes...original with a capital O." Michael Largo author Southern Comfort "Michael Rothenberg has one of those genius takes on language. . .wit and wordlove, enough to move mountains, chip by chip." Jack Collom author 8-Ball "Michael Rothenberg amazes me with his industry, talent, energy, focus, curiosity. " David Meltzer author The Agency Trilogy * ABOUT THE AUTHOR: Michael Rothenberg was born and raised in Miami Beach, Florida. He currently lives in Pacifica, California where he grows orchids and is the editor of the e-zine Big Bridge. He is an environmentalist, an accomplished songwriter, and has been part of the vital Bay Area literary scene for two decades. His poems and short fiction have appeared widely in small press, Internet and literary magazines. This is his first novel ========================================================================= Date: Wed, 22 Mar 2000 14:45:24 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Aaron Vidaver Subject: Anomalous Parlance 2 (Vancouver): Catriona Strang & Nancy Shaw---"Busted" Mime-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 8bit ANOMALOUS PARLANCE 2: BUSTED Catriona Strang & Nancy Shaw Sunday, March 26, 2:00 pm Kootenay School of Writing 201 - 505 Hamilton Street Vancouver BC Canada $5/$3 Collaborators Nancy Shaw & Catriona Strang will read from Busted, a book of counter-lyrics, irruptive shuffles, Logos-liquidating flags, polyepistemic assays & untimely bulletins on history, government, culture, allegiance & home ownership. "Busted" is the second of six events in the Anomalous Parlance series at KSW. Catriona Strang's books include TEM (Barscheit 1992), Low Fancy (ECW 1993) and Steep: A Performance Notebook (Seeing Eye 1997). Selections from the audio disc The Clamourous Alphabet (Periplum 1999), a collaboration with composer & musician François Houle, appear in The Capilano Review and Sulphur. She has written many texts for sound, music, and dance compositions, most recently "And Spear Impunge" for a violin, clarinet and voice piece by Jacqueline Leggatt by the same title and "Ice" for Au Coeur du Litige, an electroacoustic work by François Houle. Additional writing is found in the journals Barscheit, Big Allis, Chain, Giantess, The Gig, Filling Station, lyric&, Raddle Moon & Writing as well as in the anthologies Last Word, Out of Everywhere & Writing from the New Coast. Shaw's publications include the books Affordable Tedium (Tsunami 1987) and Scoptocratic (ECW 1992), essays on art and culture in The Vancouver Anthology: The Institutional Politics of Art (Talonbooks 1991), Mirror Machines: Video and Identity (YYZ 1995), Cultural Institutions / Instituting Culture (McGill Institute for the Study of Canada 1995), Cultures of the City: Essays in the History, Space and Identity of Montréal (Centre for Research on Canadian Cultural Industries and Institutions 1998), and the journals Vanguard, Parachute, Fuse, Parallelogramme, C Magazine and Mix. Her recent writing includes a collaborative study of Stan Douglas's "Win, Place or Show" with Sianne Ngai and a dissertation on cultural nationalism in Canada since The Massey Commission. With Monika Kin Gagnon, Strang & Shaw penned The Institute Songbook: Choral Works for Voice and Torch Songs (The Institute 1995). Busted is forthcoming from Coach House Books. Selections appear in Avec, Open Letter, Raddle Moon and Rhizome. ... Neither message is surefire; they brim rivalry's cant. This is not to say that we abolish poetry, nor that the self is invented by the alphabet, but rather, so fucking early, that vexed double sense: "to be sung, and words spoken." Various forms of the Riler eloped. Technology any more than cars. Oh, the militant police of emergence. (from Busted) ... We think of our poetic influences as tools and vocabularies as well as constellations and contingent networks. Shedding the baggage of the past's traditions, we sustain useful methods and techniques to guide our future-oriented, conditional, sometimes counter-factual, and maybe even counter-intuitive practices. Who needs tradition's alibi? (from "The Idea File of Contingency") ... Anomalous Parlance brings together readings and discussions of book-length works in progress by six lawless Vancouver-based post-language writers. Curated by Aaron Vidaver. Upcoming participants in the series include Lisa Robertson (April 29 & 30), Susan Clark (May 28) and Christine Stewart (June 25). A series catalogue including selections from Pen Chants, Busted, The Weather, Tied to a Post, and Taxonomy is available for $6. Kootenay School of Writing 604-688-6001 www.ksw.net ========================================================================= Date: Wed, 22 Mar 2000 17:28:37 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Maria Damon Subject: Re: Xcp/St. Kates Visiting Writers, March 24-25 Comments: To: englfac@amethyst.tc.umn.edu, engrad-l@amethyst.tc.umn.edu, engltchr@amethyst.tc.umn.edu, compedspec@amethyst.tc.umn.edu, writers-l@amethyst.tc.umn.edu, creativefac@amethyst.tc.umn.edu, Karyn M Ball , Sarah Hreha , subsubpoetics@listbot.com In-Reply-To: <862568A5.00721644.00@andrea.stkate.edu> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Hello friends, colleagues, & others... Rachel Blau DuPlessis, Professor of English at Temple University, will be in town next week for a pair of events: 1.) Talk: Friday, March 24th--12:00pm (noon) @ College of St. Catherine-Mpls., Room 550 (601 25th Avenue South, just north of Riverside Avenue) 2.) Reading: Saturday, March 25th--7:30pm @ Catherine G. Murphy Art Building Lecture Hall (College of St. Catherine-St. Paul: 2004 Randolph Avenue) DuPlessis is author of _The Pink Guitar: Writing as Feminist Practice_ (Routledge) and several other critical volumes; editor of _The Selected Letters of George Oppen_ (Duke); co-editor of _The Feminist Memoir Project: Voices from Women's Liberation_ and __The Objectivist Nexus: Essays in Cultural Poetics_; and author of six volumes of poetry. A section of her ongoing long poem _Drafts_ appears in _Xcp: Cross-Cultural Poetics_ no. 4. Also mark your calenders for two April events with University of Calgary Prof. and Governor General's Award-winning author Fred Wah: 1.) Talk: Friday, April 7--12:00pm (noon) @ College of St. Catherine-Mpls., Room 550 (601 25th Avenue South, just north of Riverside Avenue) 2.) Reading: Saturday, April 8th--8:00pm @ A Fine Bind Bookstore (1029 Washington Avenue South, Minneapolis) PLEASE FEEL FREE TO FORWARD THIS MESSAGE TO OTHERS WHO MIGHT BE INTERESTED, ANNOUNCE ON RADIO SHOWS, POST ON DEPARTMENT BULLETIN BOARDS OR WEBSITES. & HOPE TO SEE YOU THERE!! ========================================================================= Date: Thu, 23 Mar 2000 03:27:19 -0500 Reply-To: patrick@proximate.org Sender: UB Poetics discussion group From: Patrick Herron Subject: wedding readings Comments: To: Subsubpoetics MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Can anyone recommend some readings appropriate for a wedding? it seems increasingly difficult to find something well-written and unhackneyed about love and/or relationships. I could use some help with this. backchannel reply is good. (apologies for xposting) thanks, Patrick Herron patrick@proximate.org ========================================================================= Date: Thu, 23 Mar 2000 11:55:11 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Brian Lennon Subject: contact info rquest MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII anyone have an email for Doug Powell? ========================================================================= Date: Thu, 23 Mar 2000 14:23:14 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: perhaps on recoveries MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII --- when do you say, i am done with experiment, now i will talk with you, now you will hear me talking, with no transformation, and then you might hear me, you might hear me saying, i'm tired of making meaning, i'm tired of meaning and making meaning, tired of all of this, of carrying the necessity of language, the needs of the speaking of language ; there are no angels, there never have been, there are no others, but of the proffering, i am sure as long as it's unthought, the way the sun follows form, think of a sundial ; there are no others gracious in reception, what i have done, you might find me saying, i'm tired of phorias, of meaning carried before the back, reachless, gracious, silent, as long as there are words ___ ========================================================================= Date: Thu, 23 Mar 2000 15:50:45 -0500 Reply-To: dbuuck@sirius.com Sender: UB Poetics discussion group From: "dbuuck@sirius.com" Subject: contact info Content-Transfer-Encoding: Quoted-Printable MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" looking for info on Eric Frost Peter Neufeld where are you boys? David Buuck ------------------------------------------------------------------- This message has been posted from Mail2Web http://www.mail2web.com/ Web Hosting for $9.95 per month! Visit: http://www.yourhosting.com/ ------------------------------------------------------------------- ========================================================================= Date: Thu, 23 Mar 2000 16:09:20 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Poetry Project Subject: announcements Mime-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" At the Poetry Project Next Week: Monday, March 27 at 8:30 pm Brenda Shaughnessy & David Baratier You read right. The reading is at 8:30 pm due to that Mikhail Barishnikov is dancing next door until then. And no sneaking thru any side doors either. Brenda Shaughnessy is the author of Interior with Sudden Joy (Farrar, Straus, Giroux) which was a runner-up for the Norma Farber Award. David Baratier's prose novel, In It What's In It, is forthcoming this year from Spuytin Duyvil. Wednesday, March 29 at 8 pm Anselm Hollo & Robert Kelly Anselm Hollo's latest books include Caws & Causeries and Corvus. He presently teaches at the Jack Kerouac School of Disembodied Poetics at Naropa University. Robert Kelly is the author of over 50 books of prose and poetry, including Runes and the Garden of Distances. And, making this reading/evening, even more alluring is a post-reading reception, sponsored by the Consulate General of Finland. P.S. We could definitely use volunteer help for clean-up after the reception! Free admission! Everlasting gratitude! Call us at (212) 674-0910. Friday, March 31 at 10:30 pm Will Work for Peace Contributors from the anthology, Will Work for Peace, read, including Bob Holman, Ellen Bass, Bill Zavatsky, Daniella Gioseffi, editor Brett Axel, and musical guests Colleen Kattau and Jolie Christine Rickman. A portion of the proceeds from this evening will benefit SOA Watch. The new April/May newsletter is now out and available at readings. Pick one up and enjoy Lorenzo Thomas (interview with), Lyn Hejinian (essay on), Prageeta Sharma, Edwin Torres, Kimberly Lyons (reviews of), Tim Dlugos (poetry by), and more! Admission to all events, unless otherwise noted, is $7, $4 for students and seniors, and $3 for members of the Poetry Project. No advance tickets. The Poetry Project is wheelchair-accessible with assistance and advance notice. Call (212) 674-0910 for more information. The Poetry Project is located in St. Mark's Church at the corner of 2nd Ave. and 10th St. in Manhattan, NY, NY, NY, NY **** Public Service Announcements Tonight, Thursday, March 23 at 7 pm: Karen Weiser and Miekal And at Teachers & Writers. 5 Union Square West, 7th floor, wine, cheese, salsa, crackers, sometimes hummus, sometimes little carrots, and maybe cornichons and olives. ENJOY BELLADONNA* at Bluestockings Women's Bookstore 172 Allen Street/between Rivington and Stanton on the Lower East Side of Manhattan Contact: (212)777-6028 for more information Thursday, March 30 MAUREEN OWEN & BETSY FAGIN Readings Begin 7:00 P.M. with 15 minute Open And speaking of public service, in case you skimmed over the Project reading announcements above, we need a few volunteers to help with clean-up next wednesday after Anselm Hollo and Robert Kelly read. Free admission and free gratitude in abundance **** Constantly I write this happily Hazards that hope may break open my lips What I feel is taking place, a large context, long yielding, and to doubt it would be a crime against it I sense that in stating "this is happening" Waiting for us? It has existence in fact without that We came when it arrived --Lyn Hejinian, _Happily_, Post Apollo Press **** ========================================================================= Date: Tue, 21 Mar 2000 17:31:05 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Steve Dickison Subject: ** Nicole Brodsky & Kate Small reading Tues March 28, 7:00 pm ** Mime-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable =46orwarding notice of this reading to take place in The Poetry Center reading room, next week: >>>Fourteen Hills invites you to a reading by past winners of the Michael >>>Rubin Chapbook Award. Nicole Brodsky and Kate Small will read from their >>>work on Tuesday March 28, 2000 at 7PM in The Poetry Center & American >>>Poetry Archives, Humanities Room 511 at San Francisco State University. >>>This event is free. Nicole Brodsky's manuscript, _getting word_, won the 1998 Michael Rubin Chapbook Award. She has had recent work published in Arshile 1999 and is currently teaching poetry to fourth and fifth graders. She is also currently working on _Gestic_, a collection of poems exploring the concept of body and bodily (e)motion. Kate Small is the author of _The Gap in the Letter "C"_ and was the recipient of the 1999 Michael Rubin Chapbook Award. She is a lecturer of Creative Writing at San Francisco State University and has been published in numerous journals, as well as being a recipent of such awards as the Highsmith Award for Playwriting and the Wilner Award for Fiction.<<< =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D Steve Dickison, Director The Poetry Center & American Poetry Archives ~ San Francisco State Univers= ity 1600 Holloway Avenue ~ San Francisco CA 94132 ~ 415-338-3401 ~ ~ ~ L=E2 taltazim h=E2latan, wal=E2kin durn b=EE-llay=E2ly kam=E2 tad=FBwru Don't cling to one state turn with the Nights, as they turn ~Maq=E2mat al-Hamadh=E2ni (tenth century; tr Stefania Pandolfo) ~ ~ ~ Bring all the art and science of the world, and baffle and humble it with one spear of grass. ~Walt Whitman's notebook ========================================================================= Date: Thu, 23 Mar 2000 21:46:06 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII --- 1 i have not experienced death; death is not an experience. THIS IS A TEXT 2 FOR A MASSACRE. for to one, then the other. THIS IS NOT A TEXT. THIS 3 REMAINS OUTSIDE THE TEXT. for what is one; for what is the other. WORDS 4 GROPED, SORTED, REARRANGED. WORDS JENNIFER OR JULU MIGHT SPEAK. to 5 experience death is to experience nothing. more than a play on words, 6 abscencing and its depth. incontrovertible of the world. ENCUMBRANCE OF 7 ORDER AND THE FAILURE OF SULLEN SPEECH. 8 A TEXT FOR THE SLAUGHTERHOUSE. when the tongue twists against the vowels, 9 inhibits. THE BREAKING OF THE NOUN, CRASHED THING. i have not experienced 10 but of crashed thing, breakage, denouement, end. BUT NEVER DEATH, NEVER OF 11 THE MAGNITUDE. 12 A TEXT FOR THE SLAUGHTERHOUSE. when the tongue twists against the vowels, 13 FOR A MASSACRE. for to one, then the other. THIS IS NOT A TEXT. THIS 14 GROPED, SORTED, REARRANGED. WORDS JENNIFER OR JULU MIGHT SPEAK. to ORDER 15 AND THE FAILURE OF SULLEN SPEECH. REMAINS OUTSIDE THE TEXT. for what is 16 one; for what is the other. WORDS THE MAGNITUDE. 17 abscencing and its depth. incontrovertible of the world. ENCUMBRANCE OF 18 but of crashed thing, breakage, denouement, end. BUT NEVER DEATH, NEVER OF 19 experience death is to experience nothing. more than a play on words, i 20 have not experienced death; death is not an experience. THIS IS A TEXT 21 inhibits. THE BREAKING OF THE NOUN, CRASHED THING. i have not experienced. ========================================================================= Date: Tue, 21 Mar 2000 22:15:36 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: alegr5 Subject: poetry e-zine -- Moria MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit The new issue of Moria is online at www.moriapoetry.com. Contents poems by: mIEKAL aND catherine daly bill lavender camille martin jane noritz-nakagawa articles: cheryl schoonmaker on Jabes john woznicki on language poetry As always, I am looking for poetry and theory submissions for the next couple of issues. Bill Allegrezza ========================================================================= Date: Wed, 22 Mar 2000 17:17:59 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: levitsk@ATTGLOBAL.NET Subject: Belladonna!!! MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit ENJOY BELLADONNA* at Bluestockings Women's Bookstore 172 Allen Street/between Rivington and Stanton on the Lower East Side of Manhattan Contact: (212)777-6028 for more information *** Thursday, March 30 Maureen Owen Betsy Fagin *** Thursday, May 4 Marilyn Hacker Yvette Christianse kari edwards *** All Readings Begin 7:00 P.M. with 15 minute Open ========================================================================= Date: Wed, 22 Mar 2000 20:39:30 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: GasHeart@AOL.COM Subject: Philly: Theater, Music Film - issue#26 MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit hi, i know this may be a duplicate for some of you, if it is, please write back so i can straighten out the list, if not, . . . welcome to the gasheart arts email list newsletter for philadelphia film, theater, music, and well, here goes. . . 1. Philly: Theater, Music, Film Event! Sat. May 20th, 4pm - 2am 2. Eric Idle at Tower Theater, June 13th 3. Rally to Close the School of the Americas, Sat., March 25th, 2pm 4. UNDERGROUND AT RON'S, April 1, 2000 5. Cherry Blossom Festival, Saturday, March 25, 1:30 p.m., Free 6. 4 bands at brynn mawr college, Sat., March 25th, 8 pm 7. shoddy puppets, April 2, 5, 8, several events, fun and informative! 8. 4040, new venue at 4040 locust, events list 9. grant money available for girls 13-19 years of age, project should be educational 10. Robert Creeley, Beat Poet at Kelly's Writer's House, April 10, 7pm, free _____________________________________________________________ 1. Philly: Theater, Music, Film Event! Sat. May 20th, 4pm - 2am yes, this is an event, come out and see who else is on this list, this event is in formation, email GasHeart@aol.com if you want your band to perform, or to show your films/video/ or to read your poems, or to have a puppetshow or show your theaterpiece, or to put your art on the walls, bring food if you want, money goes to philly: theater, music, films future projects, . . only $5 to get in, yuengling avail., . . . .at killtime 3854 lancaster ave., in west philly, backyard courtyard and warehouse, dj's, drums, etc . . . want to organize an open mike? contact josh at gasheart@aol.com ______________________________________________________ 2. Eric Idle at Tower Theater, June 13th From: "trishy" -----Original Message----- From: newsletter@news.montypythondirect.com >Hello. Eric Idle here. > >Sorry to Spam you like this but this is genuine Spam Mail with news of a >real treat for Spam lovers. >For too long you have had no chance to sing your favorite love song to >pressed meat. Now comes "Eric Idle exploits Monty Python" a stage show >coming to a theater near you this May and June, described as a rather stupid evening of songs and sketches, of Spam, Lumberjacks, Nudges, drunken >philosophers, transvestite country singers, and even the Spanish >Inquisition. >You will get a chance to Spot the Loony, to donate your liver live on stage, and sing along with other so-called adults the words to such Python classics as the "Penis Song" and "Sit on My Face and Tell Me That You Love Me". You can even dress up in public if you want to. [Ed. note: For soundtracks and fashion tips click here: >http://news.montypythondirect.com/cgi-bin/gx.cgi/mcp?p=636Ok036Oo49Myz0 1200mcb3BcbCx >So don't be shy, look on the bright side, and book your seats for "Eric Idle exploits Monty Python", a Sillypalooza with the Rutland Sympathy Orchestra, a real band, real singers and a few assorted loonies, including your very own Sir Dirk McQuickley of the fabulous Rutles. >But hurry, tickets are going fast and we won't be back again once we have your money. You can book via the Internet, or at the Box Office. See dates >here: http://www.pythonline.com/eric_idle.html > >Thank you, >Eric Idle available at efc (electric factory concerts) box office 1231 vine st. 215-569-9400 _____________________________________________________ 3. Rally to Close the School of the Americas, Sat., March 25th, 2pm And commemorate the lives of Archbishop Oscar Romero & Bishop Juan Gerardi ~Assassinated by soldiers trained at the SOA~ ~~~Saturday, March 25, 2000~~~ Rally will begin at 2 p.m. Location: Philadelphia Art Museum (Will conclude with a procession at 4 p.m. to Logan Circle) Speakers will include: Fr. Roy Bourgeois ~ founder of SOA Watch Carlos Chen Osorio ~ Survivor of the Rio Negro Massacre in Guatemala Magda Enriquez Beitler ~ Former roving ambassador of Nicaragua & an appearance by folk musician ~ Tom Paxton Street Theater * Puppets * Music * Mayan Ceremonial Dancers Angel Ortiz - phila. city council Then... SOA Watch Benefit Concert: 7:30 p.m. Location: Community College of Philadelphia (1700 Spring Garden Street) Folk musician Tom Paxton will be joined by Mick Moloney, "Sing It Down," bluegrass performer ~ Steve Jacobs & Political satirist Dave Lippman Tickets: $20/ students with ID: $10 (IDs will be checked at the door) Credit card orders will be accepted on the web through www.soaw-ne.org or by phone at (215) 473-2162 Checks can be made out to: SOA Watch/NE ~ 6367 Overbrook Ave. ~ Philadelphia, PA 19151 (The U.S. Army's School of the Americas, A.K.A. Fort Benning, Georgia, has trained some of the most flagrant violators of human rights throughout the Western Hemisphere. The U.S. government, despite admissions that graduates have been involved in violent and widespread repression throughout Latin America, refuses to close the school. (this is a real important issue, vote in congress very very close to finally closing this torture school, due to public pressure and consciousness awareness, over years -josh) _________________________________________________ 4. UNDERGROUND AT RON'S, April 1, 2000 Announcing... UNDERGROUND AT RON'S #12 April 1, 2000 featuring an evening with singer songwriters Mike Biddison and Eric Reinhardt and your host Ron Kravitz also, that same evening, before the show... Special Music In The Moment Workshop! Music improvisation for EVERYONE led by Ron Kravitz Come have a playful and inspiring experience. performance time: doors open at 7pm, show starts promtly at 8pm admission: $10 light refreshments will be provided workshop: 5:30-7pm admission: $10 reservations required. reserve early, space is limited address: 1012 East Southampton Ave. Wyndmoor PA for directions, log onto: Mapblast.com (please park at the top of the hill, in the professional center parking lot on Flourtown Ave.) musicinmoment@earthlink.net (i went to this before , it was way cool, in his basement full of receptive audience for evening of several performance artists, worth the trip! the improv music part was good, too! ....this event seems to be singer/songwriters -josh) ________________________________________________________ 5. Cherry Blossom Festival, Saturday, March 25, 1:30 p.m., Free Cherry Blossom Festival Tree Planting Ceremony Presented by Japan America Society of Greater Philadelphia Location West River Drive 1/8 mile north of Strawberry Mansion Bridge, or 1/8 mile south of falls bridge, parking is right there West Fairmount Park, Philadelphia A Great Way to Welcome Spring Join in a new Philly tradition: Help dedicate the site, and celebrate the completion, of the third-year planting phase in Japan America Society of Greater Philadelphia's ten- year project to plant and maintain 1,000 flowering cherry trees in Fairmount Park as a gift to the city. 100 per year for ten years. Children will place mulch around the young trees and adults will pour the ritual sake, called omiki. Internationally acclaimed coloratura Yukiko Ishida will lead the Sakura (Cherry Blossom) Singers, a student chorus, in Sakura, Sakura and a new song commissioned for the occasion. Information Call (215) 575-2200 ext. 227 or access www.libertynet.org/jasgp JASGP@gpfirst.com ___________________________________________ 6. 4 bands at brynn mawr college, sat., march 25th, 8 pm Boys Of Now Sonny Sixkiller The Trolleyvox The Bigger Lovers sara marcus and ginger are in boys of now, are from west philly and seem fun more info mkramer@brynmawr.edu __________________________________________________________ 7. shoddy puppets, april 2, 5, 8, several events, fun and informative! shoddy puppets are great, and have a message, about people being empowered to participate in decisions impacting the community, issues in current repertoire include genetic engineered socks(food/people), and stadium building, big bucks over people. -josh April 2: shoddy puppets at Ya Pasta, an event at A Space, 4722 Baltimore Ave. in West Philly, it is a benefit for the Zappatistas, Ya Pasta is a pun on Ya Basta, a Zappatista slogan for Enough! the Zappatistas have been fighting for freedom for the people in mexico April 5: shoddy puppets with people from Bread and Puppet at Rittenhouse Square and Ethical Society, "Insurrection Lands Caper" 5-7 Rittenhouse Square 7-9 discussion 9 Ethical Society, located on rittenhouse square south April 8: shoddy puppets at "The Noise Show" at Mouse House 43rd and pine, also playing that night, . . . .Rock, Paper, Scissors, . . .who are great, i saw them at clark park fest, and they are more a performance art experience than a band, not to be missed! -josh _____________________________________________________________ 8. 4040, new venue at 4040 locust, events list mostly punk, stalag's new place, helped by penn, alcohol free environment, this is a victory for grassroots efforts, as you remember, this project was quashed by one uptight person in the upper sanctums of penn, then after public pressure, decision reversed, to see their whole schedule, . . . visit www.r5productions.com or e-mail DJR5000@aol.com one event of particular interest was sent by "boys of now". . . "Things have been going really well for us lately, April 22nd, the date of our tour kick-off show at 4040 with Le Tigre, The Need, V for Vendetta and Rock Paper Scissors." Rock Paper Scissors Rule! - performance art, hypnotic magic, and music all rolled up in one -josh ____________________________________________________________ 9. grant money available for girls 13-19 years of age, project should be educational http://www.gurl.com/grants this grant info was sent by spiralq@CritPath.Org _____________________________________________________________ 10. Robert Creeley, Beat Poet at Kelly's Writer's House, April 10, 7pm, free gee, this is a golden opportunity, come early it will be crowded other good events listed at their website, open to all, not just penn students, also computers, with web access, printers, scanners and help using it, drop in say 'hi' The Kelly Writers House wh@dept.english.upenn.edu 3805 Locust Walk 215-573-WRIT Philadelphia, PA 19104 http://www.english.upenn.edu/~wh ______________________________________________________________ other things around town, . .. . hey someone responded from this list with a piano for Yunomi, the new arts space at 46th and Sprigfield, . . . . . new wish list, an svga monitor for ibm compatible machine (i have a vga and it is not that good for a lot of things), (2 mouses, 1 keyboard for a mac), a bike (16" men's frame at least 10 speeds mountain or hybrid prefered), (1,2 or 3 of these . . . 