========================================================================= Date: Fri, 28 Apr 2000 03:09:29 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: George Quasha Organization: Station Hill / Barrytown, Ltd. Subject: CUNNINGHAM, HOLST, QUASHA, & STEIN reading in NYC MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Station Hill presents CUNNINGHAM, HOLST, QUASHA, & STEIN reading new works Friday, May 5, 2000 - - - 8 PM at THE OPEN CENTER 83 Spring Street New York, NY Readings their new and forthcoming books from Station Hill / Barrytown, Ltd.: Elizabeth Cunningham --- SMALL BIRD (available) Spencer Holst (reading with Jennifer Farbar) --- BRILLIANT SILENCE (available) and new sections of BALANCED BOULDERS (forthcoming) George Quasha --- AINU DREAMS (available) and THE PREVERBS OF TELL: NEWS TORQUED FROM UNDERTIME (forthcoming) Charles Stein --- FROM MIMIR'S HEAD (forthcoming) ========================================================================= Date: Fri, 28 Apr 2000 00:03:40 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Nick Piombino and Toni Simon Subject: Eloquence, a ramble Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" I've been enjoying this thread on eloquence, though I admit to frequently resorting to exhausted rapid late night skimming of the list writings, always promising myself I will get back to a more thorough read someday (knowing all this is documented makes such rationalizations easier, although it is good to remember that while later reviewing is possible,over time it seems less and less likely). So to say something right now... Some poets and artists I know claim to be avoiding eloquence, (or was it elegance?) but lets face it, anyone can resort to it at moments when convincing and attracting others to one's arguments or ideas seems necessary. It is hard to imagine eloquence in our period without at least a trace of irony or self-effacement. I've found edifying what some have said on this list recently about 1st and 2cd generation New York school poets in regards to eloquence. I am thinking aloud here, and I've already apologized for my waning late night energies, but may I ask the question if it is possible to be funny and eloquent at the same time? Perhaps this is what is meant, or was once,meant by "wit." But such moments are rare and brief, under any circumstances.There is, of course, a lot of humor in Ted Berrigan's poetry ,but always a litttle bit of eloquence beautifully braced by humor, as in Sonnet XLIV: "The withered leaves fly higher than dolls can see A watchdog barks in the night Joyful ants nest in the roof of my tree There is only off-white mescaline to be had" Anyway, I've been wondering when I would feel impelled to jump into this fizzy thread, and Mr William Austin's comments about Derrida and Freud have done it. Hear, hear! True, I get a bit sleepy now trying to read Derrida's latest book on "resistance"(not Freud, for professional reasons) but, come on, who wasn't more than a little impressed by Derrida's early writing about Husserl, or for the matter,at least some of the Grammatology? O.k., everything wilts a bit after 30 or more years, even Roland Barthes. So, maybe it isn't only anti-intellectualism in this case (though I agree with Mr. Austin that there is plenty of that here in US-land) perhaps it is also that a steady exposure to someone's eloquence over a long period of time, say that of Jacques Derrida,brings about a need for a reaction with some sarcasm or humor as a brace, or distancing mechanism to allow fresh ideas some space to breathe. But why try to eliminate one by means of the other? As William Austin implies,this may be the reflex of fashion, not necessarily sound critique. Very best wishes, Nick Piombino ========================================================================= Date: Fri, 28 Apr 2000 00:54:05 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: George Bowering Subject: Re: Baraka contact query In-Reply-To: <54.32d7a25.263a430e@aol.com> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" >Would someone please be so helpful as to provide me with contact info for >Amira Baraka? >Please B/C. > >Much thanks in advance, >Ramez Who is Amira Baraka? -- George Bowering Fax 604-266-9000 ========================================================================= Date: Fri, 28 Apr 2000 09:12:36 +0100 Reply-To: suantrai@iol.ie Sender: UB Poetics discussion group From: "L. MacMahon and T.R. Healy" Subject: Derrida MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 7bit Jonathon Mayhew wrote: quote One of the most enfuriating rules is the prohibition against paraphrase. In other words, all paraphrases of Derrida's thought that detractors (and even defenders) come up with are said to be simplifications, or caricatures. This may be true in many cases! But part of intellectual argumentation is the ability to say "so what you are saying is that..." etc... You can do this profitably with Wittgenstein but not with Heidegger or Derrida. endquote In that one definition of a random sequence is that it cannot be expressed by any sequence shorter than the original, this interesting prohibition suggests that Derrida's texts are random. Those hundred thousand monkeys better look to diversifying. I don't particularly like this definition in that it does not address the question of the process by which the sequence is arrived at, i.e. 1, 1, 1, 1, 1, 1, etc. by this light is non-random, yet it is conceivable that the sequence could represent throws of a die. And whether the throw of a die is random is ... best Randolph Healy Visit the Sound Eye website at: http://indigo.ie/~tjac/sound_eye_hme.htm or find more Irish writing at: http://www.nd.edu/~ndr/issues/ndr7/contents.html ========================================================================= Date: Fri, 28 Apr 2000 08:19:25 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group Comments: RFC822 error: Incorrect or incomplete address field found and ignored. From: Prageeta Sharma Subject: TIM GRIFFIN& DAVID LEVI STRAUSS:DOUBLE HAPPINESS THIS SAT!!! MIME-Version: 1.0 Content-Type: text/plain; charset="ISO-8859-1" Content-Transfer-Encoding: quoted-printable 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 29: DAVID LEVI STRAUSS AND TIM GRIFFIN David Levi Strauss is a writer and critic whose essays and reviews appear regularly in Art Forum 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. A former=20 editor of ArtByte, he is now the arts editor for Time Out.=20 His chapbook Radio will come out with Shark Press, New York, later this year= . ========================================================================= Date: Fri, 28 Apr 2000 07:34:24 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: David Baptiste Chirot Subject: Re: eloquence: a defense In-Reply-To: MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII PART ONE that's quite an apt phrase: "the rhetorical simulation of a lack of eloquence" a common saying in Northern New England: "don't speak unless you improve on silence" PART TWO: (which sadly betrays the promise of the last line of Part One) (btw: "rhetorical simulation of a lack of eloquence" brings to mind Method Acting--the "inarticulate" roles of Brando, Dean etc--contrasted to/with the earlier proto-Method of Montgomery Clift, who for a variety of reasons, cut his lines--prompting one writer to pronounce: "Montgomery Clift uses silence like no other actor") Jonathan Mayhew makes a very interesting point re the "rhetorical simulation of a lack of eloquence" that is, he reminds of that, for many, hoary old spectre of the "authentic" (which, if one is to assume there are simulations, presumes an original) there is a difference between Gandhi fasting, and the millions who starve without choice Gandhi did fast to call attention to the starving, and that in turn is different from one who diets, and so on, into the hall of mirrors of simulations (still, millions starve) it brought to mind the fate of two friends during the Vietnam War Era One, a very articulate and bi-lingual sculptor, who was obsessed by the idea that painters/sculptors are thought of as inarticulate, when drafted decided to try an old Mafia trick: to feign insanity. (Note: in french there is a phrase, "bete comme un peintre". Marcel Duchamp once remarked in an interview that his work was driven by wanting to make a refutation to this phrase, "stupid like a painter".Stupid implying a lack of verbal eloquence, an inarticulateness in the face of xprssing ideas.) My friend ended up spending months under psychiatric observation, living on chewed newspapers and howling a quasi-Artaud speech until he actually nearly did go mad. Fortunately, he was released and returned to his art work. Later he wrote poetry in a loosely structured invented language, though for this he still used the Roman alphabet. He also made thousands of drawings of small forms suggestive of a script from an unknown language. The other friend, a sanitation worker and truck driver, who was in fact inarticulate--he had trouble framing his words-- and stuttered when excited, was drafted and reported for testing, physicals and so on. When the test results came back a week later, my friend was insensed. The army had determined that he was deaf. He was classified 4F. Instead of being relieved, my friend was furious with the army. "Stupid ********!" Apparently, during the hering test, drftees wer to listen for a sound, and upon hearing it, press a button that they had, and another if they had not. My friend had gotten the directions confused and pressed the button for have not each time he heard a sound. In the Kurosawa film The Hidden Fortress, a hunted princess is disguised as a mute peasant. The two fools who are part of the wanted party are discussing, while the leader--Toshiro Mifune--is away, stealing her animal carrying a concealed load of gold. The two men are speaking nervously in hushed tones. One of them suddenly realizes this and says they may speak freely. The other asks why. His companion replies "People who can't speak can't hear". From the back row, a hand goes up and a voice asks: "Do people who rhetorically simulate a lack of eloquence rhetorically simulate a lack of hearing?" PART THREE (if we are to have a syllogism, or an Hegelian synthesis) a poem by Bob Cobbing, from the collection bob jubile (New River Project: London, 1990 "texts selected by bob cobbing & jennifer pike") IF HE KNEW WHAT HE WAS DOING, HE WOULD DO IT BETTER! Sockless in sandals, gibbering his wares in unintelligible shrieks and hisses, a "poet" merely disrupts the solid, sensible business of the night. the people hear gibberish; Poets ! how can nothing be said with all that noise ? --dave baptiste chirot On Thu, 27 Apr 2000, MAYHEW wrote: > Isn't the lack of eloquence being talked about here (by hyper-verbal > extremely articulate people) the rhetorical simulation of a lack of > eloquence? If someone were really inarticulate he or she would probably > desire the ability to be more eloquent. Just like dieting to lose > weight assumes the availability of a food supply. Just another > perspective on this fruitful thread... > > Jonathan Mayhew > jmayhew@ukans.edu > > _____________ > ========================================================================= Date: Fri, 28 Apr 2000 07:54:27 -0800 Reply-To: arshile@earthlink.net Sender: UB Poetics discussion group From: Mark Salerno Organization: Arshile: A Magazine of the Arts Subject: Readings in Los Angeles MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii; x-mac-type="54455854"; x-mac-creator="4D4F5353" Content-Transfer-Encoding: 7bit Dear Colleagues: It's my pleasure to bring to your attention the following readings and events at Beyond Baroque Literary Arts Center in Venice, California: Reading, Friday, May 5, 7:30 p.m. Norma Cole, author of Spinoza in Her Youth, Desire & Its Double, The Vulgar Tongue and many other works. Jill Stengel, author of History, Possibilities and publisher of a+bend press. [Note: Leonard Brink will not be appearing at this event.] Reading, Saturday, May 6, 7:30 p.m. Anselm Hollo, author of Caws and Causeries, Corvus, AHOE: And How on Earth and many other works. Lisa Jarnot, author of Some Other Kind of Mission and The Eightfold Path. [Note: Anselm Berrigan will not be appearing at this event.] Discussion, Saturday, May 6, 2:00 p.m. Anselm Hollo and Lisa Jarnot will discuss a wide variety of topics, including poetic form and poetic practice, the art of translation and their experience of poetic influence. Admission fee for this discussion is $25.00. [Note: Anselm Berrigan will not be appearing at this event.] Location: Beyond Baroque Literary Arts Center 681 Venice Blvd. Venice, CA 90291 310-822-3006 Hope you will come out and support these important events. Mark Salerno ========================================================================= Date: Fri, 28 Apr 2000 09:40:30 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Joe Amato Subject: Re: Salaries In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" geez, carolyn---a question i can answer, i think, though i'm not on a hiring committee... i make it a policy to make such matters public... i started here last fall at u of colorado at boulder at $42K annually... i think full-time non-tenured lecturers might make around $30K (not sure yet, and i'm not sure whether they teach a 3/3---i'm on the enviable 2/2)... adjuncts in english are being paid $4K per course... best, joe ========================================================================= Date: Fri, 28 Apr 2000 09:09:26 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Taylor Brady Subject: Re: APRIL CONFERENCE AT SMALL PRESS TRAFFIC Comments: cc: Maria Damon In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit I made tapes of all the panels - the readings didn't run through a PA board, so our rather crude recording setup wasn't up to the task. But there's something like three hours worth of panel presentations and discussion. I'll be bringing up availability and reproductions at our board meeting this weekend, and I'll be sure to let everyone know what the status of the tapes is as soon as the board (and the participating writers - I'm sure we'd like to get permission) comes to a decision. Thanks to Maria and Aldon and the others who have posted to the list or backchanneled with this question. It's gratifying to see this level of interest out there in what was said. All best, Taylor -----Original Message----- From: UB Poetics discussion group [mailto:POETICS@LISTSERV.ACSU.BUFFALO.EDU] On Behalf Of Maria Damon Sent: Thursday, April 27, 2000 7:08 AM To: POETICS@LISTSERV.ACSU.BUFFALO.EDU Subject: Re: APRIL CONFERENCE AT SMALL PRESS TRAFFIC were there tapes made of the event(s) and will they be available for classroom use at any point? md At 2:24 PM -0800 2/18/00, Jocelyn Saidenberg wrote: >Small Press Traffic Presents: >Expanding the Repertoire: Continuity and Change in African-American Writing > >APRIL 7-9, 2000 > >Friday April 7, 2000 >New College Cultural Center, 766 Valencia Street, San Francisco >6:00-7:30 p.m. Reception >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 >New College Theater, 777 Valencia Street >7:00-9:30 p.m. >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 or to volunteer please contact SPT at >center@sptraffic.org. > > > > >---------------------------------------- > >Small Press Traffic Literary Arts Center >766 Valencia Street >San Francisco, CA 94110 >415/437-3454 >www.sptraffic.org ========================================================================= Date: Fri, 28 Apr 2000 12:04:32 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Maria Damon Subject: Re: APRIL CONFERENCE AT SMALL PRESS TRAFFIC Comments: To: Taylor Brady In-Reply-To: <000a01bfb12c$20d26540$17000001@doswlan> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" thanks! keep us posted. bests, md At 9:09 AM -0700 4/28/00, Taylor Brady wrote: >I made tapes of all the panels - the readings didn't run through a PA board, >so our rather crude recording setup wasn't up to the task. But there's >something like three hours worth of panel presentations and discussion. I'll >be bringing up availability and reproductions at our board meeting this >weekend, and I'll be sure to let everyone know what the status of the tapes >is as soon as the board (and the participating writers - I'm sure we'd like >to get permission) comes to a decision. > >Thanks to Maria and Aldon and the others who have posted to the list or >backchanneled with this question. It's gratifying to see this level of >interest out there in what was said. > >All best, >Taylor > >-----Original Message----- >From: UB Poetics discussion group [mailto:POETICS@LISTSERV.ACSU.BUFFALO.EDU] >On Behalf Of Maria Damon >Sent: Thursday, April 27, 2000 7:08 AM >To: POETICS@LISTSERV.ACSU.BUFFALO.EDU >Subject: Re: APRIL CONFERENCE AT SMALL PRESS TRAFFIC > >were there tapes made of the event(s) and will they be available for >classroom use at any point? md > >At 2:24 PM -0800 2/18/00, Jocelyn Saidenberg wrote: >>Small Press Traffic Presents: >>Expanding the Repertoire: Continuity and Change in African-American Writing >> >>APRIL 7-9, 2000 >> >>Friday April 7, 2000 >>New College Cultural Center, 766 Valencia Street, San Francisco >>6:00-7:30 p.m. Reception >>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 >>New College Theater, 777 Valencia Street >>7:00-9:30 p.m. >>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 or to volunteer please contact SPT at >>center@sptraffic.org. >> >> >> >> >>---------------------------------------- >> >>Small Press Traffic Literary Arts Center >>766 Valencia Street >>San Francisco, CA 94110 >>415/437-3454 >>www.sptraffic.org ========================================================================= Date: Fri, 28 Apr 2000 14:36:44 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: RaeA100900@AOL.COM Subject: A PLACE IN THE BAY AREA MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Dear Bay Area Listpersons, I've been appointed writer-in-residence in CCAC's new MFA program for the 2000- 2001 academic year. I'll be commuting weekly from San Diego. Most weeks I expect to be in the Bay Area Monday, Tuesday and Wednesday nights. I'm interested in renting a studio apartment, a "mother-in-law" cottage, or even a room in someone's house. I'm aware that rents in the Bay are astronomical now - but I can only pay up to around $750 per month. I may be able to get into visiting faculty housing starting in January - but I need to line something up for the time from late August to mid-December. If you think you may know of something in Oakland, Berkeley, Albany or San Francisco, please please contact me. Yours sincerely, Rae Armantrout ========================================================================= Date: Fri, 28 Apr 2000 15:55:57 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Gerald Schwartz Subject: Re: a Steinian prose poem by George W. MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Thank you. That's Entertainment...and That's informative. It could only be topped by the interview he gave Jim Lerher ( I almost said Tom) on last night's NEWSHOUR...where he spoke about "faith-based partnerships", ones having "nothing to do with the separation of church and state". Bst, Gerald ========================================================================= Date: Fri, 28 Apr 2000 15:56:45 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: "open the gates". MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII . . "open the gates". . . open the gates, characterizes the phenomenology. tear down the gateposts: i am sick, stumbling. fill the postholes; there are signs and fields. erase the signs - now space stumbles into space. space is gone space, suddenly, nikuko and izanagi. do not fear, they say, things will soon be halted. wider and wider, there is no language for this. memory loses itself; beyond memory, memory. beyond loss, loss: that tiny little thing.. of the darkest thing, encode, replies izanagi. of the darkest, coding, says nikuko. code heaving, its cunt thrust open. izanagi goes away, nikuko brings signs to humans. time takes signs away. . ___. . ========================================================================= Date: Sat, 29 Apr 2000 01:38:28 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Patrick F. Durgin" Subject: Kenning / Cunning publication announcement Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Kenning: A Newsletter of Contemporary Poetry, Poetics, and Nonfiction Writing announces a double feature: ****** AUTUMN / WINTER: Cunning: A Descriptive Checklist of Tentative Politics. Atypically edited by Patrick F. Durgin, Renee Gladman, Jen Hofer, and Rod Smith. Featuring, for the last time, the distinctive design of fnast! image, and the proofreading support of Ninian Hawick. ISSN: 1526-3428 98 pages, or so. Tentative politics in verse, prose, graphic, and hybrid manifestations, featuring work by: Yedda Morrison Alexei Parshchikov Sarah Jane Lapp John Kinsella Bobbie West Michael Lujan and Erin Forrest Mark Wallace Jean Donnelly Buck Downs Leslie Bumstead Heather Fuller Dubravka Djuric Taylor Brady and Tanya Hollis Habib Tengour, translated by Pierre Joris Tisa Bryant Wura-Natasha Ogunji Stefani Barber Mary Burger Giovanni Singleton Edwin Torres Akilah Oliver Betsy Fagin Plus: Julian Semilian and Sanda Agalidi on modern "Romanian Poetry Then and Now" Review of Bob Perelman's The Future of Memory by Jono Schneider Michael Yates on teaching Das Kapital in maximum security prison [etc] Rod Smith on Submodernism and the New Mannerism Letterpressed covers & various other mechanical distinctions (such as sugar packets, staples, and at least one supplemental pamphlet). ****** SPRING: Kenning, the "odd" issue, edited by Patrick F. Durgin. ISSN: 1526-3428 75 pages, or so. Jules Boykoff Sherry Brennan Susan Briante Mary Burger Avery E. D. Burns Mircea Cartarescu, translated by Sanda Agalidi and Julian Semilian Allison Cobb Ray DiPalma Andrew Levy Gherasim Luca, translated by Sanda Agalidi and Julian Semilian Jackson Mac Low K. Silem Mohammad Beth Murray Elizabeth Robinson Michael Ruby Jono Schneider Jesse Seldess Lytle Shaw Brian Strang Rodrigo Toscano Ilarie Voronca, translated by Sanda Agalidi and Julian Semilian Liz Waldner Keith Waldrop Rosmarie Waldrop Plus: Carol Mirakove reviews Brendan Lorber's The Address Book & Chris McCreary reviews The Garrett Caples Reader. ****** Send $6.00 for either (specify which, of course) or $12.00 for both, payable to the publisher, Patrick F. Durgin, to Kenning: 418 Brown St. #10, Iowa City, IA, 52245. Or, begin a subscription to Kenning: $24.00 / 4. Watch for the first in the Kenning summer chapbook series: hovercraft by K. Silem Mohammad, available soon. Subscriptions pay for the production and distribution of Kenning. Your support is essential to keeping this project alive. Support small-presses, independent booksellers, and spontaneous institutions of language. Contributors & subscribers: your copies are in the mail! k e n n i n g a newsletter of contemporary poetry, poetics, and nonfiction writing http://www.durationpress.com/kenning kenningpoetics@hotmail.com 418 Brown St. #10, Iowa City, IA 52245, USA ========================================================================= Date: Sat, 29 Apr 2000 08:00:53 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Patrick Foley Subject: Re: impoverished poetics? agreeing with Steve In-Reply-To: <3908753C.92C0F9E2@wfu.edu> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" At 01:13 PM 4/27/00 -0400, Steve Shoemaker wrote: >Patrick--Yes, I think we're probably not *too* far from agreement about >what's going on in the poem. I'm certainly not arguing for some >paraphrasable content that let's us dispose of the poem, and I like your >poet/roofer speculations quite a bit. But for me, what I was saying >about >there being a kind of metacommentary on poetics doesn't really arouse >any feeling that the poet is ab/using his subjects. It seems to me that >Williams observes with precision and doesn't falsify anything to make >his point. It's as if there's a parallel subject (poetics)--or perhaps >a parallel *enactment* would be more accurate. I think not only >Williams's stuff but poetry in general tends to do this. Sort of like >the way Blake's Tyger's pulsing heart is also the pulsing rhythm of the >poem itself. steve I think this is right on, Steve, and very nicely put. The idea of a _parallel_ subject, we can see that in lots of poems, as you say, and it might be worthwhile figuring out exactly how that works. Probably a lot of our favorite poems do this. You know what particularly irked me about Perelman's sloppiness here (& he does better elsewhere in this book) was the singling out of one element in the scene described in this poem and identifying it (projecting an act of identification onto WCW, that is) with a single element of Williams' poetry. That's what I tried especially to mock in my first post. It's just cheating to apply an interpretative rule so selectively, skip over everything in the poem you don't have a ready analogue for in the poetry, not bothering to see what in the poetry (poetry being the hidden subject) really ought to be represented, etc. Bad technique. Of course, there will be the odd hit because sometimes the writer will just cram in something having in mind some particular extra content picked up this way, so there will be a little part of the work that does follow a different scheme of representation from the rest. This is exactly _not_ the kind of poem you're talking about Steve. At least it seems to me you're describing a doubling that takes in the whole work, and thus can't be isolated say to a single word doing double-duty. And if we like these kind of double poems particularly, we might raise some doubt about the other pile-it-on method, and that makes Perelman's "method" here, the simple-minded overinterpretation of individual elements, especially troubling since it can only pick up the weaker less interesting way of doubling content. I think it would be really helpful to understand how the parallel subject is suggested & how understood because an awful lot of poetry these days seems to be written to achieve this effect but also muting or obscuring (or effacing or putting _sous rature_ ;-) the "primary" subject, so that you have only suggested content. Which I guess is also in a similar way obscured or effaced. Maybe this is related to other indirect methods, I'm not sure & I'd rather not jump the gun. In some ways this reminds me of Hemingway (read a lot of Hemingway just last year & it turns out he's a hell of a writer), and maybe Hemingway as a sort-of ultra-flaubert, but anyway his deliberate presentation of externals all geared to giving you an experience of the internals, if you know what I mean. (And of course Papa's poetics is explicitly based on erasure, knowing what to leave out.) _The Sun Also Rises_ is pretty remarkable in this respect: you go along, we went to the hotel, we had dinner, we went back to the hotel, we went to the bar, we went to lunch, we went to the bar, on & on like this but then gradually in the second half or maybe the last third of the novel you realize something is happening, and you can really fel the buildup of emotion to the big scenes, and all that. I thought it was pretty remarkable. Now-- this is very different from the poet/roofer kind of thing, but I wonder if there is some technical similarity. (And of course the Williams written around the same time more-or-less and without a similar camera-like directness & absence of explicit editorializing, so in fact "Fine Work ..." might just be an oddly hemingwayish poem & to that degree not esp. characteristic, I dunno. Anybody talk much about Hemingway & Imagism?) More fruitful than any of that is your idea of _enactment_, and I'd rather understand more about how that works than just about anything probably. We do largely know it when we feel it, I think, and maybe that's about all we'll ever know. Thanks, Steve Pat ========================================================================= Date: Sat, 29 Apr 2000 14:08:50 -0400 Reply-To: BobGrumman@nut-n-but.net Sender: UB Poetics discussion group From: Bob Grumman Subject: Re: visual poetry--Bob Grumman! / Grumman MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit This I like: my name TWICED into a Subject-Header. The spelling of TWICED was a mistake I'm keeping. Nice to know Guy got work in your publication. And that you agreeze with just about everything I said. I agree back with the possibility that standard mainstream narrative can, at its best, equal almost anything else in poetry. The problem is all the people in positions of surface power that believe that's the only kind of poetry out there, except retrograde neo-formalism, and over-hermetic langpo. Meanwhile, here's an update on Kostelanetz's Dictionary of the Avant-Gardes--with my apologies for mentioning it to everybody, apparently, at this discussion group except you and David Chirot, and maybe one or two others: Amazon finally has it properly priced at $75. That shouldn't be out of the reach of your local library, folks. --Bob G. ========================================================================= Date: Sat, 29 Apr 2000 17:46:15 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: Flaubert, Dictionary of the Usual MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII - Flaubert, Dictionary of the Usual America - imperialist, runs the Net AOL - always for the ignorant ASCII Text - forget about it Bandwidth - never enough of it Computer - has no personality Computers - will never be as smart as we are Corporate Fascist - what everyone else is Crash - not my fault Cybercash - never safe Cybersex - never as good as the real thing, not real sex Darwin - someone who says we descended from the ape Deconstruction - thinking about something Descartes - cogito, ergo, sum E-zine - not real publishing Email - too much of it English - always rich English Language - too much of it Gates - too rich GUI - graphic user interface, for the visually-oriented Gulf-Stream - newly discovered town in Norway Guru - knows everything Hackers - always everywhere, your account isn't safe Hebrew - it's Greek to me Humidity - cause of all sickness Iliad - always followed by the Odyssey Innovation - always dangerous Inscription - always cuneiform Internet - always dangerous Internet Chat - always dangerous Internet User - doesn't have a life Jouissance - obscene word Keyboard - soon to be replaced Linux - always free Lurker - dangerous, unknown Lynx - animal celebrated for its eye Mac - never crashes, better than PC Macintosh - invented the Macintosh Malthus - "the infamous Malthus" Man - always a she Microsoft - always venomous Military - started the Net to spy on us MOO - never heard of it Moon - inspires sadness, perhaps inhabited? MUD - always addictive MUDDER - addict Music - have to have it Net Art - whatever I say it is Net Sex - typing with one hand only, not real sex Newbie - doesn't know anything Newsgroups - full of spam Oasis - desert hotel Offline - hopelessly out of touch Oldtimer - online for four years or more Oracle - impossible to program Paris - prostituted, paradise for women, hell for horses PC - better than Mac Penguin - see Linux Phaeton - invented the Phaeton vehicle Pornography - time-waster, killing our children Privacy - there isn't any Programming - too difficult Robots - are going to take over the world Salutations - always impressive Sartre - existence precedes essence Screen - hurts my eyes, can't read on it Security - there isn't any Serpent - always venomous Shell Account - can't do anything on it, for the textually-oriented Society - its enemies Software - always bloated Sun - too expensive Them - not us Traveler - always intrepid Unix - too complicated Us - not them Windows - always crashes Woman - always a he World Wide Web - too crowded __ ========================================================================= Date: Sun, 30 Apr 2000 13:06:10 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: online discussion - future of art - MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII www.artstar.com 04.26.00 Background Release FUTURE OF ART FORUM: The Future of Art - A Place for Science and Technology? Artstar.com is pleased to host its first online forum discussing the FUTURE OF ART that features a distinguished panel of artists, theorists, critics and technologists. For the next 3 weeks, the panelists will have a chance to debate and comment on various issues relating to the convergence of art and science. Artstar.com will then publish the discussion over the next 3 issues in its online magazine, Everything Art, scheduled for May 12th, 26th, and June 9th. The panelists participating in the forum are: * Dr. Rachel Armstrong-Russell - lecturer, TV presenter, multimedia producer, medical doctor and author * Tiziana Terranova - lecturer on digital media at the University of East London * Alan Sondheim - writer, artist, theorist and co-moderator of Fiction of Philosophy, Cybermind and Cyberculture * Tina Keane - lecturer at St. Martin's College, researcher for Digital Creativity, and artist in installation, film, video and the digital area * N. Katherine Hayles - author and professor of English at UCLA * Bracha Lichtenberg - artist, theorist and psychoanalyst * Davide De Angelis - multimedia artist, art director and designer for 2 David Bowie albums * Dr. Alf Linney - professor of Medical Physics & Bioengineering at University College, London * Gilane Tawdros - director of the Institute of International Visual Art (inIVA) * Brian Holmes - cultural critic, translator and editor of Documenta X * Brett Stalbaum - senior editor of Switch, San Jose State University * Simon Biggs - artist and professor of Research (Fine Art) at Sheffield Hallam University * Stelarc - performance artist, sculptor (Third Hand, Virtual Arm, Virtual Body and Stomach Sculpture), Honorary Professor of Art and Robotics at Carnegie Mellon University and a Senior Research Scholar at Nottingham Trent University. Our panelists will be faced with some interesting topics and questions. Some possible discussions will deal with science, technology, religion, culture, and art; why science and art have become such disparate fields; when/where/how and if science and art will converge; and the future of art. Subscribe to Everything Art now to receive notification of the release of the discussion results http://www.artstar.com/magazine. Check www.artstar.com for the latest updates. ========================================================================= Date: Sun, 30 Apr 2000 20:50:30 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: { brad brace } Subject: 12hr MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII ISP Verio sucks! Note that one of my Internet providers has eliminated all FTP directories. If you were using the directory/link to access the 12hr-isbn-jpeg project, please choose another address: The 12hr-ISBN-JPEG Project >>>> since 1994 <<<< + + + serial ftp://ftp.eskimo.com/u/b/bbrace + + + eccentric ftp://ftp.netcom.com/pub/bb/bbrace + + + continuous ftp://ftp.teleport.com/users/bbrace + + + hypermodern ftp://ftp.rdrop.com/pub/users/bbrace + + + imagery ftp://ftp.pacifier.com/pub/users/bbrace News://alt.binaries.pictures.12hr ://a.b.p.fine-art.misc Mailing-list: listserv@netcom.com / subscribe 12hr-isbn-jpeg Reverse Solidus: http://www.teleport.com/~bbrace/bbrace.html http://bbrace.laughingsquid.net { brad brace } <<<< bbrace@netcom.com >>>> ~finger for pgp __ ========================================================================= Date: Sat, 29 Apr 2000 00:19:27 +1000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: komninos zervos Subject: Re: Barrett Watten -- Zone: The Poetics of Space (Vancouver) In-Reply-To: <20000427070743243.AAA188@mail.paconline.net@bertha> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" any chance of a transcript? komninos At 12:07 AM 4/27/00 -0700, you wrote: >Zone: The Poetics of Space >a Reading/Talk by Barrett Watten >Saturday May 6, 2000 6:30pm sharp >Simon Fraser University at Harbour Centre >515 West Hastings Street Vancouver BC komninos's cyberpoetry site http://student.uq.edu.au/~s271502 cyberpoet@slv site http://www.experimedia.vic.gov.au/cyberpoet/ komninos zervos, tel. +61 7 55 948602 lecturer in cyberstudies, school of arts, gold coast campus, griffith university, pmb 50, gold coast mail centre queensland, 9726 australia. ========================================================================= Date: Mon, 1 May 2000 13:23:46 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Poetics List Subject: Poetry Criticism / DeDeo 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, Apr 29, 2000 3:14 PM -0400 From: Simon DeDeo Following the threads here on poetry criticism; read Kristin's piece with interest. Just recently I published a negative review of Linda Gregg's new book; it took a certain amount of courage, I think, to do so, since it's always easier to be caught liking something bad than to not recognize something good. Additionally, if you write a bad review, the people who will (inevitably) disagree will take it personally, not to mention the poet herself (not that Gregg will care about what I write.) Why can people be so receptive to criticism "face to face" (either in a workshop-esque situation, or in a personal interaction) but have so many problems with negative reviews? Partly, I think, it stems from the publicity of such an endeavor. Given that so many critics are poets themselves, or people who, as Kristin puts it, are interested in socializing with poets, what can we do to recreate the "disinterested" state of mind that allows for criticism to proceed accuretely? I'm not sure that we need to highlight the presence of culture or school in criticism (doing so with Gregg, someone who's lived pretty well outside the mainstream in any sense of the word, would have been fruitless.) It seems to me that what's more important is freeing the critic to take whatever tack seems necessary in the case of a particular poet. Perhaps anonymous review? I envision a system by which identities of reviews are kept in escrow from all concerned (the publishers of the journal in question as well as the reading audience -- it wouldn't be too hard to have the computer itself check whether or not the reviewer was reviewing himself.) Would this eliminate some of the problems in question and allow us to focus on other issues? Such a system works in the scientific world (anonymous peer review.) Would it work in the poetry world? -- Simon ---------- End Forwarded Message ---------- ========================================================================= Date: Mon, 1 May 2000 13:23:57 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Poetics List Subject: opening / Smylie MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit This message had to be reformatted. Chris ---------- Forwarded Message ---------- Date: Mon, 01 May 2000 00:25:52 -0400 From: Barry Smylie ............................................G A R D E N.................................................. You are invited to view a showing of acrylic flower paintings by Barry Smylie. http://barrysmylie.com/galleries/garden/garden.htm ========================================================================= Date: Mon, 1 May 2000 13:24:35 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Poetics List Subject: Boughn Reads Mind / Glover MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit This message had to be reformatted. Chris ---------- Forwarded Message ---------- Date: Mon, 01 May 2000 10:51:05 -0400 From: "Albert Glover" Michael Boughn will read from "one's own Mind" (fascicle #4 in A Curriculum of the Soul) at TALKING LEAVES, 3158 Main St., Buffalo on Thursday, May 4, at 7:30 p.m. The Curriculum project, based upon a plan by Charles Olson, was under the general editorship of John Clarke until his death. Boughn's fascicle is the twenty-seventh in a series of twenty-eight which should be completed in 2001 with the publication of #5 "one's own Language" by Lisa Jarnot. Copies of "Mind" will be available at the reading; otherwise all fascicles are distributed through SPD. Anyone interested in the project can contact Albert Glover at Glover Publishing, Box 633, Canton, NY 13617. ========================================================================= Date: Fri, 28 Apr 2000 12:46:43 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Tom Orange Subject: George W. Bable MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Optimism is a person to lead by. Know, uh, inherently, depending on just what that leader is where. Where worse wonders why people can't because. About neighbors and so the question and how America got revenge on the country on. A kid meant beware of wanting to lead an optimistic campaign. On to talk inherently worse, I'm a negative goal about to be here incredibly optimistic. To this. It's part. Beware about comfortable neighbors, so you got I'm a person helping optimistic answer. Positive speech set America. I'm reason, I'm lead. My sense a worried I that This America, great by want of talk and part by going goal. It's so content and is neighbors because content goal wonders incredibly renewal. And person was to sense country comfortable, so reason is inherently a country. I've been here running me so I can't really be who. Finding I and tease I incredibly. You is a leader optimism negative. Children helping leader lead. Follow. Reason is talk the American people can't depend on, for America really talks sense with going upon where a person who leads cannot. Got person to tease about to. And America wants an uh. So it's about a tough heart and I'm running and my renewal will talk reform. About you, upon people. Beware reason, kid, it's best to question an answer. Your going to remind this person with tough reason and optimism, the person running. The goal of the person was here the world. Children and people too. Very standards. Is the person you got to worse worry with and know the answer. Part of too high. World sense reason depends on children. I'm a greatness and talk is for. Call and know inherently. I worry, does negative speech follow on running goal sense? About this lead I got you on, I'm here people, helping whether I know worried very to worry, call country. Remind me about the part where this reason is speech I know, for which I'm comfortable helping running. Talk optimism, optimism going and question reason, America, with me to worse standards. One's a reason and the going teases a revenge sense. And got all comfortable. Call reform renewal, America. I'm about a sense saying the answer to sense. Say on. Person saying on I'm really of why I know you worry reason. Wonders this upon my revenge to win. To want children high upon neighbors by helping is. One's where that got on to know that on. Question tease, I revenge a person worse. Tomorrow I'm to talk with a really worry greatness kid really finding incredibly. Was of a person and by my very sense. I'm really whether which the people say I'm on. You where the going so. I'm my speech of neighbors heart of. Tomorrow America is worried and cannot really know what the country says of the sense going. It's going to beware, for the sense lead meant reason. Mind is tough, mentors America my say for the greatness of an answer. Why helping one's speech and following my running about renewal meant to you the sense, wonders whether I'm a kid and here upon your great worry saying here going. Who's the one? I'm a part of your country goal, my heart I win comfortable. Does negative helping win a tough optimism goal? To say on about a worry you sense. Beware a win got of high optimism is helping reason is for a personal renewal, where revenge knows America. Positive, so I cannot campaign negative. The larger part wonders of running reason and mentors set larger. And I'm the incredibly meant. And optimistic, uh, question is to beware optimistic. And your helping. Want worry best, so beware a worry which I say. Part, and children. Know the sense I'm of was sense, incredibly, uh, to call upon greatness. I'm the kid to talk larger reason. And so the reason is. Know the person, it's about follow. Call upon me the just going negative about larger and larger. Does to people because I'm going neighbors. I'm me, going on to know the neighbors comfortable. Beware negative because I'm running on because, and tomorrow neighbors tease worse. A reason I'm for speech, I'm a reason for speech, I'm negative, worry America: who is really great is answering your question. ========================================================================= Date: Mon, 1 May 2000 13:25:16 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Poetics List Subject: HTML Reminder MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit from the Welcome Message: 4. Format of Email Messages - PLEASE READ When sending to the list, please send only "plain text". The use of "styled" text or HTML formatting in the body of messages sent to the list disrupts the Listserv's automatic digest and archive features by adding lengthy passages of markup tags that will not be interpreted from the digest by most email programs or by a web browser when viewing the list archive. Note, however, there is no problem with sending clickable URLs in HTML format. Microsoft Outlook and Netscape Communicator users take note! You may need to specify "plain text" or "ASCII text" or "text only" in the outgoing messages section of your application Preferences. Check your application's Edit | Preferences or Help menus for further details. -- Christopher W. Alexander poetics list moderator ========================================================================= Date: Fri, 28 Apr 2000 12:55:09 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Pritchett,Patrick" Subject: Re: eloquence: a ramble MIME-Version: 1.0 Content-Type: text/plain Aldon's right -- fashion is a poor of index for determining what one ought to read or not. Rumors of Derrida's demise are greatly exaggerated anyhow, driven by the same avaricious trendiness that vaulted him to the top of academic reading lists. The work will survive, no matter. This reaction seems to me aimed more at the pieties erected around portions of his early work by the Yale Decons et al. The later Derrida fully merits attention -- and is receiving it in a very engaging way from such interlocutors as John Caputo, for one. Patrick Pritchett ========================================================================= Date: Sat, 29 Apr 2000 11:47:14 CDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Joel Felix Subject: LVNG Magazine Mime-Version: 1.0 Content-Type: text/plain; format=flowed Hello List LVNG 8 is now available. LVNG is a chicago based free magazine of poetry, essays, fiction and art. LVNG 8, "the great lakes issue"'s features cover art from this list's own Michael Basinski, a knock-your-eyeballs-out orgy of collage. The contributors to #8 live within 60 miles of great lakes shore. Such as (a small sampling); Chicago: Sterling Plumpp, Ralph J. Mills, Jr, Devin Johnston, Paul Hoover, and architect Doug Garofolo. Milwaukee: Clark Lundberry, K. M. Koenigs. Detroit: Carla Harryman, Chris Tysh. Ontario, Nathalie Stephens, Greg Evason. Buffalo: Linda Russo, Tom Fisher, Joel Bettridge, and others. If we had it do over again, we would represent Cleveland. [seriously, any tips on what's there? Please inform if you yourself are working living in Cleveland or know [of] someone...] Ruling ideas are like that, full of holes. Please send your name and felixlvng@hotmail.com backchannel, with 3 dollars for mailing cost. Some 30 copies are still available of LVNG 7, featuring work from K. Prevallet, N. Mackey, C. Eshleman, C. Bok, Lynne Tillman, Terry Winters, others. For #7 and #8 please send 5 dollars for ship. (LVNG 8 "the hole in the ruling idea") LVNG Magazine "creating public space" eds, Joel Felix, Michael O'Leary, Peter O'Leary P.O. Box 3865 Chicago, IL 60654-0865 ________________________________________________________________________ Get Your Private, Free E-mail from MSN Hotmail at http://www.hotmail.com ========================================================================= Date: Sat, 29 Apr 2000 16:18:45 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Stephen Cope Subject: A BTP Reminder! Comments: To: rgiraldez@hotmail.com, boureeiv@aol.com, 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, eslavet@ucsd.edu, lit-grads@ucsd.edu, urigeller@excite.com, smalina@san.rr.com, reevescomm@earthlink.net, mcarthy@sandiego-online.com, interarts-l@ucsd.edu, lrice@weber.ucsd.edu Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" A reminder to all! Hope to see you there! Stephen **** BEYOND THE PAGE continues its monthly series of literary and arts events with the following reading/performance: What: Louis Cabri and Nicole Markotic read from their work. Where: Faultline Theater, 3152 5th Avenue (at Spruce), San Diego. When: Sunday, April 30th, 4PM. ************************* * LOUIS CABRI'S recent poetry has appeared in _Open Letter_ (Toronto), _The Capilano Review_ (Vancouver), _FillingStation_ (Calgary) and _Arras_ (online), and is forthcoming in _W_ (Vancouver) and _dANDelion_ (Calgary). He edits and curates the poets' newsletter and reading/talk series, _PhillyTalks_, and, with Rob Manery, _hole_ chapbooks. Cabri is writing a dissertation on the poetics of political economy at University of Pennsylvania. * NICOLE MARKOTIC is a poet and fiction writer from Calgary, Alberta. She teaches English Literature and Creative Writing at the University of Calgary, co-publishes the chapbook press, disOrientation books, is Poetry Editor for Red Deer College Press, and is one of the editors on the collective of Tessera magazine. Her first book is the prose poetry collection, _Connect the Dots_ (Wolsak & Wynn), her second book is a novel, _Yellow Pages_ (RDC Press), and her most recent book is a collection of poetry, _Minotaurs & Other Alphabets_ (Wolsak & Wynn). ************************** As always, beer, wine, and refreshments are available. A $3-5 donation is requested (to cover overhead and travel costs) with nobody turned away at the door for lack of funds. 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, 30 Apr 2000 03:20:58 -0400 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" Tuesday, May 9th: GEORGE SAUNDERS (CivilWarLand in Bad Decline; Pastoralia) and DANIEL MENAKER (The Treatment) read at the Russian Samovar 256 West 52nd St. 7:00pm; $3.00 (Please come early, as space will be limited.) ---------------------------------------------------------------------------- ---------------------------------------------- if you'd like to be removed from this mailing list, just ask. thanks. ========================================================================= Date: Mon, 1 May 2000 17:51:07 +0100 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: hazel smith Subject: Keys Round Her Tongue Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" My new book Keys Round Her Tongue: short prose, poems and performance texts, Soma Publications,2000 is out. It can be ordered by email from Soma Publications at dr.metagroove@mindless.com and costs 6 pounds, 15 Australian dollars, or 12 American dollars, plus mailing costs. I also now have a web page at www.australysis.com. with details of publications and links to my hypermedia works. Hazel Hazel Smith School of English University of New South Wales Sydney 2052 ph.+61 2 9523 2732. See my web page at www.australysis.com ========================================================================= Date: Mon, 1 May 2000 13:11:00 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group Comments: RFC822 error: Incorrect or incomplete address field found and ignored. From: The Iowa Review Web Subject: New hypermedia at The Iowa Review Web, 1 May 2000 MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII \ ***sorry for xposting*** ] New at The Iowa Review Web, 1 May 2000 Michael Joyce: Reach ] Forthcoming: 15 May, 2000 Jim Andrews: Divine Mind Fragment Theater ] http://www.uiowa.edu/~iareview/ ========================================================================= Date: Tue, 2 May 2000 10:08:12 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Charles Bernstein Subject: Re: Douglas Oliver: Independent Obit Mime-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Simon Pettet passed this obituary on to me. It is by Nicholas Johnson and= appeared in The Independent **** DOUGLAS OLIVER (1937-2000) THE WORK of the poet Douglas Oliver remains an anomaly in late 20th-century= English poetry. Spanning 35 years, it reveals a contrary nature; erudite,= self-taught and dignified, defiantly old-fashioned if not Blimpish. He was= a poet, but no less a novelist; lecturer, journalist and translator -= exilic researcher, inventor of forms. His writings investigated the= instability of language, pitched against the language of political and= social upheaval, grief and human vulnerability. While possessing an English= register, often formal, his poetry works in larger contexts. The Infant and= the Pearl (1985), his most celebrated poem, satirised the reductive values= of Thatcherism. She was wearing a pearly suit, not silver-rose pink, since sadly we seemed to be sharing a black and white world. But the bearing of the front passenger meant a man for the media to deal with delicately: a Joseph for dreaming and descrying dreams in the eye of his leader. Oliver was born in 1937, in Southampton, and brought up in Branksome, next= to Bournemouth, the youngest of three children. His Glaswegian father was= an insurance manager. Home was Browning Avenue, a dilapidated 19th-century= cliffside estate built for Sir Percy Shelley, son of the poet. Robert Louis= Stevenson, who wrote Dr Jekyll and Mr Hyde in Bournemouth in the 1880s,= became one of Oliver's heroes, an instructor in "how to wrestle with the= presbyterian background in a way which restores honour to the parents".= Stevenson's house (Shelley's manor), King's Park, where Douglas and his= brother Brian watched boxing matches, and Christchurch harbour, where he= studied sea and shore birds, were childhood haunts. The immediacy of= childhood never left one, he believed, and was used by boxers, priests and= politicians to gain power over their opponents' identity. He researched= such vocations avidly; they were his prey but he was also subject to them.= Bournemouth School, a grammar, was not happy for him and he did not stay= beyond O levels. Following National Service as an RAF accountant, he went= into journalism, first in Coventry, then in Cambridge, where he became a= staff reporter on the Cambridge Evening News. His first wife, Janet Hughes,= a primary schoolteacher, whom he married in 1962, is memorialised in the= opening phrase of his collected poems, "You know I'm working Jan." They had= three children, Kate, Tom and Bonamy. The poet J.H. Prynne, responding to Oliver's review of his second book,= Kitchen Poems (1968), welcomed Oliver in Cambridge to a new clan, poets= with shared empathies and raucous night lives. Oliver is remembered as a= ferocious and unprincipled player of the board game Diplomacy; sharp at= poker too. He researched in philosophy, witchcraft and theology, but= remained a journalist, with a privately disturbing family life. Oppo Hectic (1969; from "o poetique"), his first book, was published by= Andrew Crozier's Ferry Press. Ferry would consistently publish Oliver= between 1969 and 1985. Oppo Hectic's 24 poems and discrete pieces fused Pop= Art, post-Victoriana ('Flesh-blue birds / two men sit on / khaki rocks /= eating birds gannets . . . Guillemot fry-up / with guano and dry seaweed= fuel . . How long a feast? dodo bell-name remorse / laughter peals / more= guillemot guillemot') and domestic poem into something both erudite and= witty. The wit verged on satire, came naturally and was not played for= laughs. So my word, love, attaches to the lining of his oyster mouth; we'll let him prosper it. Then Tom will announce, one day: My father's dead. You're my father.? Tom, who was born with Down's Syndrome, died before his second birthday in= 1969. His presence became a constant motif, centring around the notion of= 'harmlessness' in many of his father's subsequent books. In the Cave of= Suicession (1974) was set in Suicide Cave, an abandoned lead mine in= Derbyshire's Peak District. Oliver slept there for many nights over a= period of months to achieve proximity to his subject, which drew in his= dead son. Cave was reproduced as he had typed it in the dark, mistyped, the= typos subverting a razor-sharp narrative, creating working contrasts= between surfaces and their durability. A Now write for me the story of a man who acts so badly that I cannot be his oracle, who lives with these failures w don continually reminding him of= what he cannot do; and then write me the tale of how he yet does something worthy of me. Q How shall I write this? A By living it; that rule has not changed. Oliver's first novel, The Harmless Building (1973), was set in a town on the= south coast of England, one late August afternoon, the twin objects of= Donald's ambition were both asleep, the baby in the carrycot upstairs in a= room of that Georgian museum building, and Uncle Richard in an armchair in= his Victorian house only a mile or two away. A train crashes. The= idiosyncrasies of a dysfunctional family are portrayed through bereavement= and catastrophe. This colourful work, its frequent incidents owing more to= concepts of sixth sense and premonition than the subconscious, also= deferred to French Structuralism. Oliver was fluent in French, having left= Cambridge for Paris to work as translator for Agence France-Presse in the= late Sixties. Stylistically, The Harmless Building prefigured the early= films of Peter Greenaway: In the park, late-abed seagulls circled overhead, calling ? Jacques Lacan, Jacques Lacan?, without giving further details. Oliver returned to England in 1972, to Brightlingsea, where he read= Literature at Essex University. He was offered a post there on his= graduation day having achieved the most distinguished BA in the= university's history. He taught part-time for five years, becoming close to= the critic Herbie Butterfield and, important to the latter part of his= life, two poets from New York, Ted Berrigan and Alice Notley. He composed= The Diagram Poems (1979) in Essex from syndicated reports on the Tupamaros= guerrillas in Uruguay, empathising with the Robin-Hood-style bandits. He= cast a searching light on the indistinct politics of revolutionary violence= and its barbaric suppression. The early 1980s were marked by nervous illness, of which psoriasis was only one manifestation. This period saw a rekindled interest in boxing, in counterpoint to Jainism (the respect of every living creature, a belief to which he devoutly kept). Peter Ackroyd, when at The Spectator, would= despatch him to Italy to review boxing matches. In 1982 he took a lectureship at the British Institute in Paris, teaching French pupils. Exhausting ferry= crossings each weekend back to England and further work that took him as far as Haiti and Grenada strained his marriage and separation ensued. The Infant and the Pearl was based on the 14th-century alliterative poem= Pearl. He created a somnambulist voyage in a car with Margaret Thatcher and= various cabinet ministers. Melancholy, deftly rhymed, seeing further ahead= than the drive, Infant is more than an allegory on power: The hills, though, were free, free of disorder, hills of privilege, of prerogative governance, a regime arising from the ruins of order: lording it over the lean shires; once the same Britain, now they were Britain's border. In 1987 Kind, his collected poems, was published, dedicated to his son. In= the same year his correspondence featured in Iain Sinclair's novel White= Chapel, Scarlet Tracings. Earlier published work featured in A Various Art= (also 1987), an unusually precise anthology which paved the way for a new= readership, and, three years later through Sinclair, his editor at Paladin,= Three Variations on the Theme of Harm. Nineteen eighty-seven was= significant, too, for his renewing his friendship with Alice Notley. Her= husband, Ted Berrigan, had died four years earlier. Oliver and Notley= married. They settled in New York. His later work evokes the friendship= with her sons Edmund and Anselm Berrigan, today also poets. Oliver worked as a computer programmer in a cancer hospital and as a contact= tracer for HIV patients. Penniless Politics (1991), set in New York, was a= photocopied text Sinclair, as 'Hoarse Commerce', published in 150 copies= and received unusual attention for a fugitive publication. 'What was the= shock like,' asked Howard Brenton in The Guardian, reading T.S. Eliot's The= Waste Land when it was published in 1922? I think I know. I've just read= Douglas Oliver's epoch-making long poem Penniless Politics. I never thought= I would read anything like it in the 1990s. Penniless Politics sets the= literary agenda for the next 20 years. Further media coverage followed, and= Bloodaxe, not known in 20 years for recognising experimental poetry,= reissued the book in 1994. In 1992 Notley and Oliver settled in Paris, where Oliver resumed teaching at= the British Institute. Three years later they both read at Mike Goldmark's= 'Return of the Reforgotten' event at the Royal Albert Hall in London= alongside Allen Ginsberg, Sorley MacLean and Denise Riley. From 1996 to= 1998 Penguin, Talisman in the United States and Etruscan Books published= variants on Oliver's ongoing projects. The Shattered Crystal, still to be= published in full, partly derives from his friendship with Gis=E8le Celan-= Estrange, the Romanian poet Paul Celan's widow. Oliver read this on his= final visit to England ? at the London festival For the Locker and the= Steerer in March last year. A handful of rich, yet sparse, works like 'Well= of Sorrows in Purple Tinctures', 'The Oracle of the Drowned', 'The Heron'= and the sequence 'What Fades Will Be' also retain an evanescent quality= where phrases and cadences flicker much like the ghosts Oliver became= increasingly haunted by. Douglas Oliver was emotionally telepathic, gentle and almost devout. He was= generous with his time and his advice; he did not believe there were no= answers, but neither did he insist upon them. He was publicly supportive of= writers half his age like D.S. Marriot and Helen Macdonald. He researched= the run-down banlieues of Paris for his novel cum autobiography Whisper= Louise,a dialogue with the 'Red Virgin' of the Paris Commune of 1871,= Louise Michel. Last month Brian Oliver proof-read Whisper Louise's final= chapter, while his brother's body gave way to cancer. His last walks in the= city he loved were walks to stave off pain. His last four months showed= courage and concern for others, as he lay in bed in his and Alice's one= room unable to stand because so much of his spine had been cut away. I= retain an abiding image of Doug Oliver, when I last saw him in December,= psoriasis bleached out of his face by chemotherapy, ever blackbird-like;= surrounded by books, papers, collages and coins. His last book, A Salvo for= Africa, reflecting from a purely European perspective on the future of= Africa, some 10 years in the gestation, was published four weeks ago. Nicholas Johnson Douglas Dunlop Oliver, writer: born Southampton 14 September 1937; married 1962 Janet Hughes (two daughters, and one son deceased; marriage dissolved 1987), 1988 Alice Notley; died Paris 21 April 2000. =20 ========================================================================= Date: Tue, 2 May 2000 12:27:01 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Charles Bernstein Subject: Milton Kessler (1930-2000) Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Milton Kessler, Poet and Professor of English at SUNY-Binghamton (since 1963), died April 17, 2000 at the age of 69. His books included: The Grand Concourse (Binghamton, NY : MSS paper book, 1990) Sailing too Far (New York:: Harper and Row. 1973) Woodlawn North, preface by Elizabeth Bishop (Boston : Impressions Workshop, 1970) A Road Came Once, frontispiece by Ben Shahn (Columbus, Ohio State University Press, 1963) Milton Kessler has a poem in "The Final Issue" of Sulfur (45/46), which is just out. Here is an excerpt: Walk to the epicenter of leaves on grass struggle to keep carrying heavy bones as I must each biblical day far from any bench and without breath Exhale Expire ..... I failed to find help in the tools of poetry. When asked what was wanted, fell into deafness--rain. Pain became frozen reason To make up for the years without you, reader, I hug suffering and illness which comfort me like the shoulders of a sweet roll at Reznikoff's ..... How can I leave you, reader, just having found you again in your corner-seat, empty pages shaking. But I have an appointment with sleep. No rimes left for subway souls. ..... (from "New Month") ========================================================================= Date: Mon, 1 May 2000 14:00:39 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Edward Foster Subject: The Russians and the Americans In-Reply-To: <000a01bfb12c$20d26540$17000001@doswlan> MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII I was asked over the week-end by people who could attend only part of the Russian/American poetry festival if I would provide a general summary of the readings and discussions for this listserv. I agreed, but too hastily, because in fact there was too much happening and too many people involved to make a quick summary. I hope it will be enough to say that the festival involved not only a great range of American poets (from Jackson Mac Low to Samuel Menashe) but also the greatest range of Russian poets ever to read together in the United States. There have been several earlier festivals of Russian poetry in San Francisco, here at Stevens, and elsewhere in the past decade, but they have generally included only poets who began publishing in the 1980s or before. Also these festivals have mostly not represented either women or gay writers adequately. The Russian/American poetry festival this past week-end, therefore, included very strong representations of younger poets, women poets, and gay poets as well as poets who do not come from St. Petersburg or Moscow (most of the Russian poets known to Americans are from one of these cities, and this distorts the picture considerably). I hesistate to begin naming poets and describing individual readings for fear of overlooking others or misrepresenting the occasion. I would only add that there were some great discoveries for us -- truly wonderful readings by Polina Barskova and Galina Ermoshina and Alexandra Petrova and Yaroslav Mogutin and Dmitry Volchek and Dmitry Voddenikov and . . . . And there's the problem. How can you begin to describe the work of poets like Barskova and Voddenikov who are as yet unknown to most of us? Most of the people who read will be represented in John High's _Crossing Centuries_, but it's also necessary to hear the language in order to know how large an edge the Russians have over us. They are _very_ good! The only thing perhaps will be to have another festival, and bring them back, and not have so many things happening at the same time. ========================================================================= Date: Mon, 1 May 2000 12:05:24 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: David Kirschenbaum Subject: FYI/Overpriced O'Hara Book for Sale (not by me) Mime-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Hello fellow listees, Saw this in the new John Lebow catalog, this real overpriced bookseller in New Hampshire. Wonder who has commissioned him to do the sale, or where he got a hold of it. Here's the description as it appears: 358. O'Hara, Frank. Meditations in Emergency. Grove Press, NY, 1957 Slipcase is somewhat worn and beginning to split at the rear joint. Except for being lightly faded the book is fine. Only ninety copies of the entire edition were hardbound, with fifteen containing drawings by Grace Hartigan. However, most of the fifteen had the drawings removed by Grace Hartigan's husband, who failed to renegotiate with the publisher. He removed the remained of the drawings and sold them separately. This is copy fifteen, which has had the drawings removed. However, it is signed and numbered by O'Hara. Additionally, this copy belonged to "Beat Poet" Anne Waldman, who later presented it to her husband, poet Lewis Warsh. A nice association with the Beats who were influenced by P'Hara. Rare in the smaller edition. $3,500.00 (yes, that's correct). Madness, david _______________________________________________________ Get 100% FREE Internet Access powered by Excite Visit http://freelane.excite.com/freeisp ========================================================================= Date: Mon, 1 May 2000 14:31:39 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: levitsk@ATTGLOBAL.NET Subject: Reminder Belladonna MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Reminder--Belladonna this Thursday! Totally interesting and wildly diverse: Marilyn Hacker, Yvette Christianse, kari edwards Read Bluestocking Women's Bookstore May 4, 7:00 pm 172 Allen St. bet. Rivington and Stanton Call for more info 212-777-6028 Please pass this to New York friends--it is going to be a great reading! ========================================================================= Date: Mon, 1 May 2000 14:54:16 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: levitsk@ATTGLOBAL.NET Subject: from kari edwards, sneak preview MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 8bit go this way quickly watch out we’re looking for the punchline – periodic patterns. . . that’s right, someone dies, the discussion turns to anthropology, then it gets really personal, x replaces y. the telephone book is rewritten. there was a recent chernobyl, no one waited for the punchline. outside 60 serious clowns sing “buy this shirt,” which is really a label, which is really places where identity falls in the mosh pit on lower broadway. ========================================================================= Date: Mon, 1 May 2000 20:50:36 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jamie Perez Subject: wanted fluent arabic writer (preferably Egyptian) MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit This is completely on a lark, but I have a great and immediate need for someone fluent in written Arabic and hopefully very familiar with Egyptian contemporary culture. A variety of writing experience wanted, but we can discuss that more in detail later. Oh, and you need to live in the U.S. (preferably the east coast). This is for a short term (one month, maybe more) gig. So there is probably one person out there at most that comes close to fitting the description. If you are that one person, please contact me backchannel as soon as possible and we can discuss in greater detail (best if you can include phone number and a time I can contact you). If you know that one person and they are not on this list, please put them in touch with me. I wish I had posted this a week ago. jamie.p perez@magnet.com ========================================================================= Date: Tue, 2 May 2000 12:41:22 +1200 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Peter Fogarty Subject: Re: Baraka contact query In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed >Who is Amira Baraka? You may remember him better as LeRoi Jones ========================================================================= Date: Tue, 2 May 2000 06:43:32 -0500 Reply-To: Ron Silliman Sender: UB Poetics discussion group From: Ron Silliman Subject: Kent State MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit A day that changed the life of everyone I knew, May 4 will be the 30th anniversary of the shootings at Kent State: http://www.kent.edu/may4/index.html ========================================================================= Date: Tue, 2 May 2000 10:40:17 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "K.Angelo Hehir" Subject: visual semiotics conference MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII > >Association internationale de semiotique visuelle/International >Association for Visual Semiotics/Associacion internacional de semiotica >visual > > Appel de communications/Call for Papers (Premier appel/First Call: >avril 2000) > > VIe Congrs mondial de lAISV/6th World Congress of the IAVS > Qubec 2001(Vieux-Port)/Quebec City 2001 (Old Port) > 16-21 octobre 2001/October 16-21 2001. > > The 6th World Congress of the International Association for Visual >Semiotics (IAVS) will be held from October 16-21 2001 in Quebec City >(PQ., Canada) at the Old Port, under the auspices of the CELAT (Centre >d'Etudes interdisciplinaires sur la Langue, les Arts et la Tradition) of >the Facult des Lettres of Laval University. > > The central theme under discussion during the Quebec City congress will >be: The Visual in the Age of the Post-Visual. > > Sub-themes will include: > - the visual, the cultural, the intercultural, the intergenerationnal, >the interdisciplinary, the intermedia; > - visuality, time and space, sensory-cognition, polysensoriality; > - cultural cognition and space cognition; > - visual imagery, mass imagery, digitalized imagery, virtual imagery; > - new information technologies and new artistic medias: >computer-produced art; internet art, 3Ds Sculpture, etc.; > - artistic and non-artistic objects: medical object, ethnographic >object, advertising and marketing object, etc.; > - the arts of action and the spectacular object: performance art, >theater, dance, fashion, music, etc. > > Prestigious conferences by guest lecturers, plenary conferences on the >present-day world-wide status of visual semiotics, sessions of >communications, thematic workshops, and round-tables are planned for >this 6 day congress that will be held in Quebec Citys Old Port. Some >conferences will also be accessible live on the events www site. > > A call for papers is thus sent out to members of the IAVS and to visual >semioticians, as well as to interested researchers from neighbouring >fields (art theorists, historians of art, cinema studies experts, art >critics, museologists, estheticians, phenomenologists, linguists, >cognitivists, information and communication science specialists, >ethno-historians, etc.). > > Proposals (one page double-typed maximum) must be received by the >congress Organizing Committee either by E-Mail, FAX or regular mail no >later than October 1st, 2000. > > Mailing Address: > Professor Marie Carani > Dpartement dhistoire > Section Histoire de lart > Universit Laval > Qubec, Qc. > G1K 7P4 > E-Mail: mcarani@microtec.net > FAX: (Canada inter. code + (long-distance inter. digits)+ 418-656-3603 >(c/o Prof. Marie Carani) > Additionnal pertinent infos. are available at: >http://www.fl.ulaval.ca/hst/visio > AISV/IAVS > > >Association internationale de smiotique visuelle/International >Association for Visual Semiotics/Associacion internacional de semiotica >visual > > Appel de communications/Call for Papers (Premier appel/First Call: >avril 2000) > > VIe Congres mondial de lAISV/6th World Congress of the IAVS > Quebec 2001(Vieux-Port)/Quebec City 2001 (Old Port) > 16-21 octobre 2001/October 16-21 2001. > > Le 6e Congres mondial de lAssociation internationale de semiotique >visuelle aura lieu du 16 au 21 octobre 2001 a Quebec (QC, Canada), dans >le Vieux-Port, sous les auspices du Centre d'etudes interdisciplinaires >sur la Langue, les Arts et la Tradition (CELAT) de la Faculte des >lettres de l'Universite Laval. > > Le theme intgrateur retenu pour le congrs de Qubec est: Le visuel >l'ere du post-visuel. > > Les sous-themes de discussion aborderont: > - le visuel, le culturel, l'interculturel, l'intergenerationnel, >l'interdisciplinaire, lintermediatique; > - le visuel, l'espace-temps, le sensori-cognitif, le polysensoriel; > - la cognition culturelle et la cognition spatiale; > - l'image visuelle, l'image de masse, l'image digitalisee, l'image >virtuelle; > - les nouvelles technologies de l'information et les nouveaux medias >artistiques: art assiste par ordinateurs, art internet,sculpture en 3Ds, >etc.; > - les objets artistiques et les objets non-artistiques: medical, >ethnographique, publicitaire,...; > - les arts de l'action et l'objet spectaculaire: performance, theatre, >danse, mode, musique. > > Des grandes confrences de prestige, des confrences plenieres sur la >situation de la semiotique visuelle dans le monde, des sessions de >communications, des ateliers thematiques et des tables-rondes seront >organisees pendant les 6 jours que durera ce congres presente dans le >Vieux-Port de Quebec. Des conferences seront egalement diffusees en >temps reel sur le site web de l'evenement. > > Un appel de communications est donc lance aux membres de l'AISV et a >tous les interesse(e)s de la semiotique visuelle comme aux chercheurs >des domaines connexes (histoire et theorie de l'art, etudes >cinematographiques, museologie, critique d'art, esthetique, >phenomenologie, linguistique, sciences cognitives, sciences de >linformation et de la communication, ethno-histoire, etc.), pour qu'ils >participent a cet evenement Quebec 2001. > > La date limite pour la reception des propositions de communications >(une page en double interligne maximum) qui doivent etre envoyees au >Comite organisateur du congres par courriel, par FAX ou par la poste aux >adresses indiquees ci-dessous, est le 1er octobre 2000. > > Adresse de correspondance: > Professeur Marie Carani > Departement d'histoire > section Histoire de lart > Universite Laval > Quebec, Qc. > G1K 7P4 > courriel: mcarani@microtec.net > fax: (Code inter. du Canada + (interurbain inter.) + 418-656-3603 ( >l'att. du Prof. M. Carani) > Pour dautres informations, visitez le www a: >http://www.fl.ulaval.ca/hst/visio > AISV/IAVS ________________________________________________________________________ Get Your Private, Free E-mail from MSN Hotmail at http://www.hotmail.com ========================================================================= Date: Tue, 2 May 2000 16:02:58 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Poetics List Administration Subject: From Pierre Joris: May 6/ 4pm-Patton/Joris & Peyrafitte MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit From: "Pierre Joris" SATURDAY MAY 6 2000 4:00PM at Double Happyness 173 MOTT STREET just south of Broome in New York City: Poetry Reading / Performance JULIE PATTON NICOLE PEYRAFITTE & PIERRE JORIS $4/ Reading will begin promplty at 4pm ========================================================================= Date: Mon, 1 May 2000 17:28:10 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Harry Nudel Subject: Fwd: m&r....the the...XXX Harry Nudel wrote: > Leaving St. Mark's at 1l:00 i ask E. what Amiri Baraka's reading was like...he thinks and thinks again..."like a philosophical Oprah Winnfrey..." I missed the Baraka because was at the NEW SCHOOL at 7:00 for the politcally correct panel on AMERICAN POETRY; THE TWENTIETH CENTURY...three men 2 women: one african-american, one poet with initials for a first name, one indian-indian...covering all the bases..each picks 2 poets with spiel...Bob chooses his Maine Compatriot Marsden Hartley & Lorine Neidecker...and reads his years old preface from each..another day at the office...J.D. McClatchey...the Proem from THE BRIDGE..'spire and altar of the furies fused'..Claudia Rankine..Myna Loy...no Mabel..that;s not MYRNA LOY...that's LUNAR BAEDEKER LOY....worth some $$$$$...Vijah Seshadri...Robinson Jeffer's memorial to his wife cum wounded deer grave yard...and Anne Lauterbach apologizes for the "major cannonical male figure" Wallace Stevens "junkyard poem" ending with the line(s)...The The.... Fortunately, L has made us change our seats in this sparsely filled hall so when Ms/Prof/Mcarthy Winner/ Lauterbach gets to that other male canonical poetry figure BOB Dylan..we are in the last row and can tip-toe out without a fuss...The culture wars continue apace but one thing this panel is sure to agree on is that I WON'T be the next winner of 100 Grand TANNING prize...you can put money on that.. Walking east on 12st..towards the 2nd Ave Deli..and pastrami on rye and Matzah Ball soup..I'm caught by the crowd outisde the the NYU Italo-American building..peeking thru the window...i motion L up...food real food...just like early 8o's when each Soho opening was a chow-down...sure's enuf..i see right ahead of us..a PROFESSIONAL OPENER...cheap as dirt and the author of that famous study proving Mary Queens of Scots..(no, virginia, even i can't make this stuff up)was Jewish....2 canollis, some chicken marsala, and beef something or other (quite good) later...we're wined up on 12th heading East again... At the Church...Baraka is almost finishing...and seeing no reason to pay 7 dolllars...we wait for half-time...L. asks the young black man what the reading was like and he says: he came out here to regurgitate...the other young black women leaving is more politic and nuetral, she just says it's her first poetry reading... Finally in....I think whether to get Baraka to sign some stuff...but since I have circa 20-30 signed Baraka's & am computing the odds as to who;s going to kick off first...decide to take the night off...the 2nd Reader is Cecil Taylor...the famously famous Jazz pianist who proceeds to read a long long long longlong long over an hour and a half poem out of H.S. chemistry book...i'm mellow and don;t particularly care...i figure it;s just more of his Miles Davis impersonation of F.U. Whitey THE COLLECTED WORKS...but as the crowd thins one by African-American one...i figure maybe it;s just F.U THE COLLECTED WORKS...Baraka is in the back yawning and toking some suspicious stuff from a plain paper bag... I actually have a good view of the hottest woman there..tight red sweater over bulging chest..tight pants over hot hips...small pointed sharp boot-shoes...she keeps looking around to see if she's being noticed... she is....as Cecil wings it into the 2nd hour...she and her friend start to leave...and i amble outside to get a last look..where i notice she's talking to two BLACK men...one a poet i know...as she walks away and their eyes follows her hips...their eyes have a dazed look ..like..like.. Over Over..clap clap..oh f..k..play the piano Cecil,..there is a cheese-wine reception...i don 't talk to this one because he never recognizes me..i don;t talk to that one because he takes only pictures of famous people..i'm left talking to myself & remember i used to be a Poet and actually wrote a poem this yr... Children and ALL LADIES...turn your eyes from the screen...this is TRIPLE XXX... ANOTHER SORT OF SONG inside yr ass it's cold inside the c..t it's hot at middle-age i swing toward life or death fearing what is/isn't -come, come, love carry us to what shall be.... ah..well..on the battlefields of poetry...i've got a chestful of purple-hearts...DRn... ========================================================================= Date: Tue, 2 May 2000 11:05:15 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: David Bromige Subject: Re: eloquence: a defense In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" >"authentic" > (which, if one is to assume there are simulations, presumes an > original) > there is a difference Isnt it rather a dynamic, where one person's authenticity causes others to become authenticized, including the original person as his/her utterance moves him/her from the true site of authenticity, the private mind, into his/her alienated social self? The authentic is a private matter, I dont see it can be agreed-upon w/o betrayal of what it means. Did the Earth move for you, too? Yes, but it all depends upon what you mean by Earth, and move. Did you enjoy my body? Uh, yes...was that what it was?--did you enjoy my simulated orgasm? Until you said that, yes [which just might constitute an authentic moment].... Words of a long-lapsed Lower-church Prot. ========================================================================= Date: Tue, 2 May 2000 12:36:51 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: David Kirschenbaum Subject: Ginsberg site marked in Berkeley Mime-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Hello all, FYI, from a recent piece an old friend of mine wrote in the SF Chronicle. as ever, David Poet Allen Ginsberg penned much of the poem ``Howl'' at a now-demolished cottage on Milvia Street in Berkeley. The site was unmarked until recently, when the school across the street, the Arts Magnet Elementary School, built a commemorative poetry garden. A plaque will go up later. BERKELEY Poetry Garden at Berkeley Arts Magnet at Whittier School, Milvia and Lincoln streets. (510) 644-3971. _______________________________________________________ Get 100% FREE Internet Access powered by Excite Visit http://freelane.excite.com/freeisp ========================================================================= Date: Tue, 2 May 2000 10:37:14 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Aaron D Levy Subject: I Call it Art >> Conference ARCHIVES 5.02.00 MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Announcing the release of the Kelly Writers House // Spring 2000 Junior Fellows Conference Archives: "I call it Art: Naming and Abstraction" >>> http://www.english.upenn.edu/~adlevy/conference <<< /// Featuring lectures by: | Alex Baker Associate Curator, ICA | Gregory Flaxman Comp. Lit, UPenn | Rayna Kalas English, UPenn | Aaron Levy Junior Fellow, Kelly Writers House | Jean-Michel Rabate English, UPenn | Bernard Stehle English, Comm. College of Phila. As part of the ongoing critical concern in and out of the academy with the intersection of word and image, this one-day conference and roundtable specifically questioned the application of language to visual imagery. Of particular interest were the techniques by which we invent a specific language to represent abstract imagery. The conference was thus about how to relate to the abstract and how to describe that relationship. To access the audio/video archives through the web, download a free copy of RealPlayer (www.real.com), then go to the conference page and click on the link entitled > conference.archives < _________________________________________ /// For more information on this conference, contact: Aaron Levy, Resident Junior Fellow, Kelly Writers House at adlevy@english.upenn.edu or www.english.upenn.edu/~adlevy | Aaron D. Levy Resident Junior Fellow Kelly Writers House University of Pennsylvania www.english.upenn.edu/~wh www.english.upenn.edu/~adlevy ========================================================================= Date: Tue, 2 May 2000 10:37:29 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Aaron D Levy Subject: PhillyTalks >> ARCHIVES << RELEASE 5.02.00 MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Announcing the release of the PhillyTalks Archives: >>> http://www.english.upenn.edu/~wh/phillytalks <<< PhillyTalks is a dialogue with contemporary poets. "PhillyTalks," the event, presents both a reading by the poets and a panel discussion. The panel format is an invitation to extend the conversation together. /// Featuring transcripts and readings by: | PhillyTalks #1: Laura Moriarty & David Bromige | PhillyTalks #2: Jackson Mac Low & Andrew Levy | PhillyTalks #3: Ron Silliman & Jeff Derksen | PhillyTalks #4: Tina Darragh & Jena Osman | PhillyTalks #5: Rodrigo Toscano & Alan Gilbert | PhillyTalks #6: Responses to Phillytalks 3; Post-Reading | PhillyTalks #7: Brian Kim Stefans & Fred Wah | PhillyTalks #8: Rod Smith & Bruce Andrews | PhillyTalks #9: Melanie Neilson & Heather Fuller | PhillyTalks #10: Steven Farmer & Peter Gizzi | PhillyTalks #11: Ammiel Alcalay & Tom Mandel - Transcript | PhillyTalks #12: Andrew Levy & Jackson Mac Low - Transript | PhillyTalks #13: Rachel Blau DuPlessis & Barrett Watten | PhillyTalks #14: Dan Farrell & P. Inman | PhillyTalks #15: Kevin Davies & Diane Ward | PhillyTalks #16: Sianne Ngai & Abigail Child Accessing the archives through the web requires free copies of Adobe Acrobat Reader (www.adobe.com) and RealPlayer (www.real.com). Best, Aaron Levy _________________________________________ /// For more information on the series and/or archives, contact Louis Cabri (lcabri@english.upenn.edu), Editor and Aaron Levy, Coordinator/Archives, Resident Junior Fellow, Kelly Writers House at adlevy@english.upenn.edu | Aaron D. Levy Resident Junior Fellow Kelly Writers House University of Pennsylvania www.english.upenn.edu/~wh www.english.upenn.edu/~adlevy ========================================================================= Date: Tue, 2 May 2000 16:19:41 -0400 Reply-To: patrick@proximate.org Sender: UB Poetics discussion group From: Patrick Herron Subject: Re: Baraka contact query In-Reply-To: <4.3.1.2.20000502124014.00bcf100@pop.ihug.co.nz> MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit I think Bowering's intent was to display his frustration with the misspelling of Baraka's first name "Amiri," not to find out who Baraka is. Once I wrote that I would be in "SF" and George (who lives in that one city that people across Amerika know well by those two letters) posted, "Where is SF? Santa Fe?" I think these actions display Bowering's idea of having fun, or his idea of giving editorial advice, or his idea of penance, or something along at least one of those lines. Or heck, maybe it's just merely an e-reflex. Patrick Herron -----Original Message----- From: UB Poetics discussion group [mailto:POETICS@LISTSERV.ACSU.BUFFALO.EDU]On Behalf Of Peter Fogarty Sent: Monday, May 01, 2000 8:41 PM To: POETICS@LISTSERV.ACSU.BUFFALO.EDU Subject: Re: Baraka contact query >Who is Amira Baraka? You may remember him better as LeRoi Jones ========================================================================= Date: Tue, 2 May 2000 13:28:26 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Elizabeth Treadwell Subject: Outlet (6) delay deal Comments: cc: WOM-PO@listserv.muohio.edu Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Hello all and excuse the cross post! I just wanted to let folks know that Outlet (6) Stars will be out in midsummer (rather than March, May) for various happy and stressed out reasons of the editor. Anyway, it will be a great issue with work by Hazel Smith, Jocelyn Saidenberg, Ray DiPalma, Paul Long, Bruce Andrews, Bill Marsh, David Baratier, Linda Russo, Susan Gevirtz and many fabulous others....so keep yr eye out! cheers, Elizabeth ___________________________________________ Elizabeth Treadwell Double Lucy Books & Outlet Magazine PO Box 9013, Berkeley, CA 94709 USA http://users.lanminds.com/dblelucy ========================================================================= Date: Tue, 2 May 2000 16:40:41 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Philip Nikolayev Subject: Re: The Russians and the Americans Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" As someone who was there, I couldn't agree more with Edward Foster: it was a very diverse and rich event, and the socializing that ensued was also very interesting. Pity that Ivan Zhdanov didn't make it to Hoboken - a major poet and an old friend whom I haven't seen for years. Wasn't he denied his visa? What a shame! But other excellent people did make it! Philip Nikolayev At 02:00 PM 5/1/00 -0400, Edward Foster wrote: >I was asked over the week-end by people who could attend only part of the >Russian/American poetry festival if I would provide a general summary of >the readings and discussions for this listserv. I agreed, but too >hastily, because in fact there was too much happening and too many people >involved to make a quick summary. I hope it will be enough to say that the >festival involved not only a great range of American poets (from Jackson >Mac Low to Samuel Menashe) but also the greatest range of Russian poets >ever to read together in the United States. There have been several >earlier festivals of Russian poetry in San Francisco, here at Stevens, and >elsewhere in the past decade, but they have generally included only poets >who began publishing in the 1980s or before. Also these festivals have >mostly not represented either women or gay writers adequately. The >Russian/American poetry festival this past week-end, therefore, included >very strong representations of younger poets, women poets, and gay poets >as well as poets who do not come from St. Petersburg or Moscow (most of >the Russian poets known to Americans are from one of these cities, and >this distorts the picture considerably). I hesistate to begin naming poets >and describing individual readings for fear of overlooking others or >misrepresenting the occasion. I would only add that there were some great >discoveries for us -- truly wonderful readings by Polina Barskova and >Galina Ermoshina and Alexandra Petrova and Yaroslav Mogutin and Dmitry >Volchek and Dmitry Voddenikov and . . . . And there's the problem. >How can you begin to describe the work of poets like Barskova and >Voddenikov who are as yet unknown to most of us? Most of the people >who read will be represented in John High's _Crossing Centuries_, but it's >also necessary to hear the language in order to know how large an edge the >Russians have over us. They are _very_ good! The only thing perhaps will >be to have another festival, and bring them back, and not have so many >things happening at the same time. > ========================================================================= Date: Tue, 2 May 2000 17:10:43 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: George Bowering Subject: Re: Baraka contact query In-Reply-To: <4.3.1.2.20000502124014.00bcf100@pop.ihug.co.nz> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" >>Who is Amira Baraka? > > >You may remember him better as LeRoi Jones I dont think so. He changed his name to Amiri Baraka. -- George Bowering Fax 604-266-9000 ========================================================================= Date: Tue, 2 May 2000 21:01:42 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: Notice, less than periodic - MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Internet Philosophy and Psychology - May 00 (Because of my mother's death, this hasn't been sent out in a while. The Internet Text is being issued on a cdrom in June, by Railroad Earth in Atlanta; the cdrom will include audio, video, image, and other files as well.) This is a somewhat periodic notice describing my Internet Text, available on the Net, and sent in the form of texts to various lists. The URL is: http://www.anu.edu.au/english/internet_txt/ which is partially mirrored at http://lists.village.virginia.edu/~spoons/internet_txt.html. (The first site includes some graphics, dhtml, The Case of the Real, etc.) The changing nature of the email lists, Cybermind and Fiction-of-Philoso- phy, to which the texts are sent individually, hides the full body of the work; readers may not be aware of the continuity among them. The writing may appear fragmented, created piecemeal, splintered from a non-existent whole. On my end, the whole is evident, the texts extended into the lists, partial or transitional objects. So this (periodic) notice is an attempt to recuperate the work as total- ity, restrain its diaphanous existence. Below is an updated introduction. ----- The "Internet Text" currently constitutes around 100 files, or 4000 print- ed pages. It began in 1994, and has continued as an extended meditation on cyberspace, expanding into 'wild theory' and literatures. Almost all of the text is in the form of short-waves or long-waves. The former are the individually-titled sections, written in a variety of sty- les, at times referencing other writers/theorists. The sections are inter- related; on occasion emanations appear, avatars possessing philosophical or psychological import. They also create and problematize narrative sub- structures within the work as a whole. Such are Julu, Alan, Jennifer, and Nikuko, in particular. The long-waves are fuzzy thematics bearing on such issues as death, love, virtual embodiment, the "granularity of the real," physical reality, com- puter languages, and protocols. The waves weave throughout the text; the resulting splits and convergences owe something to phenomenology, program- ming, deconstruction, linguistics, prehistory, etc., as well as to the domains of online worlds in relation to everyday realities. Overall, I'm concerned with virtual-real subjectivity and its manifesta- tions, in relation to various philosophical issues. Recently I've been working with body issues such as sickness, health, and death, as well as a phenomenology of cancer; I've also been exploring issues of exhibition- ism and the ontology of transparency. (See file lj.) I have used MUDS, MOOS, talkers, perl, d/html, qbasic, linux, emacs, Cu- SeeMe, etc., my work tending towards embodied writing, texts which act and engage beyond traditional reading practices. Some them emerge out of per- formative language soft-tech such as computer programs which _do_ things; some emerge out of interferences with these programs, or conversations using internet applications that are activated one way or another. And some of the work appears from collaboration, for example with Barry Smylie (flash) or Azure Carter and Foofwa d'Imobilite (video, dance). There is no binarism in the texts, no series of definitive statements. Virtuality is considered beyond the text- and web-scapes prevalent now. The various issues of embodiment that will arrive with full-real VR are already in embryonic existence, permitting the theorizing of present and future sites, "spaces," nodes, and modalities of body/speech/community. It may be difficult to enter the texts for the first time. The Case of the Real is a sustained work that may be of help. It is also helpful to read the first file, Net1.txt, and/or to look at the latest files (lf, lg, lh, li, lj, lk) as well. Skip around. The Index works only for the earlier files; you can look up topics and then do a search on the file listed. The texts may be distributed in any medium; please credit me. I would ap- preciate in return any comments you may have. I should mention you can find my collaborative activities at http://trace.ntu.ac.uk/writers/sondheim/index.htm and my conference activities at http://trace.ntu.ac.uk - both as a result of my virtual writer-in-residence with the Trace online writing community. The last trAce project, the Lost Project, is at http://trace.ntu.ac.uk/lost/ . See also: Being on Line, Net Subjectivity (anthology), Lusitania, 1997 New Observations Magazine #120 (anthology), Cultures of Cyberspace, 1998 The Case of the Real, Pote and Poets Press, 1998 Jennifer, Nominative Press Collective, 1997 Alan Sondheim 718-857-3671 432 Dean Street, Brooklyn, NY, 11217 mail to: sondheim@panix.com -------------------------------------------------------------------------- ========================================================================= Date: Tue, 2 May 2000 22:39:20 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Geoffrey Gatza Subject: Re: Baraka contact query Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" At 12:41 PM 5/2/00 +1200, you wrote: >>Who is Amira Baraka? > > >You may remember him better as LeRoi Jones > I remembered him spelling his name Amiri, maybe he changed it again??? As simple an act as opening the eyes. Merely cominginto things by degrees Ever & Affectionately, Geoffrey Gatza ***************** Check out Step Online now only at www.daemen.edu/step Now: new improved Crunch ========================================================================= Date: Tue, 2 May 2000 23:38:47 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Rebecca Wolff Subject: it's almost summer: time to go to parties Comments: To: crumpacker@poetrysociety.org Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" > PARTY FOR CHOICE > > WHAT: A huge party! > WHY: To make contraception and abortion available to low-income women > > WHEN: WEDNESDAY, MAY 3, 2000 8 PM-?? > WHERE: CBGB'S GALLERY (313 Bowery at Bleecker St.) > HOW MUCH: Minimum $7 donation at the door > ALL PROCEEDS BENEFIT THE PARTY FOR CHOICE INITIATIVE > DIRECTIONS BY SUBWAY: B/D/F/Q to Bway/Lafayette or 6 to Bleecker St. > > WHO'S SPINNIN': DJ JENIFA MAYANJA (disco-inspired house, funk, drum 'n > bass, trance), MANUEL STONE (70s, disco, 80s, new wave), DJ DAC (80s and > old skool hip-hop), DJ RECEPTOR (hard house, techno, drum 'n bass) > > TELL ME MORE: Free drinks, t-shirts, buttons, stickers, and other > giveaways! > > WHO'S BEHIND THIS MADNESS: Barnard/Columbia Students for Choice (SFC) with > support from the Columbia Student Solidarity Network (CSSN), Queer > Awareness Month (QuAM), the Columbia Queer Alliance (CQA), CU College > Democrats, the Undergraduate Law Society, and Students Active for Ending > Rape (SAFER) and ROOF Books & The Figures cordially invite you to a book party at: Dactyl Foundation 64 Grand St New York, NY in Soho May 12, 2000 6-8pm The poets' books being celebrated are: Miles Champion THREE BELL ZERO Clark Coolidge ON THE NAMEWAYS Tim Davis DAILIES Michael Friedman SPECIES Michael Gottlieb GORGEOUS PLUNGE Joel Kuszai, editor POETICS@ Andrew Levy PAPER HEAD LAST LYRICS Tony Lopez DEVOLUTION Stephen Rodefer MON CANARD Corine Robins MARBLE GODDESSES WITH TECHNICOLOR SKINS PLEASE COME AND HAVE REFRESHMENTS ========================================================================= Date: Wed, 3 May 2000 00:35:21 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: carolyn guertin Subject: Re: Salaries In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Thanks, Joe, and to all of you who responded and sent breakdowns, article excerpts, etc. Hoping to hear from more of you yet. With thanks, Carolyn >geez, carolyn---a question i can answer, i think, though i'm not on a >hiring committee... i make it a policy to make such matters public... > >i started here last fall at u of colorado at boulder at $42K annually... i >think full-time non-tenured lecturers might make around $30K (not sure yet, >and i'm not sure whether they teach a 3/3---i'm on the enviable 2/2)... >adjuncts in english are being paid $4K per course... > >best, > >joe ___________________________________________________ Carolyn Guertin, Department of English, University of Alberta 3-5 Humanities Centre, Edmonton AB T6G 2E5 Canada E-Mail: cguertin@gpu.srv.ualberta.ca; Tel/FAX: 780-438-3125 Website: http://www.ualberta.ca/~cguertin/Guertin.htm Assemblage, the Online Women's Hypertext Gallery, at trAce: http://trace.ntu.ac.uk/traced/guertin/assemblage.htm ========================================================================= Date: Tue, 2 May 2000 14:12:42 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Nielsen, Aldon" Subject: Re: Baraka contact query In-Reply-To: <4.3.1.2.20000502124014.00bcf100@pop.ihug.co.nz> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" At 12:41 PM 5/2/00 +1200, you wrote: >>Who is Amira Baraka? > > >You may remember him better as LeRoi Jones Or you may remember him as Leroy Jones, or you may remember him as Imamu -- but given George's prodigious feats of memory, I believe he was wondering who this "Amira" is, since it's neither Amiri nor Amina -- ========================================================================= Date: Wed, 3 May 2000 10:14:02 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Small Press Traffic Subject: Nicole Brossard Reading 5/8 in San Francisco Mime-Version: 1.0 Content-Type: multipart/alternative; boundary="============_-1254748452==_ma============" --============_-1254748452==_ma============ Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Small Press Traffic Presents: Monday, May 8, 2000, 7:30 p.m. Nicole Brossard Co-sponsored with the Master of Arts in Writing at the University of San =46rancisco Nicole Brossard is one of the world's greatest writers and the most influential Canadian novelist of her generation. An innovative poet, stylist, essayist and feminist, she's the author of the poetry collections Daydream Mechanics, Lovhers, Typhon Dru, Installments, Musee de l'os et de l'eau; and the novels Picture Theory and Mauve Desert, and the nonfiction essay The Aerial Letter. She lives in Montreal (Quebec) and she has won the Governor General's award twice for her poetry (1974, 1984) and Le Grand Prix de Poesie de la Foundation les Forges in 1989 and in 1991. Early 2000 should bring the publication of "Installments," translated by Erin Mour=E9 and Robert Mejtels. Brossard hasn't been to San Francisco in fifteen years, since the epochal "Women and Words" conference at San Francisco State, and since then she has only grown more goddess-like and divine. Don't miss this rare theophany, on the highest hill of San Francisco-where the angels touch ground--and don't forget, it's not at our usual space, it's at USF. Lone Mountain 141 USF Lone Mountain Campus 2800 Turk Blvd., San Francisco =46ree _______________________ Small Press Traffic 766 Valencia Street San Francisco, CA 94110 415/437-3454 --============_-1254748452==_ma============ Content-Type: text/enriched; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Small Press Traffic Presents: Monday, May 8, 2000, 7:30 p.m. Nicole Brossard Co-sponsored with the Master of Arts in Writing at the University of San Francisco Nicole Brossard is one of the world's greatest writers and the most influential Canadian novelist of her generation. An innovative poet, stylist, essayist and feminist, she's the author of the poetry collections Daydream Mechanics, Lovhers, Typhon Dru, Installments, Musee de l'os et de l'eau; and the novels Picture Theory and Mauve Desert, and the nonfiction essay The Aerial Letter. She lives in Montreal (Quebec) and she has won the Governor General's award twice for her poetry (1974, 1984) and Le Grand Prix de Poesie de la =46oundation les Forges in 1989 and in 1991. Early 2000 should bring the publication of "Installments," translated by Erin Mour=E9 and Robert Mejtels. Brossard hasn't been to San Francisco in fifteen years, since the epochal "Women and Words" conference at San Francisco State, and since then she has only grown more goddess-like and divine. Don't miss this rare theophany, on the highest hill of San Francisco-where the angels touch ground--and don't forget, it's not at our usual space, it's at USF. Lone Mountain 141 USF Lone Mountain Campus 2800 Turk Blvd., San Francisco =46ree _______________________ Small Press Traffic 766 Valencia Street San Francisco, CA 94110 415/437-3454 --============_-1254748452==_ma============-- ========================================================================= Date: Wed, 3 May 2000 14:55:02 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Camille Martin Subject: purifying the language? Mime-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Can anyone help me with background for the idea of "purifying the language of the tribe?" Who first came up with the phrase? What's the historical backdrop for the idea and the context for its utterance? What do you think are the implications? Sources in which this idea is discussed would be appreciated. Thanks for your help! Camille Martin ========================================================================= Date: Wed, 3 May 2000 09:23:18 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Layne Russell Subject: Bromige Kicks Butt at Reading MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit I wasn't able to attend, but I heard from a friend that David was a smash hit at the Phoenix Theater reading in Petaluma CA with his famous "5 minute reading." I also heard that L. Ferlinghetti "read" completely from memory and was wonderful. (Sorry I couldn't make it David! I was thinking of you though!) Layne ========================================================================= Date: Wed, 3 May 2000 19:46:44 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Patrick Foley Subject: Re: eloquence: a defense In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Jonathan wrote: >Isn't the lack of eloquence being talked about here (by hyper-verbal >extremely articulate people) the rhetorical simulation of a lack of >eloquence? If someone were really inarticulate he or she would probably >desire the ability to be more eloquent. Just like dieting to lose >weight assumes the availability of a food supply. Just another >perspective on this fruitful thread... This sounds right, but I think it's really misleading. Now I may have gotten this wrong & maybe not all of my examples were well-chosen, but I don't think you can describe the one I start with, various performances by Van Morrison, as a "rhetorical simulation of a lack of eloquence". If that describes Michael Palmer's work, which I also mention, okay. But Elizabeth (I think) disagreed w/ my characterization of his work as ineloquent at all, and I think she's basically right in the sense that the distinctions blur around his work. Which is just fine by me. I think you can still say that you _don't_ have here an old-fashioned sort of aspiration to high-sounding eloquence. If you can't really decide whether this work is even articulate exactly, then we at least have something in some sense new. Okay, the other problem I have w/ yr remarks here is the classifying of _people_ as articulate or inarticulate. That's just wrong on its face. I never suggested that Van Morrison, say, is an inarticulate _person_. In fact I began by pointing out how appealing the range of his performance is, running a gamut from inarticulateness to a sort of musical eloquence. It's not _him_. It's the utterance from moment to moment, and the point I would head for is that sometimes it's harder & sometimes it's easier. To say what must be said. What you call articulate people can find themselves tongue-tied now & then. And sometimes powerful & moving expression can come from unexpected sources or at unexpected moments. Pat ========================================================================= Date: Wed, 3 May 2000 19:46:00 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Tisa Bryant Subject: Re: wanted fluent arabic writer (preferably Egyptian) Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit maybe Atel Adnan? anyone have contact info for her for jaime? I know she lives in N. California. just an (my only) idea... ---------- >From: Jamie Perez >To: POETICS@LISTSERV.ACSU.BUFFALO.EDU >Subject: wanted fluent arabic writer (preferably Egyptian) >Date: Mon, May 1, 2000, 5:50 PM > > This is completely on a lark, but I have a great and immediate need for > someone fluent in written Arabic and hopefully very familiar with > Egyptian contemporary culture. A variety of writing experience wanted, > but we can discuss that more in detail later. Oh, and you need to live > in the U.S. (preferably the east coast). This is for a short term (one > month, maybe more) gig. > > So there is probably one person out there at most that comes close to > fitting the description. If you are that one person, please contact me > backchannel as soon as possible and we can discuss in greater detail > (best if you can include phone number and a time I can contact you). > > If you know that one person and they are not on this list, please put > them in touch with me. > > I wish I had posted this a week ago. > > jamie.p > perez@magnet.com > ========================================================================= Date: Wed, 3 May 2000 19:46:39 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Tisa Bryant Subject: Re: Baraka contact query Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit Peter, backchannel me for that contact... ---------- >From: Peter Fogarty >To: POETICS@LISTSERV.ACSU.BUFFALO.EDU >Subject: Re: Baraka contact query >Date: Mon, May 1, 2000, 5:41 PM > >>Who is Amira Baraka? > > > You may remember him better as LeRoi Jones > ========================================================================= Date: Wed, 3 May 2000 23:10:32 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group Comments: RFC822 error: Incorrect or incomplete address field found and ignored. From: Prageeta Sharma Subject: READING IN BOSTON! MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit HELLO!!! PLEASE COME HEAR DAN BOUCHARD AND PRAGEETA SHARMA read poetry from their subpress books at Borders/Chestnut HIll May 18, 7:30 pm BOSTON HOPE TO SEE YOU THERE!!!! ========================================================================= Date: Thu, 4 May 2000 02:11:20 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jill Stengel Subject: reading may 14, san francisco MIME-Version: 1.0 Content-Type: text/plain; charset="UTF-8" Content-Transfer-Encoding: quoted-printable Synapse: Second Sundays at Blue Bar --presents-- May 14, 2000 Tisa Bryant and Beth Murray 2:00 p.m. $2.00 Blue Bar is at 501 Broadway, at Kearney, in SF enter thru Black Cat Restaurant, same address Currently (un)settled in San Francisco=E2=80=99s Mission District, Tisa Brya= nt was=20 born during the Vietnam War on an Air Force base in Tucson, and grew up in=20 Boston. Her writing has appeared or is forthcoming in the journals Blithe=20 House Quarterly, Chain, Clamour, Kenning, and Shellac; and the anthologies=20 Children of the Dream: Our Own Stories of Growing Up Black in America (Pocke= t=20 Books, 1999), Beyond the Frontier (Black Classics Press, 2000), Step Into A=20 World: A Global Anthology of the New Black Literature (John Wiley And Sons,=20 Fall 2000), and What Is Not Said. Tisa=E2=80=99s first chapbook is Tzimmes (= a+bend=20 press, 2000). Originally from the Midwest, Beth Murray now lives in San Jose, CA. Her=20 writing can be found in many journals, including Fence, Kenning, Mirage=20 #4/Period(ical), No Roses Review, Tinfish, and Volt, and her chapbooks are=20 Hope Eternity Seen on the Hip of a Rabbit (a+bend press, 2000); Into the Sal= t=20 (Lucinda, 1997); and Spell (Lucinda, 1999). With David Larsen, she co-edits=20 the San Jose Manual of Style, and plans their August wedding. __________________________________________________ please notify sender if you wish to be removed from this list ========================================================================= Date: Wed, 3 May 2000 09:12:33 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: William James Austin Subject: Re: Derrida Comments: To: Randolph Healy Thanks for the reply. But of course Derrida can be paraphrased. Norris has done a pretty good job with certain aspects of D's methodology. as have others. I agree we're working with difficult texts, but when has that stopped us? High modernism is difficult: Eliot, Pound, Stevens. So are the neo-modernisits: language poets. Plus surrealists, symbolists, etc. And most of us get Derrida in translation, so that compounds the difficulty. Part of the problem is that those boys we used to call the Yale School recast Derrida in their own image. Derrida is neither a nihilist nor a relativist. His target is language in the same way the target for Quantum physicists is the subatomic level. Come back. ========================================================================= Date: Wed, 3 May 2000 09:24:04 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: WHquestion Subject: UCE: Tell us something we don't know... MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Hi there. We were desperately looking for someone who knows: "WHat's the easiest way to get from Jakarta to the Suez Canal by train?" or -=20 "What is the meaning of the numbers on the tyres of cars. for examp: = "185/65R14" thanks." So, if you hold the answers to these essential questions, or have other = unique info bytes (and believe us, we have many questions) please stop = by WHquestion.com, and say hi. And yes, of course we know a nice reward is expected. As we said before, = tell us something we don't know... To answer the question click here: http://www.whquestion.com/emailentry.asp?p=3DSMK_qsTqr1rpI1AtQD_XvHkh=20 To see what's it all about click here: http://www.whquestion.com/ Not interested? cool, just reply to this email with "remove" as the subject line and we won't bother you again, savvy one. =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D= =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D= =3D=3D=3D=3D=3D=3D This message complies with the US Federal requirements as well as the Washington State Commercial Email Bill. Sender information: Neuronia Ltd. Email: contact@WHquestion.com, Tel: +972 (3) 6394304 =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D= =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D= =3D=3D=3D=3D=3D=3D WHat? WHere? WHy? WHen? WHquestion is the answer! http://www.whquestion.com/ ========================================================================= Date: Thu, 4 May 2000 03:16:05 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jill Stengel Subject: 5/5 and 5/6, los angeles, 3 events at beyond baroque MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit please read on for three great events at: Beyond Baroque Literary Arts Center 681 Venice Blvd. Venice, CA 90291 310-822-3006 Reading: Friday, May 5, 7:30 p.m. Norma Cole and Jill Stengel Norma Cole is a poet, painter, and translator. Her recent poetry publications are The Vulgar Tongue, Spinoza in Her Youth, and Desire and Its Double. Her text/image work, Scout, is forthcoming as a CD-ROM. Her current translation work includes Danielle Collobert's Journals, Anne Portugal's Nude, and Crosscut Universe: Writing on Writing from France. A Canadian by birth, Cole migrated via France to San Francisco where she has lived for the past 20 years. JJill Stengel is a San Francisco poet and publisher. She is the host of Synapse: Second Sundays at Blue Bar, a monthly reading series in San Francisco, for which her prolific a+bend press produces a companion chapbook series. She has recent/forthcoming work in Outlet, Poetry New York, Prosodia, WOOD, and the anthology Touched by Adoption; and her chapbook is History, Possibilities : . [Please note: Leonard Brink will not be appearing at this event.] and more! and more: also at Beyond Baroque this weekend: Saturday, May 6: Discussion, 2:00 p.m. Reading, 7:30 p.m. Discussion, 2 p.m.: Anselm Hollo and Lisa Jarnot will discuss a wide variety of topics, including poetic form and poetic practice, the art of translation and their experience of poetic influence. Admission fee for this discussion is $25.00. Reading, 7:30 p.m.: Anselm Hollo and Lisa Jarnot Prolific poet and translator Anselm Hollo has more than 35 books and chapbooks published. Some of his recent titles include: Caws and Causeries: Around Poetry and Poets; Corvus; and AHOE: And How on Earth. He lives in Boulder where he teaches writing at the Naropa Institute. Poet Lisa Jarnot lives in New York and is the author of The Eightfold Path, Heliopolis, Sea Lyrics, and Some Other Kind of Mission. Her second full-length collection of poems, Ring of Fire, is forthcoming from Zoland Books; and she is currently writing a biography of Robert Duncan. [Please note: Anselm Berrigan will not be appearing at either event.] ========================================================================= Date: Wed, 3 May 2000 10:44:15 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Kyle Conner Subject: HIGHWIRE READING 5/6 Comments: To: CAConrad13@hotmail.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, 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, charleswolski@hotmail.com, 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, Measurelvis@aol.com, 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, 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 *************************************************************** MAY 6, 2000 HIGHWIRE GALLERY 139 N. 2ND STREET PHILADELPHIA 8 PM BYOB TWO POETS: KEVIN LARIMER and RACHEL BLAU DUPLESSIS KEVIN LARIMER is an editor at POETS AND WRITERS. He recently graduated from the graduate writing program at Iowa. He writes realy cool poetry and he doesn't stay out too late. He lives with John Colletti. He's friends with Katy Lederer, editor of the Poetry Project Newsletter and Explosive! He chooses his friends like he writes, with care and precision. RACHEL BLAU DUPLESSIS is an essential element in the construction known as L-A-N-G-U-A-G-E Poetry. She teaches at Temple University where she's wowed and nurtured many of the up-and-coming, exciting new writers, e.g. Dave Baratier, Chris Stroffolino, Maggie Zurawski, Pattie McCarthy, Dan Bouchard, Chris McCreary, Yolanda Wisher, among many others. If you know any others please add to this list. ************************************************************************* LAST READING David Kirschenbaum and Daisy Fried, both very tall, showed off their stature at Highwire. David read from a tiny chapbook, Lately, Poems, among other work. David is a tremendous presence, not only does he write poetry but he publishes booglit magazine along with various chapbooks. He showed off the sort of charm that one must possess to be so productive. His poems were musical and referred to the many special poeple in his life. There is history in his work. Daisy Fried showed off the chops that won her Pew last year. She captivated the audience with her delicate and sensitive verse. I must admit that earlier that day I stopped into Dirty Franks to say hello to a friend and ended up there for 4 hours after about a dozen kamikazes and beers to follow. I was feeling like the Huncke I imagine scribbling on napkins in the Chelsea Hotel by the time Daisy went on, so my memory is foggy but I remember that I enjoyed it. **DON'T FORGET TO BRING YOUR GOOD USED WORK CLOTHING FOR POETRY FOR THE PEOPLE'S CLOTHING DRIVE!! HELP PEOPLE LIVING IN SHELTERS FIND WORK!!YOU WILL BE AWARDED WITH A GLOWING FEELING OF CIVIC PRIDE!! ************************************************************************ OTHER NOTEWORTHY EVENTS, SITES, AND VENUES Reviews That Should Have Been Written: Poetry, the Press, and Literary History May 6, 2000 1:00 5:00 PM Rosenwald Gallery, 6th Floor, Van Pelt-Dietrich Library Center, 3420 Walnut Street, Philadelphia Free Admission For more info or to RSVP: (800) 390-1829 or friends@pobox.upenn.edu A panel of distinguished poets and critics discuss the state of poetry reviews today. Panel discussion to be followed by readings and then a concluding reception. Poets: Imamu Amiri Baraka Eileen Myles Charles Bernstein Jennifer Moxley Critics: Steve Evans Alan Golding Moderator: Robert Perelman, University of Penna. English Department Barbara Hoyer Coordinator, 250th Anniversary Library Development Office Van Pelt-Dietrich Library Center University of Pennsylvania Phone: (610) 543-3254 Cell phone: (610) 574-8799 Fax: (610) 543-3254/(215) 898-0559 e-mail: hoyer@ben.dev.upenn.edu CYBERCORPSE 4 is now up: www.corpse.org This special issue introduces the New Orleans School for the Imagination. Applications are now being accepted. Read Lawrence Ferlinghetti on the State of Poetry, a never-before-translated play by Jean Genet, serial novels new and continued, Hariette Surovell's insider look at the women of the Cali Cartel, news from the revolution in Ecuador, the public art of Edie Tsong.Our Cafe is open. Check out the Black Box, 200 S. 12th Street between Walnut and Locust above Frangelica's. Thursday through Saturday they host performances from 10 PM to 2 AM. They serve drinks. Sounds like a groovy scene to hear some poetry. For more information contact Faith at fhaeussl@astro.ocis.Temple.edu. ______________________________________________________ Get Your Private, Free Email at http://www.hotmail.com ========================================================================= Date: Thu, 4 May 2000 09:53:26 +0100 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Roger Day Subject: Re: Derrida Comments: To: suantrai@iol.ie Mime-Version: 1.0 Content-type: text/plain; charset=us-ascii At 2000-04-28 09:12:36, "L. MacMahon and T.R. Healy" wrote: # Jonathon Mayhew wrote: # quote # One of the most enfuriating rules is the # prohibition against paraphrase. In other words, all paraphrases of # Derrida's thought that detractors (and even defenders) come up with are # said to be simplifications, or caricatures. This may be true in many # cases! But part of intellectual argumentation is the ability to say "so # what you are saying is that..." etc... You can do this profitably with # Wittgenstein but not with Heidegger or Derrida. # endquote I'm just reading "After Babel" by Steiner, and by a spooky coincidence, I came across this assertion: "Where language is fully used meaning is content beyond paraphrase" The thought occurred to me is this: given that assertion, how do we know that Derrida's language is "fully used"? One of the tools that might be used to determine this, is to paraphrase the language as a waystation to a fuller understanding. In my work, I constantly come across large chunks of code which I have to debug, and to do this I have to understand what the code is doing; however, a full understanding usually comes about by discovering "how it works" - I usually have to paraphrase the code, either by writing it as pseudo-code or a higher-level abstract, before going on to fully understand and debug the program. # In that one definition of a random sequence is that it cannot be expressed # by any sequence shorter than the original, this interesting prohibition # suggests that Derrida's texts are random. Those hundred thousand monkeys # better look to diversifying. Derrida must go through an awful lot of typewriters :-) # # I don't particularly like this definition in that it does not address the # question of the process by which the sequence is arrived at, i.e. 1, 1, 1, # 1, 1, 1, etc. by this light is non-random, yet it is conceivable that the # sequence could represent throws of a die. And whether the throw of a die is # random is ... # # best # # Randolph Healy # # Visit the Sound Eye website at: # http://indigo.ie/~tjac/sound_eye_hme.htm # or find more Irish writing at: # http://www.nd.edu/~ndr/issues/ndr7/contents.html # # _____________________________________________________________________ # This message has been checked for all known viruses by the # MessageLabs Virus Control Centre. For further information visit- # http://www.messagelabs.com/stats.asp # Roger _____________________________________________________________________ This message has been checked for all known viruses by Star Internet delivered through the MessageLabs Virus Control Centre. For further information visit http://www.star.net.uk/stats.asp ========================================================================= Date: Wed, 3 May 2000 12:23:57 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: William James Austin Subject: Re: visual poetry--Bob Grumman! / Grumman Comments: To: Bob Grumman Hi Bob! Most academics with clout are consumed by their own specialties. They sort of have to be if they're going to plant in their neck of the woods. The downside for us is that such folks have no interest whatsoever in the contemporary scene, especially if their specialties involve previous centuries. Only the really really famous ones like Vendler and Perloff feel confident, or feisty, enough to broaden their scopes. Can the same sensibility that is devoted to Keats give equal attention/appreciation to visual poetry? It's possible, but rare. There is also the nasty fact that most academics--hell, most people--simply don't like radical violations of narrative structure. They like what they like and there's not much we can do about that. In that sense they're not unlike us. To boot, it's not really the job of the academy to champion new forms, is it? The academy is more like a serious of roadblocks that force the new to earn its way. Once the doors are opened, profs will interrogate and preserve. And we do have a foot in the door. Give it time and vp will cross the threshold. ========================================================================= Date: Thu, 4 May 2000 08:53:33 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Funkhouser, Chris" Subject: Amiri & Cecil At the Church Comments: cc: "mythkiller@hotmail.com" MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Review of Baraka & Taylor at the Poetry Project Since Harry Nudel's account of the Baraka/Taylor reading in NYC last week was at least a little incomplete (and maybe unfair to the point of being offensive) I wanted to present a (re)view (defense?) of some of what else went down at that event, since both these poets have taught me to write (and right) the scales... The reading was in the sanctuary of St. Marks Church, about 80% full at the outset (a thoroughly mixed crowd, btw), probably 250-300 people on a grim (wet & cold) night weatherwise. Nice setting: downstage huge tropical plants from Hawaii, leftover from Easter, fresh roses by the podium; plenty of serious and engaged folk in the audience. After Ed Friedman's intro, Baraka began as he often does, by demanding the production of revolutionary journals and theaters. On the pulpit, he begins by reading part one of ALLAH MEAN EVERYTHING (see http://www-ec.njit.edu/~newrev/v2s4), which held the audience spell-bound. He continued by reading a series of shorter poems, including "Pilgrims Progress" (where both god & the devil are addressed as "motherfuckers"), and "Lo-Ku's" ("the african-american version of haiku", e.g. "you can pray all day/and get no answer/but dial 911 and the devil will be there in a minute"), all interspersed with AB scatting. He read his elegy to Stokely Carmichael, a poem for Newark (humming along with riffs from a Stevie Wonder tune), and - perhaps the highlight of his set - a new piece called "A MODEST PROPOSAL FOR GIULIANI'S DISPOSAL (IN FORTY ONE VERSES WHICH ARE ALSO CURSES)". To give you an idea of what these curses consist of, here's the first few: Gather all the people Giuliani has hurt They should slap him forty one times With forty one sticks, forty one bats, On his bald head or across his hat. Let 41 wolves attack him and a poison Snake wrap him Forty one coils around his neck Then let these animals bite and infect Him Until he shows humans he Respects them Run him over with a police car 41 times Let the people he framed choke him And put him on a box covered with Lime But don't nobody kill him Keep him alive, every morning at 4 am Wake him up and start again Forty one blood tests Forty one needles Forty one pills Forty one enemas Forty one baths Forty one questions On Forty one pads Asked by 41 psychopaths. The piece went on, vigorously and viciously, for some time, and is one of the bravest poetic rants I've ever heard, central to location and cultural circumstance (Ginsberg would be proud). Baraka then finished with a poem ("Between Red & Ultraviolet"?) which ends "we is/we is/we is/we" & massive applause. It was an enthralling performance in the Negritude-plus vein, in itself comparatively well worth the price of admission ($3 for Poetry Project members). & Imagine the perceived magical synthesis the next day when we hear that the mayor has cancer! After a longish break, Cecil Taylor began, customarily, without introduction. The reading, according to John Fiske (recording engineer) was 57 minutes, about 2/3 the length of one of his musical sets (though it did seem longer than that). Cecil's poetry, which is musical but in a way much different than Baraka's, is not everyone's cup of tea, for sure. His writing is unusually stylized, and is tedious to some (several of my most respected friends who know his work planned in advance to split early). So what? It's a demanding city. Those who stayed were definitely moved, changed - some submerged in contemplation or reflection, others lapsed into dreamlike grinning states through the calm, steady barrage of image and sound. "Negative capability", the willingness to go along for the ride (suspension while listening/processing, submitting to the poetry), plus various degrees of patience and interest always absorbs me in the experience of Cecil's use of language, the scientific and artistic themes and mastery embedded in it. On this occasion, everything in the poem did have to do with vibration (of one form or another, esp. music as vibratory essence), and language, or as he said, "the prosthetics of sound" (and thus the power of it). His perspective on the unions sounds can create is immense, and (to me, a musician for 20 years) inspiring. So to read later that it was a "poem out of H.S. chemistry book" really made me wonder if Nudel and I were in the same room that night, or if Nudel went to a really special high school. I don't recall any sections on or continuous connections to Monk's Rhythmaning, Candello's architecture, or poets dancing etc. in any of my teenage schoolbooks. Cecil may go into a drone during readings, but also sings, chants, moves within it to a heightened grace (OK, not for everyone). The language is very intricate, gathering forces and spirits to exalt "the power of utterances/as system/as meaning." He fried our circuits with them. Since he was speaking of vibratory essences, I shouldn't have been surprised when, after 30 minutes or so, cell phones began to ring. Half the audience was visibly agitated because of the reading's duration; there was restless commotion in the back. Others traveled about in the space of the poem and moment. An artist was sketching. When Cecil sensed people's impatience, did he stop? Hardly: A false ending, followed by a sigh of relief from the beleaguered, was followed by more poetry. Cecil kept going, lightly prancing behind the podium! By the time he quit, the audience was 1/3 of what it had been. I had a feeling that some people were disappointed that Baraka and Taylor hadn't performed together, as a local entertainment magazine (Time Out) had implied. Hmm. So much, and enough... --Chris Funkhouser (in the useful company of Richard Loranger) ========================================================================= Date: Thu, 4 May 2000 10:35:06 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Hank Lazer Subject: new journal MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Editors Lindsay Hill and Paul Naylor have just published the first issue of Facture: A Journal of Poetry and Poetics. The first issue is 260 pages and features a large section of material on Ronald Johnson (including previously unpublished sections from _Shrubberies_ [RJ's manuscript of last poems, 1994-98], from Notebooks [written during the composition of ARK], lots of pictures, and essays by Rachel Blau DuPlessis, Jed Rasula, Mark Scroggins, and Eric Selinger). Facture #1 includes poems by John Taggart, Sheila Murphy, Clark Coolidge, Harryette Mullen, Will Alexander, Gustaf Sobin, Cole Swensen, Lewis Warsh, Zhou Yaping, John Kinsella, and many others. Reviews by Mark DuCharme (of Jena Osman's The Character) and Lauri Ramey (of Michael Palmer's The Lion Bridge). Subscriptions are $20 per year (ie for 2 issues) or $30 for two years (4 issues). The first issue can be purchased separately for a Poetics List price of $8. Send orders to pknaylor@bellatlantic.net ========================================================================= Date: Thu, 4 May 2000 17:00:58 +0100 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Mills, Billy" Subject: New from hardPressed poetry Comments: To: "British (E-mail)" Apologies for cross-posting (but not cross-dressing). Two new titles from hardPressed poetry: Catherine Walsh: City West 74 pp A4 with cover drawing by the poet, each cover individually signed. ?6 / $10 Billy Mills: What is a Mountain? 