32 meg simms 8x32 edo or non edo, i believe they are 72 pin, this is for a mac, but, funny enough, ibm simms work in this case) , a printer good with mac (stylewriter, stylewriter 2, stylewriter 2400, stylewrite 2500, or epson 740), thanks -josh gasheart@aol.com i hear "the red herring", a play at the arden is good, from more than one source i saw boiler room, i found it interesting, more for the insight into a culture i don't really see, than revealing any great stock market insights,. . . well, that's all for now, write back to participate in the may 20th event to add events, or to add/delete name from list send email to -josh cohen GasHeart@aol.com . . . . . . . ========================================================================= Date: Wed, 22 Mar 2000 14:43:46 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Nielsen, Aldon" Subject: Baraka Titles Back In Print Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Just out from Lawrence Hilll Publishers is THE FICTION OF LEROI JONES / AMIRI BARAKA -- this volume reprints the early Grove Press books TALES and THE SYSTEM OF DANTE'S HELL, which have been unavailable for some years -- It also collects for the first time a few even earlier very short stories, including "Suppose Sorrow Was A Time Machine," from YUGEN -- MOST IMPORTANT, though, this book publishes for the first time Baraka's second novel, SIX PERSONS, which had been rejected by Putnams, who had given Baraka a contract for the book but were somewhat dismayed when the ms. turned out not to be a black version of THE GODFATHER as they'd hoped! One chapter of the book appeared in the Baraka COLLECTED PLAYS & PROSE of the late 70s, but the whole novel has never been available before -- ========================================================================= Date: Thu, 23 Mar 2000 23:12:39 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Poetics List Administration Subject: Askenase/Rouff/Sherick/Idiot at (NOTcoffeeHouse) Poetry and MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit (NOTcoffeeHouse) Poetry and Performance Series Sunday, April 2, 2000, 1 pm First Unitarian Church, 2125 Chestnut Street Philadelphia, PA 19103/215-563-3980 Featured Readers and New Music : Alicia Askenase New poetry by a writer whose work has appeared in journals --The World, Chain, Feminist Studies, Kiosk, Aerial, Texture, Poetry New York--and in her several chapbooks. She directs the writing program at the Walt Whitman Cultural Arts Center, Camden, NJ. Ruth Rouff has had poems published in literary magazines including The International Quarterly and Exquisite Corpse. Words used to describe her poetry include "accessible" David Sherick "Thousand Pounds Circus O' Sound." a one-man-band show direct from Atlantic City, Philadelphia's Fringe Festival and Trenton's Avant Guarde Festival. Naked Idiot "once only thought of as a religious cult, now has world-wide acclaim as white-angst musicians. Cellist and guitarist Frank Hagen, former French Parliment member, and advisor to the European Union, blends margarits, cai pirinas, and depakote along with Austrailian aborigeny Dan Fine, and Cosmic Visitor Peter Cline, both of whom have enlarged breasts due to vaporous skin disease." Plus Open Reading and Performance Showcase Along with a live poetry reading and performance , we invite you to join in our website poetry reading presentation. All poets and performers may have a poem or a lyric featured in theNOTcoffeeHouse website. Send your work for inclusion in the ongoing internet presentation. Tell your friends all over the world to check our site! Poets and performers may submit works for direct posting on the website via email to the webmaster@notcoffeehouse.org or works may be emailed to Richard Frey at richardfrey@dca.net or USPS or hand-delivered through slot at 500 South 25th Street, Philadelphia, PA 19146. More information: Church office, 215-563-3980, Jeff Loo, 546-6381 or Richard Frey, 735-7156. Visit our website at www.notcoffeehouse.org $1 admission. Bring new-to-nearly-new items of clothing to deposit in the Poets Wares Clothing barrel - get FREE ADMISSION and a SPECIAL HOMEMADE TREAT! In cooperation with Poetry for the People, "inciting collisions between art & activism," we are celebrating Poetry Month with a month-long collection of clothes for people living in shelters-benefitting Project H.O.M.E., People's Emergency Center, Youth Emergency Services, Interface Homeless OutReach. In April Philly poets will be read at participating shelters--details at the NOTcoffeeHouse 4/2. Clothing may be brought to NOTcoffeeHouse April 2.or any day to church lobby. --Thanks. P. 2 poets & performers previously appearing at NOTcoffeeHouse: Nathalie Anderson, Lisa Coffman, Barbara Cole, Barb Daniels, Linh Dinh, Lori-Nan Engler, Simone Zelitch, Dan Evans, Brenda McMillan, Kerry Sherin, John Kelly Green, Emiliano Martin, Jose Gamalinda, Toshi Makihara, Thom Nickels, Joanne Leva, Darcy Cummings, David Moolten, Kristen Gallagher, Shulamith Wachter Caine, Maralyn Lois Polak, Marcus Cafagna, Ethel Rackin, Lauren Crist, Beth Phillips Brown, Joseph Sorrentino, Frank X, Richard Kikionyogo, Elliott Levin, Leonard Gontarek, Lamont Steptoe, Bernard Stehle, Sharon Rhinesmith, Alexandra Grilikhes, C. A. Conrad, Nate Chinen, Jim Cory, Tom Grant, Gregg Biglieri, Eli Goldblatt, Stephanie Jane Parrino, Jeff Loo, Theodore A. Harris, Mike Magee, Wil Perkins, Deborah Burnham, UNSOUND, Danny Romero, Don Riggs, Shawn Walker, She-Haw, Scott Kramer, Judith Tomkins, 6 of the Unbearables - Alfred Vitale Ron Kolm, Jim Feast, Mike Carter, Sharon Mesmer, Carol Wierzbicki-,John Phillips, Quinn Eli, Molly Russakoff, Peggy Carrigan, Kelly McQuain, Patrick Kelly, Mark Sarro, Rocco Renzetti, Voices of a Different Dream - Annie Geheb, Ellen Ford Mason, Susan Windle - Bob Perelman, Jena Osman, Robyn Edelstein,Brian Patrick Heston, Francis Peter Hagen, Shankar Vedantam, Yolanda Wisher, Lynn Levin, Margaret Holley, Don Silver, Ross Gay, Heather Starr, Magdalena Zurawski, Daisy Fried, Knife & Fork Band Coming to (NOTcoffeeHouse) Poetry and Performance Series 3 pm Sunday, May 21 THE PICKLE JAR "The Pickle Jar" is a performance troupe made up of five students in the New York University graduate Creative Writing Program. In addition to their work as writers and teachers, The Pickle Jar develops performances based on the poems of the Late, Great Ones. This afternoon's slam, the first of many they have developed, imagines a party of poets from across time taking place at Emily Dickinson's house in Amherst, MA. Each of the poets--Sappho, Sylvia Plath, Emily Dickinson, Ted Hughes, and Rumi--speaks only in poems, lines, and fragments of their own poetry. This slam won the Dead Poet's Slam contest at the Poetry Olympics at the Brooklyn Brewery this past November. Individual Biographies: Corie Herman is a performance poet from the New York City area; she considers Sappho one of the most important "figures" in feminism as well as poetry. That is why she has manifested her as a drinking, smoking, leather-vinyl wearing sexy mamma. Amelia Wentworth built her own house out of slanted wood and called it truth. She listens to the gospel of the crickets every night. Jason Schniederman is one of the most sought after porn stars in the business. The son of migrant workers, he is a pathological liar. Jaymie ScottodiSantolo's Sylva Plath is electric, riveting and simply sex. Come see her hair grow licks of fire, her mouth erupt in poetry, herhand clench over Ted Hughes' balls... Kazim Ali is an activist, painter, and tantric totem. He imagines Rumi as his (bare-chested, glitter-smeared, belly-dancing, smoldering) ancestor. In previous lives he's been Eros, Garbo, and Ephraim of "The Changing Light of Sandover" fame. May 21 - 3 pm - THE PICKLE JAR plus Much More poetry and music TBA The End. Richard Frey 500 South 25th Street Philadelphia, PA 19146 215-735-7156 richardfrey@dca.net ========================================================================= Date: Thu, 23 Mar 2000 11:31:41 -0600 Reply-To: jlm8047@louisiana.edu Sender: UB Poetics discussion group From: Jerry McGuire Organization: USL Subject: Deep South Writers Festival 2000 Comments: To: Luis Urrea , Karen Ford , LWilson213 , Kevin Murphy , MANNY SELVIN , Kathy Ptacek , kevin johnson , marcia gaudet , Marie Plasse , Mark Nowak , Mary Cappello , Mary Cotton , Megan Farrell , Michael and Charisse Floyd , Michael Mandel , miki nilan , murray schwartz , Mary Hillier Sewell , louisiana , Libby Nehrbass , mary tutwiler , Marcella Durand , L V Sadler , Larry Anderson , Norman German , michael hansen , Marvin Douglass , "lynn a. powers" , mike schultz , Karen Meinardus , Nancy Dawn Van Beest , McAdoo Greer , M Butz , Louis Gallo , lynne castille , Martha Metrailer , Mary Alice Cook , Linda M Schopper , Kevin Murphy , "Lisa R. Davis" , laura taylor , lila walker , MARSHA BRYANT , Maura Gage , Kathy Gruver , Lisa Wenzel , mary gannon , "lisa d. williamson" , linette fink , Michael Cervin , Karleen Wooley , "Melinda M. Sorensson" , Kathy Ball , Linda Faulkner , "MARGWAT@aol.com" , Peter Ganick , Robin and Charles Weber , Robley Hood , Rosalind Foley , Sean McFadden , Shawn Moyer , Staci Swedeen , Stanley Blair , Stephen Doiron , Steve Wilson , TABORWARRN , Tim Smith , Timothy Materer , Pamela Kirk Prentice , Patty Ryan , paul maltby , rlehan , Steve Barancik , Randy Prunty , Rogan Stearns , "Sean H. O'Leary" , Robert Brophy , Patricia Burchfield , Staci Bleecker , rita hiller , Stacey Bowden , Suzanne Mark , ralph stephens , Tatiana Stoumen , Todd Nettleton , Ruth Rakestraw , Robin Kemp , Patrice Melnick , Pat McFerren , Sara Wallace , Sandy Labry , Richard Crews , susan middaugh , Rhonda Blanchard , "Tammy D. Harvey" , Tana Bradley , richelle putnam , Suzette Rodriguez , Susie Tidwell , "t. c. williams" , Sam Broussard , Steven Gridley , O'Neal Isaac , Walt McDonald , Wendell Mayo , William Ryan , William Sylvester , Zach Smith , William Pitt Root and Pamela Uschuk , Writers' Forum , "Whitten, Phyllis" , wiselist MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Deep South Festival of Writers 2000 The Deep South Festival of Writers, one of the oldest and most prestigious writers conferences in the United States, announces its 40th annual fall festival, October 12-15, 2000 at the University of Louisiana, Lafayette. 2000 marks the fourth decade of the Deep South Festival of Writers, as well as the centennial anniversary of the University of Louisiana at Lafayette. To commemorate the coincidence of these special events, this fall the Festival will showcase Louisiana writers, artists, and the Louisiana setting in literature and the creative imagination. We encourage all patrons of the arts, painters, musicians, book-lovers, bar-napkin poets, and anyone else with an impulse towards artistic expression, to join us in the four-day celebration. Each year, the Deep South Festival affirms the value of literary arts and creative endeavors in Acadiana by featuring public performances, panel discussions, craft lectures, and exhibitions from a host of artists across the nation. By providing local artists and the community at large with nationally and world-renowned artists, the festival commemorates and encourages the urge towards writing and artistic expression. At the 40th Annual Fall Festival, Deep South will present writers in readings and craft lectures in a wide array of genres, from drama to poetry, from fiction to folklore. In addition to these scheduled events, the conference will also feature the following special additions: A dramatic reading of “Four Joans and A Fire-Eater," an original play set in New Orleans by playwright Elizabeth Dewberry. Paroles et musique, a blend of music and verse performed in French by local Acadian poets. A panel discussion featuring editors from a variety of literary journals, including Transition (Harvard’s international journal), Connecticut Review, Southern Review, Louisiana Literature, New Orleans Review, and Gulf Coast Review, among others. A book fair of local presses. A panel discussion exploring the use of folklore in creative writing. A panel devoted to the teaching of writing across all educational levels. Featured participants will include poet Jean Arceneaux, poet Darrell Bourque, Pulitzer-Prize-winning fiction writer Robert Olen Butler, poet David Cheramie, literary agent Caroline Carney, poet Debbie Clifton, poet and fiction writer Moira Crone, playwright and novelist Elizabeth Dewberry, poet Skip Fox, novelist Ernest Gaines, short story writer Tim Gautreaux, nationally renowned folklorist Henry Glassie, poet Jerry McGuire, short story writer Tim Parrish, poet and translator Burton Raffel, poet Zachary Richard, poet Vivian Shipley, dramatist Dayana Stetco, and editor Michael Vasquez. This incredible line-up of talent will gather together only once: this October in the Deep South Festival of Writers. Don’t miss the opportunity to join in the celebration. For more information, please contact Dr. George Clark at the English Department of the University of Louisiana, Lafayette, call 337.482.5481, fax 337.482.5071, or email at: r-gclark@worldnet.att.net. -- ________________________________________________________ Jerry McGuire Director of Creative Writing English Department Box 44691 University of Louisiana at Lafayette Lafayette LA 70504-4691 337-482-5478 ________________________________________________________ ========================================================================= Date: Thu, 23 Mar 2000 13:17:05 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group Comments: RFC822 error: Incorrect or incomplete address field found and ignored. From: MHnsn@AOL.COM Subject: MTA woes MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit This morning, at the 72nd street subway station, I asked the clerk for a $17-7 day, unlimited card. I put down a twenty. I took what I thought was three dollars change and the unlimited card. I went and ran the card through the turnstile and realized the guy had given me a $15, pay-per-ride card, and five dollars change. I went back to the guy and told him the deal. He would NOT exchange the $15 card for a $17, unlimited card because he said I had already used the $15 card. I was standing RIGHT in front of him; it was a MINUTE later. Obviously, I hadn't raced down the subway and gone blocks away and BACK in a minute. I'm thinking of getting a horse. ========================================================================= Date: Tue, 21 Mar 2000 10:59:42 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: AMoss@EPI.UCSF.EDU Subject: Re: Shadowtime MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Thanks for this. Maybe we made a mistake. B has gotten a little too fashionable, no? Andrew -----Original Message----- From: Charles Bernstein [mailto:bernstei@bway.net] Sent: Monday, March 20, 2000 5:20 PM To: POETICS@LISTSERV.ACSU.BUFFALO.EDU Subject: Shadowtime The first performance of sections of "The Doctrine of Similarity" will = be on March 28, 8pm, at the 92nd Street Y in Manhattan, featuring the Arnold Schoenberg Choir, with Maurizio Pollini. "The Doctrine of Similarity" is a section from Shadowtime, an opera by = Brian Ferneyhough for which I wrote the libretto. Shadowtime was commissioned = by the Munich Biennale and will have its premiere in 2002. "The Doctrine of Similarity" is the first section of the opera to be performed. Here are some excerpts from the Program Notes: Shadowtime is based on the life and work of Walter Benjamin = (1892-1940). In its eight sections, the opera explores some of the major themes of = Benjaman's work, including the nature of language, the possibilities for a = tranformational leftist politics, and the role of materiality in art.=20 "The Doctrine of Similarity" consists of eight short movements for a 48-voice chorus and six instruments. Each of the movements reflects on the = nature of history, time, and translation/transformation -- all central = preoccupations for Benjamin. The title comes from an essay by Benjamin in which he = considers the ways that the physical sounds of language echo or mimic the primordial structures of the cosmos. In the work, various numeric patterns create reverberations within and between the text and music.=20 In terms of musical structure, the theme of temporality is explored by = the use of canon forms throughout the work. In the section called = "Indissolubility," the concern with the temporal is represented by the choice of a = multiple, palimpsestic parody of a late medieval motet from the Montpelier = Codex. The libretto extends these investigations through the use of linguistic translations and displacements. While the text may roam in time, space, = and content, it returns ever and again to the knotted dead end situations = of life in extremity where "Sometimes / you burn a book because / It is cold / = and you need the fire / to keep warm / and / sometimes / you read a / book for = the same reason." The libretto for "The Doctrine of Similarity" is forthcoming in West = Coast Line. The score has just been publshed by Edition Peters (No. 7564).=20 The line-up for the March 28 peformance: Maurizio Pollini, Piano Juliane Banse, Soprano Lorraine Hunt Lieberson, Mezzo-Soprano Michael Schade, Tenor Russell Braun, Baritone Steven Schick, Percussion Rolf Schulte, Violin Aleck Karis, Piano Alan Kay, Clarinet Jean Kopperud, Bass Clarinet Dennis Smylie, Contrabass Clarinet=20 SCHUBERT "Nachthelle," D. 892=20 SCHUBERT "Coronach (Totengesang der Frauen und M=E4dchen)," D. = 836 SCHUBERT "St=E4ndchen," D. 920=20 SCHUBERT Ges=E4nge aus Wilhelm Meister, D. 877 SCHUBERT "Gesang der Geister =FCber den Wassern," D. 714 SCHUBERT "Psalm 92, Lied f=FCr den Sabbath," D. 953 FERNEYHOUGH "The Doctrine of Similarity" (World Premiere - Commissioned by The Carnegie Hall Corporation: Libretto - Bernstein) SCHOENBERG De profundis (Psalm 130), Op. 50b SCHOENBERG Friede auf Erden, Op. 13 Pre-concert lecture starts at 7:00 PM with Ara Guzelimian.=20 More information: http://www.carnegiehall.org =20 ========================================================================= Date: Fri, 24 Mar 2000 09:33:00 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jacques Debrot Subject: Poets writing criticsm MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Lisa, I take your point & in responding briefly to your post, I also want (again, as briefly as I can) to touch on Elizabeth Treadwell's recent comments concerning women & theory. By criticism I meant something quite narrow; namely, a discourse whose horizon is that of the academy. Other kinds of criticism exist of course, but they are either 1. essentially aesthetic performances themselves (e.g. the Mayer you mentioned), or 2. legitimating discourses *within* a coterie (e.g. the reviews that appear in places like the Po Project Newsletter). In her objections to the prevalence, in List discussion, of criticism oriented toward more academic models, Elizabeth mistakenly--or, at least, much too easily--*sexes* theory. Indeed, none of the discourses I've mentioned seems to me any more or less intrinsically masculinist (which is to say that they all might be *guilty* to the same degree). Academic discourse occurs, of course, within a culture which is much more highly routinized than the culture of the poetry world. (For this reason, there will always inevitably be, for example, a significant time-lag between *living poetry* & its academic recognition.) In contrast to the routinized & professional discourse of the academy, critical discourse of the kind Elizabeth and Lisa are speaking of, bases its legitimating function almost wholly on a *belief* in the poet's charismatic authority. But if the destination to which every painting aspires is the museum (*willingly or not*, by virtue of its belonging to the category "art"), then the ultimate trajectory of every poem is the academy. By far the most important function of literature departments--whatever else they **claim** to do-- is to consecrate authors. (If people so often pair Vendler & Perloff, part of the reason for this is that they are both so upfront about their roles as arbiters of competing literary tastes & reputations.) Sanders, Berrigan, et. al. still have significant prestige within the coteries in which their work circulated, but unless the work speaks to the values privileged by the academy their work will virtually disappear within the living memory of those who knew them. Indeed, the unbalanced assessment of Ashbery's poetry compared to that of the other New Am Poets lies exactly in the way his work dovetails--much more so than the others-- w/ contemp ideas about subjectivity, authorial agency, etc (while at the same time remaining palatable to Vendler, Bloom, & that crowd). Similarly, the address of Language criticism was fully informed by the academic discourse of the 70s & 80s, & as a result, the disparity between their prestige & that of the other av-gardes w/ whom they were contemporaries is also pretty blatantly unbalanced. Academic fashions change of course. So there is no moral to my narrative. I just wanted to begin to suggest what exactly is at stake in this discussion. --Jacques ========================================================================= Date: Fri, 24 Mar 2000 10:07:23 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Edward Foster Subject: Talisman website In-Reply-To: <370420088.953853159@ubppp234-253.dialin.buffalo.edu> MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII For information on new and forthcoming talisman books -- including Armand Schwerner's Dante translations Ted Enslin's selected later poems the anthology of American Symbolists, Decadents, and Aesthetes Ronald Johnson's selected poems the anthology of contemporary Russian poets the anthology of gay poets and many others -- please visit the talisman website: www.talismanpublishers.com ========================================================================= Date: Fri, 24 Mar 2000 10:12:16 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Edward Foster Subject: Katherine Washburn In-Reply-To: <4a.31ee775.260bb9a1@aol.com> MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII This morning's Times carries an obituary for Katherine Washburn, a great translator and anthologist who did much for poets and poetry in our time. Her early death is a major tragedy. ========================================================================= Date: Fri, 24 Mar 2000 09:20:22 -0700 Reply-To: Laura.Wright@Colorado.EDU Sender: UB Poetics discussion group From: Wright Laura E Subject: Alexander, Swensen read in Boulder MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit LEFT HAND READING SERIES PRESENTS CHARLES ALEXANDER AND COLE SWENSEN Friday, April 7th at 8:30 pm at the V Room in the Dairy Center for the Arts, 2590 Walnut Street in Boulder, CO. (Please note this is not a third thursday.) For more information, fell free to contact Laura Wright (303) 544-5854 or Mark DuCharme (303) 938-9346 or reply to this email. There will be a short Open Reading immediately before the featured readings. Sign up for the Open Reading will take place promptly at 8:30 p.m. Charles Alexander's books of poetry include Hopeful Buildings (1990), arc of light / dark matter (1992), Pushing Water: parts one through six (1998), Pushing Water: part seven and Four Ninety Eight to Seven (1998). Since 1984 he has directed Chax Press, a publisher of handmade letterpress books and trade literary editions which explore innovative writing and its conjunction with book forms. From 1993 through 1995 Alexander was executive director of the Minnesota Center for Book Arts. He has also frequently collaborated with musicians, visual artists and dancers. He lives in Tucson with his wife Cynthia Miller, a visual artist. Cole Swensen is the author of several books of poetry, most recently Try (University of Iowa Press, 1999), which won the Iowa Poetry Prize in 1998. She is also the recipient of a National Poetry Series award for New Math (William Morrow, 1988) and a New American Writing Award for Noon, published by Sun & Moon Press in 1997. She is an active translator of contemporary French poetry and fiction, most recently Natural Gaits by Pierre Alferi and L'Art Poetic by Olivier Cadiot, both published by Sun & Moon Press. She is currently working on a theater adaptation of Cadiot's latest novel, The Colonel of the Zouaves, for the Ohio Theater in New York. A native of San Francisco, she now lives and works in Colorado where she directs the Creative Writing Program and teaches writing and literature at the University of Denver. ========================================================================= Date: Fri, 24 Mar 2000 11:58:35 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jacques Debrot Subject: stupid as a poet MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit I want to very briefly add that, although my previous post lacked a moral, I did want to leave the impression that the critical discourse of (American) poets is generally much more doxic & less varied than that of academics (the New Critics & the Language Poets would be impt exceptions--though eventually, like every other critical discourse, their work also lead to new orthodoxies). Academic critics--since they don't themselves play the *game*--frequently lack a certain sensitivity to, or savior-faire of the subtleties of contemporary practice--often they strike people who do write poetry constantly as being slightly (or, in fact, very much) tone deaf, no?