100 pp A5, Japanese sewn with 10 drawings by Catherine Walsh. ?10 / $15 Coming soon: Catherine Walsh: Optic Verve For details, or to order: hardPressed poetry Alternative Irish poetry publishing and distribution 1 Greenview Court The Fairways Monaleen Road Castletroy Co. Limerick Ireland bmills@netg.ie < mailto:bmills@netg.ie > ========================================================================= Date: Thu, 4 May 2000 12:23:52 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: David Baptiste Chirot Subject: [Y4M] Unbound CD release (fwd) MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Content-Transfer-Encoding: QUOTED-PRINTABLE =09This may be of interest to many on the list. --davebchirot ---------- Forwarded message ---------- Date: Thu, 04 May 2000 12:15:37 -0400 From: Artists Network of Refuse & Resist! To: Artists Network/LA Subject: [Y4M] Unbound CD release UNBOUND CD COMING A new hip-hop compilation entitled "The Unbound Project", will be released nationwide on May 16th. It is a "gathering of voices inspired by issues surrounding the U.S. Criminal Justice System." Part of the proceeds will go to the legal defense of Mumia Abu-Jamal. The executive producer of the CD is a member of the Artists Network in LA, Frank Sosa. The compilation includes tracks from Talib Kweli and Hi-Tek, Mike Ladd, Medina Green, Aceyalone, J-Rocc, Blackalicious, Ursula Rucker, muMs, Poor Righteous Teachers, Rakaa-Iriscience of Dilated Peoples, Jerry Quickley, Saul Williams and the Unbound Allstars (Zack de la Rocha, Divine Styler, Afu-Ra, Last Emperor, Dead Prez, Chuck D, Black Thought, and more=85) on the track "Mumia 911." A news story on the release appears in Sonic Net. Go to: http://www.sonicnet.com/news/archive/story.jhtml?id=3D821568 Unbound Project story For more information, go to : www.realized.net ------------------------------------------------------------------------ GET WHO WANTS TO BE A MILLIONAIRE FREE! GET THE OFFICIAL COMPANION=20 TO TELEVISION'S HOTTEST GAME SHOW PHENOMENON PLUS 5 MORE BOOKS FOR=20 $2. Click for details. http://click.egroups.com/1/3014/2/_/30522/_/957460038/ ------------------------------------------------------------------------ Stop the execution! New trial for Mumia! Youth & Students for Mumia www.mumia2000.org To subscribe or unsubscribe email: youth-4-mumia-owner@egroups.com ========================================================================= Date: Thu, 4 May 2000 14:40:52 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Brian Clements Subject: COLLECTED NOT SPEWED MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" COLLECTED NOT SPEWED, a reverse reading of synthetic poetry, featuring the work of Elana Abernathy, Humera Afridi, Joe Ahearn, Ray Bianchi, Brian Clements, Ilex Fenusova, Michael Puttonen, John Richards, and Kristin Ryling, will be held June 28, 7:51 PM, at the McKinney Avenue Contemporary in Dallas. This is a "reverse" reading since, rather than the poets standing up and reading their work, the work will be posted on the walls and the audience will be free to roam from poem to poem and read what they want. Note also that rather than paying to get in, the audience will be paid for coming! Free t-shirts will be given away and a toaster oven will be raffled. Synthetic poetry is a new method and style of poetry writing which should be almost completely dead by Wednesday, June 28 at 7:51 p.m. ========================================================================= Date: Thu, 4 May 2000 12:56:50 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Small Press Traffic Subject: Roy & Wolsak Reading at SPT 5/12 Mime-Version: 1.0 Content-Type: multipart/alternative; boundary="============_-1254652283==_ma============" --============_-1254652283==_ma============ Content-Type: text/plain; charset="us-ascii" Small Press Traffic Reading Friday, May 12, 2000, 7:30 p.m. Camille Roy Melissa Wolsak "Brilliant and horny as William S. Burroughs with his consciousness way raised" (Girlfriends magazine), Camille Roy makes a welcome return to Small Press Traffic. Her books include Swarm (fiction, Black Star Series), The Rosy Medallions (poetry and prose, Kelsey St. Press) and Cold Heaven (plays, O Books). Her work has appeared in numerous anthologies, including Best American Erotica 1995 (Simon & Schuster), The New Fuck You: Adventures in Lesbian Reading (Semiotexte), and Moving Borders: Three Decades of Innovative Writing by Women (Talisman House). She lives in San Francisco and teaches creative writing privately and at San Francisco State University. She is a founding editor of the online journal Narrativity (at http://www.sfsu.edu/~newlit/narrativity) and her work is available online at http://www.grin.net/~minka. Again Small Press Traffic introduces to Bay Area audiences an important talent, as Vancouver's Melissa Wolsak gives her debut reading in San Francisco. Discover the secret of this quintessential poet's poet, the woman about whom insiders have been whispering for years. Her work is an engaging blend of Language-based materiality and a lyric strain that's fresh as breeze from the sea. Her first book, The Garcia Family Co-Mercy (Tsunami Editions), was one of the great masterpieces of the 1990s-startlingly original and marvelously rigorous. Now there are two new works, An Heuristic Prolusion, from Friends of Runcible Mountain, and the ongoing long poem "Pen Chants, or nth or, 12 spirit-like impermanences." At home in Canada she works as a metalsmith-like the Lord of the Rings!-and her poetry is equally worked, jewel-like, magical. New College Cultural Center 766 Valencia Street, San Francisco $5 _______________________ Small Press Traffic 766 Valencia Street San Francisco, CA 94110 415/437-3454 --============_-1254652283==_ma============ Content-Type: text/enriched; charset="us-ascii" Small Press Traffic Reading Friday, May 12, 2000, 7:30 p.m. Camille Roy Melissa Wolsak "Brilliant and horny as William S. Burroughs with his consciousness way raised" (Girlfriends magazine), Camille Roy makes a welcome return to Small Press Traffic. Her books include Swarm (fiction, Black Star Series), The Rosy Medallions (poetry and prose, Kelsey St. Press) and Cold Heaven (plays, O Books). Her work has appeared in numerous anthologies, including Best American Erotica 1995 (Simon & Schuster), The New Fuck You: Adventures in Lesbian Reading (Semiotexte), and Moving Borders: Three Decades of Innovative Writing by Women (Talisman House). She lives in San Francisco and teaches creative writing privately and at San Francisco State University. She is a founding editor of the online journal Narrativity (at http://www.sfsu.edu/~newlit/narrativity) and her work is available online at http://www.grin.net/~minka. Again Small Press Traffic introduces to Bay Area audiences an important talent, as Vancouver's Melissa Wolsak gives her debut reading in San Francisco. Discover the secret of this quintessential poet's poet, the woman about whom insiders have been whispering for years. Her work is an engaging blend of Language-based materiality and a lyric strain that's fresh as breeze from the sea. Her first book, The Garcia Family Co-Mercy (Tsunami Editions), was one of the great masterpieces of the 1990s-startlingly original and marvelously rigorous. Now there are two new works, An Heuristic Prolusion, from Friends of Runcible Mountain, and the ongoing long poem "Pen Chants, or nth or, 12 spirit-like impermanences." At home in Canada she works as a metalsmith-like the Lord of the Rings!-and her poetry is equally worked, jewel-like, magical. New College Cultural Center 766 Valencia Street, San Francisco $5 _______________________ Small Press Traffic 766 Valencia Street San Francisco, CA 94110 415/437-3454 --============_-1254652283==_ma============-- ========================================================================= Date: Thu, 4 May 2000 17:23:35 -0400 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" NEW ON THE WEB-SITE: The May issue of Poets & Poems, featuring work by LUISA GIUGLIANO, TONY HOFFMAN, BRENDAN LORBER, SHARON MESMER, and ELIZABETH YOUNG* (*see public service announcements) at http://www.poetryproject.com/poets.html Also, check out Chris Funkhouser's photographs of the Amiri Baraka/Cecil Taylor reading last week at http://www.poetryproject.com/barcec.html *** Next week at the Poetry Project: Monday, May 8 at 8 pm MICHAEL RUBY & TRACY BLACKMER Michael Ruby's first collection of poetry, At An Intersection, was recently published by Alef Books. Tracy Blackmer has performed in clubs and theaters, including Mother, the Westbeth Theater, Town Hall in Provincetown, and the Institute of Contemporary Art in Boston. She is also a very helpful volunteer for the Poetry Project!! Wednesday, May 10 at 8 pm SUSAN GEVIRTZ & CHARLES BORKHUIS Susan Gevirtz's books include The Black Box Cutaways and Narrative's Journey: The Fiction and Film Writing of Dorothy Richardson. Her newest book, The Hourglass Transcripts, is forthcoming from Burning Deck. You can read her work in a past issue of Poets & Poems at http://www.poetryproject.com/prevpoet.html. Charles Borkhuis is the author of Hypnogogic Sonnets, Proximity & Stolen Arrows, Dinner with Franz, and most recently, Alpha Ruins. A collection of his full-length plays is forthcoming from Burning Deck. Friday, May 12 at 10:30 pm JEFFREY MCDANIEL & THOMAS LUX Jeffrey McDaniel is the author of Alibi School and has performed at the Taos Poetry Circus, Bumbershoot, the Smithsonian, the Leningrad Writers Union, and on National Public Radio's Talk of the Nation. Thomas Lux is the author of many books of poetry, including New & Selected Poems, 1975-1995. All readings are $7; $4 for students and seniors; and $3 for members, unless otherwise noted. No advance tickets. Admission is at the door. The Poetry Project is located in St. Mark's Church at the corner of 2nd Ave and 10th St in Manhattan. The Poetry Project is wheelchair-accessible with assistance and advance notice. Please call (212) 674-0910 for more information. *** Public Service Announcements: *Elizabeth Young, who also has work in this month's issue of Poets & Poems at the Poetry Project web site, is reading this Sunday at 6:37 pm at the Zinc Bar with Donna Cartelli, 90 W. Houston between LaGuardia and Thompson, under the storefront with the little fur-coated barbie dolls. We suspect this may be her first ever full-length reading, so go forth and be of supportive cheer! Thursday, May 11th at 7:30 pm is a reading by A.B. Yehoshua at The Garfield Temple (not the cat), Garfield Place and 8th Avenue in Park Slope, Brooklyn. Tickets are $5. A.B. Yehoshua is the author of Mr. Mani, Open Heart, and more. He has twice received the National Jewish Book Award, and the Israel Prize. This is his only NYC appearance. Call the Community Bookstore at (718) 783-3075 or e-mail bookstore@communitybookstore.com for more info. *** from "production" ... look at five and six object field file that, in my forms there may be information. there may be some order systematic there may be some places that say something civil or politeness hate me vein the blood blocked I'm getting her a pig for xmas, a cow or an ass. show you show you slow then reaffirming 6th and 5's and leaving soon no, you're going to leave soon. attacks of rearranging panic knowing how don't touch me, the need end the need ends unnecessary showing of newsletter commentary, information here, it's connected. some connector of some sort some attribute like families keep it family ignore it. they are replacing. worse the papers are typing reviewing existing literature helps determine the list for success encountered really funny really suck. fact-based understanding. deep intimacy, portrayed neutral. maybe they all got stricken. I'm issues. I'll meet you, keys jingling the video for a song. --Elizabeth Fagin, _Physical Culture_, Blue Language Press(t) ========================================================================= Date: Thu, 4 May 2000 18:12:50 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: Deluxe Rubber Chicken #6 (fwd) Comments: To: Cyb , Fop MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII (From Mark Peters) Issue #6 of Deluxe Rubber Chicken is now online. This issue is totally dedicated to the wonderful but unknown work of David Daniels. Please check it out--you'll never regret it. http://writing.upenn.edu/epc/ezines/deluxe/ Mark Peters ________________________________________________________________________ Get Your Private, Free E-mail from MSN Hotmail at http://www.hotmail.com ========================================================================= Date: Thu, 4 May 2000 19:52:57 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "K.Angelo Hehir" Subject: paying gig MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII hi folks, i have no idea what this journal is about but i thought this may interest some out there in radioland. if anyone does know anything about this outfit please backchannel any info. cheers, kevin From: Kaleidoscope Journal To: Canadianpoetryassoc@egroups.com Subject: [canadianpoetryassoc] posting Kaleidoscope: An International Journal of Poetry is looking for people interested in writing poetry reviews. Interested writers are asked to contact the editor with proposals at Kaleidoscope_journal@hotmail.com. The pay is $50.00, plus two copies of the issue in which your work is featured. Writers who have their own poetry publised is preferred. Dawn-Marie Zampa Editor ________________________________________________________________________ ========================================================================= Date: Thu, 4 May 2000 01:13:30 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jim Andrews Subject: STEVE DUFFY AT DEFIB, SUNDAY MAY 7 MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit STEVE DUFFY AT DEFIB SUNDAY MAY 7, 13:00 PACIFIC, 21:00 LONDON (INTL TIMES AVAIL. ON SITE) http://webartery.com/defib/index.htm STEVE DUFFY [aka krumm] from north-east england currently living in southern uk. left school as 14 y.o. degrees=0. ex engineer, lighthouse keeper, motorcycle courier, hospital porter, bus conductor, fork-truck driver, etc. involved in oral/performance poetry scene in london during the 80's, founded _wooden lambs_, a west london open poetry venue. slim volumes=0. online since late 1994. publication: ezines: snakeskin, submit you dog, salt, glossolalia, aaybe's baby. course resource: centenary college of louisiana: cyberculture: multimedia and critical theory. university of toronto: department of philosophy: issues in aesthetics Web site: debris which includes _love, i suppose_, long [expanding outline] poem, part of alan sondheim's project as writer in residence at trace online writing community some keywords re web art: animate, concrete, interactive, interface, javascript, minimalist, monospace, poetry, process, pseudorandom, random, recombinant, text-as-image, universe of lines, marquee, ms aiyeeeeeeee Debris: http://www.debris.demon.co.uk DEFIB is webartery.com's bi-monthly net.worker-poet interview, IRC chat session where the issues and works of the featured artist are under discussion. The transcripts of past events are available at webartery.com Hope to experience your wriggling text madame, monsieur. Regards, Jim Andrews ========================================================================= Date: Thu, 4 May 2000 13:19:29 -0400 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" Seems as if my last email didn't go out properly. My apologies if you've already received this. Tueday, May 9th: George Saunders (CIVILWARLAND IN BAD DECLINE; PASTORIALIA) and Daniel Menaker (THE TREATMENT) read at the Russian Samovar. 256 West 52nd St. $3.00; 7:00pm ---------------------------------------------------------------------------- -------------------------------------------- If you'd like to be removed from this list, let me know. ========================================================================= Date: Thu, 4 May 2000 19:16:20 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Emmanuel L. Brown" Subject: Desperate for Wieners! =p (the joke was there!) Hi everyone, Yep, you guessed it: newbie here. I'm taking a poetry class at Chabot College in Hayward, CA, and our instructor is Benjamin Hollander. For the last project of the class, I am to do a presentation on the poet John Wieners (sp?) and am having an exceedingly difficult time finding material on him. Mr. Hollander pointed out two books (_707 Scott..._, _Cultural Affairs..._), however I'm out of cash at the moment and none of our local libraries have them (including University libraries), so I'm basically S.O.L. What's worse is that the project is due on the 16th of this month, and I have an English essay on Kafka's _The Trial_ due on the same day, for the same instructor, in a different English class. Naturally, then, I'm quite pressed for time. But of course, I'm not just going to present you all with my life's story, so let's get down & dirty. I've been browsing all the messages on this Listserv thingy and have a few questions regarding them. 1) I don't recall if I heard Mr. Hollander correctly--is John Wieners still alive? If so, is there any way I can get in direct contact with him? 2) Can anyone provide me with a list of Wieners' books or books about him, and if possible, ISBNs and/or locations of places I can get ahold of them? 3) If Wieners is still around (which I'm hoping!), is he scheduled to read anywhere in the world in the future? 4) Any idea how I can get ahold of that Kevin Killian's Mirage #4 (whatever that is), the issue dedicated to Wieners? 5) Lastly, if John Wieners is still around, then what's his mental/physical condition as of now? I read in a 1997 posting that he was diagnosed with schizophrenia. For any and all help I thank you in advance! I will most definitely credit you in my presentation. ~Emmanuel L. Brown ========================================================================= Date: Tue, 2 May 2000 13:52:05 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Nielsen, Aldon" Subject: Re: A PLACE IN THE BAY AREA In-Reply-To: <9b.446a46d.263b343c@aol.com> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" > > I've been appointed writer-in-residence in CCAC's new MFA program for the >2000- >2001 academic year. great news (except for the commuting part) -- but what is a CCAC? ========================================================================= Date: Thu, 4 May 2000 21:41:21 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Poetics List Subject: announcement of new issue / Dinsmore 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, May 1, 2000 1:58 PM -0400 From: Claire Dinsmore Apologies for cross-posting Issue no. I, vol. II, of Cauldron & Net is now online at and may be seen at: http://www.StudioCleo.com/cauldron/ FEATURES: Net.Artist [m]E[z] (Mary-Anne Breeze) Poet Sheila E. Murphy CONFLUENCE: Barry Smylie & Alan Sondheim, Bill Marsh, Brian Lennon, Carolyn Black, Deena Larsen, UDC Thuan, Intima, Jeannette Lambert & Raquel Rivera, Jennifer Ley, Jim Andrews, Kominos Zervos, M.D. Coverley, Pete Everett & Rosie Pedly, Reiner Strasser, Stephen Dignazio, Ted Warnell, Tom Bell VERBAL EMBELLISHMENT: Alan Sondheim, Alfred A. Walker, Camille Martin, David Fujino, George J. Farrah, Jesse Glass, Joel Weishaus, Johanna Drucker, Kevin Fitzgerald, Mark Amerika, mIEKAL aND, Ramez Qureshi VISUAL EMBELLISHMENT: Aleksandra Globokar, Arghyro Paouri, Barry Smylie, Dirk A. Hine, George J. Farrah, Whitney Sander, Zack Peabody -- "You must deny the ineffable,for somehow it will speak ..." - Stephane Mallarme latest web work: http://www.studiocleo.com/projects/meridian/crimson/ http://www.studiocleo.com/entrancehall.html Editor, Cauldron & Net: an on-line journal of the arts & new media http://www.studiocleo.com/cauldron/ ========================================================================= Date: Thu, 4 May 2000 21:39:12 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: RaeA100900@AOL.COM Subject: Re: A PLACE IN THE BAY AREA MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Dear Aldon, California College of Arts and Crafts. It's an art school that just started an MFA in writing. Rae ========================================================================= Date: Thu, 4 May 2000 22:01:54 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Poetics List Subject: list stats MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit These figures represent the current subscribership of the Poetics List by country, with the disclaimer that the division is approximate given the workings of our listserv program. Chris % Christopher W. Alexander % poetics list moderator Country Subscribers ------- ----------- Australia 13 Belgium 2 Canada 43 Finland 1 Germany 3 Great Britain 23 India 1 Ireland 5 Italy 1 Japan 5 New Zealand 14 Romania 1 Singapore 1 Spain 2 Sweden 4 Switzerland 2 Thailand 1 USA 697 Yugoslavia 1 ??? 1 Total number of users subscribed to the list: 822 Total number of countries represented: 20 ========================================================================= Date: Sun, 7 May 2000 15:26:27 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Poetics List Subject: List archive interface MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit I have reconfigured the Poetics List archive www interface such that the default display is now by date in reverse chronological order (i.e., most recent message first) rather than by topic. The options to sort by author and topic remain in place, as does the search engine. One additional change: text is now displayed in a proportional rather than a mono-spaced font. I don't think this last will cause any problems, and it certainly leaves the archive more pleasing visually. The Poetics List archive is available at or from the Electronic Poetry center via the links UB Poetics > Express to Poetics List Archives. % Christopher W. Alexander % poetics list moderator ========================================================================= Date: Thu, 4 May 2000 21:09:05 -0500 Reply-To: David Baptiste Chirot Sender: UB Poetics discussion group From: David Baptiste Chirot Subject: May 20, Seattle March and Rally for Peltier (fwd) MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII KNOW YOUR WRITES If you are not able to attend, contact the web site listed in the message below or the Leonard Peltier Defense Committee web site http://www.freeepeltier.org or write: Leonard Peltier Defense Committee Box 583 Lawrence, KS 66044 USA for information on ways to participate in and support the demands for clemency for Leonard Peltier. Leonard Peltier's parole hearing is scheduled for June 12, 2000. To contact a Congressperson: Capitol Hill US Congress Switchboard Toll Free 1-800-522-6721 To send a message to the President and to the Vice-President, a brief letter with a heading basically conveying the message "Clemency for Leonard Peltier": president@white house.gov vice.president@white house.go White House Comments Line (202) 456-1111 (hit 0 to avoid survey) US Pardon Attorney Roger C. Adams 500 First Street NW Suite 400 Ref: Leonard Peltier #89637-132 Washington, D.C 20530 USA (202) 616-6070 Ms. Kathleen Hawk Director, Bureau of Prisons 320 First Street NW Washington, DC 20534 USA email: swolfson@bop.gov Warden Booker Leavenworth Federal Prison P.O. Box 1000 Lawrence, KS 66048 USA (913) 682-8700 ---dave baptiste chirot ---------- Forwarded message ---------- Date: Thu, 4 May 2000 19:23:16 -0500 From: LPDC To: dbchirot@csd.uwm.edu Subject: May 20, Seattle March and Rally for Peltier PLEASE POST WIDELY FREE LEONARD PELTIER MARCH AND RALLY FOR JUSTICE FOR LEONARD PELTIER AND THE FIRST NATIONS SEATTLE, WASHINGTON SAT. MAY 20, 2000, 12 NOON MARCH: 12:00 NOON, STARTING POINT FIRST AND YESLER RALLY: 1:00 PM, STEINBREUCK PARK (WESTERN & VIRGINIA) This is a very important time for Leonard as he has a parole hearing coming up, Clinton has most likely requested the Justice Department Clemency Review, and the FBI is continuing efforts to block parole and clemency of Leonard. The FBI is working in the interests of the multinational energy companies who wish to keep all that happen on Pine Ridge covered-up. Please join with the SLPSG and the NWLPSN in exposing the government corruption, in the interests of multinational corporations, that has kept Leonard locked up for over 24 years. For more information contact: NatAimer@aol.com "It is time we all faced the truth of the hardships ahead of us. It is time to investigate the one form of genocide which threatens us all. It is the environmental and human destruction that American industrial greed is bringing, not only to Indian Nations, but to the other nations of the world." Leonard Peltier Call the White House Comments Line Today Demand Justice for Leonard Peltier! 202-456-1111 Leonard Peltier Defense Committee PO Box 583 Lawrence, KS 66044 785-842-5774 www.freepeltier.org To subscribe, send a blank message to < lpdc-on@mail-list.com > To unsubscribe, send a blank message to < lpdc-off@mail-list.com > To change your email address, send a message to < lpdc-change@mail-list.com > with your old address in the Subject line ------------------------------------------------------------------------- To subscribe, send a blank message to lpdc-on@mail-list.com To unsubscribe, send a blank message to lpdc-off@mail-list.com To change your email address, send a message to lpdc-change@mail-list.com with your old address in the Subject: line ========================================================================= Date: Thu, 4 May 2000 22:23:05 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Nick Piombino and Toni Simon Subject: Eloquence, a ramble Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" The new issue of Contemporary Poetry (Spring 2000, Volume 41, Number 1) features an interview with Charles Bernstein. This very interesting interview covers an array of topics, including quite a bit on eloquence, as it happens. "Q. What kinds of values, then do you see yourself examplifying as a poet and critic? A. (Charles B.): I have an interest in bringing into poetry-I'm not sure it's my taste- things that seem clumsy or awkward, and also that seem overblown, purple passages, and so on. I like that aspect of Hart Crane, for example. Most days, I have an aversion to tightly bound, aestheticized, very tasteful poetry. OK, but to say that is already for me a highly reflected aesthetic view. Partly, it's a reaction formation regarding my inability or unwillingness to see myself as being assimilated within a "high" culture of refinement. So rather than try to write poetry that makes it seem I'm aiming for this sort of thing, as has often been the case with poets, I'm trying to assert the beauty in a lack of grace; of disgracefulness, you might say, but often in a highly elaborate, possibly even refined way....One of the best examples I can give in Jerry Lewis in The Nutty Professor....So I do have a taste for the asymmetric and the off-balance, the spastic, which in my work is very often transformed into a rhythmic element (flat-footed, lost in rime), taken as material to spin in different ways, oscillate, create shapes that give these dis-positions a buoyancy and a lightness that they don't necessarily have when you're feeling awkward or stupid or inept. So there is a transformation involved there- the poem as Rube Goldberg malapropism machine. Q. Are there other poets whose work demonstrates this awkwardness or turning? A. Well, somebody I think is one the most elegant poets of the time is Michael Palmer. Palmer has a gracefulness, a fierce poise in his writing , which I like and admire. But what interests me about his work is the loathing he has for the merely elegant- that is a very powerful undertow in his writing....I think of Larry Eigner and Hannah Weiner especially, but it is there in much of Jackson Mac Low, or, in a very different way, Ted Berrigan. It's there in Susan Howe's stuttering and Bruce Andrews's wobbling, Tom Raworth's velocity and Leslie Scalapino's (dis/re) orientings. And, more recently, I think of the ways that Stacy Doris or Juliana Spahr are working outside of poetic diction." -Nick Piombino ========================================================================= Date: Thu, 4 May 2000 22:38:00 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Nick Piombino and Toni Simon Subject: Elegance, a ramble (correction) Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Oops! The magazine citation in my posting regarding Charles Bernstein's interview should have read "Contemporary Literature, Spring 2000- Volume 41- Number 1 (The University of Wisconsin Press)" -Nick Piombino ========================================================================= Date: Thu, 4 May 2000 20:15:19 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Taylor Brady Subject: Re: Amiri & Cecil At the Church In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" Chris, Thanks for this detailed and even-handed account. For those, like myself, who read of this performance from a distance and wished we could be there, or who are otherwise interested in Cecil Taylor's poetry as it's performed (though admittedly the dimension of overdubbing brings in another sense of performance), check out Chinampas, on Leo Records (or, if you're not up to the full hour of unaccompanied poetry (well, some small percussion), Tzotzil/Mummers/Tzotzil, which brackets an ensemble performance featuring, a.o., Leroy Jenkins and Carlos Ward, between shorter segments of the Chinampas sessions). Also, a look at Fred Moten's essay on Chinampas in Dee Morris' _Sound States_ anthology might be a useful starting point. And, unfortunately, something of an endpoint, as there's little else I've been able to find on this aspect of his work. And of course, his "Sound Structure of Subculture Becoming..." text, printed as liner notes to the Blue Note recording _Unit Structures_ (1966) is a classic that ought to be read by everyone investigating connections between jazz and writing, and researching African American cultural poetics from the 60's on. By the way, many recent recordings -- past decade or so -- will feature several minutes of poetry, either as intro or sprinkled throughout. It's a measure of the inability of the "jazz" industry to deal with Taylor's "articulation, in every sense of that word" (to echo C.S. Giscombe from a totally unrelated context) that most of these recordings undermike the vocal portions of the performance to the point of inaudibility. His set with the Art Ensemble of Chicago on their Dreaming of the Masters suite dedicated to Monk stands out as an unusual instance of recording engineers giving his voice the equal weight it ought to have in the ensemble texture of such a performance. Thanks again, Taylor >Review of Baraka & Taylor at the Poetry Project > > Since Harry Nudel's account of the Baraka/Taylor reading in NYC last >week was at least a little incomplete (and maybe unfair to the point of >being offensive) I wanted to present a (re)view (defense?) of some of what >else went down at that event, since both these poets have taught me to write >(and right) the scales... > > The reading was in the sanctuary of St. Marks Church, about 80% full >at the outset (a thoroughly mixed crowd, btw), probably 250-300 people on a >grim (wet & cold) night weatherwise. Nice setting: downstage huge tropical >plants from Hawaii, leftover from Easter, fresh roses by the podium; plenty >of serious and engaged folk in the audience. After Ed Friedman's intro, >Baraka began as he often does, by demanding the production of revolutionary >journals and theaters. On the pulpit, he begins by reading part one of >ALLAH MEAN EVERYTHING (see http://www-ec.njit.edu/~newrev/v2s4), which held >the audience spell-bound. He continued by reading a series of shorter >poems, including "Pilgrims Progress" (where both god & the devil are >addressed as "motherfuckers"), and "Lo-Ku's" ("the african-american version >of haiku", e.g. "you can pray all day/and get no answer/but dial 911 and the >devil will be there in a minute"), all interspersed with AB scatting. He >read his elegy to Stokely Carmichael, a poem for Newark (humming along with >riffs from a Stevie Wonder tune), and - perhaps the highlight of his set - a >new piece called "A MODEST PROPOSAL FOR GIULIANI'S DISPOSAL (IN FORTY ONE >VERSES WHICH ARE ALSO CURSES)". To give you an idea of what these curses >consist of, here's the first few: > > Gather all the people Giuliani has hurt > They should slap him forty one times > With forty one sticks, forty one bats, > On his bald head or across his hat. > > Let 41 wolves attack him and a poison > Snake wrap him > Forty one coils around his neck > Then let these animals bite and infect > Him > Until he shows humans he > Respects them > Run him over with a police car 41 times > Let the people he framed choke him > And put him on a box covered with Lime > > But don't nobody kill him > Keep him alive, every morning at 4 am > Wake him up and start again > > Forty one blood tests > Forty one needles > Forty one pills > Forty one enemas > Forty one baths > Forty one questions > On Forty one pads > Asked by 41 psychopaths. > > > The piece went on, vigorously and viciously, for some time, and is >one of the bravest poetic rants I've ever heard, central to location and >cultural circumstance (Ginsberg would be proud). Baraka then finished with >a poem ("Between Red & Ultraviolet"?) which ends "we is/we is/we is/we" & >massive applause. It was an enthralling performance in the Negritude-plus >vein, in itself comparatively well worth the price of admission ($3 for >Poetry Project members). & Imagine the perceived magical synthesis the next >day when we hear that the mayor has cancer! > > After a longish break, Cecil Taylor began, customarily, without >introduction. The reading, according to John Fiske (recording engineer) was >57 minutes, about 2/3 the length of one of his musical sets (though it did >seem longer than that). Cecil's poetry, which is musical but in a way much >different than Baraka's, is not everyone's cup of tea, for sure. His >writing is unusually stylized, and is tedious to some (several of my most >respected friends who know his work planned in advance to split early). So >what? It's a demanding city. Those who stayed were definitely moved, >changed - some submerged in contemplation or reflection, others lapsed into >dreamlike grinning states through the calm, steady barrage of image and >sound. "Negative capability", the willingness to go along for the ride >(suspension while listening/processing, submitting to the poetry), plus >various degrees of patience and interest always absorbs me in the experience >of Cecil's use of language, the scientific and artistic themes and mastery >embedded in it. > > On this occasion, everything in the poem did have to do with >vibration (of one form or another, esp. music as vibratory essence), and >language, or as he said, "the prosthetics of sound" (and thus the power of >it). His perspective on the unions sounds can create is immense, and (to >me, a musician for 20 years) inspiring. So to read later that it was a >"poem out of H.S. chemistry book" really made me wonder if Nudel and I were >in the same room that night, or if Nudel went to a really special high >school. I don't recall any sections on or continuous connections to Monk's >Rhythmaning, Candello's architecture, or poets dancing etc. in any of my >teenage schoolbooks. Cecil may go into a drone during readings, but also >sings, chants, moves within it to a heightened grace (OK, not for everyone). >The language is very intricate, gathering forces and spirits to exalt "the >power of utterances/as system/as meaning." He fried our circuits with them. > > Since he was speaking of vibratory essences, I shouldn't have been >surprised when, after 30 minutes or so, cell phones began to ring. Half the >audience was visibly agitated because of the reading's duration; there was >restless commotion in the back. Others traveled about in the space of the >poem and moment. An artist was sketching. When Cecil sensed people's >impatience, did he stop? Hardly: A false ending, followed by a sigh of >relief from the beleaguered, was followed by more poetry. Cecil kept going, >lightly prancing behind the podium! By the time he quit, the audience was >1/3 of what it had been. I had a feeling that some people were disappointed >that Baraka and Taylor hadn't performed together, as a local entertainment >magazine (Time Out) had implied. Hmm. > > So much, and enough... > > --Chris Funkhouser (in the useful company of Richard Loranger) ========================================================================= Date: Fri, 5 May 2000 00:59:48 +0000 Reply-To: baratier@megsinet.net Sender: UB Poetics discussion group From: David Baratier Organization: Pavement Saw Press Subject: Re: Baraka contact query MIME-Version: 1.0 References: Content-Type: text/plain; charset=us-ascii; x-mac-type="54455854"; x-mac-creator="4D4F5353" Content-Transfer-Encoding: 7bit >Who is Amira Baraka? You may remember him better as LeRoi Jones Is that Hetty Jones' husband? Be well David Baratier Editor, Pavement Saw Press http://www.durationpress.com/pavement/ SOON! http://www.pavementsaw.org/ ========================================================================= Date: Thu, 4 May 2000 22:19:39 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Tisa Bryant Subject: Re: Baraka contact query Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit originally, he changed his name from Leroy Jones to LeRoi Jones, then from LeRoi Jones to Imamu Amiri Baraka, then, since "Imamu" is an honorific for a high priest, he pared down to Amiri Baraka. Always a first and last name. ---------- >From: Geoffrey Gatza >To: POETICS@LISTSERV.ACSU.BUFFALO.EDU >Subject: Re: Baraka contact query >Date: Tue, May 2, 2000, 7:39 PM > > At 12:41 PM 5/2/00 +1200, you wrote: >>>Who is Amira Baraka? >> >> >>You may remember him better as LeRoi Jones >> > > > I remembered him spelling his name Amiri, maybe he changed it again??? > > As simple an act > as opening the eyes. Merely > cominginto things by degrees > > Ever & Affectionately, > Geoffrey Gatza > > ***************** > Check out Step > Online now only at > www.daemen.edu/step > > Now: new improved Crunch > ========================================================================= Date: Fri, 5 May 2000 19:27:29 +1200 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Tony Green Subject: Re: visual poetry--Bob Grumman! / Grumman MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit It is difficult to take William James Austin's generalities about academics seriously. I'm happy to say I know & have known plenty of academics who specialise -- even specialise in past centuries -- & maintain lively interests in contemporary scenes. How they score in terms of really really famous I wouldn't presume to know. Tony Green ----Original Message----- From: William James Austin To: POETICS@LISTSERV.ACSU.BUFFALO.EDU Date: Friday, 5 May 2000 12:37 Subject: Re: visual poetry--Bob Grumman! / Grumman >Hi Bob! Most academics with clout are consumed by their own >specialties. They sort of have to be if they're going to plant >in their neck of the woods. The downside for us is that such folks >have no interest whatsoever in the contemporary scene, especially >if their specialties involve previous centuries. Only the really >really famous ones like Vendler and Perloff feel confident, or >feisty, enough to broaden their scopes. Can the same sensibility >that is devoted to Keats give equal attention/appreciation to visual >poetry? It's possible, but rare. There is also the nasty fact >that most academics--hell, most people--simply don't like radical >violations of narrative structure. They like what they like and >there's not much we can do about that. In that sense they're not >unlike us. To boot, it's not really the job of the academy to >champion new forms, is it? The academy is more like a serious >of roadblocks that force the new to earn its way. Once the doors >are opened, profs will interrogate and preserve. And we do have >a foot in the door. Give it time and vp will cross the >threshold. > ========================================================================= Date: Fri, 5 May 2000 09:10:17 +0100 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Mills, Billy" Subject: More from hardPressed Comments: To: "British (E-mail)" Catherine Walsh: Optic Verve 13 pp. holograph booklet hand-sewn in A5 card hand-drawn covers. A edition of 10 signed and numbered copies. Being No 2 of a new series of limited edition titles called Issues. ?5 / $8 Should also point out that Billy Mills: What is a Mountain? is Issues 1, in an edition of 26 lettered and signed copies. hardPressed poetry Alternative Irish poetry publishing and distribution 1 Greenview Court The Fairways Monaleen Road Castletroy Co. Limerick Ireland bmills@netg.ie < mailto:bmills@netg.ie> ========================================================================= Date: Fri, 5 May 2000 03:38:55 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: David Bromige Subject: Re: Bromige Kicks Butt at Reading In-Reply-To: <39105276.C2CF9B12@sonic.net> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" >I wasn't able to attend, but I heard from a friend that David was a smash >hit at the Phoenix Theater reading in Petaluma CA with his famous "5 >minute reading." I also heard that L. Ferlinghetti "read" completely from >memory and was wonderful. (Sorry I couldn't make it David! I was >thinking of you though!) > >Layne Layne Russell, that is-- to whom,many thanks. But far from being famous, this poem can't be known to most Listafarians : it's a performance piece, a 5-minute meditation on the 5-minute span so popular, and so often violated, at these monster readings. The reading, in an old theater whose music programs are popular with youth of all races, was a benefit to raise money towards its renovation. It was preceded by an address by Mr. Garrett of the NAACP, who, though also under the 5-minute stricture, bravely ignored it to give us--whether brown, pink, yellow, black, brown or white (a key point of his)--an unanticipated history of civil rights in the USA, which, I am told, ran for some twenty minutes. His was the act I followed, and because my piece declares at the outset that it will not take any longer than the announced moiety of time, and because it is clearly frivolous, I suppose the audience welcomed it, and gave it more credit than it merits. Ferling's by-heart performance of some poems from _Coney Island of the Mind_, Far Rockaway accent and all, was impeccable and a welcome trip down memory lane for your reporter, who first heard these works 4 decades since. It was scrupulously and precisely five minutes long, and he steadfastly refused the general demand for an encore, though he said to me later that he simply hadn't heard it. Many and various, and mostly local, were the poets to be heard. I regret that I can't report on Sharon Doubiago, Julie Reid and Terry Ehret, among others whose luck it was to read later on the roster; exhaustion prevented my staying to the end. The place at the outset appeared to be full, so a bit of money must have been gleaned from an audience that was generous to a fault. As one who sat in its stalls for Van Morrison and braved its mosh-pit for Jimmy Clift, I hope that the Phoenix fends off the developers who would tear it down & put up something more profitable (leastwise, to them) in its place. David. ========================================================================= Date: Fri, 5 May 2000 05:02:41 PDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Stephen Ellis Subject: Re: Desperate for Wieners! =p (the joke was there!) Mime-Version: 1.0 Content-Type: text/plain; format=flowed John Wieners: Selected Poems 1958-1984, Black Sparrow press ISBN 0 87685 661 X Cultural Affairs in Boston, Black Sparrow ISBN 0 87685 738 1 Hotels, Angel Hair Books, 1974 (xerox) Behind the State Capitol or Cincinnati Pike, Good Gay Poets Press, 1975 ISBN 0 915480 00 X There is also a short sequence called "from A Waiter Out of a German Hotel" (7 poems) in O/blek 10. There probably also has been other magazine publication of more of Wieners' more recent work that I'm unaware of; however, the above constitutes an oeuvre substantial enough on wch you might base your presentation. John is still very much alive. I talked with him briefly several weeks ago on Columbus Avenue in Boston; he is at times not particularly talkative, tho my understanding is that this is not always the case. I asked if he was writing, and he said no. I later asked someone close to him if John was writing, and he answered in the affirmative, without hesitation. So. Safe to say, I think, that John may be often reticent toward a public view of his current activities, and so maybe also not the best source for information viz yr presentation. Nevertheless, you could trying calling. I don't have the number, tho I'm fairly certain it's unlisted - try Boston area information; his address is 44 Joy Street, Boston. I have a copy of a portion of the Wieners issue of Mirage - some dozen essays, poems &/or "statements, the most significent among wch are pieces by Charles Shively and John Wilkenson - wch I am willing to xerox and send your way. Ditto the short collection (approx. 10 pp) "Hotels" (above). Most of John's earlier books are collected in "Selected Poems" (there are also two substantial interviews w/ John at the back); "Beind the State Capitol", his magnum opus (200 pp) - parts of wch appear in the "Selected" - is, he once sd., to be read as a single long poem. I believe Wieners to be THE political poet of our era. His work makes clear that in a time when desire finds its most useful social placements in the material analogies of basically industrial or mechanical (re)production, individuals find their own paths toward satisfaction blocked by the mutual rise of identifying proper nouns based on the accumulation of power (the fascinating [root, fasces, same as fascism] glitz of "reputation", Hollywood-style) against which the activating verbs of choice through which one lives out each their daily lives may become inoperative to the extent that any attempt to exist outside the ordinal realm of this same grammatical/theological/political/industrial strain (ie., preordained "policy") produces images of somatic activity perpetually incommensurate with an more proportionate image of the human body and being held thus within such (at times desperate) clutchings. While this constitutes only a limited, single strain of Wiener's corpus, it nevertheless in my own view, lies very much at the center of his work. There is much more to say about this, but, for the nonce, this is all I have time for. If you wld like copies of any of the available materials delineatred above, email your postal address, and I'll try to get these in the mail to you muy pronto. Best wishes, and good luck with your project, Stephen Ellis >From: "Emmanuel L. Brown" >Reply-To: UB Poetics discussion group >To: POETICS@LISTSERV.ACSU.BUFFALO.EDU >Subject: Desperate for Wieners! =p (the joke was there!) >Date: Thu, 4 May 2000 19:16:20 -0400 > >Hi everyone, > > Yep, you guessed it: newbie here. I'm taking a poetry class at Chabot >College in Hayward, CA, and our instructor is Benjamin Hollander. For the >last project of the class, I am to do a presentation on the poet John >Wieners (sp?) and am having an exceedingly difficult time finding material >on him. Mr. Hollander pointed out two books (_707 Scott..._, _Cultural >Affairs..._), however I'm out of cash at the moment and none of our local >libraries have them (including University libraries), so I'm basically >S.O.L. What's worse is that the project is due on the 16th of this month, >and I have an English essay on Kafka's _The Trial_ due on the same day, for >the same instructor, in a different English class. Naturally, then, I'm >quite pressed for time. > But of course, I'm not just going to present you all with my life's >story, >so let's get down & dirty. I've been browsing all the messages on this >Listserv thingy and have a few questions regarding them. > >1) I don't recall if I heard Mr. Hollander correctly--is John Wieners still >alive? If so, is there any way I can get in direct contact with him? > >2) Can anyone provide me with a list of Wieners' books or books about him, >and if possible, ISBNs and/or locations of places I can get ahold of them? > >3) If Wieners is still around (which I'm hoping!), is he scheduled to read >anywhere in the world in the future? > >4) Any idea how I can get ahold of that Kevin Killian's Mirage #4 (whatever >that is), the issue dedicated to Wieners? > >5) Lastly, if John Wieners is still around, then what's his mental/physical >condition as of now? I read in a 1997 posting that he was diagnosed with >schizophrenia. > > For any and all help I thank you in advance! I will most definitely >credit >you in my presentation. > > >~Emmanuel L. Brown ________________________________________________________________________ Get Your Private, Free E-mail from MSN Hotmail at http://www.hotmail.com ========================================================================= Date: Mon, 8 May 2000 14:34:28 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Poetics List Subject: Daniel Spoerri: May 11, NYC / Emily Harvey Gallery MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit This message had to be reformatted to remove HTML tags. Chris -- Date: Fri, 5 May 2000 11:01:14 -0500 From: "Emily Harvey Gallery, 537 Bway, NYC" Emily Harvey Gallery Press Release 537 Broadway at Spring New York, NY 10012 Tel 212 925-7651 Fax 212 966-0439=09 DANIEL SPOERRI: Le Cabinet Anatomique May 11th to June 10, 2000 Reception for artist: Wednesday, May 24th, 6:00-8:00 Exhibition Catalog Available Emily Harvey is proud to present a series of new works by Daniel Spoerri: assemblages for which Spoerri has found his starting point in a suite of original surgical lithographs from l839 by N.H. Jacob, a student of Jean-Louis David. He "completes" these exquisitely drawn illustrations with carefully overlaid objects. This group of works is the third (and currently final) part of a larger series entitled Le Cabinet Anatomique. Spoerri is an inveterate collector of the most curious expressions of human creativity, retrieving such objects, as he retrieved the original graphics to which he applied them, from Europe's various flea markets. The works are small in scale and display an eerie, jewel-like precision; and though the images are often cruel, they are presented with great equanimity. The exhibition is accompanied by an illustrated catalog on Le Cabinet Anatomique published by the Emily Harvey Gallery with a text by the art critic Otto Hahn, translated and introduced by Henry Martin. Born in Rumania in l930, Daniel Spoerri is one of our era's most versatile talents: in addition to being a visual artist, he has also been a dancer, choreographer and theater director, as well as the editor of a magazine of concrete poetry. He moved from Switzerland to Paris at the end of the l950s where he became connected with the group of the Nouveaux R=E9alistes: Yves Klein, Jean Tinguely, Arman and Martial Raysse. In l962, he also took part in the first Fluxus Festival of New Music, in Wiesbaden. In l968 he opened the Eat Art Gallery in Dusseldorf, which produced and presented edible works of art by contemporary artists. The l960s were the period of his first tableaux pi=E8ges or "snare pictures," in which chance arrangements of objects, on tables or in drawers, were "snared" and fixed into permanent place exactly the artist found them. These works were followed by "false snare pictures," in which the composition had been thoroughly planned, even while creating the impression of having been determined by chance. The notion of chance as a guiding principle of Spoerri's work was succinctly formulated by the little book which he published in l962, entitled La Topographie anecdot=E9e du hasard (republished in l966 by The Something Else Press in the English translation of Emmett Williams asAn Anecdoted Topography of Chance) in which he records all the objects found on the table of his Paris hotel room on October 17th, l961 at 4:17 p.m., also evoking the memories they subsequently brought back to him. Later phases of Spoerri's work were guided by mottoes or titles such as detrompe-l'oeil(undeceiving the eye), pi=E8ges =E0 mots (word traps), or pi=E8ges =E0 hommes (man traps), all of which can be seen as variations on the "snare picture," in the sense that the artist exacerbates the literal meanings of images to the point finally of derouting them into absurdity. Daniel Spoerri currently lives and works in Tuscany, Italy, on a farm in the town of Seggiano, where he is constructing a monumental sculpture garden that includes the work of many of his friends, in addition to his own. Daniel Spoerri will be present for a reception Wednesday, May 24. This occasion marks his first visit to the United States since l975. ========================================================================= Date: Fri, 5 May 2000 08:29:07 -0800 Reply-To: arshile@earthlink.net Sender: UB Poetics discussion group From: Mark Salerno Organization: Arshile: A Magazine of the Arts Subject: Readings In L.A.: Scalapino =?iso-8859-1?Q?=95?= Lederer /// Swenson =?iso-8859-1?Q?=95?= Marlis MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii; x-mac-type="54455854"; x-mac-creator="4D4F5353" Content-Transfer-Encoding: 7bit Dear Colleagues: Please note the following upcoming poetry readings at Beyond Baroque in Venice, California: Friday, May 12, 7:30 p.m. Leslie Scalapino has published eighteen books of poetry, fiction, plays and essays. Among these are Defoe (Sun & Moon), Green and Black, Selected Writings (Talisman), The Return of Painting, The Pearl, The Front Matter, Dead Souls (Wesleyan), a collaboration with Lyn Hejinian, Sight, New Time and The Public World/Syntactically Impermanence (both Wesleyan). Katherine Lederer, poet and publisher, began Explosive, a limited, hand-made edition magazine, at the Iowa Writers Workshop. Her chapbook series includes Leslie Scalapino, Martin Corless-Smith, Juliana Spahr, Lyn Hejinian and Rod Smith. She edits the St. Mark's Poetry Project Newsletter and her poetry has appeared in Volt, The American Poetry Review, Verse, Crow, Arshile and the web magazine Jacket. Saturday, May 13, 7:30 p.m. Cole Swenson is poet, translator and author of Try (U. of Iowa). She won a National Poetry Series award for New Math (Morrow) and a New American Writing Award for Noon (Sun & Moon). Her work has appeared in Conjunctions, The Boston Book Review, Fence and Grand Street. Stefanie Marlis has published two full-length collections of poetry: rife (Sarabande) and Slow Joy (U. of Wisconsin), which won the 1990 Great Lakes Colleges New Writers Award. Her poems have been published in Arshile, Gettysburg Review, Ploughshares, Volt and Zyzzyva. If you are in the Southern California area, I urge you to attend these readings and support these fine artists. Mark Salerno Beyond Baroque Literary Arts Center 681 Venice Blvd. Venice, CA 90291 310-822-3006 ========================================================================= Date: Fri, 5 May 2000 16:13:12 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Chicago Review Subject: NEW CHICAGO REVIEW/Special Offer Mime-Version: 1.0 Content-Type: multipart/alternative; boundary="============_-1254561302==_ma============" --============_-1254561302==_ma============ Content-Type: text/plain; charset="us-ascii" ; format="flowed" CHICAGO REVIEW 46:1 is available on newstands now. It includes: -- Poems by Heather McHugh, Thalia Field, James Taylor, Rosemarie Waldrop, Kelvin Corcoran, Elizabeth Alexander, Colin Simms, and William Fuller -- New Fiction by Stephen Beachy, Tom House, Devon Jackson, Brian Evenson, and a previously untranslated story by Ingeborg Bachmann -- A memoir and poems by Tom Pickard -- An essay by Hank Lazer on Armand Schwerner This issue can be found in your local bookstores (ask them to order it if they don't have it), or ordered directly from us for $6. You can see a preview of the contents, as well as Alan Halsey's cover image, at our web site: http://humanities.uchicago.edu/humanities/review/ - - - - - - - - - - - - - - - - - - - - - - - - - - Poetics List members can receive the following special subscription deal (while supplies last): The regular $18 rate gets you a one year subscription, as well as a free copy of either the Black Mountain Special Issue or the International Anthology of Concretism. To take advantage of this deal, e-mail us and specify which of these back issues you'd prefer. The Black Mountain Issue (edited by Alan Golding, 1979) includes an introductory essay by Charles Altieri; a long chapter from Robert Duncan's _H.D. Book_; prose by Olson, Levertov, Fielding Dawson, Dorn, and Metcalf; poems by Rakosi, Reznikoff, Oppenheimer, Dorn, MacLow, Eigner, Ignatov, Enslin, Taggart, and Levertov. The Duncan selection is priceless, as is Fielding Dawson's memoir of Olson and "The Pork Chop Incident." The spectacular Anthology of Concretism (1967) includes work by Emmett Williams, John Furnival, Dick Higgins, Aram Saroyan, Mary Ellen Solt, Adriano Spatola, Maurizio Nannuci, Carlo Belloli, Hinz Gappmayr, Seiichi Niikuni, Henri Chopin, Jiri Valoch, and Jaroslav Molina. This issue is an eye treat. - - - - - - - - - - - - - - - - - - - - - - - - - - Stay tuned for our forthcoming issues: 46:2 (due late June) will include poems by Forrest Gander, Campbell McGrath, Laton Carter, Bill Berkson, and Laura Mullen; fiction by Christopher Middleton, and others; an essay by Paul Naylor on Ronald Johnson; and reviews of Sobin, Waldrop, Middleton, Lytle Shaw, Ales Debeljuk, Thom Gunn, and others. 46:3 (late summer/early fall) will be a special issue devoted to New Writing from Poland, the first of its sort in this country since 1989. -------------------------- CHICAGO REVIEW 5801 South Kenwood Avenue Chicago IL 60637 http://humanities.uchicago.edu/review/ --============_-1254561302==_ma============ Content-Type: text/enriched; charset="us-ascii" CourierCHICAGO REVIEW 46:1 is available on newstands now. It includes: -- Poems by Heather McHugh, Thalia Field, James Taylor, Rosemarie Waldrop, Kelvin Corcoran, Elizabeth Alexander, Colin Simms, and William Fuller -- New Fiction by Stephen Beachy, Tom House, Devon Jackson, Brian Evenson, and a previously untranslated story by Ingeborg Bachmann -- A memoir and poems by Tom Pickard -- An essay by Hank Lazer on Armand Schwerner This issue can be found in your local bookstores (ask them to order it if they don't have it), or ordered directly from us for $6. You can see a preview of the contents, as well as Alan Halsey's cover image, at our web site: http://humanities.uchicago.edu/humanities/review/ - - - - - - - - - - - - - - - - - - - - - - - - - - Poetics List members can receive the following special subscription deal (while supplies last): The regular $18 rate gets you a one year subscription, as well as a free copy of either the Black Mountain Special Issue or the International Anthology of Concretism. To take advantage of this deal, e-mail us and specify which of these back issues you'd prefer. The Black Mountain Issue (edited by Alan Golding, 1979) includes an introductory essay by Charles Altieri; a long chapter from Robert Duncan's _H.D. Book_; prose by Olson, Levertov, Fielding Dawson, Dorn, and Metcalf; poems by Rakosi, Reznikoff, Oppenheimer, Dorn, MacLow, Eigner, Ignatov, Enslin, Taggart, and Levertov. The Duncan selection is priceless, as is Fielding Dawson's memoir of Olson and "The Pork Chop Incident." The spectacular Anthology of Concretism (1967) includes work by Emmett Williams, John Furnival, Dick Higgins, Aram Saroyan, Mary Ellen Solt, Adriano Spatola, Maurizio Nannuci, Carlo Belloli, Hinz Gappmayr, Seiichi Niikuni, Henri Chopin, Jiri Valoch, and Jaroslav Molina. This issue is an eye treat. - - - - - - - - - - - - - - - - - - - - - - - - - - Stay tuned for our forthcoming issues: 46:2 (due late June) will include poems by Forrest Gander, Campbell McGrath, Laton Carter, Bill Berkson, and Laura Mullen; fiction by Christopher Middleton, and others; an essay by Paul Naylor on Ronald Johnson; and reviews of Sobin, Waldrop, Middleton, Lytle Shaw, Ales Debeljuk, Thom Gunn, and others. 46:3 (late summer/early fall) will be a special issue devoted to New Writing from Poland, the first of its sort in this country since 1989. -------------------------- CHICAGO REVIEW 5801 South Kenwood Avenue Chicago IL 60637 http://humanities.uchicago.edu/review/ --============_-1254561302==_ma============-- ========================================================================= Date: Fri, 5 May 2000 17:57:46 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Christina Milletti Subject: e-mail query MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Does anyone happen to have Tom Lavazzi's e-mail address? Please backchannel. Christina Milletti ========================================================================= Date: Sat, 6 May 2000 09:11:02 +1000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: John Tranter Subject: word wrap Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed Word wrap seems to have been turned off - the Poetics List messages now stretch out to the right in a politically dangerous manner. Or is that just my computer losing its wrappers? John Tranter, Sydney ========================================================================= Date: Fri, 5 May 2000 19:53:40 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Brendan Lorber Subject: ZINC BAR SUN BLOCK Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Just as we were preparing to install gro-lights & slip a little spirulina into everyone's drink, New York hit 80 degrees under blue skies today. While delighted to shed the Seasonal Affective Disorder we'd so meticulously cultivated over the past month of snow & rain, we're equally concerned that nobody spends too much time working on their tan before the summer even begins. Might we offer a respite from the sun's ruthless rays & a place to slake your thirst, a respite we call THE ZINC BAR SUNDAY NIGHT READING SERIES. You won't find a higher SPF than here at the underground Moroccan bar in New York's Underground Moroccan Bar District. & you won't find readings more compelling than these. Why look -- Here's the month at el zinco, coming atcha: SUNDAY MAY 7: DONNA CARTELLI + ELIZABETH YOUNG SUNDAY MAY 14: ELINOR NAUEN + MAGGIE DUBRIS SUNDAY MAY 21: EILEEN MYLES + BILL LUOMA TUESDAY MAY 23: RELEASE READING FOR LUNGFULL! MAGAZINE ISSUE 9 Your hosts are trapped in the bodies of Douglas Rothschild & Brendan Lorber. All readings are at 6:37pm & will run you $3 -- with the exception of the LUNGFULL! release. That's $5 to get in & another $5 if you want a copy (you save $3 off the cover price). Also, things will start cooking about 6:00pm on that night & the reading itself swings into action at 7:00pm. The Tuesday night release of LUNGFULL! Will feature these fine poets: BRUCE ANDREWS ANSELM BERRIGAN GEOFF BOUVIER ALBERT DESILVER MARCELLA DURAND CLIFF FYMAN BILL KUSHNER KAREN WEISER DANA STEVENS FERNANDO PESSOA Zinc Bar is at 90 West Houston between Laguardia & Thompson. If you want more information, Brendan's at 212.533.9317 or lungfull@interport.net & Douglas, he's 212.366.2091. Wishing you only the best of moods, on behalf of Douglas & everyone at Zincateria I remain your big zero, Brendan Lorber PS: I'm forever misplacing my copy of the Double Happiness reading schedule, hosted this month by Prageeta Sharma & Kristin Prevallet. So you'll know who's reading there when I pester you for the names later on, I thought I might give you the skinny on that series as well.... may 6: pierre joris & nicole peyrafitte & julie patton may 13: ron silliman & alan gilbert may 20: charles north & maureen owen ========================================================================= Date: Fri, 5 May 2000 07:21:41 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Bill Berkson Subject: Re: A PLACE IN THE BAY AREA In-Reply-To: <4.1.20000502135138.009888b0@lmumail.lmu.edu> MIME-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit Dear Aldon, Hello. Welcome. I believe you will tell the bus driver "California College of Arts and Crafts, please." It's an old bus shed. (I teach at "the other place," San Francisco Art Institute. best, Bill Berkson on 5/2/00 1:52 PM, Nielsen, Aldon at anielsen@LMUMAIL.LMU.EDU wrote: >> >> I've been appointed writer-in-residence in CCAC's new MFA program for the >> 2000- >> 2001 academic year. > > great news (except for the commuting part) -- but what is a CCAC? ========================================================================= Date: Sat, 6 May 2000 22:33:04 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Loss =?iso-8859-1?Q?Peque=F1o?= Glazier Subject: Salamanca Poetry Conference Program Mime-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable A note to announce "Transgressing Boundaries and Strategies of Renewal in American Poetry", a poetry conference to be held at the Universidad de Salamanca, Spain, this month. The conference covers a lot of interesting material featuring numerous important European scholars. A number of poets and critics close to this= list are also involved. Most of the sessions are in English. If anyone is in the area, you may wish to attend! Otherwise, a read of the topics for this conference is interesting indeed. For more information, the URL for the conference is http://www3.usal.es/english/conference.html Appended is the conference program for your convenience. ------------------------------------------------------------------------ > > THURSDAY (morning sessions are held in Aula Unamuno)=20 > 9:30- 10 Welcome=20 > > 10- 10:50 Gudrun Grabher, Universit=E4t Innsbruck, "In Search of Words for > Moon-Viewing: The Japanese Haiku and the Scepticism Towards Language in > Modernist American Poetry".=20 > > 11-11:50 Barry Ahearn, Tulane University, "Ezra Pound's Cathay: What Sort= of > Translation?"=20 > > 12-13 Marjorie Perloff, Stanford University, "Plus =E7a change? = Avant-Garde > Eliot and the New Poetics"=20 > > 13:15 OPEN LUNCH - Hospeder=EDa=20 > > AFTERNOON=20 > > 15- 17 Modernist poetics : Aula Unamuno=20 > > Paul Derrick, Universidad de Valencia, "Death, the undiscovered country= from > whose bourn some travellers return. The Final Frontier and the American > Mind".=20 > "=20 > Viorica Patea, Universidad de Salamanca, "The Poetics of Science: Poe, > Whitman, and Frost"=20 > > Isabelle Alfandary, Universit=C8 de Paris, "Poetry as "Ungrammar" in the= Works > of E. E. Cummings".=20 > > Ian Copestake, University of Leeds, 'Keeping the Plums Fresh: William= Carlos > Williams and the Fruitfulness of Contradiction.'=20 > > Maria Krabichler, Innsbruck University, "Travelling Beyond with Cummings' Lady > of Silence"=20 > > > 15-17 Feminine Voices: Chair, Anne Dewey, Aula Salinas=20 > > Anne Dewey, St. Louis University, "Unhinging Language: Susan Howe's Ghost > Voices and the Wilderness of Language".=20 > > Juani Guerra, Universidad de las Palmas de Gran Canaria, "In the Heart of the > Heart of the Language. Lyn Hejininan's L(IF)E'=20 > > Astrid Franke, Goethe Universit=E4t Frankfurt am Main, "Neoclassicism= under > Pressure: The Poetry of Phillis Wheatley"=20 > > Ernesto Su=E1rez Toste, Universidad de La Laguna, "Elizabeth Bishop and= the > Problematics of Surrealist Women Artists"=20 > > Matilde Mart=EDn, Universidad de La Laguna, Reconstituting the Self: Hilda > Morley's Poetry=20 > > Dulce Maria Rodr=EDguez Gonz=E1lez, Universidad de La Laguna, "Sylvia= Plath and > Anne Sexton: Dethroned Muses=20 > > > 17- 18:30 Cultural Poetics and the Problem of Identity: Chair, Mar=EDa= Eugenia > D=EDaz, Aula Unamuno=20 > > Aldon Lynn Nielsen, Loyola Mary Mount University, "Race and Poetics for= the > Future Anterior"=20 > Poetry Reading=20 > > Timothy Yu, Stanford University, "Form and Identity in Language Poetry and > Asian American Poetry"=20 > > Graca Capinha, Universidade de Coimbra, "Deterritorializing Words:= Language > Poetry and Portuguese Immigrants' Poetry"=20 > > Mar=EDa Eugenia D=EDaz, Universidad de Salamanca, "Self-Reflexivity in the > Embedding of Cultures"=20 > > > 17-18:30 Cultural Poetics and the Problem of Identity: Aula Salinas=20 > > Ming-Qian Ma, University of Nevada, "From the Metaphysical to the > 'Pataphysical: The Poetics of "As If" and the"(Immanent) (Critique)" of > Language in Canadian Avant-Garde Poetry=20 > > Manuel Brito, Universidad de la Laguna, "Reader-Response Dynamics and the > Policy of Anthologizing Recent American Poetry=20 > > Birgit Monz and Marion Rohrleitner, Innsbruck University"After Her, the Women > and the Men Weave Blankets Into Tales of Life": How Renewal came to= Teaching > Native American Poetry"=20 > > Nina Maria Koell, Universit=E4t Innsbruck, "Locating Spoken-Word:= Nuyorican > Poets Caf=C8 or GAP Rap? =3D Poetic Revolution or Cheap Commerce?"=20 > > > 18:30- 19:30 Poetry Reading : Joan Retallack, Steve McCaffery, Bob Perelman, > Loss Glazier,=20 > > > FRIDAY (morning sessions are held in Aula Unamuno)=20 > 9-10 Felix Mart=EDn, Universidad Complutense, "Philip Levine: conjeturas= de la > imaginaci=F3n radical=20 > 10-11 Manju Jain, University of New Delhi, "Emerson's Epistemologies and > Orientalism"=20 > 11-12 Antoine Caz=E9, University of Orl=E9ans, "Conceptual Lyricism:= Abstract > Constructions of the Self in Recent American Poetry=20 > 12-13 Charles Altieri, University of Berkeley, "Assessing Experiments: Eliot's > Version of Emotion=20 > > AFTERNOON=20 > 15- 17 Postmodernist poetics: Chair, Marjorie Perloff, (Aula Unamuno)=20 > Steve McCaffery,"Interpreting the Limit Text: Jackson Mac Low's *Words nd Ends > from Ez*"=20 > Bob Perelman, University of Pennsylvania, "Poems and Lemons=20 > Joan Retallack, Bard College, "Mongrelisme - A)"=20 > Craig Dworkin, Princeton University, "To Destroy Language."=20 > Karen MacCormack "Mutual Labyrinth: A Proposal of Exchange"=20 > > 17-19 Postmodernist poetics: (Aula Unamuno)=20 > Esteban Pujals, Universidad Aut=F3noma, "Creative Reading: the Utopian Horizons > of American Poetry"=20 > Tomoyuki Iino, Nihon University, Tokyo, "Words as Speculation: John= Ashbery > and Paul Auster"=20 > Salvador Rodr=EDguez Nuero, Universidad Polit=E9cnica de Madrid, "The= Tender > Blur": The Articulation of the Social in John Ashbery's Poetry".=20 > Jos=E9 Rodr=EDguez Herrera, Universidad de Las Palmas de Gran Canaria, "Relearning > the Self, Relearning the World in the Postmodern Era"=20 > Ursula Nobis, Universit=E4t Aachen, "Poetic innovation and "changing= aspects": > Bernstein and Wittgenstein"=20 > > 17- 19. Miscellanea, (Aula Salinas)=20 > Annie Finch, Miami University, "Sentimentality as a Strategies of Poetic > Renewal: Confessions of a Postmodern Poetess"=20 > M=E1rio Avelar, Universidade Aberta, "Voices of Absorption - Reading Karl > Kirchwey's A Wandering Island=20 > Jos=E9 Mar=EDa Rodr=EDguez Garc=EDa, Universidad de La Coru=F1a, "Reading= William C > Williams's "To Elsie" Against the American Grain=20 > Ana Mar=EDa Rodr=EDguez Mosteiro, Universidade da Coru=F1a, "Ginsberg, Lor= ca and the > Presence of Whitman in Their Poetry"=20 > Sandra L=F3pez Santos, Universidade da Coru=F1a, "1950s American Poetry on > Alcoholic Addiction: Texts and Contexts"=20 > Sonia Petisco, "Thomas Merton Antipoetry: A Revolution in Thought and > Language"=20 > > 21- Dinner=20 > SATURDAY (morning sessions are held in Aula Unamuno)=20 > 9- 9:50 Zhaoming Qian, University of New Orleans, Marianne Moore and= Chinese > Ceramic Art: Modernist Transgressions in "Nine Nectarines"=20 > > 10-10:50 Claude Rawson, Yale University, "Wallace Stevens: Burgherly Exquite"=20 > > 11-11:50 Michel Delville, University of Li=E8ge, "Reversible Destiny and= the > Poetic Subject: The Art of Madeline Gins and Arakawa"=20 > > 12- 13 Poetry Reading: Karen MacCormack, Tom Sleigh, Annie Finch, Aldon= Lynn > Nielsen=20 > > > 13- Conclusions: Marjorie Perloff=20 ------------------------------------------------------------------------ ========================================================================= Date: Sun, 7 May 2000 09:59:22 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Patrick Foley Subject: derrida Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" I think the reason some of us have rejected Derrida is nicely expressed by Stanley Cavell, discussing JD & Austin, roughly thus: for Austin (as for Wittgenstein) the metaphysical represents something like a flight from the ordinary, and is essentially delusional; for Derrida (as for Heidegger) the ordinary is a flight from the metaphysical and is essentially delusional. Some of us no longer believe in the hermeneutics of suspicion, no longer believe that everyday life, all art, culture, politics, everything, is shaped by ideology (metaphysics of one kind or another). That is the fundamental difference between Wittgenstein and Derrida. While Wittgenstein & Austin on the one hand, and Heidegger & Derrida on the other have a similar conspiracy-theory sort of appeal (like Nietzsche, showing you what's really going on, and incidentally now you don't actually have to read Kant or Husserl or whoever), my guys only claim that a very small group of people carry on a very odd & pointless, muddled sort of game (philosophy) whereas the other guys claim that this is the most important stuff in the world and those of you doing Theory are doing the most important work there is, that you are unmasking all of human history, etc. etc. That's the thumbnail. I should say Cavell's presentaion is markedly more sympathetic to Derrida than I'm being, or at least more interested. Those are the broad strokes of Why I Don't Read Derrida Anymore, without getting into quibbles about his methodology, what it is, what it isn't, and so on. (Although I do have a few quibbles.) Especially in this theory-laden age, I think this has implications for poetics, but I'm not clear yet on what they are. A lot of the terms here seem to resonate with terms from romantic-era poetics (imagination vs? reality, ordinary language, etc.) and that seems likely to muddy the waters -- or maybe it'll help us finally settle accounts with Romanticism, who knows... Pat ========================================================================= Date: Sun, 7 May 2000 11:42:34 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Rebecca Wolff Comments: To: ajtaylor@fictionopolis.com, gissing@erols.com, frances@angel.net, rohrer@poetrysociety.org, crumpacker@poetrysociety.org, jhhaythe@earthlink.net, maxw28@yahoo.com, hisraeli@aol.com, zoems@hotmail.com Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Fence #5 (http://www.fencemag.com) is out, featuring work by, among others: Peter Gizzi * Elizabeth Alexander * James Tate * Cecilia Pinto * Cole Swensen * Caroline Knox * Ira Sadoff * Veronica Geng * Dean Young * Charlie Smith * Antler * Juliana Spahr * Jordan Davis * Paul Hoover * Thomas Glynn * D.A. Powell * Lisa Lubasch * Tim Griffin * Kahn/Selesnick and also Statements from the Barnard Conference Brenda Hillman * Rae Armantrout * Harryette Mullen * Ann Lauterbach * Lyn Hejinian * Lucie Brock-Broido * Barbara Guest * Conference Organizers Allison Cummings & Claudia Rankine A Note: Here at Fence we had underestimated a recent surge in the ranks of our subscribers and so are left with only a small quantity of copies in our store-room. So I encourage you, if you're interested in this issue, to go out to your local bookstore, be it independent or Barnes & Noble, and buy it there. (B&N takes a huge proportion of our print-run; if/when it doesn't get bought they trash it. So please trash your principles for just a few minutes and buy it there if you can't find it elsewhere.) That said, Fence can also be ordered on our website, at http://www.fencemag.com, and at SPD's website: http://www.spdbooks.org ========================================================================= Date: Fri, 5 May 2000 21:41:25 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Pritchett,Patrick" Subject: Re: purifying the language? MIME-Version: 1.0 Content-Type: text/plain The source for this is Mallarme, in a preface to an edition of his poems as I recall. Eliot uses it later in _Four Quartets_ -- "Burnt Norton" I believe it is -- to drive home a point about the high calling of the English poet. For TSE, this was a decidedly imperialistic project which differed from Mallarme's no less elitist, but nevertheless different, aim of creating distance between the Symbolists and the bourgeois neo-Parnassians or whoever they were. I'm sure others on the list can a more historically detailed account. When I interviewed Ron Sukenick a few years ago he remarked that maybe the job of the writer now was to muddy up the language of the tribe, i.e. take it back from the homogenizing, single-gauge forces of consumer culture. To resist absorption, as Bernstein would put it. Patrick Pritchett > -----Original Message----- > From: Camille Martin [SMTP:cmarti3@UNIX1.SNCC.LSU.EDU] > Sent: Wednesday, May 03, 2000 1:55 PM > To: POETICS@LISTSERV.ACSU.BUFFALO.EDU > Subject: purifying the language? > > Can anyone help me with background for the idea of "purifying the language > of the tribe?" Who first came up with the phrase? What's the historical > backdrop for the idea and the context for its utterance? What do you > think are the implications? Sources in which this idea is discussed would > be appreciated. > > Thanks for your help! > > Camille Martin ========================================================================= Date: Fri, 5 May 2000 13:33:42 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: michael amberwind Subject: Re: Writing Experiments MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii I'm looking for peoples favourite self made writing experiments. Send yr best & maybe some examples. __________________________________________________ Do You Yahoo!? Send instant messages & get email alerts with Yahoo! Messenger. http://im.yahoo.com/ ========================================================================= Date: Sun, 7 May 2000 19:25:11 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Gwyn McVay Subject: Re: List archive interface In-Reply-To: <950262.3166701987@ubppp248-177.dialin.buffalo.edu> MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII >>>One additional change: text is now displayed in a proportional rather than a mono-spaced font. I don't think this last will cause any problems, and it certainly leaves the archive more pleasing visually.<<< But haven't people submitted poems, or snippets of poems, or hopes toward poems, etc. that have depended on mono-spacing for visual measurement? Here's another question: do the Sondheim poems "belong" in any other font than mono-spaced computer text? Gwyn ========================================================================= Date: Sun, 7 May 2000 21:07:46 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: William Slaughter Subject: Notice: Mudlark In-Reply-To: <200005042136.RAA16879@relay.thorn.net> MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=X-UNKNOWN Content-Transfer-Encoding: QUOTED-PRINTABLE New and On View: Mudlark Poster No. 23 (2000)=20 =20 Jane Yolen=20 Open Door=CA | =CAWoman Chief (1805-1851) | Ten Things=20 You May Not Know About Me and Only Three of Them Are Lies=20 Called alternatively the "Hans Christian Andersen of America"=20 (Newsweek) and "the Aesop of the 20th century" (New York Times),=20 Jane Yolen is a story teller, novelist, children's book author,=20 poet, and playwright. Ms. Yolen's books, poems, and stories=20 have won many awards including, among others, the Caldecott Medal,=20 two Nebula Awards, the Jewish Book Award, and the Christopher Medal.=20 She has published more than 200 books.=20 Spread the word. Far and wide, William Slaughter _________________ MUDLARK=20 An Electronic Journal of Poetry & Poetics Never in and never out of print... E-mail: mudlark@unf.edu URL: http://www.unf.edu/mudlark ========================================================================= Date: Fri, 5 May 2000 19:09:17 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Bill Berkson Subject: bb reads In-Reply-To: MIME-version: 1.0 Content-type: text/plain; charset="ISO-8859-1" Content-transfer-encoding: quoted-printable Bill Berkson Readings / Book Signings [UPDATED] =20 SERENADE: Poetry & Prose 1975-1989 with cover & drawings by Joe Brainard (Zoland Books, 2000) =20 Blue Books, 766 Valencia SF (May 25) =20 Moe=B9s Books, Telegraph Ave., Berkeley (June 26) =20 Booksmith, 1644 Haight St., SF (July 27) =20 Yerba Buena Center for the Arts. 3rd & Mission, SF (August 3) =20 A Clean Well-Lighted Place for Books, 601 Van Ness, SF (August 10) ========================================================================= Date: Sat, 6 May 2000 17:00:10 +1000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: komninos zervos Subject: Re: Bromige Kicks Butt at Reading In-Reply-To: <39105276.C2CF9B12@sonic.net> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" isn't it strange that we still use the language of published printed poetry to describe poetry that is spoken/performed in public. surely 'sounding' of poetry might be more appropriate than 'reading' of poetry. but sounding is even inadequate in capturing the feel of a live event. the look of the poet, their identity, personality, the venue they perform in, the nature of the audience, the ambient "noise"(from coffee machines, bars, clinking cutlery, background discussions about football, etc..), the presence or absence of alcohol, the presence or absense of amplification equipment, the time of day; the context of the reading. has anyone attempted to write in or develop a language to ctiticize or theorize about performance poetry? komninos At 09:23 AM 5/3/00 -0700, you wrote: >I wasn't able to attend, but I heard from a friend that David was a smash hit at the Phoenix Theater reading in Petaluma CA with his famous "5 minute reading." I also heard that L. Ferlinghetti "read" completely from memory and was wonderful. (Sorry I couldn't make it David! I was thinking of you though!) > >Layne > komninos's cyberpoetry site http://student.uq.edu.au/~s271502 cyberpoet@slv site http://www.experimedia.vic.gov.au/cyberpoet/ komninos zervos, tel. +61 7 55 948602 lecturer in cyberstudies, school of arts, gold coast campus, griffith university, pmb 50, gold coast mail centre queensland, 9726 australia. ========================================================================= Date: Sun, 7 May 2000 09:28:14 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Ayperry@AOL.COM Subject: ALGARIN & PERRY AT THE BRIDE TODAY Comments: To: 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, rosemarie1@msn.com, sernak@juno.com, SFrechie@aol.com, singinghorse@erols.com, sm1168@messiah.edu, 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, tosmos@compuserve.com, TWells4512@aol.com, upword@mindspring.com, v2139g@vm.temple.edu MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Miguel Algarin with Aaren Perry and the Naked Poets Band perform new work at the Painted Bride Art Center 230 Vine Street, Philadelphia Sunday, May 7, 2000 at 3 P.M. Robins Books will have the authors' books and CDs in the lobby. Free drinks as long as they last! ========================================================================= Date: Sun, 7 May 2000 17:25:45 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: levitsk@ATTGLOBAL.NET Subject: the state of the courts MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Mitchel Cohen is a fabulous organizer, whose tireless "No Spray" work has been effective and helpful for us all, as there will not be malathion this summer. He is also a poet. If you have the interest and time--check this out. --RDemocracy -----Original Message----- From: Mitchel Cohen To: mitchelcohen@mindspring.com Date: Saturday, May 06, 2000 2:22 AM Subject: Trials and Tribulations >Dear friends and comrades, > >On April 27th, a judge in Federal Court found me guilty for "failing to >obey a lawful order" to disperse. >This charge stemmed from my arrest, along with 96 others, at a non-violent >civil disobedience demonstration (with loads of non-arrested >observer-participants) on behalf of a new trial for Mumia Abu-Jamal and >Leonard Peltier last July 3rd, at the Liberty Bell in Philadelphia. > >This is a mere violation or a low-level misdemeanor. Most of the arrestees >copped pleas to the same charge and were sentenced to pay a $250 fine, and >$25 to a victim's restoration fund -- that's it, and it's bad enough. But >several of us went to trial asserting our innocence of the charges against >us. I'd submitted a motion for a jury trial, but the judge said that since >the Prosecutor wasn't asking for jail time, I was not entitled to one. I >said "I had no idea WHAT the Prosecutor is asking for." There was >absolutely no contact between the US Attorney (prosecutor) and myself at >any time. I didn't even know my charges until I got to court, and never >even PLEADED! > >I also submitted a motion for copies of all communications between the >Assistant US Attorney and the FBI regarding my case (denied, of course). > >And I managed to put the Assistant US Attorney on the witness stand, after >I found a photograph in which he was standing right nearby at the Liberty >Bell watching me being arrested. (He had selected video clips in which he >was not present, and made no statement to the court until then saying he >had been.) > >After a 2-day trial, in which I served as my own attorney (with some legal >assistance), I and one other person were found guilty, just as had a number >of others the week before. > >I was sentenced -- same as the others -- to 1 year probation (reviewable in >either 30 days or 60 days depending on which agency you ask). Among the >requirements of probation (which I signed, under duress of being thrown >into jail -- nice "freedom" we've got!), is a whole host of things, >including regular urine tests, no consorting with "other" felons, $250 >fine, $25 payment to the victim's restititution fund., and confinement to >the Judicial District, in this case the Southern District of NY, which is >Queens, Brooklyn & Staten Island. The rest of the City and Long Island are >thrown in as a "special privilege". I'm not allowed to travel out of that >area for any reason. > >All of this, and more, not for a felony, not even a serious misdemeanor, >but for the legal equivalent of "jay-walking." Most of the time, these sort >of cases are thrown out of court, with at worst a $25 fine. Because this >was "political", against the death penalty, and for a new trial for Mumia >Abu-Jamal and Leonard Peltier, the Philadelphia judge and prosecutor saw >fit to slam me, and a few others who dared to plead not-guilty. > >And so, I wrote a very polite letter to the Judge yesterday requesting that >he allow me to travel to New Paltz, NY -- just 1-1/2 hours away -- where I >was supposed to be a featured speaker at a program concerning genetic >engineering, and was to receive a stipend for my talk. I also asked that he >allow me to attend a long-planned environmental conference in Brussels next >week, where I was also to be remunerated. (I state the money end of things >because judges and probation officers are generally supposed to make >exceptions for legal activities done in order to make one's living.) I >explained that I am on the editorial board of several newspapers and >magazines (Green Times, Green Politics, Synthesis/Regeneration, Red Balloon >Magazine), a journalist, and speaker, in addition to selling my poetry in >New York City, and that preventing me from traveling to conferences was >depriving me of making my living. > >The Judge, who refused to write back to me, was apparently provoked to >major ire by my very nicely written letter, to which I'd attached the >Brussels invitation. While it was a longshot that he would let me travel to >Brussels to begin with, he instead spoke with the probation office and has >asked them to -- get this! -- lift my passport!! And he notified US Customs >to add me to their computerized registry of criminals to watch out for, in >case I decided to flee the country or travel to Brussels against his >ruling. He fined me $250 (with the "possible" option of working it off at >some volunteer agency, instead -- maybe). And now I am subjected to regular >urine tests, home visits from probation officers, and various other >conditions of hospitality of the US penal and probation system. > >I filed a notice of appeal this afternoon. I -- and the others -- need >intelligent lawyers to challenge this trial and sentencing, as well as this >entire process of penalizing people for pleading not guilty. > >If you would like to send a letter of protest to the judge for denying me >my right to travel and to make my living as a journalist, environmentalist >and public speaker (they usually allow people to travel if that's how they >make their money or business connections, etc.), and your right to have me >share with you my ideas and experiences, you can write him directly at >Judge Arnold C. Rapoport, US District Court, Eastern District of >Pennsylvania, Federal Bldg., 504 W. Hamilton St., Allentown PA 18101 USA. >The fax # is (610) 776-0379, and telephone number is (610) 776-0369. NO >PHYSICAL THREATS, PLEASE! (But say what you want, politically.) Please send >me a copy, too. > >Any funds you'd like to contribute to my legal and living costs are also >greatly appreciated. You can send them to Mitchel Cohen, 2652 Cropsey >Avenue, #7H, Brooklyn NY 11214. > >Free Mumia Abu-Jamal, Leonard Peltier, and all political prisoners. > >Thank you. > >Mitchel Cohen > >PLEASE CIRCULATE THIS APPEAL. > ========================================================================= Date: Mon, 8 May 2000 14:59:30 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Poetics List Subject: Re: List archive interface MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Gwyn McVay writes: > But haven't people submitted poems, or snippets of poems, or hopes toward > poems, etc. that have depended on mono-spacing for visual measurement? > Here's another question: do the Sondheim poems "belong" in any other font > than mono-spaced computer text? Ah, I should have been clearer: the option remains to revert from a proportional to a non-proportional font. I have only changed the default mode of display. As to the format of Alan's poems, this, too, is a very good question. When some years ago I published -Jennifer-, a section of his works, on nominative press, I found that indeed only a sans-serif font would do. In that case I chose Arial; in this I would recommend the non-proportional font. Of course, one shouldn't forget that, of the 800+ people now reading this message (or not), it's conceivable 600 of you are reading it in something other than the 9-point Monaco in which it was typed. cheers, Chris % Christopher W. Alexander % poetics list moderator ========================================================================= Date: Mon, 8 May 2000 01:31:59 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: some of MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII - some of 98734578999875221 ninety-eight quadrillion. seven hundred thirty-four trillion. five hundred seventy-eight billion. nine hundred ninety-nine million. eight hundred seventy-five thousand. two hundred twenty-one. 98734578999875220 ninety-eight quadrillion. seven hundred thirty-four trillion. five hundred seventy-eight billion. nine hundred ninety-nine million. eight hundred seventy-five thousand. two hundred twenty. 98734578999875219 ninety-eight quadrillion. seven hundred thirty-four trillion. five hundred seventy-eight billion. nine hundred ninety-nine million. eight hundred seventy-five thousand. two hundred nineteen. 98734578999875218 ninety-eight quadrillion. seven hundred thirty-four trillion. five hundred seventy-eight billion. nine hundred ninety-nine million. eight hundred seventy-five thousand. two hundred eighteen. 98734578999875217 ninety-eight quadrillion. seven hundred thirty-four trillion. five hundred seventy-eight billion. nine hundred ninety-nine million. eight hundred seventy-five thousand. two hundred seventeen. 98734578999875216 ninety-eight quadrillion. seven hundred thirty-four trillion. five hundred seventy-eight billion. nine hundred ninety-nine million. eight hundred seventy-five thousand. two hundred sixteen. 98734578999875215 ninety-eight quadrillion. seven hundred thirty-four trillion. five hundred seventy-eight billion. nine hundred ninety-nine million. eight hundred seventy-five thousand. two hundred fifteen. 98734578999875214 ninety-eight quadrillion. seven hundred thirty-four trillion. five hundred seventy-eight billion. nine hundred ninety-nine million. eight hundred seventy-five thousand. two hundred fourteen. 98734578999875213 ninety-eight quadrillion. seven hundred thirty-four trillion. five hundred seventy-eight billion. nine hundred ninety-nine million. eight hundred seventy-five thousand. two hundred thirteen. 98734578999875212 ninety-eight quadrillion. seven hundred thirty-four trillion. five hundred seventy-eight billion. nine hundred ninety-nine million. eight hundred seventy-five thousand. two hundred twelve. ========================================================================= Date: Mon, 8 May 2000 05:46:53 PDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Stephen Ellis Subject: Contact address for Susan Schultz Mime-Version: 1.0 Content-Type: text/plain; format=flowed Does anyone have either a postal or email address for Susan Schultz? Please backchannel. Thanks. ________________________________________________________________________ Get Your Private, Free E-mail from MSN Hotmail at http://www.hotmail.com ========================================================================= Date: Mon, 8 May 2000 07:37:33 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: David Larsen Subject: self-publish or self-polish? In-Reply-To: <265265.3166466514@ubppp248-187.dialin.buffalo.edu> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" DAVID LARSEN - "TO THE FREMONT STATION" "evil done to a landlord is no evil" 4 1/4" x 5 1/2", 40 pages, hand-printed cover $3 for friends $2 for enemies 399 N. Tenth St. San Jose CA 95112 ========================================================================= Date: Mon, 8 May 2000 12:49:41 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII - 10 ten 9 nine 8 eight 7 seven 6 six 5 five 4 four i will not count such further; such worlds will break asunder; & this has been foretold, such is the destruction of worlds; it is better to break breath, to cease the act; what has been foretold has been erased, presence of an empty vessel; no need to shatter spheres, such would be the innocent; that i could not bear the burden; i t is therefore broken, that one may live longer & in the mercy & in the mercy of the world, against the laws of the world; throughout the realms of a breath of shattering; throughout the world & each & every of its laws; unto the very minor, the tiniest presence or hovering; everything unaccountable - ========================================================================= Date: Mon, 8 May 2000 08:55:32 -0700 Reply-To: bill marsh Sender: UB Poetics discussion group From: bill marsh Subject: Poetic Visuals forum (San Diego) MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 8bit [for any in the san diego area this weekend] "Poetic Visuals: Text and Texture in Art and Visual Poetry" with guest artists and writers: Bibiana Padilla Heriberto Yépez Carlos Adolfo Gutiérrez Vidal Aida M. Mancillas Alex Donis and moderator Joel Kuszai The art and poetry forum brings together six artists and poets working actively in San Diego, Tijuana, Los Angeles and Mexicali. This year's event, including poetry readings, art display, web-based installations, and panel presentations, provides a community forum for the discussion of visual and literary arts in the context of cross-cultural exchange and cross-genre influence. San Diego in the 21st century is a meeting ground for disparate cultures whose art in many cases reflects the meeting of aesthetic ideas and forms in addition to the meeting of cultures and languages. The panel for this year's event calls attention to this convergence, with working artists representing a wide assortment of genres, aesthetics, languages, and modes of delivery, but at the same time sharing an interest in the relation between text (language) and texture (visual image). The forum will address the issues of recognition, comprehension and distribution of experimental art in a region (Southern California and Baja) rife with conventions of division and segregation. Also, the forum will ask how art and poetry as modes of social exchange operate within and beyond larger social, political, artistic and linguistic conventions, as well as how art and poetry can negotiate conventional divides and initiate dialog across cultures, languages, and practices. Date / Time / Place Saturday, May 13, 2000 11 am to 2 pm National University Torrey Pines Building La Jolla Conference Room 123 For details and sample works, please visit the PV website at http://www.sunbrella.net/content/povis2000/pv1.html bill marsh ========================================================================= Date: Mon, 8 May 2000 15:13:25 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Poetics List Subject: The Libberator / ??? MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit This message came to the administrative account. Chris -- Date: Fri, May 5, 2000 9:38 PM +0000 From: RJRVE@aol.com Lacuna Arts is pleased to announce the publication of The Libberator web site, presenting the journalistic vision of writer Sam Libby. Included in the site are two regular columns, "The Issue of the Moment" and "Surfin da' Zeitgeist." The site also includes an archive of Libby's articals on Native American, environmental, drug and political issues. Check it out at www.azimuthmag.com Also see Libby's story Jah's DEP, detailing the trials and tribulations of the drug war, published in the literary journal AziMuth, also located within the Lacuna Arts web site. ========================================================================= Date: Mon, 8 May 2000 15:15:06 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Poetics List Subject: Re: Writing Experiments / mIEKAL aND MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit This message had to be reformatted to remove HTML tags. Chris -- Date: Mon, 08 May 2000 14:13:33 -0600 From: mIEKAL aND spidertangle wordround an online hypertext workshop open to new collaborators http://net22.com/qazingulaza/joglars/wordround/wordround.html -The Internalational Dictionary of Neologisms- [glossary of neologisms collected around the network since 1985, submit yours....] http://www.net22.com/neologisms/ michael amberwind wrote: > I'm looking for peoples favourite self made writing > experiments. Send yr best & maybe some examples. > > ========================================================================= Date: Mon, 8 May 2000 14:12:32 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Maria Damon Subject: Re: Baraka contact query In-Reply-To: <200005050513.WAA12795@gull.prod.itd.earthlink.net> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" wasn't there an Imamu Ameer Baraka stage as well, and the transition to Amiri Baraka representing a downplaying of Islamic influences? At 10:19 PM -0700 5/4/00, Tisa Bryant wrote: >originally, he changed his name from Leroy Jones to LeRoi Jones, then from >LeRoi Jones to Imamu Amiri Baraka, then, since "Imamu" is an honorific for a >high priest, he pared down to Amiri Baraka. Always a first and last name. > >---------- >>From: Geoffrey Gatza >>To: POETICS@LISTSERV.ACSU.BUFFALO.EDU >>Subject: Re: Baraka contact query >>Date: Tue, May 2, 2000, 7:39 PM >> > >> At 12:41 PM 5/2/00 +1200, you wrote: >>>>Who is Amira Baraka? >>> >>> >>>You may remember him better as LeRoi Jones >>> >> >> >> I remembered him spelling his name Amiri, maybe he changed it >>again??? >> >> As simple an act >> as opening the eyes. Merely >> cominginto things by degrees >> >> Ever & Affectionately, >> Geoffrey Gatza >> >> ***************** >> Check out Step >> Online now only at >> www.daemen.edu/step >> >> Now: new improved Crunch >> ========================================================================= Date: Mon, 8 May 2000 12:14:43 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Dodie Bellamy Subject: description Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" Hi All, I'm going to be teaching a Craft of Fiction class again in the fall. It's sort of a hybrid between a lit class and a writing workshop--for MFA students. Last time I taught this, I did Epistolary Form, and many on the poetics list were very generous with suggestions. This time I'm thinking of centering the class around Description--and in a broader sense, looking at the translation of the material world into the abstraction of writing. I want to look at tactics for privileging/muting various senses. Also want to look at ways of defamiliarizing the sensual world. Want to look at ways in which "we" categorize physical details (thinking Susan Stewart and Mary Douglas). I'd like to look at small portions of a wide range of texts, from the most conservative to the experimental. My questions are rather vague at this point since I'm still formulating this, but suggestions about any of the following would be helpful: 1. Any pertinent issues/topics that would broaden this discussion. 2. Theoretical writings on the topic that are fairly accessible. 3. Any primary (prose-ish) texts that you think do interesting/surprising things with description. 4. Writing exercises to stretch students' conceptions of description. This is a lot, and I have many ideas myself, but if anything comes to mind, please share your thoughts with me. Best, Dodie ========================================================================= Date: Mon, 8 May 2000 15:29:27 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Arielle C. Greenberg" Subject: 3rd Annual Boston Poetry Conference MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII The 3rd Annual Boston Poetry Conference a celebration of innovative work July 21-23, 2000 The Art Institute of Boston (at Lesley) 700 Beacon St. Boston FEATURED READERS INCLUDE: Robert Creeley Eileen Myles Rosmarie Waldrop Keith Waldrop Sheila Murphy Laura Mullen Gerrit Lansing Ed Foster Steve McCaffery Lee Ann Brown Brenda Coultas Ange Mlinko Forrest Gander Joseph Lease Adeena Karasick Anselm Berrigan Patricia Pruitt Karen Mac Cormack Simon Pettet Jean Day Michael Franco Michael Gizzi Donna DeLaPerriere Nada Gordon Kim Lyons Katy Lederer Yuri Hospodar Tracy Blackmer Douglas Rothschild Marcella Durand Sean Cole and many more.... Tickets: $7 ~ single readings $40 ~ weekend pass for more information please contact Aaron Kiely at this email or at po box 441517 Somerville, MA 02144 $ as of April, 2000 the Boston Poetry Conference is not funded by any institution = please donate ANYTIME. no amount is too small. to donate please contact Aaron Kiely --- Thanks a lot, Aaron ========================================================================= Date: Mon, 8 May 2000 15:57:40 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Poetics List Subject: Re: Bromige Kicks Butt at Reading MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit komninos zervos wrote: > has anyone attempted to write in or develop a language to ctiticize or > theorize about performance poetry? Two books I can recommend and in which, I think, the matter has been significantly, if only newly broached: -Sound States: Innovative Poetics and Acoustical Technologies- with Compact Disc / ed. Adalaide Morris Chapel Hill: University of North Carolina Press, 1997 Despite that this collection deals predominantly with technology-as-machine (rather than, say, the construction of the ear), very strong readings of poetry-in-performance and recorded poetry are to be found throughout. Of especial interest is Nate Mackey's article "Cante Moro," which explores the relation of the New American Poetry to Lorcan duende, flamenco, and, briefly, jazz. -Close Listening: Poetry and the Performed Word- ed. Charles Bernstein New York: Oxford University Press, 1998 Perhaps more directly to the point of kz's query, this collection contains solid forays into the theory, practice and history of the poetry reading as a Euro-American genre(s). Peter Middleton and Jed Rasula both provide excellent critical histories of the reading form; Maria Damon a considered analysis of the open-mic reading and the poetry slam; Dennis Tedlock remarks on a poetics of verbal polyphony. The "closest" listening/reading I recall is Middleton's excellent if brief analysis of John Ashbery's reading at the 1985 Cambridge Poetry Festival. Middleton: "Instead of thinking of the poem as something that moves around being variously interpreted, read aloud, published in different forms, and generally provoking distinct interpretations, we might be better to think of it all as a large heteroclite entity, that mixes texts, people, performances, memories, and other possible affinities, in a process that engages many people, perhaps only briefly, over a long period of time, whose outcomes are usually hard to see, and which has no clear boundaries, not the page, the reading, the critical study." And, of course, I myself am writing an essay on the performance of poetry, slated as yet to appear nowhere, but which will include at least two close analyses and a number of near-misses. But more on this point momentarily. cheers, Chris % Christopher W. Alexander % poetics list moderator ========================================================================= Date: Mon, 8 May 2000 15:42:53 -0400 Reply-To: BobGrumman@nut-n-but.net Sender: UB Poetics discussion group From: Bob Grumman Subject: Re: visual poetry--Bob Grumman! / Grumman MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Tony Green wrote: > > It is difficult to take William James Austin's generalities about > academics seriously. I'm happy to say I know & have known plenty of > academics who specialise -- even specialise in past centuries -- & > maintain lively interests in contemporary scenes. How they score in > terms of really really famous I wouldn't presume to know. > > Tony Green Yep, and their taste in "contemporary poetry" ranges, as more than one of them has declared, "from Wilbur to Ashbery." --Bob G. ========================================================================= Date: Mon, 8 May 2000 14:26:09 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Maria Damon Subject: Re: description In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" hi dodie, i'd recommend folks who hyperdescribe, like proust or ronald firbank. and of course there's tender buttons At 12:14 PM -0700 5/8/00, Dodie Bellamy wrote: >Hi All, > >I'm going to be teaching a Craft of Fiction class again in the fall. >It's sort of a hybrid between a lit class and a writing workshop--for >MFA students. > >Last time I taught this, I did Epistolary Form, and many on the >poetics list were very generous with suggestions. > >This time I'm thinking of centering the class around Description--and >in a broader sense, looking at the translation of the material world >into the abstraction of writing. I want to look at tactics for >privileging/muting various senses. Also want to look at ways of >defamiliarizing the sensual world. Want to look at ways in which >"we" categorize physical details (thinking Susan Stewart and Mary >Douglas). I'd like to look at small portions of a wide range of >texts, from the most conservative to the experimental. > >My questions are rather vague at this point since I'm still >formulating this, but suggestions about any of the following would be >helpful: > >1. Any pertinent issues/topics that would broaden this discussion. > >2. Theoretical writings on the topic that are fairly accessible. > >3. Any primary (prose-ish) texts that you think do >interesting/surprising things with description. > >4. Writing exercises to stretch students' conceptions of description. > >This is a lot, and I have many ideas myself, but if anything comes to >mind, please share your thoughts with me. > >Best, >Dodie ========================================================================= Date: Mon, 8 May 2000 13:30:17 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Joe Amato Subject: Re: List archive interface In-Reply-To: <791180.3166786770@ubppp248-251.dialin.buffalo.edu> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" chris, interesting observation... i'm reading my email in 14 pt. palatino... easy on the i's... others?... best, joe ========================================================================= Date: Mon, 8 May 2000 16:18:12 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Kyle Conner Subject: Highwire reading 5/13/00 Comments: To: CAConrad13@hotmail.com, fhaeussl@astro.ocis.temple.edu, MacPoet1@aol.com, malavech2@aol.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, 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, charleswolski@hotmail.com, 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, 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, MARCROB2000@hotmail.com, marf@netaxs.com, matthart@english.upenn.edu, Matthew.McGoldrick@ibx.com, mbmc@op.net, Measurelvis@aol.com, 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, 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 Just when you thought it was safe to go outside... ***************************************************** HIGHWIRE READINGS!!!HIGHWIRE READINGS!!!HIGHWIRE READINGS!!!HIGHWIRE Yes, back-to-back--nay!--back-to-back-to-back readings for this happy month!! Will you survive it all?! This Saturday, IT'S J O E L L E W I S and D E B O R A H R I C H A R D S *What you should already know: Highwire Gallery, 139 N. 2nd st. Saturday, May 13, 8PM, BYOB (The clothing drive is over. Thanks all for your wonderful contributions!!) *What you don't yet know if you didn't attend the last reading: Well, another BANGSLAP reading, right in the kisser (postmodernism ain't as vicious). Ron Silliman finally graced our presence, and, serendipitously, Mr. Greg Fuchs had appropriately flattering quotes built into his introduction for Rachel. KEVIN LARIMER, the man from New York whom Greg spoke so highly of, delivered an introspective set flavored with the melancholic & elegiac. Blue is a good way to describe it, as Greg did in his introduction. Also, Greg continues his valorization of rock and roll as a legitimate cultural reference point. Of Kevin, a woman remarked that she had never heard a spoken voice so beautifully integreted with the poetry it was speaking. RACHEL BLAU DUPLESSIS wowed another adoring crowd as she read forom two of her most recently published DRAFTS (I forget the numbers). These pieces embody the thought-creative process trasferred to the page. The mind grapples with the world, its intangible uncertainties (Time, for instance), notices mispellings of words during the writing process, follows the subconscious rewrites to their suggestive conclusions. The intellect is formidable, the observations close, the relevance incalculable. It was a satisfying meal, which we chased with several aperitifs at the local pub. (Note: the account in the last e-mail of a mid-afternoon Herbert Huncke drink-a-thon was penned by my esteemed colleague, not me!) Phew, these things get longer and longer... ********************************************************************** JOEL LEWIS is "New Jersey's unofficial poetry goodwill ambassador to the outside world." He has edited an anthology of contemporary New Jersey poetry, a collection of Ted Berrigan's talks and a forthcoming selected poems of the modernist-communist poet Walter Lowenfels. DEBORAH RICHARDS is completing her MA in Creative Writing at Temple Universtiy. She is currently working on showing her play _Last One Out_ based on the Tarzan films of the thirties for the beginning of June 2000. ***************************************************** from "C'est amour/that's love", Deborah Richards Love's a baby that grows up wild and he don't do what you want him to love ain't nobody's angel child and he won't pay any mind to you one man give me his diamond stud and I won't give him a cigarette one man treats me like I was mud and all I got that man can get you go for me and I'm taboo but if you're hard to get I go for you and if I do then you are through boy I tell you that's the end of you the end of you poem: "absorb the local lilt" , Joel Lewis Absorb the local lilt now fading away from the body blows of both rich and indigent transients I remember how an old longshoremen ended an anecdote about a bar room brawl in Hoboken's vanished Barbary Coast with an animated "them wuz the days!" in front of the Hudson Place taxi stand I believed him absolutely: hallucinations are increasingly verbal. ========================================================================= Date: Mon, 8 May 2000 13:54:10 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Dodie Bellamy Subject: Re: description In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" At 2:26 PM -0500 5/8/00, Maria Damon wrote: >hi dodie, i'd recommend folks who hyperdescribe, like proust or ronald >firbank. and of course there's tender buttons > Yes, thanks, Maria, good suggestions. I was remembering this morning reading some text that discussed the intense descriptiveness of the bourgeois novel originating from the rise of tourism as a past-time. It was quite a while ago and I can't remember where I read this. Does this sound familiar to anybody? Thanks. Dodie ========================================================================= Date: Mon, 8 May 2000 17:25:56 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Poetics List Subject: Re: description MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Dodie wrote: > This time I'm thinking of centering the class around Description-- > and in a broader sense, looking at the translation of the material > world into the abstraction of writing. Among the materials I have taught or plan to teach: Alain Robbe-Grillet, -Snapshots- and -For a New Novel: Essays on Fiction- [especially "Nature, Humanism, Tragedy" and "From Realism to Reality"] Gertrude Stein, -Tender Buttons- Franz Kafka, various journal entries, fragments and short stories Elias Canetti, "Cemetaries" in -Crowds and Power- Lyn Hejinian, -My Life- Walter Benjamin, "A Berlin Childhood" in -Illuminations- Theodor Adorno, "All the Little Flowers" in -Minima Moralia- Rosmarie Waldrop, -The Reproduction of Profiles- Kathy Acker, "My Death My Life by Pier Paolo Pasolini" in -Literal Madness- Raymond Chandler, -Farewell, My Lovely- [in this, the disjunction between subject matter and the tone or the terms of description] and (blush) your own little book -Hallucinations- [useful to initiate a class project of brief writings] Something I've been working with in my composition classes is the interplay between (loosely) description and speculation, the presentation of surface-sense and the assumptions or projections that position necessitates - the difference between, say, what Robbe-Grillet once thought he was doing, and what Canetti does when he tries to uncover the "secret satisfaction" one supposedly derives from visiting a cemetery. I've found Kafka and Stein, also Rosmarie Waldrop useful for challenging the binary, i.e., the idea of description as anything other than a sort of programmatic speculation. Chandler, too, could be useful in making evident what is smuggled in under the guise of the descriptive - perhaps with Tina Darragh's "Raymond Chandler's Sentences" in -Striking Resemblance-. I'd like to teach Freud's case study -Dora- in the same vein, but I don't think my students would go along with it. This is likely too elementary to be of any use; whereas, if I can get my students even to understand, let alone challenge the opposition between description and speculation - or to debunk the notion of objectivity when, as frequently happens, we talk about an article from the student newspaper - I feel that I'm doing quite well. Of course, some of my students have never read a novel before they come into my class - and a few of them probably still haven't when they leave. This, by the way, isn't sneering: most of my students come from western New York, where, after years of right-wing de-funding of public education and community services, it's a wonder they've learned to read. I do my best to present them with relatively difficult materials and to work through those materials with them; some of them hate it, but the pay-off is that at least one kid each semester seems to be shocked and interested to find there's anything - as Ambrose Bierce says - beyond the Land of the Magazines; and a few more may discover that questions are as important as answers. cheers, Chris % Christopher W. Alexander % poetics list moderator ========================================================================= Date: Mon, 8 May 2000 17:26:21 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Poetics List Subject: HTML Reminder MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit from the Welcome Message: 4. Format of Email Messages - PLEASE READ When sending to the list, please send only "plain text". The use of "styled" text or HTML formatting in the body of messages sent to the list disrupts the Listserv's automatic digest and archive features by adding lengthy passages of markup tags that will not be interpreted from the digest by most email programs or by a web browser when viewing the list archive. Note, however, there is no problem with sending clickable URLs in HTML format. Microsoft Outlook and Netscape Communicator users take note! You may need to specify "plain text" or "ASCII text" or "text only" in the outgoing messages section of your application Preferences. Check your application's Edit | Preferences or Help menus for further details. -- Christopher W. Alexander poetics list moderator ---------- End Forwarded Message ---------- ========================================================================= Date: Mon, 8 May 2000 15:49:02 PDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Stephen Ellis Subject: Re: description Mime-Version: 1.0 Content-Type: text/plain; format=flowed Check out the novels of Jonathan Bayliss - Prologos, Gloucesterbook and Gloucestertide, all of wch have incredibly detailed description, esp. the first. They've all three been published by small houses, so don't know how readily available they might be on the west coast, but if you're interested, let me know and I'll send you whatever, publishers' names, ISBN numbers, or perhaps an address through which some copies might be unearthed or de-warehoused. S E >From: Poetics List >Reply-To: UB Poetics discussion group >To: POETICS@LISTSERV.ACSU.BUFFALO.EDU >Subject: Re: description >Date: Mon, 8 May 2000 17:25:56 -0400 > >Dodie wrote: > > > This time I'm thinking of centering the class around Description-- > > and in a broader sense, looking at the translation of the material > > world into the abstraction of writing. > >Among the materials I have taught or plan to teach: > >Alain Robbe-Grillet, -Snapshots- and -For a New Novel: Essays on Fiction- > [especially "Nature, Humanism, Tragedy" and "From Realism to Reality"] >Gertrude Stein, -Tender Buttons- >Franz Kafka, various journal entries, fragments and short stories >Elias Canetti, "Cemetaries" in -Crowds and Power- >Lyn Hejinian, -My Life- >Walter Benjamin, "A Berlin Childhood" in -Illuminations- >Theodor Adorno, "All the Little Flowers" in -Minima Moralia- >Rosmarie Waldrop, -The Reproduction of Profiles- >Kathy Acker, "My Death My Life by Pier Paolo Pasolini" in -Literal Madness- >Raymond Chandler, -Farewell, My Lovely- > [in this, the disjunction between subject matter and the tone > or the terms of description] >and (blush) your own little book -Hallucinations- > [useful to initiate a class project of brief writings] > > >Something I've been working with in my composition classes >is the interplay between (loosely) description and speculation, >the presentation of surface-sense and the assumptions or projections >that position necessitates - the difference between, say, what >Robbe-Grillet once thought he was doing, and what Canetti does >when he tries to uncover the "secret satisfaction" one supposedly >derives from visiting a cemetery. I've found Kafka and Stein, >also Rosmarie Waldrop useful for challenging the binary, i.e., >the idea of description as anything other than a sort of >programmatic speculation. Chandler, too, could be useful in >making evident what is smuggled in under the guise of the >descriptive - perhaps with Tina Darragh's "Raymond Chandler's >Sentences" in -Striking Resemblance-. I'd like to teach >Freud's case study -Dora- in the same vein, but I don't think >my students would go along with it. > >This is likely too elementary to be of any use; whereas, if >I can get my students even to understand, let alone challenge >the opposition between description and speculation - or to debunk >the notion of objectivity when, as frequently happens, we talk >about an article from the student newspaper - I feel that I'm >doing quite well. Of course, some of my students have never >read a novel before they come into my class - and a few of >them probably still haven't when they leave. This, by the >way, isn't sneering: most of my students come from western >New York, where, after years of right-wing de-funding of >public education and community services, it's a wonder they've >learned to read. I do my best to present them with relatively >difficult materials and to work through those materials with >them; some of them hate it, but the pay-off is that at least >one kid each semester seems to be shocked and interested to >find there's anything - as Ambrose Bierce says - beyond the >Land of the Magazines; and a few more may discover that >questions are as important as answers. > >cheers, Chris > >% Christopher W. Alexander >% poetics list moderator ________________________________________________________________________ Get Your Private, Free E-mail from MSN Hotmail at http://www.hotmail.com ========================================================================= Date: Mon, 8 May 2000 16:37:34 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Bill Berkson Subject: Re: description In-Reply-To: MIME-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit Dear Dodie, Descriptive writing is my favorite kind, I have come to believe. My models are as follows: In his novel White Mule, William Carlos Williams convincingly describes the consciousness of an infant during a thunderstorm. James Schuyler -- poems like 'February' but even fantastic narrative/descriptions like 'Milk'. Also, of course, his art writings in 'selected' format issued by Black Sparrow: see his piece on Joe Brainard, see in that his paragraph on the work called 'Prell.' John Clare - a predecessor. Elizabeth Bishop, poems & prose, ditto. Whitney Balliett -- the only writer I know who can tell you about the music he's heard the night before, how it sounded, how it was played, like a sportswriter (Red Smith, AJ Liebling) on a game. & it's jazz, one-time, improvised music. Any collection of his New Yorker pieces will do -- American Musicians is one. I like the piece on Sid Catlett, 'Big Sid." John McPhee -- the descriptive journalist, par excellence. Start with the latest piece on shad fishing (it doesn't matter what you or he write(s) about, tell your students that!) in NYorker, go back to the classic Oranges, dip into the geology books (now under one cover). William Bartram. Travels. Naturalist's writings should be included; Thoreau, Darwin. . . Pliny? Sei Shonagon's Pillow Book. Jennifer Bartlett's self-portrait in The History of the Universe. MFK Fisher on eating. Robert Smithson. Monuments of the Passaic. Mirror Travels in the Yucatan. Read Donald Judd on Barnett Newman in Judd's Complete Art Writings 1959-75. I can send you this if you can't find it. Judd's art writing is all description with wonderful flatfooted opinionating as garnish. Fairfield Porter is a good describer, too: Art in its Own Terms (Zoland). & Baudelaire in his salons, & Diderot in his salons, & Henry James The Painter's Eye. Edwin Denby. Two books: Looking at the Dance and Dancers, Buildings, People in the Streets (these you can find in pb. now & then in used books stores -- but selected writings now in print from Yale is OK. Prime essays: 'Three Sides of Agon,' 'Dancers, buildings. . .,' 'Balanchine Choreographing'. Then there are lots of short reviews. Have students read in Dancers, Buildings lecture the part of about Do you see the city you live in. . . the momentary look of Sixth Avenue and. . .? Raymond Chandler - first page of The Big Sleep, essential. Ronald Firbank Prancing Nigger and The Flower Beneath the Foot; Alain Robbe-Grillet The Voyeur, The Erasers &c. (how does Towards a New Novel read now?). Kerouac - the sketches (like one about a vent pipe) in Visions of Cody. All of October in the Railroad Earth (& play them the recording "But it was that cut of cloud above the old SP alley, 3rd & Townsend. . . ." on a boom box while you stand there of an afternoon). Does anyone write convincingly about sex (excepting of course yourself)? Bataille at the end of Story of the Eye. Auden's The Platonic Blow, in rhyme, I have a copy. The dry hump in subway scene in Black Spring by Henry Miller. Anais Nin? Hejinian/Harryman? (too precious, probably) DH Lawrence? Read Duchamp's note on Large Glass given to Maria Martins, page one, bottom. Please tell me if any man or woman has really written a description, not an emotive address, on/of fucking. Have you (even)? Good luck, Dodie. I wish I could take your course! Bill on 5/8/00 12:14 PM, Dodie Bellamy at dbkk@SIRIUS.COM wrote: > Hi All, > > I'm going to be teaching a Craft of Fiction class again in the fall. > It's sort of a hybrid between a lit class and a writing workshop--for > MFA students. > > Last time I taught this, I did Epistolary Form, and many on the > poetics list were very generous with suggestions. > > This time I'm thinking of centering the class around Description--and > in a broader sense, looking at the translation of the material world > into the abstraction of writing. I want to look at tactics for > privileging/muting various senses. Also want to look at ways of > defamiliarizing the sensual world. Want to look at ways in which > "we" categorize physical details (thinking Susan Stewart and Mary > Douglas). I'd like to look at small portions of a wide range of > texts, from the most conservative to the experimental. > > My questions are rather vague at this point since I'm still > formulating this, but suggestions about any of the following would be > helpful: > > 1. Any pertinent issues/topics that would broaden this discussion. > > 2. Theoretical writings on the topic that are fairly accessible. > > 3. Any primary (prose-ish) texts that you think do > interesting/surprising things with description. > > 4. Writing exercises to stretch students' conceptions of description. > > This is a lot, and I have many ideas myself, but if anything comes to > mind, please share your thoughts with me. > > Best, > Dodie ========================================================================= Date: Mon, 8 May 2000 16:46:35 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Tisa Bryant Subject: Re: Baraka contact query Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit yes, actually, now that I look back at past publications, there was, at least in spelling. I guess the downplay was in the removal of the "Imamu", but others may know far more than I. There's so much of his work that I haven't read... ---------- >From: Maria Damon >To: POETICS@LISTSERV.ACSU.BUFFALO.EDU >Subject: Re: Baraka contact query >Date: Mon, May 8, 2000, 12:12 PM > > wasn't there an Imamu Ameer Baraka stage as well, and the transition to > Amiri Baraka representing a downplaying of Islamic influences? > > At 10:19 PM -0700 5/4/00, Tisa Bryant wrote: >>originally, he changed his name from Leroy Jones to LeRoi Jones, then from >>LeRoi Jones to Imamu Amiri Baraka, then, since "Imamu" is an honorific for a >>high priest, he pared down to Amiri Baraka. Always a first and last name. >> >>---------- >>>From: Geoffrey Gatza >>>To: POETICS@LISTSERV.ACSU.BUFFALO.EDU >>>Subject: Re: Baraka contact query >>>Date: Tue, May 2, 2000, 7:39 PM >>> >> >>> At 12:41 PM 5/2/00 +1200, you wrote: >>>>>Who is Amira Baraka? >>>> >>>> >>>>You may remember him better as LeRoi Jones >>>> >>> >>> >>> I remembered him spelling his name Amiri, maybe he changed it >>>again??? >>> >>> As simple an act >>> as opening the eyes. Merely >>> cominginto things by degrees >>> >>> Ever & Affectionately, >>> Geoffrey Gatza >>> >>> ***************** >>> Check out Step >>> Online now only at >>> www.daemen.edu/step >>> >>> Now: new improved Crunch >>> > ========================================================================= Date: Mon, 8 May 2000 20:45:23 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Harry Nudel Subject: m&r....the nyorker at bryant park..poetry lite... Since i was mesemerized Sun aft. by the n.b.a playoffs...and i didn't know about it anyway....we'll have to review the poetry reading honoring the NYorker at Bryant Park...thru Jimmy Disque...speaking.. It went from A to Z...and stopped at Walcott...and a bunch of women...the usual variety of commercial vanity publishers..Knopf, Farrar&Co, New Directions,...oh yeah that working women whatever her name is who ended "too tired to even seduce my husband"...Robert Pinski, Mr. poetry lite...rd the shirt poem.... This is the 2nd male poet, remember to forget Robert Hass, who like Reagan was perfecto for the Prez role... is perfecto for the role of poet lauriate, rugged charming professionally oily, rite the post alzheimer Reagan...the other woman ended her poem "your words are but shadows you leave but i cannot follow... I was sitting where i could hear best so i really couldn't see..to the query whether anyone was hot?...Jimmy D mentioned Ashberry..there was a lotta of Sylvia Plath and Even more Liz Bishop..a poem he couldn;t remember... The UNBEARABLES set up the alternate reading at K...in was in memory of Stanley Kunitz and the life of poetry...a big 300 pound black security guard made 'em stop...no poetry permit..Michael Carter read a good poem...Bonnie Finberg, Sparrow who was even in the N.Yorker...etc..etc... Maybe the next time they pick a poet laurieate it will be a lesbian pedophile..spread the wealth SAPPHO...or a Rimbaudian hacker lautriamontian genius who just took down Time-Warer/aol...with the poetic stroke of bartok playing fugs program forever...look if you want to write letters..send it to the proper authorities..DRn..just the unfaxts.. . ========================================================================= Date: Mon, 8 May 2000 16:45:08 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Bill Berkson Subject: Re: self-publish or self-polish? In-Reply-To: <4.1.20000508073207.00bdb1d0@socrates.berkeley.edu> MIME-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit hooray! bring it to may 25 event & I will gladly buy. Bill B. on 5/8/00 7:37 AM, David Larsen at lrsn@SOCRATES.BERKELEY.EDU wrote: > DAVID LARSEN - "TO THE FREMONT STATION" > > "evil done to a landlord is no evil" > > 4 1/4" x 5 1/2", 40 pages, hand-printed cover > > $3 for friends > $2 for enemies > > 399 N. Tenth St. > San Jose CA 95112 ========================================================================= Date: Mon, 8 May 2000 16:51:33 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Tisa Bryant Subject: Re: HTML Reminder Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit Perhaps an auto message to the sender like "Your message dated...is in HTML format and therefore cannot be forwarded to the list. Please reformat your message in plain text and resubmit. Thank you." is in order, in order to save you the unnecessary work of reformatting messages and sending constant reminders to the list which seem to be going ignored. ---------- >From: Poetics List >To: POETICS@LISTSERV.ACSU.BUFFALO.EDU >Subject: HTML Reminder >Date: Mon, May 8, 2000, 2:26 PM > > from the Welcome Message: > > 4. Format of Email Messages - PLEASE READ > > When sending to the list, please send only "plain text". > The use of "styled" text or HTML formatting in the body of > messages sent to the list disrupts the Listserv's automatic > digest and archive features by adding lengthy passages of > markup tags that will not be interpreted from the digest by > most email programs or by a web browser when viewing the > list archive. Note, however, there is no problem with > sending clickable URLs in HTML format. > > Microsoft Outlook and Netscape Communicator users take note! > You may need to specify "plain text" or "ASCII text" or "text only" > in the outgoing messages section of your application Preferences. > Check your application's Edit | Preferences or Help menus for > further details. > > -- > > Christopher W. Alexander > poetics list moderator > > ---------- End Forwarded Message ---------- > ========================================================================= Date: Mon, 8 May 2000 22:18:36 -0500 Reply-To: David Baptiste Chirot Sender: UB Poetics discussion group From: David Baptiste Chirot Subject: June 11 Vigil in Support of Peltier's Parole (fwd) MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Please think about holding a vigil of any size where you are on 11 June 2000. Don't think about it--do it-- Make "Parole in Liberta" be Liberty in Parole-- ---------- Forwarded message ---------- Date: Mon, 8 May 2000 17:13:29 -0500 From: LPDC To: dbchirot@csd.uwm.edu Subject: June 11 Vigil in Support of Peltier's Parole Dear Friends, Below is an announcement for the June 11 vigil the LPDC is organizing in support of Leonard Peltier's June 12 parole hearing. A printable flyer will be posted on www.freepeltier.org in the near future. All are welcome to attend or organize a vigil in your community. If you are having an event, please let us know the details. Also, plan to flood Janet Reno with phone calls on the Friday before the hearing (June 9th) in support of Leonard Peltier's parole release. Thank you. In Solidarity, The LPDC IT'S THE YEAR 2000 WHY IS LEONARD PELTIER STILL IN PRISON? Leonard Peltier Will Be Reviewed for parole on June 12, 2000 Show your support for his release, come to a candlelight vigil on June 11 at South Park, 7:00pm. (Massachusetts St., Downtown Lawrence, Kansas) Speakers and Drumming: Jean Day, LPDC Spokesperson and Pine Ridge Reign Of Terror Survivor; Jennifer Harbury, LPDC Attorney, Author, and Renowned Human Rights Advocate; Ernie Stevens Jr., National Congress of American Indians, and more! Call the White House Comments Line Today Demand Justice for Leonard Peltier! 202-456-1111 Leonard Peltier Defense Committee PO Box 583 Lawrence, KS 66044 785-842-5774 www.freepeltier.org To subscribe, send a blank message to < lpdc-on@mail-list.com > To unsubscribe, send a blank message to < lpdc-off@mail-list.com > To change your email address, send a message to < lpdc-change@mail-list.com > with your old address in the Subject line ------------------------------------------------------------------------- To subscribe, send a blank message to lpdc-on@mail-list.com To unsubscribe, send a blank message to lpdc-off@mail-list.com To change your email address, send a message to lpdc-change@mail-list.com with your old address in the Subject: line ========================================================================= Date: Thu, 27 Apr 2000 17:05:00 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: M Conroy Subject: W. J. A. : will you rectify my derrida? MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII my humble critique of Derrida: I have yet to see a sensible argrument mounted against Derrida's evaluation of the metaphysical tradition. What I have read are vague resistances aimed at what can only be described as a caricature of Derrida and deconstruction, written by those who clearly have not read him extensively and/or do not understand what they have read. (W.J.A) honey would you care to rectify my Derrida? (get him back on course) I guess I missed the point - but then I guess we all did. (W.J.A excepted) you know to know how to love him no matter what he does - I guess because knowing what you do is more important than what you do. you know I'd have to get up on my metafisyxs to get down with you boys and I guess I should do it properly ... thoroughly ... get in your know but then I'd rather be getting down with supplementary Cixous and reading Derrida like Derrida reads his daddy Lacan. ========================================================================= Date: Mon, 8 May 2000 23:56:34 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Claire Dinsmore Organization: Studio Cleo Subject: Re: description MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Hello Dodie - Along with Proust, Balzac and Henry James - masters of detailed description, each word an essential pearl ... [a mastery few have the patience for I admit, but ...] - in particular I'm thinking of Balzac's sublime descriptive passage in the beginning of "The Wild Ass's Skin']. There's a very good book called 'Writers on Artists' edited by Daniel Halpern [ISBN: 0865473404,Publisher: North Point Press] I'm not sure if it's what you're looking for, but Rilke on Cezanne's work is breathtaking "Letters on Cezanne" [ISBN: 088064107X,Publisher: Fromm International Publishing]. Claire Dodie Bellamy wrote: > > Hi All, > > I'm going to be teaching a Craft of Fiction class again in the fall. > It's sort of a hybrid between a lit class and a writing workshop--for > MFA students. > > Last time I taught this, I did Epistolary Form, and many on the > poetics list were very generous with suggestions. > > This time I'm thinking of centering the class around Description--and > in a broader sense, looking at the translation of the material world > into the abstraction of writing. I want to look at tactics for > privileging/muting various senses. Also want to look at ways of > defamiliarizing the sensual world. Want to look at ways in which > "we" categorize physical details (thinking Susan Stewart and Mary > Douglas). I'd like to look at small portions of a wide range of > texts, from the most conservative to the experimental. > > My questions are rather vague at this point since I'm still > formulating this, but suggestions about any of the following would be > helpful: > > 1. Any pertinent issues/topics that would broaden this discussion. > > 2. Theoretical writings on the topic that are fairly accessible. > > 3. Any primary (prose-ish) texts that you think do > interesting/surprising things with description. > > 4. Writing exercises to stretch students' conceptions of description. > > This is a lot, and I have many ideas myself, but if anything comes to > mind, please share your thoughts with me. > > Best, > Dodie -- "You must deny the ineffable,for somehow it will speak ..." - Stephane Mallarme latest web work: http://www.studiocleo.com/projects/meridian/crimson/ http://www.studiocleo.com/entrancehall.html Editor, Cauldron & Net: an on-line journal of the arts & new media http://www.studiocleo.com/cauldron/ ========================================================================= Date: Mon, 8 May 2000 23:28:36 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Patrick F. Durgin" Subject: Re: Baraka contact query In-Reply-To: <200005082340.QAA24155@avocet.prod.itd.earthlink.net> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" When did he drop Imamu? I saw him read in '94 and the program / ads still read Imamu Amiri Baraka. Patrick At 04:46 PM 05/08/2000 -0700, you wrote: >yes, actually, now that I look back at past publications, there was, at >least in spelling. I guess the downplay was in the removal of the "Imamu", >but others may know far more than I. >There's so much of his work that I haven't read... > >---------- >>From: Maria Damon >>To: POETICS@LISTSERV.ACSU.BUFFALO.EDU >>Subject: Re: Baraka contact query >>Date: Mon, May 8, 2000, 12:12 PM >> > >> wasn't there an Imamu Ameer Baraka stage as well, and the transition to >> Amiri Baraka representing a downplaying of Islamic influences? >> >> At 10:19 PM -0700 5/4/00, Tisa Bryant wrote: >>>originally, he changed his name from Leroy Jones to LeRoi Jones, then from >>>LeRoi Jones to Imamu Amiri Baraka, then, since "Imamu" is an honorific for a >>>high priest, he pared down to Amiri Baraka. Always a first and last name. >>> >>>---------- >>>>From: Geoffrey Gatza >>>>To: POETICS@LISTSERV.ACSU.BUFFALO.EDU >>>>Subject: Re: Baraka contact query >>>>Date: Tue, May 2, 2000, 7:39 PM >>>> >>> >>>> At 12:41 PM 5/2/00 +1200, you wrote: >>>>>>Who is Amira Baraka? >>>>> >>>>> >>>>>You may remember him better as LeRoi Jones >>>>> >>>> >>>> >>>> I remembered him spelling his name Amiri, maybe he changed it >>>>again??? >>>> >>>> As simple an act >>>> as opening the eyes. Merely >>>> cominginto things by degrees >>>> >>>> Ever & Affectionately, >>>> Geoffrey Gatza >>>> >>>> ***************** >>>> Check out Step >>>> Online now only at >>>> www.daemen.edu/step >>>> >>>> Now: new improved Crunch >>>> >> > > k e n n i n g a newsletter of contemporary poetry, poetics, and nonfiction writing http://www.durationpress.com/kenning kenningpoetics@hotmail.com 418 Brown St. #10, Iowa City, IA 52245, USA ========================================================================= Date: Tue, 9 May 2000 17:01:05 +1200 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Tony Green Subject: Re: description MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Hi Dodie -- I'm mildly surprised Jack Kerouac hasn't showed up in this thread. "Visions of Cody" specially has a number of long descriptions of cafeterias & diners which are easily extractable from context. best Tony Green -----Original Message----- From: Claire Dinsmore To: POETICS@LISTSERV.ACSU.BUFFALO.EDU Date: Tuesday, 9 May 2000 16:25 Subject: Re: description >Hello Dodie - > >Along with Proust, Balzac and Henry James - masters of detailed >description, each word an essential pearl ... [a mastery > few have the patience for I admit, but ...] - in particular I'm >thinking of Balzac's sublime descriptive passage in the beginning of >"The Wild Ass's Skin']. >There's a very good book called 'Writers on Artists' edited by Daniel >Halpern [ISBN: 0865473404,Publisher: North Point Press] >I'm not sure if it's what you're looking for, but Rilke on Cezanne's >work is breathtaking "Letters on Cezanne" [ISBN: 088064107X,Publisher: >Fromm International Publishing]. > >Claire > >Dodie Bellamy wrote: >> >> Hi All, >> >> I'm going to be teaching a Craft of Fiction class again in the fall. >> It's sort of a hybrid between a lit class and a writing workshop--for >> MFA students. >> >> Last time I taught this, I did Epistolary Form, and many on the >> poetics list were very generous with suggestions. >> >> This time I'm thinking of centering the class around Description--and >> in a broader sense, looking at the translation of the material world >> into the abstraction of writing. I want to look at tactics for >> privileging/muting various senses. Also want to look at ways of >> defamiliarizing the sensual world. Want to look at ways in which >> "we" categorize physical details (thinking Susan Stewart and Mary >> Douglas). I'd like to look at small portions of a wide range of >> texts, from the most conservative to the experimental. >> >> My questions are rather vague at this point since I'm still >> formulating this, but suggestions about any of the following would be >> helpful: >> >> 1. Any pertinent issues/topics that would broaden this discussion. >> >> 2. Theoretical writings on the topic that are fairly accessible. >> >> 3. Any primary (prose-ish) texts that you think do >> interesting/surprising things with description. >> >> 4. Writing exercises to stretch students' conceptions of description. >> >> This is a lot, and I have many ideas myself, but if anything comes to >> mind, please share your thoughts with me. >> >> Best, >> Dodie > >-- >"You must deny the ineffable,for somehow it will speak ..." > - Stephane >Mallarme >latest web work: http://www.studiocleo.com/projects/meridian/crimson/ >http://www.studiocleo.com/entrancehall.html >Editor, Cauldron & Net: an on-line journal of the arts & new media >http://www.studiocleo.com/cauldron/ > ========================================================================= Date: Tue, 9 May 2000 01:53:49 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Poetics List Subject: Steve Benson - 20 February 1990 MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: quoted-printable I want to query the list about a reading given by Steve Benson at Segue in NYC, on 20 February 1990. I'm sure that some of you must have attended - I gather it was something of an event, as, introducing SB three years later at the Ear Inn, James Sherry says "I never know quite what he=B9s got up his sleeve. I=B9m still talking about a reading he did several years ago at Segue Space." - And says it with more enthusiasm than is allotted the usual introduction. I have a cassette tape of the reading in hand - but what an inadequate medium this turns out to be, as I can hear SB writing or scribbling as he reads, shuffling papers, folding and even tearing them, perhaps stapling things together or to something else. A myriad of activities attended with much laughter. At the end, SB mentions that there are a good number of rubber bands left over if anyone wants them - !? Now, what I want to know is, what is going on at this very performative reading? Perhaps more specifically, I'm interested to hear from those of you who were there, or perhaps at readings given by SB contemporary with this one - in other words, to access the "oral" tradition. Reading reports ten years after the fact, if you like. If even a few of you could generate some discourse or a description - of the paper tearing, of Benson's style and manner of reading more generally, etcetera - that would be tremendously helpful. I notice that much of what he does seems to be improvisatory, but with some basis in his published texts; at one point, he says something about accomodating prior works to the present situation. What follows is a little snippet of SB's remarks improvised during the reading, which I've partially transcribed from the tape. I've only given a small portion, because I don't think I can do them justice here, and in typeface, even with Benson's very moving manner of speaking still ringing in my ears. Not, at least, without providing a substantial context, which would be impracticable in this message. thanks, Chris % Christopher W. Alexander % poetics list moderator -- Steve Benson at Segue, 20 February 1990: And meanwhile there=B9s going to be language or opportunities to speak that are strategically and repeatedly avoided, and when you have a climate like the sort of, um, revision, revamping of the national consensus on what=B9s appropriate in public discourse that, you know, we=B9re struggling over and wondering how much to get worried about it - um, I went to the movies the other night and was seeing an avant-garde film where there was a huge finger - at the point it was draped in cellophane - and it made me completely aware how there was no penis in this film and yet it was full of of phallic instruments, as it were, that were like probing and prodding huge - It was very close up and pools of ink and paste and oils and water and stuff were being shoved around by fingers and brushes and pens, and so I wondered like is this film in effect participating in a kind of metam- not metamorphos- symbolizing the penis, in this case, and taking it out like th- it=B9s not it=B9s in circulation because it=B9s being represented, and therefore we don=B9t need to talk about it? It seemed like there was a - safe thing. ========================================================================= Date: Wed, 10 May 2000 10:03:39 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Charles Bernstein Subject: Poetry Project Reading 5/24/00 Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Charles Bernstein and Jessica Grim reading at The Poetry Project, St. Mark's Church 131 East 10th Street (at 2nd Avenue) Manhattan Wednesday, May 24, 8pm $7, $4 for students with ID ========================================================================= Date: Tue, 9 May 2000 08:20:27 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Wendy Kramer Subject: description MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii; x-mac-type="54455854"; x-mac-creator="4D4F5353" Content-Transfer-Encoding: 7bit hi, dodie yeah definitely stein as people are saying but god don't forget the making of americans-- then and too her thots on what is poetry and what is prose in lectures in america what about ad copy has anyone written about melodramatic description? or another way of looking at it in contrast to hyper description what about contour drawing like play scripts for instance a suggestion line scribe of sorts? wendy ========================================================================= Date: Tue, 9 May 2000 09:24:11 -0400 Reply-To: joris@csc.albany.edu Sender: UB Poetics discussion group From: Pierre Joris Subject: Re: description In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Francis Ponge, _Soap_ & whatever else is in English at this point ________________________________________________________________ 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: ____________________________________________________________________________ _ > -----Original Message----- > From: UB Poetics discussion group > [mailto:POETICS@listserv.acsu.buffalo.edu]On Behalf Of Dodie Bellamy > Sent: Monday, May 08, 2000 3:15 PM > To: POETICS@listserv.acsu.buffalo.edu > Subject: description > > > Hi All, > > I'm going to be teaching a Craft of Fiction class again in the fall. > It's sort of a hybrid between a lit class and a writing workshop--for > MFA students. > > Last time I taught this, I did Epistolary Form, and many on the > poetics list were very generous with suggestions. > > This time I'm thinking of centering the class around Description--and > in a broader sense, looking at the translation of the material world > into the abstraction of writing. I want to look at tactics for > privileging/muting various senses. Also want to look at ways of > defamiliarizing the sensual world. Want to look at ways in which > "we" categorize physical details (thinking Susan Stewart and Mary > Douglas). I'd like to look at small portions of a wide range of > texts, from the most conservative to the experimental. > > My questions are rather vague at this point since I'm still > formulating this, but suggestions about any of the following would be > helpful: > > 1. Any pertinent issues/topics that would broaden this discussion. > > 2. Theoretical writings on the topic that are fairly accessible. > > 3. Any primary (prose-ish) texts that you think do > interesting/surprising things with description. > > 4. Writing exercises to stretch students' conceptions of description. > > This is a lot, and I have many ideas myself, but if anything comes to > mind, please share your thoughts with me. > > Best, > Dodie ========================================================================= Date: Tue, 9 May 2000 10:31:07 -0400 Reply-To: gaughran@mindspring.com Sender: UB Poetics discussion group From: Tracey Gaughran Subject: Re: description MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Hi Dodie, In "Explosive Magazine" #7 -- Tim Griffin's "A Criticism" would be interesting/fun to use in a discussion of the limits of description (or language? or interpretation?). Perhaps. And anyway it is hilarious and exasperating and wonderful. If you don't have it I'd be happy to send you a copy for persual -- let me know backchannel if interested. Tracey Dodie Bellamy wrote: > > Hi All, > > I'm going to be teaching a Craft of Fiction class again in the fall. > It's sort of a hybrid between a lit class and a writing workshop--for > MFA students. > > Last time I taught this, I did Epistolary Form, and many on the > poetics list were very generous with suggestions. > > This time I'm thinking of centering the class around Description--and > in a broader sense, looking at the translation of the material world > into the abstraction of writing. I want to look at tactics for > privileging/muting various senses. Also want to look at ways of > defamiliarizing the sensual world. Want to look at ways in which > "we" categorize physical details (thinking Susan Stewart and Mary > Douglas). I'd like to look at small portions of a wide range of > texts, from the most conservative to the experimental. > > My questions are rather vague at this point since I'm still > formulating this, but suggestions about any of the following would be > helpful: > > 1. Any pertinent issues/topics that would broaden this discussion. > > 2. Theoretical writings on the topic that are fairly accessible. > > 3. Any primary (prose-ish) texts that you think do > interesting/surprising things with description. > > 4. Writing exercises to stretch students' conceptions of description. > > This is a lot, and I have many ideas myself, but if anything comes to > mind, please share your thoughts with me. > > Best, > Dodie ========================================================================= Date: Tue, 9 May 2000 07:35:04 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: michael amberwind Subject: Re: Writing Exercises (or I'll show you mine...) MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii WRITING EXERCISES AND EXPERIMENTS FROM MICHAEL BOGUE Some of the following experiments are one’s I have done myself, to varying degrees of success, some I have yet to do and some I will never do. Let me know how they work for you. 1) Mix stanza forms - sestina+villanelle=? - haiku+sestina=? - pantoum+sonnet=? 2) Write prose poems of exactly 50 words each – no more, no less. 3) Use a word processor and randomise a large amount of disparate texts. Divide each page into 4-5 columns vertically, but read it off hoizontally. Use a hi-liter on promising lines. 4) Write letters of complaint to large corporations in verse form. 5) Write slanderous gossip about yourself. 6) In your journal, write what you would like to dream about before you go to sleep, then write what you do dream about as soon as you wake up. 7) Translate your, or someone elses, poems into another language and back again using a computer translator. 8) Use a scanner and deliberately set a low recognition scale to scan your poems into a computer. 9) Each day of the week focus on a single colour of the rainbow. 10) Write listening to another poets recordings, try to write opposite from them. 11) Do objects poems via Neruda. 12) Use the OED to find obscure words for your poems. 13) Alternate “I remember – I forget” 14) What is your favourite insect? 15) Complete a poem in screenwriting format. 16) What is in your refrigerator? Go door-to-door to complete strangers houses asking to look inside their fridges and write of what you see. (DO THIS AT YOUR OWN RISK!) 17) Make a poem incorporating comments from your school report cards. 18) Use your daily horoscope in the newspaper. 19) Write haiku on foggy, dusty or steamed windows. 20) Write haiku on post-it notes - leave them in odd places. 21) Re-edit TS Eliot’s “Wasteland” from the original via Pound. 22) Write a personal’s ad via Ginsberg. 23) Write a sequence of poems set half in dream and half in reality along two columns and at some point, switch columns. 24) Write a double monologue via Ashberry. 25) Create some new jump rope songs and teach them to children. 26) Write spontaneous prose via Kerouac using a computer. Turn off the screen and don’t look at the keyboard. GO! 27) Sleep deprivation – fasting – drumming – dancing – abstinence – sensory deprivation 28) Use Magnetic Poetry™ to create an epic poem. 29) A line from every section of the paper into a poem. 30) Unpredictable reverberations of the psyche. 31) Avoid the most overused words of your own work – even similes. 32) Propose a non-mythological alternative to the theory of evolution in couplet form. 33) Create a surrealist, absurdist poetry based board game. 34) Short meditations on each of the Major Arcana Tarot. 35) Daily journals focusing on different materials, nylon, plastic, glass, wood, etc. 36) Create a manifesto and repudiate it later. 37) Sestina using a different word appealing to each of the five senses, plus the name of your province/state’s capital as end words. 38) Standard operating procedures. 39) 1002 ways to beat the draft via Tuli Kupferberg. 40) What famous poet (living or dead) would you like to take a swing at and knock flat on their ass? Would you take a shot at their jaw? Gut? Liver? 41) Write a pantoum with lines taken from travel brochures. 42) Dreams of animals 43) Your plea to the parole board. Use statistics __________________________________________________ Do You Yahoo!? Send instant messages & get email alerts with Yahoo! Messenger. http://im.yahoo.com/ ========================================================================= Date: Tue, 9 May 2000 07:51:17 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: michael amberwind Subject: Re: Anti-academic? Pshaw! MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Ten Ways do avoid the creation of academic poets: 1) Don't join the academy. No tenure. No grants. No cushy workshops for MFA students. 2) Get 'em while they are young and make 'em drop out of school. Kindergarten is not too early. 3) Zero tolerance for "anti"academic poets who are "running around looking for love" (Allen Ginsberg) 4) Nothing wrong with academics, some of my best friends are academics. But would you want your daughter to marry one? 5) Get a real job, one that isn't too demanding. Stripping is good if you've got the body for it. Or find a wealthy patron who plans on leaving you an inheritance. 6) Poetry is as cheap as it gets, the grants really ought to go to visual artists who could use the money. 7) If you do wake up and find that you have been co-opted by the Academy, create a scandal that will get you out of your situation and insure yourself legendary status. 8) Do not send your poems to university journals. Small magazines are good, but zines are better. 9) Go on welfare, the best art grant ever invented. As long as you have your library card you can have all the resources you need. 10) Keep a copy of "Anxiety of Influence" by Harold Bloom by your bedside table. Better than a tranquiliser to help you get through those sleepless nights. __________________________________________________ Do You Yahoo!? Send instant messages & get email alerts with Yahoo! Messenger. http://im.yahoo.com/ ========================================================================= Date: Wed, 10 May 2000 19:32:18 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Poetics List Subject: Re: W. J. A. : will you rectify my derrida? / Austin MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit This message had to be reformatted to remove HTML tags. Chris -- Date: Tue, 09 May 2000 10:49:38 -0400 From: "Willliam J. Austin" Well, that was fun! Nothing like a little ad hominem to avoid the issue. I don't know who "we all" are who missed the point. I'd still appreciate a logical argument (hell, I'll take a rambling rose) that debunks D's own. Am I wedded to D? No. I'm wedded to logical argument. Surely "we all" can do better than that tired American anti intellectualism that leads to parochial descriptions like "french poodle theories" (The Small Press Review). By the way, Lacan's daddy is Freud; Derrida's nearest relative is Heidegger. Derrida and Lacan? Distant cousins at best. Honey. M Conroy wrote: > my humble critique of Derrida: > > I have yet to see a sensible argrument mounted against > Derrida's evaluation of the metaphysical tradition. What I have > read are vague resistances aimed at what can only be described as > a caricature of Derrida and deconstruction, written by those who > clearly have not read him extensively and/or do not understand > what they have read. (W.J.A) > > honey would you care to rectify my Derrida? (get him back on course) I > guess I missed the point - but then I guess we all did. (W.J.A excepted) > > you know to know how to love him no matter what he does - I guess because > knowing what you do is more important than what you do. > > you know I'd have to get up on my metafisyxs to get down with you boys and > I guess I should do it properly ... thoroughly ... get in your know but > then I'd rather be getting down with supplementary Cixous and reading > Derrida like Derrida reads his daddy Lacan. ========================================================================= Date: Tue, 9 May 2000 09:07:46 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Taylor Brady Subject: Re: Baraka contact query In-Reply-To: <3.0.1.32.20000508232836.006aa5c8@blue.weeg.uiowa.edu> MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit My guess is that he dropped the honorific as part of the shift from Black Nationalist to Third World Socialist - which was, what, mid 70s? My chronologies are muddled today. But some cultural organizations and writers with a Nationalist tendency continue even today to preface his name with "Imamu," despite his own avowed preference. Taylor -----Original Message----- From: UB Poetics discussion group [mailto:POETICS@LISTSERV.ACSU.BUFFALO.EDU] On Behalf Of Patrick F. Durgin Sent: Monday, May 08, 2000 9:29 PM To: POETICS@LISTSERV.ACSU.BUFFALO.EDU Subject: Re: Baraka contact query When did he drop Imamu? I saw him read in '94 and the program / ads still read Imamu Amiri Baraka. Patrick At 04:46 PM 05/08/2000 -0700, you wrote: >yes, actually, now that I look back at past publications, there was, at >least in spelling. I guess the downplay was in the removal of the "Imamu", >but others may know far more than I. >There's so much of his work that I haven't read... > >---------- >>From: Maria Damon >>To: POETICS@LISTSERV.ACSU.BUFFALO.EDU >>Subject: Re: Baraka contact query >>Date: Mon, May 8, 2000, 12:12 PM >> > >> wasn't there an Imamu Ameer Baraka stage as well, and the transition to >> Amiri Baraka representing a downplaying of Islamic influences? >> >> At 10:19 PM -0700 5/4/00, Tisa Bryant wrote: >>>originally, he changed his name from Leroy Jones to LeRoi Jones, then from >>>LeRoi Jones to Imamu Amiri Baraka, then, since "Imamu" is an honorific for a >>>high priest, he pared down to Amiri Baraka. Always a first and last name. >>> >>>---------- >>>>From: Geoffrey Gatza >>>>To: POETICS@LISTSERV.ACSU.BUFFALO.EDU >>>>Subject: Re: Baraka contact query >>>>Date: Tue, May 2, 2000, 7:39 PM >>>> >>> >>>> At 12:41 PM 5/2/00 +1200, you wrote: >>>>>>Who is Amira Baraka? >>>>> >>>>> >>>>>You may remember him better as LeRoi Jones >>>>> >>>> >>>> >>>> I remembered him spelling his name Amiri, maybe he changed it >>>>again??? >>>> >>>> As simple an act >>>> as opening the eyes. Merely >>>> cominginto things by degrees >>>> >>>> Ever & Affectionately, >>>> Geoffrey Gatza >>>> >>>> ***************** >>>> Check out Step >>>> Online now only at >>>> www.daemen.edu/step >>>> >>>> Now: new improved Crunch >>>> >> > > k e n n i n g a newsletter of contemporary poetry, poetics, and nonfiction writing http://www.durationpress.com/kenning kenningpoetics@hotmail.com 418 Brown St. #10, Iowa City, IA 52245, USA ========================================================================= Date: Tue, 9 May 2000 12:29:13 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: from the other MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII - from the other so i would like to add to this confusion: what is the form that one has in a concussion: sometimes there is madness in contusion: what and clipped board: what: c: --linux-ComA--- Acrobat3 Blender CYBERMIND Corel Entry MSOffice My Documents NETWORK Napster Office51 Paint Program Files Quick- Cam Street SCAR Trace3D Trip adobe adobec asdComAlog ati autoexecComA001 autoexecComAbat b backweb basic bloom bmp book bootlogComAprv bootlogCom- Atxt c cdrom chtm col commandComAcom commando communit compaq configCom- Abak configComAsys corel40 course cpqdrv SCAB cpqs crcComAdne cute dance detlogComAold detlogComAtxt display dnhq dnhqkeyComAkey family fop frame garbage go hangman history host-news hpc html image ioComAsys kami kiss kyoko lComAbat lin OPEN WOUND lynx_bookmarksComAhtml mark watching the skin grow "i can but barely find my way" mc misc mom mon mouse mp msdos- ComA^^^ msdosComAsys msworks multi mview neotrace new nikuko null old os303301ComAbin pcplus perth phaser phat ping32 project AMNESIAC qt quickenw rawriteComAexe rcl recycled red reg render res scandiskComAlog set sound systemComAsav talk talker time tools trace tracedir tui uedit videorom- ComAbin win386ComAswp windows xo yamaha zd zip zz home: ftp ppp95 wtmp lost in these far worlds i can but barely find my way in these directories as if they were /c/* somewhere in a distance from a linux / ___ ========================================================================= Date: Tue, 9 May 2000 13:00:49 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Cassandra Laity Subject: MSA: Call for Seminar Participants Comments: To: modstudies-l@lists.psu.edu, h-afro-am@h-net.msu.edu, tse@lists.missouri.edu, modernism@u.washington.edu, victoria@listserv.indiana.edu, modbrits@listserv.kent.edu, h-amstdy@h-net.msu.edu, hdsoc-l@uconnvm.uconn.edu MIME-Version: 1.0 Content-Type: text/plain Content-Transfer-Encoding: 8bit The New Modernist Studies Association "New Modernisms II" 12-15 October 2000 The University of Pennsylvania CALL FOR SEMINAR PARTICIPANTS Deadline: May 30 "New Modernisms II" offers scholars the opportunity to take part in one of 28 small group (maximum 15 member) discussions based on brief papers (5 pages) that participants will submit in advance of the meeting. Seminar assignemtns will be made on a first-come, first-served basis. This year's seminar offerings include: Charles Altieri, English MODERNIST EXPERIMENTS AND STRUCTURES OF FEELING David Brownlee, Art History MODERNISM AND POST-MODERNISM IN LATE TWENTIETH-CENTURY ARCHITECTURE Jessica Burstein, English FASHION AND MODERNISM Anne Charles, English SAPPHIC MODERNISM David Chinitz, English MODERNISM, POETRY, AND CULTURE Michael Coyle, English and Bernard Gendron, Philosophy MODERNISM AND JAZZ Marianne DeKoven, English POST-MODERN MODERNISM Laura Doyle, English RACE, MODERNISM, MODERNITY James English, English MODERNISM AND PRESTIGE Simonetta Falasca-Zamponi, Sociology FASCISM AND THE AVANT-GARDE Norman Finkelstein and Tyrone Williams, English DIASPORA Nancy Gish and Keith Tuma, English LANGUAGES AND LEGACIES OF MODERNISM: "BRITAIN" AND IRELAND Mary Gluck, History MODERNISM AND THE CITY Eileen Gregory, English MODELS OF THE CLASSICAL IN MODERNISM Linda Dalrymple Henderson, Art and Art History and Bruce Clarke, English MODERNISM AND SCIENCE Kerry L. Johnson, English MODERNISM AND CARIBBEAN LITERATURES Gail McDonald, English FEEDING MODERNISM: FOOD (AND DRINK) IN MODERNISM David McWhirter, English MODERNIST ABSTRACTION Cristanne Miller, English CROSSING BOUNDARIES IN THE ARTS Robert Morgan, Music COHERENCE AND INCOHERENCE IN MODERNIST LITERATURE, ART, AND MUSIC Carol Oja, Music SPIRITUALITY AND EARLY 20TH-CENTURY MODERNISM Brian Richardson, English MODERNISM AND THE READER John Paul Riquelme, English MODERNIST ORIENTALISM Luca Somigli, Italian THE GENRES OF MODERNISM Leon Surette, English LITERATURE AND ECONOMICS: AN UNHOLY ALLIANCE Denise Von Glahn, Music FUTURISM Wallace Watson, English MODERNISM AND THE MOVIES Barrett Watten and Rachel Blau DuPlessis, English AVANT-GARDE AND CULTURAL STUDIES GUIDELINES AND FORMAT You may apply for seminar participation by e-mail or regular mail; please send a ranked list of three seminar choices along with your name, professional affiliation, mailing address (include a summer address, if applicable), phone number, and e-mail address to: Bob Perelman Department of English University of Pennsylvania Philadelphia, PA 19104 e-mail: Perelman@dept.english.edu (no attachments) fax: 215-573-2063 Visit our website for full descriptions of seminars, invited participants, and updated information on availability of seminar spaces. The MSA homepage can be found at: You need not submit an abstract or CV in order to register for a seminar, and you may participate in both a seminar and a panel at the conference if you like (panel proposals due by May 31; details are available on the MSA website). ========================================================================= Date: Tue, 9 May 2000 12:47:31 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: michael amberwind Subject: Re: What you should know.... MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii ***What you should know to be in love with a poet (with apologies to Gary Snyder)*** All you can about the preparation of Ramen Noodles, the names of deceased poets you don't give a shit about, the name of your neighborhood drug dealer. the poet's sick senses, with a paranoid yet eloquent mind. at least one kind of traditional bullshitting, rhetoric, politics, The Celestine Prophecy, philosophy. coffeehouses, hives of scum and villainy, as Obi Wan Kenobi might say. kiss the ass of the book publishers and eat Kraft Dinner. be fucked their filthy cocks (if they have one at all). fuck all the posers and poetic wannabes, who imagine their shit perfum'd and golden. kinky games, musty used books, old cigarette butts, the purvursion of 2 for 1 Tuesdays at Adults Only Video. bordom, long dry hours of bordom while your lover is caught in the fever of the muse. the wild freedom of being broke, poverty silent, involuntary incarceration, solitary fake dangers, gambling addiction, sherry hangovers leading to the edge of death. michael_bogue __________________________________________________ Do You Yahoo!? Send instant messages & get email alerts with Yahoo! Messenger. http://im.yahoo.com/ ========================================================================= Date: Tue, 9 May 2000 18:06:33 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Stephen Vincent Subject: Re: description? Proust? MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit >>... i'd recommend folks who hyperdescribe, like proust or...<< Maria, I am a little fascinated by your use of the verb "hyperdescribe", particularly in relationship to Proust. Do you use it in the sense of "dismissivley gratuitous"? It could be true that Proust was "hyper" in the nature of his compulsiveness to descriptively respond to any number of things or events within the incredibly range of his memory or the present. On other hand I don't think of most of his descriptive writing as gratuitous or indulgent in the manner of an ornament gathering tourist. To the contrary I find his descriptions, (clause by clause, sentence by sentence) as a means to unveil and get to the core of one issue or another. In cyber terms, if Proust's work is looked at as a portal, he puts most search enginges and web-sites to shame. I believe Kerouac also shared this kind of descriptive impulse with Proust. (By the Proustian way - and I was ready to be disappointed - I really liked the new Proust film by the Brazillian director) Cheers, Stephen Vincent ========================================================================= Date: Tue, 9 May 2000 09:06:50 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Brian Cassidy Subject: Description Dodie -- I second Rilke's letters on Cezanne, as well as Bill Berkson's suggestions of E. Bishop, MFK Fisher, and Fairfield Porter. In fact, I've always found art criticism interesting for the challenges it presents to description. I would add Ashbery's "Reported Sightings." I would also add Joseph Mitchell's essay "McSorley's Wonderful Saloon" from his collection Up In The Old Hotel (Vintage 0-679-74631-5), an essay so vivid I feel like I have been to there. And also, Marcus' speech from Act II Scene IV of Titus Andronicus. The stage direction reads "Enter...Lavinia, her hands cut off, and her tongue cut out, and ravish'd." Marcus comes upon her, and his speech is a great, if horrifying, example of the limits, the inability of language to describe anything so terrible. Hope this helps. --Brian ========================================================================= Date: Tue, 9 May 2000 16:55:22 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: GasHeart@AOL.COM Subject: Philly: Theater, Music, Film - Art Party MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit All are invited to an Art Party ! Come celebrate art and its diversity. Join other artists and musicians for an evening of poetry and song, art and film. Featuring Bands, DJ's, Puppets, Video Art, Performance Art, Collaboration, Painting Where: Killtime, 3854 Lancaster Ave., Philadelphia, PA When: Saturday, May 20th, 2000 What time: From 8 pm until 2 am Only $ 5 Schedule 8 pm I'm Your Man (art rock) 8:45 Drum/dance with video projected on large balloon 9:15 Secession Movement (rock) 10:00 Puppets 10:30 Dyke (men dressed as women singing songs about how great women are) 11:15 Beach Balls (operatic versions of cheesy 80's songs) 12:00 Lexicon (psychedelic groove) DJ's in backyard courtyard: Shok, Thorn, Ultra, The Black Oil, DJ Jane Eric Performance Art: The Great Quentini, more Video Art: from The Institute of Contemporary Art, more Other Performers: Unsound, Jim L. Jones, Lavender Hill Mob, Aharon Varady on toy instruments Art on Walls: Tricia Gdowik, Chris Vecchio, Steve Gdowik, Jackie McAdams Pot Luck: Bring Food at 8 pm, if you want to Contact Josh Cohen at GasHeart@aol.com with any questions for up-to-date information visit www.groovelingo.com/artparty save the date, mark your calandar spread the word, bring your friends, forward this email, publish in your newspaper (you know who you are) i hope to see a lot of you from the 'Philly: Theater, Music, Film' list Come out to see who else is on the list. i know i haven't put an issue out in the last month, but that was because i am putting energy into this event -josh . ========================================================================= Date: Tue, 9 May 2000 18:33:26 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "James W. Cook" Subject: Re: description Mime-Version: 1.0 Content-Type: text/plain; format=flowed Check out the novels of Jonathan Bayliss - Prologos, Gloucesterbook >and >Gloucestertide, all of wch have incredibly detailed description, esp. the >first. They've all three been published by small houses, so don't know how >readily available they might be on the west coast Jonathan's books can be ordered from The Bookstore (yes, that's the name) in Gloucester, MA. (978) 281-1548. I'd like to echo Stephen's comment on description in _Prologos_, _Gloucesterbook_ and _Gloucestertide_. Jonathan uses meticulous, dense descriptions of place, process, social relation, history to conjure an alternative world (of word) parallel to our own; that is, Jonathan's imagined Gloucester (& U.S.) illuminate--in very specific ways--the other, lived-in, Gloucester (& U.S.). In these books as in others mentioned in this strand description often reaches the level of virtuoso performance. Of additional interest to the list, the books contain sketches of many members of Gloucester's artistic community, veiled with slightly altered biographies, including an Olson-like Ipsissimus Charlemagne. Thank you Stephen for putting me in mind of Jonathan's work once again. j.c. >From: Stephen Ellis >Reply-To: UB Poetics discussion group >To: POETICS@LISTSERV.ACSU.BUFFALO.EDU >Subject: Re: description >Date: Mon, 8 May 2000 15:49:02 PDT > >, but if you're interested, >let me know and I'll send you whatever, publishers' names, ISBN numbers, or >perhaps an address through which some copies might be unearthed or >de-warehoused. >S E > > >>From: Poetics List >>Reply-To: UB Poetics discussion group >>To: POETICS@LISTSERV.ACSU.BUFFALO.EDU >>Subject: Re: description >>Date: Mon, 8 May 2000 17:25:56 -0400 >> >>Dodie wrote: >> >> > This time I'm thinking of centering the class around Description-- >> > and in a broader sense, looking at the translation of the material >> > world into the abstraction of writing. >> >>Among the materials I have taught or plan to teach: >> >>Alain Robbe-Grillet, -Snapshots- and -For a New Novel: Essays on Fiction- >> [especially "Nature, Humanism, Tragedy" and "From Realism to Reality"] >>Gertrude Stein, -Tender Buttons- >>Franz Kafka, various journal entries, fragments and short stories >>Elias Canetti, "Cemetaries" in -Crowds and Power- >>Lyn Hejinian, -My Life- >>Walter Benjamin, "A Berlin Childhood" in -Illuminations- >>Theodor Adorno, "All the Little Flowers" in -Minima Moralia- >>Rosmarie Waldrop, -The Reproduction of Profiles- >>Kathy Acker, "My Death My Life by Pier Paolo Pasolini" in -Literal >>Madness- >>Raymond Chandler, -Farewell, My Lovely- >> [in this, the disjunction between subject matter and the tone >> or the terms of description] >>and (blush) your own little book -Hallucinations- >> [useful to initiate a class project of brief writings] >> >> >>Something I've been working with in my composition classes >>is the interplay between (loosely) description and speculation, >>the presentation of surface-sense and the assumptions or projections >>that position necessitates - the difference between, say, what >>Robbe-Grillet once thought he was doing, and what Canetti does >>when he tries to uncover the "secret satisfaction" one supposedly >>derives from visiting a cemetery. I've found Kafka and Stein, >>also Rosmarie Waldrop useful for challenging the binary, i.e., >>the idea of description as anything other than a sort of >>programmatic speculation. Chandler, too, could be useful in >>making evident what is smuggled in under the guise of the >>descriptive - perhaps with Tina Darragh's "Raymond Chandler's >>Sentences" in -Striking Resemblance-. I'd like to teach >>Freud's case study -Dora- in the same vein, but I don't think >>my students would go along with it. >> >>This is likely too elementary to be of any use; whereas, if >>I can get my students even to understand, let alone challenge >>the opposition between description and speculation - or to debunk >>the notion of objectivity when, as frequently happens, we talk >>about an article from the student newspaper - I feel that I'm >>doing quite well. Of course, some of my students have never >>read a novel before they come into my class - and a few of >>them probably still haven't when they leave. This, by the >>way, isn't sneering: most of my students come from western >>New York, where, after years of right-wing de-funding of >>public education and community services, it's a wonder they've >>learned to read. I do my best to present them with relatively >>difficult materials and to work through those materials with >>them; some of them hate it, but the pay-off is that at least >>one kid each semester seems to be shocked and interested to >>find there's anything - as Ambrose Bierce says - beyond the >>Land of the Magazines; and a few more may discover that >>questions are as important as answers. >> >>cheers, Chris >> >>% Christopher W. Alexander >>% poetics list moderator > >________________________________________________________________________ >Get Your Private, Free E-mail from MSN Hotmail at http://www.hotmail.com ________________________________________________________________________ Get Your Private, Free E-mail from MSN Hotmail at http://www.hotmail.com ========================================================================= Date: Tue, 9 May 2000 19:29:54 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Daniel Zimmerman Subject: one trick ponies? MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Hello, Listees. A colleague proposed today that a person couldn't qualify as a poet, or a poem as a work of art, unless one could point to other works of similar or greater value by the same writer. I tried, briefly and unsuccessfully (after 7 hrs of grading) to dissuade him from this horsechesnut. Next time I see him, I plan to inquire his opinion of Chidiock Tichbourne's single, affecting lament for himself the evening before his stature adjustment by ER I's ax-whacker, but I wonder if anyone can suggest some perhaps more persuasive examples of poets known by a single poem (a short one: I tried a few long ones, but he cited Poe's horseball that poems over 60 lines really combine shorter poems). No haiku, please; no limericks or clerihews; nothing about puppies. No returns without SASE. Reading fee: whatever you think right. Send to: ARMED TO THE TEETH: ALPHOMEGA BARDOLATRY daniel7@idt.net ;~) Dan Zimmerman ========================================================================= Date: Wed, 10 May 2000 09:30:23 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jamie Perez Subject: Re: description MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Dodie Bellamy wrote: > > 1. Any pertinent issues/topics that would broaden this discussion. > 4. Writing exercises to stretch students' conceptions of description. I think it would be interesting to try and track down descriptive passages that don't end up describing the author, or challenge your students to the task. re hyperdescriptive and the above, I find myself going the other way and trying to find a baseline for description, maybe because the hyperdescriptive is so much about the writer or at least the writing? Anyway, I keep thinking about things like driver's licenses and other proscribed/formulaic shorthands that we all accept as descriptions. What is the written analog of courtroom sketches (a defined/stylized/agreed upon vocabulary)? jamie.p ========================================================================= Date: Tue, 9 May 2000 19:01:50 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Pam Brown Subject: Re: W. J. A. : will you rectify my derrida? MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Deconstruction D'ya wanna know da creed a' Jacques Derrida ? Dere ain't no wrider, Dere ain't no reader eider. Cheers Pam Brown --- M Conroy wrote: > my humble critique of Derrida: > > I have yet to see a sensible argrument mounted > against > Derrida's evaluation of the metaphysical tradition. > What I have > read are vague resistances aimed at what can only be > described as > a caricature of Derrida and deconstruction, written > by those who > clearly have not read him extensively and/or do not > understand > what they have read. (W.J.A) > > honey would you care to rectify my Derrida? (get him > back on course) I > guess I missed the point - but then I guess we all > did. (W.J.A excepted) > > you know to know how to love him no matter what he > does - I guess because > knowing what you do is more important than what you > do. > > you know I'd have to get up on my metafisyxs to get > down with you boys and > I guess I should do it properly ... thoroughly ... > get in your know but > then I'd rather be getting down with supplementary > Cixous and reading > Derrida like Derrida reads his daddy Lacan. ===== Web site/P.Brown - http://www.geocities.com/SoHo/Workshop/7629/ __________________________________________________ Do You Yahoo!? Send instant messages & get email alerts with Yahoo! Messenger. http://im.yahoo.com/ ========================================================================= Date: Tue, 9 May 2000 21:21:54 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Aaron Vidaver Subject: Old Grammars, New Contingencies: A Poetry Writing Workshop Considering Obsolescence and Newness in Method (With Lisa Robertson, Vancouver) Mime-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 8bit Old Grammars, New Contingencies A Poetry Writing Workshop Considering Obsolescence and Newness in Method With Lisa Robertson, 6 Tuesdays, 7-9pm, June 6-July 11 2000, $120 At the Kootenay School of Writing, Vancouver, BC "The obsolete exists so strangely side by side with anarchy and newness." -- Virginia Woolf This workshop assumes the curious imbrication of style and subjectivity, of convention and potentiality. If, after Raymond Williams, poetry is "the process and the result of formal composition within the social and formal properties of language", the specific circumstances of this composition include an apprehension and redeployment of the historical tropes that at least partially constitute and limit any writing. History is not a dead letter, but an infinity of energetic nodes awaiting reactivation. The subject, as it arises in the temporal simultaneities and unlawful cohabitations of the writing process, is radically unfixed. In this workshop we will test the extent to which the historical is the necessary territory of the new. We will read work by Gertrude Stein and Aristotle, Erin Mouré and Alexander Pope; John Ashbery and Rousseau; and John Clare. Each week we will discuss the work of workshop participants in relation to assigned compositional exercises. The workshop is geared towards practising writers with some previous engagement in textual problems, pleasures and procedures. Limited to 10 participants. Please email statement of interest and/or writing sample to . Kootenay School of Writing 201 - 505 Hamilton Street Vancouver BC V6B 2R1 604-688-6001 ========================================================================= Date: Wed, 10 May 2000 07:52:34 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: michael amberwind Subject: Re: POETICS Digest - 8 May 2000 to 9 May 2000 (#2000-73) MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii I recall seeing a book called "The Describer's Dictionary" but I have no inkling as to who wrote or just how useful it is. I do remember it contained descriptions from many fictional sources divided into categories. Looked useful. Check out Amazon.com. > > I'm going to be teaching a Craft of Fiction class > again in the fall. > > It's sort of a hybrid between a lit class and a > writing workshop--for > > MFA students. > > > > Last time I taught this, I did Epistolary Form, > and many on the > > poetics list were very generous with suggestions. > > > > This time I'm thinking of centering the class > around Description--and > > in a broader sense, looking at the translation of > the material world > > into the abstraction of writing. I want to look > at tactics for > > privileging/muting various senses. Also want to > look at ways of > > defamiliarizing the sensual world. Want to look > at ways in which > > "we" categorize physical details (thinking Susan > Stewart and Mary > > Douglas). I'd like to look at small portions of a > wide range of > > texts, from the most conservative to the > experimental. > > > > My questions are rather vague at this point since > I'm still > > formulating this, but suggestions about any of the > following would be > > helpful: > > > > 1. Any pertinent issues/topics that would broaden > this discussion. > > > > 2. Theoretical writings on the topic that are > fairly accessible. > > > > 3. Any primary (prose-ish) texts that you think > do > > interesting/surprising things with description. > > > > 4. Writing exercises to stretch students' > conceptions of description. > > > > This is a lot, and I have many ideas myself, but > if anything comes to > > mind, please share your thoughts with me. __________________________________________________ Do You Yahoo!? Send instant messages & get email alerts with Yahoo! Messenger. http://im.yahoo.com/ ========================================================================= Date: Wed, 10 May 2000 12:02:21 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: sometimes MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII - sometimes literature is such an enormous gift that one is glad to be alive. he takes on a pupil. a young man comes to him and he asks his name. the young man gives his name, the same as that of the teacher. the young man learns quickly; he is condescending, always wary. rumors develop in the community. the teacher, who has always been morose, teaches the pupil everything he knows. the teacher remembers similar events in his own youth. the community begins to fall apart; there are two men with the same name. the teacher banishes his pupil. that night, he begins to laugh. such is the retelling of the story from Martin Buber, For the Sake of Heaven. what can be taught the bearer of the name? already worlds have been created and destroyed. there is nothing to teach, nothing transcendent but the sign which both carry. the gift of teaching ourselves, the gift of nothing to teach. you may know that the name of the teacher is Rabbi Jaacob Yitzchak, the son of Matel, and the name of the student is Jaacob Yitzchak, the son of Matel. ___ ========================================================================= Date: Wed, 10 May 2000 11:06:08 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Judy Roitman Subject: Life in Lawrence KS In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" Announcing the publication of dive, she said recent poems by Jim Mccrary 65 pps, paper $8.00 now available from Hog Oil Press, 927 Rhode Island St, Lawrence, KS 66044 Poet and critic Stephen Ellis had this to say about previous publications by Jim McCrary: "There's a watchful, alert element that runs through all of McCrary's work: its expression often takes a sarcastic nay sardonic twist yet the language remains homen, to the point and too the bone. It is the simplicity of McCrary's verse that astonishes......" Previous publications include: West of Mass (Tansy); And/Or (eg books); Recollection (Texture); Edible Pets (Tansy). He lives in Lawrence, KS with his wife Susan Ashline and continues working at the Estate of William Burroughs as Office Manager and Archivist. ------------------------- Reading at the Raven Bookstore, 8 E 7th, Lawrence KS, May 22, 7:30 p.m. Jim McCrary Caryn Mirriam-Goldberg -- --------------------------------------------------------------------------- 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, 10 May 2000 10:41:13 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: michael amberwind MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii I am looking for information on distance learning institutions featuring undergraduate degrees in either creative writing, poetry or poetics. Any useful links, resources, information that anyone might wish to send would be most appreciated. __________________________________________________ Do You Yahoo!? Send instant messages & get email alerts with Yahoo! Messenger. http://im.yahoo.com/ ========================================================================= Date: Wed, 10 May 2000 11:00:59 -0700 Reply-To: degentesh@earthlink.net Sender: UB Poetics discussion group From: Katie Degentesh Organization: Pretty good Subject: more Internet poetry MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit the MightyWords poetry section has expanded, please visit it for poetry by Lucy Grealy --> Joel Chace --> John Kinsella --> Jordan Davis --> Peter Gizzi --> Sheila Murphy --> Diane di Prima --> Quincy Troupe --> Ivan Arguelles --> Nan Cohen --> Linda Smukler --> Ben Steiner --> and many others. Submissions? E-mail ximenao@fatbrain.com. ========================================================================= Date: Wed, 10 May 2000 16:32:28 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Wanda Phipps Subject: Check it out Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Hey, Check out my poems in T H E E A S T V I L L A G E http://www.theeastvillage.com #9 Special Issue: Los Angeles | New York LA (art & poetry) Edited by Guy Bennett and Jack Kimball Martin Nakell; Aldon Nielsen; Laura Cooper; Paul Vangelisti; Martha Ronk; Pierre Picot; Douglas Messerli; Mark Salerno; Catherine Daly; Kenneth Ando; Nick Taggart; Franklin Bruno; Dennis Phillips; Todd Baron; Ron Griffin; Guy Bennett; Robert Crosson; Will Alexander; Courtney Gregg; Carol Mirakove NY (art & poetry) Edited by Nada Gordon, Jack Kimball and Gary Sullivan Betsy Fagin; Emilie Clark; Laird Hunt; Sean Killian; Drew Gardner; Peter Coe; Douglas Rothschild; Greg Fuchs; Jordan Davis; Jen Robinson; Wanda Phipps; Alan Gilbert; Joe Elliot; Charles Borkhuis; Wendy Kramer; Marcella Durand; Peter Neufeld; Mitch Highfill; Chris Stroffolino; Laurie Price; John Pilson; Eleana Kim; Michael Scharf; Brian Kim Stefans; Rachel Levitsky; Pattie McCarthy; Chris Funkhouser; Rodrigo Toscano; Andrew Epstein; Prageeta Sharma; Tom Devaney; Susan Landers; John Coletti; David Cameron; Kristin Prevallet; Anselm Berrigan; Joanna Furhman; Jeff Derksen; Brendan Lorber; Lytle Shaw; Sharon Mesmer; Rebecca Levi; Kimberly Lyons; Rick Snyder; Andrea Hollowell; Brenda Iijima; Julie Harrison & Brigid McLeer; Pun Sing Lui; Adeena Karasick; Noelle Kocut; Ange Mlinko; Katy Lederer; Julie Sloane; Fatimah Tuggar; Richard O'Russa; Nada Gordon & Gary Sullivan AND in the land of hard copy print mags you can find some of my translations with Virlana Tkacz & Sayan Zhambolov of Buryat Mongolian poetry, shamanic chants & traditional songs in issue #51 of Agni (out of Boston University) the issue also includes work by Derek Walcott, Robert Pinsky, Robert Bly, Gerard Malanga, Sophie Cabot Black & others AND more of my translations with Virlana Tkacz of Ukrainian poet Oksana Zabuzhko in the current issue of Luna (out of the University of Minnesota) Wanda Phipps Check out my homepage MIND HONEY at www.users.interport.net/~wanda A honey pot of poems!!! And if you've been there already try it again--we're always adding cool new stuff! ========================================================================= Date: Wed, 10 May 2000 16:46:59 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Brian Clements Subject: Re: mantis call MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" A journal out of Stanford recently sent out a call for essays on poetry and community/ies. If anyone out there has a copy of that call, could you please forward it to me? Many thanks BC -----Original Message----- From: Geoffrey Gatza [mailto:ggatza@DAEMEN.EDU] Sent: Tuesday, April 04, 2000 12:04 PM To: POETICS@LISTSERV.ACSU.BUFFALO.EDU Subject: Re: APOETICS -- time value of posey aren't we sort of admitting (under our breath) that the market place is the ultimate and only judge of our work? Dear William, by basing the world as only market place you seem to forget what poetry is and what it serves. In some ways the market place is all of us no matter how confining an infinite space that is. This placing of poetry into an index based upon sales is dangerous stuff. It is was a true marker Jewel's _A night without Armor_ outdoes even our most successful poets. So what does that infer? Jewel's going to save our soul with her quaint ruffly posey just because a group of dull sixteen year olds find her words to be thought provoking. Make no mistake there arfe always higher order rules in operation, even when lower order is on strike. Poetry has no economies of scale! The world does't need poetry! Some of us find it to be indespensible, an opiate there for it takes on a greater elastisity. Poetry is not insulin. Poetry is exchange yet no intrest is to be applied Time Value of Poesy An analytical model of revolution Thought upon returning from Walden Pond I Let my Thank You be the apple you have sought its under our nose this time II The time value of poetry states that a poem read today is worth more at a future moment in time. Would you rather Keats today or meet in 10 years time The step is found marking time drumming value into poetry 0 = Present time, today 1= One period from now 10 = 10 years from now when time divides horizontal periods become representative as a line today time start with zero internal emotional arrows The higher aims of Cutulus fall dangling wayside Contemptuous of pitiful Bishop (will sadness provide Lowell more tomorrow or remain forever contemporary urgency quandaries becomes nature facing about your future stuff this in your mattress. The Urgency Index rates the priority you place on poetry as a building block for your future in an discipline of unpredictability. The urgency experience/s/ed : when holding fire Unfortunately poetry isn't likely to keep pace with increases in price or costs of living. Adjustment basis' however will provide ... Proverb's of economy invest in a diversified portfolio your investment will be worth more tomorrow than it is today. history shows poetry presents a doubling rate every seven years even a modest portfolio performs well given today's markets a poem saved is a ... Fundamental Concept in Poetry Study of Poetry involves estimating and valuing future emotional flows from stimulus provided at the writing from poet functioning in turn as intermediary agent for said poem, creating in the self a manifold, of sorts, to bear upon a reader at any given moment in the future a similar or greater emotional prominence ... etceteras! The timing of these emotional flows are random and uncertain due to taste of and prevailing social conditioning of reading audience to individual reader. The amount of these future emotional flows is uncertain Poetry is not same as Accounting, not same as Finance - Finance tries to maximize value, not accounting profits - Accounting and Economics de-emphasize time and opportunity cost - Accounting strives to measure and express historical events - Finance looks to the future using data from the past To achieve harmony There must be at least one despicable inflow and one outflow of stuffed wonderfill (sic.) you must compare emotion flows from similar points in time How to compare? POETRY AS AN INVESTMENT Future emotional value amounts to poem as investment to grow after one or more periods earning some given rate of interest Basically all this means is that if you put poetry under your mattress or buy into thought as investment, you will earn and your investment, over time, will grow. First, how much poetry will you have after 1 year? You'll still have your Keats and you'll be able to eat from it tomorrow earn interest on that amount at 8% After three years of course you will have Keats x (1.08) x (1.08) x (1.08) You begin to see a pattern here! FV= PV (1 + i )^N · FV = Future Value of poem read today · PV = Present Value of poem in front of you · i = the emotional rate per period · n= the number of compounding periods Note: Every timeline must have an inflow and an outflow. That means one of these factors (PV,FV or i) needs to be negative. (Look at it from bank perspective Elliot's folly So - can you make a decision now? Which do you prefer? suppose we compare both amounts today rather than 10 years from now. HOW WOULD YOU CHOOSE YOUR WORLD ? When you compute future values, you're asking questions like: How to free a muse Nothings going to change my world [Timeline] Present value calculations enable the poetry one needs to be deposited today in order to have a target emotional amount n years from now. Present Value becomes the value today of future emotions discounted at some interest rate calculation future value is just the opposite. The process is of computation and the interest rate used is called the discount rate So, if you want to know how much you have to invest today to reach a life like Thoreau look at the problem this way: We know that for every poem we read today, we will earn annually on those emotions Suppose you invested in Keats today would you expect its themes to haunt your lungs those 10 years over At what annual interest rate would you be earning? Before performing calculations, intuition should tell us something Multiple Emotion Flows: All emotions compound thereby forming a construct discounting periods are not annual interest rates are usually quoted on an annual basis, but you need to know how often interest actually compounds to make correct calculations ... Continuous Compounding: Banks, Libraries, and other academic investing institutions often quote continuously compounded interest in which the compounding period is infinitely large. Can't use former calculation when m = infinite! A perpetuity is a special case in poetry that all authorship strives It is a stream of thought bound to incidental words seeking finding becoming constant continuing forever tenderly down hallways Since a perpetuity has an infinite number of meaning we cannot easily compute its value by discounting Keats one measure The formula simplifies to a formula as such: e APR -1 (e = 2.718 - basis for natural logs) InflaTioN iNcreAseS cost oVEr TiMe Something that costs $100 today may cost $103 next year. If you invest your poetry at 8% interest rate your poetry grows by 8%. If, however, inflation averages 8% over that same period, you have not increased your power by 8%, you have just kept pace with inflation. If you had not invested your poetry and instead kept it under the mattress, your words can buy 8% less at the end of the year due to inflation. So it is important to invest your poetry to at least keep pace with inflation at a minimum and beat if possible inflation As time goes on, Time turns its back on Maturity. upon lesser criteria are decisions made III The woman is a model of the poem she represents and she is flames burning yellow autumn trees There are no words for her only color The woman is a model of the image she represents Her voice travels on, or above, as music thus she is muse or the muse, herself or iconographic woman in guise of muse the setting suns shatters over this pond Virga blossoms water vapors for simple dispelling clouds breathing fire, blushing lumps of flesh reflecting this pond a girl shed jeans for the guise of water nymph (and I blushed for intruding upon her seeing herself naked for herself deliberate for sex without dirty old sex The woman is a model trying to represent the world she is modeling The model means nothing for it is only a model the world has weather patterns we see as seasonal beauty art cannot portray the world it lives in Therefore freedom is a muse kicking leaves The muse is a vice seeking a vocation calling its voice music when words collide ... the trumpet brings the wall down a poem too defends music and I am at your feet and I want you so badly I will wait until you come to eat blood from my veins and be drunk on life As oboe bouncing on a line of time held firm by key stone in arcs IV (reprise II) urgency quandaries becomes nature about facing the future stuff this in your mattress and save ... Ever & Affectionatley, Geoffrey Gatza ***************** Check out Step Online now only at www.daemen.edu/step now serving free-range veal ========================================================================= Date: Wed, 10 May 2000 16:15:45 -0600 Reply-To: Laura.Wright@Colorado.EDU Sender: UB Poetics discussion group From: Wright Laura E Subject: Levistky, Poitras, Field 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 THALIA FIELD, DANIELLE POITRAS, AND RACHEL LEVITSKY Thursday, May 18th at 8:30 p.m. in the V Room in the Dairy Center for the Arts, 2590 Walnut Street in Boulder, CO For more information about the Left Hand Reading Series, contact Mark DuCharme at (303) 938-9346 or Laura Wright at (303) 544-5854. Rachel Levitsky lives in Brooklyn and teaches poetry in grade schools. While attending the Kerouac school in Boulder from 1996 she founded and co-hosted the Left Hand Reading Series. She currently curates the Belladonna Series at the Bluestockings Women's Bookstore in New York City. She is the author of four chapbooks, 2(1x1)Portraits (Baksun Books, 1998), The Aventures of Yaya and Grace (Potes & Poets, 1999), Cartographies of Error (Leroy, 1999) and Dearly,(a+bend, 1999). Her prose and poetry are circulated widely on a small scale in journals and on broadsheets. She has been awarded residencies at Villa Montalvo, Millay Colony and the Vermont Studio Center. Thalia Field's book Point and Line is available from New Directions. New work can also be seen in the Chicago Review. She currently teaches at Naropa University. Danielle Poitras, poet and activist, is a member of an international collective at rhe Rocky Mountain Peace and Justice Center, as well as a part of a Corporation Study Group sponsored by the Women's International League for Peace and Freedom. She holds a MFA from Naropa's Writing & Poetics Department, and her work has been published in Mungo vs. Ranger, Bombay Gin and Persephonic. 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. (Rachel Levitsky in Boulder again! Hooray! Great rejoicing will occur!) ========================================================================= Date: Tue, 9 May 2000 17:51:39 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Steve Dickison Subject: * ROBIN BLASER, Thurs May 18th, ODC Theater * Reservations recommended * 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 of Robin Blaser's 75th birthday ROBIN BLASER Thursday May 18, 7:30 pm, $5 Special Location @ ODC Theater (17th & Shotwell) San Francisco ** Call the Theater for reservations: 415-863-9834 ** We're closing our season with an evening that should not be missed by anyone who cares about poetry. * ROBIN BLASER's readings in San Francisco are legendary. * With his great friends Robert Duncan and Jack Spicer, as a young man Mr. Blaser was at the heart of both the Berkeley and the San =46rancisco Renaissances of the 1940s and '50s. * Since the mid-60s he's made his home in Vancouver, British Columbia. * His collected poems, The Holy Forest, is a primary text of our poetic era, a mystery work that enacts the randon=E9e, a quest both romantic and "after the modern" that wanders off at the same time in search of the real and the deeply imaginary. * He will be returning to town following the world premier by the Berlin Staatsopfer under conductor Daniel Barenboim of Sir Harrison Birtwistle's newest opera, The Last Supper--with libretto by Robin Blaser. * Music, refreshments, and festivities will follow, so stay for the party. = * THE ODC THEATER is located at 3153 17th Street at Shotwell in the Mission District cheap, secure parking in the lot across 17th from 16th Street BART walk one block east to S. Van Ness, one block south & 1/2 block east on 17th ** Call the ODC Theater for reservations: 415-863-9834 ** We expect a sold-out house ** 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 ~ vox 415-338-3401 ~ fax 415-338-0966 ~ ~ ~ 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, 9 May 2000 23:27:29 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Michael Scharf Subject: Artists: Support MoMA Strikers! Mime-version: 1.0 Content-type: text/plain; charset="ISO-8859-1" Content-transfer-encoding: quoted-printable Since April 28, the professional and administrative staff at the Museum of Modern Art has been on strike for fair wages, job security, and a decent healthcare plan. We invite all artists and members of the arts community to express support for the strikers and the diginity of all arts professionals= . Friday, May 12, 5-7pm MoMA 11 West 53rd Street Group Roar at 5:30pm Because you can't eat pretige... *** THE MoMA PICKET LINES: AN OPEN LETTER TO THE ART COMMUNITY FROM THE PROFESSIONAL AND ADMINISTRATIVE STAFF OF THE MUSEUM OF MODERN ART May 3, 2000 Dear Friends and Colleagues: As many of you might already know, the Professional and Administrative Staff Association of The Museum of Modern Art (PASTA-MoMA) is currently on strike after a substantial majority of its members voted to reject the Museum's final contract offer. To clarify the reasons for our current actions we would like to introduce some of the issues at stake. We, the Museum's curators, librarians, archivists, registrars, educators, editors, conservators, and administrative staff, are asking for a fair contract. Negotiations began seven months ago and have now broken off, and we feel that we have yet to see good-faith bargaining from the Museum. The issues in contention are basic ones, including a modest pay increase and the security of our healthcare coverage. The current starting salary for some 40 positions at the Museum is $17,000 per year, and the median salary of all PASTA members is less than $29,000. We have asked management to raise minimum salaries to $20,000, but it has refused to make any increase over $17,510. We have asked for a first year 5% across-the-board increase with 4% for subsequent years, which was also refused. The salaries of nonmanagement MoMA staffers are sufficiently low that each percentage point of pay increase for all 250 employees in the bargaining unit costs the Museum only $70,000, a sum it often earns in a single day through the sale of admission tickets alone. As for healthcare, the Museum has asked the union to forfeit its right to negotiate with management over any changes to the healthcare package that management may propose during the life of the contract=97a right that is granted to unions by U.S. law. This proposal, if the union accepted it, would effectively allow the Museum to cut back the staff's healthcare at any time and to any degree without consulting PASTA as to what the healthcare priorities of its members might be. The Museum has denied that it intends to reduce the healthcare package, but it has not made clear to us why, in that case, it wants the union to give up its healthcare negotiating rights. There are currently five other unions at MoMA, which represent functions of the Museum including security, art handling, and housekeeping. Of all the unions, PASTA has the lowest base pay, average pay, and median pay. We are also the only union in which membership is purely optional, a weakness that management has used to try to divide us. These facts merit the attention not only of the Museum's management and our Board of Trustees but of the art world at large=97all the artists, teachers and professors of art and art history, all the professionals and trustees of other museums and not-for-profit organizations, all the writers and critics, and anyone who believes that art is a vital part of society. We ask you to consider the ethical questions at hand. We are not on the picket lines outside MoMA merely to discourage people from entering the building. In fact this is a position that many of us find extraordinarily painful and one that runs counter to every impulse that brought us into our profession in the first place. We feel that we are here to defend that profession's integrity. We are asking the Museum to acknowledge our commitment and our contributions with something other than words. Like any other field that exacts dedication and rigor, museum work is a profession, not an intellectual hobby. In a recent memo to the Museum staff, Glenn D. Lowry, Director, stated: "We are determined not to let the strike interfere with MoMA's mission." However, every professional staff member on the picket line plays an essential role in shaping and preserving that mission. The quality of the exhibitions, the catalogues, and the education and membership programs at the Museum depends on us from conception to realization. An exhibition on the scale of Making Choices, which just opened, could not have been mounted without the extraordinary contributions of union members working hundreds of hours of overtime without compensation. The level of achievement at MoMA is disproportionate to the salaries and security offered to its professional staff. A principle is at stake. It is in the best interest of all who champion art to speak out and urge the Museum to address these issues now. We invite you to join our picket line. We ask that you send a letter or fax to Mr. Lowry (212-708-9744) and to Agnes Gund, President (212-708-9415). Most importantly, we appeal to you to help end this strike by encouraging management to return to the table and negotiate in good faith and with due respect for the Museum's professional staff. Sincerely, PASTA-MoMA/Local 2110 Among those who contributed to this letter are: Darsie Alexander, Department of Photography Sally Berger, Department of Film and Video Jon Cordova, Office of the Registrar Harris Dew, Department of Communications Carina Evangelista, Department of Painting and Sculpture Starr Figura, Department of Prints and Illustrated Books David Frankel, Department of Publications Judy Hecker, Department of Prints and Illustrated Books Laura Hoptman, Department of Drawings Cary Levine, Department of Painting and Sculpture Matilda McQuaid, Department of Architecture and Design Harper Montgomery, Department of Prints and Illustrated Books Jasmine Moorhead, Department of Publications Laura Morris, Department of Publications Clay Stopek, International Program Jennifer Tobias, Library Michelle Yun, Department of Painting and Sculpture PASTA-MoMA Negotiating Committee: Stefanii Atkins, Office of the Registrar Michael Cinquina, Office of the Book Buyer Daniel Fermon, Library John Greiner, Visitor Services Joe Hannan, Department of Writing Services Michael Regan, Visitor Services Maida Rosenstein, Local 2110 Chantal Veraart, Library Phil Wheeler, Northeast Regional UAW Michael Yard, Department of Sales and Marketing ========================================================================= Date: Thu, 11 May 2000 09:12:01 +0900 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: J Kimball Subject: LA | NY Comments: To: jk@theeastvillage.com Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit LA | NY A Special Edition of The East Village Martin Nakell; Aldon Nielsen; Laura Cooper; Paul Vangelisti; Martha Ronk; Pierre Picot; Douglas Messerli; Mark Salerno; Catherine Daly; Kenneth Ando; Nick Taggart; Franklin Bruno; Dennis Phillips; Todd Baron; Ron Griffin; Guy Bennett; Robert Crosson; Will Alexander; Courtney Gregg; Carol Mirakove; Betsy Fagin; Emilie Clark; Laird Hunt; Sean Killian; Drew Gardner; Peter Coe; Douglas Rothschild; Greg Fuchs; Jordan Davis; Jen Robinson; Wanda Phipps; Alan Gilbert; Joe Elliot; Charles Borkhuis; Wendy Kramer; Marcella Durand; Peter Neufeld; Mitch Highfill; Chris Stroffolino; Laurie Price; John Pilson; Eleana Kim; Michael Scharf; Brian Stefans; Rachel Levitsky; Pattie McCarthy; Chris Funkhouser; Rodrigo Toscano; Andrew Epstein; Prageeta Sharma; Tom Devaney; Susan Landers; John Coletti; David Cameron; Kristin Prevallet; Anselm Berrigan; Joanna Furhman; Jeff Derksen; Brendan Lorber; Lytle Shaw; Sharon Mesmer; Rebecca Levi; Kimberly Lyons; Rick Snyder; Andrea Hollowell; Brenda Iijima; Julie Harrison & Brigid McLeer; Pun Sing Lui; Adeena Karasick; Noelle Kocut; Jane Van Ingen; Katy Lederer; Julie Sloane; Fatimah Tuggar; Ange Mlinko; Richard O'Russa; Nada Gordon & Gary Sullivan Edited by Jack Kimball, Guy Bennett (in LA), Nada Gordon & Gary Sullivan (in NY) Choose for back issues. ========================================================================= Date: Wed, 10 May 2000 18:43:32 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Elizabeth Treadwell Subject: description and kenning cunning Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Hi All, Dodie your class sounds fabulous, what about Djuna B? Did others receive Kenning's Cunning issue I think it is truly a feat of the editors Patrick F Durgin, Renee Gladman, Jen Hofer and Rod Smith (whose term submodern is beloved by me). They call it a descriptive checklist of tentative politics, I call it a mobile document of participatory spatials with things like Taylor Brady and Tanya Hollis's translucid commutes set to location's sturdy tumble (and Joey, the college artist who sits by the town art window of our town with his art, on the sidewalk), Sarah Jane Lapp's transmutation of filmic portraitized sugar; all set astride "each plastic visionary hope chest" (Yedda Morrison) and still room for "stock epithet[s] of the nineties" (John Kinsella) not to mention "the first ancient description of chronology" (Alexey Parshchikov) -- x ET ___________________________________________ Elizabeth Treadwell Double Lucy Books & Outlet Magazine PO Box 9013, Berkeley, CA 94709 USA http://users.lanminds.com/dblelucy ========================================================================= Date: Wed, 10 May 2000 22:26:33 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Judy Roitman Subject: Re: one trick ponies? In-Reply-To: <00a101bfba0e$7cbc7fe0$ef58fea9@win98> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" >Hello, Listees. > >A colleague proposed today that a person couldn't qualify as a poet, >or a poem as a work of art, unless one could point to other works >of similar or greater value by the same writer. What about all them anonymouse pieces? Western Wind When Wilt Thou ---- that's not a poem? -- --------------------------------------------------------------------------- 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, 10 May 2000 23:06:59 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: David Bromige Subject: from Berkeley's Geek Theater Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" I met Death the other day : He wore a face like Castlereigh. I met Death the other night : Ladies and gentlemen, Madeleine Albright! ========================================================================= Date: Thu, 11 May 2000 08:02:27 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: David Baptiste Chirot Subject: Re: description In-Reply-To: <20000509223326.6316.qmail@hotmail.com> MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Exericises in/with description: a lot could be learned visual art. also the police and other surveillance agencies and techniques (hence Chandler's noting the importance of it in writing a hard boiled novel: what people really take most notice of is the descriptions--and not so much the dialogue and plot--of course, he himself had a lot of trouble with plots, so this may have been to cover a weakness) some examples: Gray's Anatomy description Most Wanted Poster description Fashion description Life Drawing description Cubist Description Obituary Description Vita Description First Impression Description Rear view Mirror Descritpion Framed by Window Description Memory Description From a Photograph Descritpion From a Sound Recording a Visual Description Over Heard from Other Side of Aisle or Booth Description Back of the Head in a Theater Descritpion Shoes/Feet under Passing Subway/Bus/Car Description Occupation Description (Describe a person not in terms of 'character" but the character of the profession as evinced by dress, mannerism,s gestures, tone of voice, facial expression . . . ) Viewing Description (Open Coffin) Morgue Descritpion and so on--- the same can be done, in varying ways--with landscapes, streets-- These exercises can be used to think on questions such as what does "capturing a person/landscape" mean . . . What is the purpose for use of descritpion? How does this effct what is used in/for the descritpion? It's relation to/with cataloguing? With defining "types"? Parts of description in relation to/with the whole: allegorical, figurative, metanymocial, metaphorical, metaphysical etc. Figure Drawing & Figure of Speech Techniques from cinema, video, radio, sound recording, strobe lighting, other lightining can be used. (Close-up/medium/long shot. Montage. Jump shot editing. Slow motion. Black and white/color. Silent/loud. Voice over. Direct sound--its effect on notation to indicate tones, level of sounds . . . ) Relation of the shape of the descritpion in words to its shpae in sound, and in visual layout on the page. Direct Description: i.e. the object/person seen at moment and at same time described, notebook in hand. Memory Descritpion: Five Minutes Later--A Day Later--A Week Later etc. memory of the Memory Descritpion, using one's own previous memory Descriptions, from Memory. Or from going over them again. These are a few examples. dave baptiste chirot ========================================================================= Date: Thu, 11 May 2000 08:21:48 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: David Baptiste Chirot Subject: Re: Anti-academic? Pshaw! In-Reply-To: <20000509145117.20425.qmail@web1106.mail.yahoo.com> MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII If one has to take steps to NOT be an academic poet,(or anti-academic poet), one must be more interested in what KIND of poet one is presenting oneself to be (or act, act out) than being a poet. The tyranny of appearances leading to the dictatorship of descriptions? The image of being a poet and being a poet . . . And many have committed suicide . . . (Contributing to the image of being a poet, or of not being permitted to be a poet . . . ?) (Or not wanting to go on being a poet or image of a poet?) --dbc On Tue, 9 May 2000, michael amberwind wrote: > Ten Ways do avoid the creation of academic poets: > > 1) Don't join the academy. No tenure. No grants. No > cushy workshops for MFA students. > 2) Get 'em while they are young and make 'em drop out > of school. Kindergarten is not too early. > 3) Zero tolerance for "anti"academic poets who are > "running around looking for love" (Allen Ginsberg) > 4) Nothing wrong with academics, some of my best > friends are academics. But would you want your > daughter to marry one? > 5) Get a real job, one that isn't too demanding. > Stripping is good if you've got the body for it. Or > find a wealthy patron who plans on leaving you an > inheritance. > 6) Poetry is as cheap as it gets, the grants really > ought to go to visual artists who could use the money. > 7) If you do wake up and find that you have been > co-opted by the Academy, create a scandal that will > get you out of your situation and insure yourself > legendary status. > 8) Do not send your poems to university journals. > Small magazines are good, but zines are better. > 9) Go on welfare, the best art grant ever invented. As > long as you have your library card you can have all > the resources you need. > 10) Keep a copy of "Anxiety of Influence" by Harold > Bloom by your bedside table. Better than a > tranquiliser to help you get through those sleepless > nights. > > > > > > > > __________________________________________________ > Do You Yahoo!? > Send instant messages & get email alerts with Yahoo! Messenger. > http://im.yahoo.com/ > ========================================================================= Date: Thu, 11 May 2000 09:26:21 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Gary Sullivan Subject: The East Village #9: NY | LA MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit T H E E A S T V I L L A G E http://www.theeastvillage.com #9 Special Issue: Los Angeles | New York LA (art & poetry) Edited by Guy Bennett and Jack Kimball Martin Nakell; Aldon Nielsen; Laura Cooper; Paul Vangelisti; Martha Ronk; Pierre Picot; Douglas Messerli; Mark Salerno; Catherine Daly; Kenneth Ando; Nick Taggart; Franklin Bruno; Dennis Phillips; Todd Baron; Ron Griffin; Guy Bennett; Robert Crosson; Will Alexander; Courtney Gregg; Carol Mirakove NY (art & poetry) Edited by Nada Gordon, Jack Kimball and Gary Sullivan Betsy Fagin; Emilie Clark; Laird Hunt; Sean Killian; Drew Gardner; Peter Coe; Douglas Rothschild; Greg Fuchs; Jordan Davis; Jen Robinson; Wanda Phipps; Alan Gilbert; Joe Elliot; Charles Borkhuis; Wendy Kramer; Marcella Durand; Peter Neufeld; Mitch Highfill; Chris Stroffolino; Laurie Price; John Pilson; Eleana Kim; Michael Scharf; Brian Kim Stefans; Rachel Levitsky; Pattie McCarthy; Chris Funkhouser; Rodrigo Toscano; Andrew Epstein; Prageeta Sharma; Tom Devaney; Susan Landers; John Coletti; David Cameron; Kristin Prevallet; Anselm Berrigan; Joanna Furhman; Jeff Derksen; Brendan Lorber; Lytle Shaw; Sharon Mesmer; Rebecca Levi; Kimberly Lyons; Rick Snyder; Andrea Hollowell; Brenda Iijima; Julie Harrison & Brigid McLeer; Pun Sing Lui; Adeena Karasick; Noelle Kocut; Ange Mlinko; Katy Lederer; Julie Sloane; Fatimah Tuggar; Richard O'Russa; Nada Gordon & Gary Sullivan ========================================================================= Date: Thu, 11 May 2000 11:16:57 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: AERIALEDGE@AOL.COM Subject: _Comp._ by Kevin Davies, new from Edge Books MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Aerial/Edge is pleased to announce _Comp._ by Kevin Davies. 110 pages, perfectbound. Special offer: Order _Comp._ before June 1 for $10 postpaid ($12.50 thereafter). OR get _Comp._ and _Aerial 9: Bruce Andrews_ for $20 (Aerial 9 is regularly $15). OR get _Comp._ and _Sight_ by Lyn Hejinian and Leslie Scalapino for $18 (Sight is regularly $12). Checks payable to Aerial/Edge, POBox 25642, Washington, DC 20007. from Comp.: If you don't believe a science, don't misquote it --- Will fuck for books, no weirdos -- Is there nothing this bull market can't do? --- Yet what if there's a perfectly natural form, and God wants us to kiss it and talk dirty? -- Many parts of the distribution apparatus are edible. -- Not the right analogy Not the right time to be getting all maudlin I'm going to say something to you students and then disappear Your names have luggage I wouldn't dream of allowing you to leave here alive Not the appropriate comparison My job is to suggest the boilerplate sucks But I want to be a liberal student Of the art of war Dressed well Starving to death Raised by _swans_ Dashed against holograms Because the strain of living a lie becomes studded with the opals of minor aristocracy Chinning my person That's what's wrong with American education goddammit Nobody has lips anymore All everyone wants to do is rub money on their genitals Hey I'm no exception You get used to it Actually it's not that bad I'm training imaginary insects to eat away at my vocabulary --- To become unhinged is to admit, finally, the existence of hinges. --- It is necessary to fracture the logics of identity without however becoming a burden on one's friends. It is useful to raise welts on the unconscious hide of metaphor, so that we can have fun. It is important to get on television and stay there. -- cops on ostriches swinging hams --- Class violence at the level of the seedling. -- Easier to fill out a form that's already replaced you. -- I'm comfortable with my attention span. -- They look like Emergency fire exits but actually They're weapons. -- There is no such thing as American poetry ========================================================================= Date: Wed, 10 May 2000 20:12:22 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: schlesinger Subject: 3rd Annual Boston Poetry Conference MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit $hi all$ announcing... The 3rd Annual Boston Poetry Conference a celebration of innovative work July 21-23, 2000 The Art Institute of Boston (at Lesley) 700 Beacon St. Boston FEATURED READERS INCLUDE: Robert Creeley Eileen Myles Rosmarie Waldrop Keith Waldrop Sheila Murphy Laura Mullen Gerrit Lansing Ed Foster Steve McCaffery Lee Ann Brown Brenda Coultas Ange Mlinko Forrest Gander Joseph Lease Adeena Karasick Anselm Berrigan Simon Pettet Jean Day Michael Franco Donna DeLaPerriere Nada Gordon Kim Lyons Sean Cole and many more.... Tickets: $7 ~ single readings $40 ~ weekend pass for more information please contact Aaron Kiely at this email or at po box 441517 Somerville, MA 02144 $ as of April, 2000 the Boston Poetry Conference is not funded by any institution = please donate ANYTIME. no amount is too small. to donate please contact Aaron Kiely --- Thanks a lot, Aaron ________________________________________________________________________ Get Your Private, Free E-mail from MSN Hotmail at http://www.hotmail.com ========================================================================= Date: Thu, 11 May 2000 09:54:48 -0600 Reply-To: Laura.Wright@Colorado.EDU Sender: UB Poetics discussion group From: Wright Laura E Subject: correction: Levitsky MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit I misspelled Rachel's last name in the subject heading of my announcement. Sorry, Rachel! ------------------ "beer makes you stupid beer makes us stupid wine too see me about this later Stupid" --Maureen Owen Laura E. Wright University of Colorado, Norlin Library Acquisitions Dept. (303) 492-8457 ========================================================================= Date: Thu, 11 May 2000 11:17:27 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: AERIALEDGE@AOL.COM Subject: Aerial 9: Bruce Andrews and Aerial/Edge complete listing MIME-Version: 1.0 Content-Type: text/plain; charset="ISO-8859-1" Content-Transfer-Encoding: quoted-printable AERIAL 9 : BRUCE ANDREWS Contemporary=20 Poetics as Critical=20 Theory Volume 2 $15.00 postpaid, 288 pages =20 Orders to Aerial/Edge=20 PO Box 25642=20 Washington, DC 20007 Bruce Andrews / from The Millenium Project / Kevin Davies and Jeff=20 Derksen/ Bruce Andrews Interview / Jed Rasula / Andrews Extremities Bruce /=20 Jerome Sala / Talking About Shut Up / Hank Lazer / =93To Make Equality Less=20 Drab=94: The Writing of Bruce Andrews / Rachel Blau DuPlessis / Surface Tension:=20 Talking About Andrews / Benjamin Friedlander / =93Social Romanticism=94 / Ly= n=20 Hejinian / Hard Hearts / Nick Piombino / The Writing On The Wall Is Off The=20 Wall / Andrew Levy / Fluoroscopy of the Text / P. Inman / Early/Later (Two=20 Scenarios for/on Bruce Andrews) / Sally Silvers / Body of Body Says / Willia= m=20 Fuller / The Hunting of the Foxes / Tina Darragh / Confession and the Work o= f=20 Bruce Andrews / D S Marriott / Naming Names / Dodie Bellamy / Sponge / Craig= =20 Watson / the raw pages / Rob Fitterman / Executive Syllable / Doug Lang / 5=20 for B=3DR=3DU=3DC=3DE / Lee Ann Brown / Coptic b / Tim Davis / 7/15 and 7/29= / Joan=20 Retallack /Con Verse Sing W/ Bruce Andrews Praxis / Andrew Chandler / Bear=20 Variations / Judith Goldman / Surplus / Peter Seaton / Who Writes? / Jacques= =20 Debrot / :: Bruce Andrews / Robert Mittenthal / Self-Cannibalizing=20 Hole-in-One / Mark Wallace / from Boys at the Guns / Marjorie Perloff / A=20 Syntax of Contrariety / Peter Quartermain / Getting Ready to Have Been=20 Frightened: How I read Bruce Andrews / Jerome McGann / =93The Apparatus of=20 Loss=94 : Bruce Andrews Writing / Alan Golding / Bruce Andrews and the Limit= s=20 of Poetic Genre / Bruce Andrews, Charles Bernstein, & Andrew Ross / from Rei= nv enting Community: A Symposium on/with Language Poets / Bruce Andrews /=20 Paradise & Method / Steve Evans / 1978: Reading Stein / Bruce Andrews / W O=20= R=20 K / Dirk Rowntree / Cover Design / Edited by / Rod Smith =20 Aerial/Edge, POBox 25642, Washington, DC 20007. Aerial 8: Barrett Watten, $16. Aerial 6/7 featuring John Cage, $15. Aerial 5 featuring Harryman/Hejinian and Darragh/Retallack, $7.50. Edge Books: Integrity & Dramatic Life, Anselm Berrigan, $10. Comp., Kevin Davies, $12.50. Marijuana Softdrink, Buck Downs, $11, forthcoming June 2000. perhaps this is a rescue fantasy, Heather Fuller, $10. Sight, Lyn Hejinian and Leslie Scalapino, $12. Stepping Razor, A.L. Nielsen, $9. Ace, Tom Raworth, forthcoming 2000. Errata 5uite, Joan Retallack, $12. Nothing Happened and Besides I Wasn't There, Mark Wallace, $9.50. Edge chapbooks: They Beat Me Over the Head With a Sack, Anselm Berrigan, $4. the julia set, Jean Donnelly, $4. World Prefix, Harrison Fisher, $4. Metropolis 16-20, Rob Fitterman, $5. Late July, Gretchen Johnsen, $3. Dogs, Phyllis Rosenzweig, $5. Cusps, Chris Stroffolino, $2.50 Add $1 postage for individual titles. 2 or more titles postpaid. Canada add=20 $2.50 postage. Others outside US add $4 postage.=20 ========================================================================= Date: Thu, 11 May 2000 15:42:31 -0400 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, May 15 at 8 pm CHRISTOPHER LUNA & ALBERT DESILVER Christopher Luna is currently editing the correspondence between Michael McClure and Stan Brakhage. He is also the new father of Angelo, an absolutely adorable babe (he sent us a photo!). Albert Flynn DeSilver is the author of six collections of poetry and the publisher of The Owl Press Wednesday, May 17 at 8 pm VICKI HUDSPITH & BOB ROSENTHAL Vicki Hudspith is the author of White and Nervous and Limousine Dreams (with drawings by James DeWoody). She has directed plays by John Ashbery and James Schuyler with sets by Jane Freilicher and Alex Katz, respectively, for Eye and Ear Theater. Poet and writer Bob Rosenthal was Allen Ginsberg's secretary for 20 years and is currently writing his account of the experience. His books of poetry and prose include Cleaning Up New York and Viburnum This reading will be followed by a wine&cheese reception. Friday, May 19 at 10:30 pm KINGS & QUEENS DRAG & WAIL Pat Riarch hosts an evening of lip-synching and full-throated gender-bending bards and singers including Gerald B. and others. All readings are $7; $4 for students and seniors; and $3 for members, unless otherwise noted. No advance tickets. Admission is at the door. The Poetry Project is located in St. Mark's Church at the corner of 2nd Ave and 10th St in Manhattan. The Poetry Project is wheelchair-accessible with assistance and advance notice. Please call (212) 674-0910 for more information. *** The newest issue of T H E E A S T V I L L A G E, #9, Los Angeles|New York is now up at http://www.theeastvillage.com, featuring poets/artists from two urban extremes. LA (art & poetry) Edited by Guy Bennett and Jack Kimball Martin Nakell; Aldon Nielsen; Laura Cooper; Paul Vangelisti; Martha Ronk; Pierre Picot; Douglas Messerli; Mark Salerno; Catherine Daly; Kenneth Ando; Nick Taggart; Franklin Bruno; Dennis Phillips; Todd Baron; Ron Griffin; Guy Bennett; Robert Crosson; Will Alexander; Courtney Gregg; Carol Mirakove NY (art & poetry) Edited by Nada Gordon, Jack Kimball and Gary Sullivan Betsy Fagin; Emilie Clark; Laird Hunt; Sean Killian; Drew Gardner; Peter Coe; Douglas Rothschild; Greg Fuchs; Jordan Davis; Jen Robinson; Wanda Phipps; Alan Gilbert; Joe Elliot; Charles Borkhuis; Wendy Kramer; Marcella Durand; Peter Neufeld; Mitch Highfill; Chris Stroffolino; Laurie Price; John Pilson; Eleana Kim; Michael Scharf; Brian Kim Stefans; Rachel Levitsky; Pattie McCarthy; Chris Funkhouser; Rodrigo Toscano; Andrew Epstein; Prageeta Sharma; Tom Devaney; Susan Landers; John Coletti; David Cameron; Kristin Prevallet; Anselm Berrigan; Joanna Furhman; Jeff Derksen; Brendan Lorber; Lytle Shaw; Sharon Mesmer; Rebecca Levi; Kimberly Lyons; Rick Snyder; Andrea Hollowell; Brenda Iijima; Julie Harrison & Brigid McLeer; Pun Sing Lui; Adeena Karasick; Noelle Kocut; Ange Mlinko; Katy Lederer; Julie Sloane; Fatimah Tuggar; Richard O'Russa; Nada Gordon & Gary Sullivan *** That PSA was so dense with information that we needed to separate it from the next PSAs! Spend Mother's Day sanely and safely with ELINOR NAUEN & MAGGIE DUBRIS at the Zinc Bar this Sunday. Elinor claims she will be reading from Some Other Floozie (alt. title So Late Into the Night). Quoth EN: "If my long poem about Derek Jeter [whom she met this Tuesday], traveling, love (OK, well, sex) & other adventures isn't draw enough, come for my co-reader, the ineffable MAGGIE DUBRIS, who will read from her astonishing & beautiful new work, "Toilers of the Sea" (a collaboration with none other than Victor Hugo)." The Zinc Bar, 90 West Houston (just west of La Guardia Place) & DOWNSTAIRS, under the weird fur store. BOOK PARTY for TEN PELL BOOKS on May 20th at 7 pm. Free admission AND refreshments. Celebrations all around for Donna Cartelli's Black Mayonnaise, K.B. Nemcosky's Drift, and Phyllis Wat's The Fish Soup Bowl Expedition. At Chez LaRoe, 303 Park Ave. South, #500, (between 23rd & 24th St.) (212) 677-9133. *** Bob Creeley Breakthrough This is going well today I mean the fingers typing and the face smiling and the breath going in and out like a nice girl on a date who for the first time removes her blouse, but your heart is pounding so hard you can't actually see anything except a mental image of Robert Creeley --Bob, go away so I can see this girl and do whatever it is I'm supposed to do. Your linebreaks are making it impossible! --Ron Padgett, from _The Blind See Only This World: Poems for John Wieners_, ed. by William Corbett, Michael Gizzi, and Joseph Torra. Granary Books/Pressed Wafer, 2000. [Party for Ron Padgett tonight, Thursday, at Teachers & Writers, 5 Union Sq. West, 7th floor, 6-8 pm] *** ========================================================================= Date: Wed, 10 May 2000 20:42:49 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Carol Hamshaw Subject: Videopoem Call - EEC Vancouver MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit (please pass on to anyone who might be interested. thanks) CALL FOR VIDEOPOEM SUBMISSIONS for the VANCOUVER VIDEOPOEM FESTIVAL The Edgewise ElectroLit Centre is looking for videopoem submissions for its 2nd annual videopoem festival, the only screening event of its kind in Canada. The Festival is to be held at Video In Studios, Vancouver, BC, Canada in November 2000. We are interested in any original, creative combination of poetry with material on videotape: cinepoems are also acceptable provided they are transferred onto videotape format. Get public exposure and have your work screened in a premier public venue in this 2nd annual event, produced by The Edgewise ElectroLit Centre! See www.edgewisecafe.org for more info. Guidelines: 1. Videopoems to maximum of 20 minutes, submitted on VHS format—please inform us of format of original. 2. Include $15 submission fee, ($12 US), cheque or money order payable to The Edgewise ElectroLit Centre. 3. If you do not wish to donate your tape to our archive, please include envelope with sufficient postage to have your tape returned: Canadian postage or International Reply Coupons or $$. 4. Obtain an official Videopoem Submission Application Form by contacting us at the address below, by phone at 604-904-9362, or by email CL_Hamshaw@telus.net, or from our website www.edgewisecafe.org. 5. Provide brief bio, full name, and contact info in a cover letter. 6. Mail a self-addressed stamped envelope (SASE) to: The Edgewise ElectroLit Centre Box 18- 1895 Commercial Drive Vancouver, BC V5N 4A6 7. Deadline July 31,2000 If accepted into the Vancouver Videopoem Festival, all successful entrants will receive an honourarium, depending on receipt of funding. Last year the Vancouver Videopoem Festival was the first Videopoem screening event ever held in Canada. This hybrid genre, videopoetry, has received little attention in our country despite being a creative field of growing interest for Canadian artists since the 70’s. Vancouver’s own Edgewise ElectroLit Centre Society is hosting this annual event where the cutting edge of this medium is explored and presented. Work from Canada and beyond will give local audiences a survey of the accomplishments in videopoetry in the last 20 years. The Edgewise ElectroLit Centre is a nonprofit society whose mandate is to exploit communications technology to widen the audience of Canadian poetry and to give poetry, multimedia artists and youth the opportunity to use, learn, and create with this technology. Videoconferencing and online publishing are the major technologies that we work with. Our electronic magazine can be viewed and heard at . Poets featured with audio include Adeena Karasick, Wayde Compton, bill bissett and Sheri-D Wilson. Funding for our programs is received from The Canada Council for the Arts, The BC Arts Council, The City of Vancouver, Embedded Spaces, Dowco Computers, and Communicopia. Co-produced with Video In Studios. For more information, please contact Carol L. Hamshaw, Administrator, at 904-9362, or via email at mailto: CL_Hamshaw@telus.net; or see our website http://www.edgewisecafe.org -- Carol L. Hamshaw Administrator Edgewise ElectroLit Centre http://www.edgewisecafe.org ========================================================================= Date: Thu, 11 May 2000 09:39:58 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Tom Orange Subject: Amiri Baraka on WAMU's Public Interest MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Amiri Baraka will be the guest on WAMU's Public Interest, hosted by Kojo Nnamdi. Your local NPR stations may carry this show, but you'll also be able to get it anytime via RealAudio and http://www.wamu.org/ Here's the blurb form their webpage: "Whether praised or criticized, acclaimed poet and playwright Amira [sic] Baraka has always controversy [sic], generally for his piercing examinations of the anger and hostility that exists in the black community toward white people and culture. Baraka joins Kojo to discuss his life and work." bests, t. ========================================================================= Date: Thu, 11 May 2000 18:08:14 -0400 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" Next Tuesday, May 16th: Poets MARK STRAND and CHARLES WRIGHT read at The Russian Samovar. 256 West 52nd St. 7:00pm; $3.00 (Space will be limited, so come early.) ---------------------------------------------------------------------------- ---------------------------------------------------- If (sigh) you'd like to be removed from this list, let me know. Thanks. ========================================================================= Date: Thu, 11 May 2000 20:09:40 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "K.Angelo Hehir" Subject: decriptionary MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII dodie , i think this is what was mentioned earlier- Grambs, David. _The Describer's Dictionary: A Treasury of Terms & Literary Quotations for Readers & Writers_. ?:Norton. 1993. also, for great short descriptions have a look at Canetti's _Ear witness: fifty characters_ funny and inspiring each character gets a little over a page. my favourite is The Name Licker. i think someone mentioned Kafka i find Robert Walser's (an influence on Herr K.) short fables exquisite and challenging. there is an amazing one about laughter that i might just type up for this list if i can find it. actually, i'm always promoting walser. that name a gain Robert Walser. bye, Hehir K. ========================================================================= Date: Thu, 11 May 2000 21:36:19 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: annie finch Subject: Re: invitation to women writers In-Reply-To: <199712111556.PAA111398@out1.ibm.net> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" An announcement of possible interest.... Wanted: Birthing Stories from women of all ages and experiences. Accepting for compilation and publication to encourage and share with other women in the form of narrative, poetry, artwork, or whatever style suits you! This is a collective project by women to open up the dialogue through the voice of the mother- her perspectives, thoughts, emotions throughout this process- and to balance the "medical" view of Childbirth (there is so much more to it!) Please send submissions to: Women's Center c/o Carrie Schmitt 30 McMillan Hall Miami University Oxford, Ohio 45056 -or via email skymom98@hotmail.com Questions? Please contact Carrie Schmitt at 513-524-0703 _________________________________________ Annie Finch Cincinnati, OH Associate Professor Department of English Miami University ========================================================================= Date: Fri, 12 May 2000 05:54:49 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: eric gleason Subject: Whitman: Song of Himself MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii I guess it's time I broke out of my lurking, at least a little bit. Hi to everyone out there I know and haven't been in touch with (Joe, there's been a letter to you half finished in my notebook for months now). I haven't done very well with the transition to corporate life, I've lost the patience to read all this email after spending the entire day at my computer. The nature of my company has turned my attention span to nothing. Anyway, back to my reason for posting again. I ran across Jerome Loving's bio on Whitman last night. I know this was probably all talked about already, but I hope one (or 30) of you give me recommendations about this book. I decided to save my thirty bucks for at least an evening and went on to the discount rack instead. Best, Eryque __________________________________________________ Do You Yahoo!? Send instant messages & get email alerts with Yahoo! Messenger. http://im.yahoo.com/ ========================================================================= Date: Fri, 12 May 2000 08:17:53 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Rebecca Wolff Subject: Allen Grossman and Brenda Shaughnessy Comments: To: crumpacker@poetrysociety.org Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" PSA presents Poetry in Public Places: The Sacred, The Vatic, The Epiphanic Allen Grossman and Brenda Shaughnessy Introduced by Molly Peacock Saturday, May 13th, at 4 pm St. George's Cathedral 5 Rutherford Place (walk east on 16th from Third Avenue, take a left where it deadends at Rutherford Park) Please note that the time for this reading was listed incorrectly in TimeOut as 7 pm. The correct time is 4 pm. ========================================================================= Date: Thu, 11 May 2000 19:20:01 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Molly Schwartzburg Subject: Re: description In-Reply-To: MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII I'd love a copy of this growing list of descriptions. Maybe you could "frontchannel" the list of everything contributed when the thread runs out? How about the Shield of Achilles ekphrasis in The Iliad and Auden's poem of the same title as well, as a pair. --Molly Schwartzburg ========================================================================= Date: Thu, 11 May 2000 22:48:28 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Czury@AOL.COM Subject: New Books by Craig Czury MIME-Version: 1.0 Content-Type: text/plain; charset="ISO-8859-1" Content-Transfer-Encoding: quoted-printable NEW BOOKS=20 by CRAIG CZURY UNRECONCILED FACES $5.00* FootHills Publishing ISBN 0-941053-02-4 P.O.BOX 293 Bath, N.Y. 14810 peent@infoblvd.net *(please include $2 shipping & handling) i suppose there is such a thing coincidence but this is the sea twisting the light so it splinters what happens pavese the day gets longer i could have stepped out not two words passed and yet the idea the idea the same reason for going back as the old country people says gino at the bar in hazleton of genius they get tired you get tired & then you go away for the same reasons america to get back on that boat we turn (from UNRECONCILED FACES) & PARALLEL RIVERTIME $10.00* U.S. (bilingual Russian/English translated by Irina Mashinskaya) Nikolaj Yakimchuk, Russia 189620 St.Petersburg Pushkin-2 Ulica Lomonosova, 30 *(please include $5 shipping & handling) THROUGH THIS WORLD how is it we float we don=92t how is it we stay afloat without using our arms we don=92t how is it we=92re up to our necks and don=92t sink further we=92ve already and don=92t fall all the way through without using our yes we do only our heads you think then how is it with you on the opposite bank under the opposite bank (a rooster crows inside the river) (from PARALLEL RIVERTIME) ========================================================================= Date: Thu, 11 May 2000 23:52:02 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: levitsk@ATTGLOBAL.NET Subject: nospraynews MIME-Version: 1.0 Content-Type: multipart/alternative; boundary="----=_NextPart_000_01E3_01BFBBA3.E77DADE0" This is a multi-part message in MIME format. ------=_NextPart_000_01E3_01BFBBA3.E77DADE0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable NoSprayNewz #13 May 11, 2000 PO Box 334, Peck Slip Station NYC 10272-0334 (718) 670-7110 (No Spray Coalition hotline) www.NoSpray.org Hi Folks, In a decision that will have far-reaching impact, the Environmental Protection Agency this morning announced that it has reclassified = Malathion -- the insecticide mass-sprayed from helicopters last Autumn all over = New York City -- as a "suspected carcinogen." This is an important victory for environmental activists. But don't = applaud yet. The City still plans to spray pyrethroids (Resmethrin, Sumithrin, Permethrin) and other dangerous insecticides, some of which are also cancer-causing, and all of which are extremely dangerous to people with allergies, asthma, and immune compromised conditions. And we in the No Spray Coalition plan to stop them. [See tomorrow's message for Update on Lawsuit] The pesticide containing resmethrin being used in NY City is called Scourge (TM). It is 18% resmethrin, 54% piperonyl butoxide and 28% inert ingredients. Piperonyl butoxide makes the pesticide more effective by preventing insects from detoxifying resmethrin. Piperonyl butoxide has also been classified by the Environmental Protection Agency as a possible human carcinogen. Manufacturers are not required to disclose the inert ingredients, although they may be toxic too.=20 As environmental lawyer Matthew Chachere writes: "Nice to know how effective Rudolph Giuliani's Health Commissioner, Neal Cohen, has been = in protecting public health. First he is the only health professional in = the City to testify in favor of the Vallone/Giuliani lead poisoning bill = that was rammed through the Council last summer; and then his department = sprays much of the City with a carcinogen." Meanwhile, the City is tripping all over itself in its rush to defend = its actions. The NY Daily News (5/11/00) writes that the city never would = have used malathion to battle disease-carrying mosquitoes last summer if = there was even a hint the pesticide might cause cancer, Mayor Giuliani said yesterday. "We were told it was one of two safe possibilities that had been used = for many, many years," Giuliani said, anticipating that the Environmental Protection Agency will declare malathion carcinogenic today. "We were told it was safe in emphatic language by state authorities, the federal authorities," he added. "Of course we wouldn't have used it if = we had been told anything different." Stop everything. Hold the presses. Here's what Giuliani has said, repeatedly, in response to our testimony at press conferences, community boards and City Council hearings, letters to his office, requests for information, Notice of Intent to Sue, radio and tv interviews, etc: "There's absolutely no danger to anyone from this spraying. ... There = are some people who are engaged in the business of wanting to frighten = people out of their minds." (Mayor Rudolph Giuliani, Newsday, 9/14/99) The City and the Office of Emergency Management STILL refuse to set up a hotline for the thousands of people who'd gotten sick from the pesticide spraying, or who will get sick from future sprayings, should we not = succeed in preventing them. Last October, Mayor Giuliani also said that he'd been sprayed = repeatedly, with no ill effects. This April he announced he'd been diagnosed with prostrate cancer, which = is one of the possible "side-effects" of contact with malathion. The Daily News story went on to say: "For years, critics have warned = that malathion is a neurotoxic chemical that can attack the central nervous system and cause respiratory, gastrointestinal and=20 neurological problems. While most authorities called the chemical safe, spraying in Tampa left 200=20 people hospitalized with dizziness, nausea and flu-like symptoms." Too bad the corporate media did not headline that story while the = spraying was taking place. Let's make every effort to get them to raise the hue = and cry over spraying us with Pyrethroids and other dangerous insecticides = as well. - Mitchel Cohen Brooklyn Greens, and No Spray Coalition "It is impossible to refute a statement made in a poem: poetry is by = nature true and affords blanket protection to anything one wishes to say in = it." --John Ashbery on Gertrude Stein ------=_NextPart_000_01E3_01BFBBA3.E77DADE0 Content-Type: text/html; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable
NoSprayNewz #13
May 11, 2000
PO Box 334, Peck Slip = Station
NYC=20 10272-0334
(718) 670-7110 (No Spray Coalition hotline)
www.NoSpray.org