--they are not as good *connoisseurs* as poets are; their taste is always just a little *late*, perhaps (while emerging poets, with an anxiety similar to that of high school students, are always trying to figure out, it seems, just who the *new* buzz is about--this is largely the function of the Poetry Project Newsletter, for example); but poets tend to lack, more importantly, the capacity (partly a matter of education, social/institutional positioning, and so on) for formulating interesting & original *ideas* (as distinct from interesting *language*). In fact, it's very often more than an incapacity--it's a refusal--to take ideas seriously. --Jacques ========================================================================= Date: Fri, 24 Mar 2000 09:31:54 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Rachel Loden Subject: Miriam Patchen: two notices MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Don't know whether there's really any interest here, but FYI-- Palo Alto Weekly Wednesday Mar 22, 2000 Miriam Patchen Peace activist, wife of poet and novelist Kenneth Patchen Miriam Patchen, 86, a longtime Palo Alto resident and peace activist, died March 6. Born Sirkka Miriam Oikemus in Belmont, Mass. to Finnish socialist parents, she was politically active all her life. She claimed to have been the "youngest card-carrying member of the American Communist Party," having joined at the age of 7. In 1934, she married poet and novelist Kenneth Patchen, who dedicated more than 40 works of poetry and prose written between 1936 and 1972 to her. The couple moved frequently in the 1930s and 1940s, living in New York and Connecticut, living off of royalties from Kenneth Patchen's books. Shortly after their marriage, in 1937, Kenneth Patchen suffered a disabling spine injury, and was bedridden for the last 20 years of his life. In 1952, on the advice of his doctors, they settled in California, where he pioneered the fusion of poetry and jazz, working with the Chamber Jazz Sextet and Charles Mingus. In 1956 the Patchens moved to Palo Alto. After his death in 1972, she dedicated herself to peace and poetry. She was active in a group that held demonstrations for peace every week on the corner of El Camino Real and Embarcadero Road. She stood on the corner every Tuesday for 15 years holding a picket sign protesting American military intervention around the world. She was also active in promoting her husband's poetry, frequently holding readings of his work. In May 1998 she traveled to London, England to take part in the conference, "Word, Image & Rhythms: a celebration of Kenneth Patchen." At the meeting she read his poetry, discussed his visual work (he created nearly 200 "picture poems") and shared anecdotes of their life together. Since 1998 she had been assisting Larry Smith on the biography "Kenneth Patchen: Rebel Poet in America" (Bottom Dog Press, 2000) to be published this month. In 1998, she was the subject of the film, "Miriam Is Not Amused," a short documentary by Kim Roberts. She also enjoyed travelling and gardening. In 1998 her house was damaged by flood, but she rebuilt with the help of friends. She was preceded in death by her huband, Kenneth Patchen, and by her later partner, civil rights activist and lawyer Laurent Franz. A memorial protest vigil was held last Tuesday. A memorial service and poetry reading memorial are being planned for May. Miriam Patchen Bill Workman Friday, March 24, 2000 ©2000 San Francisco Chronicle URL: http://www.sfgate.com/cgi-bin/article.cgi?file=/chronicle/archive/2000/03/24/MN93377.DTL PALO ALTO -- A May memorial service is being planned for Miriam Patchen of Palo Alto, a longtime pacifist demonstrator who died earlier this month at the age of 85. For 15 years, Mrs. Patchen, the widow of the renowned poet Kenneth Patchen was a familiar rush- hour figure most Tuesday evenings on the corner of El Camino Real and Embarcadero in Palo Alto, where she rallied with other protesters against U.S. military interventions, waving placards that urged passing motorists to ``honk for peace.'' On occasion, she would be accompanied only by Laurent Frantz, a civil rights lawyer and her longtime companion after her husband's death in 1972. Frantz died two years ago. Nearly 50 peace activists gathered on the same corner, in front of Town & Country Village shopping center, to conduct a ``memorial protest vigil'' not long after Mrs. Patchen's death on March 6. She had died in her Palo Alto home, apparently while reading a peace pamphlet, according to Jonathan Clark of Mountain View, a friend who had gone to visit her and discovered the body. ``I think I'll remember her best for her caustic wit and fierce devotion to her causes and her friends,'' said Clark. Her friends were also devoted to her. In 1998, her home on Sierra Court was seriously damaged by flooding, but it was rebuilt through the efforts of several friends. ``A lot of people liked being with her. She was very funny,'' recalled Purusha Obluda of Palo Alto, who was part of a small group who dined regularly with her. Paul George, executive director of the Peninsula Peace and Justice Center in Palo Alto, praised her as ``a powerful symbol of commitment for the rest of us.'' ``I don't think she ever missed an event, even if it was just stuffing envelopes,'' he said. While maintaining a busy schedule of peace movement activities, Mrs. Patchen was equally well known in the literary world for her efforts to sustain public and scholarly interest in the works of Kenneth Patchen, whom she married at the age of 17 in 1934. According to friends, the FBI briefly pursued the couple from Massachusetts after the two had crossed state lines into Ohio and convinced a justice of the peace that she was of legal age to marry. The search was finally called off by the young bride's parents. The couple moved frequently in the 1930s and '40s, subsisting on royalties from the poet's many books, all of which bear the dedication, `'For Miriam.'' The Patchens moved to the Bay Area in the 1950s so that Kenneth could be near specialists treating a debilitating spinal injury that eventually left him bedridden in his later years. Mrs. Patchen left no surviving relatives, and at her request there was no funeral service. Rita Bottoms, curator of the Patchen Archive at the University of California at Santa Cruz and a longtime friend, said plans are moving ahead for a memorial service to be held in Palo Alto, although it has been delayed until late May. ``We're expecting a number of people to come from out of state and at least a few other countries,'' she said. Memorial donations may be made to the Kenneth Patchen Archive, payable to the UC Regents at Special Collections, University Library, University of California at Santa Cruz, Santa Cruz, CA 95064. ©2000 San Francisco Chronicle ========================================================================= Date: Fri, 24 Mar 2000 14:31:41 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: Rackover Viewfinder MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII --- Rackover Viewfinder The Mitchell motion picture cameras shown in Sunset Boulevard employ rackover viewfinders, which displace the film, replacing it with a ground glass screen - which is racked back for the shooting itself. The same system is used in the Cine-Kodaks, and a somewhat clumsy attachment was available for the older non-reflex 16mm Bolex as well. Look through the viewfinder, frame your subject; reset the film, and shoot. The displacement is temporal, not spatial; one, then the other, then the one. Sight is otherwise a disestablishment of position, peering around a corner; here, the corner flattens, in the guise of time, for the means of constituted representation. In Sunset Boulevard, Desmond speaks about her silence; Max is silent about her speech; the noise is filled by the writer. It is not a displacement of silence by sound or of one constitution by another, but of spaces by times, times by spaces, air by water, water by air. At the end the dead writer speaks. At the end the drowned writer is racked over and it's there after that time he can start writing. ___ ========================================================================= Date: Fri, 24 Mar 2000 16:26:14 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Al Filreis Subject: Creeley April 11 - webcast Comments: To: Poetics MIME-Version: 1.0 Content-Type: text/plain; charset=US-ASCII Content-Transfer-Encoding: 7bit Dear poetics listserv friends and colleagues: On Tuesday morning, April 11, at 10:30 AM eastern time, a conversation with ROBERT CREELEY will be webcast live. Creeley's visit to the Kelly Writers House is part of the Writers House Fellows program. If you would like to view-and-hear the program via webcast, please write to << wh@english.upenn.edu >> --and we will send you information about where on the web to find the link that will get you the webcast signal. Al Filreis The Class of 1942 Professor of English Faculty Director, the Kelly Writers House University of Pennsylvania [ Creeley "lands syntax down the alley." --Charles Olson ] the Kelly Writers House Fellows program presents R o b e r t C r e e l e y 7 PM Monday, April 10 a reading This program is free & open to the public--but the "Arts Cafe" at the Writers House is an "intimate" space; seating is limited (best to arrive early). 10:30 AM Tuesday, April 11 a public interview with Robert Creeley conducted by Al Filreis THIS PROGRAM WILL BE WEBCAST LIVE. PARTICIPANTS CAN POST QUESTIONS FOR CREELEY BY EMAIL OR PHONE. Register by writing << wh@english.upenn.edu >>. ----------------------------------------------------------------------------- Kelly Writers House 3805 Locust Walk 215 573-WRIT www.english.upenn.edu/~wh The Kelly Writers House Fellows program is made possible by a generous grant from Paul Kelly. For more information about the spring 2000 Fellows program, see << www.english.upenn.edu/~whfellow >>. | Writers House Fellows 2000 | ------------------------------- | Grace Paley Feb 14-15 | Robert Creeley April 10-11 | John Edgar Wideman April 24-25 - - - - - - - - - - - - - - - - - - - - - - - - - - "Oh yes, the sentence," Creeley once told the critic Burton Hatlen, "that's what we call it when we put someone in jail." ========================================================================= Date: Fri, 24 Mar 2000 18:08:13 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group Comments: RFC822 error: Incorrect or incomplete address field found and ignored. From: derek beaulieu Subject: new: 2 from housepress MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit hoseperss is pleased to announce 2 new chapbooks: "anticipation alert" by roy miki - travel / journal poetry exploring miki's recent trip thru australia - produced in an edition of 75 numbered and handound copies, each with handprinted linocut covers - 24 pages $10 each. - roy miki is a professor in english at simon fraser university, auhtor a several books and past editor of WEST COAST LINE magazine... AND "Sub-liminal" by tom muir - "(post?)langauge" poetry - exploring "... nothing but the thing and the feeling of that thing" (william carlos williams) - 50 numberd and handbound copies with 20% cotton pages - 28 pages $8 each - tom muir - a web editor and designer, has been published in several canadian small press magazines, and has been involved with filling Station, AND and endNOTE magazines... for more information, or to order copies contact: derek beaulieu 1339 19th ave nw calgary alberta housepre@telusplanet.net or check out: http://www.telusplanet.net/public/hosuepre ========================================================================= Date: Sat, 25 Mar 2000 10:37:47 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Rebecca Wolff Subject: one more time Comments: To: ira@angel.net Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" I'm announcing these two things again because many people wrote and said they only received the apology, and not the original message in which I forgot to hide the massive list of addresses. I also include a last-minute announcement of a reading today, Saturday the 25th, to celebrate the publication of the new issue of Verse focusing on Young American Poets *** Saturday, March 25th, 5 pm at the National Arts Club, 15 Gramercy Park, in New York Timothy Donnelly Katherine Lederer Heather Ramsdell Matthew Rohrer will read to celebrate the issue *** Monday, March 27th, 7:30 pm KGB Bar, 85 E. 4th Street New York Free Admission Agha Shahid Ali & Rebecca Wolff Reading poems *** Sunday, April 2nd, 4 pm Medicine Show Theater 549 W. 52nd Street, between 10th and 11th New York $5 A staged reading of a play by Rebecca Wolff called "Urbana" being billed as "A Cocktail Farce of Artistic Dynasty," directed by Lauren Hamilton with: Les Baum Diane Beckett Caitlin Gibbon Pam Gray Jon Malmed Kimber Riddle Welker White Cintra Wilson and Damian Young *** Finally, a brief message to two of the people who asked to be taken off this announcement list: "lara_trubowitz" and "chriebert": I can't find your email addresses on my list. If you receive mail at any other address, please send it to me and I'll try to find it and remove it. ========================================================================= Date: Sat, 25 Mar 2000 11:45:14 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Wendy Kramer Subject: How was the Myles/Treadwell reading? MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii; x-mac-type="54455854"; x-mac-creator="4D4F5353" Content-Transfer-Encoding: 7bit Someone please post i'd love to hear! ========================================================================= Date: Sat, 25 Mar 2000 10:53:53 -1000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Juliana Spahr Subject: dialects, idiolects, and pidgins MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit I'm teaching a course in the fall on poetry written in dialects, idiolects, and pidgins. Several questions: I'm interested in hearing suggestions of works to teach in in this course And I want to do one day a week that is a listening/viewing day. I'm planning on doing some of the classics: the Sterling Brown cd; Linton Kwesi Johnson; Lois Ann Yamanaka reading Pahala Theatre and some pidgin stuff I've got on tape; the United States of Poetry videos; some rap; maybe some blues; etc. Anyone have any suggestions? Anything they would care to share? Or could help me locate? Our library seems to not have much in this area. And I need to give them a list soon if I want to have any hope of them ordering stuff. ========================================================================= Date: Sat, 25 Mar 2000 17:37:39 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Arielle C. Greenberg" Subject: Big Allis? Comments: To: Patrick Herron In-Reply-To: MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII I sent submissions to Big Allis and they got returned -- does anyone have their current address? (I got the address out of the last issue, so I thought it *was* current!) And if you know that, say, they are no longer reading for the season, you could tell me that, too. I'd be much obliged. Backchannel, please. Thanks, Arielle **************************************************************************** "I thought numerous gorgeous sadists would write me plaintive appeals, but time has gone by me. They know where to get better looking boots than I describe." -- Ray Johnson ========================================================================= Date: Sat, 25 Mar 2000 18:46:27 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Susan Wheeler Subject: Sons of Captain Liberty Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Eons ago, I asked y'all about sources for Michael Ondaatje's 1970 "Sons of Captain Liberty" film on bp nichols, and at last I seem to have tracked down the single source. It's not on video, just 16 mm, and it rents from The Canadian Filmmaker's Distribution Center in Toronto for $70 per screening. Information: www.cfmdc.org -- or 416-588-0725. ========================================================================= Date: Sat, 25 Mar 2000 18:42:20 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Patrick Foley Subject: to revise or not? Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" I happened just latley to read on the same day Kerouac's thing about spontaneous prose and Raymond Carver's intro to John Gardner's Becoming a Novelist. It's curious. Carver describes revision as almost a religion for Gardner, and that revision is the real writing. And you know what Kerouac says. What's odd is that they _start_ with a similar idea, that you start and then the real work comes in reacting to what you've already done. But Kerouac wants to stay close to jazz improvisation as a model, so you get everything, without changing or improving or removing or rewriting of any kind, only a piling on (hence his allowance of insertion). So here are two views of revision, starting from at least one common idea, each held with near religious conviction, that treat revision as practically a moral issue, but leading to exactly opposite conclusion about the most basic question-- whether to revise at all. A question Gardner would've considered ludicrous really, and which Kerouac considered only to reach a final and definitive answer in the negative. This is all just a goddawful pedantic way of asking what are we to think and what do people think about revision and does anyone have any thoughts on Kerouac and any ideas to share from their own practice. Pat ========================================================================= Date: Sun, 26 Mar 2000 12:55:58 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: geraldine mckenzie Subject: Brian Kim Stefans' post on criticism Mime-Version: 1.0 Content-Type: text/plain; format=flowed I've made my usual mistake of deleting a post only to find, days later, that I wish to respond - a minor point perhaps, prompted by Brian Kim Stefan's interesting (as always)post on criticism. Simply this - my understanding of the nature of most contemporary experimental poetry coming out of North America, the U.K, Australia, New Zealand (I'm the constant qualifier, chary of statement except when... aw, forget it) is that the role of the reader has been recuperated from the bred passivity of mainstream lyricism ( one might here indulge in Romantic metaphors of plucked harps etc.; alternately - pick up on the way in which poet/reader fall so easily into a sexual dynamic in this model - no prizes for guessing which is which). The 'poem' is not complete (intact) on the page, in fact one might question whether it exists at all in any absolute sense, rather it 'exists' in the process of being read and is thus in a perpetual state of transformation. Which, of course, is why good readers are as essential as good writers. Any review/reading posted to the List is part of the process of poetry. Whether or not it constitutes 'preaching to the converted' is irrelevant. Of course whether these posts are of equal value is a separate (and clearly variable) matter. To pursue briefly the ' P. to the C.' thread - some of us are still acolytes and welcome elucidation/ discussion/ commentary both for the window onto hitherto unknown poets and the teasing out of assorted threads. I can't speak for anyone else but I'm learning and that's always good. If this sounds a little ingenuous, it's not that everything posted strikes me as something I could agree with but points of disagreement can be stimulating. (I'm suspect of dualities in general but sometimes wonder if one can ever wholly escape that sense of the 'other' against which there is definition, perhaps the crucial mistake is to ever think one is anything but a part -) (In case you haven't noticed, this is being written late at night.) Finally, on critics and taste - must a critic be so bound? I'm not arguing for a spurious objectivity but isn't it possible to read poetry which one can recognise as 'good' in that it is well crafted ? (from one evasion to another, but if I try to define good or craft I may never arrive)(Not to mention that area beyond craft which can mean the difference between good and wonderful). Plucking a name from the air - take Seamus Heaney, I don't much want to read his work, there's that intermittent doubt as to what century he's living in (a virtue for some readers, I dare say), but can one argue that it's bad poetry? On the other hand there are some poets who are philosophically more acceptable, they write a worthy sort of poetry but strike no sparks - taste seems insufficient to account for these sorts of responses. I remember Dodie Bellamy writing about the effect of eliminating the first person from her reviews (distinct failure of this post in that regard) and wonder if there might not be some version of 'negative capability' available to the critic - a territory beyond personal taste. One direction one might go in is the so-called materiality of the word, a constellation of qualities that are not always worked as they might be - the dullness I referred to above is frequently due to failure to use sound and rhythm successfully. Hank Lazer (Opposing Poetries) quotes John Barthes (I only mention the source as I don't want to give the false impression that I've read Barthes) as saying that the writer should "cruise" the reader (and yes, that does suggest earlier disparaging remarks about Romantics, ci-devant or otherwise, but a quite different relationship is being posited) and it's precisely these sensory/ physical qualities that constitute an attractive invitation. I don't discount visual properties or form (spatial dimensions) but these are less disregarded perhaps, and less involving being less a part of the immediacy of a poem read aloud which is to how I prefer to hear poetry, even if it's only an internal aloudness. I mention all this simply as a point from which one might start to evolve some consistency in approach to poetry. Limited, of course. Now, I'm even wondering if is this a useful idea - a standard for reading poetry might well be as undesirable as a standard for writing it. confused as ever Geraldine McKenzie ______________________________________________________ Get Your Private, Free Email at http://www.hotmail.com ========================================================================= Date: Sun, 26 Mar 2000 09:12:25 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Maria Damon Subject: Miekal AND reading announcement Comments: To: subsubpoetics@listbot.com In-Reply-To: <6.3bc63aa.260eccf7@aol.com> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" a spur of the moment presents a poetry reading by MIEKAL AND & JOHN WRIGHT Thursday March 30, 2000 8PM @ CLOVIS PRESS 229 Bedford Ave Brooklyn NY 718-302-3751 Xexoxial Editions will be on display. --a hat will be passed-- ========================================================================= Date: Sun, 26 Mar 2000 11:38:57 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: Death Meaning MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII -- Death Meaning Death is an impossibility. Since it is an impossibility it cannot happen. Therefore there is no death. If death could happen, all things would be possible. Since not all things are possible, death cannot happen. Death is a word for "this is not possible." It is also a word for "not everything is possible." If everything were possible, there would be no need [word] for possibil- ity. Since there is a need for possibility, not everything is possible, and there is no death. There is nothing outside of meaning. Meaning is all there is. Meaning is a disease. Meaning is a disease of humanity. Meaning's absence is the preservation of the world. Only in meaning is absence to be found. Meaning is a disease. There is nothing outside but ourselves. If existed, it would be possible to inscribe; if death existed, it would be impossible to write. ========================================================================= Date: Sun, 26 Mar 2000 13:59:49 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Brendan Lorber Subject: Leslie Bumstead Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Does anyone have any contact information for Leslie Bumstead? I need to get in touch with her about her For Poems asap. -- Brendan Lorber ========================================================================= Date: Mon, 27 Mar 2000 11:00:08 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Randy Prunty Subject: gil ott address? MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit anyone have email or street address for gil ott or singing horse press? bc ok randy ========================================================================= Date: Mon, 27 Mar 2000 13:56:33 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jill Stengel Subject: sf events, a+bend press... MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit (don't forget the a+bend press anniversary extravaganza!!! 16 readers, film, art, performance, snacks, drinks, door prizes, books, and more--this thursday, 7:30 p.m., at blue books at new college, 766 valencia street in san francisco...$10 includes an a+bend press book, or $7 if you don't want a book. yes yes do come by!) synapse: second sundays at blue bar --presents-- david bromige and sarah rosenthal april 9, 2000 2 p.m., $2 (goes to the readers) blue bar is at 501 broadway, at kearney, in sf enter thru black cat restaurant, same address David Bromige has spent much of the past four years composing a book of poems, __As in 'T' as in 'Tether'__, to be published by Chax Press. The fourth and final section of this book appears as the chapbook _Authenticizing_, forthcoming in April from a+bend press. In 1998, David's novel, a collaboration with Angela and George Bowering and Michael Matthews, _Piccolo Mondo_, appeared from Coach House Books; and he won an award from the Fund for Poetry. In 1988, his selected poems, _Desire_ (Black Sparrow Press), won the Western States Poetry Prize. He lives in Sebastopol, California, now retired from Sonoma State University, and about to start teaching at the University of San Francisco. Sarah Rosenthal is the author of _not-chicago_ (melodeon, 1998) and _sitings_ (a+bend press, forthcoming in April). Sarah grew up in Chicago and for the past 18 years has lived in San Francisco, where she teaches creative writing and works as an editor and freelance writer. Her online column about Bay Area poets, "Local Howlers," can be found at bayarea.citysearch.com. She is currently working on a new book of poems entitled _review_. ========================================================================= Date: Tue, 28 Mar 2000 14:44:47 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jamie Perez Subject: Re: phenomenology of cancer MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit after the fact, been long getting to my email D Wellman wrote: > My second question concerns gender... Another version of the same > question: is mimicry even possible anymore? Or is it always an insult? sorry for the paraphrase, if it is distorting/simplifying your meaning, but aren't we all engaged in mimicking a gender or set of genders? for the record, I am jamie.p ========================================================================= Date: Sat, 25 Mar 2000 16:56:58 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Rachel Kubie Subject: Poetry Events in Baltimore in April (fwd) MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII ---------- Forwarded message ---------- Date: Sat, 25 Mar 2000 16:55:11 -0500 (EST) From: Rachel Kubie Subject: Poetry Events in Baltimore in April In case anyone's in the Baltimore area, the library is Enoch Pratt Free Library 400 Cathedral Street Baltimore, MD 21201 (410) 396-5430 Poetry Month at the Enoch Pratt Free Library March - April, 2000 Teen Poetry Workshop and Slam - March 25, April 1 Poetry at the Pratt - April 4, 15, 26 Tuesday, April 4, 6:30 p.m. R. B. Jones and Chezia Thompson-Cager read from their work. Saturday, April 15, 2:30 p.m. Jane Satterfield reads from her new book, Shepherdess with an Automatic. Wednesday, April 26, 6:30 p.m. Stacy Tuthill, Hiram Larew and Sam Schmidt read from their work. Saturday, April 8, 11 a.m. - 5 p.m. Maryland Poetry Fair Central Library - Main Hall Maryland Poetry Fair - April 8 Lyn Lifshin - April 8 Robert Bly - April 11 Teen Poetry Workshop - April 12 Teen Poetry Workshop and Slam For ages 12-18 Saturday, March 25 ========================================================================= Date: Sat, 25 Mar 2000 14:47:58 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Stephen Cope Subject: Beyond the Page Comments: To: rgiraldez@hotmail.com, boureeiv@aol.com, patterso@rohan.sdsu, mcauliffe@prodigy.net, Joe Ross , bmohr@ucsd.edu, globo@ucsd.edu, bmohr@ucsd.edu, djmorrow@ucsd.edu, ctfarmr@aol.com, dmatlin@mail.sdsu.edu, falconline@usa.net, junction@earthlink.net, jrothenb@ucsd.edu, raea100900@aol.com, scope@ucsd.edu, jgranger@ucsd.edu, rdavidson@ucsd.edu, kyergens@ucsd.edu, askomra@ucsd.edu, highfidelity@theglobe.com, darcycarr@hotmail.com, rburkhar@man104-1.UCSD.Edu, yikao@yahoo.com, aarancibia@hotmail.com, rachelsdahlia@hotmail.com, terynmattox@hotmail.com, dwang@wesleyan.edu, karenstromberg@aol.com, threeamtrain@yahoo.com, mozment@uci.edu, hellenlee@ucsd.edu, aeastley@ucsd.edu, tfiore@ucsd.edu, ggoforth@ucsd.edu, segriffi@ucsd.edu, shalvin@ucsd.edu, jimperato@yahoo.com, hjun@ucsd.edu, kathrynmcdonald@mindspring.com, smedirat@ucsd.edu, rmurillo@ucsd.edu, gnunez@ucsd.edu, reinhart@ling.ucsd.edu, crutterj@sdcc3.ucsd.edu, askomra@ucsd.edu, eslavet@ucsd.edu, chong1@ucsd.edu, ywatanab@ucsd.edu, wobrien@popmail.ucsd.edu, dmccannel@ucsd.edu, calacapress@home.com, ajenik@ucsd.edu, Spm44@aol.com, anielsen@popmail.lmu.edu, mperloff@earthlink.net, vvasquez@wso.williams.edu, jack.webb@uniontrib.com, hjaffe@mail.sdsu.edu, ronoffen@yahoo.com, hung.tu@usa.net, smalina@san.rr.com, reevescomm@earthlink.net, mcarthy@sandiego-online.com Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" BEYOND THE PAGE continues its monthly series of literary and arts events with the following reading/performance: What: Jordan Davis will read/perform his work w/ a poet TBA. Where: Faultline Theater, 3152 5th Avenue (at Spruce), San Diego. When: Sunday, April 2nd, 4PM. Etc: $3-5 donation requested. Beer, wine, and refreshments available. ************************* * JORDAN DAVIS's books include _Poem on a Train_ (Barque Press) and _Yeah, No_ (forthcoming from Detour Books). His poems and reviews have appeared in _The Wall Street Journal_, _The Boston Review_, _The Washington Review_, _The Boston Book Review_, _Lingo_, _Fence_, _Explosive_, and _Tool a Magazine_. With Chris Edgar he edits _The Hat_. He hosts the Poetry City reading series at the offices of Teachers & Writers Collaborative, where he works selling books on teaching imaginative writing. * A second reader is TBA. ************************** BTP is proud to continue its monthly series of arts-related events with this reading/performance. BTP is an independent literary and arts group dedicated to the promotion of experimental and explorative work in contemporary arts. For more information, call: (619) 273-1338, (619) 298-8761; e-mail: jjross@cts.com, scope@ucsd.edu. ========================================================================= Date: Sun, 26 Mar 2000 11:53:59 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group Comments: RFC822 error: Incorrect or incomplete address field found and ignored. From: Jim Andrews Subject: DAVID KNOEBEL: VRML, 3D POETRY, & THE POETRY OF SIGNS MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit DAVID KNOEBEL: VRML, 3D POETRY, & THE POETRY OF SIGNS David Knoebel's Defib is up at http://webartery.com/defib/canned/DavidKnoebel Defib is webartery.com's bi-monthly IRC chat that features Web artists discussing their work and the