Hi = Folks,

In a=20 decision that will have far-reaching impact, the = Environmental
Protection=20 Agency this morning announced that it has reclassified Malathion
-- = the=20 insecticide mass-sprayed from helicopters last Autumn all over = New
York City=20 -- as a "suspected carcinogen."

This is an important = victory=20 for environmental activists. But don't applaud
yet. The City still = plans to=20 spray pyrethroids (Resmethrin, Sumithrin,
Permethrin) and other = dangerous=20 insecticides, some of which are also
cancer-causing, and all of which = are=20 extremely dangerous to people with
allergies, asthma, and immune = compromised=20 conditions. And we in the No
Spray Coalition plan to stop them. [See=20 tomorrow's message for Update on
Lawsuit]

The pesticide = containing=20 resmethrin being used in NY City is
called Scourge (TM). It is 18%=20 resmethrin, 54% piperonyl
butoxide and 28% inert ingredients. = Piperonyl=20 butoxide makes
the pesticide more effective by preventing insects=20 from
detoxifying resmethrin. Piperonyl butoxide has also = been
classified=20 by the Environmental Protection Agency as a
possible human = carcinogen.=20 Manufacturers are not required to
disclose the inert ingredients, = although=20 they may be toxic too.

As environmental lawyer Matthew Chachere = writes:=20 "Nice to know how
effective Rudolph Giuliani's Health = Commissioner, Neal=20 Cohen, has been in
protecting public health. First he is the only = health=20 professional in the
City to testify in favor of the Vallone/Giuliani = lead=20 poisoning bill that
was rammed through the Council last summer; and = then his=20 department sprays
much of the City with a = carcinogen."

Meanwhile,=20 the City is tripping all over itself in its rush to defend = its
actions. The=20 NY Daily News (5/11/00) writes that the city never would have
used = malathion=20 to battle disease-carrying mosquitoes last summer if there
was even a = hint=20 the pesticide might cause cancer, Mayor Giuliani=20 said
yesterday.

"We were told it was one of two safe=20 possibilities that had been used for
many, many years," Giuliani = said,=20 anticipating that the Environmental
Protection Agency will declare = malathion=20 carcinogenic today.

"We were told it was safe in emphatic = language=20 by state authorities, the
federal authorities," he added. = "Of=20 course we wouldn't have used it if we
had been told anything=20 different."

Stop everything. Hold the presses. Here's what = Giuliani=20 has said,
repeatedly, in response to our testimony at press = conferences,=20 community
boards and City Council hearings, letters to his office, = requests=20 for
information, Notice of Intent to Sue, radio and tv interviews,=20 etc:
"There's absolutely no danger to anyone from this spraying. = ...=20 There are
some people who are engaged in the business of wanting to = frighten=20 people
out of their minds." (Mayor Rudolph Giuliani, Newsday,=20 9/14/99)

The City and the Office of Emergency Management STILL = refuse to=20 set up a
hotline for the thousands of people who'd gotten sick from = the=20 pesticide
spraying, or who will get sick from future sprayings, = should we not=20 succeed
in preventing them.

Last October, Mayor Giuliani also = said=20 that he'd been sprayed repeatedly,
with no ill effects.

This = April he=20 announced he'd been diagnosed with prostrate cancer, which is
one of = the=20 possible "side-effects" of contact with malathion.

The = Daily=20 News story went on to say: "For years, critics have warned=20 that
malathion is a neurotoxic chemical that can attack the central=20 nervous
system and cause respiratory, gastrointestinal and =
neurological=20 problems. While most authorities called the chemical safe,
spraying = in Tampa=20 left 200
people hospitalized with dizziness, nausea and flu-like=20 symptoms."

Too bad the corporate media did not headline that = story=20 while the spraying
was taking place. Let's make every effort to get = them to=20 raise the hue and
cry over spraying us with Pyrethroids and other = dangerous=20 insecticides as
well.

- Mitchel Cohen
Brooklyn Greens, = and
No=20 Spray Coalition

"It is impossible to refute = a statement=20 made in a poem: poetry is by nature
true and affords blanket = protection to=20 anything one wishes to say in it."
--John Ashbery on Gertrude=20 Stein
------=_NextPart_000_01E3_01BFBBA3.E77DADE0-- ========================================================================= Date: Fri, 12 May 2000 10:14:13 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Stefans, Brian" Subject: Little Review: Clark Coolidge MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Clark Coolidge On The Nameways: Volume I Hard Press Books Like Ashbery in his recent "Girls on the Run," Coolidge indulges in fantasies of serious play among grownups, creating, in this long series of short poems (for which there will, presumably, be a Volume II), a landscape in which words themelves become characters, suggest psychological dimensions, and in the end depart having pleased, perverted or deceived: "In the Land of Oo Bla Dee / stooping distance from the Renal Tailpiece / wore the uniform to the very edge / clasping of the mudguard // Progress Hornblower was a liar [...] // But there's a lowline limiter / and Jimmy Semester is lifting it / riffs and breaths all hauled away / a general snuffing a total rolling / just no end to these shifting witnesses [...]" ("A Roll of Candy Dueling," 42) There is something that is not so much anti-intellectual but defiantly slap-happy about the way Coolidge uses language, and it's not because he always quite sure what he's doing (as he freely admits): "The Pillgollick has soiled himself again / stop fishing for end rhymes / would you paint beer cans? / I laugh at myself in Backwardsland / is there a brain at the end of this line? / Tsathoggua!" ("Dashiell Gorky," 64). If the Americans could not be given credit for having invented Surrealism, Coolidge proves that the basic premises of automatism -- separated from an overdetermined Freudian symbolism and/or card-carrying Marxism -- still thrum as the undertone to our collectively scrambled, consumerized and even infantalized consciousnesses, as he takes his digitized bee-bop prosody -- there's a touch of Kerouac here though the method is clearly Burroughs-paranoic -- to the people in witty, electric doses: "The Indian on the penis / the sign of the only stable seating / in this country // BRAP / but it seemed like to me it wasn't / as hot as it had been / the porcelien fart had a flame embossed [...] / an umbilical wallet it was / the engine on my father's hands / (bent)." ("Kink," 13) The cumulative effect is of hearing a quirky, jazz-suffused, horny, literate, art-induced, troubled, lazy, friendly, rhythmically polyglot, Stein-bobbled, cranky and constantly energized mind-at-play, scribbling and scrambling through several poetic registers while watching the television and keeping an eye on the kids. Fans of Coolidge might be disappointed that On the Nameways doesn't extend beyond the exciting, nearly hallucinogenic writing of his earlier collections of short poems, such as Solution Passages and Sound as Thought, or that the depth of his imagination rarely goes as deep as in his classics At Egypt or The Crystal Text, and at times doesn't rack up its effects the way it could -- the more minimal poems, for instance, suggest the early, objectivist Creeley, but Coolidge fails to go for the kill with a stunning finish -- but for newcomers to this important American poet, this is a grood, mostly entertaining, place to start. ========================================================================= Date: Fri, 12 May 2000 10:20:23 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Stefans, Brian" Subject: Little Review: Miles Champion, Three Bell Zero MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Miles Champion Three Bell Zero Roof Books 68 pp. Each page of this young English poet's first stateside collection (Compositional Bonbons Placate was published by Carcanet in 1996) is brimming with the conflicts of intentionality and chance, design and improvision, or perhaps simply work and fun, but not in drawn-out meditations so much as by well-honed linguistic breaks, taking the project of the Surrealist explosion of the veils of reality to the level of the word. Champion takes his lead from the American Language poets, and his poems sometimes resemble, page for page, works by Bernstein, Di Palma, Andrews and Coolidge, but his attention to this heritage -- for him an overseas import rather than "native" -- operaties as an engaged criticism of the slumberingly conservative nature of English poetry in the century of modernism. But rather than take "innovation" as his guiding principle, Champion creates an entire culture or sensibility that, for all of its completeness and, at times, lyrical coherence (the metrical regularities of the quasi-narrative "Clovis," for example, greet aesthetic closure at every step), strikes always in the other direction, or as many "other" directions as can be contained in these careful, spare poems: "Signs the ever / Water & wine to form an oblong cut-off / Or baffle at social what's / That is, in Hegelian terms, the scarf cigar / A man is than made / I think ex-Parisian liver suit or difference / Perfumes the harder focus / Road or dog brains rise / Light is eat / You is in pellet-type pole / The clearing colour sort of adding the twig / & I found a kind of digital dried dill / Stick [...] (untitled, 15) Champion rigorousness, adeptness with staccato meters, and learnedness measure up against any in the Language camp, especially during their "heroic" phase, but because he doesn't cling to the principle of author as originator, or even copyrighter, of his words or works -- such that a Romantic or individualistic strain creeps in (this has affected a number of second-generation Language poets) -- he is able to focus on the central, universal concern, which is to make readers see and hear words. His near-utopic faith in this project can bring on a Symbolistic, quasi-religious undercurrent: "The nod / dis- / members the / tactile / echo of / a solipsistic / gesture. Diffuse / summa-. I / mean, to / provide you / with layers. (Target / fit / mists.) I / was in / the twenty- / four-hour / metaphor, laundering / an intense / & crystalline / hush." ("Finishing Touches," 45) However, for all of his graceful maneuvering among the most difficult postmodern practices, the spirit of community always peeps through in the generous imagery and the sheer pleasure in perfoming language: "Candour disposes the lustre / tinctures for what chance / the person's mount or invisible taipliece / free brochurettes impressing the indefinite fold [...]" ("Poem," 66). Though a slender 68-pages long, the poems in Three Bell Zero will remind everyone of what it felt like to read poems for the first time, with excitiment and a sense of belonging and purpose. ========================================================================= Date: Fri, 12 May 2000 10:22:34 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Stefans, Brian" Subject: Little Review: Stephen Rodefer, Mon Canard MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Stephen Rodefer Mon Canard Hard Press Books Author of books as diverse as a celebrated, idiosyncratic translation of Villon (under the pseudonym of Jean Calais, Pick Pocket Books, 1968) to the spellbinding Four Lectures (1982), recognized by many as a distinctive masterpiece of Language writing, Rodefer has never been one to fit easily into a method or recognized "voice" -- indeed, into a stable reputation. His most typical form of writing, as exhibited in several small-press books, has been the quick, elegant improvised lyric inspired by the writing of everyone from Olson to O'Hara, Baudelaire to Stein, Verlaine to Patti Smith, which is why this new selection of longer, more cumulative poems is especially welcome. In Mon Canard, Rodefer returns again to the large canvas of Four Lectures, as each of the book's six poems explore exhaustively a distinctive style: the short, linked prose poems (a la Rimbuad's Illuminations) of "Daydreams of Frascati:, the Williamsesque three-step in "Erasers" (which even sounds like "Asphodel" at moments) and the more acrobatic "Arabesque at Bar"; the projective, satiric apostrophe in "Answer to Dr. Agathon"; the high-flown erotic pun-machine in "Mon Canard"; and -- in a sort of wicked inversion, signifying his embattled relationship to Language poetry itself -- the quasi-constructivist stanza of Barrett Watten in "Stewed and Fraught with Birds." This isn't to say that Rodefer is derivative; on the contrary, he needs these forms to reign in the various tones of address (mostly ecstatic, but often meditative and conversational) that he exhibits and which, one senses, society will never be entirely pleased with: "The ligaments / of your phraseology / will eventually get / put to some truth test or other // and you'll be lucky / if anyone reads / it with a big guffaw / or sneezes" ("Stewed," 114). This poet, like the modernists he most admires, and as distinct from the determinations of postmodernist gesture, is railing for a concept of value when the old, stable ones have vanished, mating duende with the suave anarchic undercurrents of parataxis. As a result, his use of reference resounds with the need to shore up history and knowledge against personal dissolution: "I am come to your cartop Ajax, waxing toward an invitation to an opening in some hedgerow. Our Leninist principles have toppled, to become fabulous and Sylvan once again. We are the last metaphysical activists in American nihilism. We demand a Pope from the Bronx." ("Daydreams," 10) Rodefer presents something of the classic, Kafkian "description of a struggle" that is rarely seen anymore since the paranoic has overwhelmed avant-garde writing and deleted the agonic persona, it seems, entirely. While some of the poems, like "Mon Canard," broken into 14-line "sonnets" but without their closures, can be faulted for a metrical repetitiveness and lack of progression, the gesture of the effort can be appreciated for erecting particular reading challenges when least expected -- i.e. in the course of libidinous play and rhetorical directness. I like the graphic page a lot. Mon Canard presents in large strokes the depths to language and, most importantly, the range of human feeling -- from the dark to the bright, the indulgent to the ascetic -- that only a a poet-as-dedicated-free-radical can provide. ========================================================================= Date: Fri, 12 May 2000 10:18:24 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Stefans, Brian" Subject: Little Review: Moriarty, Nude Memoir MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Laura Moriarty Nude Memoir 89 pp. Perfect-bound ISBN: 1--928650--07--4 Krupskaya Something of a spiritual autobiography, a pragmatist's enunciation of feminist issues of the body and love, a screenplay for a never-to-be-made film, a sort of ambient wash (in the spirit of Stein), and a "poem including history", Moriarty's latest book is a mature exhibition of the powers of late modern, and perhaps early "new modern," writing. The poem starts with what would appear to be the central theme, a reflection on the use of the nude in art and as metaphor, deriving from the privileged male gaze on the female body: "The nude is given / The nude is not a woman / Who displays a tendency to be naked / An artist keeps the whole game in mind / From her he learns / Replaced by physical presence / "With eyes shut like a bride..." (7) This relationship -- often portrayed as one-sided in feminist writing, but here complicated by the fact of Moriarty's power as an artist and creator, and hence not a spokesman for the "victim" -- is torqued and turned throughout the early sections, as gender roles are troubled and estranged: "Diana puts together supsension systems beginning at 5 a.m. Energy. Apollo. The male nude. The female worker. Automobile. Moves and comes to rest. Potential movement. The machine. 'Eyes shut like a bride..' (Adorno) Stumbling into position. Precision. Accountability. Exhaustion is the steel of her eyes. She is a real woman. Paradise." (11) Themes intermingle with no obvious regularity throughout the work, as it dips into reflections on Duchamp's The Box of 1914, slavery in Haiti, Buster Keaton, Nietzsche ("Supposing truth is a woman," from Beyond Good and Evil), Moriarty's relationship to the late poet Jerry Estrin, and a figure called "Kim" who could be a stand-in for Theresa Cha or Myong Mi Kim ("Her name was Kim. She was named for the war."), whose works -- part history, part autobiography -- Nude Memoir resembles. Like Pamela Lu's Pamela: A Novel, Nude Memoir has a sort of fugal quality in its relationship to names, with figures and ideas reappearing at later moments in the work, troubling the relationship to normative narrative though the urge for anecdotal telling is very strong. But unlike Lu's book, which more clearly narrative, Moriarty's writing is a sort of a quasi-paratactic shorthand which often breaks into "poetry," linebreaks and all, and is perhaps weakened by a sense of stasis that one senses after reading too many clipped, telegraphed sentences, though she offers occasional commentary on what is happening: "Terrible grammar. The spelling of the murderess. Portable like poetry. Her notebook of lies. A convoluted spirit invading itself like a false idea of the soul. She stole from her victims. They all became writers. To say about her. To restate the obvious. The disappointment. The injury comes after pain. Followed by long scrolls of fiction. Women move through it. Frantic hieroglyphs. Nothing moves fast enough. Was she a mother or a monster?" (45) Perhaps this disembodied, somewhat monotone cadence is the most honest way to create a poetics that avoids the masculinity or orientalism of a single, judging perspective and the Faustian urge to horde knowledge, and the low-intensity of Moriarty's writing, like ambient music, is pleasurable, textured and full of detail and insight such that one is pulled along in reading the book with trust and affection. It is an advancement on the modes of postmodern writing in that it is not troubled by a need to rise above it's reader with top-down channelings of superior knowledge and radical ideology (though knowledge and ideology are present), but rather engages the reader in a competant, compelling and intelligent play of meaning and language. As Moriarty writes: "Commentary is what she provides. In the form of an amused silence." (72) ========================================================================= Date: Fri, 12 May 2000 10:03:19 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Brian Clements Subject: Orlando MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" I will be in the Orlando area May 21-25. If anyone down there knows of readings/events scheduled for those days, I'd love to hear about it/them. Hoping for Disney distractions, bc ========================================================================= Date: Fri, 12 May 2000 12:04:18 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Gary Sullivan Subject: Collaborative poem from N & G MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 8bit \ o / / o \ _why not major birds_ "I \ o / prospect park / o \ l starlings doing catcalls i k i give a man a dollar e he says he'll use for chicken \ o / soup t h "i bring chaos wherever / o \ e i go (longing for hyper-org- anization)" ^ ^ e \ o o / f i write to form | f a community inside me -- | e of weirdoes and their targets.-------> ( ( M E ) ) c i make them of various | t materials -- papier mache | protoplasm burlap buttons meat "o o and tropical juices. they feel t f i try too hard but not enough yet h they are linked as cutouts, e t i won't say membrane, but ... r a squid s" i l p n i s i p w n d r i o n d a g r t AAAAA i was thinking of writing poems i as the process of foiling thought, c WWWWW that is, following anti-thought u EEEEE l DDDDD a good writing gimmick a GGGGG the same as any other gimmick t EEEEE in the marketplace e n OOOOO today i bought a cat a comb e FFFFF ho ho. something in the brain s quite unyielding. idiocy? s DDDDD " AAAAA the thought stops, i foil it. RRRRR no it doesn't stop it rushes by KKKKK i've stepped out of the way NNNNN EEEEE to show how i hate the powers SSSSS that bee. SSSSS << bink! >> * <> TO: Nada and Gary FROM: Your Conscience DATE: April 25, 2000 RE: Are You Absolutely SURE ??? Writing contains anarchy, breathes it out. I used to think "I bring chaos wherever I go" was a bad thing. I'm sorry about the neurosis part. You'll just have to get used to it. (I'm jealous of your objectivity.) The neurosis is a gloved hand that reaches up to cover my face. There's something strange inside me, a shadow figure with a wisp for a body, a brushstroke body, and face a hypnotic spiral. And feeling far apart from space. I quickly lose interest in my pubic hair, which hurts. Come on! & lose your little head. I want to join the discussion. P * E N P I E <> P S E N <> I P S E * N I S V everyone wants inclusion C i in the mute dialogue. o c so they stand in a circle n e S at the party shuffling their feet g e r P n i find i am attracted to the WORMATIVE e r a and CURSIVE FAITH curtain s e t of lies we wear over our private parts. s s o w i r eeep -- antlers, o d and the language as material m e P falters the barest premise. a n E n t N its a monolith again I on my loose skin P P S E E so i write a sidelong smile (simile) in, N N of phosphorus and tickling I I S S [A WASH OF ABSTRACT NOUNS. Nemo steps on "a my hair . i'm w tired . d i'm g not e tired . . o there is a sound restless in the bed f making sound . d faint jingle of anti- a i intellectualism in the “tidepools” r n ) . / k you lost me there ... / n t ( ).) / e h eucalyptus ).))\ ( s e s / ) \ ) e . , . ( s d i . . . . a l . . . . . r f . . . . . k . u . . . . n s . p. . . e s . . . s f d e . r . . n r . . o . a . a t n . t a e" . t. . s . m . . a y . . l l . . . . . . . ========================================================================= Date: Fri, 12 May 2000 09:05:39 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: michael amberwind Subject: Re: Academic? Pshaw! MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Image is inevitable and matters. It does matter what "kind" of poet one chooses to become. Would you trust your brain surgery to someone who didn't care what "kind" of surgeon they were? It seems to me, though as always I could be wrong, that most "non"academic poets are all too quickly tamed by the Academy. It is not simply a matter of image - although image does matter, otherwise why would I spend so much time in front of the mirror before conducting a poetry reading? - but one of hypocrisy. This seems a uniquely North American issue. As for suicide, far more psychiatrists and police officers commit suicide than poets. Once you have been co-opted by what is often called "The System" it seems to reduce your chances of survival. What I was saying - with tongue firmly placed in cheek - in my list of ways to avoid becoming an Academic poet is that we should allow ourselves other options. Much as was done in all the preceeding centuries of human life on this planet. As for myself, I still haven't settled the issue in my own mind. Nothing gets one the jobs one needs in this culture like that little piece of paper that says "degree". I am considering two options. The first is going the learning distance route, which may help me avoid many of the "politics" and allow me to maintain a level of independance. The second would be to get a degree in something totally unrelated to poetry, literature or english. Perhaps even a general liberal arts degree. Charles Olson was on to something when his poetry lectures were about archeology. I am disturbed at just how easily the various movements are digested into "The System" (the Surrealists, the Beats, the New York school, LANGUAGE, multiculturalist). Yet at the same time I cannot lie. I want my poems to last forever. I want my name to be a shining light of pure inspired genius to all that follow. I don't even want to have to work at it. Hey, its my ego and I can do as I please with it. The only hope it seems I might have of having my poems survive until the end of time would be in the dusty halls of academia. Already I hear the howls of protest. "Do it for the art! Love of poetry should be your only motivation!" It is. It isn't. I suspect that my poems, unpublished and known only to a few, are as much a project of ego as anything else. I'll never be a movie star, so hey, I'll be a poet. I am not playing games. Poetry is not therapy. It has not made me a better person. It will never make me wealthy, sexy or have minty fresh breath. All the great movements of poetry, the "best minds of my generation"(Ginsberg) began as a reaction against the Academy. The "official verse culture" (Bernstein) that I can barely read without nodding off and then I play the game of "Count the MFAs" on the contributors page. As for me, I dropped out of high school. I used to get low marks because I would cut classes to read in the library books that were of interest to me. I work in a job that makes just over minimum wage with many people who have university and college degrees. I often have their level of knowledge. I do not have their crushing debt loads. The MFA programs have become a pyramid scheme. Poets teaching poets to teach poets. Eventually, it will collapse. I intend to leave the pyramids to the slaves. *********************************************** >>If one has to take steps to NOT be an academic poet,(or anti-academic poet), one must be more interested in what KIND of poet one is presenting oneself to be (or act, act out) than being a poet. The tyranny of appearances leading to the dictatorship ofdescriptions? The image of being a poet and being a poet . . . And many have committed suicide . . . (Contributing to the image of being a poet, or of not being permitted to be a poet . . . ?) Or not wanting to go on being a poet or image of a poet?) __________________________________________________ Do You Yahoo!? Send instant messages & get email alerts with Yahoo! Messenger. http://im.yahoo.com/ ========================================================================= Date: Wed, 10 May 2000 21:54:26 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Steve Shoemaker Organization: Wake Forest University Subject: Re: description MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Dodie--Sounds like a wonderful premise for a course, and people have already made a lot of great suggestions, many of which resonate with me. I too remember the baby in *White Mule*, some of the (usually bad) sex in Henry Miller, and many passages of great Benjaminian topography. I also think of Geertz's "Notes on the Balinese Cockfight" as, among other things, a masterpiece of description, and i've never forgotten the amazing phenomenological record of a sunset in Levi-Strauss's *Tristes Tropiques*, which runs to seven or eight pages. And of course the whole tradition of 18thC & 19thC landscape poetry and painting is relevant, along with the highly influential notion of the "picturesque" out of Gilpin, etc. Along these lines, Wordsworth wrote a prose "guide" to the Lake country that's still in-print for tourist-use today. In the American vein/grain, so much Thoreau comes to mind it wld be difficult to choose--but I guess I might take the stunning "sand-foliage" passage from the "Spring" chapter of *Walden*. Also much Whitman. Taking a quite different tack, there's the whole literature of description-as- "testimony"--thinking here especially of Reznikoff, both *Testimony* and *Holocaust*. So there's a few off the top of my head--and I've just realized that for some reason i didn't mention any women. Stein's *Tender Buttons*, already mentioned, wld definitely have my vote, as wld Hejinian's *My Life* as a kind of follow-up. Also many marvelous passages in Virginia Woolf, as, for ex., the tide-pool as microcosm in *To the Lighthouse*, and many, many poems by Lorine Niedecker. Etc Etc I hope you'll post your syllabus once you've gotten it together. steve ========================================================================= Date: Fri, 12 May 2000 12:08:42 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: MAYHEW Subject: Errida MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII WJA writes: " I'd still appreciate a logical argument (hell, I'll take a rambling rose) that debunks D's own. Am I wedded to D? No. I'm wedded to logical argument. Surely "we all" can do better than that tired American anti intellectualism..." I have never seen a "logical argument" that shows why Derrida is right either. Mostly it's just appeals to his authority ("As Derrida has shown..."). Derrida does not really proceed by logical argument either, but by an assertive rhetoric. You have to first believe that there is this monolithic thing called Western Metaphysics that somehow remains the same thing over many centuries, kind of everywhere and nowhere at once. Is it in our brains? Are there people (non-Western presumbably) who don't have it? Is it in our language? Are there languages that are more or less metaphysical? These are not rhetorical questions: I'd really like to know!! If we can't answer questions like this, what is there to debate logically? As far as anti-intellectualism: it is just as anti-intellectual to accept Derrida without understanding the philosphical background (of course, no one on this list would do this, but I have seen it done many times) as it is to reject him because he doesn't convince you. Jonathan Mayhew jmayhew@ukans.edu _____________ ========================================================================= Date: Fri, 12 May 2000 13:08:42 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: source MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII - source Associates, Inc. Ltr of 3/7/91. I continue to move at a slow but steady pace with your accounts. My understanding is that you remain at high risk adverity, want to become comfortable with this process of making equity investments. You also want to keep your current status reasonably high. Unless i hear from ou tothe contrary iwill continewith this theme and pace. You might look behin dyour back. Since the firs tof the the year, the stock market has been extremelyh strong. thus far i have purchased nine stocks for john's account at at this date all nine have gone up in value. but you must be very still. I seriously doubt that i will ever do that well again. Recent purchases: Bell Atlantic, GTE, Glaxo, Mylan Laboratories (generic drugs) AMP (electrical connectors). & Pesticides: He uses 1) Cygon (specific for spider mites, on boxwoods), 2) Malathion, and 3) "Dormant Spray" (oil-miscable) between Jan-March. He also uses Diazon, Malath ion and Carboryl) NB Carboryl is generic for Sevin. Update: He says Diazon actually is the right one. & J. Smyte says Jagdeesh is preparing a proposal for Albright to give to VP on us-sov joint appoint- ments for professors. AJ says he will take it to Rob Lever. What are we going to do with $ 74 million? & LD, OES/EHC does tropical forests. x-6-2134, Rm.1341 TEMPERATURE F = C*9/5+32 C = (F-32)*5/9 & State Dept. Map Annex RE: JZ; World-wide map of Foreign Service Posts 7/15: John says maps probably will be ready sometime in September. & SOFTWARE **5-22-91 Get for Joanne: Intelligent Tutor (Apple/IBM), consists of Learning Series: Pre-Algebra, Alg.I, Geometry (all three for $119); and Mastry Series: pre-alg., alg.I, geometry, Alg II, trig an d advanced topics, Intro calc, SAT math (any 5 for $269) Intelligent Software, Inc. 9609 Cypress Ave., Munster, IN 46321 800/521-4518 & "Quick Reference" pulls up a preselected item from the User Stack upon pressing a function key; it inserts the item on current screen or stack. Return to screen by pressing Esc. see manual? & Vasjav, in Detroit (sister Ljubica) Tel 313/487-9214 c/o JZ 121 Linhurst Detroit, MI 48211 Write letter from vas. to embassy explaining request for annual leave plus leave w/o pay to complete courses and reurn end of May. FAX to her in detroit. return jn's call in Saganaw at the college. August & Remember Ten Brink, private marketing consultant, 813/647-1213, referred by JPL INR/EC (4949), who had been approached by Kurchatov Institite on selling high technology to the US. Some sale items related to superconducting technology (SSC?). Shestov seemed genuine, mentioned more realistic opportunities in soviet techno- logy for medical "imaging" centers, fertilizers, packaged hydrogen; Conversion potential? 4/91. & American Embassy APO New York, NY 09862 (for Kiev) Phone: 832-1913 Street Address: #13 Netyastov St., 2nd Floor Kiev. & Kagramanov, Semyon eye surgeon recommended by the Russian/German girl i met on plane from Moscow to Frankfurt, who had successful operation on her near sightedness. & F2 - brings up menu-bar template Edit-F2 - enables search function in current window. EDIT COMMANDS IN INFO SELECT: Ctrl- arrow: move cursor one word. Fn-end/home: move to end of line Ctrl-T: delete word Ctrl-Y: delete line # What happened to the world that the window is necessary? Certainly there is more to do than to kill humans in order for others to survive. Honestly, I fear for human survival. I would say more but it is unclear that I will be allowed to continue in this fashion. It is a very frightening fashion. There are signs that none of us will survive. Health problems 5/12/2000: Sleeplessness Heartburn Urinary Problems & How should we balance US international resour e policies with countries' technology-driven economic development? Factors: agreement on "technology policy, measurement (metric) policy, and standards; Debt for science swaps, bilateral endowments for S&T exchange activites; Multila- teral/Regional approaches; find Shestov. _ ========================================================================= Date: Sat, 13 May 2000 09:37:42 +1200 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Tony Green Subject: Re: description MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Are we talking about ekphrasis now? then dont forget the Philostratus' "Imagines", the big collection of descriptions (ekphrases) of paintings & sculptures, or Vasari's "Lives" or Bellori's "Lives" of artists, full of ekphrases. best Tony Green -----Original Message----- From: Molly Schwartzburg To: POETICS@LISTSERV.ACSU.BUFFALO.EDU Date: Saturday, 13 May 2000 02:59 Subject: Re: description >I'd love a copy of this growing list of descriptions. Maybe you could >"frontchannel" the list of everything contributed when the thread runs >out? > >How about the Shield of Achilles ekphrasis in The Iliad and >Auden's poem of the same title as well, as a pair. > >--Molly Schwartzburg > ========================================================================= Date: Fri, 12 May 2000 15:27:49 PDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mark DuCharme Subject: Heather Fuller Mime-Version: 1.0 Content-Type: text/plain; format=flowed I'm wondering if anyone out there has an e-mail address for Heather Fuller. Or Heather, if you're out there, please get in touch with me backchannel. Thanks, Mark DuCharme markducharme@hotmail.com ________________________________________________________________________ Get Your Private, Free E-mail from MSN Hotmail at http://www.hotmail.com ========================================================================= Date: Sat, 13 May 2000 09:03:32 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Randy Prunty Subject: madeline gins query MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit if anyone has a snail or email address for her please backchannel thanks, randy prunty ========================================================================= Date: Sat, 13 May 2000 11:19:52 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: RaeA100900@AOL.COM Subject: address request MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Dear List, I need an email for XCP (Mark Nowak). I had one but seem to have lost it. This is pretty urgent. Thanks, Rae Armantrout ========================================================================= Date: Sat, 13 May 2000 17:23:06 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: David Baptiste Chirot Subject: [Y4M] MUMIA 911 Reading on national radio (fwd) MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Content-Transfer-Encoding: QUOTED-PRINTABLE ---------- Forwarded message ---------- Date: Fri, 12 May 2000 18:35:06 -0400 From: Artists Network of Refuse & Resist! To: AN Subject: [Y4M] MUMIA 911 Reading on national radio MUMIA 911 Reading on national radio This Monday, May 15, at 9:00 am EST, the nationally syndicated radio show "Democracy Now" will run excerpts from A MATTER OF LIFE AND DEATH, a reading by actors and comedians in Los Angeles on the occasion of Mumia 911, the National Day of Art to Stop the Execution. Edward Asner hosted the reading which featured performances by actors Robert Guillaume, Mike Farrell, Fionulla Flanagan, Esai Morales, Susan Anspach, Roscoe Lee Brown, Lou Myers, Vanessa Williams, Susan Clark, and comedians Shelly Berman and Paula Poundstone. The radio show airs in New York City on WBAI 99.5FM and in LA on KPFK (90.7 FM) and on many other stations across the country. More Mumia News Regional Demonstrations for Mumia will be taking place in San Francisco and in Philadelphia tomorrow (Saturday, May 13); in Philadelphia the demonstration will be led by mothers organized against police terror - click on: http://mojo.calyx.net/~refuse/ndp/050900may13.html">Philly Demo. The Madison Square Garden Rally for Mumia held on May 7 sold out two days in advance, over 6000 people. =20 A full page New York Times Ad signed by educators, including Toni Morrison, Jonathan=20 Kozol, Noam Chomsky, Howard Zinn, Leslie Marmon Silko and hundreds of others appeared on the same day (May 7th). =20 The Belgium Chamber of Representatives unanimously passed a resolution=20 calling for a new trial - click on=20 http://mojo.calyx.net/~refuse/mumia/042800belgian.html">Belgium. A new book of Mumia's writings called All Things Censored is now out - click on Book Important Poll - The other side is taking their polls. After 6000 rallied at Madison Square Garden to Stop Mumia's Execution on Sunday May 7th, the New York Daily News ran a poll on Monday, May 8th asking if Mumia Abu-Jamal should get a new trial. 84.9% had voted "yes" he should have a new trial and 15.1% voted "No", that he shouldn't have a trail; out of a total 1369 votes. There is another poll about Mumia on About.com=97you can cast your ballot:= =20 Enter your vote in a poll called "how do you solve a problem like Mumia?" at Vote=20 Mumia spoke (via tape) at both Antioch and Kent State this past month.=20 For a story on the battle at Antioch and what happened at the graduation http://mojo.calyx.net/~refuse/mumia/050100antioch.html">Antioch. ------------------------------------------------------------------------ $60 in FREE Long Distance! Click Here to join beMANY! today. http://click.egroups.com/1/4126/3/_/30522/_/958174006/ ------------------------------------------------------------------------ Stop the execution! New trial for Mumia! Youth & Students for Mumia www.mumia2000.org To subscribe or unsubscribe email: youth-4-mumia-owner@egroups.com ========================================================================= Date: Sun, 14 May 2000 16:28:48 +1200 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Hamish John Dewe Subject: Re: description In-Reply-To: MIME-Version: 1.0 Content-type: text/plain; charset=US-ASCII Content-transfer-encoding: 7BIT dodie, perhaps a look at something more lighthearted? -- like Turgenev's 'The Portrait Game.' Parlour game where one player produces a drawing, and the other players write short accompanying character sketches. Hamish Dewe ========================================================================= Date: Sun, 14 May 2000 11:09:21 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Lisa Jarnot Subject: summer writing workshop Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit Announcing a summer poetry writing workshop in Williamsburg, Brooklyn with Lisa Jarnot Ten weeks, evenings, early June- early August limit ten students for more information contact Lisa Jarnot at jarnot@pipeline.com or at 303-544-1322 (through may 22) 718-388-4938 (after may 22nd) ========================================================================= Date: Sun, 14 May 2000 14:03:27 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: !!!!!THE!!!!!SILENT!!!!!FILM!!!!! MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII - !!!!!THE!!!!!SILENT!!!!!FILM!!!!! The gag-men said to the Biograph Girl, we got to get some Keystone Cops, half the extras are on a break, the Fall Guy ran away with the Script Girl, and we have a film to make! The Continuity Girl called for Kelly L'Impossible, more Sex Appeal than BB. The Foley made the horse carry her in, Continuity said, it's a silent film. See The Silent Film by Sidney Sheldon. What makes this film so special? Absolutely silent, filmed in Victor Sound, a single Foley Hoofbeat Enlivens the action. One waits for this marvelous sound of a Hoof against stone, which is when Kelly L'Im- possible comes into the Studio. The gag-men are Astonished by this Make- believe, One can only Wonder how Beckett's Film ever Survived such Astonishment. La Divine, one of the true Bathing Beauties of the Celluloid World, stars in Dolly-Shot, a short Moving Tribute to L'Impossible, known as The Film Within the Film. L'Impossible stars Marmel d'Estoire, best known for her Trilby to Svengali's Edison. Dolly Shot is shot in Cinerama, temporarily expanding the Aspect Ratio of The Silent Film to fulfill Dolly-Shot. One can only Wonder how Gance's Napoleon ever Survived such Cinemagic! See !!!!!THE!!!!!SILENT!!!!!FILM!!!!! at a Theater Near you! Travel to a Theater Equipped for Sound! You will not be Disappointed. _ ========================================================================= Date: Fri, 12 May 2000 15:20:18 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Avery Burns Subject: Canessa Park Reading 5/23/00 MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Canessa Park Reading Series: Please join us to celebrate! Etherdome Press is proud to announce the publication of its first two chapbooks: The Opposite of Vanishing by Merle Bachman and Abandon's Garden by Brydie McPherson. The authors will read: Tuesday May 23th @ 7:30 p.m. Canessa Park Gallery 708 Montgomery Street San Francisco Admission $5 The press hopes to publish two chapbooks annually by newer poets who have had no previous chapbook publication. For further information about the press, the reading, how to purchase books, contact Etherdome at 3116 Deakin St. Berkeley, CA 94705. Unsolicited work is not being accepted at this time, but query letters are welcome. Avery E. D. Burns __________________________________________________ Do You Yahoo!? Send instant messages & get email alerts with Yahoo! Messenger. http://im.yahoo.com/ ========================================================================= Date: Sun, 14 May 2000 10:17:54 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: IxnayPress@AOL.COM Subject: publication announcement - ixnay four MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit We are pleased to announce the publication of the fourth issue of ixnay, featuring new work from the following fine poets: Jen Coleman Garrett Caples Bruce Andrews Kristin Prevallet Andrew Mossin Pattie McCarthy Albert Flynn DeSilver CA Conrad Ron Silliman Heather Starr John Coletti Chris Putnam & Tom Devaney's thoughts on Hoa Nguyen's "Dark" The issue can be had for $5, check payable to either of the editors, not ixnay. Order via e-mail or our ground address, 1164 S. 10th Street, Phila PA 19147. Note to contributors: your copies are on the way! Chris & Jenn McCreary co-editors, ixnay press ========================================================================= Date: Sun, 14 May 2000 14:36:43 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Poetics List Subject: m&r..recieved wisdom or nepotism revisited / Harry Nudel MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit This message came to the administrative account. ---------- Forwarded Message ---------- Date: Fri, May 12, 2000 12:10 PM -0400 From: Harry Nudel Subject: m&r..recieved wisdom or nepotism revisited It takes a paricularly black/withered heart to criticize a review of a beloved blind buddhist monk's poems by the bright energetic young scion of berrigan son. Let's have a go...Lead review Poetry Project Newsletter Feb/March 2000...Anselm Berrigan on Philip Whalen.. Given the speeding up of stuff, it now only takes 21 years..for the avant-garde to harden into the blood squeezed academy..Whalen's cultural patter...tho sometimes wonderful...often is tendentious, tedious and buddhist blah blah blah..."There's not an owl in the world who thinks or knows/ I am an owl"...get the double verb as if reiterarting banality to no real effect is.....if the owl can;t think he can't know and if he can't know he can't think..but if the poet can blather he can blather on... If Mr young Berrigan would just stick a sharp object into his elder's heart he might find some blood there...it's a tough spot in a tough family bizness...let me quote once more.."There's a tendency in literary circles to overplay the importance of lineage and influence of a long-standing trend that perpetuates the myth of writer-as-figure looming over time as well as ordinary lives. Whalen's tones are utterly resistant to creating such authority..." If he would have just added the 'non' to resistant we'd be on common ground. Force is useful in the present...unforce, as the Buddha teaches, goes a long way further....between the shout and the joke there is only a difference of temperment and intelligence...beware of those of who want what;s good only for you...it's like fighting with air and colored water.. The teen age hacker programming the dream..the rapper sputtering ebonics...the electric word outside this cultural exchange...welcome the future, e-poet them vowels......DRn.. ========================================================================= Date: Sun, 14 May 2000 14:47:04 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: David Baptiste Chirot Subject: Academic/pshaw/Gustave Courbet Refuses MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Olson, from Herodotus: "istorin: to find out for oneself" Picasso: I don't seek, I find. Gustave Courbet, on refusing the Legion of Honor for his paintings: I am fifty years old and I have always lived in freedom; let me end my life free; when I am dead let this be said of me: "he belonged to no school, to no church, to no institution, to no academy, least of all to any regime except the regime of liberty." onwa/ords dbc ========================================================================= Date: Mon, 15 May 2000 13:34:36 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Poetics List Subject: announcing lume/call for work / Kelleher MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: quoted-printable This message came to the administrative account. Chris ---------- Forwarded Message ---------- Date: Sun, May 14, 2000 9:18 PM -0400 From: Mike Kelleher announcing lume a journal of electronic writing and art http://epc.buffalo.edu/ezines/lume/moment1 featuring morph forms, flash work by mIEKAL aND bromeliads by Loss Peque=F1o Glazier ek-stasis, spatial hypertext by Aya Karpinska TranceMissions, flash works by Tammy McGovern a special feature on Argentinian web writing by Clemente Padin a set of electronic translations of a poem by Paul Valery by Dan Leshem and The Field Project an international collaborative writing work on "The Poetics of the Field" featuring fields by Miekal And (Wisconsin) Jim Andrews (Washington) Thomas Bell (Tennessee) Loss Peque=F1o Glazier (New York) Inna Kouper (Russia) Clemente Padin (Uruguay) Jim Rosenberg (Pennsylvania) Ted Warnell (Canada) edited by Michael Kelleher mjk@acsu.buffalo.edu CALL FOR SUBMISSIONS lume a journal of electronic writing and art seeks submissions of electronic writing and art, by which is meant written, audio, visual, and intermedia work that uses and is to some degree dependent on the medium of the computer for its existence. genre is unimportant, medium is everything! DO NOT SEND OLD MEDIA WRITINGS! lume also seeks works that use the medium to experiment with the possibilities of translation theoretical, descriptive, prescriptive, proscriptive and most importantly post-scriptive essays on electronic writing and art reviews of electronic works or sites lume is accepting queries regarding participation in The Field Project, our international collaborative writing project, the next phase of which will be "Fields of Play." If you are interested in participating, please let us know and we will fill you in on the details of participation. lume is also accepting proposals and queries about curating/editing a continuing special section on international and regional electronic work (for instance lume second moment will include a special section on Russian Hypertext curated by Inna Kouper). If you have an idea to curate or edit a special section on electronic writing in a particular country, state or city, please query. We need people to gather and curate the work and to accompany it with an essay about said work. works, queries, proposals should be submitted electronically via e-mail to mjk@acsu.buffalo.edu or mailed on disk in MAC format only to Michael Kelleher 39 College St., UR Buffalo, NY 14201 ========================================================================= Date: Sun, 14 May 2000 18:57:27 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Todd Baron Subject: Re: summer writing workshop Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit sorry for public stuff: Lisa: ReMap returned top me stating Not at this address. yikes. yrs, Todd Baron ---------------------- ReMap Readers toddbaron@earthlink.net ---------- >From: Lisa Jarnot >To: POETICS@LISTSERV.ACSU.BUFFALO.EDU >Subject: summer writing workshop >Date: Sun, May 14, 2000, 8:09 AM > > Announcing a summer poetry writing workshop > in Williamsburg, Brooklyn > with Lisa Jarnot > > > Ten weeks, evenings, > early June- early August > > limit ten students > > > for more information contact Lisa Jarnot > at jarnot@pipeline.com > > or at > > 303-544-1322 (through may 22) > 718-388-4938 (after may 22nd) > ========================================================================= Date: Sun, 14 May 2000 22:36:23 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Michael G. Salinger" Subject: yes virginia Comments: To: "energy1960@aol.com" , "marvstudio@aol.com" , "D.M." , "lisa.citore@amgreetings.com" , "spwillis99@aol.com" , "drourke@laurelschool.com" , "pliki@mediaone.net" , "bemmett_rader@yahoo.com" , tmp-kj@msn.email.com, KIM WEBB <3waybar@email.msn.com>, macsbacks , Ron Antonucci , Terrence Provost , tracy townsend , Rob , Renee Tambeau , rebecca dotlidge , "r.drake@csu-e.csuohio.edu" , Paul Konys , Patricia Princehouse , Pat Percival , Maryellen Kohn , lou , laura putre , Kay , John Petkovic , "jjstick@stratos.net" , Frank Green , David Lackey , Dave Snodgrass , Cleveland Live , Her Divine Serenity , Chris Bunsey , Carol Spiros , Buddy Ray McNiece , boogie , Blayne Hoerner , Bill Newbie , amy sparks , "PoetryCenter@csu-e.csuohio.edu" MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit THERE WILL BE A SLAM TEAM THIS YEAR. First qualifying round of this season (two qualifiers have been selected from the series earlier this year at Kontar's slams) will be this Saturday at the Barking Spider in conjunction w/the Hessler street fair at 3pm. that is Saturday the 20th at the Barking Spider, we will have more dates for the rest of the qualifying rounds at that time. Kontar myself and Kevin Webb are spearheading this kamikaze effort to send a team to providence rhode island this august. see ya there, salinger ps thanks to everyone that turned out to help roast Buddy Ray at cpt this past saturday. ========================================================================= Date: Sun, 14 May 2000 21:51:37 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Ramez Qureshi Subject: Re: !!!!!THE!!!!!SILENT!!!!!FILM!!!!! Comments: cc: Qsofie@aol.com MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit In a message dated 5/14/2000 2:23:10 PM Eastern Daylight Time, sondheim@PANIX.COM writes: << - !!!!!THE!!!!!SILENT!!!!!FILM!!!!! The gag-men said to the Biograph Girl, we got to get some Keystone Cops, half the extras are on a break, the Fall Guy ran away with the Script Girl, and we have a film to make! The Continuity Girl called for Kelly L'Impossible, more Sex Appeal than BB. The Foley made the horse carry her in, Continuity said, it's a silent film. See The Silent Film by Sidney Sheldon. What makes this film so special? Absolutely silent, filmed in Victor Sound, a single Foley Hoofbeat Enlivens the action. One waits for this marvelous sound of a Hoof against stone, which is when Kelly L'Im- possible comes into the Studio. The gag-men are Astonished by this Make- believe, One can only Wonder how Beckett's Film ever Survived such Astonishment. La Divine, one of the true Bathing Beauties of the Celluloid World, stars in Dolly-Shot, a short Moving Tribute to L'Impossible, known as The Film Within the Film. L'Impossible stars Marmel d'Estoire, best known for her Trilby to Svengali's Edison. Dolly Shot is shot in Cinerama, temporarily expanding the Aspect Ratio of The Silent Film to fulfill Dolly-Shot. One can only Wonder how Gance's Napoleon ever Survived such Cinemagic! See !!!!!THE!!!!!SILENT!!!!!FILM!!!!! at a Theater Near you! Travel to a Theater Equipped for Sound! You will not be Disappointed. _ >> Gosh. I can't wait to see !!!!!THE!!!!!SILENT!!!!!FILM!!!!! at a Theater Near me. I definitely will try to find one equipped with sound in order to see !!!!!!THE!!!!!!SILENT!!!!!!FILM. The Aspect Ratio has always fascinated me and to see it exploited in new ways would just be thrilling. I esqpecially love films in Cinerama. And, boy, do I have the hots for La Divine. -Ramez ========================================================================= Date: Mon, 15 May 2000 09:58:52 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Daniel Bouchard Subject: couple of whacks with wet Nudel In-Reply-To: <377189.3167303803@ubppp248-209.dialin.buffalo.edu> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" I tried to take notes in class today but got distracted by squirrel climbing tree. Below are notebook entries. Can someone else fill me in? I wasn't paying attention, the discourse was not very exciting tho Teacher thinks he or she is being funny. 1) Brief book reviews are interesting subjects to criticize 2) Irony & humor: only a jerk would do this, but it's fun (ergo funny) so.... 3) the "avant-garde" is something that hardens and can be squeezed (like toothpaste) 4) Stuff "speeds up", is worth watching; axe ground against academy is grounds for poetry chat 5) Buddha: new figure of influence to cause "anxiety" 6) "DRn"-- I didn't catch the name; can you spell it for me? - db ---------- Forwarded Message ---------- Date: Fri, May 12, 2000 12:10 PM -0400 From: Harry Nudel Subject: m&r..recieved wisdom or nepotism revisited >It takes a paricularly black/withered heart to criticize a review of a >beloved blind buddhist monk's poems by the bright energetic young >scion of berrigan son. Let's have a go...Lead review Poetry Project >Newsletter Feb/March 2000...Anselm Berrigan on Philip Whalen.. > >Given the speeding up of stuff, it now only takes 21 years..for the >avant-garde to harden into the blood squeezed academy..Whalen's >cultural patter...tho sometimes wonderful...often is tendentious, >tedious and buddhist blah blah blah..."There's not an owl in the world >who thinks or knows/ I am an owl"...get the double verb as if >reiterarting banality to no real effect is.....if the owl can;t think >he can't know and if he can't know he can't think..but if the poet can >blather he can blather on... > >If Mr young Berrigan would just stick a sharp object into his elder's >heart he might find some blood there...it's a tough spot in a tough >family bizness...let me quote once more.."There's a tendency in >literary circles to overplay the importance of lineage and influence >of a long-standing trend that perpetuates the myth of writer-as-figure >looming over time as well as ordinary lives. Whalen's tones are >utterly resistant to creating such authority..." > >If he would have just added the 'non' to resistant we'd be on common >ground. Force is useful in the present...unforce, as the Buddha >teaches, goes a long way further....between the shout and the joke >there is only a difference of temperment and intelligence...beware of >those of who want what;s good only for you...it's like fighting with >air and colored water.. > >The teen age hacker programming the dream..the rapper sputtering >ebonics...the electric word outside this cultural exchange...welcome >the future, e-poet them vowels......DRn.. > ><>>>>>>>>>>>>>>>>>>>>>>>>> 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: Mon, 15 May 2000 09:17:18 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: levitsk@ATTGLOBAL.NET Subject: oh to be a trifling stickler MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit "So please trash your principles for just a few minutes and buy it there if you can't find it elsewhere." Rebecca Wolff said this a few days back and I've been mulling it over, it stuck in my head as an unintentional articulation of the crux of a paradox between pragmatism and idealism/utopianism. A paradox from which (from where?) I tend to fall on the (perhaps more untenable) side of the utopianism. For me, the very choice of a certain kind of poetics--that may be favored here--as a fall on the side of hopefulness and deliberate naivity. I think the "do what you have to" of Rebecca's plea is a popular sentiment these days but it still strikes me as oxymoronic--the notion of a small break from a principle. Like taking just a little drink or a little job for a big internet company (as I do). It was odd for me to be politely entreated to do so here on this site (despite its many frustrations for me through the years, those off-hand comments that sound so archaic and yet there they are). That is, to take a break from ideology/commitment to an ideal, when so much of the culture is demanding we do this all the time in order to just pay the rent. And this particular principle happens to be my devout vegetarianism. So, until this city once again supports small stores and working class business (affordable commercial rents, uninflated by superstores), I'm going to be a stickler even if it makes me an backward-looking idealist. In other words, I'd rather go without. ========================================================================= Date: Mon, 15 May 2000 14:12:22 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Poetics List Subject: Close Listening: Fanny Howe / Anna Reckin MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Last week, Komninos Zervos initiated a brief discussion with this comment (Sat, 6 May 2000 17:00:10 +1000): > isn't it strange that we still use the language of > published printed poetry to describe poetry that is > spoken/performed in public. As a brief follow-up to that thread, I've appended below (with the permission of the writer, Anna Reckin) what I think is a lovely, brief attention to Fanny Howe's reading here in Buffalo this last April, with also some mention of Robert Kocik's appearance the previous month, and that of Miekal And and Liaizon Wakest at the digital poetries panel at the New England MLA - held this year in downtown Buffalo, in the snow. Chris % Christopher W. Alexander % poetics list moderator ---------- Forwarded Message ---------- Date: Wed, Apr 12, 2000 10:00 PM -0400 From: Anna A Reckin Sender: UB Poetics discussion group From: Poetics List Subject: Lake Affect's Playing Guitart MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit --------------------------------------------------------------------------- Lake Affect, Buffalo's avant-garde percussion group announces the release of its CD, "Playing Guitart," based on the poetry of Jorge Guitart. CD-release performance at Talking Leaves Bookstore, 2144 Main St, Buffalo, NY, May 18, 2000, 7pm. --------------------------------------------------------------------------- For anyone in the area, this performance would be well worth attending; for those elsewhere, there's always the CD... Chris % Christopher W. Alexander % poetics list moderator ========================================================================= Date: Mon, 15 May 2000 07:37:07 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: michael amberwind Subject: Re: Anti-description MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii What be the opposite of de-scription? __________________________________________________ Do You Yahoo!? Send instant messages & get email alerts with Yahoo! Messenger. http://im.yahoo.com/ ========================================================================= Date: Mon, 15 May 2000 08:06:29 PDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Ron Silliman Subject: De/scription &/or de/piction Mime-Version: 1.0 Content-Type: text/plain; format=flowed Dodie et alia, This has been one of the better threads in some time. Lots of good suggestions. Whenever I've done anything around this issue in a classroom setting, I've always tried to tease out a distinction between de/scription, of which I most definitely approve, and de/piction (attempting to make the writing itself disappear so as to render the referred world shimmering with presence) around which I have a much more problematic relation. Melville & Kerouac's Visions of Cody are for me key acts of description. As is the essay "Sunset" in Levi-Strauss' Tristes Tropiques (an extended attempt to describe a single sunset to unveil the constructedness of the linguistic process). That, in fact, is the text I ultimately return to, though I'm not certain if it's currently in print. Bravo also to the person who suggested Ponge's Soap, though I'd've recommended Notebook of the Pine Woods myself. Ron Silliman ________________________________________________________________________ Get Your Private, Free E-mail from MSN Hotmail at http://www.hotmail.com ========================================================================= Date: Mon, 15 May 2000 09:00:05 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Douglas Organization: Sun Moon Books Subject: New Green Integer titles Comments: cc: djmess@sunmoon.com MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Green Integer would like to announce the publication of two new titles, both in the 6 x 9 Green Integer EL-E-PHANT series of longer novels, works of non-fiction, and anthologies. To receive a 20% discount readers must send their order (with name and address) along with a check or money order for payment to: Douglas Messerli Green Integer 6026 Wilshire Boulevard Los Angeles, CA 90036 Please write checks to Douglas Messerli (do not put Green Integer or Sun and Moon Press) The first is the long awaited first volume of THE PIP ANTHOLOGY OF WORLD POETRY, VOLUME 1 edited by Douglas Messerli Influenced in part by Jerome Rothenberg's and Pierre Joris's groundbreaking 20th century poetry anthology in two volumes, POEMS FOR THE MILLENNIUM: A BOOK OF MODERN AND POSTMODERN POETRY, publisher-editor Messerli began in 1995 to edit his own international anthology. Enthused by the range and vast numbers of wonderful poets writing in all languages, Messerli determined to pubilsh three volumes of about 1,200 pages each. But as his research cont8inued, he came quickly to realize that even a project this vast-- one of enormous expense and a near-impossible commitment of time and resources--would not sufficiently reveal the panopoly of world poetry in the 20th century. Messerli began publishing more international poetry through his presses Sun & Moon and Green Integer, and in 1998 he founded the Project for Innovative Poetry with an advisory board of major international poets and critics to explore ways to publish world poetry in English. To achieve the publication of his omnibus anthology, he decided to publish two volumes (containing 20 or 21 poets) each year until he had completed his task. He now foresees this series to comprise about 50 volumes ultimately. The first (now available) contains work by Rafael Alberti (Spain), Ingeborg Bachman (Austria), Ruben Dario (Nicaragua), Gunter Eich (Germany), Gunnary Ekelof (Sweden), J. V. Foix (Spain), Angel Gonzalez (Spain), Jorge Guillen (Spain), Hagiwara Sakutaro (Japan), Hayashi Fumiko (Japan), Frigyes Karinthy (Hungary), Artur Lundkvist (Sweden), Jackson Mac Low (USA), Osip Mandelstham (Russia), Joao Cabral de Melo Neto (Brazil), Henri Michaux (Belgium), O. V. de Milsz (Lithuania/ France), Agnes Nemes Nagy (Hungary), Amelia Rosselli (Italy), Rocco Scotellaro (Italy), and Takahashi Mutsuo (Japan). Each volume contains biographies on each poet, as well as a listing of books in the original language with city and publication date, a listing of translations, and a fairly large sampling (4-10) poems of each poet. This series will attempt to show what Messerli sees as "an energetic and often uncontrollable beast of language upon whose back the reader is taken to worlds that exist only in thinking itself." Price $15.95 20% discount with payment upon ordering ($12.76 + $1.25 postage) Finally available is READINESS / ENOUGH / DEPENDS / ON by Larry Eigner A few months before his death in February 1996, the great American poet, Larry Eigner, contracted with Green Integer to publish a new work of poetry. Edited by Eigner's friend Robert Grenier, READINESS / ENOUGH / DEPENDS / ON has been long awaited by the growing readership of Eigner's poetry. It is a work that gracefully accepts death, and, by virtue of its very testament to the life around, eiterates Eigner's continual engagement with life. Price $12.95 20% discount with payment upon orderilng ($10.36 + $1.25 postage) ========================================================================= Date: Mon, 15 May 2000 09:34:34 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Damion Searls Subject: (Oakland, CA):Gertrude comes to the Alice Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" >Date: Mon, 15 May 2000 01:39:59 -0400 (EDT) >From: Lara Freidenfelds >Subject: Gertrude comes to the Alice > > >Nina Haft & Company premiere >THE MAKING OF AMERICANS >An evening of dance inspired by the writings of Gertrude Stein >at the Alice Arts Center > >MAY 19 8pm >MAY 20 8pm (with Gala Dessert Reception) >MAY 21 2pm >Tickets $12 to $14 -- Group discounts available >Tickets/info: (415) 789-8583 > >ALICE ARTS CENTER >1428 Alice St., in downtown Oakland (near 12th St. BART) >Wheelchair accessible > >Choreography: Nina Haft & Company >Original music: Amy X Neuburg >Additional music: Lou Harrison >Text: Gertrude Stein > >Dancers: >Lisa Bush, Lara Freidenfelds, Nina Haft, Rebecca Johnson, Dana Lawton, >Diane McKallip, Amy X Neuburg, Jill Randall, Alisa Rasera and Lesley >Snelson. > >******************************** >About the show: > >The concert will showcase two premiere dance works: "Lifting Belly" and "The >Making of Americans." "Lifting Belly," which kicks off the evening, is a >paean to the pleasure of Stein's language in her poem of the same title. >The piece is a collaboration between Haft and composer/performer Amy X >Neuburg, also an Oakland-based artist. > >The centerpiece of the evening, "The Making of Americans," is a 45-minute >suite for eight dancers loosely based on Stein's experimental novel and >set to Lou Harrison's 1985 Piano Concerto. This autobiographical novel >about Stein's early years living on a ten-acre farm in East Oakland >explores Jewish family life in the American West as a microcosm of the >American immigrant experience. Haft's "The Making of Americans" is an >imaginary journey of the Stein family and their community across the 20th >Century. The dance suite is structured into four types of "making" in >which those new Jewish Americans engaged: naturalization (making >themselves Americans), industry, having family and making community. >Archival slides of historic Oakland and readings of Stein's texts frame >these four dances. > ========================================================================= Date: Mon, 15 May 2000 09:53:26 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Rachel Loden Subject: Tom Clark in the San Francisco Chronicle, May 14, 2000 MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Dear Listafarians, Tom Clark's review of my book HOTEL IMPERIUM appeared in the San Francisco Chronicle yesterday (May 14). It's also online, although line breaks in quoted poems are lost in the web version: http://www.sfgate.com/cgi-bin/article.cgi?file=/chronicle/archive/2000/05/14/RV62156.DTL A few excerpts for those without web access: "With a bright humor and a sharp, critical intelligence that have attracted notice ... 'Hotel Imperium' ... brilliantly deconstructs and reconstitutes the cultural myths of the Nixon-to-Reagan decades. "The complication and beauty of Loden's comic writing is in the nuances and gestures of meaning expressed in her word choices, tones and implications. Here, in her poem 'The Death of Checkers' ... is an example of Loden's carefully angled and modulated verse--clean-hewn and economical throughout, yet generously elaborated at all the right moments... "Boldly invading territories where most 'art' poets seem to fear to tread, Loden exploits her subjects' history, politics and pop culture, subtly deploying them to express displaced concerns, tricking out these shopworn icons in attitudes and urgencies that are very much of the moment... "Loden's strength as a poet, then, is this sort of subversive conversion of kitsch into starkly lit truths of history... "Good poems can still offer the best kind of cultural criticism, as Loden's do, articulating our deep and simple responses to the icons by which history will define us." Rachel Loden http://www.thepomegranate.com/loden/hotel.html email: rloden@concentric.net ========================================================================= Date: Tue, 16 May 2000 12:06:28 +1200 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Tony Green Subject: Re: De/scription &/or de/piction MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Following Ron's lead on de/scription - de/piction I wd add that in the classroom the problem of writing a description of a painting (or other "visual" artwork) is what counts as description -- in other words the problem of constructing a written description comes down to a question of what are the protocols for the description. What are the protocols for the descriptions of poems wd also be interesting to discover. There is a range of answers beginning with the most compact -- a title (as in an inventory) -- then an extended title -- then a summary (as in summaries of periodical articles, or of books) -- & then the kind of description that is more openly linked to an analysis & discussion of values. best Tony Green -----Original Message----- From: Ron Silliman To: POETICS@LISTSERV.ACSU.BUFFALO.EDU Date: Tuesday, 16 May 2000 06:24 Subject: De/scription &/or de/piction >Dodie et alia, > >This has been one of the better threads in some time. Lots of good >suggestions. Whenever I've done anything around this issue in a classroom >setting, I've always tried to tease out a distinction between de/scription, >of which I most definitely approve, and de/piction (attempting to make the >writing itself disappear so as to render the referred world shimmering with >presence) around which I have a much more problematic relation. > >Melville & Kerouac's Visions of Cody are for me key acts of description. As >is the essay "Sunset" in Levi-Strauss' Tristes Tropiques (an extended >attempt to describe a single sunset to unveil the constructedness of the >linguistic process). That, in fact, is the text I ultimately return to, >though I'm not certain if it's currently in print. > >Bravo also to the person who suggested Ponge's Soap, though I'd've >recommended Notebook of the Pine Woods myself. > >Ron Silliman >________________________________________________________________________ >Get Your Private, Free E-mail from MSN Hotmail at http://www.hotmail.com > ========================================================================= Date: Mon, 15 May 2000 11:26:56 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: michael amberwind Subject: Re: sandwich boards announcing the end MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii While poetry is a vague style, a motion/motor/ monstratium, I have chosen to ally myself with the Huns, the barbarians at the gates, in order to hasten the immanent Messiah. To wit, I have therefore projected my sexual organisations upon a huge uberbomb filled with the confetti of every poem ever penned, poems obtained by the telepathogenic tachyon travel device that scans history and futurity for all poets and records all there works, places them in alphabetical order in mass data bases and printed off on dot matrix dominatrix printers in alphabetical order to avoid New Historicist error and all names erased with each poem being given an equal footing. Good&bad make no difference whatsoever. I intend to blow my PObombs over the Earth blanketing each area of the earth equally realising most of them (80%) will be lost to the oceans, the rest will mostly blank uninhabited areas, tundras, deserts, woodlands and urban disaster areas in the wake of 90s downsizing. Perhaps 1% of 1% will be discovered. Perhaps 1% of one 1% of those will be appreciated. Less than 1% of 1% of those will be understood or worth appreciating. The End is Nigh. The Age of the Poem is at hand. __________________________________________________ Do You Yahoo!? Send instant messages & get email alerts with Yahoo! Messenger. http://im.yahoo.com/ ========================================================================= Date: Mon, 15 May 2000 13:12:52 -0600 Reply-To: Laura.Wright@Colorado.EDU Sender: UB Poetics discussion group From: Wright Laura E Subject: Re: oh to be a trifling stickler In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit > "So please trash your principles for just a few > minutes and buy it there if you can't find it elsewhere." > > > Rebecca Wolff said this a few days back and I've been mulling > it over, it > stuck in my head as an unintentional articulation of the crux > of a paradox > between pragmatism and idealism/utopianism. [etc.] Thank you, Rachel. This has been bugging me too. Do publishers not have any say where and how their books/magazines/pamphlets/etc. are distributed? --- Laura E. Wright University of Colorado, Norlin Library Acquisitions Dept. (303) 492-8457 ========================================================================= Date: Mon, 15 May 2000 11:37:13 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Hilton Obenzinger Subject: Re: Anti-description In-Reply-To: <20000515143707.9181.qmail@web1101.mail.yahoo.com> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" >What be the opposite of de-scription? > > >__________________________________________________ >Do You Yahoo!? >Send instant messages & get email alerts with Yahoo! Messenger. >http://im.yahoo.com/ Various answers: Pre-scription Philosophy God-The-Father A Road Map Hilton Obenzinger ========================================================================= Date: Mon, 15 May 2000 15:05:42 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Judy Roitman Subject: Re: couple of whacks with wet Nudel In-Reply-To: <200005151359.JAA00649@melbourne-city-street.MIT.EDU> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" Folks might be interested in L. Scalapino's take on Whalen in her newish book whose name I am characteristically blocking. Meanwhile Mr. B. does seem to not understand the owl, which is a variation on a common dharma trope, but he should not be faulted on that. Nobody's perfect. -- --------------------------------------------------------------------------- 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, 15 May 2000 21:42:19 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: Salt Lake City July 13-22 or thereabouts - (fwd) MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Hi - I'll be in Salt Lake City around July 13-22 - if anyone is there who might want to get together - if there's any opportunity for doing a reading or talk - I know it's hot July - please let me know - thanks, 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: Mon, 15 May 2000 16:33:27 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: David Baptiste Chirot Subject: Call for Peltier's Parole: Press Conference (fwd) MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII ---------- Forwarded message ---------- Date: Mon, 15 May 2000 13:29:07 -0500 From: LPDC To: dbchirot@csd.uwm.edu Subject: Call for Peltier's Parole: Press Conference Friends, Below is a press advisory for a Washington DC press conference that will be held this Wednesday, May 17th to call for Leonard Peltier's release through parole. The press conference will occur just hours before the Congressional Human Rights Caucus hold a briefing on the Peltier case. Please forward this information to your local media sources. Thank you. In solidarity, the LPDC Press Conference to Call for Leonard Peltier's Parole 12 May 14:30 Press Conference to Call for Leonard Peltier's Parole Contact: Pat Davis of Leonard Peltier Justice Coalition, 202-518-7781 News Advisory: Nobel Peace Laureate Rigoberta Menchu will join acclaimed author Peter Matthiessen, Amnesty International representatives and Ernie Stevens of the National Congress of American Indians to press the United States government to grant parole and/or clemency in the case of Leonard Peltier. They will speak at a press conference scheduled for 10 a.m. Wednesday, May 17, at the Washington, D.C. offices of Amnesty International, 600 Pennsylvania, SE Washington D.C. Peltier is a Native American leader who has been incarcerated in the United States for 24 years, following his highly controversial conviction for the murder of two FBI agents. Despite disturbing evidence of FBI misconduct in the case, including the coercion of witnesses, the intentional use of false evidence and the concealment of a key ballistics test reflecting his innocence, Peltier has been denied a new trial and is long overdue for parole. He has been recognized by numerous human rights organizations, religious leaders and Nobel laureates as one of the United States' few political prisoners. Domestic and international pressure is mounting for his immediate and unconditional release. The press conference will be followed by a congressional briefing from 2-4 p.m., May 17, Rayburn House Office Building, Room 2358, sponsored by the offices of U.S. Rep. John Porter (R-Ill.), co-chairperson of the Congressional Human Rights Caucus. The witnesses will include survivors of the Pine Ridge Reservation "Reign of Terror," which took place from 1973-1976. During this period 64 Native American members and supporters of the American Indian Movement, or AIM, were murdered on the reservation. Despite a massive FBI presence at the time, there was no adequate investigation and no charges were ever brought for these killings. Menchu and Native American leaders from the United States will also speak on the case. Call the White House Comments Line Today Demand Justice for Leonard Peltier! 202-456-1111 Leonard Peltier Defense Committee PO Box 583 Lawrence, KS 66044 785-842-5774 www.freepeltier.org To subscribe, send a blank message to < lpdc-on@mail-list.com > To unsubscribe, send a blank message to < lpdc-off@mail-list.com > To change your email address, send a message to < lpdc-change@mail-list.com > with your old address in the Subject line ------------------------------------------------------------------------- To subscribe, send a blank message to lpdc-on@mail-list.com To unsubscribe, send a blank message to lpdc-off@mail-list.com To change your email address, send a message to lpdc-change@mail-list.com with your old address in the Subject: line ========================================================================= Date: Mon, 15 May 2000 16:46:02 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: David Bromige Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Just want to send a brief post to celebrate the quite extraordinary reading some 35-40 of us attended the other night at Small Press Traffic/New College. Camille Roy, announcing she would be reading a 'pot-pourri' of poems and prose pieces, began with an apparently autbio recollection of working in a massage parlor, but just where we feared (or throbbed for) a True Confession, adroitly took us away from that into a series of writings/musings on resistance in a complicit society,--may she forgive my abstraction if that wasn't where the details pointed. Also, at this point in the evening, either I was having mike-trouble, or the mike was.I lost some of the words. When towards the close she fetched us back to the massage parlor, it was a shock to be brought back to what I at least had forgotten, the point of outset, and to see how the various writing in between, was informed by that outset and its conclusion. This was a bold venture, this casting of such different poems upon the waters of an audience's attention, so all the more elation as one then perceived the gamble romping home. I regret I dont have the title of what she was doing; perhaps Kevin Killian could help here? Even or especially poetry readings are visual affairs, and Camille Roy's outgoing, strong-bodied blonde beauty found a fine match in the next reader, Melissa Wolsak of Vancouver. Reading from her long poem "Pen Chants," she was never still, slow-dancing at the rostrum with serpentine grace as she unwound her remarkable series of words and phrasings, a dark-haired, sibylline presence, heartful voice somehow encouraging the witness to stick with it as line yielded to line and a world where subject is followed by predicate was occluded by moment upon moment of language. We had been told in the Killian/Bellamy intro that Wolsak is a jewel- and gold-smith by trade, so maybe that is why I came to regard this writing as a matter of great tensile strength inlaid with gems---words either neologisms or Latin, Greek or of other dispensation, that, inviting contemplation, diverted the quest for continuity. I think this considerable tensile strength is due to its refusal to conclude, except that each phrase was conclusive. More telling, maybe, to repeat what someone said to me afterwards : "It was like a prayer." And that reminds me that Wolsak's poetics essay, _An Heuristic Prolusion_ , concludes :"For me, the urgent question is..'do we have a prayer?'" "Pen Chants" is the answer to that. David ========================================================================= Date: Mon, 15 May 2000 19:21:37 +0000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: kathylou@ATT.NET Subject: ALA panel next week (in Long Beach, CA) If you're in the neighborhood, or planning to attend the American Literature Association conference, stop by and see us (address below)! Sessions VII: Thursday, May 25, 2000, 3:30-4:50 a.m. 1. NEW POETS / NEW POETRIES, Regency C Chair: Aldon L. Nielsen, Loyola Marymount University and the George Moses Horton Society for the Study of African American Poetry 1. "Rock and a Hard Place: Erica Hunt and the Poetics of African American Postmodernity," Kathy Lou Schultz, Independent Scholar 2. "Slam Nation(s): Emerging Poetries, Imagined Communities," Meta DuEwa Jones, Stanford University 3. "New Poetry," Harryette Mullen, University of California, Los Angeles Hyatt Regency Long Beach 200 Pine Avenue Long Beach CA 90802 ^^^^^^^^^^^^^^^^^^^^^^^^^^^^^ Kathy Lou Schultz Editor & Publisher Lipstick Eleven ========================================================================= Date: Tue, 16 May 2000 10:56:58 -0400 Reply-To: mcx@bellatlantic.net Sender: UB Poetics discussion group From: michael corbin Subject: Re: description MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Jamie Perez wrote: > I keep thinking about things like driver's licenses and other > proscribed/formulaic shorthands that we all accept as descriptions. David Baptiste Chirot wrote: > > also the police and other surveillance agencies and techniques > > > > Obituary Description > > > > Viewing Description (Open Coffin) > > Morgue Descritpion A friend's body was found in March. To the discoverers--his co-workers (itinerant, migrant grooms and horse-walkers, stall cleaners, horse-shit shovelers at the back-stretch of Pimlico; other homeless junkie alcoholics among them)--they knew he had died in the night or early morning because they had seen him earlier in the evening. To the Police, the indeterminacy of cause relegates the case to the homicide detectives who interview the living and wait upon the prophecy of the "medical examiner". Forensic pathology is more severe than its televisual clichés. "Identify" the body. Determine cause. Because the evidence of the rendered body too was indeterminate, small bits of brain and liver are shaved off and sent to the laboratory. An aural and written record are matched to the exercises upon his body. It is more than the epistemology of journalism. Thinner, harder. More than the epistemology of the late-imperial archive of all our administrative accounts. A balance of bureaucratic inertia, untoward efficiencies of language, proliferating meaning production, a weightiness that sustains desiccated souls and other superorganics of history and sadness. A buttress to belief in prosody with no need for its erasure for the aperture of discharge, the vomitory, will neatly and precisely hold our beliefs while we take our leave. A death certificate was issued. Needs the signatures. Lethal Toxicity of substances. Heroin and alcohol and prescription anti-psychotics, no romance. Nothing more for narrative sake, for he was a known vagrant. Foul play ruled out. 49 years old. He used to paint and do donald duck imitations at great length. That's it. His mother wanted him buried with his father. So we took the ashes to Burlington. Not an embalmed heart nor a reliquary. Description mourning: Warren. **** Another describing thought today upon returning from the southeast coast of iceland and reading Halldor Laxness' _The Atom Station_: The beautiful NATO radar array now frames my view of the North Atlantic from of the ruins of the meditation rooms that the Irish monks who preceded the Norse left north and east of Hofn. Það er umlukið; Það er umkringt af; *Í kringum það er.. *Það er fyrir ofan minn skilning. mc ========================================================================= Date: Tue, 16 May 2000 11:19:45 +0000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: David Cameron Subject: Cameron & Wasserman at Blue Books 5/17 Mime-version: 1.0 Content-type: text/plain; charset="ISO-8859-1" Content-transfer-encoding: quoted-printable David Cameron and Jo Ann Wasserman will be reading at Blue Books this Wednesday, May 17 at 7:30. Blue Books is part of the New College of California and is located at 766 Valencia Street between 18th & 19th Streets. Oh, and that's in San Francisco. David Cameron (that's me) is nearing completion on a complete false translation of Charles Baudelaire's Les Fleurs Du Mal. Forty of these false translations have been published previously in two collections, Flurries of Mail and Dirty Mom. In honor of this reading he and Brenda Iijima have collaboratively published a limited edition book of Brenda's photographs an= d David's false translation of Baudelaire's sequence Le Voyage. Jo Ann Wasserman=92s work has appeared in journals including The World, Grand Street, and Blue Book. From 1992-1997 she worked in multiple capacities at the Poetry Project at St. Mark=92s Church, including curating the Wednesday Night Reading Series. Wasserman=92s chapbooks include what counts as proof (Sugar Books) and we build mountains (a + bend press). She is the managing editor of How2, an online journal of innovative writing by women. ========================================================================= Date: Tue, 16 May 2000 08:50:08 -0700 Reply-To: degentesh@earthlink.net Sender: UB Poetics discussion group From: Katie Degentesh Organization: Pretty good Subject: many, many, many Comments: To: katie@degentesh.com MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Chances to see 9x9 characters recently featured in the 9x9 comic book, 6,500: 1) TODAY, TUESDAY, MAY 16TH: Camille Roy, Gene Truex, Anne Stone, Craig Foltz, Yael Schonfeld, Laura Walker, Steve Hemenway, Cassandra Bramucci, Cheryl Burket, Denise Newman, Candace Moore, Tim Kahl, Daniela Koromza and Katie Degentesh read at the release party for the Spring/Summer '00 issue of Fourteen Hills at SFSU's Poetry Center (Humanities Bldg., Room 512), 7 pm. 2) TOMORROW, WEDNESDAY, MAY 17TH: David Cameron and Jo Ann Wasserman read from their poetry at Blue Books, New College, Valencia at 18th, 7:30 pm. Come. There will be singing. Plus a special guest appearance by a cartoon character whose degree of American fame disqualified him from publication in 6,500. 3) JUNE 4, 2000: Reading for people who don't want to traverse Fourteen Hills in order to celebrate Fourteen Hills. Many of the same readers as listed in (1) will appear at A Clean Well-Lighted Place for Books (601 Van Ness, 5 pm). 4) JUNE 27, 2000: Jan Richman, editor of the forthcoming Issue #3 of 6,500, reads at Blue Books/New College with the visiting Ray Gonzalez. That'll probably start at 7:30 pm too, but it's only May 16th now, too early to judge -- we'll check on the progress of global warming and get back to you with an update in mid-June. ========================================================================= Date: Tue, 16 May 2000 11:30:13 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Stefans, Brian" Subject: ARRAS is now at www.arras.net MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" After much procrastination and the uttering of French oaths into my morning coffee, the Arras site has now been relocated to a more easily rememberable URL: ARRAS.NET or WWW.ARRAS.NET which is what I think you will need if you are coming from outside the www.usa.com. I'll post a table of contents later on. There's new stuff there, but all still in development. Sheik it out! ========================================================================= Date: Tue, 16 May 2000 09:41:24 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Catherine Daly Organization: e.g. Subject: Re: De/scription &/or de/piction MIME-version: 1.0 Content-type: text/plain; charset=us-ascii Content-transfer-encoding: 7bit to circum/scribe vs. de/scribe vs. in/scribe is what I think about, though I like de/piction and hadn't thought about it. Circumspection? Rgds, Catherine Daly cadaly@pacbell.net ========================================================================= Date: Wed, 17 May 2000 16:20:33 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Poetics List Subject: Fwd: help! / trane devore 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: Tue, May 16, 2000 11:14 AM -0700 From: trane devore Subject: Fwd: help! I thought people on the Poetics List might be interested in this. Trane Dear friend of savepacifica, No news this time, just an urgent request for funds for the Pacifica freelancers' strike fund, which supports the production of the strikers' weekly newscast, Free Speech Radio News. After a geneous outpouring of support after the strike began January 31, donations have tapered off, and there is now so little money in the fund that the existence of Free Speech Radio News past the month of May is in jeopardy. Funding a quality newscast takes money: in addition to supporting striking reporters, we have to pay for studio rental and production costs, tape and CD duplication, satellite rental fees, overnight mailing fees, long-distance phone bills, etc. Please make your check out to Friends of Free Speech Radio, and mail it to: "Freelancers' Strike Fund," c/o Friends of Free Speech Radio, 905 Parker St., Berkeley, CA 94710. Better yet, become a Free Speech Radio News sustainer by sending a monthly contribution of $10, $20 or more. If you'd like us to send you a reminder notice each month, just let us know. Thank you on behalf of 42 striking Pacifica freelance reporters. ***************************************************************** website: http//www.savepacifica.net email: savepacifica@peacenet.org subscribe/unsubscribe: Visit http://www.savepacifica.net/subscribe.html ========================================================================= Date: Wed, 17 May 2000 10:51:38 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Poetry Project Subject: Fwd: FW: Loft sublet Mime-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" loft available this summer: Tribeca,lower Manhattan sublet. Artist's loft (2 bedrooms, studio, living room, small kitchen, bathrm, roof garden). spacious, skylit,4th floor walkup. responsible,non-smoker, waterplants on roof, (sorry no pets) available, (June partial share, $900.) July, August, Sept poss share,. $1200 - $1700/mo. (1700 includes artists studio) (1200 without studio) plus deposit (212) 233-6982 ========================================================================= Date: Wed, 17 May 2000 16:22:21 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Poetics List Subject: 5/21, 3-6 pm, Pickle Jar, Biglieri. Connor, Sherin, Naked Idiot - Poetry Party at NOTcoffeeHouse, 1st Unitarian Church, 2125 Chestnut St. / Frey MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit this message had to be reformatted to remove an embedded MS Word document. Chris -- Date: Tue, 16 May 2000 14:01:23 -0400 From: Richard Frey Subject: 5/21, 3-6 pm, Pickle Jar, Biglieri. Connor, Sherin, Naked Idiot - Poetry Party at NOTcoffeeHouse, 1st Unitarian Church, 2125 Chestnut St. Contact: Richard Frey 215-735-7156 richardfrey@dca.net (potluck and byob welcome) (NOTcoffeeHouse) Poetry and Performance Series A Poetry Party 3-6 pm Sun., May 21 First Unitarian Church, 2125 Chestnut Philadelphia PA 19103 / 215-563-3980 / admission $1 Readings by Greg Biglieri, Kyle Conner, Kerry Sherin and music by Naked Idiot -plus,from New York, 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 performance, 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. Much More Poetry plus Open Reading & Food & Drink Galore! 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, Alicia Askenase, Ruth Rouff. Coming June 4: New Poetry by Tamara Oakman, Robyn Edelstein, and special guest TBA. ========================================================================= Date: Tue, 16 May 2000 11:12:30 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: David Bromige Subject: Re: ALA panel next week (in Long Beach, CA) In-Reply-To: <20000515192138.DDRW9011.mtiwmhc26.worldnet.att.net@webmail.worldnet.att.n et> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" >If you're in the neighborhood, or planning to attend the >American Literature Association conference, stop by and >see us (address below)! > >Sessions VII: Thursday, May 25, 2000, Does this mean there are to be VI other sessions in Long Beach next week, and if so, can you list these also? I realize these -could_ have taken place in previous yeArs, but at the same time, a conference that lasts only an hour and a quarter sounds unlikely. >3:30-4:50 a.m. These hours would suit me....I'm not sure if the custodians will want to hang around to lock up afterwards. > >1. NEW POETS / NEW POETRIES, Regency C >Chair: Aldon L. Nielsen, Loyola Marymount University and >the George Moses Horton Society for the Study of African >American Poetry > >1. "Rock and a Hard Place: Erica Hunt and the Poetics of >African American Postmodernity," Kathy Lou Schultz, >Independent Scholar > >2. "Slam Nation(s): Emerging Poetries, Imagined >Communities," Meta DuEwa Jones, Stanford University > >3. "New Poetry," Harryette Mullen, University of >California, Los Angeles > >Hyatt Regency Long Beach > >200 Pine Avenue > >Long Beach CA 90802 > >^^^^^^^^^^^^^^^^^^^^^^^^^^^^^ >Kathy Lou Schultz >Editor & Publisher >Lipstick Eleven ========================================================================= Date: Wed, 17 May 2000 10:05:22 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: michael amberwind Subject: Re: Description MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Is de-scription = to de-$$$? __________________________________________________ Do You Yahoo!? Send instant messages & get email alerts with Yahoo! Messenger. http://im.yahoo.com/ ========================================================================= Date: Wed, 17 May 2000 16:24:56 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Poetics List Subject: Re: Republics Review / Messerli MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit This message had to be reformatted to remove HTML tags. Chris -- From: "Douglas Messerli" Date: Tue, 16 May 2000 07:50:57 -0700 Below is a new review from the Buffalo News of Charles Bernstein's REPUBLICS OF REALITY. Douglas Messerli, Sun & Moon Press A strong focus on the language By R.D. POHL Special to The Buffalo News 5/7/00 "It's not my/ business to describe/ anything. The only/ report is the/ discharge of/ words called/ to account for their slurs," writes Charles Bernstein in "Have Pen, Will Travel," one of the concluding poems in "Republics of Reality: 1975-1995," his latest collection of work published just last week by Sun and Moon Press. Description of a perceived world "out there" has never been the principal concern of Bernstein's poetry, which he prefers to call "polyreferential" with respect to the way its language engages a range of possible readings. Instead his focus has been on the particularity of language itself, its sheer physicality and "animalady" (a Bernstein coinage) as well as how it colors, shapes, and orders how we experience and think about the world. "Love of language," he writes in this volume's "Palukaville," "excludes its reduction to a scientifically managed system of reference in which all is expediency and truth is nowhere." "Republics of Reality" consists of a compilation of eight of Bernstein's previously published chapbooks or limited edition publications now long out-of-print, plus a ninth section (called "Residual Rubbernecking") which appears here for the first time in book form. Despite weighing in at a hefty 374 pages, this volume represents only a portion of Bernstein's total oeuvre during the period in question. Not included are all the poems contained in his longer, better known collections with larger publishers (particularly Sun and Moon Press) including the volumes "The Sophist" (1987), "Rough Trades" (1991) and "Dark City" (1994) upon which rest his current reputation as perhaps this country's leading advocate for literary innovation and a language-centered approach to poetics. But for readers who know Bernstein principally as a writer-critic, teacher and scholar (he is the David Gray Professor of Poetry and Letters at the University at Buffalo and directs UB's Poetics Program), this volume presents a fascinating overview of the first two decades of his prolific career, particularly the early work which played such an influential role in the evolution of so-called "language" poetry in North America. (Bernstein co-founded and co-edited the magazine L3DA3DN3DG3DU3DA3DG3DE with colleague Bruce Andrews from 1978 to 1981.) >From the minimalist, serialist approach of "Sentences" in his first collection "Parsing" (a remarkable poem that retains a certain vestigial narrative thread: it's about sickness, insecurity, and fear masquerading as boredom) to the more radical experiments with sense, syntax and spelling in prose and mixed forms in the collections "Shade," "Poetic Justice" and "The Occurrence of Tune," one can almost discern an exploratory arc in Bernstein's work. If at first he appears to whimsically deconstruct most of the familiar elements of poetic form, he subsequently relocates the presence of language in a poem's most basic, irreducible phonemes. Several of the poems in "Poetic Justice" engage in a high playfulness that suggests new ways of thinking about how a poem can be organized. "Electric" gets startling comic effects out of punning, clever wordplay and improvised upper and lower case shifting: the typographical equivalent of a malfunctioning Caps Lock key on a typewriter. "Azoot D' Puund" is written in an invented language that looks like a hybrid of Chaucerian English (is the reference to Ezra Pound?) and Afrikaans. One of more notable surprises of reading through this volume, however, is the degree to which Bernstein's writing since mid-1980s has gravitated towards recognizably lyrical forms. At least in the work represented here (the collections including "Resistance" (1983), "The Absent Father in "Dumbo' " (1990) and "Residual Rubbernecking") he has consistently introduced familiar rhythms and even occasional rhyme schemes into his increasingly musical work. This is not to suggest that his work is any less subversive, however, since the shift seems designed at least in part for comic and satirical purposes. Nor has his syntax become any more specifically referential. Reading or listening to one of Bernstein's poems still reminds one of Ludwig Wittgenstein's famous remark about language occasionally "going out on holiday": the rules of grammar and reference seem a bit relaxed, but everyone's having a ball. Still, when he begins a poem like "Bulge" ("The reward for/ love is not/ love, any more/ than the reward/ for disobedience/ is grace. What/ chains these/ conditions severs/ semblance of/ a hand, two/ fists, in pre-emptive/ embrace with/ collusion") even if the sense of the poem is complex, disjunctive, and replete with possible meanings, its rhythm and form evoke lyrical feeling. Contrast this to a decidedly anti-lyrical excerpt from "The Taste is What Counts" from Bernstein's "Poetic Justice" (1979): "More than I pretend, choppiness, its mass, a revolt against it. Complication beyond the box they require pervades like the world it makes. The purposiveness of the sensations a clear mirror. Glimpse immediately flashing formed with a passing knowledge that becomes your whole life reflected. Still empty the waves turning, movement to become an opacity as lap or imprint." In "Autonomy is Jeopardy," Bernstein, who does not typically write for a specific voice (and indeed rejects the idea of constructing an "authentic" narrative voice in principle) creates an alter ego whose fears correspond to those of the reader, and quite possibly to those of the poet himself. "Poetry scares me," he writes, "I/ mean its virtual (or ventriloquized)/ anonymity no protection, no/ bulwark to accompany its pervasive/ purposivelessness, it accretive/ acceleration into what may or / may not swell. Eyes demand/ counting, the nowhere seen everywhere/ behaved voicelessness everyone is clawing/ to get a piece of. Shudder/ all you want it won't/ make it come any faster/ last any longer." ------_NextPart_000_000A_01BFBF52.EDA80BE0 Content-Type: text/html; charset"iso-8859-1" Content-Transfer-Encoding: quoted-printable
Below is a new review from the Buffalo News of
Charles Bernstein's REPUBLICS OF REALITY.

Douglas Messerli, Sun & Moon Press

A strong focus on the language

By R.D. POHL
Special to The Buffalo News 5/7/00


"It's not my/ business to describe/ anything. The only/ report is the/ discharge of/ words called/ to account for their slurs," writes Charles Bernstein in "Have Pen, Will Travel," one of the concluding poems in "Republics of Reality: 1975-1995," his latest collection of work published just last week by Sun and Moon Press.

Description of a perceived world "out there" has never been the principal concern of Bernstein's poetry, which he prefers to call "polyreferential" with respect to the way its language engages a range of possible readings. Instead his focus has been on the particularity of language itself, its sheer physicality and "animalady" (a Bernstein coinage) as well as how it colors, shapes, and orders how we experience and think about the world.

"Love of language," he writes in this volume's "Palukaville," "excludes its reduction to a scientifically managed system of reference in which all is expediency and truth is nowhere."

"Republics of Reality" consists of a compilation of eight of Bernstein's previously published chapbooks or limited edition publications now long out-of-print, plus a ninth section (called "Residual Rubbernecking") which appears here for the first time in book form.

Despite weighing in at a hefty 374 pages, this volume represents only a portion of Bernstein's total oeuvre during the period in question. Not included are all the poems contained in his longer, better known collections with larger publishers (particularly Sun and Moon Press) including the volumes "The Sophist" (1987), "Rough Trades" (1991) and "Dark City" (1994) upon which rest his current reputation as perhaps this country's leading advocate for literary innovation and a language-centered approach to poetics.

But for readers who know Bernstein principally as a writer-critic, teacher and scholar (he is the David Gray Professor of Poetry and Letters at the University at Buffalo and directs UB's Poetics Program), this volume presents a fascinating overview of the first two decades of his prolific career, particularly the early work which played such an influential role in the evolution of so-called "language" poetry in North America. (Bernstein co-founded and co-edited the magazine L3DA3DN3DG3DU3DA3DG3DE with colleague Bruce Andrews from 1978 to 1981.)

>From the minimalist, serialist approach of "Sentences" in his first collection "Parsing" (a remarkable poem that retains a certain vestigial narrative thread: it's about sickness, insecurity, and fear masquerading as boredom) to the more radical experiments with sense, syntax and spelling in prose and mixed forms in the collections "Shade," "Poetic Justice" and "The Occurrence of Tune," one can almost discern an exploratory arc in Bernstein's work. If at first he appears to whimsically deconstruct most of the familiar elements of poetic form, he subsequently relocates the presence of language in a poem's most basic, irreducible phonemes.

Several of the poems in "Poetic Justice" engage in a high playfulness that suggests new ways of thinking about how a poem can be organized. "Electric" gets startling comic effects out of punning, clever wordplay and improvised upper and lower case shifting: the typographical equivalent of a malfunctioning Caps Lock key on a typewriter. "Azoot D' Puund" is written in an invented language that looks like a hybrid of Chaucerian English (is the reference to Ezra Pound?) and Afrikaans.

One of more notable surprises of reading through this volume, however, is the degree to which Bernstein's writing since mid-1980s has gravitated towards recognizably lyrical forms. At least in the work represented here (the collections including "Resistance" (1983), "The Absent Father in "Dumbo' " (1990) and "Residual Rubbernecking") he has consistently introduced familiar rhythms and even occasional rhyme schemes into his increasingly musical work.

This is not to suggest that his work is any less subversive, however, since the shift seems designed at least in part for comic and satirical purposes. Nor has his syntax become any more specifically referential. Reading or listening to one of Bernstein's poems still reminds one of Ludwig Wittgenstein's famous remark about language occasionally "going out on holiday": the rules of grammar and reference seem a bit relaxed, but everyone's having a ball.

Still, when he begins a poem like "Bulge" ("The reward for/ love is not/ love, any more/ than the reward/ for disobedience/ is grace. What/ chains these/ conditions severs/ semblance of/ a hand, two/ fists, in pre-emptive/ embrace with/ collusion") even if the sense of the poem is complex, disjunctive, and replete with possible meanings, its rhythm and form evoke lyrical feeling.