surrounding issues. During the week prior to the chat session (which is logged and produced into a hypertranscript available on the Web), the members of webartery discuss the feature's work on the webartery email list in order to attain deeper understanding of the person's work. The plan had been to use some of the resulting email within the production of the chat transcript. But the chat session had to be cancelled because the technology was not functioning at the scheduled time. So, not to be defeated by the technology, we have used the email about David's work in a different kind of Defib hypertext which is an amusing and informative introduction to Knoebel's poetic work in literary/visual/sonic/sculptural hypermedia. Many thanks to David and all who participated. EXCERPT: "My pieces are usually short. I think I'm a genetic minimalist (less is more, and more is better), but I think this preference also comes from the recognition that a lot of people don't read very far into a multi-page work. I build my pieces by putting together a few simple elements. The interest for me is in the elements' interactions. These are generally not simple and their complexity may increase geometrically as the number of elements increases arithmetically. When I start to make larger pieces, I'll build them by putting smaller ones together, on the model of, say, a coral reef. The reader could start anywhere in the structure, stay for a short time or a longer time, and come away with a complete experience in either case...." "...when we drive down the street, we are surrounded by words that pass us by. Driving home, we encounter the same signs we saw on the way to work, in reverse order. Trips around town, to the gas station, the supermarket, or the post office, reveal additional orderings of the same set of signs. The words become part of other events in our field of vision. They are no longer bound to a single continuous surface or to a preordained sequence." David Knoebel Regards, Jim Andrews Defib producer ========================================================================= Date: Mon, 27 Mar 2000 17:30:37 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Steve Dickison Subject: ** Etel Adnan & Rabih Alameddine * Thurs May 30th, 7:30pm ** Mime-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable POETRY CENTER 2000 The Poetry Center & American Poetry Archives presents a reading & celebration in honor of Etel Adnan's 75th birthday ETEL ADNAN & RABIH ALAMEDDINE Thursday March 30, 7:30 pm, $5 @ The Unitarian Center 1187 Franklin (at Geary) San Francisco [PLEASE NOTE: Due to health constraints, Etel Adnan is unable to travel to attend this evening's event. Simone Fattal will read instead from Ms. Adnan's work, and we'll listen to British composer Gavin Bryar's "Adnan Songbook," and also exhibit several of Etel Adnan's hand-calligraphed books, which have been shown internationally. The evening will conclude with Rabih Alameddine reading from his own fiction.] ETEL ADNAN has been a vital presence--as teacher, visual artist, poet, prose writer, and thinker--for years in the common consciousness of writers and artists not just in our backyard but seemingly across half the world. * A native of Beirut, Lebanon, and long-time resident of the Bay Area, she's the author of numerous works of prose and poetry, including the internationally renowned novel of the Lebanese civil war, SITT MARIE ROSE and the recent long prose-poem THERE. * Gavin Bryars has set her "Love Songs" to music, recorded on his CD Cadman Requiem as Adnan Songbook, and she's worked with director Robert Wilson, as well as the great actress Jeanne Moreau, among others. * It's a true pleasure for The Poetry Center to honor her on this extraordinary anniversaire. * RABIH ALAMEDDINE is a novelist and a painter, born and raised in Beirut, Lebanon, and living in San Francisco. * His first novel, KOOLAIDS: The Art of War, is a truly outstanding literary accomplishment--a beautiful work of imaginative and piercingly acute intelligence that manages somehow to be deeply moving, ironic, and excitingly new in its possibilities. * Mr. Alameddine's first book of stories, THE PERV, is just out. * SIMONE FATTAL is an artist and translator, and the publisher of Post-Apollo Press. Born in Damascus, Syria, Ms. Fattal has lived in Beirut, in Paris, and in the Bay Area. =3Dx=3Dx=3Dx=3Dx=3Dx=3Dx=3Dx=3Dx=3Dx=3Dx=3Dx=3Dx=3Dx=3Dx=3Dx=3Dx=3Dx=3Dx=3Dx= =3Dx=3Dx=3Dx=3Dx=3D THE UNITARIAN CENTER is located at 1187 Franklin St. at the corner of Geary on-street parking opens up at 7:00 pm from downtown SF take the Geary bus to Franklin Readings that take place at The Poetry Center are free of charge. Except as indicated, a $5 donation is requested for readings off-campus-SFSU students and Poetry Center members get in free. The Poetry Center's programs are supported by funding from the National Endowment for the Arts, the California Arts Council, Grants for the Arts-Hotel Tax Fund of the City of San Francisco, Poets & Writers, Inc., and The Fund for Poetry, as well as by the Dean of the College of Humanities at San Francisco State University, and by donations from our members. Join us! =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D Steve Dickison, Director The Poetry Center & American Poetry Archives ~ San Francisco State Univers= ity 1600 Holloway Avenue ~ San Francisco CA 94132 ~ 415-338-3401 ~ ~ ~ L=E2 taltazim h=E2latan, wal=E2kin durn b=EE-llay=E2ly kam=E2 tad=FBwru Don't cling to one state turn with the Nights, as they turn ~Maq=E2mat al-Hamadh=E2ni (tenth century; tr Stefania Pandolfo) ~ ~ ~ Bring all the art and science of the world, and baffle and humble it with one spear of grass. ~Walt Whitman's notebook ========================================================================= Date: Tue, 28 Mar 2000 11:10:29 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Geoffrey Gatza Subject: Step; new issue now online Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" www.daemen.edu/step Step is Daemen Colleges student literary magazine. Featuring all things literary that an undergrad can do poetry, fiction, and essays, the whole nine ... Featuring: Geoffrey Gatza's poem Red; an anachist literary doctrine Shane Jones's fiction and poetry Robin Smith And Christina Donnelley Check it out: This months flavor, Crunchy Ever & Affectionately, Geoffrey Gatza ========================================================================= Date: Wed, 29 Mar 2000 01:19:58 +0100 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Lawrence Upton Subject: Alaric Sumner MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Dear Friends Bad news. I think it hasn't been announced here that Alaric Sumner, known to some of you in USA, died suddenly at his home in St Ives, Cornwall last Friday. We're trying to come to terms with that. His books include: Rhythm to intending, Spectacular Diseases 1994 Lurid Technology and the Hedonist Calculator, Lobby 1994 Waves on Porthmeor Beach, Wordsworth, 1995 Aberrations of Lenses, mirrors, sight, RWC 1998 Bucking Curtains, Mainstream 2000 (The last, my publication, is temporarily out of print; but it will, I hope, come back into print shortly. Aberrations, also mine - a few copies remain an, if there were demand, I'd reprint. Waves, a best-seller, shifting in hundreds and hundreds, is o.p. except for the limited edition & even that is problematic at present as the press was Alaric's. I don't know the status of the others.... There's a will to get some kind of memorial collection out, but more of that as and when) His website, which will link you to his online work, is http://www.dartington.ac.uk/~a.sumner/ L ------------------------------- http://matrix.crosswinds.net/members/~subvoicivepoetry/ http://matrix.crosswinds.net/members/~writersforum/ ------------------------------- ========================================================================= Date: Tue, 28 Mar 2000 16:46:42 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Taylor Brady Subject: Re: dialects, idiolects, and pidgins In-Reply-To: <38DD26A8.D03BB7C1@lava.net> MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Juliana, Since you seem to be including music, a listen to Fela Kuti's "Original Suffer Head" might be of interest. There's a brief discussion in Mackey's Bedouin Hornbook, as well as an extended linguistic analysis of its lyrics, along with several other tunes, with a view to their use and strategic intermingling of Nigerian Standard English, Nigerian Pidgin, and Yoruba lexical and syntactical elements. The article is by Marcus Coester, titled, "Language as a Product of Cultural Contact," and is available in English at http://ntama.uni-mainz.de/~ntama/main/language_as_product/ This is part of a special issue of NTAMA - Journal of African Music and Popular Culture, published (though apparently not since 9/98) out of the University of Mainz. Full table of contents at http://ntama.uni-mainz.de/ Found this while looking for an answer to Mackey's question, in the postscript to the letter in BH in which the discussion of Fela occurs, "Does anyone know what a Jeffa Head is?" The question references Fela's lyric: Dem come turn-us to suffer-head to Original Sufferhead It's time for Jefa-Head O Original Jefa-Head O It's answered by Coester as follows: "`Jefa' is a Yoruba word. It means `to enjoy a good fortune`; Yoruba-English dictionary, p. 133. `Jefa-Head`here is the opposite of `Sufferhead`; both terms were coined by Fela Kuti." Alright, that's probably more information than you wanted, but I'm always so pleased when I actually find the answer to a directed question, rather than fortuitous accidental discoveries, on the Internet. Just couldn't resist the impulse to share. Best, Taylor P.S. Another suggestion or two: Michael Smith, It a Come (alongside Linton Kwesi Johnson - also Brathwaite's poem dedicated to Smith [whose title escapes me right now - perils of writing from work]) Slave narratives collected by the Federal Writers' Project, many of them interesting, necessary reading in their own right, and also as sites of contestation over who represents speech "in dialect." Not poetry per se, but the conversion narratives in particular articulate an historically distinctive and forceful poetics. -----Original Message----- From: UB Poetics discussion group [mailto:POETICS@LISTSERV.ACSU.BUFFALO.EDU] On Behalf Of Juliana Spahr Sent: Saturday, March 25, 2000 12:54 PM To: POETICS@LISTSERV.ACSU.BUFFALO.EDU Subject: dialects, idiolects, and pidgins I'm teaching a course in the fall on poetry written in dialects, idiolects, and pidgins. Several questions: I'm interested in hearing suggestions of works to teach in in this course And I want to do one day a week that is a listening/viewing day. I'm planning on doing some of the classics: the Sterling Brown cd; Linton Kwesi Johnson; Lois Ann Yamanaka reading Pahala Theatre and some pidgin stuff I've got on tape; the United States of Poetry videos; some rap; maybe some blues; etc. Anyone have any suggestions? Anything they would care to share? Or could help me locate? Our library seems to not have much in this area. And I need to give them a list soon if I want to have any hope of them ordering stuff. ========================================================================= Date: Tue, 28 Mar 2000 20:42:44 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Daniel Zimmerman Subject: Re: dialects, idiolects, and pidgins MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Well, for a little comic relief & deep backtrack, you might try James Whitcomb Riley's FARM-RHYMES [10 copyrights in my copy between 1883 & 1901]--wildly, if inexplicably, popular. Seems like a hayseed response to Robert Burns... about as dreadful as much of today's stuff may sound in 100 years.... Hey: who knows? He may actually have spoken that way, and certainly had heard those who did, more or less. Gabby Hayes or Walter Brennan on retro verbal steroids. Never overlook the populist, the little guy: as Harold Carswell said during his unsuccessful hearings for appointment to the Supreme Court--when someone alluded to his ostentatiously undistinguished record as a legal scholar--'mediocre people need a voice, too' (or words to that effect). Go for the faux. Dan Zimmerman ----- Original Message ----- From: Juliana Spahr To: Sent: Saturday, March 25, 2000 3:53 PM Subject: dialects, idiolects, and pidgins > I'm teaching a course in the fall on poetry written in dialects, > idiolects, and pidgins. > > Several questions: > > I'm interested in hearing suggestions of works to teach in in this > course > > And I want to do one day a week that is a listening/viewing day. I'm > planning on doing some of the classics: the Sterling Brown cd; Linton > Kwesi Johnson; Lois Ann Yamanaka reading Pahala Theatre and some pidgin > stuff I've got on tape; the United States of Poetry videos; some rap; > maybe some blues; etc. > > Anyone have any suggestions? > > Anything they would care to share? > > Or could help me locate? > > Our library seems to not have much in this area. And I need to give them > a list soon if I want to have any hope of them ordering stuff. > ========================================================================= Date: Tue, 28 Mar 2000 22:00:59 -0400 Reply-To: couroux@videotron.ca Sender: UB Poetics discussion group From: Marc Couroux & Juliana Pivato Organization: O'Tavip-Xuoruoc Productions Subject: Gillespie MIME-version: 1.0 Content-type: text/plain; charset=us-ascii Content-transfer-encoding: 7bit Dear list, Does anyone know of any works by Abraham Lincoln Gillespie currently in print? If not, what has existed in the past and how can I get a hold of some of it? Thanks in advance, Marc *********************************** Marc Couroux http://pages.infinit.net/kore/couroux.html ========================================================================= Date: Tue, 28 Mar 2000 21:17:51 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Maria Damon Subject: Re: dialects, idiolects, and pidgins In-Reply-To: <38DD26A8.D03BB7C1@lava.net> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" At 10:53 AM -1000 3/25/00, Juliana Spahr wrote: >I'm teaching a course in the fall on poetry written in dialects, >idiolects, and pidgins. > >Several questions: > >I'm interested in hearing suggestions of works to teach in in this >course michael smith, it a come (city lights) --there's also a cassette somewhere... lilian allen, revolutionary tea party --that one's a cd > >And I want to do one day a week that is a listening/viewing day. I'm >planning on doing some of the classics: the Sterling Brown cd; Linton >Kwesi Johnson; Lois Ann Yamanaka reading Pahala Theatre and some pidgin >stuff I've got on tape; the United States of Poetry videos; some rap; >maybe some blues; etc. > >Anyone have any suggestions? > >Anything they would care to share? > >Or could help me locate? > >Our library seems to not have much in this area. And I need to give them >a list soon if I want to have any hope of them ordering stuff. ========================================================================= Date: Tue, 28 Mar 2000 21:19:21 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Maria Damon Subject: Re: Miriam Patchen: two notices In-Reply-To: <38DBA68A.7CABCB2B@concentric.net> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" At 9:31 AM -0800 3/24/00, Rachel Loden wrote: >Don't know whether there's really any interest here, but FYI-- > yo, loden --nice review of Hotel Imperium in the latest Rain Taxi Review of Books. ========================================================================= Date: Wed, 29 Mar 2000 02:15:07 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Geoffrey Gatza Subject: Re: Death Meaning Mime-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Fit One Twinge: the first=20 Do what you will! This is the talk of the Hermit, the Lover, and the man of Earth. They all come together, sit back and talk of restriction and eventually come to a conclusion, then stray; as stars in the nights. This is the talk. The word of sin is restriction. This is what they say. They come together talk, solve then do nothing with the answers they are given. They will do no wrong, if you look closely into the word. But how can they do right? The sin is restriction and that restriction is self imposed. I don't always agree with them. They do not always agree with each other. That's the moral; if one needs a moral, here it is set down in a beginning, a beginning hunted like the snark.=20 This shall be the Law of the whole. This is a moral utterance. It is derivative in form and substance from Rabelais, for it was him who placed this rule of the mouth of the fictional Abbey of Th=E9l=E8me. The classic= satire in Gargantua, by Fran=E7ois Rabelais, the French priest and occultist. Study Rabelais before discussing the Law. In Rabelais this rule "fay =E7e que vouldras", literally translated "to do what you will." From his words spoken through the character of the Abbey, the maxim became known. This is a part of my literary life and culture, as a character that is. It is my life. It is my role. It is the way of the True and Right order Medmenham Friars. So it shall be.=20 In the Law. It is authority, set in place by an author, told through a character, to an author then reintegrated back into the system by a narrator setting the stage for a character speaking for a real person who is not that person at all. Do what you will is explained in terms of true will, the ultimate being, the spiritual core or quintessence of each person, as a divine self-ordained path through the world of experience, tangible and= other.=20 Do what you will refers not to the outer emotional and intellectual self but to this sacred inner core of personal divinity. And divinity is often never divine. Often will is contrasted with whim, and the knowing and doing of the true objective will is a prisoner printing license plates, painted not in terms of license but of responsibility and consequence, as its result. These are apparent.=20 These are also apparent contradictions. And so the Law takes on a different meaning, a non-dual meaning. It has to, that is if it is to work, it must. How else can one enter into something without some form of reconciliation. The realization of one's true nature comes at the same time that one realizes one's unity with all beings. How does one cross the gap, gap the bridge, bridge a relatively unenlightened form to a state of pure asymetrix; which is also paradoxically selfless. At different levels of initiation there are different criteria of truth. The truth is one of three; three blind mice. The truth is never a clear chop from the butcher's wife, now is it? The truth of one is sacred to that one, and can is false or nonsense to another. Do what you will is the Law; and the Law is as moral a law as it is amoral. It's the only restriction, all else becomes sheets riding against the wind. So for the ordinary person, do what you will is a useful rule of thumb. At higher levels one realizes that there are no ordinary persons, or that the distinction between self and non-self is an illusion. There is no self yet there is self. There are no others, yet my neighbors are closing in. These are also apparent contradictions. Here it is set down in the beginning, a beginning hunted like the snark.=20 ========================================================================= Date: Wed, 29 Mar 2000 07:22:46 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Rebecca Wolff Subject: PSA Tribute to Frank O'Hara In-Reply-To: <200003290506.AAA21208@halo.angel.net> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" The Poetry Society of America presents A Tribute to Frank O'Hara with Elaine Equi reading a piece by Barbara Guest Eileen Myles Kenward Elmslie John Yau Lytle Shaw and Brad Gooch moderating at Tibor de Nagy Gallery, site of much New York School noodling 724 Fifth Avenue Thursday, April 30, 7 pm Admission is $8, or $4 for PSA members ========================================================================= Date: Wed, 29 Mar 2000 05:53:47 PST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Ron Silliman Subject: Re: to revise or not? Mime-Version: 1.0 Content-Type: text/plain; format=flowed There is revision and there's revision. One of my very favorite writers, Rae Armantrout, does an enormous amount of revision. I do very little. And revision can be viewed so many different ways: was Ginsberg's ordering of the typed pages he found on Burroughs' floor into the making of Naked Lunch a revision in the same sense that Pound revised Eliot? Quien sabe? I don't think that it's possible, ultimately, to tell a writer what her or his process ought to be -- it's almost metabolic and not open to transfer really. It's analogous to the idea that writing can be learned but it can't be taught. Rather, I think the greater question is revision to what effect? I find that I have no interest -- less than zero in fact -- in those authors whose texts seem to aspire to not having a single hair out of place. It creates an effect that I find totally claustrophobic. So the writing of Nabokov, Gass, all the dull minions of Updike just strike me as utterly lifeless (the most sensual part of Lolita is to be found in the descriptions of western scenery, for example, the one moment in the text in which you could tell that the author himself was alive). Yet I think that there are writers -- Armantrout is a good example -- who use revision to heighten every effect in the work and result in exactly the opposite kind of writing. And that excites me enormously. All of which is to say that I don't think there is a right or wrong position vis a vis revision, it all depends on how it is being used. Ron Silliman ______________________________________________________ Get Your Private, Free Email at http://www.hotmail.com ========================================================================= Date: Wed, 29 Mar 2000 11:07:03 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Balestrieri, Peter" Subject: Deluxe Rubber Chicken Issue #5 Now Online MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Forwarded for Mark Peters Issue #5 of Deluxe Rubber Chicken is now online, featuring work by Peter Balestrieri, Michael Basinski, Mary Begley, Coyle and Sharpe, Robert Creeley, David Daniels, Craig Dworkin, Raymond Federman, Jeff Filipski, William "Fergie" Ferguson, David Greenberger, NBB, Doug Nufer, Mark Peters, Sal Salasin, Peter Sanders, Alan Sondheim, Sam Stark, Ficus strangulensis, Temenuga Trifonova, Mike Topp, Uncle Eddy, Ted Warnell, Arkady Yanishevsky, and Daniel Zimmerman. http://writing.upenn.edu/epc/ezines/deluxe/ Mark Peters ______________________________________________________ Get Your Private, Free Email at http://www.hotmail.com ========================================================================= Date: Tue, 28 Mar 2000 18:08:24 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Carol Hamshaw Subject: Writing Program MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Carol Hamshaw wrote: > FOR IMMEDIATE RELEASE > Press info: 984-1712 > > THE CAPILANO REVIEW's > Writing Practices Program > > The Capilano Review, one of Canada's most innovative and respected literary > journals, is excited to announce the Writing Practices Program, a > post-baccalaureate certificate program in Creative Writing offered by > Capilano College, North Vancouver, BC Canada. The full-time program extends > over two > terms and offers mid-career writers the opportunity to be mentored in the > completion of a proposed manuscript project by a diversity of established > Canadian writers. Mentor writers for the Fall 2000/Spring 2001 course year > include Sharon Thesen, George Stanley, Don McKay, Lisa Robertson, Maria > (Gladys) Hindmarch, Stan Persky, Michael Turner, and Shani Mootoo. > > In conjunction,The Capilano Review is also hosting a Writer-in-Residence > each term, available to the students of the program and to general public > who purchase a membership in The Capilano Press Society for $5/free to > youth. Poet and artist, bill bissett, will be available in November and > fiction writer Brian Fawcett presides in the Spring. > > The Writing Practices Program > A post-baccalaureate certificate program in Creative Writing offered by > Capilano College in affiliation with The Capilano Review > Two full-time terms: Fall 2000 (15 credits) and Spring 2001 (15 credits) > Mentoring in the completion of a proposed manuscript project by a variety > of established Canadian writers > Located at the forested campus of Capilano College, North Vancouver, > British Columbia > Manuscript workshops, seminars on concepts in writing, and readings given > by Mentor Writers, special guests and The Capilano Review > Writers-in-Residence > A Writer-in-Residence in each term available for consultation > > For application information, contact: > > The Writing Practices Program > Humanities Division > Capilano College > 2055 Purcell Way > North Vancouver, BC > V7J 3H5 > > Phone: 604-984-1706 Fax: 604-990-7837 > Email: writing@capcollege.bc.ca > > Carol L. Hamshaw > Managing Editor > The Capilano Review > 604-984-1712 > > http://www.capcollege.bc.ca/dept/TCR > > For submission guidelines, please see > > http://www.capcollege.bc.ca/dept/TCR/submit.html -- Carol L. Hamshaw Administrator Edgewise ElectroLit Centre http://www.edgewisecafe.org ========================================================================= Date: Wed, 29 Mar 2000 11:48:09 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Small Press Traffic Subject: SPT CONFERENCE April 7-9, Expanding the Repertoire: Continuity and Change in African-American Writing Mime-Version: 1.0 Content-Type: multipart/alternative; boundary="============_-1257766804==_ma============" --============_-1257766804==_ma============ Content-Type: text/plain; charset="us-ascii" SMALL PRESS TRAFFIC presents Expanding the Repertoire: Continuity and Change in African-American Writing Friday April 7, 2000 New College Cultural Center, 766 Valencia Street, San Francisco 6:00-7:30 p.m. Reception and 7:30-9:30 p.m. Group Reading: Will Alexander, Wanda Coleman, C. S. Giscombe, Erica Hunt, and giovanni singleton Saturday April 8, 2000 New College Cultural Center, 766 Valencia Street Panel 1 10:30 a.m. -12:30 p. m. "Catch a Fire": The Role of Innovation in Contemporary Writing What characterizes innovation, and further, what are the effects of (and on) these characteristics when applied to various genres and cultural contexts? Panelists will discuss the ways in which the term "innovation" impacts critical approaches to African-American writing. Panelists: Wanda Coleman, Nathaniel Mackey, and Harryette Mullen. Moderator: Renee Gladman Panel 2 2:00-4:00 p.m. "Kindred": Origins of the Black Avant-Garde Panelists will discuss innovative African-American writing from a historical perspective by charting influences and directions, changes and continuities. What relationships exist between avant-gardes and mainstream literary production in the past and today? Panelists: Erica Hunt, Mark McMorris, and Lorenzo Thomas. Moderator: Harryette Mullen Group Reading 7:00-9:30 p.m. New College Theater, 777 Valencia Street Nathaniel Mackey, Mark McMorris, Harryette Mullen, Julie Patton, and Lorenzo Thomas Sunday, April 9, 2000 New College Cultural Center, 766 Valencia Street Panel 3 10:30 a.m.