Contrast this to a decidedly anti-lyrical excerpt from "The Taste is What Counts" from Bernstein's "Poetic Justice" (1979): "More than I pretend, choppiness, its mass, a revolt against it. Complication beyond the box they require pervades like the world it makes. The purposiveness of the sensations a clear mirror. Glimpse immediately flashing formed with a passing knowledge that becomes your whole life reflected. Still empty the waves turning, movement to become an opacity as lap or imprint." In "Autonomy is Jeopardy," Bernstein, who does not typically write for a specific voice (and indeed rejects the idea of constructing an "authentic" narrative voice in principle) creates an alter ego whose fears correspond to those of the reader, and quite possibly to those of the poet himself. "Poetry scares me," he writes, "I/ mean its virtual (or ventriloquized)/ anonymity no protection, no/ bulwark to accompany its pervasive/ purposivelessness, it accretive/ acceleration into what may or / may not swell. Eyes demand/ counting, the nowhere seen everywhere/ behaved voicelessness everyone is clawing/ to get a piece of. Shudder/ all you want it won't/ make it come any faster/ last any longer." ---------- End Forwarded Message ---------- ========================================================================= Date: Wed, 17 May 2000 01:05:47 -0400 Reply-To: Nate and Jane Dorward Sender: UB Poetics discussion group From: Nate and Jane Dorward Subject: The Poetry of Peter Riley (The Gig 4/5) Comments: To: British-Poets List MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit ...announcing: T H E P O E T R Y O F P E T E R R I L E Y a special issue of _The Gig_ (#4/5; Nov. 99/Mar. 00) 232pp, perfectbound: inside are an interview with the poet; poetry (including Riley's "Llyn in the Rain, September 1998," a new work mixing prose and verse); thirteen essays on Riley's work; and a bibliography. Contributors: Tony Baker, Sarah Clair, Lorand Gaspar, John Hall, Peter Hughes, James Keery, Peter Larkin, Tony Lopez, Tom Lowenstein, Peter Middleton, Mark Morrisson, Simon Perril, Peter Robinson, Keston Sutherland, Keith Tuma and Nigel Wheale. * Peter Riley, born in 1940, is the author of over two dozen books of poetry, including _Lines on the Liver_, _Tracks and Mineshafts_, _Distant Points_ and _Snow Has Settled [....] Bury Me Here_. His work has appeared in the anthologies _A Various Art_ and _Conductors of Chaos_, and his selected poems, _The Gravel Paths_, will appear from Carcanet. Riley's work is grounded on a deep knowledge both of the modernist poetries of the present and of the literatures of past centuries, and it reflects the author's knowledge of other languages, his travels, and his interests in archaeology, geology and music. Its voice often meditative but always urgent, Riley's poetry is both uncategorizable and of the highest distinction. * Copies are $20 Canadian or $15 U.S. (institutional copies $40 Cdn/$30 U.S.). Prices include postage within North America. Payments in either currency are acceptable. Write to: Nate Dorward, 109 Hounslow Ave., Willowdale, Ontario, M2N 2B1, Canada; e-mail: . Copies may be obtained within the UK through Peter Riley (Books), 27 Sturton Street, Cambridge, CB1 2QG; e-mail: . Back-issues of _The Gig_ 1, 2 and 3 are also available, including poetry by John Wilkinson, Alan Halsey, Deanna Ferguson, Lisa Jarnot, Clark Coolidge, RF Langley, Lissa Wolsak, Bruce Andrews, cris cheek, Thomas A Clark, & many others, plus essays and reviews. Please inquire to Nate Dorward at the above address. _The Gig_ 6 will be out in late summer, and include work by Karen Mac Cormack, Steve McCaffery, Helen Macdonald, Tony Baker, Ian Davidson, et al. * From Peter Riley's _Author_: IN MANUS TUAS for John Sheppard Gendering touch that gathers and cups like a boat on the rotting sea because I tendered All I am to your safety. Then we are eye to eye, heart to purpose, bent forward in the western wind That blows over the hard and blanched ground towards an idea of work as shelter. The children raised there will blow this distance to anthills, and hand themselves to aerials And hunt themselves to equity in an undertree light loud with one mutual cry--of succession Dying to a rich suture of the future. Deep then in the oily mulch a smouldering hope, a patient ear To another's woe and a door behind the snow. How it seals the film of spring, where we ride forth in company. -------- Nate & Jane Dorward ndorward@sprint.ca http://www.geocities.com/ndorward/ 109 Hounslow Ave., Willowdale, ON, M2N 2B1, Canada ph: (416) 221 6865 ========================================================================= Date: Wed, 17 May 2000 01:26:01 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: channelings, murmurs MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII - channelings, murmurs subterranean domains of the imaginary - word islandings of interrelations apparently crossing indo-european roots. poetry operates, not through the surface of words, but through their islandings. each of the lines below represent a close-knit family of usages. their indo-european origins tend to wander from the islands. the measure of all islands is the measure of culture. poetry is motivated by the measure of culture and swimmings. other languages are similar - look at the wildly disparate kanji for romaji words of similar meanings and pronunciations. we can call all of these satellite sememes. i say: language, poetry, has no center, nothing beyond the sememes and their interrelated streamings. there are many more than the below; some of the examples may seem far- fetched; one has to look beneath the surface oneself. wiggle jiggle giggle waggle jaggle gaggle haggle (see below also) skitter scatter stutter spatter sputter flitter flutter pitter-patter mutter bog sog fog nog quagmire slog bump dump lump sump mump hump jump rump ill spill kill pill nub bub lob sub grub hub / mud dud flood cud bangle jangle slang bang rang clang bick(er) flick lick / kick / stick pick dick (around) swagger haggle jagged ragged wagged fragged worn torn forlorn mourn morn shorn fear squash swish swash awash quash smash splash dash flash flush root rote mood soot foot hut fruit rough stuff gruff tough snuff edge ledge nudge judge ridge fledg(ling) stew rue mew mewl carry tarry hurry dally (?) lull (?) rally sally tally swim sweat swell(ing) swine swoon mount fount bount(iful) haunt taunt (?) pounce (?) little whittle spittle fiddle (around) middle riddle harken earth art hearth forth (go) froth murk mark (?) in some cases, suffixes suffice for the determination; in others, how- ever, the means are literally subterranean. these associative word com- plexes point to more than history or origin; they resonate across issues of being and its metaphysics. _ ========================================================================= Date: Wed, 17 May 2000 10:15:22 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: David Kirschenbaum Subject: New NYC Press/Belladonna Books Mime-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Hi all, Rachel Levitsky and I have started a new press, Belladonna Books, in conjunction with the Belladonna reading series that she curates at Bluestockings Women's Bookstore in New York City. Our goal is to publish work in any format, including postcards, broadsides, chapbooks, and anthologies, by some of the great women writers that this series features. Here are our first efforts, with more to follow in the coming months. Belladonacards #1 & 2 kari edwards #1: "go this way quickly" Mesa brown card, H-5.5" x W-4.25" Published in an edition of 100, 26 of which are signed and lettered by the author. Unsigned $1.50 ppd.; signed and lettered, $3 ppd. #2: "every amerikan amusement park and nearly every elephant" Seaspray blue, H-5.5" x W-8.5" Published in an edition of 50, 10 of which are numbered and signed by the author. Unsigned $2 ppd.; signed and lettered, $4 ppd. Both postcards: unsigned $3 ppd.; signed, $6. Published for her May 4, 2000 Belladonna reading with Marilyn Hacker and Yvette Christianse. Rachel Levitsky, editor Belladonna Books David A. Kirschenbaum, editor & publisher Boog Literature 351 W.24th Street, Suite 19E New York, NY 10011-1510 booglit@excite.com (212) 206-8899 Please make your check or money order payable to Boog Literature. As ever, David _______________________________________________________ Get 100% FREE Internet Access powered by Excite Visit http://freelane.excite.com/freeisp ========================================================================= Date: Wed, 17 May 2000 07:04:38 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Harry Nudel Subject: M&R...we have come to bury the dead.... the Orwellian language of Stan Kunitz on Karl Shapiro "He was a guy who took great chances. He was a gambler. He played the wild card for high stakes, and this is not what the acadamecians/critics wanted........". This rebel won the Pulitzer Prize, the Bollingen Award, Edited the most main stream Poetry mag. for 6 years and taught at the U. of XYX for 40...wrote straight poems for 60 years... What Walter Mitty dreams of rebellion could there be... Prob. drinking and dating his students....why can't we just bury the dead in stiff academic gowns and let them molder forever...DRn... ========================================================================= Date: Wed, 17 May 2000 23:15:20 +1200 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Tony Green Subject: Re: description MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit ok, two more favourite things -- 1. Michel Foucault's description of Velazquez' "Las Meninas" in "The Order of Things" Part I chapter 1. 2. Robert Creeley's description of a postcard reproduction of Poussin's "Inspiration of the Poet" in "Presences", 1976, best Tony Green -----Original Message----- From: Molly Schwartzburg To: POETICS@LISTSERV.ACSU.BUFFALO.EDU Date: Saturday, 13 May 2000 02:59 Subject: Re: description >I'd love a copy of this growing list of descriptions. Maybe you could >"frontchannel" the list of everything contributed when the thread runs >out? > >How about the Shield of Achilles ekphrasis in The Iliad and >Auden's poem of the same title as well, as a pair. > >--Molly Schwartzburg > ========================================================================= Date: Wed, 17 May 2000 09:58:20 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Gary Sullivan Subject: Webpeople MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Hi Everyone, In about two weeks I'm going to officially publish the next Readme (#3), which is still under construction, but before I do that, I wanted to put out a last call for anyone who maintains a literary website: I've got about a dozen entries so far (plus interviews with Alysia Abbott, who runs steveabbott.com, and Briank Kim Stefans, who does arras online), but would love to include more, if possible. If you maintain a site, and want to write up something about your experience (or theories, or goals, etc.), please get in contact with me. If you know someone who maintains a site who might be interested, please forward this message along. Though this is all very much still in progress, you can take a look, if need be: http://www.jps.net/nada/issuethree.htm Thanks, Gary Sullivan gps12@columbia.edu ========================================================================= Date: Wed, 17 May 2000 09:26:44 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Rebecca Wolff Subject: Bernstein Seminar Saturday In-Reply-To: <200005170407.AAA19141@halo.angel.net> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Poetry Society of America presents Charles Bernstein "Poetry and the Performed Word" A Seminar With readings, recordings, and practice in the practice of performing/reading Saturday, May 20th, 2-5 pm The New School 66 West 12th Street, New York Please call PSA Managing Director Caroline Crumpacker at 212-254-9628 if you are interested in attending the seminar. Student rates and scholarships are available. ========================================================================= Date: Wed, 17 May 2000 16:37:51 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Poetics List Subject: Call for Peltier's Parole: Press Conference / Chirot MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit This message came to the administrative account. Chris -- Date: Mon, May 15, 2000 4:14 PM -0500 From: David Baptiste Chirot ---------- Forwarded message ---------- Date: Mon, 15 May 2000 13:29:07 -0500 From: LPDC To: dbchirot@csd.uwm.edu Subject: Call for Peltier's Parole: Press Conference Friends, Below is a press advisory for a Washington DC press conference that will be held this Wednesday, May 17th to call for Leonard Peltier's release through parole. The press conference will occur just hours before the Congressional Human Rights Caucus hold a briefing on the Peltier case. Please forward this information to your local media sources. Thank you. In solidarity, the LPDC Press Conference to Call for Leonard Peltier's Parole 12 May 14:30 Press Conference to Call for Leonard Peltier's Parole Contact: Pat Davis of Leonard Peltier Justice Coalition, 202-518-7781 News Advisory: Nobel Peace Laureate Rigoberta Menchu will join acclaimed author Peter Matthiessen, Amnesty International representatives and Ernie Stevens of the National Congress of American Indians to press the United States government to grant parole and/or clemency in the case of Leonard Peltier. They will speak at a press conference scheduled for 10 a.m. Wednesday, May 17, at the Washington, D.C. offices of Amnesty International, 600 Pennsylvania, SE Washington D.C. Peltier is a Native American leader who has been incarcerated in the United States for 24 years, following his highly controversial conviction for the murder of two FBI agents. Despite disturbing evidence of FBI misconduct in the case, including the coercion of witnesses, the intentional use of false evidence and the concealment of a key ballistics test reflecting his innocence, Peltier has been denied a new trial and is long overdue for parole. He has been recognized by numerous human rights organizations, religious leaders and Nobel laureates as one of the United States' few political prisoners. Domestic and international pressure is mounting for his immediate and unconditional release. The press conference will be followed by a congressional briefing from 2-4 p.m., May 17, Rayburn House Office Building, Room 2358, sponsored by the offices of U.S. Rep. John Porter (R-Ill.), co-chairperson of the Congressional Human Rights Caucus. The witnesses will include survivors of the Pine Ridge Reservation "Reign of Terror," which took place from 1973-1976. During this period 64 Native American members and supporters of the American Indian Movement, or AIM, were murdered on the reservation. Despite a massive FBI presence at the time, there was no adequate investigation and no charges were ever brought for these killings. Menchu and Native American leaders from the United States will also speak on the case. Call the White House Comments Line Today Demand Justice for Leonard Peltier! 202-456-1111 Leonard Peltier Defense Committee PO Box 583 Lawrence, KS 66044 785-842-5774 www.freepeltier.org To subscribe, send a blank message to < lpdc-on@mail-list.com > To unsubscribe, send a blank message to < lpdc-off@mail-list.com > To change your email address, send a message to < lpdc-change@mail-list.com > with your old address in the Subject line ------------------------------------------------------------------------- To subscribe, send a blank message to lpdc-on@mail-list.com To unsubscribe, send a blank message to lpdc-off@mail-list.com To change your email address, send a message to lpdc-change@mail-list.com with your old address in the Subject: line ---------- End Forwarded Message ---------- ========================================================================= Date: Tue, 16 May 2000 09:36:59 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Steve Dickison Subject: ** ROBIN BLASER ** Reserve your seat ** Thursday May 18th ** Mime-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable ** Seriously, we don't want anybody to miss out: call the ODC Theater & reserve your seat for Thursday night: 415-863-9834 ** POETRY CENTER 2000 The Poetry Center & American Poetry Archives presents a reading & celebration of Robin Blaser's 75th birthday ROBIN BLASER Thursday May 18, 7:30 pm, $5 Special Location @ ODC Theater (17th & Shotwell) San Francisco ** Call the Theater for reservations: 415-863-9834 ** ". . . the neighbors have a wooden robin--very still 'til the wind hits--wooden, whining wings-- events--a weather vane--weathecock of the way the wind flows--fane or fana of thought--vane of a congress of such birds--vaned attempt--to see directions-- for the love of destination--new fountain the smoke of art . . ." We're closing our season with an evening that should not be missed by anyone who cares about poetry. * ROBIN BLASER's readings in San Francisco are legendary. * With his great friends Robert Duncan and Jack Spicer, as a young man Mr. Blaser was at the heart of both the Berkeley and the San =46rancisco Renaissances of the 1940s and '50s. * Since the mid-60s he's made his home in Vancouver, British Columbia. * His collected poems, The Holy Forest, is a primary text of our poetic era, a mystery work that enacts the randon=E9e, a quest both romantic and "after the modern" that wanders off at the same time in search of the real and the deeply imaginary. * He will be returning to town following the world premier by the Berlin Staatsopfer under conductor Daniel Barenboim of Sir Harrison Birtwistle's newest opera, The Last Supper--with libretto by Robin Blaser. * Music, refreshments, and festivities will follow, so stay for the party. = * THE ODC THEATER is located at 3153 17th Street at Shotwell in the Mission District cheap, secure parking in the lot across 17th; from 16th Street BART walk one block east to S. Van Ness, one block south & 1/2 block east on 17th ** Call the ODC Theater for reservations: 415-863-9834 ** We expect a sold-out house ** 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 ~ vox 415-338-3401 ~ fax 415-338-0966 ~ ~ ~ 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, 17 May 2000 11:47:27 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Rick Snyder Subject: Cello Entry 2 Mime-Version: 1.0 Content-Type: text/plain; format=flowed Cello Entry 2 is now available. This issue features extended selections of work by: Martin Corless-Smith Gary Sullivan Eleana Kim Kevin Larimer Katy Lederer Joanna Fuhrman John Tipton Also available is Cello Entry 1, from spring 1999, featuring poems by: Hoa Nguyen John Tipton Devin Johnston Joshua Beckman Cathy Wagner Michael O'Leary Each issue costs $4, and a three-issue subscription is $10. Cello Entry 3, due out in September, will include work by Nada Gordon, Noelle Kocot, Peter Neufeld, Max Winter and others. Backchannel or write to: Rick Snyder 442 Lorimer St. #24 Brooklyn, NY 11206 New Yorkers--please mark your calendars for the gala Cello Entry reading and party at 7 p.m. on Thurs., June 8 at Teachers & Writers, 5 Union Sq. W. Many of the poets mentioned above will be present--as will food and wine! Admission is free! ________________________________________________________________________ Get Your Private, Free E-mail from MSN Hotmail at http://www.hotmail.com ========================================================================= Date: Wed, 17 May 2000 13:10:21 -0400 Reply-To: anemone@sprynet.com Sender: UB Poetics discussion group From: Jennifer Ley Organization: Riding the Meridian Subject: Submissions open for Autumn issue of Riding the Meridian MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Submissions are now open for the autumn issue of Riding the Meridian. The issue will not have a theme, per se, but we do plan to explore the intersection between art and literature on the Web, and the precedents for such. Our roundtable discussion will explore the opportunities and challenges our new medium faces, while the 'male version' of our Progressive Dinner Party, "Jumping at the Diner" will present a survey of web specific hypertexts and hypermedia by men working in English. Original, previously unpublished work is being sought in several categories: 1. Hypertext and Hypermedia 2. Digital art works 3. Kinetic and Concrete poetry 4. Classic text work To submit hypertext, hypermedia, digital art, kinetic or concrete poetry, please send a url where the work can be viewed on the web with a brief description of the work and a short bio. To submit text poetry, please send up to four previously unpublished works in the body of an email message with a short bio. In addition, any articles on technical concerns writers and artists face when creating work for the Web would be appropriate for this issue. Please send a brief query letter if you wish to write on any technical subjects. Address all submissions/queries to editor, Jennifer Ley, jley@heelstone.com and include the words "Meridian Submission" in the subject line. Jennifer Ley -- Riding the Meridian: Women and Technology http://www.heelstone.com/meridian ========================================================================= Date: Wed, 17 May 2000 13:35:57 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "John W. Landrigan" Subject: Re: Scalapino MIME-Version: 1.0 Content-Type: text/plain --- Judy Roitman wrote: Folks might be interested in L. Scalapino's take on Whalen in her newish book whose name I am characteristically blocking. --- end of quote --- That would be: THE PUBLIC WORLD/SYNTACTICALLY IMPERMANENCE (Wesleyan/UPNE, 1999) http://www.upne.com/s9_pubwor.html John Landrigan, UPNE ========================================================================= Date: Wed, 17 May 2000 09:42:11 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "R. Drake" Subject: A Wild Salience: The Writing of Rae Armantrout Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit Burning Press is pleased to announce the publication of _ A Wild Salience: The Writing of Rae Armantrout_, edited by Tom Beckett (with Bobbie West and Robert Drake; 180 pgs. perfect bound, ISBN 1-58711-025-3). This collection of essays and appreciations of Armantrout's work includes contributions from the following: * Lyn Hejinian * Laura Moriarty * Aldon L. Nielsen * Rachel Blau DuPlessis * Brenda Hillman * Fanny Howe * Ann Vickery * Susan Wheeler * Lydia Davis * Jessica Grim * Kit Robinson * Robert Creeley * Bobbie West * Tom Beckett * David Bromige * Charles Alexander * Hank Lazer * Bob Perelman * Ron Silliman * Plus "Return Ticket"--poems dedicated to Rae by: Ron Silliman, Carla Harryman, Tom Mandel, Lyn Hejinian, Kit Robinson, Bob Perelman, Steve Benson, Alan Bernheimer, Barrett Watten, and Geoff Young (assembled & edited by Lyn Hejinian) * And 9 poems by Rae Armantrout _A Wild Salience_ is available direct from the publisher for $15 ppd. Grateful thanks to all involved for their hard work and patience. Orders to: Burning Press PO Box 585 Cleveland OH 44102 ========================================================================= Date: Wed, 17 May 2000 13:36:14 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: David Bromige Subject: Re: Fwd: help! / trane devore Comments: cc: trane@uclink4.berkeley.edu In-Reply-To: <293262.3167569233@321maceng.fal.buffalo.edu> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Listmates, Let me urge you to read and act upon what is appended to this post. Let me also take the opportunity to footnote the quatrain I posted several days since. When I headed it "Berkeley Geek Theater" and wrote I met death the other day : He wore a face like Castlereagh. I met Death the other night : Ladies and gentlemen, Madeleine Albright , I was referring to grad ceremonies that had taken place at UC Bkly's Greek Theater, where a convocation was addressed by M.Albright, who publicly stated recently that if the sanctions against Iraq resulted (as the U.N. says they do) in the death of 5,000 Iraqi children, the sanctions were worth these deaths. About that number gave M.A. a standing ovation. To their credit, protesters kept up a barrage of "Shame!" throughout, for which they were dragged off by State Dept police. Living in the KPFA radio range, I forget that not everyone has access to such information--and beyond doubt, M.Albright is among those who look forward to the day when KPFA can broadcast no more. I suppose, given the efficency of censorship-by-corporate-media in the USA, more of you are aware that the first couplet of my quatrain is by Shelley, than of Albright's callous admission and dismissal of her genocides. Except there is still the Internet..... David >This message came to the administrative account. Chris > >---------- Forwarded Message ---------- >Date: Tue, May 16, 2000 11:14 AM -0700 >From: trane devore >Subject: Fwd: help! > >I thought people on the Poetics List might be interested in this. > >Trane > > > >Dear friend of savepacifica, > >No news this time, just an urgent request for funds for the Pacifica >freelancers' strike fund, which supports the production of the strikers' >weekly newscast, Free Speech Radio News. > >After a geneous outpouring of support after the strike began January 31, >donations have tapered off, and there is now so little money in the fund >that the existence of Free Speech Radio News past the month of May is in >jeopardy. > >Funding a quality newscast takes money: in addition to supporting striking >reporters, we have to pay for studio rental and production costs, tape and >CD duplication, satellite rental fees, overnight mailing fees, >long-distance phone bills, etc. > >Please make your check out to Friends of Free Speech Radio, and mail it >to: "Freelancers' Strike Fund," c/o Friends of Free Speech Radio, 905 >Parker St., Berkeley, CA 94710. > >Better yet, become a Free Speech Radio News sustainer by sending a monthly >contribution of $10, $20 or more. If you'd like us to send you a reminder >notice each month, just let us know. > >Thank you on behalf of 42 striking Pacifica freelance reporters. > > > > >***************************************************************** > website: http//www.savepacifica.net > email: savepacifica@peacenet.org > subscribe/unsubscribe: Visit >http://www.savepacifica.net/subscribe.html ========================================================================= Date: Wed, 17 May 2000 12:22:32 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Thomas Bell Organization: @Home Network Subject: Re: Webpeople MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Gary, I'm not sure what you are seeking, but you might want to look at my home page: http://members.home.net/trbell/ tom -- //\\//\\//\\//\\//\\//\\//\\//\\//\\//\\//\\//\\ 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: Thu, 18 May 2000 09:45:36 +1200 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Tony Green Subject: Re: opposite of description MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit suggestion: opposite of description is inattention. best Tony Green ========================================================================= Date: Wed, 17 May 2000 21:08:32 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: David Bromige Subject: correction Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" that should have read 500,000 Iraqi children; the 5,000 refers only to the audience that gave M Albright a standing ovation. Apologies. David ========================================================================= Date: Thu, 18 May 2000 01:07:44 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Shemurph@AOL.COM Subject: Potes & Poets Website MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Please check out -- the new website of Potes & Poets Press. It features the complete list of the press' books. Also a special chapbook offer not available elsewhere. Potes & Poets Press is a leading publisher of experimental literature since 1981. The site was set up by durationpress.com for a small fee. ========================================================================= Date: Thu, 18 May 2000 02:11:52 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Anselm Hollo Subject: Re: POETICS Digest - 16 May 2000 to 17 May 2000 (#2000-80) MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit In a message dated 5/17/00 10:18:19 PM, LISTSERV@LISTSERV.ACSU.BUFFALO.EDU writes: << He will be returning to town following the world premier by the Berlin Staatsopfer >> (SFSU / Steve Dickison) premier shd be premiere Staatsopfer shd be Staatsoper Staatsopfer: "state sacrifice" Staatsoper: "state opera" yrs pedantically (BUT IF you're gonna use them fancy furrin woids, you might as well check them out first), Anselm Hollo ========================================================================= Date: Thu, 18 May 2000 03:34:47 -0500 Reply-To: David Baptiste Chirot Sender: UB Poetics discussion group From: David Baptiste Chirot Subject: [Y4M] 2 big pieces of news on Mumia case (fwd) MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Content-Transfer-Encoding: QUOTED-PRINTABLE =09Please contact the address/phone/fax given below ---------- Forwarded message ---------- Date: Wed, 17 May 2000 19:36:43 -0400 From: Artists Network of Refuse & Resist! To: Artists Network/LA Subject: [Y4M] 2 big pieces of news on Mumia case 1. Important Development in Mumia=92s Legal Case 2. Attack on Clark Kissinger and Frances Goldin 1. Important Development in Mumia=92s Legal Case In response to a request by Mumia=92s legal team, Judge Yohn has granted permission for the defense to file a supplemental brief on the issues raised by the recent Supreme Court decisions on the Effective Death Penalty Act (the two Williams v. Taylor cases). This is good news. The defense team has until June 2 to file this brief, which cannot exceed 15 pages. The prosecution has until June 23 to reply. It means that the first hearing in Mumia=92s habeas petition before Judge Yohn will be not be until after June 23.=20 (posted May 17, 2000, by Clark Kissinger) 2. Attack on Clark Kissinger and Frances Goldin Below is a letter from attorney Michael Tarif Warren concerning an outrageous attack on two people who have been at the center of the movement to stop the execution of Mumia: Clark Kissinger of Refuse & Resist! and Frances Goldin, Mumia=92s literary agent.=20 Dear friends, In the last few weeks, a very serious attempt by the government to stifle the movement for justice for Mumia Abu-Jamal has unfolded. This is a tribute to our effectiveness, but it also demands that we vigorously respond. I am asking you to join with me in signing the attached statement which will be published and forwarded to the appropriate federal court judge. Please send permission to attach your name to me at 580 Washington Ave., Brooklyn, NY 11238, or phone or fax to the numbers above. Those who wish to contribute to the cost of the appeal may also sent a check made out to Frances Goldin, at 305 E. 11th St., #26, New York, NY 10003. Let=92s keep the voices defending our political prisoners on line and fighting. Sincerely, Michael Tarif Warren * * * * WE PROTEST We are writing to protest a serious attempt by the federal government to cripple the work of some of the staunchest supporters of Mumia Abu-Jamal. Clark Kissinger, organizer of the national leadership conferences for Mumia, Frances Goldin, Mumia=92s literary agent, and several others have been sentenced by a federal magistrate to a fine and one year supervised probation. Ms. Goldin and Mr. Kissinger are forbidden to associate with felons (i.e. Mumia) and cannot leave their federal court district in New York City without the permission of a probation officer for one year. In addition, they are required to be employed at a regular job (i.e. no full-time volunteer work for Mumia), they have to surrender their passports, submit to visits to their homes and offices by probations officers, list all persons they are in contact with who have been convicted of a crime, and turn in detailed financial records every month on where their money comes from and how they spend it. These Orwellian restrictions were imposed as the result of a peaceful protest and civil disobedience action last year at the Liberty Bell in Philadelphia. Ninety-six people were issued summonses by Park Rangers for "failing to obey a lawful order." This infraction is not even a misdemeanor. It is classified as a "petty offense" and is equivalent to a traffic ticket. Yet everyone who refused to return the summons pleading guilty and paying the fixed fine =97 and who had the temerity to ask for a trial =97 was given one-year supervised probation in addition to the fine. In addition, Mr. Kissinger=92s wife has been served with a subpoena to produce all her financial records for the last ten years and to testify before a federal grand jury. This is a giant fishing expedition by federal agents, that further exposes the role of the federal government in attempting to execute Mumia and silence the movement in his defense. There are two principles worth fighting for here. The first is the right to have a trial. Mr. Kissinger, Ms. Goldin, and the others were given the one-year probation as punishment for asking for a trial. The second is that the government has no right to restrict key organizers and pry into their private associations and finances. These judicial actions are an outrage and are clearly aimed at "shutting down" anyone who works effectively for Mumia. The progressive forces in this country cannot surrender the right to a trial, nor can we tolerate the attempt of the government to "ground" those working for Mumia. The imposition of these judicial restrictions and subpoenas on leading activists and their families serves no purpose other than to chill the first amendment rights of those who have been most effective in bringing Mumia=92s case before the public. We demand that they be stayed at once, and overturned by the appeals court. ------------------------------------------------------------------------ Accurate impartial advice on everything from laptops to table saws. http://click.egroups.com/1/3020/3/_/30522/_/958609685/ ------------------------------------------------------------------------ Stop the execution! New trial for Mumia! Youth & Students for Mumia www.mumia2000.org To subscribe or unsubscribe email: youth-4-mumia-owner@egroups.com ========================================================================= Date: Wed, 17 May 2000 21:25:48 +0000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: kathylou@ATT.NET Subject: Re: ALA panel next week (in Long Beach, CA) The complete program for the 2000 ALA conference is available on the Web at: http://humanities.byu.edu/ALA/2000_Program.htm And, of course, the panel on which I am appearing is scheduled for 3:30 to 4:50 PM (I did a copy and paste off the program -- it was their error, I swear). There doesn't appear to be a great deal of presentations on the poetry side of things, but there are other intriguing panels on such topics as "proletarian literature" and "black masculinities." Have a look for yourself. Kathy Lou Schultz > >If you're in the neighborhood, or planning to attend the > >American Literature Association conference, stop by and > >see us (address below)! > > > >Sessions VII: Thursday, May 25, 2000, > > Does this mean there are to be VI other sessions in Long Beach next > week, and if so, can you list these also? I realize these -could_ have > taken place in previous yeArs, but at the same time, a conference that > lasts only an hour and a quarter sounds unlikely. > > > >3:30-4:50 a.m. > > > These hours would suit me....I'm not sure if the custodians will want > to hang around to lock up afterwards. > > > > > >1. NEW POETS / NEW POETRIES, Regency C > >Chair: Aldon L. Nielsen, Loyola Marymount University and > >the George Moses Horton Society for the Study of African > >American Poetry > > > >1. "Rock and a Hard Place: Erica Hunt and the Poetics of > >African American Postmodernity," Kathy Lou Schultz, > >Independent Scholar > > > >2. "Slam Nation(s): Emerging Poetries, Imagined > >Communities," Meta DuEwa Jones, Stanford University > > > >3. "New Poetry," Harryette Mullen, University of > >California, Los Angeles > > > >Hyatt Regency Long Beach > > > >200 Pine Avenue > > > >Long Beach CA 90802 > > > >^^^^^^^^^^^^^^^^^^^^^^^^^^^^^ > >Kathy Lou Schultz > >Editor & Publisher > >Lipstick Eleven ========================================================================= Date: Thu, 18 May 2000 11:20:37 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Bill Berkson Subject: Re: opposite of description In-Reply-To: <006101bfc04a$4b376e20$533061cb@a> MIME-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit That's better. "Depiction," as I understand it, involves painting (and to a certain extent, vice versa); it is the procedure in pictorial art analogous to that of description in writing. Neither depiction nor description have anything necessarily to do with transparency, though obviously you can try to make it "so real you could reach out and touch" the thing thus represented. The "de-" in both cases bears the connotation of either "off" or "of," or then again, "from." I prefer "off" (writing "off" something perceived or imagined, as a point of departure, a motif) or "from" ("I painted -- or wrote? -- this from life"). Thus, to prefer description over depiction seems a piece of nonsense -- unless of course you just don't like painting. Urged on this a.m. by Anselm Hollo's adroit, ever-alert, corrective spirit. Amen. Bill Berkson on 5/17/00 2:45 PM, Tony Green at tgreen@CLEAR.NET.NZ wrote: > suggestion: opposite of description is inattention. best Tony Green ========================================================================= Date: Thu, 18 May 2000 11:44:16 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: David Larsen Subject: Hand Vs. Mouth Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Coming to San Francisco's BLUE BOOKS, 766 Valencia St. (at the New College of California): HAND VS. MOUTH, a survey of works by local visual artists, poets, and book-makers Brice Hobbs, Micah Ballard, Marina Eckler, Adam de Graff, Brandon Downing, Beth Lifson, Noel Black, Dan Golden, Mary Burger, Lauren Gudath, David Larsen, Eugene Ostashevsky, Mark Gonzales, Will Yackulic, Darin Klein, Jo Jackson, et alii. Soft Opening on Thurs. May 25th: Reading and signing his new book, SERENADE (zoland books, 2000), local arts hero and poet Bill Berkson will be joined by SF wunderkind Marina Eckler at 7:30 pm. Hard Opening, Sat. May 27th: Hell unleashed. Drinks, DJ's and DEPRAVITY. Show continues through Thurs. June 1st (hours, 12noon-6pm daily), & will also be on display at the Small Press Traffic with Kit Robinson & Lisa Samuels on Fri. May 26, 2000, 7:30 p.m. Catalogue $2. ========================================================================= Date: Thu, 18 May 2000 08:57:43 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Maria Damon Subject: Re: Anti-description In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" proscription? At 11:37 AM -0700 5/15/00, Hilton Obenzinger wrote: >>What be the opposite of de-scription? >> >> >>__________________________________________________ >>Do You Yahoo!? >>Send instant messages & get email alerts with Yahoo! Messenger. >>http://im.yahoo.com/ > >Various answers: > >Pre-scription > >Philosophy > >God-The-Father > >A Road Map > > >Hilton Obenzinger ========================================================================= Date: Thu, 18 May 2000 12:36:21 -0400 Reply-To: patrick@proximate.org Sender: UB Poetics discussion group From: Patrick Herron Subject: ZZZZREPLYZZZZ MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit What's going on here before your eyes, on this screen? Yes, I am talking to you. Is it after the end of our world? Where has everyone gone? Click Reply. Speak louder, I cannot hear you. I know everyone, as I know someone, or at least that is knowledge of many and one good enough for them. What they say, everyone, is what they say. Everyone is one, yes, someone, so one is many and many, one. You read that once, in a dream, but you have forgotten it. You are everyone, you are sleeping as one, as many things, all slowing down. Everyone turns at least once each night. Click Reply. Speak louder. Normally everyone is what they say. Everyone is someone, or so they say. Or so that's what they say because someone has disappeared from this screen and our world is at an end. I am talking to you, only you. Everyone. Someone. Click Reply. I cannot hear you. Only silent things are said after the end of our world. Patrick Herron ========================================================================= Date: Thu, 18 May 2000 12:33:07 -0400 Reply-To: patrick@proximate.org Sender: UB Poetics discussion group From: Patrick Herron Subject: Sarin Train MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Hiroshige Sugazaki, 58, survivor of the Aum Shinrikyo sarin gas attack on a Tokyo Subway, 20 March 1995 train door opened morning turned looked man leather stinks thought stared eye lying feet spilling nobody left stinks head spinning rest tried stand couldn't legs gone handstrap dangled pole grabbed slid floor photo tabloids television lying floor out carried away hospital no awareness time passing no awareness paradise anxious never see face no reaction heard consciousness thanks back to life nurses beautiful everyone laughs hospital frightening brush against feel cold damp hand drag into darkness whispering anything cold fears resurface bath couldn't alone scared stay until don't leave morning stinks eye spilling spinning gone slid tabloid out consciousness thanks life spilling life one morning: you are sitting on the subway on your sitting way to work and this jerk next to sitting you smells badly and is staring at you kind of funny and then his friend is spilling something between his feet and so they smell you are choosing to stand up and move away from them and your legs are giving way and you are dangling from a handstrap consciousness slipping and tabloids are selling your photo hanging and you are returning from paradise of the empty three days three days three days as your lightly daughter is whispering lightly you will never lightly see your grandchild and the nurse is touching you and she is beautiful and you are exactly here where you are now and you remember and you are scared and you are here: morning one life spilling life thanks consciousness out tabloid slid gone spinning spilling eye stinks morning leave don't until stay scared alone couldn't bath resurface fears cold anything whispering darkness into drag hand damp cold feel against brush frightening hospital laughs everyone beautiful nurses life to back thanks consciousness heard reaction no face see never anxious paradise awareness no passing time awareness no hospital away carried out floor lying television tabloids photo floor slid grabbed pole dangled handstrap gone legs couldn't stand tried rest spinning head stinks left nobody spilling feet lying eye stared thought stinks leather man looked turned morning opened door train Patrick Herron ========================================================================= Date: Thu, 18 May 2000 14:02:16 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: michael amberwind Subject: Re: Hey, I may be a little right of Attila the Hun, but I could be correct! MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii If I listened to their broadcasts (I don't, tho that may change) I'd support them by buying whatever they may advertise during their broadcast, assuming it had any value to me. The advertisers would then pay the company, the company would then pay the employees. Any of the individuals engaged in these transactions are free to walk away from them at any time. What does this have to do with poetry? Glad you enquired. Do I get money or credit for poems I don't write, no matter how noble the reason for not writing them? Not bloody likely. Maybe I'll go on strike as a union of one and wait for everyone on this list to send me big fat cheques! Don't worry, I'll even give you reminders every day to send me those blank cheques, because I know you have many things to think about, and these things can slip your mind. Send yr money (I'll take cash, cheque or money order) to: MICHAEL BOGUE 261 BRUNSWICK CR. LONDON ON. N6G 3L1 I'll be sitting by my mailbox waiting for the inevitable deluge. --- > Dear friend of savepacifica, > > No news this time, just an urgent request for funds > for the Pacifica > freelancers' strike fund, which supports the > production of the strikers' > weekly newscast, Free Speech Radio News. > > After a geneous outpouring of support after the > strike began January 31, > donations have tapered off, and there is now so > little money in the fund > that the existence of Free Speech Radio News past > the month of May is in > jeopardy. > > Funding a quality newscast takes money: in addition > to supporting striking > reporters, we have to pay for studio rental and > production costs, tape and > CD duplication, satellite rental fees, overnight > mailing fees, > long-distance phone bills, etc. > > Please make your check out to Friends of Free Speech > Radio, and mail it > to: "Freelancers' Strike Fund," c/o Friends of Free > Speech Radio, 905 > Parker St., Berkeley, CA 94710. > > Better yet, become a Free Speech Radio News > sustainer by sending a monthly > contribution of $10, $20 or more. If you'd like us > to send you a reminder > notice each month, just let us know. > > Thank you on behalf of 42 striking Pacifica > freelance reporters. __________________________________________________ Do You Yahoo!? Send instant messages & get email alerts with Yahoo! Messenger. http://im.yahoo.com/ ========================================================================= Date: Thu, 18 May 2000 14:14:22 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: michael amberwind Subject: Re: What if I were a lawyer.... MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii What if I were a lawyer and spent my whole life on a case defending a man screwed by the system for one reason or another and there were huge protest marches and Gene Hackman played me in the Holly- wood version of the tale and the man was finally released and his dying words to me were "IdiditIdiditIdiditIdidit" would I then know what it means to be a poet? Does anyone read this stuff, anyway? __________________________________________________ Do You Yahoo!? Send instant messages & get email alerts with Yahoo! Messenger. http://im.yahoo.com/ ========================================================================= Date: Thu, 18 May 2000 18:22:56 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Harry Nudel Subject: M&R...poor old tired horse Can't help noticin' most postings to this list direct us (E)lsewhwere..nice, to be where, we, presumably, are...this mail hors(e) no go backwards to those obsolete bridled forms...the po(e)try book, the po(e)try mag., the po(e)try reading, the po(e)try prof. job...they no be no road no mor(e).... BROKEN CHORD HTML AVE 2OO1 MARIA NAS SMALL CAP. DAQ CEO NICHE SITE POPULA R LOV(E) HI 2.....................DRn..... ========================================================================= Date: Thu, 18 May 2000 17:34:10 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Catherine Daly Organization: e.g. Subject: [Fwd: Publishing Online Poetry Contest] MIME-version: 1.0 Content-type: text/plain; charset=us-ascii Content-transfer-encoding: 7bit Did this give anyone else the creeps? I know Verse editors are on list, but "upload and we''ll charge your credit card the entry fee"? What are audio rights? "Audio production"? Is someone besides me going to read my work into RealAudio? That's a prize? How much are they paying authors of books for "digital rights"? Their existing texts are largely in the public domain -- what should anyone pay them $5.00 for Spinoza's _Ethics_ when they can get it any number of places for free? Should I start deeply encoding my name into all of my poems (as everyone should do with corporate work)? Could publishingonline.com have more and more conflicting GUI? > First Annual POL Poetry Awards > > PublishingOnline.com is deeply committed to writers and to the fine art of > writing. In keeping with this philosophy, PublishingOnline.com, in > collaboration with Verse magazine, will sponsor the First Annual POL Poetry > Awards as a means of promoting poetry in the digital medium. We are also > pleased to announce that the renowned poet, Heather McHugh, will be the final > judge for this year's POL Poetry Awards. Heather McHugh is the recipient of > numerous awards for her poetry and a current chancellor for the prestigious > Academy of American Poets. > > Please read on for the complete submission guidelines. > First Prize: > $3000 > Publication with PublishingOnline.com > Audio Production of Work to be featured with PublishingOnline.com > Publication in VERSE > > Second Prize: > $2000 > Publication with PublishingOnline.com > Audio Production of Work to be featured with PublishingOnline.com > > Third Prize: > $1000 > Publication with PublishingOnline.com > Audio Production of Work to be featured with PublishingOnline.com > > Announcement of Finalists: November, 2000. > Announcement of Winners: January, 2001. > > HOW TO SUBMIT: > You may submit up to five poems of not more than 12 pages of previously > unpublished poems. > > For Submissions via Upload: > We strongly encourage you to submit your poetry to us online! A $10 reading > fee will be charged to your credit card at the time of upload. > > Please do not include your name anywhere within the actual files. > > By virtue of entering this contest, all poets agree to give > PublishingOnline.com and Verse First North American rights to poems, and > poets agree to give PublishingOnline.com audio rights to poems in the event > of winning, or awards will be forfeited. Please e-mail us at > info@publishingonline.com if you have any further questions about the POL > Poetry Awards. ========================================================================= Date: Thu, 18 May 2000 22:07:15 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Philip Nikolayev Subject: Review of JOHN KINSELLA Mime-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Hello! Here is my review of a few books by the poet John Kinsella, which appears in the current issue of Harvard Review. This seems an appropriate venue to reproduce it. As always, I welcome any reactions, opinions, comments. Philip Nikolayev ___________________________ Poems 1980-1994 by John Kinsella. Fremantle Arts Centre Press, 1997. ISBN 18633681779 (paper). Genre by John Kinsella. Fremantle Arts Centre Press, 1997. ISBN 1863681922 (paper). Visitants by John Kinsella. Bloodaxe Books, 1999. ISBN: 1852245050 (paper). In spite of its great vitality and richness, Australian poetry remains little known in the United States =96 a fact especially deplorable since a close look at the current Australian poetry scene may reveal a healthier model than either our own American or the British. While the English-language poetries of the Northern Hemisphere are largely divided into isolated camps and aesthetics, all rife with our cherished "politics of poetic form," the Australians are having fun. There are no poetry camps down under and no aesthetic antagonisms. A lot of very different things are going on, but Australian poetry as a whole exhibits a harmonious, pluralistic oneness: the issue of "correct form" is dead and a formal anarchy rules.=20 John Kinsella's work is imbued with precisely the kind of holistic energy that such a neurosis-free "cultural politics" tends to release. A selected, Poems 1980-1994 reveals a stylistic diversity that unabashedly spans the presumable extremes of "lyricism" and "avantgarde," "formalism" and "experimentalism," or, in Les Murray's more authentic phrase, between the Athenian and the Boeotian poles of the Autralian poetic imagination. Kinsella exemplifies the modern process whereby poetics are naturally evolving into and fusing with metapoetics. The emphasis is not so much on form as on the metapoetic statement. The mechanism that conveys the statement is the interplay between the idiosyncratic, personal vision, and the careful concealment of the lyric I, the avoidance of the personal or emotional statement. This discontinuity, the obstruction of Romantic "organic form," is one of the salient features of Kinsella's aesthetic. A personal vision is presented quasi-objectively, as if from outside =96 a quality that might give it the firmness of true myth, were it not for the explosive derailments of traditional discourse in the more experimental sections of Kinsella's work. These, however, are accomplished without the loss of vividness or coherence: Swift overload catapulting recrimination the largess culminating cinema papers boys-own-annual-ing from post office to mailbox and bicycle-clip braces on the maligned bull-terrier's teeth: an island of green reticulated sucked into the soft pink of the suburb... The evanescence of the lyric self is echoed by the features of that perpetual doppelganger of the mind, the landscape, which happens to be predominantly the harsh, rural and flat landscape of Western Australia, filled with friable and fluid substances (water, smoke, sand, dust, salt). Its reconceptualized map stretches throughout Kinsella's writing, narrative-representational and experimental alike; it links his diverse aesthetics, reconciling transparence and opaqueness, the iconic view and a kaleidoscope of visions. Some of the most moving parts of the book are about wild and domestic animals, and a few passages may go a long way toward turning the reader into a vegetarian. A part of Kinsella's apparent intention is to destabilize the reading process, to yank firm ground from under it. The erudite poet is well tuned in to current Anglo- and Francophone literary theory. Whether or not one agrees with the poststructuralist, skeptical schools of thought, it is interesting to observe their feedback as practicing poets use them in constructing their own aesthetics. Kinsella's Genre, dedicated to Jaques Derrida, may be seen as an aesthetic validation of deconstruction. It is in a genre beyond genres: not a forest of symbols, nor even of floating signifiers, but a glowing fusion of discourses, prosaic and poetic, literary and critical, authored and "found," comprising a large but finite number of plots and ideas, all wedged and twisted into a labyrinthine structure, chopped up and rejoined by way of fragmentation and montage, all interrupted and resuming in cycles, but retaining an intelligible pace throughout the volume, some reaching a moment of closure and some not. The graphic presentation is important: the whole work consists of lines identical length, about two thirds of the page width, and without a single line or paragraph break =96 an almost perfect rectangular solid of text. Poems, narratives, letters, cover letters, erotic scenes, critical analyses are all mixed up here, stripped of any stable context and yet each endowed with a phenomenal continuity. Subjects range from Western cultural hermeneutics to South Asian politics, from a poacher hunt the last Tasmanian tiger to (fictional) psychedelic experiences, from animals to Language Poetry, from art to science to social issues. The overall effect, paradoxically, is not an impassable aporia, but effervescent and memorable discourse. Visitants, his latest volume of poems, is vintage Kinsella, but with some new features, one of which is a somewhat greater lushness of verse and perception, and often a greater thematic density within a single poem. Along with ideas of otherness and alienness (the "visitants" are quintessential "aliens"), the book explores various divisions within humanity: class, sex, age, authority, party, property, belief, ethics, etc. One of the central concerns is superstition and faith in the occult =96 a phenomenon that is not subjected to any overt criticism but presented in Kinsella's "quasi-objective" style, like emanations of surreal possible worlds admitted into the radically contingent quiddity of existence. While in much of Kinsella's writing there appears to be an impulse toward unsettling the habitual norms of discourse, his experimentalism is refreshingly synthetic and constructive, rather than obscurantist or dissociative. It is a rebellion against the fixed possibilities of reading which nevertheless remains eminently readable. Kinsella's poetic intellect may be a school unto itself, but is little concerned with the conventional schools and camps of poetry, simply because it has far better things to do. Philip Nikolayev ========================================================================= Date: Fri, 19 May 2000 00:53:20 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Aaron Vidaver Subject: Anomalous Parlance 5: BAD INFINITY (Vancouver) Mime-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 8bit Anomalous Parlance 5: Bad Infinity by Susan Clark, with a talk: "as lit x" Sunday May 28th 2pm Kootenay School of Writing 201 - 505 Hamilton Street Vancouver BC $5/$3 Susan Clark reads from her Levinasian long poem Bad Infinity and delivers a talk "as lit x". Clark's previous books include Believing in the World: a reference work (Tsunami 1989) and the manuscripts Suck Glow, Theatre of the New World of the Time, and Mutability Lyrics. "hyster.pom" appears in West Coast Line 24 (1997-1998); an excerpt from "The Verge" in Raddle Moon 17 (1998); and "Gether" in The Gig 3 (1999). She edits the journal Raddle Moon. A series of Clark's hand-made books -- Excess Flesh, Three Tea Books, "she spat apolitically / a primitive rule", Double Hula Book for ladies, "his only assent was his function", and Mélancholie -- will also be on display. ... Every capitalization dials where we are up A name plaque round the memorial side where the area "gently but regularly rises to the middle" I was so sure it meant that I even though even it mistook its instructions in time Welcome. (from "Tied to a Post -- essay in abstraction" -- from Bad Infinity) Because inquiry as Lack addressing Fullness hopelessly from its sheer proscenium just highlights the drool -- the big sticky on stage, flailing, lit, forgotten and forgetting [i.e. perfect] -- the encyclopaedia is secretly modelled -- like language -- on the religio-romantic concept of Devotion which makes it all better by proposing then necessitating an infinitely postponed salvation to clean up the mess. (from "Gether" -- from "the Agglomerative" -- a classifying section of Bad Infinity) ... BAD INFINITY is the fifth of six events in the Anomalous Parlance series at KSW, curated by Aaron Vidaver. Upcoming participants in the series include Christine Stewart (June 25). Kootenay School of Writing Charles Watts Memorial Library Open Sundays 1-5pm (05/21-08/27) 604-688-6001 / info@ksw.net / www.ksw.net ========================================================================= Date: Fri, 19 May 2000 06:06:59 PDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Ron Silliman Subject: Hey, you may indeed be a little right of Attila the Hun, but .... Mime-Version: 1.0 Content-Type: text/plain; format=flowed "If I listened to their broadcasts (I don't, tho that may change) I'd support them by buying whatever they may advertise during their broadcast, assuming it had any value to me. The advertisers would then pay the company, the company would then pay the employees. Any of the individuals engaged in these transactions are free to walk away from them at any time. What does this have to do with poetry? Glad you enquired." -- Michael Amberwind (if they give out prizes for pen names, he's gonna win one) KPFA is a community based radio station, which means that there are NO advertisements, not even of the non-advert kind familiar to all from PBS, NPR and CBC. In fact, it was KPFA and the Pacifica Radio Network that first thought up the idea of listener sponsorship. I personally got sucked into listening on the Xmas of my 12th year when my mom gave me a transistor radio that had FM on it (we're talkin' '58 here) and literally heard Dylan Thomas reading A Child's Christmas in Wales that day while bowling. I'd already missed the early shows by Jack Spicer, but I certainly heard David Gitin's great series with tapes of Olson and the like, and later Clark Coolidge's similar series. Many of the rules as to what can (and cannot) be heard over the radio and when derive from the work of KPFA, specifically from a court case that started because of the broadcast of Allen Ginsberg reading Howl. In the American Tree, originally hosted by Kit Robinson & Erica Hunt, was a radio program before it was a book. And Jack Foley has done a lot of good stuff in more recent years. So this has indeed everything to do with poetry, Ron Silliman PS, you could make the same case for comtemporary music, esp. with the great folk music shows (that's what Spicer had, by the way), plus the work of Charles Amirkhanian, Henry Kaiser, Opal Nations, Chris Strachwitz, Charles Shere et al. Or news coverage, or or or..... ________________________________________________________________________ Get Your Private, Free E-mail from MSN Hotmail at http://www.hotmail.com ========================================================================= Date: Fri, 19 May 2000 06:22:13 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: David Kirschenbaum Subject: Need Contact Info for Carla Harryman Mime-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Hi all, I need contact info, preferably email address but postal will do, for Carla Harryman. Please back channel. thanks, David _______________________________________________________ Get 100% FREE Internet Access powered by Excite Visit http://freelane.excite.com/freeisp ========================================================================= Date: Fri, 19 May 2000 11:18:10 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Linda Russo Subject: verdure #2 MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit verdure, a magazine of poetry and poetics announces the publication of its second issue featuring Lisa Samuels on Lyn Hejinian's "Reason" Nick Lawrence on readings: Friedlander, Kocik, Kyger and Robertson Robert Kocik on "overcoming fitness" (an 'inter'-view) Linda Russo on The Ronald Johnson Conference Anna Reckin on Fanny Howe A Symposium on Aaron Williamson, ed. Jonathan Skinner single issues: $4; subscription for 3 issues (1 year): $10 for a limited time: backissues of #1 available for $1 send requests to verdure 19 Hodge Ave., no. 9 Buffalo, NY 14222 ========================================================================= Date: Fri, 19 May 2000 11:33:50 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: David Baptiste Chirot Subject: "if you're going to SF":Robert Filliou/871 Fine Arts (fwd) MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Filliou: poet, mail artist: "the Eternal Network" . . . performance artist-- Press Release from 871 Fine Arts: "Robert Filliou: Poet and Artist (1926 - 1987) 871 Fine Arts is pleased to present an exhibition of the French Fluxus artist, Robert Filliou. A charter member of Fluxus, Filliou was born in 1926. He emigrated to the United States in 1946 where he attended UCLA. After graduating with a masters degree in economics in 1951, he became an American citizen. The concept of play is at the core of Filliou's work. Ephemeral in nature, mired in word play, his pieces are almost always concerned with the problem of creativity itself and with new ways to foster it. He participated in many "street events" and happenings after he returned to Paris in 1959. Deeply affected by the social and political upheavals of the late 1960s, his artistic work followed the concepts of creative and intellectual play laid out by the intellectuals in the revolutionary environment of Paris in the 1960s and '70s. Indeed, the idea of play became a symbol of revolutionary protest. One of his more interesting pieces, "The Hand Show" clearly demonstrates Filliou's concerns. It is a series of photographs of artists' hands. It addresses the unlimited number of possibilities that lie within the hands of artists. for Filliou, these possibilities are endless and inherently valuable for society. Another piece on view in this exhibition is "The, A Novel Robert Filliou" 1976, a shallow cardboard box cut out in one corner to accommodate a smaller box, with the title scrawled on each. For Filliou, art was serious play and he dedicated his life to reconsidering what the world would be like if people were allowed to play, to dream and to create. This exhibition will be on view from April 6th to July 8th." 871 Fine Arts 49 Geary Street, Suite 513 San Francisco, CA 94108 Dealers in Art: 415/543-5155; Dealers in Art Books & Catalogues: 415/543-5812; Fax 415/398-9388 email: f871@earthlink.net Note from Patricia: Please take note of the above numbers/emails. Adrienne Fish at 871 Fine Arts is an excellent source for new and used art books and catalogues and has a very good Fluxus selection of books, posters, art. Her exhibits are always fascinating and out of the ordinary. Best, PK ========================================================================= Date: Fri, 19 May 2000 03:17:20 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: GasHeart@AOL.COM Subject: Philly: Theater, Music, Film - Art Party - This Saturday MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Reminder, Art Party, It's This Saturday All are invited to an Art Party ! Come celebrate art and its diversity. Join other artists and musicians for an evening of poetry and song, art and film. Featuring Bands, DJ's, Puppets, Video Art, Performance Art, Collaboration, Painting Where: Killtime, 3854 Lancaster Ave., Philadelphia, PA When: Saturday, May 20th, 2000 What time: From 8 pm until 2 am Only $ 5 Schedule 8 pm I'm Your Man (art rock) 8:45 Drum/dance with video projected on large balloon 9:15 Secession Movement (rock) 10:00 Puppets - Shoddy Puppets, the Story of the Saints and the Snakes 10:30 Dyke (men dressed as women singing songs about how great women are) 11:15 Beach Balls (operatic versions of cheesy 80's songs) 12:00 Lexicon ("original instrumental rawk") DJ's in backyard courtyard: Shok (trance/techno), Thorn (new wave), Ultra (floor rippin'), The Black Oil (dark), DJ Niku (spacey/chill out) Performance Art: The Great Quentini, Josh Cohen, more Video Art: from The Institute of Contemporary Art, more Other Performers: Unsound (electro-acoustical), Jim L. Jones (house, played live), Lavender Hill Mob (funky beats), Aharon Varady on toy instruments, Pussy Liquor was one that Gina booked and he plays music described as psychedelic death lounge-a-go-go Art on Walls: Tricia Gdowik, Chris Vecchio, Steve Gdowik, Jackie McAdams, Gina Renzi, David Deitch Emcee: Keith Cohen Pot Luck: Bring Food at 8 pm, if you want to Contact Josh Cohen at GasHeart@aol.com with any questions for up-to-date information visit www.groovelingo.com/artparty save the date, mark your calandar spread the word, bring your friends, forward this email, publish in your newspaper (you know who you are) thanks to gina and trishy for their help pulling this all together i hope to see a lot of you from the 'Philly: Theater, Music, Film' list Come out to see who else is on the list. i know i haven't put an issue out in the last month, but that was because i am putting energy into this event -josh - ========================================================================= Date: Fri, 19 May 2000 11:50:54 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Willliam J. Austin" Organization: SUNY Farmingdale Subject: Re: Errida MIME-version: 1.0 Content-type: MULTIPART/MIXED; BOUNDARY="Boundary_(ID_WIJXbQTOFmr9qbfBKIYm5Q)" This is a multi-part message in MIME format. --Boundary_(ID_WIJXbQTOFmr9qbfBKIYm5Q) Content-type: text/plain; charset=us-ascii I suggest Writing and Difference, Of Grammatology, Disseminations for the answers to all of your questions. The arguments, pretty damn logical, are there. As for Western Metaphysics, Derrida's point is no more complicated than this: philosophy in the west has always proceeded from some version of absolute ground, i.e., a priori structure, as does all logical argument. It is this refusal to interrogate the center/first principle (obvious or concealed, as in the case of Wittgenstein, both early and late) that raises suspicion. Derrida's logic is to use the machinery of logic, but to push it as far as it will go (not stopping at some provisional source). He has always admitted that we are trapped within the metaphysics of language and cannot write outside of those borders. All I'm asking is, if D can deconstruct all "sources" (and he can and does as many as are possible in a limited lifetime), then anyone who opposes him better mount an argument that demonstrates that these sources/first principles (or at least one of them) are self identical. Because that's what it will take to debunk Derrida. Really, D is an ontological atheist in opposition to the philosophers of faith (a priori believers). It is always the responsibility of those who propose the existence of god/source/center/self-identical first principle to prove their case. For example, if D can show that the self identical cogito is not, in fact, self identical, then it's up to Descartes to prove otherwise. Of course language participates in the metaphysical tradition. The ground for meaning, and therefore meaning itself in any absolute sense, is forever deferred. But language encourages us to accept what is provisional as absolute in order to accept some sense of determinacy without which we could hardly get along. MAYHEW wrote: > WJA writes: > > " I'd > still appreciate a logical argument (hell, I'll take a rambling rose) > that > debunks > D's own. Am I wedded to D? No. I'm wedded to logical argument. Surely > "we all" can do better than that tired American anti intellectualism..." > > I have never seen a "logical argument" that shows why Derrida is right > either. Mostly it's just appeals to his authority ("As Derrida has > shown..."). Derrida does not really proceed by logical argument either, > but by an assertive rhetoric. You have to first believe that there is this > monolithic thing called Western Metaphysics that somehow remains the same > thing over many centuries, kind of everywhere and nowhere at once. Is it > in our brains? Are there people (non-Western presumbably) who don't have > it? Is it in our language? Are there languages that are more or less > metaphysical? These are not rhetorical questions: I'd really like to > know!! If we can't answer questions like this, what is there to debate > logically? > > As far as anti-intellectualism: it is just as anti-intellectual to accept > Derrida without understanding the philosphical background (of course, no > one on this list would do this, but I have seen it done many times) as it > is to reject him because he doesn't convince you. > > Jonathan Mayhew > jmayhew@ukans.edu > > _____________ --Boundary_(ID_WIJXbQTOFmr9qbfBKIYm5Q) Content-type: text/x-vcard; charset=us-ascii; name=austinwj.vcf Content-description: Card for Willliam J. Austin Content-disposition: attachment; filename=austinwj.vcf Content-transfer-encoding: 7BIT begin:vcard n:Austin;William x-mozilla-html:FALSE adr:;;;;;; version:2.1 email;internet:Austinwj@farmingdale.edu fn:William Austin end:vcard --Boundary_(ID_WIJXbQTOFmr9qbfBKIYm5Q)-- ========================================================================= Date: Fri, 19 May 2000 07:22:03 -1000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: rob wilson Subject: poetic description,a la Dylan/Deleuze In-Reply-To: <4.0.1.20000508092816.010f7ea0@pop.bway.net> MIME-version: 1.0 Content-type: TEXT/PLAIN; charset=US-ASCII This is apropos of "description" in an expanded sense, perchance. Once, in the environs of Wheeler Hall in the mid 80s, I was talking to Robert Pinksy about this-and-that poetics, and I was ranting in hyperbolic style about Bob Dylan being a kind of Blake for our time, refiguring "Jesus the Imagination" in a time of imperial blight and so on. Pinsky looked at me wryly, a bit baffled, and said, "Dylan is somebody I never got into. I never really thought of him as a poet." I was amazed by this comment, and begin to wonder (as I often do) if I knew what poetry is anymore. But I never lost my amazement towards B Dylan, and his latest Nietzschean attack on his own deepest belief structures and pieties in "Time Out of Mind" and "Things Have Changed" from "Wonderboys" soundtrack only confirms the scope, depth, and generic visionary quality of his work. The only comment I ever read that comes close to describing the way Dylan writes and composes. "teaches" (lord knows he is hyper-diadactic), and describes via a liberated notion of digression, metaphoric leaping, and tonal/imagistic/linguistic free association, can be found in Deleuze, who wrote: "As a teacher I should like to be able to give a course as Dylan organizes a song, as astonishing producer rather than author. And that it should begin as he does, suddenly, with his clown's mask, with a technique of contriving, and yet improvising each detail. The opposite of a plagiarist, but also the opposite of a master or a model. A very lengthy preparation, yet no method, nor rules, nor recipes." Dylan is not a workshop poet, his voice is rough and meandering, he never would become poet laureate or model of mastery, but it seems to me that what he writes and sings is poetry at the core of the Pax Americana and its cultural critiques. Perhaps he would prefer to be recognized as a mouth harp. I am not sure I am describing "description"here, but this does have something to do with poetic syntax as resistance to domination. Rob Wilson On Wed, 10 May 2000, Charles Bernstein wrote: > Charles Bernstein and Jessica Grim > reading at > The Poetry Project, St. Mark's Church > 131 East 10th Street (at 2nd Avenue) > Manhattan > > Wednesday, May 24, 8pm > $7, $4 for students with ID > ========================================================================= Date: Fri, 19 May 2000 14:34:51 -0400 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, May 22 at 8 pm JEN HOFER & KEVIN DAVIES Jen Hofer, who resides in Mexico City, is currently editing and translating an anthology of contemporary poetry by Mexican women, forthcoming 2001. She and her fiddle have recently joined forces with visual artist Melissa Dyne, forming Groundzero Telesonic Outfit International. Kevin Davies is a founding member of the Kootenay School of Writing in Vancouver. His books include _Comp._, recently published by Edge Books, and _Pause Button_. Wednesday, May 24 at 8 pm CHARLES BERNSTEIN & JESSICA GRIM Charles Bernstein is the author of 25 books, including _Log Rhythms_, with pictures by Susan Bee, _My Way: Speeches and Poems_; and _Republics of Reality: 1975-1995. He was co-editor, with Bruce Andrews, of the groundbreaking journal, L=A=N=G=U=A=G=E, which was later anthologized into _The L=A=N=G=U=A=G=E Book_. Jessica Grim is the author of _The Inveterate Life_, _Locale_, and most recently, _Fray_. Friday, May 26 at 10:30 pm HEIGHTS OF THE MARVELOUS Celebrate the publication of _Heights of the Marvelous: A New York Anthology_ (St. Martin's Press), with contributors EDWIN TORRES, MAGGIE ESTEP, LEE RANALDO, SHARON MESMER, PRAGEETA SHARMA, BEAU SIA, MICHAEL PORTNOY, AMANDA NAZARIO, MARIANNE VITALE, MAGGIE NELSON, MITCH HIGHFILL, and editor TODD COLBY. All readings are $7; $4 for students and seniors; and $3 for members, unless otherwise noted. No advance tickets. Admission is at the door. The Poetry Project is located in St. Mark's Church at the corner of 2nd Ave and 10th St in Manhattan. 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. *** PLEA FOR HELP: The Poetry Project needs volunteers to help with FROM CAIRO TO KEROUAC: DAVID AMRAM & FRIENDS on Wednesday, June 7th at 8 pm in the Sanctuary of St. Mark's Church. We need volunteers to help set up, take admission, and clean up after the event, which involves lots of readings and music! Call Marcella or Anselm at (212) 674-0910. *** Public Service Announcements On Tuesday, May 23 is the LUNGFULL! RELEASE PARTY. Price of admission is $5 to get in & another $5 if you want a copy (you save $3 off the cover price). Doors open at 6:00pm and the reading itself swings into action at 7:00pm. Featuring: BRUCE ANDREWS, GEOFF BOUVIER, ALBERT DESILVER, MARCELLA DURAND, CLIFF FYMAN, BILL KUSHNER, KAREN WEISER, DANA STEVENS, and special guest star FERNANDO PESSOA Le Zinc Bar is at 90 West Houston between Laguardia & Thompson. If you want more information, Brendan's at 212.533.9317 or lungfull@interport.net & Douglas, he's 212.366.2091. Last chance for DOUBLE HAPPINESS before a long, hot summer this Saturday, May 20th at 4 pm with MAUREEN OWEN & CHARLES NORTH. 173 Mott St., corner of Broome. And welcome home old friends wearing Hawai'ian shirts Sunday, May 21 at 6:37 pm, with BILL LUOMA & EILEEN MYLES at the Zinc Bar, see address, telephone #s, etc. above, ref. # Lungfull! release party, etc. *** Zwiastowanie "I am a goat browsing in the corn." "I am St. Casimir blessing owls in the trees." (We speak of identity w/ split tongues ... "I am fertilizer pouring from a wound in my side." "I am sewing sheep-costumes for the wolves." "I am St. Casimir cooking fish on a kerosene stove." "I am wearing a bird-skin parka." "I am St. Casimir in black wooden shoes." "I am the head of a goat on the street-lamp in front of your house." (Even the saints forget themselves ... "I am from the village of Gorzen Dolny." "I am the hornets' nest in your left ear." "I am St. Casimir, goddamnit. Look at these goat-skin shoes." (Listen, freak, tell me who the fuck you are ... "I am the corn and nothing but the corn. So help me god." "I am the mile you walked back to your name." --Mark Nowak, _Revenants_, forthcoming from Coffee House Press, October 2000. *** ========================================================================= Date: Fri, 19 May 2000 14:55:33 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Geoffrey Gatza Subject: Re: [Fwd: Publishing Online Poetry Contest] Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" I agree on the creepy-ness of this. Whoever is in charge of this I hope a special place in hell opens its gates for you. A ten dollar reading fee uploaded from a credit card??? I am warry of most contests but this seems a special style scam designed for the back pages of P&W or Railyard Poet. Who are you and why have you come??? What does a $3000 poem look like? Oh no matter because it will not be my poem anymore since I give you the rights to it even if I do not win. My unpolished response to PublishingOnline.com resolves around a violent act occuring in the normal course of love making. Best, Geoffrey Gatza At 05:34 PM 5/18/00 -0700, you wrote: >Did this give anyone else the creeps? I know Verse editors are on list, but >"upload and we''ll charge your credit card the entry fee"? > >What are audio rights? "Audio production"? Is someone besides me going to read >my work into RealAudio? That's a prize? How much are they paying authors of >books for "digital rights"? Their existing texts are largely in the public >domain -- what should anyone pay them $5.00 for Spinoza's _Ethics_ when they can >get it any number of places for free? > >Should I start deeply encoding my name into all of my poems (as everyone should >do with corporate work)? > >Could publishingonline.com have more and more conflicting GUI? > >> First Annual POL Poetry Awards >> >> PublishingOnline.com is deeply committed to writers and to the fine art of >> writing. In keeping with this philosophy, PublishingOnline.com, in >> collaboration with Verse magazine, will sponsor the First Annual POL Poetry >> Awards as a means of promoting poetry in the digital medium. We are also >> pleased to announce that the renowned poet, Heather McHugh, will be the final >> judge for this year's POL Poetry Awards. Heather McHugh is the recipient of >> numerous awards for her poetry and a current chancellor for the prestigious >> Academy of American Poets. >> >> Please read on for the complete submission guidelines. >> First Prize: >> $3000 >> Publication with PublishingOnline.com >> Audio Production of Work to be featured with PublishingOnline.com >> Publication in VERSE >> >> Second Prize: >> $2000 >> Publication with PublishingOnline.com >> Audio Production of Work to be featured with PublishingOnline.com >> >> Third Prize: >> $1000 >> Publication with PublishingOnline.com >> Audio Production of Work to be featured with PublishingOnline.com >> >> Announcement of Finalists: November, 2000. >> Announcement of Winners: January, 2001. >> >> HOW TO SUBMIT: >> You may submit up to five poems of not more than 12 pages of previously >> unpublished poems. >> >> For Submissions via Upload: >> We strongly encourage you to submit your poetry to us online! A $10 reading >> fee will be charged to your credit card at the time of upload. >> >> Please do not include your name anywhere within the actual files. >> >> By virtue of entering this contest, all poets agree to give >> PublishingOnline.com and Verse First North American rights to poems, and >> poets agree to give PublishingOnline.com audio rights to poems in the event >> of winning, or awards will be forfeited. Please e-mail us at >> info@publishingonline.com if you have any further questions about the POL >> Poetry Awards. > Ever & Affectionately, Geoffrey Gatza ***************** Check out Step Online now only at www.daemen.edu/step Now: new improved Crunch ========================================================================= Date: Fri, 19 May 2000 12:05:30 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Small Press Traffic Subject: Robinson and Samuels Reading at SPT 5/26 Mime-Version: 1.0 Content-Type: multipart/alternative; boundary="============_-1253359363==_ma============" --============_-1253359363==_ma============ Content-Type: text/plain; charset="us-ascii" Small Press Traffic Reading Friday, May 26, 2000, 7:30 p.m. Kit Robinson Lisa Samuels Kit Robinson has recently done readings in Detroit, Buffalo, Philadelphia, New York and England, but there's nothing like Small Press Traffic to bring out the best in this uniquely American poet. His latest book, Cloud Eight (collaborations with Alan Bernheimer), is new from Sound & Language. Others include Democracy Boulevard, Balance Sheet and Ice Cubes (all from Roof Books), and titles from such noted small presses as Zasterle, The Figures, Potes & Poets, Chax Press, Whale Cloth and Tuumba. His translation from the Russian of Ilya Kutik's Ode on Visiting the Belosaraisk Spit on the Sea of Azov is available from Alef Books. If there were some secret plot to make a DNA sample of William Carlos Williams, and re-animate the kindly doctor of Paterson, NJ, into a computer-based, Language-oriented, simulacrum of a great poet, Kit Robinson would step out, tall and lanky, from the Petri dish of our fondest hopes. Lisa Samuels has published two poetry books, LETTERS (Meow Press, 1996) and The Seven Voices (O Books, 1998). She earned her Ph.D. from the University of Virginia in 1997, publishes work on twentieth-century poetry and poetics, and teaches creative writing and literature at Eastern Michigan University. She guest edited an issue of Modern Language Studies (1997, on "Poetry and the Problem of Beauty") and edited (with an introduction) a reprint of Laura Riding's Anarchism Is Not Enough, forthcoming from University of California Press. Like Laura Riding, Lisa Samuels is smart as the devil and knows more about the enticements and enhancements of reception theory than any mortal should. Through a compostial alchemy, her writing transforms the basic parts of speech and the parts of the body into a pronomial paradise. We're all implicated in the Samuels inquisition. New College Cultural Center 766 Valencia Street, San Francisco $5 _______________________ Small Press Traffic 766 Valencia Street San Francisco, CA 94110 415/437-3454 --============_-1253359363==_ma============ Content-Type: text/enriched; charset="us-ascii" Small Press Traffic Reading Friday, May 26, 2000, 7:30 p.m. Kit Robinson Lisa Samuels Kit Robinson has recently done readings in Detroit, Buffalo, Philadelphia, New York and England, but there's nothing like Small Press Traffic to bring out the best in this uniquely American poet. His latest book, Cloud Eight (collaborations with Alan Bernheimer), is new from Sound & Language. Others include Democracy Boulevard, Balance Sheet and Ice Cubes (all from Roof Books), and titles from such noted small presses as Zasterle, The Figures, Potes & Poets, Chax Press, Whale Cloth and Tuumba. His translation from the Russian of Ilya Kutik's Ode on Visiting the Belosaraisk Spit on the Sea of Azov is available from Alef Books. If there were some secret plot to make a DNA sample of William Carlos Williams, and re-animate the kindly doctor of Paterson, NJ, into a computer-based, Language-oriented, simulacrum of a great poet, Kit Robinson would step out, tall and lanky, from the Petri dish of our fondest hopes. Lisa Samuels has published two poetry books, LETTERS (Meow Press, 1996) and The Seven Voices (O Books, 1998). She earned her Ph.D. from the University of Virginia in 1997, publishes work on twentieth-century poetry and poetics, and teaches creative writing and literature at Eastern Michigan University. She guest edited an issue of Modern Language Studies (1997, on "Poetry and the Problem of Beauty") and edited (with an introduction) a reprint of Laura Riding's Anarchism Is Not Enough, forthcoming from University of California Press. Like Laura Riding, Lisa Samuels is smart as the devil and knows more about the enticements and enhancements of reception theory than any mortal should. Through a compostial alchemy, her writing transforms the basic parts of speech and the parts of the body into a pronomial paradise. We're all implicated in the Samuels inquisition. New College Cultural Center 766 Valencia Street, San Francisco $5 _______________________ Small Press Traffic 766 Valencia Street San Francisco, CA 94110 415/437-3454 --============_-1253359363==_ma============-- ========================================================================= Date: Fri, 19 May 2000 17:21:33 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Murat Nemet-Nejat Subject: Re: Errida MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Austin writes: >It is always the responsibility >of those >who propose the existence of god/source/center/self-identical first principle >to prove their case. How does or can Derrida prove that language exists? What Austin requires of other metaphysicians also applies to Derrida? Why should Derrida get an exemption from the necessity of "proof" of basic faith -in his case, language? Once this privileged exemption is not granted, Derrida becomes like every other metaphysical thinker and must be treated as such -critically. Derrida's assertions about the primacy of language are a priori assertions, which the reader may or may not chose to accept. They are not subject to disproof because they were never proven. The most radical criticism of them is refusing to accept them, refusing to enter and share the world view they imply, they invite. By this act completely new vistas open before us. Murat Nemet-Nejat ========================================================================= Date: Fri, 19 May 2000 18:34:09 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII - impossible to write these days unsettling gloom, clouds overhead one awaits the coming of the asteroid cancers eating away before the enormous descent i dream of crags and peaks approaching if not that something mute, suffocated discord, collapsed lungs and bridges if not that something else something unutterable living on the tip of the blade beneath, everything sliding upon the earth plastics and microchips walking out in the street it occurs, just a small stone will end my world my body's impossible keeping to reach anything one has to use the whip this switch moves something completely out of sight the more one learns, the smaller the gains, the less the future like great teeth, a future being that also passes sooner or later, viruses, claws, cracked gourds, clouds and never any sun the comet, the comet, the plague, the plague easements one has to be blind to things, to being being's muteness at night, i try to sleep, i think, asteroid, the asteroid __ ========================================================================= Date: Fri, 19 May 2000 16:43:58 -1000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Susan Webster Schultz Subject: Re: Get your TINFISH! TINFISH! TINFISH! MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit TINFISH IN JUNE June will be a big month for TINFISH, which will publish the following: --TINFISH 9, the Box Issue, with work from Hawaii, North America and Australia. $5 per copy (each one will be covered with a different cereal box, so order more than one!) and $13 for a subscription to three issues. --Rob Wilson’s PACIFIC POSTMODERN: From the Sublime to the Devious, Writing the Experimental / Local Pacific in Hawaii. $5. --Bill Luoma’s DEAR DAD, designed (like TINFISH 9) by Gaye Chan. $5. Send checks to Susan M. Schultz, 47-391 Hui Iwa Street #3, Kaneohe, HI 96744, USA. Your support is MUCH appreciated. ========================================================================= Date: Sat, 20 May 2000 17:04:49 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: Filmophobe MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII - Filmophobe Personne n'est parfait. Who is an intellectual in this culture? Who speaks for whom? What is the role of theory? What does it mean to be engaged? What does it mean to destroy? Bougie Who is excluded by what means? Who owns the words I speak? What does it mean to be locked out? What does it mean to starve? What does it mean to dream of dying? Vedette invitee What do we do to crash your language? What does it mean to steal your words? How can we shut you up and force you to listen? Why do you think you have any answers at all? Beyond your cash, why do you think you have the right to exist? Why do you think you even know the questions? Le regard How can we stop your look at the surface of the skin? How can we make ourselves invisible? How can we violate your robbed speech? How can we destroy so that we may speak? Silence, on tourne! Don't tell me when to speak. Your academy is alive and well. It will die only with destruction. You will hear only when you are destroyed, when the blood screams in your ears. Ecran divise There is no split screen; there are only bodies, tied, held in bondage; there are only holes and ears held open by force; there is only emptiness and death waiting in the wings. Deux ou trois choses que je sais de You talk as if we were stupid. You talk in our absence, fill our bodies with words as if you were the revolution. You stifle any revolution, flay our bodies in revolt, wear our skins. You are only good in our disguise. Film-catastrophe This film is a catastrophe. The extras remain outside. You brush the hair out of each other's eyes. You have eyes only for each other. You fuck power, not bodies. You believe in truth on the bodies of others. Film de route ou d'errance You travel safely from assignation to assignation. You pride yourself in your set speech, your appearance. You ignore the road-kill. We place wires across the road, you will catch us in your headlights, you will be devoured. Sequence You will continue forever. The wires are a trick in the emulsion. They catch nothing. You continue to speak; in our worst dreams, we do not dream of your destruction. That is our calling: to applaud you. In our worst dreams. Fin d'un enchantement, le retour a la realite You are broadband, you are almost real. The film has come to a close; the theater has burned, there are no replacement parts. At the table, destroy, she said; no one listened; someone disconnected. _ ========================================================================= Date: Sat, 20 May 2000 17:57:54 +0000 Reply-To: baratier@megsinet.net Sender: UB Poetics discussion group From: David Baratier Organization: Pavement Saw Press Subject: sohio MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii; x-mac-type="54455854"; x-mac-creator="4D4F5353" Content-Transfer-Encoding: 7bit SAHARA DATE Cincinnati, June 2000 / Ralph La Charity a poetics & music cycle in three movements 1st Movement / Elegies & Street Songs : "Down To See in Shifts" SaS Chant / Crosstown Clipper / Jesse's Bell / Attle Chee Attle / Doug's Ode / Lump o' Dough / Old Ones / Ellie in Hot Pants / Bars o' Pocatello / But For The Grace / Yerba Jose / Bob o' You Bet 2nd Movement / "What're sharks if the drum's a woman ?" "Two-Faced Marvels in Bicker Mode" ... a sequence of 12 poems paired & squared; a poetics dialectic via 5/4 time vs. 6/8 time ... 3rd Movement / Glanced Revelation & Resolve : "Awash on Eerie & Fiery Meres" The Teaching / 16thal / Friendly Fire / Tonguing Crooked Ample / Ring of Bird / Ballad of the Night Cove / Whale Song II / Do Sweetly Doom Askew / My Am Easy ===================================================== SAHARA DATE will be performed in its entirety at 8PM on each of three consecutive evenings: Saturday, June 3, 2000, at Volk Gallery, 214 E. 14th St., Cincinnati (369-0474); Sunday, June 4, at Base Art Gallery, 1311 Main St., Cincinnati (851-4421); Monday, June 5, at York Street International Cafe, 8th & York, Newport KY (921-9039). Music for this work was originally composed by guitarist & playwright James Quilligan, of Philadelphia PA, who will be joining Mr. La Charity for this series of performances. Additionally, members of the Cincinnati jazz collective, SaSemble, will be participating: Richard Williams, flamenco guitar; Jack Walker, sax & flute; Anne La Charity, sax; Mr La Charity, congas. All members will also play light percussion. The dancer Mickey Morgan will be joining the company the for performances on Sunday and Monday. SAHARA DATE is an original blend of music & poetry which Mr. La Charity has been developing since he first began delivering poetry while simultaneously playing congas in 1992. Although he considers SAHARA DATE a work in progress, its slow maturation to its present level of musical & poetics complexity marks an artistic breakthrough. Be well David Baratier, Editor Pavement Saw Press PO Box 6291 Columbus OH 43206 USA http://pavementsaw.org ========================================================================= Date: Sun, 21 May 2000 22:25:28 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Stephen Vincent Subject: Re: Anti-description MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit At 11:37 AM -0700 5/15/00, Hilton Obenzinger wrote: >>What be the opposite of de-scription? Conscription (where draftees are pulled into the picture - e.g., a war - so to speak, or, may be more to the point, loose the right to speak and/or publicly describe and critique the state in which they find themselves). ========================================================================= Date: Sun, 21 May 2000 21:21:52 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Herb Levy Subject: Cecil Taylor, Jackson Mac Low, Kenny Goldsmith et al in RealAudio Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" Just a quick note to let y'all know that this week's Mappings includes tracks by the recently much-discussed Cecil Taylor (his poetry, not his piano playing) as well as other work based in text or the voice by composers Kyle Gann (Kenneth Patchen text), Joan La Barbara (Kenny Goldsmith text), Jackson Mac Low, and Joseph Zitt/Jonathan Matis. So have a party in RealAudio. This show is online at the URL from about midnight Sunday 21 May (West Coast US time) for a full week, before going to the archive page for an additional week. Hope it's of interest to you. Bests, Herb -- Herb Levy NEW MAILING ADDRESS: P O Box 9369 Forth Wort, TX 76147 NEW PHONE: 817 377-2983 same old e-mail: herb@eskimo.com ========================================================================= Date: Fri, 19 May 2000 16:29:05 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Alan C. Golding" Subject: KPFA, Mumia and Ostriches Mime-Version: 1.0 Content-Type: text/plain; charset=US-ASCII Content-Transfer-Encoding: quoted-printable Once upon a time there was an ostrich. It gave its address as London, = Ontario, though it was hard to tell if that address was for real because = there's not much sand up there and this particular ostrich had its head = buried *way* deep in the sand. In its deeply buried and worried head, the = ostrich grappled with the question of what the fate of dissident radio = workers in distant California, thousands of miles from the lone and level = sands of Ontario, had to do with poetry. Wasn't KPFA just the noise an = ostrich made when he was spitting the sand out of his beak? But sadly = enough, the ostrich couldn't get its head out of the sand long or far = enough to consider the possibility of a radio station not beholden to = corporate sponsors ("You mean they don't advertise stuff I can buy on = their station? That's pretty weird"). Nor to seek the widely available = body of information about KPFA's recent history. Nor to learn of KPFA's = decades-long history of arts broadcasting, and a commitment to poetry that = could be well articulated by Jack Foley, Hank Lazer, David Bromige, and = many other human beings whom the ostrich did occasionally e-ddress through = a mouthful of sand. But the ostrich's head stayed mostly in the sand = while gleeful federal agents were fucking it from the other end and = chortling over their luck because federal agents love nothing as much as = they love ostriches, and our ostrich never did figure out what any of this = had to do with poetry. And it spluttered spitefully and sandfully about = freedom of assembly and freedom of dissent and freedom of thought and = freedom of lawyers to represent their clients and freedom of and freedom = of and its poems were put on probation and never allowed to leave the = house and it choked on its repressed words and on all that sand and it = died and it still never did figure out what any of this had to do with = poetry. ========================================================================= Date: Sat, 20 May 2000 01:43:30 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group Comments: RFC822 error: Incorrect or incomplete address field found and ignored. From: Stephen Cope Subject: Beyond the Page in May Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" * BEYOND THE PAGE continues its monthly series of literary and arts events with the following reading/performance: * What: George Albon and Avery E. D. Burns read from their work. * Where: Faultline Theater, 3152 5th Avenue (at Spruce), San Diego. * When: Sunday, May 28, 2000. 4:00 PM. ************************* * GEORGE ALBON is the author of _Empire Life_ (Littoral Books), _Transit Rock_ (Duration Press), and _Reading Pole_ (Seeing Eye Books). A new book, _Thousands Count Out Loud_, is forthcoming from lyric&. Work of his has appeared in Hhambone, O Anthology 4, Talisman, New American Writing, and elsewhere. He lives and works in the San Francisco Bay Area. * AVERY E. D. BURNS's book _A Duelling Primer_ is just out on 2nd Story Books. Other books include _Stagger_ (Black Fire White Fire, 1999, online @ home.earthlink.net/~kunos/ ) and _Differing Senses of Motion_ (lyric&, 1996). A full length collection The Idler Wheel is forthcoming fall 2000 on Manifest Press, and poems from this work have or will appear in Kenning, Instress, Lowghost, Ribot, and Syllogism.A biographical/critical interview conducted by Sarah Rosenthal for her Local Howler Column is available at (http://bayarea.citysearch.com/E/F/SFOCA/0000/14/98/ ). Avery has edited the magazine lyric& since 1992, and has run the Canessa Park Reading Series since 1995. ************************** As always, beer, wine, and refreshments are available. A $3-5 donation is requested (to cover overhead and travel costs) with nobody turned away at the door for lack of funds. 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 literary arts. For more information, call: (858) 273-1338, (619) 298-8761; e-mail: jjross@cts.com, scope@ucsd.edu. ========================================================================= Date: Sat, 20 May 2000 21:31:13 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mskakun@AOL.COM Subject: NYC literary event: jazz poems by M Harper, Stephen Jay Gould on G&S MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Poetics List Members are cordially invited to an evening tribute to: The American Scholar: A Celebration Anne Fadiman, Editor of The American Scholar, presents nine leading authors in a celebration of the American Scholar's 275th Issue: Stephen Jay Gould (A love Song to Gilbert & Sullivan), Hendrik Hertzberg (reading Jervis Anderson's "England in Jamaica," memories from a colonial boyhood), Cynthia Ozick (on the book of Job), Michael Harper (two jazz poems), Sherwin B. Nuland (on what medical surprises the new century will hold), Thomas Mallon (on not being a poet), Joan Acocella (reading from Vaslav Nijinsky's diaries), Peter Gay (a Jewish family's daily life in Nazi Germany), Carlo Rotella (boxing match as spectacle and learning experience). Wednesday, May 24, 2000 Location: 27 West 44 Street , New York, New York (betwen Fifth and Sixth Avenues) Please note: the venue requires a jacket & tie for men. 5:45pm cash bar 6:30pm program FREE The American Scholar, is one of this nation's leading literary and cultural magazines. Since 1932, it has been a haven for people who love the English language. ========================================================================= Date: Sun, 21 May 2000 19:34:35 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: George Fouhy Subject: Poetry-Paul Violi Comments: To: Alessandra Lynch , amy , Amy Holman , "annebutts@aol.com" , "Annlisa@aol.com" , "Annogram@aol.com" , "BJCarson@aol.com" , "CFGreenwd@aol.com" , "Chapter9@aol.com" , "chillyb@banet.net" , "Coolasgold@aol.com" , "CWe1982@aol.com" , "DGoet@aol.com" , "Driftspin@aol.com" , "EsotericMuse13@aol.com" , Fay Chiang , Gray Jacobik , "HireAPoet@aol.com" , "jaksawake@aol.com" , JAMIE , jenny bitner , "Jhalp1929@aol.com" , John Hoppenthaler , Lauren Peterson , "LitLatte@aol.com" , "M. Congdon" , "manateegirl@hotmail.com" , "MLLiebler@aol.com" , Nancy Desmond , Nanette , "PartnersBE@aol.com" , "PolitoR@newschool.edu" , "radio@ncpr.org" , RicK Pernod , Robert Cooper , "Ron Egatz (new)" , "Salious1@aol.com" , "SSAPhD@aol.com" , "Suecase@aol.com" , "wordthur@catskill.net" , "writenet@twc.org" MIME-Version: 1.0 Content-Type: multipart/alternative; boundary="------------16C38BFE31B1E1AB986E32C0" --------------16C38BFE31B1E1AB986E32C0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Northern Westchester Center for the Arts Creative Arts cafe Poetry Series 272 No. Bedford Road Mt. Kisco, NY 10549 For immediate Release: PAUL VIOLI Reads at Creative Arts Café Poetry Series Mt. Kisco, NY: The Creative Arts Cafe at the Northern Westchester Center for the Arts will feature award winning poet Paul Violi on Monday, May 22nd at 7:30 PM. A reception, book signing and open mike will follow. Paul Violi, one of America's most innovative poets, will read selections of his work including poems from his new book Breakers. Violi’s poetry is experimental but with a sense of humor that has led reviewers to remark on the "pure pleasure" the poems deliver. Violi is that rarity in American poetry, a poet who can make you laugh out loud. Paul Violi is a faculty member at New York University and has received two poetry fellowships from the National Endowment for the Arts. Among his other books are The Curious Builder, Fracas, Likewise, and Splurge. Violi's work has appeared in numerous magazines and anthologies both here and abroad, including Harper's, The Partisan Review, The Kenyon Review, New American Writing, The Best American Poetry 1995, and the Norton Postmodern American Poetry. Awarded two poetry fellowships from the National Endowment for the Arts, Violi has also received grants from the New York Foundation for the Arts, the Fund for Poetry, and the Ingram Merrill Foundation. 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. --------------16C38BFE31B1E1AB986E32C0 Content-Type: text/html; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Northern Westchester Center for the Arts
Creative Arts cafe Poetry Series
272 No. Bedford Road
Mt. Kisco, NY 10549
 

For immediate Release:

PAUL VIOLI
Reads at Creative Arts Café Poetry Series



Mt. Kisco, NY: The Creative Arts Cafe at the Northern Westchester Center for the Arts will feature award winning poet Paul Violi on Monday, May 22nd at 7:30 PM.   A reception, book signing and open mike will follow.
Paul Violi, one of America's most innovative poets, will read selections  of his work including poems from  his new book Breakers.   Violi’s  poetry is experimental but with a sense of humor that has led reviewers to remark on the "pure pleasure" the poems deliver. Violi is that rarity in American poetry, a poet who can make you laugh out loud.

Paul Violi is a  faculty member at New York  University and has received two poetry fellowships from  the National Endowment for the Arts. Among his other books are The Curious Builder, Fracas,  Likewise, and Splurge. Violi's work has appeared in numerous magazines and anthologies both here and abroad, including Harper's, The Partisan Review, The Kenyon Review, New American Writing, The Best American Poetry 1995, and the Norton Postmodern American Poetry. Awarded two poetry fellowships from the National Endowment for the Arts, Violi has also received grants from the New York Foundation for the Arts, the Fund for Poetry, and the Ingram Merrill Foundation.