-12:30 p.m. "Tell My Horse": Poetics of Practice Panelists will speak directly about their work, their influences, and the various paths that they have taken. They will also discuss the organizations, communities, and systems of beliefs that surround them. What are the social and political contexts for innovative writing? How does this affect their writing and their lives? Panelists: Will Alexander, C.S. Giscombe, and Julie Patton. Moderator: giovanni singleton All events are free and open to the public. For more information please contact: Jocelyn Saidenberg 415/437-3454 _______________________ Small Press Traffic 766 Valencia Street San Francisco, CA 94110 415/437-3454 --============_-1257766804==_ma============ Content-Type: text/enriched; charset="us-ascii" PalatinoSMALL PRESS TRAFFIC presents Expanding the Repertoire: Continuity and Change in African-American Writing Friday April 7, 2000 New College Cultural Center, 766 Valencia Street, San Francisco 6:00-7:30 p.m. Reception and 7:30-9:30 p.m. Group Reading: Will Alexander, Wanda Coleman, C. S. Giscombe, Erica Hunt, and giovanni singleton Saturday April 8, 2000 New College Cultural Center, 766 Valencia Street Panel 1 10:30 a.m. -12:30 p. m. "Catch a Fire": The Role of Innovation in Contemporary Writing What characterizes innovation, and further, what are the effects of (and on) these characteristics when applied to various genres and cultural contexts? Panelists will discuss the ways in which the term "innovation" impacts critical approaches to African-American writing. Panelists: Wanda Coleman, Nathaniel Mackey, and Harryette Mullen. Moderator: Renee Gladman Panel 2 2:00-4:00 p.m. "Kindred": Origins of the Black Avant-Garde Panelists will discuss innovative African-American writing from a historical perspective by charting influences and directions, changes and continuities. What relationships exist between avant-gardes and mainstream literary production in the past and today? Panelists: Erica Hunt, Mark McMorris, and Lorenzo Thomas. Moderator: Harryette Mullen Group Reading 7:00-9:30 p.m. New College Theater, 777 Valencia Street Nathaniel Mackey, Mark McMorris, Harryette Mullen, Julie Patton, and Lorenzo Thomas Sunday, April 9, 2000 New College Cultural Center, 766 Valencia Street Panel 3 10:30 a.m.-12:30 p.m. "Tell My Horse": Poetics of Practice Panelists will speak directly about their work, their influences, and the various paths that they have taken. They will also discuss the organizations, communities, and systems of beliefs that surround them. What are the social and political contexts for innovative writing? How does this affect their writing and their lives? Panelists: Will Alexander, C.S. Giscombe, and Julie Patton. Moderator: giovanni singleton All events are free and open to the public. For more information please contact: Jocelyn Saidenberg 415/437-3454 _______________________ Small Press Traffic 766 Valencia Street San Francisco, CA 94110 415/437-3454 --============_-1257766804==_ma============-- ========================================================================= Date: Wed, 29 Mar 2000 12:14:42 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Elizabeth Treadwell Subject: Poets writing criticsm Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Hi Jacques and all, I was planning to go into retirement but my name on the list sparks my insane devotion to it. In response to Jacques's post 1.Well I wish academics would spend a little more time working on their charisma. 2. I don't quite remember "sexing" theory in any of my posts, but I am not surprised to hear it read that way. 3. Surely we can agree Jacques that the way literary history is made by academics is a power negotiation, or is at least not void of power struggles. 4. I wish academics would spend a little more time working on their charisma. 5. I really do. xx ET ___________________________________________ Elizabeth Treadwell Double Lucy Books & Outlet Magazine http://users.lanminds.com/dblelucy ========================================================================= Date: Wed, 29 Mar 2000 15:23:07 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Poetry Project Subject: Re: criticism Mime-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Dear Jacques, What is an idea? xo Anselm ========================================================================= Date: Wed, 29 Mar 2000 15:28:20 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Brian Lennon Subject: dorky? scholarly question MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Is anyone here in a position to refer me to THE groundbreaking texts re: feminism and 'embodiment,' 'the body,' etc., especially w/ respect to contemporary poetry&poetics? I know bits of the philosophical background in Husserl and Merleau-Ponty, and the science-tech-studies arguments in Donna Haraway and N. Katherine Hayles. But where does one begin with post-'2nd wave' U.S. feminism per se? Susan Bordo? Judith Butler? Elizabeth Grosz? I'm ignorant. Backchannel? thanks Brian Lennon ----------------- //----------------------------- http://www.columbia.edu/~bml18/ ========================================================================= Date: Wed, 29 Mar 2000 12:28:54 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Elizabeth Treadwell Subject: thoughts like kickballs in my head, lucky soldier Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Well now I can't stop and it's unfortunate. In that Childbirth & Metaphor thread a few weeks back someone posted a dismissive note about women writers in the 70s having to write novels about the birth of their first child and how tedious all that was to see on the bestseller list or whatever. That came back to me a couple of times while sitting around. And all I could think was, remember back in all those centuries when all those men writings just had to write down everything they thought of and also how those doctors didn't wash their hands and women died in childbirth. And as for Wendy's question, thanks for asking, I had a good time at the Myles and Treadwell reading, poisonally! xx ET ___________________________________________ Elizabeth Treadwell Double Lucy Books & Outlet Magazine http://users.lanminds.com/dblelucy ========================================================================= Date: Wed, 29 Mar 2000 12:31:39 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Elizabeth Treadwell Subject: oops Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" in my last post i meant men WRITERS not WRITINGS. i don't want Jacques to think i'm overgendering. x ___________________________________________ Elizabeth Treadwell Double Lucy Books & Outlet Magazine http://users.lanminds.com/dblelucy ========================================================================= Date: Wed, 29 Mar 2000 02:33:57 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: George Fouhy Subject: Poetry Series Website Comments: To: "Chapter9@aol.com" , David Albano , "EsotericMuse13@aol.com" , Gray Jacobik , "Jhalp1929@aol.com" , John Hoppenthaler , "writenet@twc.org" MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Just a reminder....Some terrific poetry events coming up. Cindy Check out the web site: http://www.bestweb.net/~cindyf/poetry_2000.htm ========================================================================= Date: Wed, 29 Mar 2000 12:43:44 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Damion Searls Subject: Re: to revise or not? Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Nabokov may be an even more extreme pole in this revision spectrum: he famously said "There's no such thing as a good reader, only a good re-reader," and would probably have said the same about writing, except that he claimed to have a crystalline pre-existing vision of the entire structure of his works in his head in advance. (He wrote the chapters of SPEAK MEMORY out of order as NEW YORKER essays; he claims to have written all of I think PALE FIRE on index cards in arbitrary order and then just shuffled them into place. In fact, he did revise, and even [after much ranting and raving] usually accepted his wife's quiet suggestions: "You can't say that in English, dear.") Here are two yummy quotes on the topic from his novel THE REAL LIFE OF SEBASTIAN KNIGHT, his first to be written directly in English. The narrator, V., is trying to write a biography of his brother, a writer. It tracks a kind of transition from Kerouacesque to Gardneresque. ================ Between some legal documents I found a slip of paper on which he had begun to write a story--there was only one sentence, stopping short but it gave me the opportunity of observing the queer way Sebastian had--in the process of writing--of not striking out the words which he had replaced by others, so that, for instance, the phrase I encountered ran thus: "As he a heavy A heavy sleeper, Roger Rogerson, old Rogerson bought old Rogers bought, so afraid Being a heavy sleeper, old Rogers was so afraid of missing to-morrows. He was a heavy sleeper. He was mortally afraid of missing to-morrow's event glory early train glory so what he did was to buy and bring home in a to buy that evening and bring home not one but eight alarm clocks of different sizes and vigour of ticking nine eight eleven alarm clocks of different sizes ticking which alarm clocks nine alarm clocks as a cat has nine which he placed which made his bedroom look rather like a" I was sorry it stopped here. =================== except for a few odd pages dispersed among other papers, he himself had destroyed them [i.e., drafts etc.] long ago, for he had belonged to that rare type of writer who knows that nothing ought to remain except the perfect achievement: the printed book; that its actual existence is inconsistent with that of its spectre, the uncouth manuscript flaunting its imperfections like a revengeful ghost carrying its own head under its arm; and that for this reason the litter of the workshop, no matter its sentimental or commercial value, must never subsist =================== I'm interested in this question about revision, because I'm deeply drawn to art works that put something out there and take it back at the same time so that what's left is a kind of shimmering residual glow. For example, the first Nabokov quote above. For another example: in a drawing class I took once, our assignment was to draw drapery by means of a method called "modelling" -- you "build up" the form, rather than drawing the surface you see. What this means, in practical terms, is lightly putting in a tone with a soft charcoal and then wiping it away with a tissue; lightly putting in a tone with a soft charcoal and then wiping it away with a tissue; lightly putting in a tone with a soft charcoal and then wiping it away with a tissue; literally dozens or hundreds of times for every area of the paper. You do it, you erase it, and what's eventually left is something deeper than the surface, something solid and three-dimensional and REAL. For a poetry example: Mayrocker's WITH EACH CLOUDED PEAK. But the book that captures, like no other book I know, this condition or rhythm or balance between melancholy and wonder, between engagement with the world and skepticism about the tools one has for that engagement (understanding, love, communication) is TO THE LIGHTHOUSE. This happens in the imagery (e.g. waves crashing and receding). It also happens in the book's structure: the second section is the "taking away" of all that we have invested in the specificities of character from section 1, and yet what's left is not nothing, but rather a sort of tone or undertow -- undertone? -- underlying section three. That's my experience of how the (my) past does underlie the (my) present. And this process I've been trying to describe is also the story of Lily's painting. The book's last paragraph is a perfect miniature symphony of balance between the power and the limits of making an "attempt at something" -- "It would be hung in attics, she thought; it would be destroyed. But what did that matter? she asked herself, taking up the brush again." Does the line in the center connect or divide? Both. And, to answer Patrick's question practically, I tend to believe in the power and the glory of revision, but I always seem to like the things I write quickly and in one go better, both immediately and over time, than the things I labor over (translations excepted). I take this to mean that I'm a dilettante, not a real writer ("A professional writer is one who can do his [sic] best work when he's [sic] not in the mood" -- Graham Greene). Sorry to go on so -- I should have revised more ("I'm sorry my letter is so long; I didn't have time to write a shorter one" -- Diderot or Voltaire, I forget), Damion Searls ========================================================================= Date: Wed, 29 Mar 2000 15:42:00 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Betsy Andrews Subject: Re: Leslie Bumstead MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 7bit Brendan, try to contact her through Jean Donnelly at jdlinde@mindspring.com ---------- > From: Brendan Lorber > To: POETICS@LISTSERV.ACSU.BUFFALO.EDU > Subject: Leslie Bumstead > Date: Sunday, March 26, 2000 1:59 PM > > Does anyone have any contact information for Leslie Bumstead? I need to > get in touch with her about her For Poems asap. -- Brendan Lorber ========================================================================= Date: Wed, 29 Mar 2000 16:04:34 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Brian Lennon Subject: dorky? scholarly question, TAKE 2 MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Actually, I could have phrased that better. What I'm particularly interested in are recent feminist critiques of 'disembodiment' in postmodernist literature or theory. Again, partic. as they relate to poetry/etics. thanks Brian Lennon ----------------- //----------------------------- http://www.columbia.edu/~bml18/ ========================================================================= Date: Wed, 29 Mar 2000 09:19:25 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: David Kellogg Subject: Re: dialects, idiolects, and pidgins In-Reply-To: <38DD26A8.D03BB7C1@lava.net> MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII > Anything they would care to share? They're pretty different from the work you're planning to use, but David Lee's pig farming poems (_The Porcine Canticles_, _The Porcine Legacy_) are interesting examples of rural dialect poems. They're also brutal and hilarious. Cheers, David ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ David Kellogg Duke University kellogg@acpub.duke.edu Program in Writing and Rhetoric (919) 660-4357 Durham, NC 27708 FAX (919) 660-4372 http://www.duke.edu/~kellogg/ ========================================================================= Date: Wed, 29 Mar 2000 20:06:13 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Susan Wheeler Subject: Re: POETICS Digest - 23 Mar 2000 to 28 Mar 2000 (#2000-50) In-Reply-To: <200003290510.VAA02587@merlin.prod.itd.earthlink.net> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" > >From: Juliana Spahr >I'm teaching a course in the fall on poetry written in dialects, >idiolects, and pidgins. > A videotape of Louise Bennett -- Miss Lou and Friends -- is available from Reckord Films Limited in Kingston, 809-924-1903 or 809-975-3219. Her routine was by then (1990) fairly stylized (it presents her singing her lyrics and telling some tales in concert) but excellent for your purposes, I think. There are tapes of Bill Herbert and Kathleen Jamie reading work that uses a lot of Scots, available from Amazon.com.uk, too -- any Macdiarmid recordings out there? Hope others post to the list on this -- would love to hear more. ========================================================================= Date: Wed, 29 Mar 2000 21:31:59 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Patrick Foley Subject: Re: stupid as a poet In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Jacques --- I liked the bit abt many academic critics being sort of tone deaf, but when you get to this part, what on earth are you talking about? Pat At 11:58 AM 3/24/00 EST, Jacques Debrot wrote: >but poets tend to lack, more importantly, >the capacity (partly a matter of education, social/institutional positioning, >and so on) for formulating interesting & original *ideas* (as distinct from >interesting *language*). In fact, it's very often more than an >incapacity--it's a refusal--to take ideas seriously. ========================================================================= Date: Thu, 30 Mar 2000 11:01:24 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jordan Davis Subject: come on down to the idea shack MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit > but poets tend to lack, more importantly, the capacity (partly a matter of education, social/institutional positioning, and so on) for formulating interesting & original *ideas* (as distinct from interesting *language*). In fact, it's very often more than an incapacity--it's a refusal--to take ideas seriously. --Jacques ____ Jacques - Please tell me about a poetry that demonstrates how to take ideas seriously. Seriously. This is sounding to me like the vague complaints I heard when first reading poems from disenfranchised poetry admirers that the poetry I mentioned to them did not engage, was not about life, etc etc. At that time, I decided these were people equipped with some other experience - now I'm more sympathetic. Maybe the same will happen wrt to *ideas* - which, as I've mentioned here before, seems to be something of a magic word in poetryland these days. In good faith - Jordan ========================================================================= Date: Thu, 30 Mar 2000 13:01:36 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: The Jade MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII - The Jade Confucius, Analects X 5, Waley translation: When carrying the tablet of jade, he seems to double up, as though borne down by its weight. He holds it at the highest as though he were making a bow, at the lowest, as though he were proffering a gift. His expression, too, changes to one of dread and his feet seem to recoil, as though he were avoiding something. When presenting ritual-presents, his expression is placid. At the private aud- ience his attitude is gay and animated. Legge translation: 1. When he was carrying the sceptre _of his ruler,_ he seemed to bend his body, as if he were not able to bear its weight. He did not hold it higher than the position of the hands in making a bow, nor lower than their position in giving anything to another. His countenance seemed to change, and look apprehensive, and he dragged his feet along as if they were held by something to the ground. 2. In presenting the pre- sents _with which he was charged,_ he wore a placid appearance. 3. At his private audience, he looked highly pleased. He was doing what, a good deed, he was unhappy. Smiling, he looked up with the ritual jade held high, his feet close to the ground, slightly angled. He proffered a ritual object to another, the jade, what, held high, his pace solemn, his expression one of happiness. Crying, but befit a man, he bent his body close to the ground, the piece of ritual jade held high. Quietly, in rage, he shuffled his feet, nimbly moving among the pillars of the great hall, the gift of jade in his pleasant hands. Angrily, he strode across the floor of the outer pavilion, the jade weighing heavily in his hands held high. He was doing something, what, for his private audience. He looked highly pleased, miserable, somewhat animated. _ ========================================================================= Date: Thu, 30 Mar 2000 14:24:42 -0400 Reply-To: couroux@videotron.ca Sender: UB Poetics discussion group From: Marc Couroux & Juliana Pivato Organization: O'Tavip-Xuoruoc Productions Subject: Brathwaite MIME-version: 1.0 Content-type: text/plain; charset=us-ascii Content-transfer-encoding: 7bit Dear list, Please add to my Gillespie query the other day an additional query for Kamau Brathwaite's "X/Self". I've been unable to locate this one too... any ideas? Cheers, Marc ========================================================================= Date: Thu, 30 Mar 2000 12:01:07 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Walter K. Lew" Subject: Re ASondheim on Sunset Blvd.'s Cameras Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Thank you, Alan. Casting the net further: In 1935, the Korean modernist Yi Sang, depressed after witnessing the first screening of a motion picture (sponsored by the Japanese colonial government) in the village he's passing through, writes: "The simple-hearted emptiness one tastes after seeing a motion picture--Chang Chou's butterfly dream was probably something like this. My flat, round head becomes a camera, and how many times did my tired *double lens* shoot and project poignant scenes of corn ripening in early autumn? Delicate sorrow flowing in a *flashback*--broken-hearted *stills* to send to a few lonely *fans* back in the city." --From "Sanch'on yeojeong" [Lingering Thoughts of a Mountain Village] The *s indicate where YS used a transcription into Korean of the English word. The "double lens" is his eyeglasses. Chang Chou's dream is, of c, from the _Chuang-tzu_, i. e. one way to rephrase the sentence is to imagine YS asking, "Am I a camera that has just dreamt I was Yi Sang watching a movie, or Yi Sang dreaming that I am a movie camera? Between Yi Sang and a movie camera there must be some distinction." And yes, Korean intellectuals were well aware of Dziga Vertov, etc., by the late 1920s. At the end of the piece, YS describes including a suicide note w the ms. he's mailing back to Seoul--the cost of being racked over in this particularly modern way. >In Sunset Boulevard, Desmond speaks about her silence; Max is silent about her speech; the noise is filled by the writer. It is not a displacement of silence by sound or of one constitution by another, but of spaces by times, times by spaces, air by water, water by air. At the end the dead writer speaks. At the end the drowned writer is racked over and it's there after that time he can start writing. Walter K. Lew 11811 Venice Blvd. #138 Los Angeles, CA 90066 ========================================================================= Date: Thu, 30 Mar 2000 13:45:48 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: David Kirschenbaum Subject: Canadian Poets in New York Mime-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Hi all, Looking for contact info for the following Canadian poets who now live in NY: Kevin Davies Jeff Derksen Dan Farrell Gillian McCain Also, if you could pass along the names and contact info for any other poets who fit this bill I'd be much obliged. Please back channel. Thanks. as ever, David Kirschenbaum _______________________________________________________ Get 100% FREE Internet Access powered by Excite Visit http://freelane.excite.com/freeisp ========================================================================= Date: Thu, 30 Mar 2000 20:41:51 PST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Stephen Ellis Subject: Re: criticism Mime-Version: 1.0 Content-Type: text/plain; format=flowed Dear Anselm, An idea is, being perpetually unable to remember the word for "rug." xo Stephen >From: Poetry Project >Reply-To: UB Poetics discussion group >To: POETICS@LISTSERV.ACSU.BUFFALO.EDU >Subject: Re: criticism >Date: Wed, 29 Mar 2000 15:23:07 -0500 > >Dear Jacques, > >What is an idea? > >xo Anselm ______________________________________________________ Get Your Private, Free Email at http://www.hotmail.com ========================================================================= Date: Wed, 29 Mar 2000 13:48:48 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Steve Dickison Subject: **Adnan & Alameddine reading Thurs MARCH 30 7:30pm ** Mime-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Note: this event is tomorrow, MARCH 30 (& not May 30 like I erroneously let slip, earlier). Hope to see you.... POETRY CENTER 2000 The Poetry Center & American Poetry Archives presents a reading & celebration in honor of Etel Adnan's 75th birthday ETEL ADNAN & RABIH ALAMEDDINE Thursday March 30, 7:30 pm, $5 @ The Unitarian Center 1187 Franklin (at Geary) San Francisco [PLEASE NOTE: Due to health constraints, Etel Adnan is unable to travel to attend this evening's event. Simone Fattal will read instead from Ms. Adnan's work, and we'll listen to British composer Gavin Bryar's "Adnan Songbook," and also exhibit several of Etel Adnan's hand-calligraphed books, which have been shown internationally. The evening will conclude with Rabih Alameddine reading from his own fiction.] ETEL ADNAN has been a vital presence--as teacher, visual artist, poet, prose writer, and thinker--for years in the common consciousness of writers and artists not just in our backyard but seemingly across half the world. * A native of Beirut, Lebanon, and long-time resident of the Bay Area, she's the author of numerous works of prose and poetry, including the internationally renowned novel of the Lebanese civil war, SITT MARIE ROSE and the recent long prose-poem THERE. * Gavin Bryars has set her "Love Songs" to music, recorded on his CD Cadman Requiem as Adnan Songbook, and she's worked with director Robert Wilson, as well as the great actress Jeanne Moreau, among others. * It's a true pleasure for The Poetry Center to honor her on this extraordinary anniversaire. * RABIH ALAMEDDINE is a novelist and a painter, born and raised in Beirut, Lebanon, and living in San Francisco. * His first novel, KOOLAIDS: The Art of War, is a truly outstanding literary accomplishment--a beautiful work of imaginative and piercingly acute intelligence that manages somehow to be deeply moving, ironic, and excitingly new in its possibilities. * Mr. Alameddine's first book of stories, THE PERV, is just out. * SIMONE FATTAL is an artist and translator, and the publisher of Post-Apollo Press. Born in Damascus, Syria, Ms. Fattal has lived in Beirut, in Paris, and in the Bay Area. =3Dx=3Dx=3Dx=3Dx=3Dx=3Dx=3Dx=3Dx=3Dx=3Dx=3Dx=3Dx=3Dx=3Dx=3Dx=3Dx=3Dx=3Dx=3Dx= =3Dx=3Dx=3Dx=3Dx=3D THE UNITARIAN CENTER is located at 1187 Franklin St. at the corner of Geary on-street parking opens up at 7:00 pm from downtown SF take the Geary bus to Franklin Readings that take place at The Poetry Center are free of charge. Except as indicated, a $5 donation is requested for readings off-campus-SFSU students and Poetry Center members get in free. The Poetry Center's programs are supported by funding from the National Endowment for the Arts, the California Arts Council, Grants for the Arts-Hotel Tax Fund of the City of San Francisco, Poets & Writers, Inc., and The Fund for Poetry, as well as by the Dean of the College of Humanities at San Francisco State University, and by donations from our members. Join us! =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D Steve Dickison, Director The Poetry Center & American Poetry Archives ~ San Francisco State Univers= ity 1600 Holloway Avenue ~ San Francisco CA 94132 ~ 415-338-3401 ~ ~ ~ L=E2 taltazim h=E2latan, wal=E2kin durn b=EE-llay=E2ly kam=E2 tad=FBwru Don't cling to one state turn with the Nights, as they turn ~Maq=E2mat al-Hamadh=E2ni (tenth century; tr Stefania Pandolfo) ~ ~ ~ Bring all the art and science of the world, and baffle and humble it with one spear of grass. ~Walt Whitman's notebook ========================================================================= Date: Wed, 29 Mar 2000 16:24:23 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Stephen Cope Subject: Beyond the Page: Reminder! Comments: To: rgiraldez@hotmail.com, boureeiv@aol.com, patterso@rohan.sdsu, mcauliffe@prodigy.net, Joe Ross , bmohr@ucsd.edu, globo@ucsd.edu, bmohr@ucsd.edu, djmorrow@ucsd.edu, ctfarmr@aol.com, dmatlin@mail.sdsu.edu, falconline@usa.net, junction@earthlink.net, jrothenb@ucsd.edu, raea100900@aol.com, scope@ucsd.edu, jgranger@ucsd.edu, rdavidson@ucsd.edu, kyergens@ucsd.edu, askomra@ucsd.edu, highfidelity@theglobe.com, darcycarr@hotmail.com, rburkhar@man104-1.UCSD.Edu, yikao@yahoo.com, aarancibia@hotmail.com, rachelsdahlia@hotmail.com, terynmattox@hotmail.com, dwang@wesleyan.edu, karenstromberg@aol.com, threeamtrain@yahoo.com, mozment@uci.edu, hellenlee@ucsd.edu, aeastley@ucsd.edu, tfiore@ucsd.edu, ggoforth@ucsd.edu, segriffi@ucsd.edu, shalvin@ucsd.edu, jimperato@yahoo.com, hjun@ucsd.edu, kathrynmcdonald@mindspring.com, smedirat@ucsd.edu, rmurillo@ucsd.edu, gnunez@ucsd.edu, reinhart@ling.ucsd.edu, crutterj@sdcc3.ucsd.edu, askomra@ucsd.edu, eslavet@ucsd.edu, chong1@ucsd.edu, ywatanab@ucsd.edu, wobrien@popmail.ucsd.edu, dmccannel@ucsd.edu, calacapress@home.com, ajenik@ucsd.edu, Spm44@aol.com, anielsen@popmail.lmu.edu, mperloff@earthlink.net, vvasquez@wso.williams.edu, jack.webb@uniontrib.com, hjaffe@mail.sdsu.edu, ronoffen@yahoo.com, hung.tu@usa.net, smalina@san.rr.com, reevescomm@earthlink.net, mcarthy@sandiego-online.com Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" BEYOND THE PAGE continues its monthly series of literary and arts events with the following reading/performance: What: Jordan Davis and Bill Mohr will read and/or perform their work. Where: Faultline Theater, 3152 5th Avenue (at Spruce), San Diego. When: Sunday, April 2nd, 4PM. Etc: $3-5 donation requested. Beer, wine, and refreshments available. ************************* * JORDAN DAVIS's books include _Poem on a Train_ (Barque Press) and _Yeah, No_ (forthcoming from Detour Books). His poems and reviews have appeared in _The Wall Street Journal_, _The Boston Review_, _The Washington Review_, _The Boston Book Review_, _Lingo_, _Fence_, _Explosive_, and _Tool a Magazine_. With Chris Edgar he edits _The Hat_. He hosts the Poetry City reading series at the offices of Teachers & Writers Collaborative, where he works selling books on teaching imaginative writing. * BILL MOHR's first poem was published in 1972. Since then his poems, dramatic monologues, prose poems, language-centered long poems, and book reviews have appeared in almost fifty magazines and anthologies, including the _Sonora Review_, _Santa Monica Review_, _Antioch Review_, _Blue Mesa Review_, _Wormwood Review_, _ZYZZYVA_, _Hungry Mind Review_, and _ Poetry Flash_. His work is collected in several out of print titles: hidden proofs, PENETRALIA, and Vehemence. He was a Visiting Scholar at the Getty Research Institute for the History of Art and the Humanities in the Fall of 1996. He was the editor and publisher of _Momentum Press_ between 1974 and 1988. He lived in Los Angeles for almost thirty years, where he worked primarily as a blueprint machine operator and a typesetter. He has also taught poetry writing at a wide range of institutional settings, ranging from prisons in Chino to cabin classrooms in Idyllwild. ************************** BTP is proud to continue its monthly series of arts-related events with this reading/performance. BTP is an independent literary and arts group dedicated to the promotion of experimental and explorative work in contemporary arts. For more information, call: (619) 273-1338, (619) 298-8761; e-mail: jjross@cts.com, scope@ucsd.edu. ========================================================================= Date: Thu, 30 Mar 2000 09:22:26 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Kyle Conner Subject: HIGHWIRE READING 4/1 Comments: To: abdalhayy@aol.com, aberrigan@excite.com, abirge@nimbus.ocis.temple.edu, agil@erols.com, allison_cobb@edf.org, ALPlurabel@aol.com, amorris1@swarthmore.edu, Amossin@aol.com, apr@libertynet.org, avraham@sas.upenn.edu, ayperry@aol.com, Babsulous@aol.com, baratier@megsinet.net, bcole@nimbus.ocis.temple.edu, bdowns@columbiabooks.com, Becker@law.vill.edu, bette343@hotmail.com, BMasi@aol.com, bochner@prodigy.net, booglit@excite.com, BrianJFoley@aol.com, BStrogatz@aol.com, cahnmann@dolphin.upenn.edu, chris@bluefly.com, Chrsmccrry@aol.com, coryjim@earthlink.net, Cschnei978@aol.com, daisyf1@juno.com, danedels@sas.upenn.edu, dburnham@sas.upenn.edu, dcpoetry@mailcity.com, dcypher1@bellatlantic.net, DennisLMo@aol.com, DROTHSCHILD@penguinputnam.com, dsilver@pptnet.com, dsimpson@NETAXS.com, ejfugate@yahoo.com, ekeenagh@astro.ocis.temple.edu, eludwig@philadelphiaweekly.com, ENauen@aol.com, ErrataBlu@aol.com, esm@vm.temple.edu, Feadaniste@aol.com, fleda@odin.english.udel.edu, Forlano1@aol.com, FPR@history.upenn.edu, fuller@center.cbpp.org, GasHeart@aol.com, gbiglier@nimbus.ocis.temple.edu, gmarder@hotmail.com, gnawyouremu@hotmail.com, goodwina@xoommail.com, HighwireGallery@aol.com, hstarr@dept.english.upenn.edu, hthomas@kutztown.edu, icepalace@mindspring.com, insekt@earthlink.net, ivy2@sas.upenn.edu, jeng1@earthlink.net, jennifer_coleman@edf.org, jimstone2@juno.com, jjacks02@astro.ocis.temple.edu, JKasdorf@mcis.messiah.edu, JKeita@aol.com, jlutt3@pipeline.com, jmasland@pobox.upenn.edu, JMURPH01@email.vill.edu, johnfattibene@juno.com, josman@astro.ocis.temple.edu, jschwart@thunder.ocis.temple.edu, jvitiell@nimbus.ocis.temple.edu, jwatkins@unix.temple.edu, kelly@dept.english.upenn.edu, Kjvarrone@aol.com, kmcquain@ccp.cc.pa.us, kristing@pobox.upenn.edu, ksherin@dept.english.upenn.edu, kzeman@sas.upenn.edu, lcabri@dept.english.upenn.edu, lcary@dept.english.upenn.edu, leo@isc.upenn.edu, lgoldst@dept.english.upenn.edu, lisewell@worldnet.att.net, llisayau@hotmail.com, lorabloom@erols.com, lsoto@sas.upenn.edu, lstroffo@hornet.liunet.edu, MARCROB2000@hotmail.com, marf@NETAXS.com, matthart@english.upenn.edu, Matthew.McGoldrick@ibx.com, mbmc@op.net, melodyjoy2@hotmail.com, mgpiety@drexel.edu, mholley@brynmawr.edu, michaelmccool@hotmail.com, miyamorik@aol.com, mmagee@dept.english.upenn.edu, mnichol6@osf1.gmu.edu, mollyruss@juno.com, mopehaus@hotmail.com, MTArchitects@compuserve.com, mytilij@english.upenn.edu, nanders1@swarthmore.edu, nawi@citypaper.net, odonnell@siam.org, penwaves@mindspring.com, pla@sas.upenn.edu, poetry4peeps@hotmail.com, putnamc@washpost.com, QDEli@aol.com, rachelmc@sas.upenn.edu, rdupless@vm.temple.edu, rediguanas@erols.com, repohead@rattapallax.com, richardfrey@dca.net, robinh5@juno.com, ron.silliman@gte.net, SeeALLMUSE@aol.com, sernak@juno.com, Sfrechie@aol.com, singinghorse@erols.com, stewart@dept.english.upenn.edu, subpoetics-l@hawaii.edu, susan.wheeler@nyu.edu, SusanLanders@yahoo.com, swalker@dept.english.upenn.edu, Ron.Swegman@mail.tju.edu, Tasha329@aol.com, tdevaney@brooklyn.cuny.edu, thorpe@sas.upenn.edu, tosmos@compuserve.com, travmar03@msn.com, twells4512@aol.com, upword@mindspring.com, v2139g@vm.temple.edu, vhanson@netbox.com, vmehl99@aol.com, wh@dept.english.upenn.edu, wvanwert@nimbus.ocis.temple.edu, wwhitman@libertynet.org, ywisher@hotmail.com, zurawski@astro.temple.edu MIME-Version: 1.0 Content-Type: text/plain; charset=US-ASCII Content-Transfer-Encoding: 7bit +++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ > >HIGHWIRE GALLERY READING SERIES 129 NORTH 2ND STREET OLD CITY, PHILADELPHIA >SATURDAY APRIL 1, 2000 8 PM BYOB > presents ABIGAL SUSIK & JOE MASSEY BRING YOUR USED WORK CLOTHES TO DONATE TO POETRY FOR THE PEOPLE'S CLOTHING DRIVE. THEY REQUEST CLOTHES SUITABLE FOR A JOB INTERVIEW. WE STRONGLY SUPPORT THIS DRIVE TO HELP PEOPLE IN SHELTERS FIND WORK, AND WE HOPE YOU CAN HELP OUT. > ABIGAIL SUSIK is on hiatus between finishing her studies at Barnard and the >next big step in her life. She's spent this more than year long break in and >around Philadelphia loosely affiliated with the writers and artists that >hang-out at the Writers House and Yunomi Gallery. > >from Two Sonnets > >I. Sonnet Without You 6-96 > >It turned blue outside when I wrote this- The dead tree wore a hair net as >it slept. I was hungry as I said this; frantic- Sending telegrams via wire >transfer: (Tapping out Morse code love letters) Searching for signs of >Indians, teepees Hunting buffaloes among the lawn chairs; There weren't any >totem poles planted in the yard, Only a cave in the palm of my hand. I >crawled in an read the old comic strip and did a dance in the sand; >yoga-like, Making signs with my hands; shadow puppets. > >Oh! My great warrior standing among the reeds, Your face is like the Grand >Canyon at night! > JOE MASSEY was introduced to me by Frank Sherlock. He was introduced to >Frank by Cid Corman. I don't know how he met Cid Corman, but we'll ask him >when he arrives from the U.S.' most business-friendly state and >Pennsylvania's neighbor, Delaware. from Memoring for T.O. > >1. > >What if they held your eyes upon contemplating that sullen day when the >gray gave way to a parting of the movement you concealed and your clothing >lost its shape, would you dance on either side of the alley for the men >with neon teeth? and would you spare them the snear attached to your >earliest thought that has gathered around your being tightly focused >convinced of harboring no softness. Haven't your eyes been fortified by >dawns I extracted music from and hung 'round your ears their blare their >strain their curious ascension and yet you only seemed to twitch or nudge >(it away) and mumbled a blessing I heard before and I thought of frequency >did different energy pulse from your mouth when you thanked me for my songs > and I ask this of you always when we speak and I ask incessantly during >silence when your breathing constructs the pieces of clues into a blurred >answer-- and you'll give no more. > ========================================================================= Date: Thu, 30 Mar 2000 11:32:51 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group Comments: RFC822 error: Incorrect or incomplete address field found and ignored. From: Fiona Maazel Subject: RS READING Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Please join us next Tuesday, APRIL 4th, for a reading by: Martha Cooley (THE ARCHIVIST) and Ken Kalfus (PU-239 and Other Russian Fantasies; THIRST) at The Russian Samovar 256 West 52nd St. (btwn 8th and Broadway) 7:00pm $3.00 ---------------------------------------------------------------------------- ------------------------------------- Tired of being on this mailing list? Just say the word and it's all over between us. ========================================================================= Date: Fri, 31 Mar 2000 00:30:55 +0100 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: John Cayley Subject: atoms of delight Comments: To: british-poets@mailbase.ac.uk Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" Just arrived here, no. 02 in the pocketbooks series currently being edited by Alec Finlay of Morning Star Publications: Atoms of Delight an anthology of Scottish haiku and short poems edited by Alec Finlay with a foreword by Kenneth White Edinburgh: pocketbooks / Morning Star Publications / Polygon, 2000 208 pp. 17x13 cm. Paperback. Index. ISBN 0-7486-6275-8 GBP 7.99 Order from: Morning Star Publications, Canongate Venture (5), New Street, Edinburgh EH8 8BH www.pbks.co.uk Beautifully designed and printed in two colours throughout. A truly delightful compendium of short texts. On the last page: At the end There is only the book and the dust And the wind - Suhayi Saadi This particular book - representative of the series - also makes manifests a vitality in literary editing and publishing which refuses to be constrained by Anglo-Saxon sensibilities (by turns: carping, chip-on-shoulder, faded-imperialist, outright elitist, complacent, ghettoized) and thankfully demonstrates that old saltatorial link between independent Scotland and the continent. Get it direct or from a local/specialist bookseller. John ========================================================================= Date: Thu, 30 Mar 2000 20:54:19 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Tisa Bryant Subject: Re: dialects, idiolects, and pidgins Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit Taylor, Work it out, baby! and I'd just like to add that "jefa" is spanish for "boss" in the feminine, jefe in the masculine. Just a coincidental little aside. besos, Tisa ---------- >From: Taylor Brady >To: POETICS@LISTSERV.ACSU.BUFFALO.EDU >Subject: Re: dialects, idiolects, and pidgins >Date: Tue, Mar 28, 2000, 4:46 PM > > Juliana, > > Since you seem to be including music, a listen to Fela Kuti's "Original > Suffer Head" might be of interest. There's a brief discussion in Mackey's > Bedouin Hornbook, as well as an extended linguistic analysis of its lyrics, > along with several other tunes, with a view to their use and strategic > intermingling of Nigerian Standard English, Nigerian Pidgin, and Yoruba > lexical and syntactical elements. The article is by Marcus Coester, titled, > "Language as a Product of Cultural Contact," and is available in English at > http://ntama.uni-mainz.de/~ntama/main/language_as_product/ > > This is part of a special issue of NTAMA - Journal of African Music and > Popular Culture, published (though apparently not since 9/98) out of the > University of Mainz. Full table of contents at http://ntama.uni-mainz.de/ > > Found this while looking for an answer to Mackey's question, in the > postscript to the letter in BH in which the discussion of Fela occurs, "Does > anyone know what a Jeffa Head is?" The question references Fela's lyric: > > Dem come turn-us to suffer-head to > Original Sufferhead > It's time for Jefa-Head O > Original Jefa-Head O > > It's answered by Coester as follows: > > "`Jefa' is a Yoruba word. It means `to enjoy a good fortune`; Yoruba-English > dictionary, p. 133. `Jefa-Head`here is the opposite of `Sufferhead`; both > terms were coined by Fela Kuti." > > Alright, that's probably more information than you wanted, but I'm always so > pleased when I actually find the answer to a directed question, rather than > fortuitous accidental discoveries, on the Internet. Just couldn't resist the > impulse to share. > > Best, > Taylor > > P.S. Another suggestion or two: > > Michael Smith, It a Come (alongside Linton Kwesi Johnson - also Brathwaite's > poem dedicated to Smith [whose title escapes me right now - perils of > writing from work]) > > Slave narratives collected by the Federal Writers' Project, many of them > interesting, necessary reading in their own right, and also as sites of > contestation over who represents speech "in dialect." Not poetry per se, but > the conversion narratives in particular articulate an historically > distinctive and forceful poetics. > > > > -----Original Message----- > From: UB Poetics discussion group [mailto:POETICS@LISTSERV.ACSU.BUFFALO.EDU] > On Behalf Of Juliana Spahr > Sent: Saturday, March 25, 2000 12:54 PM > To: POETICS@LISTSERV.ACSU.BUFFALO.EDU > Subject: dialects, idiolects, and pidgins > > I'm teaching a course in the fall on poetry written in dialects, > idiolects, and pidgins. > > Several questions: > > I'm interested in hearing suggestions of works to teach in in this > course > > And I want to do one day a week that is a listening/viewing day. I'm > planning on doing some of the classics: the Sterling Brown cd; Linton > Kwesi Johnson; Lois Ann Yamanaka reading Pahala Theatre and some pidgin > stuff I've got on tape; the United States of Poetry videos; some rap; > maybe some blues; etc. > > Anyone have any suggestions? > > Anything they would care to share? > > Or could help me locate? > > Our library seems to not have much in this area. And I need to give them > a list soon if I want to have any hope of them ordering stuff. > ========================================================================= Date: Fri, 31 Mar 2000 00:41:24 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Michael Franco Subject: all poetics redefined MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit dear listees announcing: the birth of Thomas Ely Pinto Franco to Isabel & Michael Pinto Franco midnight 23rd March 2000 I awoke the morning of the 22nd chasing following You furnish your parts toward eternity great or small, you furnish your parts toward the soul. & attempted to repeat same as I cut my son's cord/ tie to that other life ALL Poetics henceforth redefined Joy shipmates & all love {mother & baby doing just fine}/ Michael Franco ========================================================================= Date: Thu, 30 Mar 2000 21:53:56 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Tisa Bryant Subject: Re: d.i.p text suggestions for Juliana Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit Juliana, I'd recommend Gayl Jones' THE HEALING, (or any of her books, since her novels are wholly driven by dialogue and therefore dialect. Since you mentioned blues, her CORREGIDORA is of note) and William Melvin Kelley's DUNSFORD TRAVELS EVERYWHERES, if you can find a copy. I think it's out of print, unfortunately. Zora Neale Hurston's work may be of interest as well, from THERE EYES WERE WATCHING GOD on. And I'm thinking of Stephen Crane's short story "The Open Boat", because the characters each have a particular regional or ethnic speech pattern that no one in a class years ago questioned when we read it, but when we followed with a story by Toni Cade Bambara (I think it was "The Lesson"), people freaked out about how distracting "Black english" was, etc. etc., so I never forgot that story. I also recommend R. Zamora Linmark's ROLLING THE R's, and Jessica Hagedorn's work, especially the shorter work in PETFOOD AND OTHER APPARITIONS, and perhaps some passages from DOGEATERS. All of Kamau Braithwaite's work. Paule Marshall has some nice renderings of Bajan (Barbadian) speech in her work as well. Xam Wilson Cartier namely her BE-BOP, RE-BOP (backchannel me on this if you like, I have a tape of her reading from this.) Also of note is Patrick Chamoiseau's SCHOOL DAYS, in which both the speaker in the novel, a chorus of unruly children, and the author of the novel discuss/debate the veracity of the given translation of Martinican creole into "french-french" then into english. It's hilarious. The creoles of the Francophone Caribbean are beautiful to the eye, as to the ear, in my opinion. Another good text is AMERICA SPEAKS, which has a wonderful assortment of sounds and looks of different peoples' thoughts. For rap, I recommend The Pharcyde, particularly the cut they did especially for the "Red, Hot & Cool" CD. Hinglish (Hindi english) is also something to look out for, very interesting for syntax and word usage, mix of British english and Hindi. See Ginu Kamani's JUNGLEE GIRL. The terms "downpress" and "overstand" immediately come to mind, from reggae music. Dancehall, too, could be good to get into. What about Tolkien and Lewis Carroll? One person's nonsense is another persons mother tongue, after all...that's how I felt about Chaucer, Beowulf and Sir Gawain when I was a resistant bulbe. Hope this helps! ========================================================================= Date: Fri, 31 Mar 2000 01:00:40 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Thomas Bell Organization: @Home Network Subject: Re: dorky? scholarly question, TAKE 2 MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit why would these need to be feminist critiques? Brian Lennon wrote: > > Actually, I could have phrased that better. > > What I'm particularly interested in are recent feminist critiques of > 'disembodiment' in postmodernist literature or theory. Again, partic. as > they relate to poetry/etics. > > thanks > > Brian Lennon > > ----------------- //----------------------------- > http://www.columbia.edu/~bml18/ -- //\\//\\//\\//\\//\\//\\//\\//\\//\\//\\//\\//\\ OOOPSY \///\\\/\///\\\/ <><>,...,., WHOOPS J K JOVE BY HHH ZOOOOZ ZEUS'WRATHHTARW LLLL STOPG [ EMPTY ] SPACER index of online work at http://members.home.net/trbell essays: http://members.tripod.com/~trbell/criticism/gloom.htm ========================================================================= Date: Fri, 31 Mar 2000 07:58:13 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Richard Dillon Subject: Re: come on down to the idea shack Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit Answer: Hugh Macdiarmid Answer: Ezra Pound ---------- >From: Jordan Davis >To: POETICS@LISTSERV.ACSU.BUFFALO.EDU >Subject: come on down to the idea shack >Date: Thu, Mar 30, 2000, 11:01 AM > >> but poets tend to lack, more importantly, >the capacity (partly a matter of education, social/institutional >positioning, >and so on) for formulating interesting & original *ideas* (as distinct from >interesting *language*). In fact, it's very often more than an >incapacity--it's a refusal--to take ideas seriously. > >--Jacques > >____ > >Jacques - > >Please tell me about a poetry that demonstrates how to take ideas seriously. >Seriously. This is sounding to me like the vague complaints I heard when >first reading poems from disenfranchised poetry admirers that the poetry I >mentioned to them did not engage, was not about life, etc etc. At that time, >I decided these were people equipped with some other experience - now I'm >more sympathetic. Maybe the same will happen wrt to *ideas* - which, as I've >mentioned here before, seems to be something of a magic word in poetryland >these days. > >In good faith - >Jordan > ========================================================================= Date: Fri, 31 Mar 2000 08:06:00 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jacques Debrot Subject: Re: to revise or not? MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit In a message dated 3/30/00 11:24:16 PM, tottels@HOTMAIL.COM writes: <> It is fascinating to observe how significantly times have changed when you have a Language Poet complaining about the *artifice*--of metafiction! Would it be very unfair to see Ron Silliman here as naturalizing the code of artistic representation in which works like Rae Armantrout's and his own written? Jacques ========================================================================= Date: Fri, 31 Mar 2000 07:39:14 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Maria Damon Subject: Re: Poets writing criticsm In-Reply-To: <200003292014.MAA23420@lanshark.lanminds.com> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" At 12:14 PM -0800 3/29/00, Elizabeth Treadwell wrote: >Hi Jacques and all, I was planning to go into retirement but my name on the >list sparks my insane devotion to it. > >In response to Jacques's post > >1.Well I wish academics would spend a little more time working on their >charisma. oh puh-leeze. how is this different from insisting that i work on my "sex appeal" or my husband-catching abilities? >2. I don't quite remember "sexing" theory in any of my posts, but I am not >surprised to hear it read that way. >3. Surely we can agree Jacques that the way literary history is made by >academics is a power negotiation, or is at least not void of power struggles. >4. I wish academics would spend a little more time working on their charisma. >5. I really do. > >xx >ET >___________________________________________ >Elizabeth Treadwell >Double Lucy Books & Outlet Magazine >http://users.lanminds.com/dblelucy ========================================================================= Date: Fri, 31 Mar 2000 07:47:10 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Maria Damon Subject: Re: dorky? scholarly question In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" At 3:28 PM -0500 3/29/00, Brian Lennon wrote: >Is anyone here in a position to refer me to THE groundbreaking texts re: >feminism and 'embodiment,' 'the body,' etc., especially w/ respect to >contemporary poetry&poetics? i think we need to get away from the concept of "THE groundbreaking texts" as that concept tends to reify thinking and social movements, associating ideas instead with a few smart people who published. i genuinely appreciate your desire to learn; the way the question worded, though, foregrounds a key problematic in feminist theory and feminist intellectual practice. > >I know bits of the philosophical background in Husserl and Merleau-Ponty, >and the science-tech-studies arguments in Donna Haraway and N. Katherine >Hayles. But where does one begin with post-'2nd wave' U.S. feminism per >se? Susan Bordo? Judith Butler? Elizabeth Grosz? I'm ignorant. many many "second wave" feminists, particularly the french, but also, in a different way, americans, took "embodiment" as one of their primary sites for investigation, starting with the by-now cliche notion that since women have traditionally been associated w/ the body and men w/ the mind, women might have an interesting textual relationship to bodily matters, and women might in fact take advantage of that association to make texts more embodied (i'm thinking here of the french --cixous and irigaray in particular). also, it seems that (and here we're getting beyond the literary) one strand in questions of "embodiment" might well be that of labor --women's work, which tends to be invisible or at least not heroically acclaimed...etc etc. ... > >Backchannel? thanks > >Brian Lennon > > >----------------- //----------------------------- > http://www.columbia.edu/~bml18/ ========================================================================= Date: Fri, 31 Mar 2000 07:53:11 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Maria Damon Subject: Re: Brathwaite Comments: To: couroux@videotron.ca In-Reply-To: <38E39BE7.B49@videotron.ca> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" At 2:24 PM -0400 3/30/00, Marc Couroux & Juliana Pivato wrote: >Dear list, > >Please add to my Gillespie query the other day an additional query for >Kamau Brathwaite's "X/Self". I've been unable to locate this one too... >any ideas? > >Cheers, > >Marc try any booksearch website (even amazon!) it's not that rare--how cd it be if i found a copy? ========================================================================= Date: Fri, 31 Mar 2000 07:33:59 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Maria Damon Subject: Re: Gillespie Comments: To: couroux@videotron.ca In-Reply-To: <38E163D8.22C2@videotron.ca> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" please front-channel on this one, as others (like me) may be interested... At 10:00 PM -0400 3/28/00, Marc Couroux & Juliana Pivato wrote: >Dear list, > >Does anyone know of any works by Abraham Lincoln Gillespie currently in >print? If not, what has existed in the past and how can I get a hold of >some of it? > >Thanks in advance, > >Marc > >*********************************** >Marc Couroux >http://pages.infinit.net/kore/couroux.html ========================================================================= Date: Fri, 31 Mar 2000 10:11:41 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Michael Bibby Subject: Re: dorky? scholarly question MIME-Version: 1.0 Content-Type: multipart/alternative; boundary="------------3856EA38689F68C23B0A29C3" --------------3856EA38689F68C23B0A29C3 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit I'm just now teaching a seminar on theories of embodiment & corporeality ( www.ship.edu/~mwbibb/504page.html ). Kristeva's *Revolution in Poetic Language* and *Powers of Horror* offer some interesting connections between poetry and embodiment, although I personally find her a bit too essentialist. I found the E. Grosz book *Volatile Bodies* very useful, as it gives a fairly engaging overview of the various theoretical positions and philosophical background to 2nd wave feminist theories of bodies. It's also interesting how Grosz's book calls attention to Spinoza and the possibilities of Deleuze-Guattari for feminist theory. Bordo seems to oversimplify, I think--her work is very good for basic cultural analysis, but rather short on theory. Butler is, of course, most often cited, and ultimately I feel that her work poses some very important questions for feminism and theories of embodiment. Butler is, I think, the most "groundbreaking" right now--that is, her work seems to have set the agenda for most discussions on these issues--but I also feel personally that Grosz is very important and useful. Other than Kristeva, though, I can't really think of a "groundbreaking" feminist take on contemporary poetry/poetix (altho K is decidedly *modernist* in orientation) and embodiment. michael bibby Brian Lennon wrote: > Is anyone here in a position to refer me to THE groundbreaking texts re: > feminism and 'embodiment,' 'the body,' etc., especially w/ respect to > contemporary poetry&poetics? > > I know bits of the philosophical background in Husserl and Merleau-Ponty, > and the science-tech-studies arguments in Donna Haraway and N. Katherine > Hayles. But where does one begin with post-'2nd wave' U.S. feminism per > se? Susan Bordo? Judith Butler? Elizabeth Grosz? I'm ignorant. > > Backchannel? thanks > > Brian Lennon > > ----------------- //----------------------------- > http://www.columbia.edu/~bml18/ --------------3856EA38689F68C23B0A29C3 Content-Type: text/html; charset=us-ascii Content-Transfer-Encoding: 7bit I'm just now teaching a seminar on theories of embodiment & corporeality ( www.ship.edu/~mwbibb/504page.html ).  Kristeva's *Revolution in Poetic Language* and *Powers of Horror* offer some interesting connections between poetry and embodiment, although I personally find her a bit too essentialist.  I found the E. Grosz book *Volatile Bodies* very useful, as it gives a fairly engaging overview of the various theoretical positions and philosophical background to 2nd wave feminist theories of bodies.  It's also interesting how Grosz's book calls attention to Spinoza and the possibilities of Deleuze-Guattari for feminist theory.  Bordo seems to oversimplify, I think--her work is very good for basic cultural analysis, but rather short on theory.  Butler is, of course, most often cited, and ultimately I feel that her work poses some very important questions for feminism and theories of embodiment.  Butler is, I think, the most "groundbreaking" right now--that is, her work seems to have set the agenda for most discussions on these issues--but I also feel personally that Grosz is very important and useful.  Other than Kristeva, though, I can't really think of a "groundbreaking" feminist take on contemporary poetry/poetix (altho K is decidedly *modernist* in orientation) and embodiment.

michael bibby

Brian Lennon wrote:

Is anyone here in a position to refer me to THE groundbreaking texts re:
feminism and 'embodiment,' 'the body,' etc., especially w/ respect to
contemporary poetry&poetics?

I know bits of the philosophical background in Husserl and Merleau-Ponty,
and the science-tech-studies arguments in Donna Haraway and N. Katherine
Hayles. But where does one begin with post-'2nd wave' U.S. feminism per
se? Susan Bordo? Judith Butler? Elizabeth Grosz? I'm ignorant.

Backchannel? thanks

Brian Lennon

----------------- //-----------------------------
            http://www.columbia.edu/~bml18/

--------------3856EA38689F68C23B0A29C3-- ========================================================================= Date: Fri, 31 Mar 2000 09:44:10 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Daniel Bouchard Subject: Pressed Wafer: Manhattan Debut Mime-Version: 1.0 Content-Type: multipart/alternative; types="text/plain,text/html"; boundary="=====================_4258343==_.ALT" --=====================_4258343==_.ALT Content-Type: text/plain; charset="us-ascii" P R E S S E D W A F E R MANHATTAN DEBUT Daniel Bouchard, William Corbett and Joseph Torra, editors of Pressed Wafer, invite you to celebrate the publication of Pressed Wafer #I---------- Arkansas by Fred Moten----------In Residence by Beth Anderson----------and in honor of John Wieners, The Blind See Only This World.* FRIDAY APRIL 7th SIX PM TISCH SCHOOL OF THE ARTS 721 BROADWAY at WAVERLY STREET 12th FLOOR DEAN S CONFERENCE ROOM Food and drink will be served, all Pressed Wafer publications will be on sale and there will be brief readings by Pressed Wafer contributors Fred Moten, Beth Anderson, Daniel Bouchard, Ange Mlinko, Ed Barrett, Jim Behrle, Anne Dunn, Charles North, and Lewis Warsh. *co-published by Granary Books. PRESSED WAFER 9 COLUMBUS SQUARE BOSTON, MASS. 02116 (617) 266-5466 ><>>>>>>>>>>>>>>>>>>>>>>>>> Daniel Bouchard Senior Production Coordinator The MIT Press Journals Five Cambridge Center Cambridge, MA 02142 bouchard@mit.edu phone: 617.258.0588 fax: 617.258.5028 <>>>>>>>>>>>>>>>>>>>>>>><>> --=====================_4258343==_.ALT Content-Type: text/html; charset="us-ascii"          
     P R E S S E D  W A F E R
                               MANHATTAN
                                      DEBUT
Daniel Bouchard, William Corbett and Joseph Torra, editors of Pressed Wafer, invite you to celebrate the publication of Pressed Wafer #I---------- Arkansas by Fred Moten----------In
Residence
by Beth Anderson----------and in honor of John Wieners, The Blind See Only This World.*

                               FRIDAY APRIL 7th           SIX PM
                               TISCH SCHOOL OF THE ARTS
                               721 BROADWAY at WAVERLY STREET
                               12
th FLOOR DEAN S CONFERENCE ROOM

Food and drink will be served, all Pressed Wafer publications will be on sale and there will be brief readings by Pressed Wafer contributors Fred Moten, Beth Anderson, Daniel Bouchard, Ange Mlinko, Ed Barrett, Jim Behrle, Anne Dunn, Charles North, and Lewis Warsh.

*co-published by Granary Books.


          PRESSED WAFER 9 COLUMBUS SQUARE BOSTON, MASS. 02116 (617) 266-5466



><>>>>>>>>>>>>>>>>>>>>>>>>>
Daniel Bouchard
Senior Production Coordinator                           
The MIT Press Journals                          
Five Cambridge Center                   
Cambridge, MA 02142

bouchard@mit.edu
phone: 617.258.0588
  fax: 617.258.5028
<>>>>>>>>>>>>>>>>>>>>>>><>>
--=====================_4258343==_.ALT-- ========================================================================= Date: Fri, 31 Mar 2000 07:46:50 PST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Ron Silliman Subject: DuPlessis & Silliman @ Tredyffrin Library, 4/27 Mime-Version: 1.0 Content-Type: text/plain; format=flowed Rachel Blau Du Plessis & Ron Silliman Poetry at Tredyffrin Public Library Wayne, Pennsylvania Thursday, April 27, 2000 7:30 PM Rachel Blau Du Plessis is a poet and essayist. She is also known as a feminist critic and scholar, with special interest in modern and contemporary poetry. She has published several volumes in her long poem project, Drafts. Drafts 1-38, Toll is forthcoming from Wesleyan University Press in 2001. Her newest critical book is Gender, Races, and Religious Cultures in Modern American Poetry, 1908-1934: Entitled New. She is a Professor of English at Temple University and received Temple University's Creative Achievement Award in 1999. Ron Silliman is the author of 24 books of poetry and criticism, including (R), What, The New Sentence, and Tjanting and the Age of Huts. Paradise won the Poetry Center Book Award for best collection of 1985. He is the recipient of numerous awards, including a Literary Fellowship from the National Endowment for the Arts. He is the only resident of Chester County ever to be a Pew Fellow in the Arts (1998-99). The Tredyffrin Public Library is located at 582 Upper Gulph Rd. Strafford-Wayne, PA 19087-2052 From the Schuylkill, take the 202 South exit at King of Prussia and get off at S. Warner Road (before actually going onto 202). Make a left at Old Eagle School Road and go over the hill. Make another left at Upper Gulph Road and proceed several blocks to the library. The library will be on your left. From Route 30 heading West, make a right onto E. Conestoga Road. At the 3-way intersection make a hard right onto Upper Gulph Road and go slightly more than one block. The library will be on your right. To reach the library by Septa, take the R5 Thorndale/Paoli train and get off at the Strafford Station. Make a right turn out of the parking lot and walk to Homestead Road. Make a left and walk up Homestead to Upper Gulph Road – the Library is just to your right on Upper Gulph. For information call the Tredyffrin Public Library at 610.688.7093 or visit our web site at www.ccls.org. ______________________________________________________ Get Your Private, Free Email at http://www.hotmail.com ========================================================================= Date: Fri, 31 Mar 2000 11:23:45 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Kimmelman, Burt" Subject: Re: dorky? scholarly question, TAKE 2 MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Try "Cyborg: Engineering the Body Electric" by Diane Greco (Eastgate Systems). - Burt Kimmelman -----Original Message----- From: Brian Lennon [mailto:bml18@COLUMBIA.EDU] Sent: Wednesday, March 29, 2000 4:05 PM To: POETICS@LISTSERV.ACSU.BUFFALO.EDU Subject: dorky? scholarly question, TAKE 2 Actually, I could have phrased that better. What I'm particularly interested in are recent feminist critiques of 'disembodiment' in postmodernist literature or theory. Again, partic. as they relate to poetry/etics. thanks Brian Lennon ----------------- //----------------------------- http://www.columbia.edu/~bml18/ ========================================================================= Date: Fri, 31 Mar 2000 11:33:48 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Brian Lennon Subject: poetry and 'ideas' MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII My own feeling was that Jacques was indulging in some broadly provocative rhetoric, of a kind which, I must say, I enjoy greatly myself --- both giving and getting. Yet it occurs to me, watching the objections pour in, that this allergy to ideas of which Jacques speaks is far less easily targetable to many people 'here' (i.e., on THIS list) than 'elsewhere' (e.g., OTHER lists -- at least here, one can say 'Hegel' without inviting an avalanche of 'burn-the-critic' backchannels). Perhaps Jacques would disagree, though, and I certainly don't mean to minimize or deflect his point. For the record: the notion of "poets' resistance to 'ideas'" doesn't seem to me overly mysterious or unfounded. There *is* an impulse (where, or on what scale, is another question), often an identifiably American impulse, to separate 'theory' or 'philosophy' (= 'ideas') from something called 'experience' --- a category that presumably excludes the life-time spent reading books of 'theory' or 'philosophy' --- and then to use 'experience' to devalue theory/philosophy/ideas as somehow not involved with or connected to real life. Brian Lennon ----------------- //----------------------------- http://www.columbia.edu/~bml18/ ========================================================================= Date: Fri, 31 Mar 2000 12:30:22 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Ramez Qureshi Subject: twisting cliches MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit does anyone know of writing on the common langpo device of twisting cliches/ who was the first to do it etc? eg. She advised me to bring a banner to the demo insisting it would be worth a thousand weapons would anyone care to comment on this device? Best, Ramez ========================================================================= Date: Fri, 31 Mar 2000 09:36:41 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Douglas Subject: The death of Anthony Powell Comments: To: Aaron Kiely , Allison Brand , Andrej Blatnik , Barrett Watten , Brian Jennings , Bruce Andrews , Carlos Garay del Moral , Carol Hamilton , Carol Hamshaw , Charles Bernstein , Chase Madar , Chris Reiner , Christian Dittus , Christophe Brunski , Christopher Mattison , David Miller , "Dawn M. Ludwin" , Declan Spring , Dennis Phillips , Diana Daves , Diane Ward , Donald Levit , Eric Rasmussen , Fiona Templeton , Frank Smith , Franklin Bruno , Frederick Wasser , Garrett Kalleberg , Guy Bennett , Heather Hartley , Herman Rapaport , Ionona Ieronim , James Brooks , Jason Weiss , Jawad Ali , Jen Hilt , Jennifer Frota , Jennifer Leung , Jerome Rothenberg , Jill Levine , Joe Amato , Joe Ross , John Lowther , John O'Brien , Jordan Davis , Julia Connor , Julian Semilian , Kara Hunter <1mazar@gte.net>, Katherine Werner , Kendall Dunkelberg , Kenneth Haynes , Laura Moriarty , Laura Wilber , "Maggie Sullivan (USA)" , Magnus Bergh , Marc Robinson , Mark Weiss , Martha Ronk , Martin Nakell , Mary Jane Sullivan , Michael Cashin , Michael Disend , Milos Sovak , Muna Musiitwa , Paul Hoover , Paul Vangelisti , Phyllils Westburg , Pierre Joris , Ray Privett , Regis Bonvicino , Richard Stern , Robert Freedman , Robert Owen Goebel , Ryan James , Sam Eisenstein , Standard Schaefer , Stephen Cope , Steve Dickison , Steve Ventura , Terese Bachand , Thomas Hansen , Tina Dacus , Walter Lew , Will Schofield , William Marsh Comments: cc: djmess@sunmoon.com MIME-Version: 1.0 Content-Type: multipart/alternative; boundary="----=_NextPart_000_003A_01BF9AF4.9E855860" This is a multi-part message in MIME format. ------=_NextPart_000_003A_01BF9AF4.9E855860 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable It was sad to hear through The New York Times and the Los Angeles Times yesterday of the death of noted novelist Anthony Powell. Powell belonged to the age of the great "dialogue" novelists such as Ronald Firbank (whose presence Powell made known through his republication of Firbank's work when he was editor at Duckworth), Henry Green, Elizabeth Bowen, Evelyn Waugh, and Ivy Compton- Burnett. These authors, Powell most among them, were great writers of wit in a time when grace and wit were more common. Among Powell's many important works are Afternoon Men, From a View to a Death, Venusburg, What Became of Waring? and the 12- volume series of novels THE DANCE TO THE LMUSIC OF TIME, one of the great achievements of 20th century fiction. Powell was born in 1905, and was 94 at the time of his death at his home in Frome, near Somerset, England. Sun & Moon Press (and soon Green Integer) has published and will be publishing several of Powell's works. In memory of this great author, I am offering two novels, Oh, How the Wheel Becomes It! and Afternoon Men at 20% discount to anyone who = mentions this notice. Please order directly from Sun & Moon at djmess@sunmoon.com visit our website at www.sunmoon.com Douglas Messerli ------=_NextPart_000_003A_01BF9AF4.9E855860 Content-Type: text/html; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable
It was sad to hear = through The New=20 York Times and the Los Angeles
Times yesterday=20 of the death of noted novelist Anthony Powell.
Powell belonged=20 to the age of the great "dialogue" novelists such=20 as
Ronald Firbank=20 (whose presence Powell made known through his
republication=20 of Firbank's work when he was editor at Duckworth),
Henry Green,=20 Elizabeth Bowen, Evelyn Waugh, and Ivy Compton-
Burnett. These=20 authors, Powell most among them, were great writers
of wit in a=20 time when grace and wit were more common.
 