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.
  --------------16C38BFE31B1E1AB986E32C0-- ========================================================================= Date: Mon, 22 May 2000 10:56:05 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "R. Drake" Subject: Re: sohio Comments: cc: baratier@megsinet.net MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit a preview of some of ralph's earlier work is available at: http://www.burningpress.org/inyrear/inyrear.html poppin' groovy, daddy-o... ----- Original Message ----- From: "David Baratier" To: Sent: Saturday, May 20, 2000 1:57 PM Subject: sohio > SAHARA DATE > > Cincinnati, June 2000 / Ralph La Charity > > a poetics & music cycle > in three movements > > > 1st Movement / Elegies & Street Songs : > > "Down To See in Shifts" > > SaS Chant / Crosstown Clipper / Jesse's Bell / > Attle Chee Attle / Doug's Ode / Lump o' Dough / > Old Ones / Ellie in Hot Pants / Bars o' Pocatello / > But For The Grace / Yerba Jose / Bob o' You Bet > > > 2nd Movement / "What're sharks if the drum's > a woman ?" > > "Two-Faced Marvels in Bicker Mode" > > ... a sequence of 12 poems paired & squared; > a poetics dialectic via 5/4 time vs. 6/8 time ... > > > 3rd Movement / Glanced Revelation & Resolve : > > "Awash on Eerie & Fiery Meres" > > The Teaching / 16thal / Friendly Fire / > Tonguing Crooked Ample / Ring of Bird / > Ballad of the Night Cove / Whale Song II / > Do Sweetly Doom Askew / My Am Easy > > ===================================================== > > SAHARA DATE will be performed in its entirety at 8PM on each of three > consecutive evenings: > > Saturday, June 3, 2000, at Volk Gallery, 214 E. 14th St., Cincinnati > (369-0474); > Sunday, June 4, at Base Art Gallery, 1311 Main St., Cincinnati > (851-4421); > Monday, June 5, at York Street International Cafe, 8th & York, > Newport KY (921-9039). > > Music for this work was originally composed by guitarist & playwright > James Quilligan, of Philadelphia PA, who will be joining Mr. La Charity > for this series of performances. Additionally, members of the > Cincinnati jazz collective, SaSemble, will be participating: Richard > Williams, flamenco guitar; Jack Walker, sax & flute; Anne La Charity, > sax; Mr La Charity, congas. All members will also play light > percussion. The dancer Mickey Morgan will be joining the company the for > performances on Sunday and Monday. > > SAHARA DATE is an original blend of music & poetry which Mr. La Charity > has been developing since he first began delivering poetry while > simultaneously playing congas in 1992. Although he considers SAHARA > DATE a work in progress, its slow maturation to its present level of > musical & poetics complexity marks an artistic breakthrough. > > > Be well > > David Baratier, Editor > > Pavement Saw Press > PO Box 6291 > Columbus OH 43206 > USA > > http://pavementsaw.org > ========================================================================= Date: Mon, 22 May 2000 08:50:34 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Douglas Organization: Sun Moon Books Subject: Sun & Moon Press: new Paul Celan book MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Dear Friends, We are delighted to report that the second of our Paul Celan books, THREADSUNS, translated by Pierre Joris is now available. One of Paul Celan's most important books of poems, THREADSUNS follows the Sun & Moon Press publication of BREATHTURN, which received international critical acclaim. Consisting of 105 poems, arrange in five cycles, THREADSUNS was composed between September 1965 and June 1967. If BREATHTURN was the opening gambit of Celan's "turn," the entry into the late work, then THREADSUNS-- the volume that may have received the least amount of commentary and analysis to date--may be said to be not only an extension or continutation of the previous volume, but the full-blown realization of Celan's late work. The book is available, with pre-payment by check or money order, at a 20% discount if ordered directly from Sun & Moon. ($13.95 less 20% = $11.16 plus $1.25 postage) Send check or money order to Sun & Moon Press 6026 Wilshire Boulevard Los Angeles, California 90036 We also would like to announce that POLYVERSE, by Lee Ann Brown is is now back in print. That also can be ordered at a 20% discount ($11.95 at 20% discount = $9.56 plus $1.25 postage) And we remind you of REPUBLICS OF REALITY by Charles Bernstein ($14.95 less 20% = $11.95 plus $1.25 postage) Thanks. Douglas Messerli ========================================================================= Date: Tue, 23 May 2000 08:21:02 +1000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: John Tranter Comments: To: british-poets@mailbase.ac.uk Comments: cc: poetryetc@mailbase.ac.uk Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed For those of you who publish Web literary magazines, words from the wise: David Walker's column, from the Sydney Morning Herald: ________________________________________ This week, a reminder that print-trained designers need to throw away their preconceptions when they start working on the Web. A new study contains good news for anyone who believes in the importance of a Web page's text. It also highlights the sharp differences between Web pages and other text media, such as newspapers and books. And it should send a warning message to anyone who has spent money on the sort of fancy Web design that emphasises slick, beautiful, bandwidth-hogging graphics. The study comes from the US-based Poynter Institute, which for many years has studied the ways that people read newspapers. Many such studies rely on what people say they do - a notoriously unreliable technique. But Poynter has made great use of "eye-tracking" studies, literally taking little movies of people's eyes as they move across a page. Strapped into this equipment, users look like victims of a particularly messy Borg assimilation. But the equipment lets the Poynter Institute researchers find out what users really do. Or at least what they really do when they're wearing half a pound of head-mounted video equipment. When Poynter has studied newspaper readers, it has found that photos and graphics catch the eye first. That's why newspapers like this one have been slowly increasing the proportion of space they devote to photos and graphics. They turned to the Web to study readers of online news - people who visited news-related sites at least three times a week. The Poynter Institute found its Web research subjects shared one unexpected characteristic. When they went to news sites, they read text before they looked at photos or other graphics. "Briefs or captions get eye fixations first, by and large," reported the Institute on its site (www.poynter.org). "The eyes of online news readers then come back to the photos and graphics, sometimes not until they have returned to the first page after clicking away to a full article." This is exactly the opposite of the behaviour Poynter has seen in many years of newspaper eyetracking studies. It would be dangerous to assume from this study that all Web users work this way. Web news sites use graphics more sparingly than many other types of sites, and the study subjects were by definition enthusiastic online readers. No, what's most fascinating about the Poynter study is simply that an audience that behaved one way when exploring printed documents could behave quite differently on the Web. In other words, Web design assumptions based on print media experience can lead you to exactly the wrong conclusion. A great deal of Web site design today seems informed by a print media sensibility. Many of today's Web designers cut their teeth in print design. They're trying to prompt Web site visitors with elaborate and subtle graphical clues, the sort that they believe work in print design. You can find surprisingly little evidence that this approach succeeds. The evidence certainly points to the conclusion that many Web site visitors navigate and gather information by reading words, not looking at pictures. The Poynter study adds just a little more depth to what we already know. Words paly a key role in communicating with your visitors. You have to use the right words, of course. Web site users don't want long essays; they tend to be pursuing very specific needs. In Jakob Nielsen's words: site visitors don't read; they scan. They want pointed snippets of information. They will likely keep their visit brief: the Poynter subjects averaged six minutes per site. Why are so few Web design firms touting their expertise in Web copywriting? Why do so few companies seem to care about using words that will engage, instruct and prompt their users into action? Is it because they don't know how to do it, because they don't care about results, or because none of their clients are smart enough to ask? ________________________________________ from John Tranter Editor, Jacket magazine: http://www.jacket.zip.com.au/welcome.html Ancient history - the late sixties - at http://setis.library.usyd.edu.au/tranter/index.html ______________________________________________ 39 Short Street, Balmain NSW 2041, Sydney, Australia tel (+612) 9555 8502 fax (+612) 9818 8569 ========================================================================= Date: Mon, 22 May 2000 23:02:06 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: hassen Subject: Fw: Down with Conferences MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit forwarding an interesting morsel ----- Original Message ----- Sent: Saturday, May 20, 2000 12:42 PM Subject: Down with Conferences I just had to withdraw from another damn conference - where I was slated to speak - because I would have had to pay registration, travel, and accommodation. I am fucking poor. I am sick of being fucking poor. I am 57 and there are no teaching jobs out there for me - or much else for that matter. I make do with part-time work, but this can't compete with people who are teach- ing and get disbursements etc. for travel and conferences. Conferences are becoming a great filter, defusing radicality or harness- ing it to the academy. The middle class or upper middle class or privi- leged grad students get to associate with one another, share theory and ideas - and the public or the poor are just simply kept out and excluded. I understand that conferences have to make a bit of money, but if one is invited to speak on a panel, surely they should at least waive fees. AND THIS SHOULD BE BUILT INTO THE ORGANIZATION OF THE CONFERENCE FROM THE BEGINNING. But it's not and people like me - and there are others - are simply kept in the ghetto, where if we're really lucky, we might be able to afford the forty dollar paperbacks containing some of the conference proceedings. I don't know if this is the same elsewhere, but at least in the United States, the academy has succeeded in isolating itself in this fashion, keeping people like me out, ensuring that intellectual discourse is econ- omically purified, class and race bound for the most part. I would like to see these conferences - in their present form - destroyed. They do real harm to thought; like the Internet's eternal use of the words "radical" and "revolutionary" they ensure that people like me are spoken- for, and silenced. I can write all I want on the Net, but god forbid I have something to say to academics _as an equal._ This isn't a minor issue, at least in Amerikka, where divisions are so subtle that people elsewhere think we're thriving - they obviously haven't been in my neighborhood - ========================================================================= Date: Tue, 23 May 2000 01:16:26 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: A Long Sentence! MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII - A Long Sentence! Jennifer smiles and says, "Do see the words I learn! Here is very many new actant aether alterities Amidah avatar avatars BBS bricolage bushido cast- rated cd cdrom CEN Centre chora clots coherencies com Compaq consensuali- ties cordons cunt cunts Cybermind cyberspace decathexis deconstructed de- construction defuge Derrida dhtml diegesis diegetic differend disassociat- ing effusions emanants emergences empathetic empathized entasic extasis extensivity extrusions feedforward filmmaker filmstock fingerboard geomat- ics gesturally gigabytes gridlines halfgroupoid hirself holarchy htm html http hyperreality i'd ikonic imaginaries incompletes indexicality internet interpenetrating introjections isp izanagi javascript jennifer judgmental julu Kebara linux literarily machinic magatama morphing morphs ms Mt mult- iculturalisms nakasukawabata Nara Netscape nikuko Nikuko's nostalgias NYC panix particulation paysage peerings perl phenomenologist poolings post- modern postmodernity primordials protolanguage qbasic realspace rebirths rills RNA runnels sed shakuhachi shamisen shimenawa signifiers sions Snox- fly sondheim sourcess spam stromatolite subgroupoids subjectivities sub- texted Sysadmins teleologies thanatopoesis tion tions trAce traceroute tracert tropes ulpan unfoldings unhinging URL URLs vicodin voiceovers VRML webboard Webpage Webpages wetware wetwares worlding wryting www yamabushi and ytalk!" --- ========================================================================= Date: Tue, 23 May 2000 04:35:04 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Dominic Fox Subject: Arider MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii > Derrida's assertions about the primacy of language Do not exist. Or rather, were not made by him. I suppose one could argue that there exists a body of assertions which could be called "'Derrida''s assertions about the primacy of language", but the authorship of these is somewhat multiple: the NYRB would appear to be responsible for a good many of them. In _Of Grammatology_, there's a discussion of the primacy of language within structuralism - but it's a critical discussion, mostly geared towards displacing and interrupting the "linguisticism" Derrida finds in the ascendant in the social sciences. He writes that the "PROBLEM of language" (my caps) has "invaded...the global horizon of the most diverse researches and the most heterogenous discourses", and describes the "inflation of the sign 'language'" as a "symptom" of a "crisis" within a "historico-metaphysical epoch" (an "episteme" with knobs on). That symptomatic reading is of course contestable, but it amounts to a strategic bracketing together of a number of fairly well-attested phenomena - the rise of structuralism, its recourse to Saussurian linguistics for a model of the sign which then became a model of cultural intelligibility, and so on - in order to determine their common "horizon" and - crucially - to *problematize* it. This is rather the opposite, I think, of "asserting" the "primacy of language": it would tend to undermine such assertions. In any case, "plus d'une langue" is, according to Derrida, deconstruction's "watchword". - Dom __________________________________________________ Do You Yahoo!? Send instant messages & get email alerts with Yahoo! Messenger. http://im.yahoo.com/ ========================================================================= Date: Tue, 23 May 2000 07:42:57 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Susan Wheeler Subject: Reading Announcement Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Susan Wheeler Carl Phillips Friday, May 26, 7:00 p.m. DIA 548 West 22nd Street New York City ========================================================================= Date: Tue, 23 May 2000 10:11:14 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Harry Nudel Subject: m&r...new grub st.... N.Y. Times/Tues/May23/00....SWELLING RANKS BOOK PARTY...borrowed Park Ave. apt. fill guests yr book party.......Mark Lunquist...sometime book critic...author of novel NEVER MIND NIRVANA...(blah blah blah)....invited people books reviewed.... Maggie ESTEP went..he praised SOFT MANIACS (blah blah blah)...Larry David given book FAMILY VALUES (blah blah blah)...'very nice review"...Mr. Ellis laughed..review of GLAMORAMA (blah more blah)..WELL i'm throwing the party..he called it arguably the "novel of the 90's."... hand to mouth to cock...they've got other names for this in simpler professions.... DRn... ========================================================================= Date: Mon, 22 May 2000 10:55:09 PDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Angle Press Angle Press Subject: Tom Raworth contact Mime-Version: 1.0 Content-Type: text/plain; format=flowed Please, if anyone could pass on Mr. Raworth's email address we would be grateful. Thanks in advance. D.F. ________________________________________________________________________ Get Your Private, Free E-mail from MSN Hotmail at http://www.hotmail.com ========================================================================= Date: Tue, 23 May 2000 09:19:44 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: michael amberwind Subject: Re: Ostrich or owl? MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii What passes for dissidence has become cant, dogma and the Church of Resentment. I am not left, ipso facto I am right. I am not right, ipso facto, I am left. I choose not to accept the honors of a government that has none to give. Emily Dickinson had poems that never left her house, yet I never found her to "choke on repressed words." Anyone not towing the Party Line - left or right or somewhere north of Albequerque - or expressing doubts about the subversion of the artist by governments, whether by censorship or giving them grants (carrot and stick) is struck down by both sides. If poets unionised, who would even notice? Poets not writing for a few years would probably not make much of a ripple in our culture, tho that could just be the result of living in a city indifferent to the point of hostility to its literary community. Wherever my head may or may not be (as pointed out in a cliched image) it is not worried. The poems come, whether bidden or no. They are read by those who needed to read them, and ignored by the masses. I see no great reason it should be otherwise. As for my remark about Mumia, it was along the lines of "what if"... I have little doubt the man should be set free. But still, a writer must NOT allow him/herself to censor a single thought. I wish to bring into question what can and cannot be known through legal channels. What WOULD happen if someone was guilty of a crime and was set free as the result of well meaning individuals? Extremely damn unlikely, to be sure, given any government's propensity to shaft anyone they set their sights upon, but an interesting notion nonetheless. What if INCONTROVERTIBLE proof came to pass that a particular individual - whom many have latched their political hooks into - was in fact guilty? At which point does truth, social justice and activism become a form of faith? If you cannot accept possibilities, even unlikely ones, then you display less imagination and open mindedness than a typical scientist. Not pretending any answers, just offering up some meat for debate. You can decide if it is hamburger or steak. I have written and published many poems with a political center to them. I work in my city as a literary co-ordinator (without pay, lest anyone think me a selfish, hypocritical bastard) working to improve the community of work that is done. I have even (GASP!) worked for Greenpeace. I found them to be about half noble crusaders, half self-righteous jack asses. Much like myself! But I also belong to a generation that has inherited the so-called revolution of the sixties. It has made me hungover from all rhetoric. I see first hand the way government money is spent - granted it is probably less money than is spent on senator's perks - on art I wouldn't even give a second glance. My eyes are wide open and clear. I just don't think that governments exist to solve all of our problems. >>Once upon a time there was an ostrich. It gave its address as London, = Ontario, though it was hard to tell if that address was for real because = there's not much sand up there and this particular ostrich had its head = buried *way* deep in the sand. In its deeply buried and worried head, the = ostrich grappled with the question of what the fate of dissident radio = workers in distant California, thousands of miles from the lone and level = sands of Ontario, had to do with poetry. Wasn't KPFA just the noise an = ostrich made when he was spitting the sand out of his beak? But sadly = enough, the ostrich couldn't get its head out of the sand long or far = enough to consider the possibility of a radio station not beholden to = corporate sponsors ("You mean they don't advertise stuff I can buy on = their station? That's pretty weird"). Nor to seek the widely available = body of information about KPFA's recent history. Nor to learn of KPFA's = decades-long history of arts broadcasting, and a commitment to poetry that = could be well articulated by Jack Foley, Hank Lazer, David Bromige, and = many other human beings whom the ostrich did occasionally e-ddress through = a mouthful of sand. But the ostrich's head stayed mostly in the sand = while gleeful federal agents were fucking it from the other end and = chortling over their luck because federal agents love nothing as much as = they love ostriches, and our ostrich never did figure out what any of this = had to do with poetry. And it spluttered spitefully and sandfully about = freedom of assembly and freedom of dissent and freedom of thought and = freedom of lawyers to represent their clients and freedom of and freedom = of and its poems were put on probation and never allowed to leave the = house and it choked on its repressed words and on all that sand and it = died and it still never did figure out what any of this had to do with =poetry. ------------------------------ __________________________________________________ Do You Yahoo!? Send instant messages & get email alerts with Yahoo! Messenger. http://im.yahoo.com/ ========================================================================= Date: Mon, 22 May 2000 16:55:45 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jerrold Shiroma Subject: two new books from The Figures MIME-Version: 1.0 Content-Type: text/plain; charset="Windows-1252" Content-Transfer-Encoding: 7bit Two new wonderful publications just out from The Figures... Clark Coolidge On the Nameways Vol 1 $12.50 Preface I began writing these poems in an empty moment when I thought maybe I'd run out and had no more to do. Snap. I found lines coming to me on waking in the morning, insisting I follow them into odd short poems, strange to see, indicating what I knew not. Eventually I began writing them while watching movies (from Hopalong Cassidy Enters to Last Year at Marienbad) on satellite TV, a practice reminding me of DeKooning drawing with his left hand, Guston pen in hand watching the Watergate coverage, and of course Kerouac scribing his Blues. The point? Freedom. An overcoming of the obstacles erected by any conceptions of the poem. A glee here I hadn't felt since writing the first poems of my own (1965). A casting off into the day's winds, feeling light and lit, knowing I still have a long way to go, a lot more to lose. --Clark Coolidge _________________________________ Stephen Rodefer Mon Canard $12.50 What makes this book so captivating is Rodefer's ability to orchestrate the most eclectic range of tones and discourses: he balances a Poundian inclusiveness with an unerring musical discipline. Thus he achieves harmony of form without sacrificing the "huge looseness" (in Henry James's phrase) that makes his writing so distinctly American. This intellectual voracity, combined with a democratic enthusiasm for the common tongue, gives his poetry its depth and breadth and brilliance. A major poet. Maud Ellmann ========================================================================= Date: Mon, 22 May 2000 16:56:17 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jerrold Shiroma Subject: new presses online MIME-Version: 1.0 Content-Type: text/plain; charset="Windows-1252" Content-Transfer-Encoding: 7bit In addition to the recently announced potespoets.org website, I have recently set up full catalogs for the following presses... a+bend press, which hosts a monthly reading series in San Francisco, is edited by Jill Stengel. The press publishes two chapbooks per month in conjunction with this series & features books by Jill Stengel, Elizabeth Treadwell, Myung Mi Kim & Susan Gevirtz, David Bromige, Lisa Jarnot, & Norma Cole, among others. www.durationpress.com/abend Etherdome press is a new chapbook series edited by Elizabeth Robinson & Colleen Lookingbill. The press hopes to publish two chapbooks per year by writers who have had no previous book / chapbook publication. The first two in the series feature work by Brydie McPherson & Merle Bachman. www.durationpress.com/etherdome Zasterle Press, edited by Manuel Brito, out of the Canary Islands, has an impressive backlist featuring work by Bruce Andrews, Jerome Rothenberg, Laura Moriarty, Carla Harryman, & Leslie Scalapino. www.durationpress.com/zasterle There are still more to come in the very near future (in a couple of weeks to be exact). ========================================================================= Date: Mon, 22 May 2000 21:30:43 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Steve Clay Subject: 5 month sublet/NYC, Mexico City In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" If anyone in NYC or Brooklyn has a nice sublet available (will pay up to $2K/mo) now till Nov 1 for a visiting designer and architect please contact me. They are willing to swap their lovely house in Mexico City. On the other hand, perhaps someone out their would like to sublet a house in Mexico City from now till Nov 1. They are open for suggestions. Thanks, Steve Clay ========================================================================= Date: Tue, 23 May 2000 10:16:40 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: LitLatte@AOL.COM Subject: Literal Latte Comments: cc: amy , ANNEBUTTS@aol.com, Annlisa@aol.com, Annogram@aol.com, BJCarson@aol.com, CFGreenwd@aol.com, Chapter9@aol.com, "chillyb@banet.net" , CWe1982@aol.com, DGoet@aol.com, Driftspin@aol.com, EsotericMuse13@aol.com, Fay Chiang , Gray Jacobik , HireAPoet@aol.com, Jaksawake@aol.com, JAY1ANGEL@aol.com, jenny bitner , Jhalp1929@aol.com, LNautica@aol.com, "M. Congdon" , "manateegirl@hotmail.com" , MLLiebler@aol.com, Nancy Desmond , NStone789@aol.com, PartnersBE@aol.com, "PolitoR@newschool.edu" , "radio@ncpr.org" , Exoterica@aol.com, Robert Cooper , "Ron Egatz new, Salious1@aol.com, SSAPhD@aol.com, Suecase@aol.com, wordthur@catskill.net wordthur@catskill.net, writenet@twc.org writenet@twc.org" MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit LITERAL LATTE MIND STIMULATING PROSE, POETRY & ART THE SIXTH ANNUAL LITERAL LATTE POETRY AWARDS FIRST PRIZE: $1000 SECOND PRIZE: $300 THIRD PRIZE $200 GUIDELINES: 1. Send Unpublished Poems, 2,000 words max. 2. Postmark By July 1, 2000. 3. Name, Address, Telephone Number, & email address --On Cover Page Only. 4. Include Self Addressed Stamped Envelope or Email Address for reply 5. Include $10 Reading Fee for up to 4 Poems OR, $15 Includes Fee For 6 Poems, PLUS A 1Year Subscription. Winners Published in Literal Latte. All Entries Considered For Publication. Include Check or Money Orders made out to Literal Latte Or include Visa/MC/American Express Number & Expiration Date. LITERAL LATTE POETRY AWARDS, 61 EAST 8TH STREET, SUITE 240, NYC 10003 NY3K PRIZE FIRST PRIZE: $500 Create a future New York, changes subtle to dramatic, style realistic to surrealistic. Stories or poems GUIDELINES: 1. Send Unpublished Stories (5,000 word max) or Poems (2,000 Word Max) 2. Postmark By July 15, 2000 (Extended). 3. Name, Address, Telephone Number--On Cover Page Only. 4. Include Self Addressed Stamped Envelope or Email Address for reply 5. Include $10 Reading Fee Per Entry OR, $15 Includes Fee For 1 Entry, PLUS A 1Year Subscription. Winners Contacted By 7/1/00 All Entries Considered For Publication Include Check or Money Orders made out to Literal Latte Or include Visa/MC/American Express Number & Expiration Date. LITERAL LATTE NY3K AWARDS, 61 EAST 8TH STREET, SUITE 240, NYC 10003 Ames Memorial Essay Awards First Prize: $1,000 second Prize: $300 third Prize: $200 GUIDELINES: 1. Send Unpublished ESSAYS, 5,000 Word Max 2. Postmark By Sept 5, 2000. 3. Name, Address, Telephone Number--On Cover Page Only. 4. Include Self Addressed Stamped Envelope or Email Address for reply 5. Include $10 Reading Fee Per ESSAY OR, $15 Includes Fee For 1 essay, PLUS A 1Year Subscription. Winners Contacted By 11/15/00 All Entries Considered For Publication Include Check or Money Orders made out to Literal Latte Or include Visa/MC/American Express Number & Expiration Date. LITERAL LATTE ESSAY AWARDS, 61 EAST 8TH STREET, SUITE 240, NYC 10003 LITERAL LATTE FICTION AWARDS FIRST PRIZE: $1,000 SECOND: $300 THIRD: $200 GUIDELINES: 1. Send Unpublished Stories, 6,000 Word Max 2. Postmark By Jan 15, 2001. 3. Name, Address, Telephone Number--On Cover Page Only. 4. Include Self Addressed Stamped Envelope or Email Address for reply 5. Include $10 Reading Fee Per Story OR, $15 Includes Fee For 1 Story, PLUS A 1Year Subscription. Winners Contacted By 4/15/01 All Entries Considered For Publication Include Check or Money Orders made out to Literal Latte Or include Visa/MC/American Express Number & Expiration Date. LITERAL LATTE FICTION AWARDS, 61 EAST 8TH STREET, SUITE 240, NYC 10003 It's The READ Thing. Get A LATTE. RECIPE: RAY BRADBURY, MICHAEL BRODSKY, ROBERT OLEN BUTLER, STEPHEN DIXON, MICHAEL DORRIS, HARLAN ELLISON, ALLEN GINSBERG, DANIEL HARRIS, PHILLIP LOPATE, CAROLE MASO, NANCY MILFORD, CAROL MUSKE, LYNNE SHARON SCHWARTZ, GLORIA STEINEM, FRANK STELLA, JERRY UELSMANN, JOHN UPDIKE, & EXCITING NEW TALENTS... GREAT EXPOSURE: 25,000 COPIES, 6X PER YEAR PUSHCART PRIZE WINNER "[PUSHCART PRIZE IS] THE SINGLE BEST MEASURE OF THE STATE OF AFFAIRS IN AMERICAN LITERATURE TODAY." --THE NEW YORK TIMES BOOK REVIEW "A TRULY GREAT NEW MAGAZINE... ONE OF THE BEST NEW VENUES FOR ANY SERIOUS WRITER.... WILL SURELY SEEP INTO AMERICAN LETTERS AND STAY THERE."--Small Press Review I was immediately attracted....I could feel the restlessness of the city below the streets, hear the rumble of the subway....pick up a copy...." --Literary Magazine Review ":...one amazing bundle of newsprint!" --Carol Muske "The quality is always high." --Leonard Lopate, National Public Radio "...the contributors are topnotch." --Library Journal "...Some designer of taste has had their hands on Literal Latte...."--Literary Magazine Review REMEMBER THE BEST WAY TO LEARN WHAT WE LIKE IS TO READ THE MAGAZINE 1 YEAR / 6 ISSUE CHOCK-FULL SUBSCRIPTION ONLY $11 ($25 international) SAMPLE ISSUE, $3 Include Check or Money Orders made out to Literal Latte Or Visa/MC/American Express #, & Expiration Date (you may call in your credit card order to 1-888-8-LitLat) LITERAL LATTE, 61 EAST 8TH STREET, SUITE 240, NYC 10003 TEL (212) 260-5532 LitLatte@aol.com www.literal-latte.com ========================================================================= Date: Tue, 23 May 2000 11:36:45 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: michael amberwind Subject: Re: Monosyllabic word list MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii I am looking for a complete list of all mono-syllabic words in English. If such a list exists, I'd appreciate any assistance anyone might provide. Thanks. __________________________________________________ Do You Yahoo!? Send instant messages & get email alerts with Yahoo! Messenger. http://im.yahoo.com/ ========================================================================= Date: Tue, 23 May 2000 15:18:51 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Thomas Bell Organization: @Home Network MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Interesting study, John. I wonder how it applies to e-poetry and e prose pieces that contain graphics and will be starting to appear, I'm sure. I think another point that could be made also, though, is that I'm sure print newspaper readers' habits changed from the days of the first papers. One of the roles of web media, certainly, is to train the viewer. tom bell John Tranter wrote: > > For those of you who publish Web literary magazines, words from the wise: > David Walker's column, from the Sydney Mor -- //\\//\\//\\//\\//\\//\\//\\//\\//\\//\\//\\//\\ 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: Tue, 23 May 2000 17:45:45 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group Comments: RFC822 error: Incorrect or incomplete address field found and ignored. From: Brian Lennon Subject: New hypermedia at The Iowa Review Web, 15 May 2000 MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII ] New at The Iowa Review Web, 15 May 2000 Jim Andrews: Divine Mind Fragment Theater ] Recently [1 May 2000] Michael Joyce: Reach ] Forthcoming: Summer Thomas Swiss: Brad Brace: Jennifer Ley: Mez: Talan Memmott: Jeff Parker: M.D. Coverley ] http://www.uiowa.edu/~iareview/ ========================================================================= Date: Tue, 23 May 2000 22:02:05 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "K.Angelo Hehir" Subject: Brick Books MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII hi, this came to me through another channel. bests, kevin Date: Sunday, May 14, 2000 3:50 PM Subject: new website Brick Books has entered cyberspace. Check out our new website at http://www.brickbooks.ca Kitty -- Kitty Lewis General Manager Brick Books ****************************************************************************** Check out our new website at www.brickbooks.ca Publishing new and established voices in Canadian poetry since 1975 ========================================================================= Date: Wed, 24 May 2000 03:05:37 -0400 Reply-To: patrick@proximate.org Sender: UB Poetics discussion group From: Patrick Herron Subject: Re: Ostrich or owl? In-Reply-To: <20000523161944.9823.qmail@web1101.mail.yahoo.com> MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit MA wrote: "granted it is probably less money than is spent on senator's perks - on art I wouldn't even give a second glance. My eyes are wide open and clear. I just don't think that governments exist to solve all of our problems." your generation (and mine) also is the product of misinformation and distraction -- total military spending per year on the us budget (270 development & maintenance/250 interest on military expenditures & retirement pay for former military) is approximately $520 billion, about half of the annual budget. whereas total social spending (of which arts expenditure is but an ash in a solar flare) is if i remember rightly well under under 10% of the annual budget. the senator's perks are paid for mostly by "private donations." :0 governments (or at least the us brand) seem to exist to loot your pocket (or whatever you have that you find valuable) by forcing you to hold it out while you face the guise of a protective parental leviathan, such a nice kindly face. ahh what a myth, this "state of anarchy" crap. leviathan has a flute these days, and apparently he does play a catchy tune, at least here in amerika. i will say at least the dutch constitution has welfare written into it, so there might be something more redeeming about gov't over there, but they are certainly not solving every person's problems over there either. but fair warning, i could be slipping into cant dogma or god forbid (no pun intended) that ever-so-jealous realm of the untermensch, resentment. thanks for your candor. it is refreshing. Patrick Herron -----Original Message----- From: UB Poetics discussion group [mailto:POETICS@LISTSERV.ACSU.BUFFALO.EDU]On Behalf Of michael amberwind Sent: Tuesday, May 23, 2000 12:20 PM To: POETICS@LISTSERV.ACSU.BUFFALO.EDU Subject: Re: Ostrich or owl? What passes for dissidence has become cant, dogma and the Church of Resentment. I am not left, ipso facto I am right. I am not right, ipso facto, I am left. I choose not to accept the honors of a government that has none to give. Emily Dickinson had poems that never left her house, yet I never found her to "choke on repressed words." Anyone not towing the Party Line - left or right or somewhere north of Albequerque - or expressing doubts about the subversion of the artist by governments, whether by censorship or giving them grants (carrot and stick) is struck down by both sides. If poets unionised, who would even notice? Poets not writing for a few years would probably not make much of a ripple in our culture, tho that could just be the result of living in a city indifferent to the point of hostility to its literary community. Wherever my head may or may not be (as pointed out in a cliched image) it is not worried. The poems come, whether bidden or no. They are read by those who needed to read them, and ignored by the masses. I see no great reason it should be otherwise. As for my remark about Mumia, it was along the lines of "what if"... I have little doubt the man should be set free. But still, a writer must NOT allow him/herself to censor a single thought. I wish to bring into question what can and cannot be known through legal channels. What WOULD happen if someone was guilty of a crime and was set free as the result of well meaning individuals? Extremely damn unlikely, to be sure, given any government's propensity to shaft anyone they set their sights upon, but an interesting notion nonetheless. What if INCONTROVERTIBLE proof came to pass that a particular individual - whom many have latched their political hooks into - was in fact guilty? At which point does truth, social justice and activism become a form of faith? If you cannot accept possibilities, even unlikely ones, then you display less imagination and open mindedness than a typical scientist. Not pretending any answers, just offering up some meat for debate. You can decide if it is hamburger or steak. I have written and published many poems with a political center to them. I work in my city as a literary co-ordinator (without pay, lest anyone think me a selfish, hypocritical bastard) working to improve the community of work that is done. I have even (GASP!) worked for Greenpeace. I found them to be about half noble crusaders, half self-righteous jack asses. Much like myself! But I also belong to a generation that has inherited the so-called revolution of the sixties. It has made me hungover from all rhetoric. I see first hand the way government money is spent - granted it is probably less money than is spent on senator's perks - on art I wouldn't even give a second glance. My eyes are wide open and clear. I just don't think that governments exist to solve all of our problems. ========================================================================= Date: Wed, 24 May 2000 07:08:08 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "R. Drake" Subject: Re: A Wild Salience: The Writing of Rae Armantrout In-Reply-To: Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit We've put up a web page for the book, at: http://www.burningpress.org/armantrout As a free sample, we've included a complete chapter (in PDFformat), Hank Lazer's wonderful "Lyricism of the Swerve" essay. Gracias, Hank, for making that possible. Thanks to all the kind words backchanneled about the book; we're all really excited & proud to have been a part of it. luigi-bob drake, ed. Burning Press > Burning Press is pleased to announce the publication of _ A Wild Salience: > The Writing of Rae Armantrout_, edited by Tom Beckett (with Bobbie West and > Robert Drake; 180 pgs. perfect bound, ISBN 1-58711-025-3). This collection > of essays and appreciations of Armantrout's work includes contributions from > the following: > > * Lyn Hejinian > * Laura Moriarty > * Aldon L. Nielsen > * Rachel Blau DuPlessis > * Brenda Hillman > * Fanny Howe > * Ann Vickery > * Susan Wheeler > * Lydia Davis > * Jessica Grim > * Kit Robinson > * Robert Creeley > * Bobbie West > * Tom Beckett > * David Bromige > * Charles Alexander > * Hank Lazer > * Bob Perelman > * Ron Silliman > > * Plus "Return Ticket"--poems dedicated to Rae by: > Ron Silliman, Carla Harryman, Tom Mandel, Lyn Hejinian, > Kit Robinson, Bob Perelman, Steve Benson, Alan Bernheimer, > Barrett Watten, and Geoff Young (assembled & edited by > Lyn Hejinian) > > * And 9 poems by Rae Armantrout > > > _A Wild Salience_ is available direct from the publisher for $15 ppd. > Grateful thanks to all involved for their hard work and patience. > > > Orders to: > Burning Press > PO Box 585 > Cleveland OH 44102 > ========================================================================= Date: Wed, 24 May 2000 10:20:56 -0500 Reply-To: David Baptiste Chirot Sender: UB Poetics discussion group From: David Baptiste Chirot Subject: [Y4M] !*Free Mumia News (5/24/00) Crucial Updates! (fwd) MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Content-Transfer-Encoding: QUOTED-PRINTABLE ---------- Forwarded message ---------- Date: Wed, 24 May 2000 10:15:19 -0400 From: Marpessa Kupendua To: Subject: [Y4M] !*Free Mumia News (5/24/00) Crucial Updates! To subscribe/unsubscribe Free Mumia News, please do so automatically at www.afrikan.net/email.html =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D= =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D From: If anyone knows of anyone who may be able to do this, please forward this to them or put them in contact with us. Ona MOVE! =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D 5/23/00 11:15:09 AM from lthurston8@aol.com ATTENTION --- This is a urgent call for anyone who is interested in volunteering at the International Concerned Family & Friends of Mumia Abu-Jamal organization (ICFFMAJ) this summer. We are a international organization fighting for justice and freedom for Mumia Abu-Jamal. We have many ICFFMAJ offices throughout America and in many other countries. The organization was started by the MOVE organization here in Phila. PA and Pam and Ramona Africa are the coordinators of the movement. The headquarters of ICFFMAJ is here in Phila. and we are in need of a individual who would be able to work in the ICFFMAJ headquarters office full time for a month or more during summer. We are in desperate need of someone to organize rallies, conferences, press conferences, make flyers and keep up the office. With Mumia's court hearings coming up things are getting more and more busy and crazy. We need someone to stand by Pam and support her. If you are interested in volunteering at our office please call 215-476-8812 or 215-476-5416. You can e-mail us back at ICFFMAJ@aol.com. Ona Move! Long Live John Africa! Liz (ICFFMAJ) P.S -- If you know of anyone who would be interested in volunteering please let them know. =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D= =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D> From: Davey D Roots, Mos Def And Others For Mumia *Mark your calenders for June 3. That is the date when some of Hip Hop's most talented players will come together for a benefit concert at Hunter College for Mumia Abu-Jamal and victims of police brutality. The show's line up includes, Mos Def, Wyclef Jean, dead prez and Black Thought of The Roots. The following week The Roots head on out to the SF Bay Area to do another benefit concert for Mumia. It's called 'Bringing Mumia Home' and will feature a number of Bay Area performers including Dwayne Wiggins of Tony Toni Tone. This will take place at the Berkeley Community Theater on June 10th. For those who haven't been following the Mumia case. He's a former Black Panther, writer and award winning journalist who has spent the past 18 years on Pennsylvania's death row. He was convicted of killing a police officer after coming upon a scene in which his brother was being severely beaten by police. During the ensuing trial there were many who believed that the trial was distorted and crucial evidence that would've shed a different light on the outcome was disallowed. Mumia's case has drawn International attention with the demands that he be given a new trial. When looking at the larger picture, Mumia has come to represent the problems that many have with the rapidly expanding Prison Industrial Complex. Last week there was a regional March here in SF to bring attention to the Mumia case and more then 15 thousand people showed up. For more info on Mumia check out his website http://www.mumia.org. As for the upcoming 'Bring Home Mumia Show at the Berkeley Community Theater show call 510-848-6767 ext 609. ------------------------------------------------------ From: Jettie * Please join us - organizing meeting! (and video of rally coverage) June 3, 10:30 AM Centro Del Pueblo 474 Valencia St. (between 15-16th Streets), San Francisco, CA We will plan the rally for Mumia's first day in court! Jeff Mackler, Laura Herrera, Cristina Vasquez Gutierrez Co-Coordinators The Mobilization to Free Mumia Abu-Jamal 3425 Cesar Chavez, San Francisco, CA 94110 415-695-7745 Fax: 415-821-0166 http://www.freemumia.org =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D= =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D> Universal Music Awareness and Tony Toni Ton=E9 present "BRINGING MUMIA HOME" AN UNCENSORED EVENING OF HIP HOP SPIRIT & HARD KNOCK WISDOM with ALICE WALKER CRISTINA VASQUEZ GUTIERREZ NOELLE HANRAHAN featuring THE ROOTS, MCA recording artists DWAYNE WIGGINS LEDISI MARTIN LUTHER with dance accompaniment by THE KINE FOLKS hosted by Hard Knock Radio's Davey D and company. and a special new message from Mumia Abu-Jamal, and the recorded voices of Dorothy Allison, Sister Helen Prejean, Cornel West, Assata Shakur= , Howard Zinn & others SATURDAY, JUNE 10, 8:00 PM Berkeley Community Theater (Downtown Berkeley BART) $18 advance, CITY BOX OFFICE 415.392.4400 or http://www.tickets.com $22 at door information: 510.848.6767X611 www.kpfa.org http://www.savepacifica.org ___________________________________________________________ From: C. Clark Kissinger Sent: Tuesday, May 23, 2000 12:21 PM Update on Court Attacks on Mumia Activists (5/23/00) As many people have now heard, all the people who pled not guilty off the demonstration and CD action at the Liberty Bell in Philadelphia, last July 3, were convicted an sentence to a $250 fine, $25 to the restitution fund, and one year of supervised probation. Supervised probation for an offense equivalent to a parking ticket is unheard of, and shows how much the Mumia movement is beginning to sting the government. It also represent punishmen= t for the "crime" of asking for a trial. Those sentenced so far include Clark Kissinger, Frances Goldin, Jane Jackson, Paul Magno, Kim Lamberty, Mitch Cohen, and Joe Brown. The only other case that we know is still pending is Marcy Gayer. The conditions imposed on those sentenced requires them to report monthly to a probation officer, fill out a monthly report on their personal finances, and submit to visits at home and at work by probation officers. They are further forbidden to associate with convicted felons (i.e. Mumia), are require to be employed, have to surrender their passports, and are not permitted to leave their home federal court districts without permission of their probation officer. In short, the conditions are similar to those imposed some years back on banned persons in apartheid South Africa. Needless to say, this attack is not going to deter those fighting for justice for Mumia. In fact, anger over these outrageous actions is going t= o inspire even more activity for Mumia. Jane Jackson, an older woman confine= d to a wheelchair, has been on a hunger strike to protest her treatment by the courts. Six of those listed above have now filed notice of appeal and asked for a stay of sentence pending the appeal. The government has submitted a long brief to the appeals judge opposing any stay. People wishing to demand a stay and argue for overturning the convictions may write to the appeals judge, Hon. Bruce W. Kauffman, U.S. District Court, 601 Market Street, Philadelphia, PA 19106. Judge Kauffman's fax number is: 215-580-2281. =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D= =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D> From: NEW MEDIA ATTENTION REFLECTS GROWING MASS ACTIVITY IN SUPPORT OF MUMIA ABU-JAMAL'S DEMAND FOR A NEW TRIAL The growing number of mass actions and confrontations, from the Antioch College commencement activities to the mass rally in Madison Square Garden on May 7, have prompted increased media attention on Mumia's case. It is noteworthy that the New York Times, which has been particularly silent on Mumia's struggle, carried a major article by Francis X. Clines in the Week in Review on May 21. The article that leads with a streamer "Killer or Victim?" puts Mumia's case at the epicenter of the countrywide raging controversy on concerning the death penalty. The article states in part, "Mr. Abu-Jamal's cause, in any case, is clearly flourishing. . 6,000 believers in Mr. Abu-Jamal gathered earlier this month in Madison Square Garden in Manhattan. And thousands more demonstrated in European capitals, blocking some Paris intersections. When a five-member French delegation showed up last month in Philadelphia with 50,000 protest signatures, their path had been blazed by Francois Mitterrand's widow Danielle, who visited Mr. Abu-Jamal in prison. His cause has drawn sympathy from movie actors and world leaders, from Ed Asner to Nelson Mandela, Amnesty International joined the call and citing 'a pattern of events that compromise Abu-Jamal's right to a new trial.'" The New York Times article continues, "'It's probably the biggest international mobilization since the Angela Davis case,' said Leonard I. Weinglass, an experienced leftist advocate who is handling the appeal for Mr. Abu-Jamal." The New York Times article concludes "Even so, with the Abu-Jamal case now entwined with the capital punishment issue, his supporters expect a pending court decision to galvanize both causes, whether a new execution date is set or a new trial is ordered. 'We're persisting,' said Pam Africa, who directs the Abu-Jamal web site. 'This can only get bigger.'" In addition to the New York Times article, the New York Amsterdam News, the Harlem-based African American weekly known throughout the United States, carried the headline "Thousands Cheer Mumia" on its front page May 11 with a cover photo of Abu-Jamal. The Amsterdam News coverage of the May 7 Madison Square Garden event was a major breakthrough. Mumia Abu-Jamal supporters are planning to pack the courtroom when Mumia comes to court for what they hope to be an evidentiary hearing sometime this summer. Monica Moorehead, a coordinator of the Millions for Mumia/International Action Center, stated that the growing movement in support of Mr. Abu-Jamal will bring thousands of supporters to protest at the Republican Convention on July 30 to August 2 and in Los Angeles at the Democratic Convention on August 13. International Action Center National Peoples Campaign/Millions for Mumia 39 West 14th Street, #206 New York, NY 10011 212 633-6646 212 633-2889 FAX email: iacenter@iacenter.org http://www.iacenter.org http://www.peoplescampaign.org CHECK OUT THE NEW SITE www.mumia2000.org =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D= =3D=3D=3D=3D=3D=3D=3D=3D=3D> ** INTERNATIONAL SUPPORT ** ABOLISH THE DEATH PENALTY! From: moviment graffitti Living on the death row! The death penalty is still with us. Barbarism is still with us. The state continues to kill in several countries like the USA, Turkey and China. While we condemn the death penalty everywhere, we cannot but note the hypocrisy of those who preach the values of human rights to the entire world and than deny the basic right to life to the victims of legalised state murder. In 1999, the US a state killed 99 people. It is even more worryin= g that the Republican Presidential candidate Bush is a notorious supporter o= f state murder. The case of the innocent O'Dell, who was defended by the Pope, is still in everyone's mind. When the justice system is pervaded with racism the state's arbitrary power to kill becomes even more dangerous. On= e has to keep in mind that although 12% of the U.S. population is black 50% of the two million U.S. prisoners are black. Moviment Graffitti would like t= o publicise the cases of three prisoners on death row. Presently, a 49 year old man named Bennie E. Demps is on Death Watch, with a scheduled execution date of May 31, 2000. He was convicted and sentenced to death for the 1976 of killing a fellow prisoner. At the time of his warrant, Mr. Demps was waiting for a ruling that would allow for an evidentiary hearing based upon the surfacing of previously concealed documents. Documents which could prove his innocence. Governor Jeb Bush, George Bush's brother signed this fourth death warrant on Mr. Demps knowin= g that an appeal was still pending, and aware of the fact that there was new evidence which would exonerate him of this murder conviction. The followin= g is an extract of an appeal written by Demps himself: "Quite simply I am innocent of this crime and have spent the last 22 years accumulating the necessary evidence to prove, that various Department of Correction prison officials, did indeed manufacture this case. The reason being they perceived me as having "escaped" the death penalty when in June 1972 the US Supreme Court struck down the death penalty commuting my sentence to life". Gary Graham (Shaka Sankofa), another prisoner on death row is segregated o= n Texas Death Row since 19 years and, considering that his present age is 36= , it is immediately obvious that he has spent on death row the longest part of his life. Sankofa was just 17 years old when he was arrested and charged with capital murder--a violation of many international laws that no one under 18 should be sentenced to death. The prison where Gary is segregated is a maximum security unit where men that have been sentenced to death liv= e like in a concentration camp. Since he was arrested in 1981, Sankofa has steadfastly proclaimed his innocence of the murder of Bobby Lambert outside a grocery store. His case garnered national and international support in the early 1990s. That's whe= n Sankofa finally received adequate legal representation. Investigators uncovered what Houston police and Sankofa's original lawyer never did--tha= t ballistics evidence proved his gun was not used in the murder. They also found that Lambert was a known drug dealer and gunrunner and was set for trial in Oklahoma. Most important, six eyewitnesses agreed that Sankofa wa= s not the killer. To this day, no court has ever heard all this new information that was uncovered a decade after Sankofa was sent to death row. Republican presidential candidate Bush who signed his death warrant, has already "killed" a mentally ill man, a battered woman and a person who was a juvenile at the time of his arrest. Bush has 128 executions under his belt and 20 more scheduled for this year. The third and more publicised case is that of Mumia Abu-Jamal a former radio journalist in Philadelphia during the 1970s. He was known as "the voice of the voiceless" on Philly airwaves. He was also President of the Association of Black Journalists in Philadelphia. In December of 1981, Mumia was shot by a Philadelphia cop and almost died when he intervened in a street incident where his own brother was being beaten by the same cop. Th= e police officer was also shot and killed, and witnesses saw other men run from the scene. When more police arrived, they beat Mumia before taking hi= m to the hospital, and he was immediately charged with murder. As a well-known radio reporter, he was a leading critic of police violence against the minority communities of Philadelphia. Mumia was given an unprepared court-appointed attorney who was later disbarred. When Mumia tried to represent himself, the judge barred him fro= m most of his own trial. The political motivation of the prosecution was mad= e clear when the prosecutor, arguing for the death penalty, read revolutionary quotations from an interview with Mumia published ten years earlier. A worldwide movement has grown in the last few years demanding a new trial= =2E The world's leading human rights organisation: Amnesty International has called for a new trial in the case of Mumia Abu Jamal on the basis that hi= s original trial was deeply flawed. "This is not about an issue affecting the life of just one man. This is about justice -- which affects us all. And justice, in this case, can only be served by a new trial," Amnesty International said. Moviment Graffitti appeals to all people of good will to write letters of protest against the death penalty to the Maltese U.S. Ambassador: Her Excellency the Ambassador, The Embassy of the U.S.A. Floriana. James Debono - International Secretary-Moviment Graffitti MOVIMENT GRAFFITTI PO BOX 24 SLIEMA MALTA movgraff@hotmail.com http://www.geocities.com/movimentgraffitti =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D= =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D> International Concerned Family and Friends of Mumia Abu-Jamal 215-476-8812 or 215-476-5416. e-mail ICFFMAJ@aol.com fax 215-476-7551 GET INVOLVED! ------------------------------------------------------------------------ Paying too much for Long Distance is a global problem.=20 Join BeMANY! and Long Distance rates fall automatically. http://click.egroups.com/1/4260/3/_/30522/_/959178182/ ------------------------------------------------------------------------ Stop the execution! New trial for Mumia! Youth & Students for Mumia www.mumia2000.org To subscribe or unsubscribe email: youth-4-mumia-owner@egroups.com ========================================================================= Date: Wed, 24 May 2000 10:24:10 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: David Baptiste Chirot Subject: FBI continues to defame Peltier (fwd) MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Content-Transfer-Encoding: QUOTED-PRINTABLE ---------- Forwarded message ---------- Date: Tue, 23 May 2000 18:06:10 -0500 From: LPDC To: dbchirot@csd.uwm.edu Subject: FBI continues to defame Peltier Dear Friends, The FBI is continuing their misinformation campaign against Leonard Peltier= =2E Their letters are still popping up in papers accross the country. However, many of our responses and letters are being printed as well. Below is a good rebuttal written in a Denver paper by Prof. Morris. Please continue t= o keep an eye out for the FBI's letters and be sure to send us copies in the mail. If the FBI has not submitted anything in your paper, you can still submit a letter of your own before they do. Please keep up phone calls to the White House, Congress, and Reno. Don't forget to organize phone banks to Janet Reno's office on June 9th and let u= s know if a vigil is being planned on June 11 in your region. We cannot let them obstuct Leonard's chances of receiving long overdue justice this year. Thank you. Solidarity, LPDC Published Monday, May 15, 2000 in the Denver Rocky Mountain News: Speakout section Truth must lead to pardoning of Peltier by Professor Glenn Morris In reporting the FBI's lates campaign to defame imprisoned American Indian activist Leonard Peltier (April 22 article, "FBI fights to prevent a pardon for Peltier"),the Denver Rocky Mountain News repeated several factual error= s and pieces of FBI disinformation that deserve correction. At the outset, it should be stated that Leonard Peltier has now spent 23 years in federal prison for crimes that he did not commit. His convictions on the charges that he murdered two FBI agents were secured through perjured affidavits an= d testimony, exculpatory evidence was concealed by the FBI, and a judiciary has consistently ignored truth and justice in the case. Peltier's case has been examined by some of the finest legal minds in the world, with the respected human rights organization Amnesty International (AI) concluding that Peltier should be released immediately. AI has been joined in its plea for Peltier's freedom by millions of others, including Nobel Peace Prize laureates Nelson Mandela, the late Mother Teresa, the Dal= a i Lama, Rigoberta Menchu and Desmond Tutu. In the article reprinted in the News. some of the scurrilous tactics of the FBI's smear campaign were revealed when the FBI continued to suggest that Peltier had attempted to kill other police officers in Milwaukee prior to the 1975 Pine Ridge Indian Reservation shootout that left one Indian and two FBI agents dead. The FBI omits the fact that Peltier was acquitted of all charges in the Milwaukee case. It also neglects to mention that the case was fabricated by two Milwaukee police officers who set Peltier up, in their own words, to catch "a big one for the FBI." Today, given revelations in such cases as Rubin "Hurricane" Carter, the Los Angeles police department's Rampart Division scandal, and Denver's own Mena case, we know that the capacity of police agencies (including the FBI) to railroad innocent individuals for political or racial purposes, is virtuall= y boundless. As documented in Peter Matthiessen's award-winning book, In the Spirit of Crazy Horse, the FBI attempted to conceal its own ballistics tests which excluded Peltier's purported gun as the one that killed the FBI agents. Before the 8th Circuit Court of Appeals, the U.S. prosecutor admitted to the court that " we can't prove who shot those agents." Later, on CBS' 60 Minutes, the same prosecutor, Lynn Crooks, defended his and the FBI's conduct in the Peltier case, claiming that he didn't think that "we did anything wrong, but I can tell you, it don't bother my conscience one whit if we did." Such is the nature of "justice" in the Peltier case. Despite the FBI's attempts to spread lies about Peltier and his trial, people of goodwill should examine the facts for themselves. Those who are persuaded by truth and justice will join the international call for presidential clemency for the most renowned political prisoner in the Unite= d States, Leonard Peltier. ___________________________________ Glenn Morris is a Professor of International Law and Politics at the University of Colorado =96 Denver, a member of the American Indian Movement= of Colorado and an advisory board member of the Leonard Peltier Defense Committee. Call the White House Comments Line Today Demand Justice for Leonard Peltier! 202-456-1111 Leonard Peltier Defense Committee PO Box 583 Lawrence, KS 66044 785-842-5774 www.freepeltier.org To subscribe, send a blank message to < lpdc-on@mail-list.com > To unsubscribe, send a blank message to < lpdc-off@mail-list.com > To change your email address, send a message to < lpdc-change@mail-list.com > with your old address in the Subject line ------------------------------------------------------------------------- To subscribe, send a blank message to lpdc-on@mail-list.com To unsubscribe, send a blank message to lpdc-off@mail-list.com To change your email address, send a message to lpdc-change@mail-list.com with your old address in the Subject: line ========================================================================= Date: Wed, 24 May 2000 12:45:17 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Daniel Bouchard Subject: Rad Lit Crit and a Whole lot of Money Mime-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 8bit Five posts from “DRn” have appeared here this month, with a subject line beginning “M&R”. They haven’t been very interesting or informative. I responded to one: the one attacking Whalen and A. Berrigan. I thought that would be the end of it. The writer (I still don’t know if “DRn” is the same person as the e-mail address indicates: “Harry Nudel nudel-soho@MINDSPRING.COM” presents him/herself as someone on the margins of the poetry world (or “scene”what a stupid word), attacking crusty old stalwarts who have “made” it, taking swings at the reputations of “respectable” poets and “alternative” or avant-garde alike. Oh, how radical! Well, there is something admirable about this on the surface. You think someone’s out there standing up for their aesthetic, fighting for what they believe in (however low or sexist the posts come across as), and so on. But it’s not so. Maybe you all knew this already. Maybe the joke’s on me. The aesthetic stance has a currency conversion rate. Nudel’s a literary mosquito. For example, he writes (5/1/00) “At the Church...Baraka is almost finishing...and seeing no reason to pay 7 dolllars...we wait for half-time...” Does this say struggling artist or big cheap guy? Won’t pay to hear poetry reading. I know people who painfully part with money at poetry readings. Some of them really need it. The next thing should have given me more of a clue: Nudel: “Finally in....I think whether to get Baraka to sign some stuff...but since I have circa 20-30 signed Baraka's & am computing the odds as to who;s going to kick off first” Twenty to thirty signed books can only mean two things: a very serious fan of the writer or a book dealer. Whether Nudel is a fan of Baraka or not is not interesting to me. He is a book dealer tho; a “rare” book dealer, worst kind. Read on. [Aside: “kick off first”? standard thought process of the rare bookseller?] Harry wouldn’t pay 7 bucks at St. Marks. If anyone in the audience who didn’t have multiple signed copies of Baraka’s work and wanted one, they would have to pay a lot for them. (Let’s back up. If Baraka was signing books that night, they’re probably all set.) But what can Harry offer them? Baraka, Amiri Imamu RAISE RACE RAYS RAZE NY Random House 1971 1st Edition, Fine in About Fine D.J., SIGNED and dated 1978 Price: US$ 175.00 Ouch! Baraka, Imamu Amiri AFRIKAN REVOLUTION New Ark Jihad 1973 16mo, brown wrappers, Fine 1st Edition, an 8 page pamphlet Price: US$ 30.00 That’s $3.75 per page. Jones, Leroi THE DEAD LECTURER NY Gove 1964 1st Edition, Fine in VG price-clipt D.J.,INSCRIBED at a later date as Baraka Price: US$ 300.00 I love the “INSCRIBED at a later date as Baraka.” At some “later date” Harry Nudel (or similar kin) slipped past the collector at the door of the poetry reading and significantly increased what had probably been only a modest "investment". Probably got some free wine and cheese in the deal as well. When we next hear from Nudel (5/8/00) we see he’s been attending something or other with a real bad attitude and taking down lots of names but not taking any prisoners. Oh, gotta get me to New York! Of attendees he writes: “a bunch of women...the usual variety of commercial vanity publishers..Knopf, Farrar&Co, New Directions,...[whom he was eyeing for Advance Copies no doubt], Robert Pinski, Mr. poetry lite...rd the shirt poem....” Pinsky? Poetry lite or no, Nudel is looking to pick up $150 for the following: Pinsky, Robert AN EXPLANATION OF AMERICA Princeton U.P. 1979 1st Edition, Fine in About Fine D.J.with a smidgen of soil, Review Copy with slip (H24-5) . Book # 1828 Nudel lets another slam loose on the Buff list, but in the Nudel Books-list there is a quite more moderate tone. Buff list: “This is the 2nd male poet, remember to forget Robert Hass, who like Reagan was perfecto for the Prez role... is perfecto for the role of poet lauriate, rugged charming professionally oily, rite the post alzheimer Reagan…” Nudel Books: “Haas, Robert FIELD GUIDE New Haven Yale 1973 Stiff wrappers, 1st Edition, about Fine. Book # 1600 Price: US$ 20.00” I love it when book dealers write that a book has “stiff wrappers.” It really fetishizes the commodity. And there’s no doubt that Harry is really getting off on these prices. For example: "Haas, Robert LETTER Buffalo Slow Loris Press 1971 4to, a Broadside, vg+, stains on verso, limited to 200 copies. Rare, I haven't seen another copy in 25 years. Price: US$ 375.00" You see, there are stains on verso. That’s code, people, code! Nine days later, Nudel posts again. This is the sharpest (and most morbid) take on the contemporary “scene” he gives us yet. It is titled “M&R...we have come to bury the dead....” Part anti-book catalog rant against Stanley Kunitz, it concludes: “Prob. drinking and dating his students....why can't we just bury the dead in stiff academic gowns and let them molder forever...DRn...” While Stanley molders, you can pick up a copy of his TESTING TREE (NY: Atlantic, 1971, first edition) for a mere $115. It is, the dealer writes, “fine in glassine.” Now THAT’S poetry. Also available, is Kunitz’s THE TESTING TREE (NY: Atlantic, 1973) which is ALSO a first edition, as well as signed by the Moldering One’s dead hand, and if you hand $45 into the hand of Nudel it’s all yours. [Not a bibliographer, but confused on the cataloging above. Something about adding “The” to the second First edition makes it brand new all over again?] More stiff wrappers are found around Whalen’s SEVERANCE PAY, which is a great book, but I know it can be found for less than $20. Especially since the bookseller here omits his opinion that Whalen’s writing is often “tendentious…cultural patter” or that admirers might try sticking a sharp object into the author’s heart in search of blood. Just a nutty bookseller? Ignored? Wandering lower Manhattan with hurt feelings for a failed poetry career? Nudel has 7 books by Ted Berrigan for sale with a value (HIS value) of almost $40,000 dollars. Nudel: I think you’re a vampire. At some event-or-other in May, Nudel laments: “The culture wars continue apace but one thing this panel is sure to agree on is that I WON'T be the next winner of 100 Grand TANNING prize...you can put money on that..” Or you can spend it at 135 Spring Street; Harry Nudel books. Other items: Brainard, Joe I REMEMBER N. Y.: Angel Hair, 1970 First Edition. 4to stiff photographic stapled wrappers about Fine, ltd to 700 copies, INSCRIBED on Title Page "To Lewis" in Brainard's characteristic Cursive Hand, undoubtedly to the publisher of the book "Lewis Warsh" , n.b. NOT SIGNED. Price: US$ 1250.00 Notley, Alice TWENTY-FOUR SONNETS NY C Press N.D. 1st Edition of her 1st Book, the only edition, Stapled decorated wrappers by Phillip Whalen, mimeoed sheets, Edited by Ted Berrigan, limited to 250 copies, the most important female poet of her generation, about Fine with a hint of soiling, SIGNED, although not called for in the colophon, one of the shining jewels of modern poetry (HP) . Price: US$ 3000.00 Presented by NUDEL BOOKS, New York, NY, U.S.A. Remember folks, your self-published poems today make someone else a lot of money down the road! Catalog info obtained from on 5/24/00. ><>>>>>>>>>>>>>>>>>>>>>>>>> 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: Wed, 24 May 2000 12:54:01 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Elizabeth Fodaski Subject: ideas for class MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii; x-mac-type="54455854"; x-mac-creator="4D4F5353" Content-Transfer-Encoding: 7bit Hello everyone-- I'm teaching a class in the fall on the dysfunctional family in literature and would welcome anyone's ideas for poems that fit the bill, even obliquely. Thanks, Liz Fodaski ========================================================================= Date: Wed, 24 May 2000 14:24:48 -0400 Reply-To: dcpoetry@mailcity.com Sender: UB Poetics discussion group From: dc poetry Organization: MailCity (http://www.mailcity.lycos.com:80) Subject: Clark Coolidge Mime-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Anybody have contact information for Clark Coolidge? Backchannel, please. Thanks. Allison Cobb Get your FREE Email at http://mailcity.lycos.com Get your PERSONALIZED START PAGE at http://my.lycos.com ========================================================================= Date: Tue, 23 May 2000 17:09:59 +0000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: kathylou@ATT.NET Subject: Re: Fw: Down with Conferences I agree that this is a problem -- a class/privilege issue that permeates all of intellectual life. I am off to the American Literature Association conference tomorrow. To their credit, as a "independent scholar" (i.e., someone not affiliated with a university) I only had to pay $10 to register for the conference. But as the poster below notes, there are travel and accommodation costs which I must bear in order to be allowed the privilege of presenting a paper and participating in the kind of "community" and opportunity which a conference can provide. For those in the academy, I think the kind of institutional support one gets for these things varies widely, depending on how wealthy the institution with which one is affiliated. So, yes, this can be a situation where those with privilege get more privilege and so on and so on, getting the kind of opportunities vital to creating an academic career, should one choose to do so. I don't think the answer is to abolish conferences (though I understand the kind of frustration the leads to that conclusion.) Rather there should be a mechanism where fees can be waived for those who can't afford to pay. Yes, this is a lot work, but would contribute to the overall vitality and dare I say, "diversity" of presentations. Kathy Lou Schultz I just had to withdraw from another damn conference - where I was slated > to speak - because I would have had to pay registration, travel, and > accommodation. > > I am fucking poor. I am sick of being fucking poor. I am 57 and there are > no teaching jobs out there for me - or much else for that matter. I make > do with part-time work, but this can't compete with people who are teach- > ing and get disbursements etc. for travel and conferences. > > Conferences are becoming a great filter, defusing radicality or harness- > ing it to the academy. The middle class or upper middle class or privi- > leged grad students get to associate with one another, share theory and > ideas - and the public or the poor are just simply kept out and excluded. > > I understand that conferences have to make a bit of money, but if one is > invited to speak on a panel, surely they should at least waive fees. AND > THIS SHOULD BE BUILT INTO THE ORGANIZATION OF THE CONFERENCE FROM THE > BEGINNING. > > But it's not and people like me - and there are others - are simply kept > in the ghetto, where if we're really lucky, we might be able to afford the > forty dollar paperbacks containing some of the conference proceedings. > > I don't know if this is the same elsewhere, but at least in the United > States, the academy has succeeded in isolating itself in this fashion, > keeping people like me out, ensuring that intellectual discourse is econ- > omically purified, class and race bound for the most part. > > I would like to see these conferences - in their present form - destroyed. > They do real harm to thought; like the Internet's eternal use of the words > "radical" and "revolutionary" they ensure that people like me are spoken- > for, and silenced. I can write all I want on the Net, but god forbid I > have something to say to academics _as an equal._ > > This isn't a minor issue, at least in Amerikka, where divisions are so > subtle that people elsewhere think we're thriving - they obviously haven't > been in my neighborhood - ========================================================================= Date: Wed, 24 May 2000 12:29:43 -0400 Reply-To: "Ron P. Swegman" Sender: UB Poetics discussion group From: "Ron P. Swegman" Subject: Fw: poet Ketan Ben Caesar + open reading Comments: To: Ayperry@aol.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, rosemarie1@MSN.Com, sernak@juno.com, SFrechie@aol.com, singinghorse@erols.com, sm1168@messiah.edu, stewart@dept.english.upenn.edu, subpoetics-l@hawaii.edu, susan.wheeler@nyu.edu, SusanLanders@yahoo.com, swalker@dept.english.upenn.edu, Tasha329@aol.com, tdevaney@brooklyn.cuny.edu, tosmos@compuserve.com, TWells4512@aol.com, upword@mindspring.com, v2139g@vm.temple.edu, wh@dept.english.upenn.edu, whpoets@dept.english.upenn.edu, fhaeussl@astro.ocis.temple.edu MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit *** *** *** *** *** The Black Box presents *** *** *** *** *** ************* folk poet and performance artist ************* ********************* Ketan Ben Caesar ******************** ************* 11 p.m. Thursday, May 25, 2000 ************ ********************** 200 S. 12th Street ******************* ******************** (Above Frangelica's) ****************** ************** Between Walnut and Locust Sts. *********** **************** $2 students, $4 non-students ************* **************** all ages welcome, 21 to drink ************* *** *** *** *** *** The Black Box presents *** *** *** *** *** ========================================================================= Date: Wed, 24 May 2000 13:35:24 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Richard Frey Subject: New Poetry read by Robyn Edelstein, Tamara Oakman, and Don Riggs at (NOTcoffeeHouse) Poetry and Performance Series Sunday, June 4, 00 - 1 pm First Unitarian Church 2125 Chestnut Street Philadelphia, PA 19103 Comments: To: Norman Fouhy Mime-Version: 1.0 Content-Type: multipart/mixed; boundary="============_-1252932292==_============" --============_-1252932292==_============ Content-Type: text/plain; charset="us-ascii" Contact: Richard Frey 215-735-7156 richardfrey@dca.net (NOTcoffeeHouse) Poetry and Performance Series Sunday, June 4, 00 - 1 pm First Unitarian Church 2125 Chestnut Street Philadelphia, PA 19103 New Poetry read by Robyn Edelstein, Tamara Oakman, and Don Riggs Music by TBA Plus Open Poetry and Performance Showcase $1 admission. 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 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. 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AAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAA AAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAA AAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAA AAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAA AAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAA= --============_-1252932292==_============ Content-Type: text/plain; charset="us-ascii" Richard Frey 500 South 25th Street Philadelphia, PA 19146 215-735-7156 richardfrey@dca.net --============_-1252932292==_============-- ========================================================================= Date: Wed, 24 May 2000 12:42:15 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Taylor Brady Subject: Re: New Poetry read by Robyn Edelstein, Tamara Oakman, and Don Riggs at (NOTcoffeeHouse) Poetry and Performance Series Sunday, June 4, 00 - 1 pm First Unitarian Church 2125 Chestnut Street Philadelphia In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit A plea from a list reader who nearly always gets his mail at work - Please don't send messages with MS Word attachments. I might be willing (grudgingly) to accept the possibility of a macro virus or two at home (friends send me work like that all the time, I get a new virus every few months). But when it's a matter of possibly bringing down the whole network here in the office, I'd rather not be the one explaining that "I just have to have my poetry announcements." Just to be clear - this one scanned clean just now, and I'm certainly not trying for a tone of accusation here. But copying and pasting into the body of an email should only take an extra few seconds, and saves us all the risk. Taylor -----Original Message----- From: UB Poetics discussion group [mailto:POETICS@LISTSERV.ACSU.BUFFALO.EDU] On Behalf Of Richard Frey Sent: Wednesday, May 24, 2000 10:35 AM To: POETICS@LISTSERV.ACSU.BUFFALO.EDU Subject: New Poetry read by Robyn Edelstein, Tamara Oakman, and Don Riggs at (NOTcoffeeHouse) Poetry and Performance Series Sunday, June 4, 00 - 1 pm First Unitarian Church 2125 Chestnut Street Philadelphia, PA << File: 5=21_promo__P+P.doc >> << File: ATT00002.txt >> Contact: Richard Frey 215-735-7156 richardfrey@dca.net (NOTcoffeeHouse) Poetry and Performance Series Sunday, June 4, 00 - 1 pm First Unitarian Church 2125 Chestnut Street Philadelphia, PA 19103 New Poetry read by Robyn Edelstein, Tamara Oakman, and Don Riggs Music by TBA Plus Open Poetry and Performance Showcase $1 admission. 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 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, Alicia Askenase, Ruth Rouff, Kyle Conner ========================================================================= Date: Wed, 24 May 2000 16:32:08 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Maria Damon Subject: Re: ideas for class In-Reply-To: <392C1737.707DD6F7@earthlink.net> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" At 12:54 PM -0500 5/24/00, Elizabeth Fodaski wrote: >Hello everyone-- > >I'm teaching a class in the fall on the dysfunctional family in >literature and would welcome anyone's ideas for poems that fit the bill, >even obliquely. > >Thanks, >Liz Fodaski anything by any of the confessionals --lowell, bishop, plath, sexton, snodgrass, etc. "Kaddish" is a masterpiece in this vein. i also sometimes think of "America" as one side of a dialogue between an older jewish couple trapped in an unhealthy symbiosis --that's where much of the humor comes from, the intimacy and the "yr getting on my nerves again" tone. ========================================================================= Date: Wed, 24 May 2000 15:35:04 PDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mark DuCharme Subject: Re: ideas for class Mime-Version: 1.0 Content-Type: text/plain; format=flowed Liz, What comes to mind most strongly are not *poems* but novels-- specificially Janey's incestuous relationship with her father in Kathy Acker's _Blood and Guts in High School_, and Leopold & Molly Bloom in _Ulysses_. As for POETRY: Rimbaud's "Poets de Sept Ans" for starters and (although it's a play it is still poetry) King Lear. --Mark DuCharme >Hello everyone-- > >I'm teaching a class in the fall on the dysfunctional family in >literature and would welcome anyone's ideas for poems that fit the bill, >even obliquely. > >Thanks, >Liz Fodaski ________________________________________________________________________ Get Your Private, Free E-mail from MSN Hotmail at http://www.hotmail.com ========================================================================= Date: Wed, 24 May 2000 20:22:12 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: damaged life MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII - damaged life someone dies, it's a movement of the lips: language of tune or song, language of truth. for when someone dies, there is the sign of speech, and that is about it. and when this happens, there is always an absence, always one less shadow to contend with. and you will try and bring back that shadow in as many ways as possible, fill in the outlines, until the world outside begins to change as well. and when that happens, there will be no place for the shadow, there will be nothing but emptiness, and for a while there will be images and things and names. and then the images and things and names will disappear as well, and you will know all of this because you will be on the cusp of the shadow. you will see someone slipping away into the shadow. you will see the shadow growing faint, but you will not see the background coming forward, as if there were translucency; instead, there will be a faintness, and the buzz of the world everywhere, louder and louder, as if you are being drowned. and for you the world will consist of such drownings, you will be gasp- ing for the sound of air, for the pleasure of a breath. and you will know at this very moment that the cusp is permanent, that the world is constituted by such cusps, that, for you, the world rasps against itself, that this is the nature of the world. for something familiar is gone forever, and the new things that appear around you are increasingly uncanny, on the other of the fantasm; it is as if they were intent on corroding whatever has been real. and it will be their triumph in the very long run; there will be only fantasms and then there will be nothing at all, and no deaths, not even slow churnings. but you cannot imagine that, so you will continue to sing the language of truth, as if this language, this singing, were a consideration, and you are dreaming when you think, as long as there is breath. but what the world is, what the world always is, is louder and louder, and increasing buzz. and there is no room for thinking the death for which you are witness; there is buzz alone, and nothing can be thought, not now, not forever. (i will think of this when i write this, when i send this missive to you, as a flood of words, as a memorial to an other time, as a memorial to times in which deaths occurred, which seemed to be remembered.) __ ========================================================================= Date: Thu, 25 May 2000 01:12:01 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Brent Cunningham Subject: Seeking contact #s for Drogue/Bynum In-Reply-To: <200005241645.MAA20201@melbourne-city-street.MIT.EDU> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Looking for email address and/or phone number for drogue press/thomas bynum. Anyone with this information could send it to myself or directly to Marty Kelly at SPD: Marty@spdbooks.org Thanks in advance. Brent Cunningham brent@spdbooks.org ========================================================================= Date: Thu, 25 May 2000 06:02:24 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Harry Nudel Subject: m&r...lesson of the master all poetics is politics...there's no point arguing about lit. history just taste..there are no poetry friends just biz (spelt bi$$) associates...there in no bad publicity just publi$$$ity...DRn... ========================================================================= Date: Tue, 23 May 2000 15:17:00 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: mgsal@MAIL.EN.COM Subject: Re: ideas for class Sara holbrook has made a career in children's literature by writing poetry for adolescents in this vein. http://www.saraholbrook.com ----Original Message----- >From: Elizabeth Fodaski >To: POETICS@LISTSERV.ACSU.BUFFALO.EDU >Subject: ideas for class >Reply-To: UB Poetics discussion group >Date: Wednesday, May 24, 2000 1:54 PM > >Hello everyone-- > >I'm teaching a class in the fall on the dysfunctional family in >literature and would welcome anyone's ideas for poems that fit the bill, >even obliquely. > >Thanks, >Liz Fodaski > > ========================================================================= Date: Wed, 24 May 2000 14:23:55 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Rice, Clai" Subject: Re: Monosyllabic word list MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Follow this link to John Lawler's monosyllable database: http://www-personal.umich.edu/~jlawler/monosyl.zip or this one to Lawler's page: http://www-personal.umich.edu/~jlawler/projects.html Lawler's work on phonesthemes is fascinating. --Clai Rice -----Original Message----- From: michael amberwind Sent: Tuesday, May 23, 2000 1:37 PM To: POETICS@LISTSERV.ACSU.BUFFALO.EDU Subject: Re: Monosyllabic word list I am looking for a complete list of all mono-syllabic words in English. If such a list exists, I'd appreciate any assistance anyone might provide. Thanks. __________________________________________________ Do You Yahoo!? Send instant messages & get email alerts with Yahoo! Messenger. http://im.yahoo.com/ ========================================================================= Date: Wed, 24 May 2000 15:34:04 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: John Coletti Subject: Re: Rad Lit Crit and a Whole lot of Money In-Reply-To: <200005241645.MAA20201@melbourne-city-street.MIT.EDU> MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 8bit I would like to thank Dan Bouchard for taking the time to criticize these several posts by Harry Nudel. Having had the strange sensation that a response to these completely damaged and bilious posts would only feed into some strange and provocative instinct on the part of Dr. Nudel, I chose not to post a response. Both Dan's response and Chris Funkhouser's updated review have made me feel differently. It is best to immediately check even the most obvious and desperate of cheap shots. Thanks to you both. And so, let me check in briefly. Having chosen Amiri Baraka's reading at the Poetry Project and Anselm Berrigan's review of Philip Whalen's _Overtime_ as targets for this silly and insidious e-needling just reinforces how completely out of touch this Dr. Nudel must be. Both the reading and the review were brilliant....No question....This (ahem) criticism is just laughable. John Coletti -----Original Message----- From: UB Poetics discussion group [mailto:POETICS@LISTSERV.ACSU.BUFFALO.EDU]On Behalf Of Daniel Bouchard Sent: Wednesday, May 24, 2000 12:45 PM To: POETICS@LISTSERV.ACSU.BUFFALO.EDU Subject: Rad Lit Crit and a Whole lot of Money Five posts from “DRn” have appeared here this month, with a subject line beginning “M&R”. They haven’t been very interesting or informative. I responded to one: the one attacking Whalen and A. Berrigan. I thought that would be the end of it. The writer (I still don’t know if “DRn” is the same person as the e-mail address indicates: “Harry Nudel nudel-soho@MINDSPRING.COM” presents him/herself as someone on the margins of the poetry world (or “scene”what a stupid word), attacking crusty old stalwarts who have “made” it, taking swings at the reputations of “respectable” poets and “alternative” or avant-garde alike. Oh, how radical! Well, there is something admirable about this on the surface. You think someone’s out there standing up for their aesthetic, fighting for what they believe in (however low or sexist the posts come across as), and so on. But it’s not so. Maybe you all knew this already. Maybe the joke’s on me. The aesthetic stance has a currency conversion rate. Nudel’s a literary mosquito. For example, he writes (5/1/00) “At the Church...Baraka is almost finishing...and seeing no reason to pay 7 dolllars...we wait for half-time...” Does this say struggling artist or big cheap guy? Won’t pay to hear poetry reading. I know people who painfully part with money at poetry readings. Some of them really need it. The next thing should have given me more of a clue: Nudel: “Finally in....I think whether to get Baraka to sign some stuff...but since I have circa 20-30 signed Baraka's & am computing the odds as to who;s going to kick off first” Twenty to thirty signed books can only mean two things: a very serious fan of the writer or a book dealer. Whether Nudel is a fan of Baraka or not is not interesting to me. He is a book dealer tho; a “rare” book dealer, worst kind. Read on. [Aside: “kick off first”? standard thought process of the rare bookseller?] Harry wouldn’t pay 7 bucks at St. Marks. If anyone in the audience who didn’ t have multiple signed copies of Baraka’s work and wanted one, they would have to pay a lot for them. (Let’s back up. If Baraka was signing books that night, they’re probably all set.) But what can Harry offer them? Baraka, Amiri Imamu RAISE RACE RAYS RAZE NY Random House 1971 1st Edition, Fine in About Fine D.J., SIGNED and dated 1978 Price: US$ 175.00 Ouch! Baraka, Imamu Amiri AFRIKAN REVOLUTION New Ark Jihad 1973 16mo, brown wrappers, Fine 1st Edition, an 8 page pamphlet Price: US$ 30.00 That’s $3.75 per page. Jones, Leroi THE DEAD LECTURER NY Gove 1964 1st Edition, Fine in VG price-clipt D.J.,INSCRIBED at a later date as Baraka Price: US$ 300.00 I love the “INSCRIBED at a later date as Baraka.” At some “later date” Harry Nudel (or similar kin) slipped past the collector at the door of the poetry reading and significantly increased what had probably been only a modest "investment". Probably got some free wine and cheese in the deal as well. When we next hear from Nudel (5/8/00) we see he’s been attending something or other with a real bad attitude and taking down lots of names but not taking any prisoners. Oh, gotta get me to New York! Of attendees he writes: “a bunch of women...the usual variety of commercial vanity publishers..Knopf, Farrar&Co, New Directions,...[whom he was eyeing for Advance Copies no doubt], Robert Pinski, Mr. poetry lite...rd the shirt poem....” Pinsky? Poetry lite or no, Nudel is looking to pick up $150 for the following: Pinsky, Robert AN EXPLANATION OF AMERICA Princeton U.P. 1979 1st Edition, Fine in About Fine D.J.with a smidgen of soil, Review Copy with slip (H24-5) . Book # 1828 Nudel lets another slam loose on the Buff list, but in the Nudel Books-list there is a quite more moderate tone. Buff list: “This is the 2nd male poet, remember to forget Robert Hass, who like Reagan was perfecto for the Prez role... is perfecto for the role of poet lauriate, rugged charming professionally oily, rite the post alzheimer Reagan…” Nudel Books: “Haas, Robert FIELD GUIDE New Haven Yale 1973 Stiff wrappers, 1st Edition, about Fine. Book # 1600 Price: US$ 20.00” I love it when book dealers write that a book has “stiff wrappers.” It really fetishizes the commodity. And there’s no doubt that Harry is really getting off on these prices. For example: "Haas, Robert LETTER Buffalo Slow Loris Press 1971 4to, a Broadside, vg+, stains on verso, limited to 200 copies. Rare, I haven't seen another copy in 25 years. Price: US$ 375.00" You see, there are stains on verso. That’s code, people, code! Nine days later, Nudel posts again. This is the sharpest (and most morbid) take on the contemporary “scene” he gives us yet. It is titled “M&R...we have come to bury the dead....” Part anti-book catalog rant against Stanley Kunitz, it concludes: “Prob. drinking and dating his students....why can't we just bury the dead in stiff academic gowns and let them molder forever...DRn...” While Stanley molders, you can pick up a copy of his TESTING TREE (NY: Atlantic, 1971, first edition) for a mere $115. It is, the dealer writes, “fine in glassine.” Now THAT’S poetry. Also available, is Kunitz’s THE TESTING TREE (NY: Atlantic, 1973) which is ALSO a first edition, as well as signed by the Moldering One’s dead hand, and if you hand $45 into the hand of Nudel it’s all yours. [Not a bibliographer, but confused on the cataloging above. Something about adding “The” to the second First edition makes it brand new all over again?] More stiff wrappers are found around Whalen’s SEVERANCE PAY, which is a great book, but I know it can be found for less than $20. Especially since the bookseller here omits his opinion that Whalen’s writing is often “tendentious…cultural patter” or that admirers might try sticking a sharp object into the author’s heart in search of blood. Just a nutty bookseller? Ignored? Wandering lower Manhattan with hurt feelings for a failed poetry career? Nudel has 7 books by Ted Berrigan for sale with a value (HIS value) of almost $40,000 dollars. Nudel: I think you’re a vampire. At some event-or-other in May, Nudel laments: “The culture wars continue apace but one thing this panel is sure to agree on is that I WON'T be the next winner of 100 Grand TANNING prize...you can put money on that..” Or you can spend it at 135 Spring Street; Harry Nudel books. Other items: Brainard, Joe I REMEMBER N. Y.: Angel Hair, 1970 First Edition. 4to stiff photographic stapled wrappers about Fine, ltd to 700 copies, INSCRIBED on Title Page "To Lewis" in Brainard's characteristic Cursive Hand, undoubtedly to the publisher of the book "Lewis Warsh" , n.b. NOT SIGNED. Price: US$ 1250.00 Notley, Alice TWENTY-FOUR SONNETS NY C Press N.D. 1st Edition of her 1st Book, the only edition, Stapled decorated wrappers by Phillip Whalen, mimeoed sheets, Edited by Ted Berrigan, limited to 250 copies, the most important female poet of her generation, about Fine with a hint of soiling, SIGNED, although not called for in the colophon, one of the shining jewels of modern poetry (HP) . Price: US$ 3000.00 Presented by NUDEL BOOKS, New York, NY, U.S.A. Remember folks, your self-published poems today make someone else a lot of money down the road! Catalog info obtained from on 5/24/00. ><>>>>>>>>>>>>>>>>>>>>>>>>> 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: Thu, 25 May 2000 11:06:53 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Andrew Epstein Subject: Re: ideas for class MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit One that immediately comes to mind is Theodore Roethke's "My Papa's Waltz": The whiskey on your breath Could make a small boy dizzy; But I hung on like death: Such waltzing was not easy. We romped until the pans Slid from the kitchen shelf; My mother's countenance Could not unfrown itself. The hand that held my wrist Was battered on one knuckle; At every step you missed My right ear scraped a buckle. You beat time on my head With a palm caked hard by dirt, Then waltzed me off to bed, Still clinging to your shirt. -- Andrew Epstein ========================================================================= Date: Thu, 25 May 2000 11:03:52 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: Shutdown MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=X-UNKNOWN Content-Transfer-Encoding: QUOTED-PRINTABLE - Shutdown e zz The command line prompt needs no help form you^^^^^^^rom you. There is the c^signal C:\ and the signal {k:1:^} and the signal D> and the signal telnet> and af^^upon the arrival of the signal, there is the entrance. The entrance id^s deter- mined by the position of the prompt uponthe^^^ the page; it is there that you may make your statement, your commands; it is there that you may enter tenxt, m^^^^^^xt, may finger-dance upon your keyboard. From that moment on, it is a sis^nisiter. It^^^^^^^^ter. It is a sinister because it is neither below nor adjacent; it may be anywhere; it may be upon the movement of the arrow keys, or the enter/return key; it may be nowhere at all; it may lock itself up; it may close itself down. But just for aninstant^^^^^^^ instant, there you are in control.^^^^^^^^^ cont-rol^^^^^^^^^ cont- rol. For example, if you enter dir *, then you will have a directory and another command lie^^^^^^^^^^^prompt. But if you enter /usr/games/hangman, then you h^will have a dash ed line to fill, you will have a noose around your neck, clso^^osing in a^on you, you will have the alphabet at your disposal, one letter or^^at a time. Or you may enter yes at the prompt, watch the high-speed scrolling and your inability, for the most part, to stop it, until you carsh yo^^^^^^^rash out of the machine or switch to another screen. Yo^^Or you may enter kill -0 or some such and find yourself out of the program altogether, exiting, with nowhere to go but reboot or re-enter, depending on your rakig. ^^^^^nking. You may find yourself at the top of thepage, a^^^^^^^ screen, and you may find yourself^^^^^^^^^ your- self at the bottom. You may find insct^^tructions waiting for you, or you may have no clue whatsoever, despeatel^^^^rately trying control-d, control-c, control-x, bye, quit, exit, logout, all to no avail. You may find your- self at themercy of the machine, and it is then that you crash out ndb^^^and bail out and =E0=E0=E0 =E0 re-enter, as if you had just been killed in a MUD, another fo= rm of command-line entry, in which your very life appears at statk^^ke. In all^^^^^^What is clear everywhere here is theinterm^^^^^^ interminalble ^^^^^ble typing, withou^^ or without macro^^^^^^^^^^^^^^^r wutg0^^^^ith- out macros, without or without auto-repeats, but interminable typing nonetheless, the fingers moving across, caressing, the keyboard, the machine breathing in reps^^spose,^^^nse, one way or another. So you will find yourself filtering everything through the movement of the fingers, you f^will find ou^^yourself speechless, thoughtless, imageless, in a continuous state of nervous movement, excitation, looping the language back through the mind, looping in and out of the imaginary. You will find yourself being-thought-of through the act of thinking, which is no longer intern^- nal, but placed upon the rows of kee^ys, waiting. One always approaches the oc^^^ command ^^^^^^^^prompt as a supplicant; this is being offered to the machine, and that is the re^^^ hopefully the result.=20 It is magic when one is locked out, when one can only watch from outside, ,^^^^^^^^^^^ out- side, when the machine refuses further entry, when the machie begins to show itself, when everything devolves^^^^^^^^^^^^^^^^^^^^^n ###########################################n## one might speak further of intelligence, with no one or no thing listening. Then one learns to hear without lisenting,^^^^^^^tening, to ignore what w^one has done, to give up no response, to open ons^eself. For it is true that ^ when the prompt is present, it is always _there,_ in spite of the fact that it may be moved;^: one ^^^^in fact, the movement itself is the result of commands - in fact, there is always that point, that Origin, on the screen, which is mobile, fluid, in relation to the user. But always there, always singuar, alw^^^^^^^lar, always present, always waiting - until the close-down, foreclsoing, ^^^^^^^osing, lock-out - you see, one never knows... __################################################################# ###Shutdown ____ ========================================================================= Date: Thu, 25 May 2000 10:13:04 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: David Baptiste Chirot Subject: Re: m&r...lesson of the master In-Reply-To: MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII amigo: if all biz and politics--why do so many do for free fun? obsessive compulsive disorder? On Thu, 25 May 2000, Harry Nudel wrote: > all poetics is politics...there's no point arguing about lit. history just taste..there are no poetry friends just biz (spelt bi$$) associates...there in no bad publicity just publi$$$ity...DRn... > ========================================================================= Date: Thu, 25 May 2000 08:05:36 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Karen Kelley Subject: Re: ideas for class MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit And an *amazing* story of a woman's psychoanalysis: _Words to Say It_ by Marie Cardinal > > What comes to mind most strongly are not *poems* but novels-- specificially > Janey's incestuous relationship with her father in Kathy Acker's _Blood and > Guts in High School_, and Leopold & Molly Bloom in _Ulysses_. ========================================================================= Date: Thu, 25 May 2000 12:25:40 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Ramez Qureshi Subject: Papa Bear embraces his arch-enemy? MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Now I'm not one all that comfortable with the binary distinction between "major" and "minor" poets but Charles Bernstein his one of the most significant poets of our day and one of his primary subattitudes has been a visceral antipathy towards Romanticism. But has anyone heard him reading from the libretto to his new opera on Walter Benjamin, from which he read at the Poetry Project on May 24. The libretto seems excessively Romantic. It includes a dialogue between Benjamin and Holderlin on the living the dead, interogations of Benjamin by spirits, and an epilogue by Benjamin's/Klee's "angel of history." An opera, writes Adorno in his essay "Bourgouis Opera" (in _Sound Figures_) includes the employment of song to overcome alienation and return the subject to nature, also a Romantic impulse. Music, he says, must compose with a hammer as Nietzche wrote with a hammer, and the composer of the opera, a section of which I heard, who writes in the serialist tradition Adorno championed, certainly does compose with a hammer. (funny Adorno and Benjamin intersecting here). Anyhow, when I mentioned this to someone, he responded that Bernstein was affecting for effect, not really embracing Romanticism. I'm not so sure. Is this another sort of Romanticism. How sincere is Bernstein? What does this say about sincerity, Romanticism? Anyone who has heard from the libretto care to comment (Brian you were there) -- has Papa Bear embraced his arch-enemy? ========================================================================= Date: Thu, 25 May 2000 18:25:52 +0100 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Lawrence Upton Comments: To: british-poets MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Last night, at the Cayley & Sumner / Hyde event at Nunnery Gallery it became apparent that I could made more noise about the fair amount of information about Alaric Sumner that is at the SVP website: http://www.crosswinds.net/members/~subvoicivepoetry/sumner/sumner.html The pages are still being worked on and added to; but there is a lot there already. I welcome more information, links etc. Do contact me if you have material which could be added Lawrence Upton -------------------------------------------- at Sub Voicive Poetry 30th May 8 p.m. + Robert Hampson / Rod Mengham see website for details - http://www.crosswinds.net/members/~subvoicivepoetry/ ========================================================================= Date: Thu, 25 May 2000 11:20:57 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Tisa Bryant Subject: Re: Down with Conferences Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit Right on, Kathy! How was the conference (since you'll probably be back by the time you read this...) I'm surprised that the existence of "independent scholars" is recognized at all, and quite happy that the ALA can see over the wall/beyond the tower, etc. Independent scholars and self-determined gatecrashers serve as "outreach workers" because they often take information from these events to areas underserved or outright ignored by academe. The ways in which I have made my way into expensive conferences are myriad and, if I may so myself, quite creative. I agree with Kathy that conferences should not be abolished, even just academic ones, but I do feel that their fee structure needs to be redesigned, and efforts at dissemination need to be more creative and continuous. The trickle-down from academic reviews to more popular can take years, resulting in unfortunate dumbing down as well. Tisa ---------- >From: kathylou@ATT.NET >To: POETICS@LISTSERV.ACSU.BUFFALO.EDU >Subject: Re: Fw: Down with Conferences >Date: Tue, May 23, 2000, 10:09 AM > > I agree that this is a problem -- a class/privilege issue > that permeates all of intellectual life. I am off to the > American Literature Association conference tomorrow. To > their credit, as a "independent scholar" (i.e., someone > not affiliated with a university) I only had to pay $10 to > register for the conference. But as the poster below > notes, there are travel and accommodation costs which I > must bear in order to be allowed the privilege of > presenting a paper and participating in the kind of > "community" and opportunity which a conference can > provide. > For those in the academy, I think the kind of > institutional support one gets for these things varies > widely, depending on how wealthy the institution with > which one is affiliated. So, yes, this can be a situation > where those with privilege get more privilege and so on > and so on, getting the kind of opportunities vital to > creating an academic career, should one choose to do so. > I don't think the answer is to abolish conferences (though > I understand the kind of frustration the leads to that > conclusion.) Rather there should be a mechanism where fees > can be waived for those who can't afford to pay. Yes, this > is a lot work, but would contribute to the overall > vitality and dare I say, "diversity" of presentations. > Kathy Lou Schultz > I just had to withdraw from another damn conference - where I was slated >> to speak - because I would have had to pay registration, travel, and >> accommodation. >> >> I am fucking poor. I am sick of being fucking poor. I am 57 and there are >> no teaching jobs out there for me - or much else for that matter. I make >> do with part-time work, but this can't compete with people who are teach- >> ing and get disbursements etc. for travel and conferences. >> >> Conferences are becoming a great filter, defusing radicality or harness- >> ing it to the academy. The middle class or upper middle class or privi- >> leged grad students get to associate with one another, share theory and >> ideas - and the public or the poor are just simply kept out and excluded. >> >> I understand that conferences have to make a bit of money, but if one is >> invited to speak on a panel, surely they should at least waive fees. AND >> THIS SHOULD BE BUILT INTO THE ORGANIZATION OF THE CONFERENCE FROM THE >> BEGINNING. >> >> But it's not and people like me - and there are others - are simply kept >> in the ghetto, where if we're really lucky, we might be able to afford the >> forty dollar paperbacks containing some of the conference proceedings. >> >> I don't know if this is the same elsewhere, but at least in the United >> States, the academy has succeeded in isolating itself in this fashion, >> keeping people like me out, ensuring that intellectual discourse is econ- >> omically purified, class and race bound for the most part. >> >> I would like to see these conferences - in their present form - destroyed. >> They do real harm to thought; like the Internet's eternal use of the words >> "radical" and "revolutionary" they ensure that people like me are spoken- >> for, and silenced. I can write all I want on the Net, but god forbid I >> have something to say to academics _as an equal._ >> >> This isn't a minor issue, at least in Amerikka, where divisions are so >> subtle that people elsewhere think we're thriving - they obviously haven't >> been in my neighborhood - > ========================================================================= Date: Thu, 25 May 2000 14:52:49 -0400 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" this week at the Poetry Project: NO READING MONDAY STOP OFFICE CLOSED STOP HAPPY MEMORIAL DAY STOP Wednesday, May 31 at 8 pm A night of music and word with VERNON REID guitarist, formerly of the band LIVING COLOR, with accompanying words/performances by poets EDWIN TORRES WANDA PHIPPS BRUCE ANDREWS Friday, June 2 at 10:30 pm SPRING WORKSHOP READINGS Readings from students of the Poetry Project spring workshops, including ELIZABETH YOUNG, TONY HOFFMAN, BRAD WILL, and many others. Workshop leaders this spring are TODD COLBY, KIMBERLY LYONS, & JULIE PATTON. Hosted by REGIE CABICO. If anyone wants to volunteer for the Vernon Reid evening (and thank you all who responded so generously to our call for volunteers for the David Amram evening), call Marcella or Anselm at (212) 674-0910, or e-mail us at poproj@artomatic.com. All readings are $7; $4 for students and seniors; and $3 for members, unless otherwise noted. No advance tickets. Admission is at the door. The Poetry Project is located in St. Mark's Church at the corner of 2nd Ave and 10th St in Manhattan. 