Among Powell's many = important works=20 are Afternoon Men, From a
View to a=20 Death, Venusburg, What Became of Waring? and the 12-
volume series=20 of novels THE DANCE TO THE LMUSIC OF TIME, one
of the great=20 achievements of 20th century fiction.
 
Powell was born in = 1905, and was 94=20 at the time of his death at his
home in Frome,=20 near Somerset, England.
 
Sun & Moon Press = (and soon=20 Green Integer) has published and will
be publishing=20 several of Powell's works.
 
In memory of this = great author, I=20 am offering two novels, Oh, How the
Wheel Becomes=20 It! and Afternoon Men at 20% discount to anyone who mentions this=20 notice.
 
Please order directly = from Sun=20 & Moon at djmess@sunmoon.com
visit our website at = www.sunmoon.com
 
Douglas=20 Messerli
------=_NextPart_000_003A_01BF9AF4.9E855860-- ========================================================================= Date: Fri, 31 Mar 2000 13:30:08 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Poetry Project Subject: announcements Mime-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Next week at the Poetry Project: Monday, April 3rd at 8 pm OPEN MIKE (sign-up at 7:30 pm) Wednesday, April 5th at 8 pm AKILAH OLIVER & BILL BISSETT Akilah Oliver is the author of _the she said dialogues: flesh memory_ (Smokeproof Editions) and currently teaches at Naropa University (NU). Bill Bissett hails from Canada, and is the author of _loving without being vulnerabul_, _inkorrekt thots_, and, most recently, _skars on th seehors_. Friday, April 7th at 10:30 pm LONG SHOT MAGAZINE Contributors REG E GAINES, CHERYL BOYCE TAYLOR, TONY MEDINA, DAN SHOT, and JACK WILER read. All readings at the Poetry Project are $7, $4 for students and seniors, and $3 for members. Admission is at the door. No advance tickets. The Poetry Project is wheelchair-accessible with assistance and advance notice. Please call (212) 674-0910 for more information. The Poetry Project is located in St. Mark's Church at the corner of 2nd Avenue and 10th Street in Manhattan. For more upcoming readings and/or information on how to join the Poetry Project, visit our web site at http://www.poetryproject.com *** And speaking of the web site.... NEWNEWNEW BRENDAN LORBER gives his great, big report (humminah! humminah!) on the ISSUE ZERO LITERARY MAGAZINE CONFERENCE that happened earlier this month. Go to it at http://www.poetryproject.com/ishzero.html *** General Announcement: The Poetry Project's reading on Wednesday, April 19th, namely, ADEENA KARASICK & NADA GORDON, has been relocated to the Third Street Music School, and must start at 8 PM SHARP (as the school closes at 9:15...) on the dot, on the nose... *** Public Service Announcements: SATURDAYSATURDAY Pattie McCarthy & Heather Ramsdell at Double Happiness, 173 Mott, corner of Broome, 4 pm *** Put the bomb in a glass vase add dust and forget --Clark Coolidge, BOMB, with collages by Keith Waldrop, Granary Books *** ========================================================================= Date: Fri, 31 Mar 2000 14:45:02 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Nuyopoman@AOL.COM Subject: Re: POETICS Digest - 28 Mar 2000 to 30 Mar 2000 (#2000-5 MIME-Version: 1.0 Content-Type: text/plain; charset="ISO-8859-1" Content-Transfer-Encoding: quoted-printable MIRROR MAN PRODUCTION =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D The theatrical production of MIRROR MAN will be staged at the FIMAV Festival in Victoriaville, Quebec on May 21. (Victoriaville is southeast of Montreal and southwest of Quebec City.) The cast is David Thomas, Linda Thompson, Bob Holman, Andy Diagram, Keith Molin=E9, Robert Kidney, Jack Kidney & Chris Cutler. The staging was been expanded and the 2nd Act revised. This is the North American premiere. Venue: Colis=E9e Des Bois Francs 400 Boulevard Jutras est, Victoriaville Box office: (819) 752-7912 URL: Doors: 9:30pm, showtime: 10pm ========================================================================= Date: Fri, 31 Mar 2000 17:18:39 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Poetics List Administration Subject: Double Happiness (fwd) MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: quoted-printable this came to the account. ______________________________ ---------- Forwarded Message ---------- Date: Friday, March 31, 2000, 12:07 PM +0000 From: K Prevallet To: poetics@acsu.buffalo.edu Subject: Double Happiness April at Double Happiness. 173 Mott Street at Broome. 4pm every Saturday. Happy hour! Down the stairs, between the fish store and the mural of the Indian chief. Coordinated by Prageeta Sharma and Kristin Prevallet. APRIL 1 PATTIE MCCARTHY AND HEATHER RAMSDELL Pattie McCarthy is co-founder & an editor of BeautifulSwimmer Press. Her chapbooks are Octaves (ixnay press) & Choragus (Potes & Poets). She currently teaches at Queens College. She=92s working on a booklength poem, bk of (h)rs, which has involved lots of medieval research. Heather Ramsdell=92s book Lost Wax (University of Illinois Press, 1998) was chosen for the National Poetry Series. Her work has appeared in a number of magazines, including Sulfur and Big Allis, as well as in Talisman House=92s An Anthology of New (American) Poets. She works as a food researcher in Hell's Kitchen. APRIL 8: AARON KIELY AND DAVID KIRSHENBAUM Aaron Kiely was born in 1970 in Boston. He is a poet and the main organizer of the annual Boston Alternative Poetry Conference. He lives in Northampton, MA. David Kirshenbaum is the author of a book of baseball poetry, Arriba Roberto (forthcoming White Fields Press, Louisville, KY). He is the editor and publisher of Boog Literature, a New York City small press, now in its ninth year. APRIL 15: DAVID LEHMAN AND TOM SAYERS ELLIS David Lehman is the author of three collections of poetry, Valentine Place (Scribner, 1996), Operation Memory (1990), and An Alternative to Speech (1986). A fourth volume, The Daily Mirror: A Journal in Poetry, will be published by Scribner in January 2000. His books of criticism include The Last Avant-Garde: The Making of the New York School of Poets (Doubleday, 1998). Tom Sayers Ellis=92 first collection of poems, The Good Junk, was published in 1996 in the Graywolf / AGNI annual Take Three Series. He co-edited On the Verge: Emerging Poets and Artists (Agni Press, distributed by Faber & Faber, 1994). A co-founding member of The Dark Room Collective and the Dark Room Reading Series, he currently teaches in the English Department at Case Western Reserve University, in Cleveland. APRIL 22: GREG FUCHS AND JANICE LOWE Greg Fuchs is the author of Came Like It Went (Buck Downs Books, Washington, DC, 1999) and Uma Ternura (Canvas and Companhia, Porto, Portugal, 1998). He coordinates with Kyle Conner the Highwire Gallery Reading Series. Janice Lowe, composer and poet, is originally from Cleveland. Her poems have been published in Callaloo, The Hat, American Poetry Review and In the Tradition: An Anthology of Young Black Writers. With bookwriter/lyricist Charles Drew, she has composed several musicals including =93Somewhere in Texas=94 and the upcoming =93This Esther.=94 Janice is a co-founder of the dark room collective and a core member of absolute theatre co. APRIL 29: DAVID LEVI STRAUSS AND TIM GRIFFIN David Levi Strauss is a writer and critic whose essays and reviews appear regularly in Artform and The Nation. His essays have appeared most recently in books on artists Miguel Rio Branco, Martin Puryear, Alfredo Jaar, and in Broken Wings: The Legacy of Landmines, with photographer Bobby Neel Adams. Between Dog and Wolf: Essays on Art and Politics, was published by Autonomedia in 1999. He edited the literary journal Acts and published a book of poetry, Manoeuvres, in San Francisco before moving to New York in 1993. Tim Griffin=92s poems have appeared in Lingo, Explosive, Purple, and Kiosk, and are forthcoming in The Hat and Fence. This fall he co-curated the exhibition =93The Production of Production=94 at Apex Art. He is an editor of ArtByte: The Magazine of Digital Culture, and is slated to have a chapbook come out with Shark Press, New York. ---------- End Forwarded Message ---------- ========================================================================= Date: Mon, 1 Jan 1990 00:14:03 -0500 Reply-To: Brian Stefans Sender: UB Poetics discussion group From: Brian Stefans Subject: Gillespie MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Gillespie's Syntactic Revolution can still be found in libraries, and I've posted some of his stuff at my website, though as I scanned the material in it may have some typos (I tried to proofread it, but he writes like Joyce on speed and with two left thumbs at the typewriter). I had a weird conversation with the editor of the book whom I had contacted regarding posting this stuff -- he couldn't have cared less, he only published the book to fulfill a promise to some friend of his who had started it. Gillespie's family disowned him when he became a poet; consequently, like Duncan he was cross-eyed, and like me he was a diabetic, but both things happened when he got into a car accident -- a precursor -- and he lived to almost tell about it (he was very "normal" before then, as the early writing in this book shows)! He actually looked a little like Duncan in middle-age (like Duncan looked in middle age) which was kind of blandly handsome with a touch of the eccentric just beginning to blossom. I think he was a Philadelphia native, and he used to talk like he wrote, apparently. Anyway, Bernstein has written about him in Poetry of the Americas and I think the Artifice of Absorption, and other works can be found in Revolution of the Word, the anthology edited by that guy, what's his name, can never remember, the anthology guy. http://www.geocities.com/arras_online/archive.htm ========================================================================= Date: Mon, 1 Jan 1990 00:45:33 -0500 Reply-To: Brian Stefans Sender: UB Poetics discussion group From: Brian Stefans Subject: criticism (Geraldine MaKenzie) MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit I liked your post a lot -- it suggests what I think is that perhaps obvious dichotomy between essentialism and contingency, that poems don't have values that are always "there" even prior to one having read them. This is the problem with one's initial reading of "classics" or revered authors, that one is expecting some dramatic rush of meaning and excitement from them since they metynomically represent "poetry" but it never arrives in the same way it's announced. Most of my favorite poets are ones I've more or less despised at some point in my life (Hopkins, Ashbery, O'Hara, Bernstein, are all poets I would have, at one point, thought were terrible), but when the understanding and the interest finally arose, it had nothing with the words on the page being any different, nor did it have anything to do with the critical atmosphere (there are enough revered poets who I think are pretty terrible). As for taste and form, I tried to shock my friends this evening by announcing not only that I had Miles Champion's new book in my backpack, but I also had Anthony Hecht's! (We had just left a Frank O'Hara celebration with Elsmlie, Myles, Yau, etc., so I thought it would go over well). I work at Random House, and they, meaning Knopf, were tossing out all of these books, so I picked them up -- I have the complete Hecht, Kenneth Koch, Sharon Olds, and Mark Strand, now -- a motley bunch -- don't know who will make it to the permanent collection. Anyway, I used to like a poem of Hecht's quite a bit when I was younger -- "The Feast of Stephen" it was called -- though not most of his writing at all (it reminded me of the drunken spats in Who's Afraid of Virginia Wolf, but without the fine accents and terrifying wit -- kind of like hard-boiled Robert Lowell). This one had texture, though, and lines like "the kilowatts of noon", which I thought was cool at the time. And I kind of admire his sticking to his guard about being a "formalist" -- he's practically founded a generation of poets, but I think he was the only one in his time (meaning those decades ago) writing quite like that -- there were the Wilburs and Merrills, but Hecht seemed to want to really be Alexander Pope, or someone from another age (I admire Amy Clampitt for her engagement with older poetries as well). Well, reading the poems now I do still think that, technically, he's a virtuoso -- I think, for example, his imitations of (the meters derived from) formal speech and use of meter surpasses most of what I read of Duncan's "derivative" poems in his later books, which always struck me as stilted, or even some bits of Pound which are too large-scale (and he wasn't no wit) to be subtle, and he finds a way to use the forms in a satirical fashion without being suburban (there must be life outside the suburbs), which is to say Hecht has that sense of "play" that the metaphysic poets were so good at, and he is never behind a pulpit quite like Duncan (who, I think, was better at something else). Nonetheless, the occasional (perhaps profound) sexism in his, Hecht's, work, keeps me at a good distance -- it's not just his sexism but that of the class he seems to want to represent -- which points, by extension, to his refusal to engage with any aspects of the "dialect of his tribe", to somehow deal in a lively way with the things of this, our present-day, world -- to be numerous, to question assumptions. His being "above it all" smacks of a true conservatism that spreads out horizontally, like a stain on the landscape. He would probably hate everything I stand for, helas. Eventually, a "political" reading of his work would have to get in the way -- strangely, I was reading Terry Eagleton on Yeats and pleasure just yesterday and he says much the same thing -- if you're an Irish nationalist and sensitive to sexism you are going to find his "terrible beauty" hard to swallow. So anyway, this issue of "taste" -- which is so complicated -- the idea of a "standard" for reading poetry, of course, seems impossible, but it's an interesting idea. Any Anthony Hecht fans in the audience? One thing I think of when I meet a poet, or a question I used to ask, is: who were you obsessed with as you were learning to write, or who seemed to take you over for a time? I think most poets went through a time when they engaged in some sort of imitative phase, and I think it's a round-the-clock, creates-arguments-with-your-family, makes-you-eat-poorly kind of phase, which is to say kind of extreme. I'm not sure that any critic -- who will want to claim a large portion of the "field" to maintain a decent reputation -- is quite capable of this kind of insanity. Luckily as poets we don't have to insanely like every poet the cat dragged in. Does this make sense? ========================================================================= Date: Fri, 31 Mar 2000 07:19:20 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Lance Fung Gallery, 537 Bway NYC 10012" Subject: Lars Chellberg Opens April 6 Comments: To: pllynchnvl@aol.com Mime-Version: 1.0 Content-Type: text/enriched; charset="us-ascii" GenevaFOR IMMEDIATE RELEASE CONTACT LANCE FUNG (212) 334 6242 www.kenilworthart.com/LanceFung/index.html Ornithologicalengineerology New Sculptures by Lars Chellberg 6 April - 6 May at Lance Fung Gallery, 537 Broadway NYC Reception for the artist: Thursday, 6 April, 6-8 PM Ornithologicalengineerology, a solo exhibition of new work by Earth/Installation artist, Lars Chellberg, opens April 6th at Lance Fung Gallery. In his current exhibit Mr. Chellberg explores the future effects of man's intervention and interface with ecosystems and their various species. Building on the success of his first solo exhibition, By Force of Habit, also at Lance Fung Gallery, Mr. Chellberg advances an ongoing investigation between science and the natural world. Previously known for introducing hundreds of live crickets into his work to create unique sound sculptures and for entering into collaboration with giant live spiders to produce ephemeral spider-web-drawings, in the present exhibit Chellberg forshadows particular results of humanly engineered ecosystems. With the decisive hand of an architect and the sensitivity of a naturalist, Chellberg manufactures the future of bird nests. Similar to Gordon Matta-Clark who designed floating and pop houses, tree houses and other alternative housing, Chellberg creates nests for the genetically engineered bird. Mr. Chellberg's nests are made from architectural model building supplies representing the standard skeletal material in I-beams. Constructed by the artist as if he were a genetically engineered bird, the I-beams come together in a seemingly haphazard fashion - yet the nests they structure are sturdy and ready for habitation. In tandem with his synthetic nests, the artist displays collected nests from a natural forest to further illustrate the co-mingling of natural and human constructs. Mr. Chellberg suspends, rests and cantilevers all the works outside the gallery's windows contrasting with the backdrop of Broadway's 19th century building facades. The gallery's main exhibition space, which typically houses monumental and ambitious installations by artists such as Shigeko Kubota (Sexual Healing) or Joshua Selman (Off The Grid,) remains virtually empty. In Chellberg's void hangs a single swing which he makes beckon viewers to use, while a symphony of sound plays birdcalls ironically electronic in origin. Will the design of species lead to the need to engineer environments to accommodate biological species humans have created? How will genetically designed species accept transition to wild existence? What will a projection of the world, fully re-created, and under our necessary stewardship, look like? Lance Fung Gallery, Lars Chellberg and Ornithologicalengineerology attempt to open a space for these considerations and inspire further investigation. ________________________________________________________ Lance Fung Gallery 537 Broadway New York, New York 10012 Tel 212, 334, 6242 Fax 212, 966,0439 To be removed from our lists please submit a blank email with a subject ['remove'], including quotes to lfg@thing.net. If we have contacted you in error, our appologies. ========================================================================= Date: Fri, 31 Mar 2000 09:02:41 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Hilton Manfred Obenzinger Subject: Re: dialects, idiolects, and pidgins In-Reply-To: MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Here's an excellent study on dialect by someone I work with at Stanford, for anyone interested in at least historical development: Strange Talk: The Politics of Dialect Literature in Guilded Age America by Gavin Jones. Hilton Obenzinger ========================================================================= Date: Fri, 31 Mar 2000 14:50:06 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Richard Frey Comments: To: whpoets@english.upenn.edu, PoetryforthePeople , Norman Fouhy , twourevs@ix.netcom.com Comments: cc: kelly@dept.english.upenn.edu, nanders1@swarthmore.edu, tosmos@csi.com, sawladynyc@aol.com, little@dca.net, kchizeck@att.net, Judith Wiley , LeonLoo@aol.com, ekfrey@jps.net, elinorfrey@jps.net Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" (NOTcoffeeHouse) Poetry and Performance Series Sunday, April 2, 2000, 1 pm First Unitarian Church, 2125 Chestnut Street Philadelphia, PA 19103/215-563-3980 Featured Readers and New Music : Alicia Askenase Ruth Rouff David Sherick Naked Idiot Open Reading and Open Performance Showcase Church office, 215-563-3980, Jeff Loo, 546-6381 or Richard Frey, 735-7156. Visit our website at www.notcoffeehouse.org $1 admission. Bring new-to-nearly-new items of clothing to deposit in the Poets Wares Clothing barrel - get FREE ADMISSION and a SPECIAL HOMEMADE TREAT! Richard Frey 500 South 25th Street Philadelphia, PA 19146 215-735-7156 richardfrey@dca.net ========================================================================= Date: Fri, 31 Mar 2000 13:49:20 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Goethe-Institut Reception Comments: To: "ANNOUNCE CULTURAL EVENTS @ GOETHE-INSTITUT" MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 8bit The Goethe-Institut and the ODC Theater present SUITE OF MULTIPLE ATTITUDES by Joachim Schlömer and Peter Kowald Performances 8:00 p.m., April 21-23, 2000 At the ODC Theatre, 3153 17th St. at Shotwell Tickets $15 Advanced Reservations 415-863-9834 www.ticketweb.com www.odcdance.org/theater Tix Bay Area in Union Square Masterclass with Joachim Schlömer on Monday, April 17, 2000, at ODC Theatre Admission $ 10 For information, call 415 863-9830 ODC Theater and the Goethe-Institut present the world premiere of SUITE OF MULTIPLE ATTITUDES: Joachim Schlömer - choreographer, dancer and director of the internationally acclaimed Tanztheater Basel from Switzerland and Peter Kowald, artist, musician and "maybe the best improvising bass player in the world" (Wired magazine), collaborate on their third creation. David Finn, lighting designer for Mikhail Baryshnikov's White Oak Dance Project and San Francisco resident, co-produced the SUITE, and is also responsible for the lighting design of this piece. SUITE OF MULTIPLE ATTITUDES is an investigation into personality and attitude working off one another. Based on Kowald's work as a bass player, this improvised piece examines the depths and layers of inner self and how it can be translated through musical expression. Schlömer uses the musical surface and beat as a "surfboard" to balance the particulars of his own personality through movement. Both performers offer a perspective of the individual from within and from afar; they explore character intuitively by stepping outside of themselves and reacting to the inner self with ease. Their performance is inspired by sound elements such as live radio and recordings, silence and each other's movements. By interacting with the energy of the public, the performers derive values, qualities, humor, and awareness from the setting of each individual performance which is unique and different each time. ________________________________________ Japanese Lecture Series at the Asian Art Museum Western Influence on Japanese Wood-block-prints (ukiyoe-e) by Dr. Claudia Delank Friday, April 28, 2000 10 a.m. - 12 p.m. General Admission: $7 co-presented by the Goethe Institut and the Museum of Asian Art The Asian Art Museum’s finale to their introductory survey of the arts of Japan, covering the art and culture from the Heian period to the twentieth century, will be a lecture by art historian Claudia Delank. Focusing on the perspective and the role of the Akita school of painting in relation to Japanese woodblock-print (ukiyo-e), Dr. Delank will discuss the influence of Western art on such landscapes as those of Katsushika Hokusai (1760-1849) and Ando Hiroshige (1797-1858). In the Tokugawa-Era between 1603 and 1868, Japanese woodblock-print was a popular art form among the townspeople of Edo, today’s Tokyo. During these years, a time of national seclusion, the only window to the west was provided by Deshima, Nagasaki, where the Dutch had set up a trade port. Claudia Delank is Art Historian and Assistant Professor for Japanese History of Art at the Seminar for Oriental History of Art, University of Bonn/Germany. After receiving her Ph.D. in 1981 at the University of Cologne in English Literature and History of Far Eastern Art she lectured at the Tohoku University, Sendai/Japan from 1982 to 1985 as well as at the University of Cologne from1986-1995. In 1996 she opened a gallery for Far Eastern and Contemporary Art in Bremen, Germany. Dr. Delank has published many books and articles on Japanese art and its interrelation with Western art, such as "The Bauhaus and Japan", "The Sculpture of Enku (1632 - 1695)” and “Japanese wood-art of the 1980’s and 1990’s". She regularly lectures on these topics in an international setting, the most recent being at the symposium "The Reception of the Far East in the Shadow of the World Wars - Universalism and Nationalism" at the University of Bayreuth, Germany in March 2000.