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. *** This Saturday, 4 pm, a reading by EDMUND BERRIGAN, BRENDA BORDOFSKY, TOM DEVANEY, at THE EAR INN, way way west on Spring St. last stop before the Hudson river. FAITH HOPE & REGIE with REGIE CABICO on June 9, 10, 11, at 7 pm How does a queer Filipino boy who wants to be a child star and a saint make it in a red-necked Southern Maryland town? Bbsessed by the local pastor and persecuted by a Connie Francies singing religious mother, he must make a choice between his chastity and the 80s Dynasty lifestyle. This show is the expanded girst part of the Onomatopeia trilogy which won rave reviews at The Seattle Fringe Festival and Queer @ Here last year. $15 ($12 in advance) 145 6th Avenue (b/w) Spring & Broome 212 647 0202 www.Here.org *** The Poodle Van Some crawl through a hearse snogged with vitrified verse as they noodle their poodle's prosthetics shrieking post-postmodern descriptive-realistic non-poetic poetics. --Tony Hoffman (Note to participants in the workshop reading this Friday: yes, this poem is meant for YOU) *** ========================================================================= Date: Thu, 25 May 2000 15:04:27 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Robert Grotjohn Organization: Mary Baldwin College Subject: Re: ideas for class MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Here's one by Philip Larkin, assuming that dysfunction is the norm, with others following, not by Larkin. THIS BE THE VERSE They fuck you up, your mum and dad. They may not mean to, but they do. They fill you with the faults they had And add some extra just for you. But they were fucked up in their turn By fools in old-style hats and coats, Who half the time were soppy-stern And half at one another’s throats. Man hands on misery to man. It deepens like a coastal shelf. Get out as early as you can. And don’t have any kids yourself. Marianne Moore, "Silence" (Complete Poems 91) John Yau in _My Symptoms_, starting with the title poem and those around it (prose poems). Also some prose in _Hawaiian Cowboys_, esp. "Family Album" (opening sentence: "I like to watch a woman undress, while my brother likes to wear women's dresses") Timothy Liu (gay son, ineffective father, domineering mother & stepmother) from _Say Goodnight_ (Copper Canyon, 1998): "Crepuscule with Mother" and the next three from _Burnt Offerings_ (Copper Canyon, 1995): "Thoreau" "Men Without" and the next two Kyoko Mori, _Fallout_ (Tia Chucha, 1994) quite a few poems, as I remember (Japanese heritage, distant and abusive father, wicked stepmother) Title poem (and other interconnected poems) from David Mura's _The Colors of Desire_; check _After We Lost Our Way_ also. PB Shelley's or Blake's reading of Milton (see Harold Bloom) "Out! Out!" Robert Frost "May Day Sermon to the Women of Gilmer County, Georgia by a Woman Preacher Leaving the Baptist Church" James Dickey ========================================================================= Date: Thu, 25 May 2000 09:50:55 -1000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: rob wilson Subject: Calling all poets, bards, & billionaires to SF Bay In-Reply-To: <20000519130659.34815.qmail@hotmail.com> MIME-version: 1.0 Content-type: TEXT/PLAIN; charset=US-ASCII CALLING ALL POETS, BARDS, AND BILLIONAIRES TO SF BAY FOR SUBLIME TRANSNATIONAL TASK, "A Colossal Rhetoric": A Colossal Vision for San Francisco Bay --by Lawrence Ferlinghetti San Francisco Chronicle, April 30, 2000 The New Colossus Not like the brazen giant of Greek fame, With conquering limbs astride from land to land; Here at our sea-washed, sunset gates shall stand A mighty woman with a torch, whose flame Is the imprisoned lightning, and her name Mother of Exiles. From her beacon-hand Glows world-wide welcome; her mild eyes command the air-bridged harbor that twincities frame. ``Keep, ancient lands, your storied pomp!'' cries she With silent lips. ``Give me your tired, your poor, Your huddled masses yearning to breathe free, The wretched refuse of your teeming shore. Send these, the homeless, tempest-tost to me, I lift my lamp beside the golden door! Emma Lazarus, the author of the above poem inscribed on the Statue of Liberty, was born in New York City of Sephardic Jewish parents in 1849. In 1883 (in despair over the bloody massacre of Jews living in Russia, which forced many to flee for their lives and come to America), she wrote ``The New Colossus.'' It was first used to raise money for the construction of a statue to bear the full title of ``Liberty Enlightening the World.'' ``The brazen giant of Greek fame'' was no doubt the Colossus of Rhodes, a statue to the sun god Helios that was one of the Seven Wonders of the World. According to legend, it straddled the harbor at Rhodes in the Aegean, with ships passing between its legs, but it was actually on a promontory overlooking the harbor. (Among colossi of later times, there's the Great Buddha at Kamakura, Japan, and two figures of Christ in South America.) People today have mixed reactions when they read this chestnut of a poem, especially when they get to the part that begins, ``Give me your tired.'' Lazarus wrote her stirring sonnet when America was young and the continent still full of great empty, fertile spaces. Today one wonders how many Americans would like to change the opening lines to read: ``Don't give me your tired, your poor, your huddled masses.'' What verses might be forthcoming if we were to call for a completely revised version of her poem to be inscribed on the statue? With surging overpopulation putting enormous pressures on all nations of the world, with huge battles over immigration in all the Western democracies, our own doors are not nearly as open as they used to be. It takes a year and a half to get a first appointment with a U.S. immigration officer, and that's after filling out an application that would strain the literacy of many Americans. Someday there may be a world without borders, given the transmigration of cultures, which is the inevitable result of the electronic revolution. The Internet, e-mail, fax, the cell phone and multinational corporations have small respect for national boundaries. And while political borders still exist, human ones don't, so that we have mass culture ``in transit'' between countries such as the United States and Mexico (artist Guillermo Gomez-Pena exemplifies this). But until the advent of the borderless world, what about a new Statue of Liberty on Alcatraz Island in San Francisco Bay to herald our new age? The original statue cost $800,000. Our new colossus might be made for a billion, give or take a Silicon Valley millionaire or two. Perhaps some newspaper or TV station would like to undertake the campaign? I would envision a new colossus exactly as large as the one in New York harbor, standing a full 305 feet above the water, facing outward to the Pacific basin and making San Francisco the symbolic Western gateway to America. What better way to remain a ``world-class'' city? I would also envision myriad poets and sculptors and architects proposing their visions for such a new colossus, with everything from old-fashioned rhymed verse to rap poetry, from conventional figurative sculpture to postmodern abstraction and ``site-specific'' conceptual art. What might be the message of a new poem to be inscribed on it? And what gesture would the new statue be making? Would it have raised fists in a defensive stance, or even carry an automatic weapon ready to shoot? Or should it still extend welcoming arms to the hordes of new immigrants yearning for freedom from tyranny and poverty? (The parallels with the 1880s are striking.) And would the figure of the new statue be male or female or unisex, black or white or brown, to truly represent our 21st century ethnicity? And might we further enlighten the world by calling it a Statue of Liberty and Equality? Such, such are the joys, the inspiring opportunities and the poetic possibilities in such a colossal vision. Lawrence Ferlinghetti preceded Janice Mirikitani as San Francisco's poet laureate. 2000 San Francisco Chronicle ========================================================================= Date: Thu, 25 May 2000 13:41:26 -0700 Reply-To: tbrady@sdabcc.com Sender: UB Poetics discussion group From: Taylor Brady Subject: Re: ideas for class In-Reply-To: <392C1737.707DD6F7@earthlink.net> MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Other ideas on this thread: Larkin's poem beginning "They fuck you up, your mum and dad." (Though was it here a few years ago that someone wrote of their suspicion that Larkin had in fact written "They muck you up..." and surfed the wave of a typo into literary history, or something fairly close to that?) Another from the gamey-smelling hinterlands of the mainstream, Roethke's "My Papa's Waltz," which, little patience as I have for his work, succeeds (if you want to call it that) in giving me the willies after repeated readings. Many of the domestic narratives from Reznikoff's first five or so books, as ordered in the Black Sparrow Collected Poems. Plath is obvious, but do it anyway. Mina Loy's "Anglo-Mongrels and the Rose" - long, hard-to-find, difficult - depends on your interest in pedagogical perversity. Oscar Wilde's Salome (not a poem, but worth a look) Since someone else mentioned novels - Kafka, Kafka, Kafka; Proust, Proust, Proust. This is almost the equivalent of clinical literature on the subject. And, skipping back a bit, the Odyssey (a too-literal commitment to the ideal of fidelity can be dysfunctional too, as recognized in my grandmother's habit of reading to me from the Odyssey [old lefties tend to have fairly conservative maps of the high-water marks of culture] and always stopping short just before the slaying of the suitors. For years, I thought the poem had a sort of ambiguous fade-out of a happy ending. Just think of the bills for meds and therapy a 20th century Telemachus would run up). Of course, the farther away from the 19th and 20th century bourgeois family you get, the more you're dealing in anachronism, a kind of imaginative projection of a contemporary category onto historical realities that don't really fit the bill. But it seems to me that fronting this kind of cognitive dissonance could be half the fun, and a good way to get at what exactly we mean by an adjective like "dysfunctional." Taylor -----Original Message----- From: UB Poetics discussion group [mailto:POETICS@LISTSERV.ACSU.BUFFALO.EDU] On Behalf Of Elizabeth Fodaski Sent: Wednesday, May 24, 2000 10:54 AM To: POETICS@LISTSERV.ACSU.BUFFALO.EDU Subject: ideas for class Hello everyone-- I'm teaching a class in the fall on the dysfunctional family in literature and would welcome anyone's ideas for poems that fit the bill, even obliquely. Thanks, Liz Fodaski ========================================================================= Date: Thu, 25 May 2000 14:38:06 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: michael amberwind Subject: Re: Poetry Slams for Dummies MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii I just got "volunteered" to run a poetry slam in my area. I have never been to one. I have never seen one (except once on TVOs Imprint) and am completely over my head. Any practical info anyone might care to toss my way on the nitty-gritty of poetry slams would be most appreciated. Thanks! __________________________________________________ Do You Yahoo!? Kick off your party with Yahoo! Invites. http://invites.yahoo.com/ ========================================================================= Date: Thu, 25 May 2000 22:48:00 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Betsy Andrews Subject: Re: ideas for class MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 7bit Agreed on the confessionals. Also, Yusef Komanyaka's poem about his father's hands. Check out Molly Peacock. She says she uses form because she's writing about such intense abuse stuff that she needs a way to contain it. Most notable of all probably, Sapphire's "American Dream." Dorothy Allison also has a book of poems, "The Women Who Hate Me" that is in the same vein as her novel "Bastards out of Carolina." ---------- > From: Elizabeth Fodaski > To: POETICS@LISTSERV.ACSU.BUFFALO.EDU > Subject: ideas for class > Date: Wednesday, May 24, 2000 1:54 PM > > Hello everyone-- > > I'm teaching a class in the fall on the dysfunctional family in > literature and would welcome anyone's ideas for poems that fit the bill, > even obliquely. > > Thanks, > Liz Fodaski ========================================================================= Date: Fri, 26 May 2000 14:29:00 +1000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: John Tranter Subject: Atlanta Review contemporary Australian poetry supplement Mime-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1"; format=flowed Content-Transfer-Encoding: quoted-printable I meant to post this months ago, but work (and Jacket) intervened. Apologies for cross-posting: The March 2000 issue of the US poetry quarterly Atlanta Review (from=20 Atlanta, Georgia) features a 50-page supplement of contemporary Australian= =20 poetry (and 50 pages of mainly American poetry.) The Literature Fund of the= =20 Australia Council has assisted the project. Australian Contributors: Bruce Beaver, Today We Have Naming of Poets Vera Newsom, High Tide Peter Bakowski, The Heart at 3 a.m. Jill Jones, Screens, jets, heaven Hugh Tolhurst, Catullus 51 Hugh Tolhurst, Holiday in Kosovo Cath Kenneally, Fair Cop Cath Kenneally, An Irish Reel Lisa Bellear, Possum Skin Garment Lisa Bellear, They said smile Alex Skovron, Observatorium Dorothy Hewett, The Moonlit Creek Dorothy Hewett, Early One Morning John Kinsella, There are places they won't go John Kinsella, Ride to Grantchester Meadows Rod Mengham, Interview with John Kinsella joanne burns, tabloid Keri Glastonbury, Crunch: Tracy Ryan, from "Wasp Diary" Jena Woodhouse, Rock Fish Dying John Mateer, The Unimaginable Geoff Page, The Analogues Lee Cataldi, photos Lee Cataldi, visit Dorothy Porter, Death Peter Minter, Big Idea Chris Wallace-Crabbe, Two Sonnets Kate Lilley, Screen D=EEpti Saravanamuttu, when you remember Anthony Lawrence, Cropdusting Alison Croggon, Where are the dark woods? Gig Elizabeth Ryan, Critique of Practical Reason Ted Nielsen, on first washing up... Robert Adamson, Father's Day John Forbes, The Return Ronn Morris, Nothing Is Diminished by Distance John Tranter, Introduction John Tranter, poem: Lavender Ink I have five copies to give away free to the first five lucky customers to=20 send me an email with their mailing address. Further copies can be ordered from The Atlanta Review, PO Box 8248, Atlanta= =20 GA 31106, USA. Subscriptions are US$10 per year, and copies are posted free= =20 by surface mail to anywhere in the world. You can visit the magazine's website at http://www.atlantareview.com from John Tranter Editor, Jacket magazine: http://www.jacket.zip.com.au/welcome.html Ancient history - the late sixties - at http://setis.library.usyd.edu.au/tranter/index.html ______________________________________________ 39 Short Street, Balmain NSW 2041, Sydney, Australia tel (+612) 9555 8502 fax (+612) 9818 8569 ========================================================================= Date: Fri, 26 May 2000 03:22:37 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Ramez Qureshi Subject: _Poetics Today_ contact MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Does anyone have contact info for _Poetics Today_? Thanks in advance, Ramez ========================================================================= Date: Fri, 26 May 2000 08:28:59 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Hannah J Sassaman Subject: Re: ideas for class Comments: cc: damon001@maroon.tc.umn.edu In-Reply-To: <200005260408.AAA25738@orion.sas.upenn.edu> from "Automatic digest processor" at May 26, 2000 00:08:19 am MIME-Version: 1.0 Content-Type: text/plain; charset=US-ASCII Content-Transfer-Encoding: 7bit your students will probably be familiar with the movie _trainspotting_, yes? and some, hopefully, with the book? irvine welsh recently published a novel in the UK calleed _malibu stork nightmares_, which deals very richly with a profoundly dysfunctional family. the prose is all gnarled and spattered and really beautiful, too. not for kids of all ages, but checkitout. hannah * * * * * * * * * * * * * * * * * * * * * * * * * Hannah Sassaman http://www.sas.upenn.edu/~hannahjs Art is an answer to reality. -- Tadeusz Kantor Poetry Editor, CrossConnect http://ccat.sas.upenn.edu/xconnect Writers House Gurujunkie http://www.english.upenn.edu/~wh ========================================================================= Date: Fri, 26 May 2000 10:49:22 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Daniel Bouchard Subject: Fwd: New Book - Sanctions on Iraq Mime-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 8bit >Date: Fri, 26 May 2000 15:10:51 +0100 >From: "A. Brady" > >Barque proudly distributes: > >'Sanctions on Iraq: background, consequences, strategies.' > >Proceedings of the Conference held 13-14 November, Cambridge UK >hosted by the Campaign Against Sanctions on Iraq >230 pp - ISBN 1 903488 22 2 - #5.00 / #8.00 int'l > >On 13-14 November 199, the Campaign Against Sanctions on Iraq, a volunteer >advocacy group registered at the University of Cambridge, hosted a >conference on Santions on Iraq: background, consequences, strategies. >Leading policy makers, civil servants, aid workers, public health experts, >security analysts, historians, anthropologists, activists and Iraqi >expatriates delivered expert, often impassioned, papers on Iraq's history >and outlook under the sanctions regime imposed by the United Nations >Security Council. This book is a transcription of that event. A unique >document on one of the worst humanitarian crises of the modern age, it >offers vital information for activists, policy makers, humanitarians, and >any reader concerned about the fate of Iraqis and the actions of Western >powers in the Middle East. > >- edited by Andrea Brady and Eliza Hilton >- with graphs, photographs, handsome, comprehensive: lots of vital and >hugely interesting information >- also very very cheap (#5, #8 int'l/$10 USD) > >please support this endeavour > >TO ORDER: reply to this e-mail with your name and postal address. > >Thanks! >Andrea Brady > ><>>>>>>>>>>>>>>>>>>>>>>>>> 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, 26 May 2000 11:09:52 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Arielle C. Greenberg" Subject: 3rd Annual Boston Poetry Conference Comments: cc: cgbouche@syr.edu, are_en_em@yahoo.com MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII announcing... The 3rd Annual Boston Poetry Conference a celebration of innovative work July 21-23, 2000 The Art Institute of Boston (at Lesley) 700 Beacon St. Boston FEATURED READERS INCLUDE: Robert Creeley Eileen Myles Rosmarie Waldrop Keith Waldrop Sheila Murphy Laura Mullen Gerrit Lansing Ed Foster Steve McCaffery Lee Ann Brown Brenda Coultas Ange Mlinko Ken Irby Forrest Gander Adeena Karasick Joseph Lease Anselm Berrigan Patricia Pruitt Karen Mac Cormack Simon Pettet Jean Day Michael Franco Diane Wald Michael Gizzi Donna DeLaPerriere Arielle Greenberg Beth Anderson Edwin Torres Daniel Bouchard Nada Gordon Kim Lyons Katy Lederer Yuri Hospodar Tracy Blackmer Douglas Rothschild Marcella Durand Gary Sullivan Eddie Berrigan Jim Behrle Mitch Highfill Sean Cole and many more.... Tickets: $7 ~ single readings $40 ~ weekend pass for more information please contact Aaron Kiely at this email or at po box 441517 Somerville, MA 02144 $ as of April, 2000 the Boston Poetry Conference is not funded by any institution = please donate ANYTIME. no amount is too small. to donate please contact Aaron Kiely --- Thanks a lot, Aaron ________________________________________________________________________ Get Your Private, Free E-mail from MSN Hotmail at http://www.hotmail.com ========================================================================= Date: Fri, 26 May 2000 11:24:26 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: David Baptiste Chirot Subject: FLUXLIST: Fwd: "HOMO SONORUS : AN ANTHOLOGY OF SOUND-POETRY OF THE WORLD" (fwd) MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII NOTE: You may also enquire for the excellent anthology of visual poetry which Dmitry Bulatov edited. >From: "Joseph Nechvatal" >Subject: "HOMO SONORUS : AN ANTHOLOGY OF SOUND-POETRY OF THE WORLD" >Date: Fri, 26 May 2000 10:53:48 GMT > >From: "NCCA" > >National Center for Contemporary Art (Kaliningrad, Russia) announces "HOMO >SONORUS : AN ANTHOLOGY OF SOUND-POETRY OF THE WORLD" - the first project >in Russia to focus on contemporary SOUND-POETRY. > >"HOMO SONORUS : AN ANTHOLOGY OF SOUND-POETRY OF THE WORLD" provides the >largest collection of contemporary sound-text compositions available and >proffers a valuable supplement to the existing documentation of earlier >decades. > >The curator of this project is Dmitry Bulatov center@ncca.koenig.su; a >sonor/visual poet, performer, and lingua artist. > >For further information on "HOMO SONORUS : AN ANTHOLOGY OF SOUND-POETRY OF >THE WORLD", contact Dmitry Bulatov at the National Center for Contemporary >Art : center@ncca.koenig.su. > > > > >Effectivement,pas mal de travail. > >a la prochaine sur le web....... >Joseph Nechvatal >________________________________________________________________________ >Get Your Private, Free E-mail from MSN Hotmail at http://www.hotmail.com ========================================================================= Date: Fri, 26 May 2000 13:20:56 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jill Stengel Subject: poet math, or a series of maybes MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit what happens when there's a door fee for a reading anyway? well, let me think for a minute here-- i know it varies, depending on the situation, but maybe, just maybe... some possibilities: maybe the reading poet(s) might get paid. maybe the reading poet(s) might get paid enough to cover their travel expenses, shd they have any. maybe the place holding the event gets some money for rent, going to things such as facilities/equipment maintenance, upgrades to facilities/equipment, payment to maintenance personnel, compliance w/ever-changing bldg codes, etc...going to the continuation of the venue's viability as site for future readings. maybe the person/foundation/individual organizing the event gets some money to pay for publicity, postage, paper to print on, a desk in an office, a chair, a lightbulb, etc. maybe the person/foundation/individual organizing the event gets some money to pay for future events, or for programs that don't receive funds, or to pay off bills incurred from another reading not so well attended. maybe the person/foundation/individual organizing the event might pay someone a little bit for time spent putting together events. it might buy that person meals, pay rent...you know, the things a job, a paycheck can do for a person. so maybe $7 for a reading isn't so much after all. or maybe $7 is a lot for a reading, but it's better than having no readings at all. if people stay outside, refuse to participate--your venues dry up. don't go to readings? no readings. don't buy books? no books. simple math. jill stengel publisher, event coordinator, debt juggler ========================================================================= Date: Fri, 26 May 2000 13:28:24 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jill Stengel Subject: clarification of poet math post MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit forgot to point that post in the right direction, as i think most people are already aware of the math: to needle the nudel jill stengel ========================================================================= Date: Thu, 25 May 2000 13:22:36 MST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: brad senning Subject: new york sublet Mime-Version: 1.0 Content-Type: text/plain; format=flowed Large studio apartment available in the West Village June 1-14, possibly through June 30. $550 for 2 weeks, $1100 for the month. Great if you need somewhere to stay while looking for an apartment. Call Destanie at (212) 929-8995 or email ddm212@is9.nyu.edu. ________________________________________________________________________ Get Your Private, Free E-mail from MSN Hotmail at http://www.hotmail.com ========================================================================= Date: Thu, 25 May 2000 16:14:54 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jerrold Shiroma Subject: New from Burning Deck: The House by Jane Unrue MIME-Version: 1.0 Content-Type: text/plain; charset="Windows-1252" Content-Transfer-Encoding: 7bit New from Burning Deck... The House by Jane Unrue prose 54 pages $10.00 A woman wanders from room to room, or ventures outside, and throughout the ensuring procession of locations, ruminations, or dreams, is transported into the past, or to a love affair, or a marriage, or into the future, or to an ending, perhaps her own. Jane Unrue is from Las Vegas, NV. She was educated at the University of Illinois at Urbana-Champaign and Brown University. She currently lives in Boston. The House is her first book. Available from Small Press Distribution 1341 Seventh Street Berkeley, CA 94710 www.spdbooks.org Burning Deck Press www.durationpress.com/burningdeck ========================================================================= Date: Thu, 25 May 2000 18:37:44 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jim Andrews Subject: Put THE FIST on your Web site to support the Yugoslavian students Comments: To: "Therapeia@Yahoo. Com" , new media ecology , nepenthe mail list , maurice@xs4all.nl, nettime-l@bbs.thing.net, webartery In-Reply-To: <200005250219.WAA22623@bbs.thing.net> MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit I understand from the below message that the heat on the Yugoslavian students resisting the Milosevic government is going to increase significantly in the next few days. Please take a moment to voice support for the students of Yugoslavia and their Otpor (Resistance) movement by visiting http://www.vispo.com/TheFist/Students.html where you can copy one or several of various graphics of THE FIST, their graphic of Otpor, and put it on your Web site. The student Web site is at http://otpor.com . There is considerable information, and graphics, available there. Supporting the students by putting THE FIST on your site and linking the graphic to http://otpor.com (or wherever you wish to direct people to express their support also) is something useful we can do rather than bombing them. Regards, Jim Andrews -----Original Message----- From: Maurice Wessling [mailto:maurice@xs4all.nl] Sent: Thursday, May 25, 2000 4:28 PM To: jim@vispo.com Subject: Re: otpor Just one more question. Is there any support campaign or activity on mailing lists in which people are asked to put the fist online? Besides your website. The moment is certainly now. The serbian government is going to crack down on the students in the coming days using a new 'anti-terrorism' bill. BTW universities in serbia are closing tomorrow in an attempt to tackle Otpor. maurice http://helpb92.xs4all.nl/ ========================================================================= Date: Fri, 26 May 2000 07:12:05 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: diana bryden Subject: Dysfunctional family poetry Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" At 12:54 PM -0500 5/24/00, Elizabeth Fodaski wrote: >Hello everyone-- > >I'm teaching a class in the fall on the dysfunctional family in >literature and would welcome anyone's ideas for poems that fit the bill, >even obliquely. > >Thanks, >Liz Fodaski Philip Larkin wrote the quintessential dysfunctional family poem, which is brief enough to quote here in full. Its title is "This Be The Verse": They fuck you up, your mum and dad. They may not mean to, but they do. They fill you with the faults they had And add some extra, just for you. But they were fucked up in their turn By fools in old-style hats and coats, Who half the time were sloppy-stern And half at one another's throats. Man hands on misery to man. It deepens like a coastal shelf. Get out as early as you can, And don't have any kids yourself. You can find this in Larkin's Collected Poems or in High Windows. Yours, Diana Fitzgerald Bryden ========================================================================= Date: Fri, 26 May 2000 10:58:53 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Shawn Walker Subject: Re: ABOUT POETRY IN PHILADELPHIA Comments: To: Tasha329@aol.com Comments: cc: Ron.Swegman@mail.tju.edu, Ayperry@aol.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, rosemarie1@msn.com, sernak@juno.com, SFrechie@aol.com, singinghorse@erols.com, sm1168@messiah.edu, stewart@dept.english.upenn.edu, subpoetics-l@hawaii.edu, susan.wheeler@nyu.edu, SusanLanders@yahoo.com, tdevaney@brooklyn.cuny.edu, tosmos@compuserve.com, TWells4512@aol.com, upword@mindspring.com, v2139g@vm.temple.edu, wh@dept.english.upenn.edu, whpoets@dept.english.upenn.edu, fhaeussl@astro.ocis.temple.edu In-Reply-To: <48.5e78c5d.265f18f7@aol.com> from "Tasha329@aol.com" at May 25, 2000 08:01:59 pm MIME-Version: 1.0 Content-Type: text/plain; charset=US-ASCII Content-Transfer-Encoding: 7bit According to Tasha329@aol.com: > > HREF="http://www.worldnetdaily.com/bluesky_polak/20000524_xcmlp_pier_hellb.sht > ml">Pier hell: Anatomy of a disaster (CLICK LINK, SAFE; FIRST AND LAST > GRAPH) > Hi -- although I'm not sure it is to whom I am responding... But I just read this article, and will quote the last three paragraphs for those who won't go to the page. This ending follows a well-written description of the recent pier collapse and thought-provoking speculations about negligence by owners and L&I. (Further thoughs below...) Meanwhile, I'm thinking about this lemming-like mentality among Americans preferring nightclubs to poetry. What if crowds flocked to poetry readings instead of nightclubs? But how can poetry compete with piers falling into the river? It can't. Although Emily Dickinson said poetry is when you feel like the top of your head is about to blow off. And Ezra Pound said poets are the antennae of the race. And someone else said to be a poet means to go through life with one less skin. The big coincidence? Before he started reading his poetry in that church basement the night the pier fell into the river, Aaren Yeatts Perry, the poet, educator and human-rights activist, reminisced how far back we go. "Remember that time we were in your living room on Rittenhouse Square around 1984, putting together the pages of that literary magazine called Heat?" Heat and Club Heat. Get it? Synchronicity. It gives me chills just NOT thinking about it. I don't know what it means. Maybe that poetry makes connections between unlikely things. Check it out sometime. It sure beats the alternative. And that's as much as I know right now. I also want to quote, this from an essay/talk Jack Spicer (thanks M) gave in 1949, the first time he publicly asked the question, "Why is nobody here? Who is listening to us?" (after starting out with the common complaint of unintelligibility...) "What this audience [read: the Club Heat audience] has found is not the intelligibility that it had modestly asked for, but that greater boon that it did not dare to ask -- entertainment... The truth is that pure poetry bores everybody. It is even a bore to the poet... Live poetry is a kind of singing. It differs from prose, as song does, in its complexity of stress and intonation... Today we are not singers. We would rather publish poetry in a little magazine than read it in a large hall. If we do read in a hall, we do not take the most elementary steps to make our poetry vivid and entertaining. We are not singers. We do not use our bodies. We *recite* from a printed page." People go to nightclubs to meet/interact with other people and to lose themselves in (thus re-encountering) the experience of their bodies. Your average poetry reading is stiff as a corpse in comparison. If our antennae are so great, why can't we pick up on the most basic of human needs? Our lives are being taken over by the written word: who needs more of it? (Emily Dickinson didn't spend so much time on the e-mail.) (And I include "recitations" among the written word.) I don't want to dismiss Ms. Polak's very good questions or her suggestion to check it [poetry] out sometime. All very good. (And I wasn't at the poetry reading on May 18th that she mentions.) I just want to say, in response to a lacking audience for poetry: I'm bored, too. I've spent my entire adult life encouraging people to "check it out," but I'm beginning to question what I've been saying with such a blind faith. I myself see that there is a poetry reading, and though I may have spent all day reading poetry, more times than not I think, "Geez, I can't sit through this tonight. I'd rather eat dinner with Mike." I, too, need a return to my body which poetry is increasingly unable to provide. (Please, please, note your exceptions and support them.) Jack didn't figure it out, either, the audience question. His last poem addresses itself to Ginsberg: "I don't see how you do it. One hundred thousand university students marching with you. Toward / A necessity which is not love but is a name." We don't really want the lemming-like crowds, do we? We want individuals to lose the crowd and realize their own humanity. We won't do this by suggesting other heros, new names, new cliffs to throw themselves from. We might do this by losing the little lemming inside of each of us, vigilantly losing it, pervasively, in every aspect of our life and art. And by continuing to love poetry, to read, write, and live poetically -- instead of worrying about what audience is there to recognize, and name, Poetry and Poets. (We might even notice more people around us if we quit making them into such an Audience.) Love -- and poetry -- is that which will not name itself. Naively yours, Shawn ========================================================================= Date: Fri, 26 May 2000 15:49:30 -0400 Reply-To: patrick@proximate.org Sender: UB Poetics discussion group From: Patrick Herron Subject: Re: ideas for class In-Reply-To: <200005261229.IAA21308@mail1.sas.upenn.edu> MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit or, for that matter, a clockwork orange involves a dysfunctional family, take yer pick, film or book. the film, unlike the book, provides no answer, no solution (and seems more believable). -----Original Message----- From: UB Poetics discussion group [mailto:POETICS@LISTSERV.ACSU.BUFFALO.EDU]On Behalf Of Hannah J Sassaman Sent: Friday, May 26, 2000 8:29 AM To: POETICS@LISTSERV.ACSU.BUFFALO.EDU Subject: Re: ideas for class your students will probably be familiar with the movie _trainspotting_, yes? and some, hopefully, with the book? irvine welsh recently published a novel in the UK calleed _malibu stork nightmares_, which deals very richly with a profoundly dysfunctional family. the prose is all gnarled and spattered and really beautiful, too. not for kids of all ages, but checkitout. hannah * * * * * * * * * * * * * * * * * * * * * * * * * Hannah Sassaman http://www.sas.upenn.edu/~hannahjs Art is an answer to reality. -- Tadeusz Kantor Poetry Editor, CrossConnect http://ccat.sas.upenn.edu/xconnect Writers House Gurujunkie http://www.english.upenn.edu/~wh ========================================================================= Date: Fri, 26 May 2000 16:05:10 -0400 Reply-To: patrick@proximate.org Sender: UB Poetics discussion group From: Patrick Herron Subject: Re: poet math, or a series of maybes In-Reply-To: <44.3f9b711.26600c78@aol.com> MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit I agree that poets need support, but do not you think this is just a bit unsympathetic? not everybody has an extra dollar, or can afford $7, no matter how much they would like to attend. some people are so poor it is hard to imagine how poor that is if you are not nearly so poor. poets can use fiscal support perhaps, but some poets cannot afford to provide such support, even if it is (only?--a relative term) $7. no one ever said no fees should be charged. someone suggested that people relax those fees for those who sincerely cannot pay it. my suggestion is that in general such fees be reduced (eliminated?) and replaced with the request of donations. if you are the poet and you need to be reimbursed by your audience, why not just ask the people for the money directly, personally, after the performance, or better, before the performance? especially if there are travel fees and the like. ask for a donation. don't have the door people do all the 'dirty' work. solicit donations before the performance, etc. P -----Original Message----- From: UB Poetics discussion group [mailto:POETICS@LISTSERV.ACSU.BUFFALO.EDU]On Behalf Of Jill Stengel Sent: Friday, May 26, 2000 1:21 PM To: POETICS@LISTSERV.ACSU.BUFFALO.EDU Subject: poet math, or a series of maybes what happens when there's a door fee for a reading anyway? well, let me think for a minute here-- i know it varies, depending on the situation, but maybe, just maybe... some possibilities: maybe the reading poet(s) might get paid. maybe the reading poet(s) might get paid enough to cover their travel expenses, shd they have any. maybe the place holding the event gets some money for rent, going to things such as facilities/equipment maintenance, upgrades to facilities/equipment, payment to maintenance personnel, compliance w/ever-changing bldg codes, etc...going to the continuation of the venue's viability as site for future readings. maybe the person/foundation/individual organizing the event gets some money to pay for publicity, postage, paper to print on, a desk in an office, a chair, a lightbulb, etc. maybe the person/foundation/individual organizing the event gets some money to pay for future events, or for programs that don't receive funds, or to pay off bills incurred from another reading not so well attended. maybe the person/foundation/individual organizing the event might pay someone a little bit for time spent putting together events. it might buy that person meals, pay rent...you know, the things a job, a paycheck can do for a person. so maybe $7 for a reading isn't so much after all. or maybe $7 is a lot for a reading, but it's better than having no readings at all. if people stay outside, refuse to participate--your venues dry up. don't go to readings? no readings. don't buy books? no books. simple math. jill stengel publisher, event coordinator, debt juggler ========================================================================= Date: Fri, 26 May 2000 16:02:33 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Burt Hatlen Organization: University of Maine Subject: Re: POETICS Digest - 22 May 2000 to 23 May 2000 (#2000-84) MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 8bit LISTSERV@LISTSERV.ACSU.BUFFALO.EDU writes: >Sent: Saturday, May 20, 2000 12:42 PM >Subject: Down with Conferences >I just had to withdraw from another damn conference - where I was slated >to speak - because I would have had to pay registration, travel, and >accommodation. >I am fucking poor. I am sick of being fucking poor. I am 57 and there >are >no teaching jobs out there for me - or much else for that matter. I make >do with part-time work, but this can't compete with people who are >teach- >ing and get disbursements etc. for travel and conferences. >Conferences are becoming a great filter, defusing radicality or harness- >ing it to the academy. The middle class or upper middle class or privi- >leged grad students get to associate with one another, share theory and >ideas - and the public or the poor are just simply kept out and >excluded. >I understand that conferences have to make a bit of money, but if one is >invited to speak on a panel, surely they should at least waive fees. AND >THIS SHOULD BE BUILT INTO THE ORGANIZATION OF THE CONFERENCE FROM THE >BEGINNING. >But it's not and people like me - and there are others - are simply kept >in the ghetto, where if we're really lucky, we might be able to afford >the >forty dollar paperbacks containing some of the conference proceedings. >I don't know if this is the same elsewhere, but at least in the United >States, the academy has succeeded in isolating itself in this fashion, >keeping people like me out, ensuring that intellectual discourse is >econ- >omically purified, class and race bound for the most part. >I would like to see these conferences - in their present form - >destroyed. >They do real harm to thought; like the Internet's eternal use of the >words >"radical" and "revolutionary" they ensure that people like me are >spoken- >for, and silenced. I can write all I want on the Net, but god forbid I >have something to say to academics _as an equal._ >This isn't a minor issue, at least in Amerikka, where divisions are so >subtle that people elsewhere think we're thriving - they obviously >haven't >been in my neighborhood - This message seems to be anonymous, so I don't know the source of the writer's grievance. But as the organizer of an upcoming conference, I'd like to say a word or two in response to this message. One form that paranoia takes in America is the assumption that other people are "getting away with" something, reaping some sort of benefits that are unjustly denied to others. So I thought the members of this list might like to know a little more about conferences--how they are funded, and what makes them possible. Yes, we are asking the panelists at the forthcoming National Poetry Foundation conference ("The Opening of the Field: North American Poetry in the 1960s") to pay a registration fee. If we waived the fee for all panelists, we'd receive virtually no income from the conference whatsoever, in that at least 80% of the people who come to such conferences are on the program. And if we didn't receive some income from the conference, we couldn't put it on. We ran deficits of $5,000 on each of the last two NPF conferences, even with the registration fee. This year we're hoping to break even, but will probably end with another (smaller) deficit. Where does the money go? Primarily, the University of Maine itself charges NPF a fee for the use of the campus--even though NPF is a part of the university. (If we moved the conference to hotels, the cost would soar. We've been able to keep costs at NPF conference relatively low, as compared with several other conferences I've attended, by running them during the summer on the campus.) And we provide help on travel costs for featured speakers, although we don't come near to covering their full expenses. In addition, we have hundreds of miscellaneous expenses--van service for participants, printing costs, advertising and promotion, etc. So: it costs us money to run these conferences. And in addition, the staff of NPF has, by the time the conference is over, contributed hundreds of hours of their time to making the conference happen. This time isn't exactly uncompensated--we're on the university payroll. But much of it is in fact overload time--I've been spending an average of at least ten hours a week over the last year working on this conference, as part of my 60 or 70 hour work-week, which has included teaching my normal load of classes, trying to keep up with my editing responsibilities with NPF, and various other administrative responsibilities. I and others here at NPF have contributed our time, not because we see an opportunity to profit from the naive, or because we "have to" under the terms of our employment. We do it because we want to create a space where people who care about poetry can come together face to face (electronic communication DOES have its limitations) to share their passion. Conferences like ours are made possible by the fact that people with connections at universities can usually get at least partial support from their home institutions to cover travel costs and registration fees. Yes, this means that people without such connections must wing it on their own. I'm sorry about that fact--and our anonynmous complainant is correct when he suggests that this system tends to separate the academic world from those outside that world. In another time or place, maybe the government could fund such events, and make them free to all. I've applied three times for funding from NEH to support NPF conferences (at the cost of upwards of 100 hours of my time, to prepare the proposal), and have been turned down every time. The people on the NEH review panels have, its seems, never heard of, or are actively hostile to, the poets we're interested in. So our correspondent wants to see all such conferences "destroyed." I must admit that I feel personally attacked here. Yes, there are problems in the system. But is simply destroying what we've got, with all its limitations, the way to solve these problems? Burt Hatlen ========================================================================= Date: Fri, 26 May 2000 16:07:57 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Michael Magee Subject: COMBO 6 - new caramel flavor!!! In-Reply-To: from "Taylor Brady" at May 4, 2000 08:15:19 pm MIME-Version: 1.0 Content-Type: text/plain; charset=US-ASCII Content-Transfer-Encoding: 7bit IS THAT REAL CARAMEL ON THE COVER OF COMBO 6??? IS IT SCRATCH AND SNIFF?? WHAT ABOUT THE CREAMY CENTER -- IS THAT *NUGET* FOR CHRISSAKE? CCC OOOO MM MM BBB OOOO 666 C O O M M M M B B O O 6 C O O M MM M BBB O O 6666 CCC OOOO M M M B B OOOO 6 6 BBB 6666 CONTENTS OF CREAMY CENTER: K. SILEM MOHAMMAD, JOHN ASHBERY, ANGE MLINKO, BRIAN KIM STEFANS, CATHERINE DALY, MATT HART, RONALD PLAMER, ABIGAIL SUSIK, CHRIS MCCREARY, BRUCE ANDREWS, ELIZABETH TREADWELL, JONATHAN MONROE, MICHAEL MAGEE, PATTIE MCCARTHY, EDWIN TORRES. HMMMMMMMM........ HAVE YOU STILL NOT SEEN THIS MAGAZINE??? DO YOU STILL NOT HAVE A SUBSCRIPTION? DO YOU REALIZE YOU'RE PLAYING WITH FIRE AND DON'T KNOW WHAT YOU'RE MISSING AND TEN OTHER CLICHES?!? 1 COPY: $3 4-ISSUE SUBSCRIPTION: $10 (yes, ten dollars) COMBOs 1-6, plus new 4-issue subscription: $25 LIFETIME SUBSCRIPTION: $50 WHAT ARE YOU WAITING FOR? EMAIL NOW: mmagee@english.upenn.edu or send cash or check to Michael Magee, 31 Perrin Ave., Pawtucket, RI 02861. COMBO --- NOW BIGGER & BADDER THAN EVER!!!!!!!!!!! ========================================================================= Date: Sat, 27 May 2000 08:49:40 +1200 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Tony Green Subject: Re: Atlanta Review contemporary Australian poetry supplement MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 8bit Ok John am I in time? (pant pant pant) Tony Green, 3/27 Rangatira Road Birkenhead Auckland 1310 New Zealand best wishes -----Original Message----- From: John Tranter To: POETICS@LISTSERV.ACSU.BUFFALO.EDU Date: Saturday, 27 May 2000 07:44 Subject: Atlanta Review contemporary Australian poetry supplement I meant to post this months ago, but work (and Jacket) intervened. Apologies for cross-posting: The March 2000 issue of the US poetry quarterly Atlanta Review (from Atlanta, Georgia) features a 50-page supplement of contemporary Australian poetry (and 50 pages of mainly American poetry.) The Literature Fund of the Australia Council has assisted the project. Australian Contributors: Bruce Beaver, Today We Have Naming of Poets Vera Newsom, High Tide Peter Bakowski, The Heart at 3 a.m. Jill Jones, Screens, jets, heaven Hugh Tolhurst, Catullus 51 Hugh Tolhurst, Holiday in Kosovo Cath Kenneally, Fair Cop Cath Kenneally, An Irish Reel Lisa Bellear, Possum Skin Garment Lisa Bellear, They said smile Alex Skovron, Observatorium Dorothy Hewett, The Moonlit Creek Dorothy Hewett, Early One Morning John Kinsella, There are places they won't go John Kinsella, Ride to Grantchester Meadows Rod Mengham, Interview with John Kinsella joanne burns, tabloid Keri Glastonbury, Crunch: Tracy Ryan, from "Wasp Diary" Jena Woodhouse, Rock Fish Dying John Mateer, The Unimaginable Geoff Page, The Analogues Lee Cataldi, photos Lee Cataldi, visit Dorothy Porter, Death Peter Minter, Big Idea Chris Wallace-Crabbe, Two Sonnets Kate Lilley, Screen Dîpti Saravanamuttu, when you remember Anthony Lawrence, Cropdusting Alison Croggon, Where are the dark woods? Gig Elizabeth Ryan, Critique of Practical Reason Ted Nielsen, on first washing up... Robert Adamson, Father's Day John Forbes, The Return Ronn Morris, Nothing Is Diminished by Distance John Tranter, Introduction John Tranter, poem: Lavender Ink I have five copies to give away free to the first five lucky customers to send me an email with their mailing address. Further copies can be ordered from The Atlanta Review, PO Box 8248, Atlanta GA 31106, USA. Subscriptions are US$10 per year, and copies are posted free by surface mail to anywhere in the world. You can visit the magazine's website at http://www.atlantareview.com from John Tranter Editor, Jacket magazine: http://www.jacket.zip.com.au/welcome.html Ancient history - the late sixties - at http://setis.library.usyd.edu.au/tranter/index.html ______________________________________________ 39 Short Street, Balmain NSW 2041, Sydney, Australia tel (+612) 9555 8502 fax (+612) 9818 8569 ========================================================================= Date: Fri, 26 May 2000 16:21:16 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Patrick F. Durgin" Subject: Re: Papa Bear embraces his arch-enemy? In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" What do you mean by "subattitudes"? As a reader of Bernstein's work, I'd say that his overt attitude towards Romanticism, per se, has been much more complex than any wholesale pro- or con- In particular [on the Blake tip], see http://www.thing.net/~sabina/valentine/bernstein.html I can't speak to the libretto, not having seen / heard it, but I suspect there's much happening there with persona, and thus it'd be a slippery slope to evaluate the author's attitude toward Romanticism (which carries multiple and really very complex strictures vis-a-vis "authenticity" or "sincerity") from that. We ought to be careful, I think, not to misjudge a complex engagement with something as a complete disengagement. Patrick At 12:25 PM 05/25/2000 EDT, you wrote: >Now I'm not one all that comfortable with the binary distinction between >"major" and "minor" poets but Charles Bernstein his one of the most >significant poets of our day and one of his primary subattitudes has been a >visceral antipathy towards Romanticism. But has anyone heard him reading from >the libretto to his new opera on Walter Benjamin, from which he read at the >Poetry Project on May 24. The libretto seems excessively Romantic. It >includes a dialogue between Benjamin and Holderlin on the living the dead, >interogations of Benjamin by spirits, and an epilogue by Benjamin's/Klee's >"angel of history." An opera, writes Adorno in his essay "Bourgouis Opera" >(in _Sound Figures_) includes the employment of song to overcome alienation >and return the subject to nature, also a Romantic impulse. Music, he says, >must compose with a hammer as Nietzche wrote with a hammer, and the composer >of the opera, a section of which I heard, who writes in the serialist >tradition Adorno championed, certainly does compose with a hammer. (funny >Adorno and Benjamin intersecting here). Anyhow, when I mentioned this to >someone, he responded that Bernstein was affecting for effect, not really >embracing Romanticism. I'm not so sure. Is this another sort of Romanticism. >How sincere is Bernstein? What does this say about sincerity, Romanticism? >Anyone who has heard from the libretto care to comment (Brian you were there) >-- has Papa Bear embraced his arch-enemy? > > k e n n i n g a newsletter of contemporary poetry, poetics, and nonfiction writing http://www.durationpress.com/kenning kenningpoetics@hotmail.com 418 Brown St. #10, Iowa City, IA 52245, USA ========================================================================= Date: Fri, 26 May 2000 18:11:11 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Harry Nudel Subject: Re: m&r...lesson of the master $ex, $elf, $olip$i$m & what u $d...Drn... UB Poetics discussion group wrote: > amigo: if all biz and politics--why do so many do for free fun? obsessive compulsive disorder? On Thu, 25 May 2000, Harry Nudel wrote: > all poetics is politics...there's no point arguing about lit. history just taste..there are no poetry friends just biz (spelt bi$$) associates...there in no bad publicity just publi$$$ity...DRn... > ========================================================================= Date: Fri, 26 May 2000 17:03:39 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Catherine Daly Organization: e.g. Subject: Re: Conferences MIME-version: 1.0 Content-type: text/plain; charset=us-ascii Content-transfer-encoding: 7bit > I agree with Kathy that conferences should not be abolished, even just > academic ones, but I do feel that their fee structure needs to be > redesigned, and efforts at dissemination need to be more creative and > continuous. Announcing them & calls for papers/presentations on list helps -- I have been to a few wonderful local conferences (just listening, not even eating very much cheese) because of this -- thanks, thanks. Knowing that you have to pay your way if your paper is accepted is an important piece of knowledge I only relatively recently learned -- it's all paid for in many other industries -- and the higher ed industry doesn't make much use of video conferencing or broadcast yet. Catherine Daly cadaly@pacbell.net P.S., MLA has an independent scholar prize, but I think you need to publish a critical work with a major press to win. ========================================================================= Date: Sat, 27 May 2000 12:20:42 +1000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: John Tranter Subject: Sorry - all five free copies of the Atlanta Review are now gone Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed Sorry - all five free copies of the Atlanta Review are now gone. (Plus another three I managed to find.) Wish I had more to send! thanks for the interest, JT from John Tranter Editor, Jacket magazine: http://www.jacket.zip.com.au/welcome.html Ancient history - the late sixties - at http://setis.library.usyd.edu.au/tranter/index.html ______________________________________________ 39 Short Street, Balmain NSW 2041, Sydney, Australia tel (+612) 9555 8502 fax (+612) 9818 8569 ========================================================================= Date: Sat, 27 May 2000 14:16:13 +1000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: John Tranter Subject: Announcing Jacket # 11 Mime-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1"; format=flowed Content-Transfer-Encoding: quoted-printable Jacket is a free literary quarterly published (only on the Internet) by=20 John Tranter. If you don't wish to receive these notices of new issues of Jacket (I send= =20 out about six per year), please say so, and I'll take your name off the=20 mailing list pronto. If you know someone who'd like to receive these=20 notices, please ask them to send me a brief email, and I'll oblige. - J.T. Jacket # 11, better late than never! . . . at http://www.jacket.zip.com.au/jacket11/index.html * * * Joanne Kyger Feature edited by Linda Russo - Linda Russo: Introduction - Joanne Kyger - poem - "Man" from =ABMan/Women=BB - Kevin Killian - The "Carola Letters" - Charlie Vermont - "Form/id/able" and Joanne Kyger - Linda Russo - an interview with Joanne Kyger - Andrew Schelling on Joanne Kyger's Portable Poetics - Stephen Vincent - The Work of Joanne Kyger - Dale Smith - an interview with Joanne Kyger - Joanne Kyger - poem - "Phillip Whalen's Hat" - Dan Coffey - on Joanne Kyger's =ABPhenomenological=BB - Jonathan Skinner - The Travel Poems - Anne Waldman - Introduction to Joanne Kyger's =ABJapan and India Journals= =BB - Joanne Kyger's "Letter to Nemi April 10 1962" from =ABThe Japan and India= =20 Journals=BB - . . . Peter Orlofsky locks himself in the bathroom all night= =20 and smokes opium and then vomits all the next morning so we travel slowly." * * * Philip Whalen Feature edited byDale Smith - Introduction, by Dale Smith - Philip Whalen - About Writing and Meditation - Philip Whalen - Interviewed by David Meltzer - Anselm Berrigan - on Philip Whalen's =ABOvertime=BB - Bill Berkson - a note about Whalen and Mallarm=E9 - Daniel Bouchard - An Hour with Philip Whalen - Paul Christensen - "To hunt for words under the stones" - Tom Devaney - reading the poetry of Philip Whalen - Norman Fischer - reviews Philip Whalen's =ABOvertime=BB - Lewis MacAdams - What do I love about Philip Whalen's poems? - Michael Rothenberg - a poem for Philip Whalen - Tensho David Schneider - "Looking things up with Philip Whalen" - Lew Welch - reviews Whalen's =ABOn Bear's Head=BB, 1969 * * * Martin Johnston Feature edited by John Tranter - Martin Johnston - poem sequence - Microclimatology - Petro Alexiou - A Talk on Martin Johnston - John Lucas - Martin Johnston and the matter of elegy: "The essay is . . . full of remarkable insights and, for all its=20 fragmentary nature, remains one of the best pieces of writing about Berryman I know." - Brian Kim Stefans - A Quick Graph: On Martin Johnston - Paragraphs from an Unwritten Letter to John Tranter - Martin Johnston on Greek Folk Poetry - Martin Johnston on the paintings of Theofilos - more Martin Johnston essays and poems in Jacket # 1 * * * Special: Eliot Weinberger - =ABRenga=BB - ten linked prose pieces: ". . . Sitting in the last row of he plane next to a Belizean woman of=20 uncertain age. The choice for lunch was pasta, fish, or chicken, but by the= =20 time the meal cart reached us, there was only pasta or fish. My seatmate=20 smiled sweetly at the stewardess and said, 'Next time you'll have to kill=20 more chickens'." * * * From the conference on "Poetry Criticism: What is it for?" in New=20 York early in 2000, Kristin Prevallet's report, Michael Scharf's paper, and= =20 Stephen Burt's paper (more from the conference in Jacket # 12, due to close= =20 in July.) * * * Interviews - Peter Riley (Cambridge, UK) talks to Keith Tuma - Maureen Owen (New York) talks to Marcella Durand * * * Reviews: - Joe Amato reviews Cary Nelson's =ABAnthology of Modern American Poetry=BB - John Bennett reviews M.T.C.Cronin - Andrew Crozier reviews Tony Lopez: =ABFalse Memory=BB - Thomas Epstein reviews John High's =ABThe Desire Notebooks=BB - Geraldine McKenzie - Anne Carson's =ABAutobiography of Red=BB (" . . . One is tempted to say this is not even good prose, let alone= =20 good poetry.") - Mark Scroggins - reviews Norman Finkelstein's =ABTrack=BB * * * Brendan Lorber reports on the Issue Zero conference in New York City (March 10-12, 2000) - thirty little magazine editors and one hundred= =20 and fifty fans! * * * Poems by Michael Brennan, Marcella Durand, Kate Fagan, Allen Fisher,= =20 Martin Harrison, Ron Koertge: "Seven Brides for Seven Brothers", with=20 special background story on Livy's =ABThe Rape of the Sabine Women=BB, = Cassie=20 Lewis, Tony Lopez, Ian McBryde, Geraldine McKenzie, Leith Morton, and John= =20 Wilkinson. * * * Great Moments in Literature # 11 - Hilbert Trogue's "Pants Poem" a=20 knockout in Peoria, Illinois! * * * Gift idea - has your new book received an unkind review? Send your favorite critic this "screaming rat" toy - a gift to= remember! All past and current issues of Jacket are always available. In fact, future issues are also available, believe it or not: you can call= =20 by Jacket # 12 as it's being built - it's partly assembled now - and check= =20 it out, at http://www.jacket.zip.com.au/jacket12/index.html Quick and quirky - no ad banners, no frames, no Java, no frauds, no Nobel=20 Prize-winners! If you like Jacket, please tell your friends. from John Tranter Editor, Jacket magazine: http://www.jacket.zip.com.au/welcome.html Ancient history - the late sixties - at http://setis.library.usyd.edu.au/tranter/index.html ______________________________________________ 39 Short Street, Balmain NSW 2041, Sydney, Australia tel (+612) 9555 8502 fax (+612) 9818 8569 ========================================================================= Date: Sat, 27 May 2000 00:19:59 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: David Baptiste Chirot Subject: Re: ideas for class In-Reply-To: <200005260239.WAA147442@pimout7-int.prodigy.net> MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Poetic prose: first half of Louis-Ferdinand Celine's DEATH ON THE INSTALLMENT PLAN James Welch's THE DEATH OF JIM LONEY Mohamed Choukri's FOR BREAD ALONE also: a huge number of country western songs (Tammy Wynette specialized in this genre of c&w) many of Poe's stories, for example "The Fall of the House of Usher" D.H. Lawrence THE WHITE PEACOCK also Carolyn Chute THE BEANS OF EGYPT, MAINE Robert Frost, "The Witch of Coos" several Greek tragedies > ---------- > > From: Elizabeth Fodaski > > To: POETICS@LISTSERV.ACSU.BUFFALO.EDU > > Subject: ideas for class > > Date: Wednesday, May 24, 2000 1:54 PM > > > > Hello everyone-- > > > > I'm teaching a class in the fall on the dysfunctional family in > > literature and would welcome anyone's ideas for poems that fit the bill, > > even obliquely. > > > > Thanks, > > Liz Fodaski > ========================================================================= Date: Sat, 27 May 2000 03:27:04 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: on about MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII - on about sometimes i write like a child with tension just beneath the surface i will write complexly simultaneously defending and revealing the face sometimes i save each and every keystroke and return them as text sometimes i check the content of my text for spelling i will automate myself on irc and look at the mirrors of everyone else sometimes i check for diction and statistics of styles once in a while i will set all caps or small letters i will use a program called julu to help me when i'm at a loss i will use programs with the display function to fill things out sometimes i will rake my older texts with grep looking for lines sometimes i will use sed for complex and continuous substitutions once in a while i will build upon layers of substitutions once in a while i will use programs such as hangman for content sometimes i will use eliza for psychoanalytical interaction once in a while i will use my own derivative for sexual psychoanalytics every so often i will use old computer-card reproduction programs the text-based game adventure lends itself towards performativity analysis i will enter talkers alone or with avatars for metaphysical studies i will use the review command or archie or gopher for archaeologies i will build simple objects in moos confusing object numbers and names sometimes i will use ytalk for reproduction of body image in textual form html and dhtml give me the opportunity for text and image based html-body javascript lures and seduces the viewer into psycho-liminal content images present the edges of things as if they were interiors i will use qbasic programs to examine the contours of measuring i will use gimp or photoshop to reveal the internal tissues of the world i will use shell scripts to reorganize texts into new revelations of shame i will speak through programs begging for questions and answers i will play textual games if they reveal whatever is left of truth i will reprogram a mud to reveal the mad interiors of speech and phenomena sometimes i will create disturbances on email lists or newsgroups sometimes i see my face embedded in the face of the other; it is like a plaque or medallion embedded in the face of the other or like a cartouche bringing to mind discrepancies; it is like an emulsion half-developed or it is like the breakdown of any conceivable methodologies; or like a decay or dissolution of applications and results; a disturbance which refuses to resolve; a constant reminder; the forgetting of a name passing in the form of a body; something else, i can barely remember, on the tip of my tongue, something of lips ___ ========================================================================= Date: Sat, 27 May 2000 01:26:36 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: David Bromige Subject: Re: Poetry Slams for Dummies In-Reply-To: <20000525213806.8711.qmail@web1106.mail.yahoo.com> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" >I just got "volunteered" to run a poetry slam in my >area. I have never been to one. I have never seen one >(except once on TVOs Imprint) and am completely over >my head. Any practical info anyone might care to toss >my way on the nitty-gritty of poetry slams would be >most appreciated. Thanks! > >__________________________________________________ >Do You Yahoo!? >Kick off your party with Yahoo! Invites. >http://invites.yahoo.com/ Set a time-limit AND STICK TO IT. Have a helper strike a glass with a spoon when time is up. If that doesnt work, unplug the mike. Oh, and make sure all the readers take their meds. Break a leg! David ========================================================================= Date: Sat, 27 May 2000 14:31:34 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Simon DeDeo Subject: Free things In-Reply-To: <200005020409.AAA15582@smtp1.fas.harvard.edu> MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Dear all, The publication I co-edit, the Harvard Review of Philosophy, is coming out in around a month (if we're lucky.) As with last year, we'll probably have a good amount of "overflow," once we send to subscribers and bookstores, and so anyone who would like a free copy should e-mail me (backchannel) their snail mail address. I did this last year, and there was a good amount of response; people, please don't forget to send your address! Last year, we had a long poem by Jan Zwicky; this year, we were trying to get Anne Carson, but to no avail, and so there's no poetry, only prose and two interviews, one with Alexander Nehemas, and one I did with Cora Diamond. Those with money to spare are encouraged to subscribe, or to encourage their local University libraries to subscribe ($6 individual, $10 institution.) If you pay an extra $10, I and the rest of the staff will sign the issue with a big felt tip marker. We're also always looking for submissions, most often in essay/academic form; I confess that the mainstream philosophy community is failing somewhat to represent in the field of aesthetics, so if any critics on the list are interested in writing, please get in touch. -- Simon ========================================================================= Date: Sat, 27 May 2000 15:34:37 EDT Reply-To: Irving Weiss Sender: UB Poetics discussion group From: Irving Weiss Subject: new encyclopedia Comments: cc: wr-eye-tings@cedar.miyazaki-mu.ac.jp MIME-Version: 1.0 Content-Type: text/plain I received the following SPOON Announcement, which some of you may be interested in. Irving Weiss http://members.tripod.com/~sialbach/ [Spoon-Announcements is a moderated list for distributing info of wide enough interest without cross-posting. To unsub, send the message "unsubscribe spoon-announcements" to majordomo@lists.village.virginia.edu] ---------- Forwarded message ---------- -0700 (PDT) From: ecampeau@nupedia.com To: owner-postcolonial@lists.village.virginia.edu Subject: Seeking Contributors For Open Content Encyclopedia ==================================== A major new encyclopedia project, Nupedia.com, is looking for informed and enthusiastic people to help direct and construct an "open content" encyclopedia, planned to become the largest general encyclopedia in history. Articles will be peer-reviewed and carefully copyedited by means of a growing network of mailing lists. The project has significant financial support, and its leaders and owners are committed to a years-long, intensive effort. Among the project's leaders, the excitement level is high. In constructing this encyclopedia, we intend use the special opportunities of the internet and hyperlinks to include articles written at varying levels of generality and specialization. (Programmers may be interested to know that the articles will be encoded in XML format.) We are in need of well-qualified writers, editors, and peer reviewers in all areas, and will be doing searches for subject area editors. At present, we have about three dozen Ph.D.'s, M.D.'s, and other highly-trained professionals who have generously volunteered their time as Nupedia editors and peer reviewers. Most of these people are also advisory board members who help shape Nupedia policy and procedure. We are all committed to creating an open, public, academically-respectable institution. What does it mean to say the encyclopedia is "open content"? This means that anyone can use content taken from Nupedia articles for almost any purpose, both for-profit or non-profit, so long as Nupedia is credited as the source and so long as the distributor of the information does not attempt to restrict others from distributing the same information. Nupedia will be "open content" in the same way that Linux and the Open Directory Project (dmoz.com) are "open source." As has been the case with those projects, we plan to attract a huge body of talented contributors. Indeed, since making our initial press release in March, over 1500 people from around the world have signed up as Nupedia members. Because Nupedia will be open content, it will be in a freely-distributable public resource created by an international public effort. It is not an exaggeration to say that your contributions would help to provide an international public a free education. We believe Nupedia is, thus, a project worthy of your attention. If you want to join us or stay apprised of the progress of Nupedia, please take a minute to go to the Nupedia website at http://www.nupedia.com/ and become a member. (Becoming a member is quick, easy, and free.) Please consult http://www.nupedia.com/steering.html for details about steering committee positions and consult http://www.nupedia.com/policy.html for a draft statement of Nupedia editorial policy. Best regards, Larry Sanger, Ph.D. expected May 2000 Philosophy, Ohio State Editor-in-Chief, Nupedia.com San Diego, California P.S. If you wish to help promote this project -- something we would greatly appreciate -- please do forward this announcement to any *appropriate* forums and to colleagues you think may be interested (including your local/departmental mailing lists and newsgroups). Or, if you would rather that Nupedia make the announcement on a forum you frequent, please just give us a pointer to the forum and we can take it from there. ========================================================================= Date: Sat, 27 May 2000 22:30:31 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: further on my work - MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII - further on my work - my work is not about avatars; it is not about jennifer, julu, nikuko. my work is not about sex or sexual objects. my writing floats through beings and sexualities, floats through different worlds with different physics, different neurophysiologies. my work is about the interrelationships among the symbols employed to comprehend, elucidate, live within, the world - and the consciousness which receives, transmits, and is constituted to some degree by such symbols. my work exists between the symbolic and the imaginary/fantasmic/uncanny - on one hand, protocols, etiquette, and pro- priety - and on the other, those very openings occasioned by avatars, sex- ualities, issues of dreamed bodies and bodies dreaming, trance-states, virtual subjectivities, electronic existences. (the work is not pornography, titillation, stories, parables; it is not a narrative of avatars or epistolary novel; neither of course is it what i say it is, or is not.) i am writing this in response to someone's kind backchannel response con- cerning my last textual posting - that it is difficult to pin down what these texts are, from what occasions they emerge, towards what horizons they move, however haltingly. consciousness moves, trembling, against great forces and happenstance; the asteroid, cancer, death, takes it all out. we exist and write/create with- in the meantime, meanwhile. and within this interstice, we inhabit phenom- enologies as if there were futures, eternities, truths. i write towards and against these futures, eternities, truths; i write as if there were no tomorrow, or as if we were always already inhabiting tomorrow as fantasm. i want to move towards and across, beyond the other, as if the other were a lure or possibility. i want to write into the void, where texts and images fall into space emptied of everything, including purity. and I want to see what happens in these non-domains; what types of perception and consciousnesses are possible; what the limits of the human, the animal, the organism, are; what may be said about the future of philosophy and the philosophy of the future - the textual body and the body of text - the state of the chiasm and partial objects, interpenetrations; what can be created when language is reconstituted, transformed, beneath the signi- fiers of technology, sexuality, capital, and so forth. i want to move into spaces that dis/comfort or exhilarate me, spaces that keep the sense of wonder alive, space that - at least for me - are new, and always beyond what i am able to accomplish. i want to see vistas, be vistas, see ... towards these ends i write daily into areas that both carry my signature and abandon it. i want to abandon, as much as possible, the foreclosure of ideological theorizing or a tendency towards the specificity of style or genre; what i want to do, i can't possibly accomplish, i keep writing ... ___ ========================================================================= Date: Sun, 28 May 2000 09:58:05 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Lisa Jarnot Subject: workshop Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit I have room for two more students in my summer poetry writing workshop in Williamsburg, Brooklyn with Lisa Jarnot Ten weeks, evenings, early June- early August (first meeting Monday June 5th) for more information contact Lisa Jarnot at jarnot@pipeline.com or at 718-388-4938 ========================================================================= Date: Sun, 28 May 2000 12:15:58 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Rick Snyder Subject: The Other in Opera Mime-Version: 1.0 Content-Type: text/plain; format=flowed Ramez, I attended Bernstein’s performance at the Poetry Project, and rather than look at it as Romantic affect for effect or a simple turnabout to a more traditional approach to poetic content and form, I see it, in many ways, as a paradoxical enactment of Bernstein’s long-standing project of shuffling and disprupting genre and the reader’s or listener’s expectations. As you noted, the main piece from which Bernstein read was a libretto. By performing this piece in the venerable Poetry Project, Bernstein necessarily called into question assumptions concerning the boundaries of poetry and music, spoken word and song. Though the performance had fewer surface disruptions than his readers might expect (though it was not without these—which occurred in the sometimes farcical voicings of characters, the explosively Dadist poem for Jandl, and the call-and-response piece ("What time is it now?") with looped recording of the automated voice saying the time), on a conceptual level, it was similar to his genre-bending a-poetic poems and his poem essays. Bernstein brought "opera" from the concert hall to the Poetry Project, and I think the metaphysical and poetic nature of the writing itself might obscure this gesture—and make it seem like merely a new (for him) poetic style. Even if it were merely that (and who knows, except maybe the poet himself), I still think the gesture was strikingly bold, and radical if viewed within the very context you mentioned—Bernstein’s long-standing antithesis to traditional, Romantic verse. Clearly, if Berstein hadn’t upended your (and my) expectations of what his poetics entailed, we wouldn’t be writing about it—but would have seen one more disjunctive reading by a Language poet. At this point, I would contend, Language-inflected styles of radical parataxis, deliberate flatness (or edginess), the appropriation of multiple, disparate styles, and the violent refusal of closure are as codified—and expected—as any tropes or gestures of Romanticism or the late American I-epiphany in nature, memory, or the garage. So, for Bernstein to perform a piece that intensively investigates traditional "poetic" issues of time, loss, and mortality is to take a major risk—and cut against what most people, and particulary his admirers, expect from him. I very much respected the risk-taking element of this performance, though I suspect that I would be less interested in talking about it if it hadn’t been so disarmingly powerful and moving. It wasn’t what I expected, but I was very pleased to hear it. So, while I think the performance was disruptive of expectations of genre and Bernstein’s poetics—these issues are secondary to the power of the performance. Ultimately, I don’t care if what anyone performs in 2000 corresponds with his or her writings of 1979, 1990 or 1999. Who wants any poet to stop taking chances? To end with a cliché (via Emerson): Consistency is the hobgoblin of little minds. ________________________________________________________________________ Get Your Private, Free E-mail from MSN Hotmail at http://www.hotmail.com ========================================================================= Date: Sun, 28 May 2000 09:06:54 -1000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: rob wilson Subject: WANTED: London/Hawai'i rental/house exchange for fall 2000 Comments: cc: poesis1@msn.com In-Reply-To: <265265.3166466514@ubppp248-187.dialin.buffalo.edu> MIME-version: 1.0 Content-type: TEXT/PLAIN; charset=US-ASCII Dear 23 list members in England and environs: From Sept. 10 to Dec. 20 of this fall, I will be leading the University of Hawai'i's Study Abroad program in English to the global city of London to teach two smallish seminars at Thames Valley University: one on the postcolonial literatures of contemporary UK and the rise of cultural studies work like ''ain't no black in the union jack'' and Stuart Hall's global/local dialectics to deal with this multicultural and postcolonial transformation of UK cultural poetics; and another on American writers in London and Paris (like Stein, Jack London, and Hemingway and the nasty travelogue-maker, Paul Theroux) and their ongoing romance/representations of these cities (with site-specific treks built into both courses). My wife, Mari, and I are looking to rent a one to two bedroom flat in some area of London for this time frame that is (A) close to Ealing or Notting Hill; or (B) near a subway line closer to downtown London or a suburb that would make the twice-a-week commute to class do-able. If anybody on the list would like to arrange an equitable exchange with us for our 2 bedroom condo with huge swimming pools, racquet ball courts, weight room, car etc. in the Hawaii Kai suburb of Honolulu, that would be very possible too. So if you are interested in this, please let me know with some specifics via email or give me a call to Hawai'i at (808) 9563050 [o]/3964153 [h]. Somebody told me Homi Bhabha has a lovely flat in London, but I am not sure I can afford it or am postcolonial enough in that regard. But who knows.. Regards, Rob Wilson On Thu, 4 May 2000, Poetics List wrote: > These figures represent the current subscribership > of the Poetics List by country, with the disclaimer > that the division is approximate given the workings > of our listserv program. Chris > > % Christopher W. Alexander > % poetics list moderator > > > > > Country Subscribers > ------- ----------- > Australia 13 > Belgium 2 > Canada 43 > Finland 1 > Germany 3 > Great Britain 23 > India 1 > Ireland 5 > Italy 1 > Japan 5 > New Zealand 14 > Romania 1 > Singapore 1 > Spain 2 > Sweden 4 > Switzerland 2 > Thailand 1 > USA 697 > Yugoslavia 1 > ??? 1 > > > Total number of users subscribed to the list: 822 > Total number of countries represented: 20 > ========================================================================= Date: Sun, 28 May 2000 18:20:37 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: New Email List (descended from fop-l) MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Please join! ==== Wryting An email list for theory and writing, focusing on texts and commments presented by the participants. We're interested in all sorts of issues - 'avant-garde' pieces, psychoanalytical, phenomenological, or decon- structive approaches, etc. Wryting is cross-platform, cross-gender, cross-reason; it may involve embodiments of reader and writer, abstract language, and the collapse of genre. Wryting stems from the older fiction-of-philosophy list, which presented work between literature and theory, fiction and poetry, philosophy and lyric, and so forth. Any discussion is welcome. To subscribe or unsubscribe, please send a note to wryting-request@julian.uwo.ca If you have technical difficulties, please contact owner-wryting@julian.uwo.ca Laurie Cubbison Alan Sondheim Ryan Whyte ===== ========================================================================= Date: Fri, 26 May 2000 16:08:48 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: David Kellogg Subject: Re: Dysfunctional family poetry In-Reply-To: MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII > At 12:54 PM -0500 5/24/00, Elizabeth Fodaski wrote: > >Hello everyone-- > > > >I'm teaching a class in the fall on the dysfunctional family in > >literature and would welcome anyone's ideas for poems that fit the bill, > >even obliquely. > > > >Thanks, > >Liz Fodaski One of the funniest passages in modern poetry is in Thomas McGrath's _Letter to an Imaginary Friend_, where he's rooming with "the family Peets" and going to LSU. He's a border, an outsider, more or less, viewing a highly fucked-up family. The passage lasts about a page and a half, is somewhere in part I or II, and is a great portrayal of serious dysfunction with a comic edge. 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: Mon, 29 May 2000 00:06:37 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: George Bowering Subject: Re: ideas for class In-Reply-To: <200005261229.IAA21308@mail1.sas.upenn.edu> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" >your students will probably be familiar with the movie _trainspotting_, >yes? and some, hopefully, with the book? I found that when I became familiar with that movie, I was not hopeful at all. -- George Bowering Fax 604-266-9000 ========================================================================= Date: Mon, 29 May 2000 08:35:00 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: michael amberwind Subject: Re: Politics MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii I prefer to see politics as one strand, a single pole in poetics, rather than as the whole shebang. Saying all poetics is politics is as irrelevent as saying all politics is poetics. As for $$$, I would just like to know whose in it for the money, anyway? Even the dozen or so in North America who live on the money they make from poetry don't make what they are worth. My poetry is so valuable that, if people had to pay for it, no one could afford it. "No poetry friends just biz"? My poet friends are all as broke as I am. > all poetics is politics...there's no point arguing about lit. history just taste..there are no poetry friends just biz (spelt bi$$) associates...there in no bad publicity just publi$$$ity...DRn...> __________________________________________________ Do You Yahoo!? Kick off your party with Yahoo! Invites. http://invites.yahoo.com/ ========================================================================= Date: Fri, 26 May 2000 16:56:43 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Ayperry@AOL.COM Subject: Re: heat Comments: To: swalker@dept.english.upenn.edu, Ron.Swegman@mail.tju.edu, QDEli@aol.com, repohead@rattapallax.com, ron.silliman@gte.net, SFrechie@aol.com, singinghorse@erols.com, stewart@dept.english.upenn.edu, marjh@friends-select.org MIME-Version: 1.0 Content-Type: text/plain; charset="UTF-8" Content-Transfer-Encoding: quoted-printable Dear Shawn: Thanks for including me in your listserv musing about that Polak=20 e-article. Just a quick note and a couple of questions back to you. =20 It sounds from your response to MLP's article like you would like to=20 hear/read poetry that both retains the artistic integrity and complexity of=20 it's paginated architectures while also singing and dancing and sweating. I= =20 wish you had HEARD/seen my reading at the Bride on 5/7 with my band The Nake= d=20 Poets. That's what we do. I also just finished and essay on aesthetic=20 distance and a book of Cuban poetry translations. This is just to extend an= =20 invitation to my next "reading." I'll be touring in the summer but I'll get= =20 you a list of places near Philadelphia at which I'll be performing in the=20 fall. =20 I'm sure you know all of this but I'll say it anyway and perhaps we can=20 continue this dialogue. I applaud your thought-provoking questions and=20 quotes as healthy critical thinking, not naivet=C3=A9. These remarks are of= fered=20 in the spirit of constructive dialogue and critical thinking. I am=20 interested in the Jack Spicer essay, and why he thought "no one" was there a= t=20 a time when the canon was cracking wide open and some new presses were=20 flourishing in spite of what (McCarthys and Khons) became the most repressiv= e=20 decade of the century.=20 I don't know who "we" is but you mentioned that "=E2=80=A6we are not sin= gers. We=20 would rather publish poetry in a little magazine than read it in a large=20 hall. If we do read in a hall, we do not take the most elementary steps to=20 make our poetry vivid and entertaining. We are not singers. We do not use=20 our bodies. We *recite* from a printed page." I (and we) sing AND publish=20 in lit mags AND read in large halls AND win awards AND go to extraordinary=20 lengths (music study, voice training, breath work, MFAs, history books!) to=20 make well-written poems work as living entities that whenever they want can=20 leave the (limitations of) the stage/page and still enter into the patron's= =20 world not as entertainment but as good poetry. AND I use my body. =20 Carl Hancock Rux, Tracie Morris, Sekou Sundiata, Reggie Gaines, Aaren=20 Perry and the Naked Poets, Bob Holman, Sandy Crimmons, Jayne Cortez, Amiri=20 Baraka, Sherman Alexi, Joy Harjo and Sonia Sanchez (hasta Bly and his lute)=20 write and publish COMPLEX poetry, and say their poems with musical=20 accompaniment, and can easily move from recitation to spoken word to exalted= =20 chant to exquisite song. Most of them read widely the poetry that would be=20 considered outside of their genre, whether they criticize it or not. They=20 get big audiences. =20 If you are one of the 300 people listening to the free Sonia Sanchez=20 tribute tonight I promise you that the key elements celebrated and that make= =20 her work so beloved will be song, body and her intentional commitment to=20 other human beings in her work. And this does not preclude her complexity=20 on the page. She has SOME acclaim on the page=E2=80=A6 But she is one of=20 Philadelphia's most well-known internationally. Why? Who are "we" and why=20 don't you? =20 On May 18th I read some of my on-the-page poems for twenty people at the= =20 Ethical Society with Marilyn Lois Polak in the basement beneath the room=20 where a week before Robert Bly had read, quite interactively, to a couple of= =20 hundred poetry lovers - very few of whom would be caught dead at midnight=20 above Frangelica's or at Brave New World or October Gallery or Wordwide, and= =20 for good reason. A week before I performed with my band at the Painted Brid= e=20 for seventy people on a Sunday afternoon. The audience demographics ranged=20 from academics to performance poets, ages 17-77. Today I was teaching at High School in South Jersey and a student asked=20 if I HEAR a poem when I write it and if I imagine an audience. I said a poe= m=20 must be heard whether one uses silence or sound. Ralph Angel says, "it is=20 the silence between the words that creates the music in poetry." Amiri=20 Baraka calls his poetry "the dialectic of silence." And he's not just=20 talking about dialectical materialism. He's talking about music. "I have t= o=20 HEAR it," said Peter Davidson on NPR in 1999. Even Emily was not writing fo= r=20 herself. The radical use of slant rhyme and broken conventions is that of a= =20 woman communicating cynicism, humor and love. To whom? She didn't need=20 email to correspond. Look at the letters. They are all talking to or with=20 someone. She may have stuffed them in her drawers but she wasn't talking to= =20 herself. The point is, there are poets in every school and genre whose work is no= t=20 hearable, does not communicate past its own words. And there are those in=20 every genre that do. For example, at the faculty reading some of Susan's translations were of= =20 a man calling up to God. De Bartalomeo's amazing characters talk to us=20 through dialogue and the omniscient narrator talks to us. Greg's new poems=20 speak more to us now than in "About Distance" and Lorene's work is always=20 talking to someone. I could tell you how. If I were writing for myself I wouldn't be standing here in a smelly=20 building at 8AM far from home surrounded by youngsters, I told the student,=20 whom I was trying to persuade that poetry is capable of building community,=20 of being exchanged and viewed as products of fine art, of being inhabited as= =20 a way of life, and of being enjoyed as song. If Etheridge Knight says he=20 believes in "the power of the trinity between the poet, the poem, and the=20 people," he's not saying we should create an audience and write simplistic=20 poetry for them; that we should go out with our green spiral notebooks and=20 read the first thing we whipped off on the pot during the car adds between=20 game shows. He's saying, partly, that if your poem lacks one of those=20 elements, the craft goes lacking. And yes the audience will disappear. And that's one approach to Jack's question. Ginsberg "did it" the same=20 way Rumi, Blake, Whitman, Algarin and thousands of other poets who perform=20 their well-written work in public, not just in private, do something for=20 which it's worth skipping dinner with Mike. He, and everyone else who write= s=20 poems that somehow demand voice from their authors, every once in a while,=20 writes about something/someone in addition to themselves. I don't know what you mean by trying your "whole life." But keep the=20 faith. You know what a huge world of poetry it is. And since you're so=20 webby, try poetry.about.com. See Marj Hahne's good work on the Philly page.= =20 Let me hear from you. I hope this does not seem like a presumptuous or=20 contentious response, just curious. -A. Yeatts Perry ========================================================================= Date: Mon, 29 May 2000 18:15:21 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Harold Teichman Subject: Errida: toujours deja MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Does anyone know what the origin of Derrida's expression 'toujours deja' ('always already') is? According to a couple of French-speakers I've asked, it doesn't sound idiomatic, and it isn't in my Larousse Lexis. I've just seen a quote from Heidegger, in English, that leads me to conjecture that Derrida took it from him, perhaps (mis)translating 'schon immer', but I haven't got the Heidegger text in German (Wegmarken, 2nd ed., p. 419: "Thinking and poeticizing must in a certain way go back to where they have always already been..."). Assuming that it isn't just a magisterial, sui generis coinage... Thanks. ========================================================================= Date: Fri, 26 May 2000 22:34:11 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Steven Marks Subject: 724 on Creeley MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Clemente's Images by Robert Creeley Backwoods Broadsides Chaplet Series, #50 Ellsworth, ME cost: $1.00 "Clemente's Images" is a Robert Creeley study in rhyme: near-rhymes, repetition rhymes, semantic rhymes, antonym rhymes, synonym rhymes, consonance rhymes and traditional rhymes. The 25 poems, each consisting of three couplets, refer to works by Francesco Clemente which appeared in a recent New York retrospective at the Guggenheim Museum. Although there is undoubtedly a great deal to say about the relationship between Creeley's poems and Clemente's images, I am going to concentrate here on the poems themselves, and one formal instance of them, at that. In Poem 14, Creeley sandwiches a full rhyme between two near-rhymes. Here is the poem in its entirety: He is safely put in a container, head to foot and there, on his upper part, wears still remnants of a life he lived at will-- but, lower down, he probes at that doubled sack holds all his random virtues in a mindless fact. If we were to take "in a container" out of the first couplet, we are left with a series of trochees which reads somewhere between an elegy and a nursery rhyme. The near-rhyme between "put" and "foot," of course, calls attention to both words and gives the reader an opportunity to ask questions about that slanted relationship. What I first notice is a certain forcedness. We normally say "head to feet" when describing something in its totality. But, Creeley, is calling for us to look at this awkwardness in the rhyme. Some thing, or something, cannot be easily placed in a container, despite the fact that when the previously excluded prepositional phrase is added back to the couplet, we have the cadences of everyday speech. With "head to foot" (the sign of some attempt at totality) excluded, another, another incongruence begins to appear between the casualness of the syntax and the content of the short sentence. It is not a thing being put into a container, but a man. And when "head to foot" is returned to the foot of the couplet, I cannot help but think of standing at the foot of a coffin. But there is yet another twist. With the return of totality to the couplet, there is the macabre sense of the body being in parts, with the head next to the foot. There are other suggestions as well. A new body (the "he") is placed head to the foot of another body in a mass grave or the speaker of this unheroic couplet is describing an action that he has taken, or witnessed. The sense of division continues in the second couplet which focuses on the "upper part" of the man. This half of a man, now an empty container, wears "remnants" of his life upon his chest. Presumably, these are military ribbons. Although I have not seen the Guggenheim retrospective, I am familiar enough with Clemente's work to know that he has painted a number of portraits of dictators with chestfuls of medals which they wear at their own will and which they use to display a terrible iron will. Now, they are the will of a man who fractured and broke others and who has only become a still oneness at his death. But what appears in the rhyming of "still" and "will" as some sense of closure is, in fact, belied by the simple em-dash which extends the second line and disrupts ever so slightly the full rhyme in sound, suggesting that what we hear and see are not the same. The third couplet moves to the lower part of the man, the site at which there are no longer parts, but a doubling. We are now where Blake has been -- showing us how the repression of sexuality extends beyond the body of the one repressed to the body politic whose members are probed, crushed, maimed, killed and tortured in the name of purity and virtue. The near-rhyme of "doubled sack" (the rhyming words must also be doubled here) and "mindless fact" is an immensely powerful evocation of these horrors. Each of the other 24 poems in this chaplet is equally masterful in their use of various rhyming practices. As just one more example, consider the last words of Poem 23's couplets: like/time, mind/found, and alone/one. These six words alone form an intriguing shell. ========================================================================= Date: Sun, 28 May 2000 10:40:52 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: levitsk@ATTGLOBAL.NET Subject: Re: ideas for class MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit speaking of movies, I just saw The Virgin Suicides, which though flawed structurally and having a bit of 'blame it all on the bitch mother' kind of thing, does raise a lot of good issues, among them, how lame are the cliches being offered to high school students by their youth-nostalgic parents. I mean, how could anyone take a star-studded, sequined-decorated gymnasium homecoming dance seriously after the release of the movie Carrie? ----- >your students will probably be familiar with the movie _trainspotting_, >yes? and some, hopefully, with the book? irvine welsh recently >published a novel in the UK calleed _malibu stork nightmares_, which >deals very richly with a profoundly dysfunctional family. the prose is >all gnarled and spattered and really beautiful, too. not for kids of all >ages, but checkitout. > >hannah > > * * * * * * * * * * * * * * * * * * * * * * * * * > >Hannah Sassaman >http://www.sas.upenn.edu/~hannahjs > ========================================================================= Date: Tue, 30 May 2000 23:08:07 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Poetics List Subject: using my nudel / raphael MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit This message had to be reformatted to remove HTML tags. % Christopher W. Alexander % poetics list moderator -- From: "dan raphael" Date: Mon, 29 May 2000 16:18:35 -0700 Before the discussion and expose on mr. nudel ensued, i'd started on this poem, spurred by the qupotation that begins it. not that the poems is about him, but that it served as a spark. i tend to write by building energy from observations and relfections, then need some phrase or experience (be it quote, song, bumpersticker, movie, etc) to set loose the flow. dan raphael "The teen age hacker programming the dream..the rapper sputtering ebonics...the electric word outside this cultural exchange...welcome the future, e-poet them vowels." .... harry nudel every action requires a reaction,20 to reach a new state, to redefine the borders and laws existing in the realm i pass through20 daily / nightly/ as the urge weaves catching the bus using quantum routes97 it will be at one of six streets sometime during the hour,20 (and if you find the bus you probably don92t know where its going) like biting into an electron without knowing what element its dependent on, orbiting the center20 that died 2000 years ago, as if gravity left in 1492 and we havent realized it yet, in 1776, 1984 the meter is built by a mind who knows what it wants to meter i packed up my bags i went looking for a place to hide, a way to connect, a hide to pull in hundreds of channels, forgotten rituals20 from isolated villages who worshipped icons made of rotted wood, who grew termites as pets20 to create icons and provide the nitrogen rich pulp theyd slather over their naked bodies during hot summer sun coming from a hundred years in the past to find the family farm paved over with an abandoned mall going two hundred years in the past and finding you know nothing of value, cant recreate any future products or remember enough particular history, maybe win some bets on presidential election, assuming survival & freedom with strange clothes and no money, with a disproportionate body and a funny way of talking a body with how many channels, each possible acupuncture point a broadcasting tower, a kilobyte of memory unskeining from the portion your burger simulates, protein pounded wafer thin, cow chip technology transformed by the esters in overheated rancid oil from we92re not sure what source,20 something hyperdrogenated or if you cant eat it you can wax your walls everything that gets old must be reinvented, reengineered, rediscovered, reexamined into something it wasn92t, missing what weve never tasted, remembering what has never been til we can teach dna to lie97we92ve already learned to confuse it, or to be fooled by its seeming innocence20 in fitting in, as if its not already making plans for transformation strawberry fish, peanut tomatoes, rockets powered by soybeans we92re are looking at the possibility of mass transit as a destination, the wildlife on the subways, the chance to hunt fugitives who we pay to ride the rails across town, rehabilitating targets bringing you 21st century catharsis at Disney92s Inner City Experience97role with the dice and you wont crap out, its all natural but contained, time release heroin slows the targets down, hiring the people who could never work20 at the other parks-- not squeaky enough, stray hairs, random piercings, ask too many question, don92t want to flip burgers--with a side contract to mental health agencies for placing paranoids20 somewhere theyre right97the tourists ARE out to get them it92s a question of how much you can melt away and still be human, here in post cultural Americo, the rich are used to inter breeding, swallowing the occasional sport, at least with the rich in charge20 we won92t lose fucking, fucking dominance, the FDA, the IMF,20 get along little netheads, bait for the masters,, corroding our own back yards,20 our houses compost faster than our bread, we could connect by being smaller and faster, less in the body, more on the unmetered waves, so much clarity passing through a non existent conduit-- turn left just before you black out, like a prayer you can utter20 a millisecond before the artery bursts, that jump in a crashing plane, the fearlessness20 of being shocked out of your body into your self: growth is in the rebound,20 then discussing denying folding back in and leaving alone the time waiting has bits of song and dance, experiments in conjuring food from intentions, visualizing20 what the body is hungry for, accepting bad luck as the result of something someyou once did: take the guilt and pass it through, take the black and filter to gray,20 letting go all you can so92s to sprout antennae and alleys, encouraging erosion and wind,20 the circulation of the seemingly solid, the circulastory system, beginnings of sections: fast fuel, slow burn, chocolate creating its own neurons, cannibalizing cannibinol,20 we are when we eat, eating like a leaf, like a bed sheet left to dry in the jungle,20 compost at the north pole, barcoded cockroaches emitting cookies when theyre found and scanned we know so much we need to sell, can crate so many scenarios, crate the vacuum just before the product appears, like the minutes of burning desert in Lawrence of Arabia just before the intermission sends stampedes to the fountains and soda counters but what can you give us that92s worth what we92ve already taken from you ========================================================================= Date: Mon, 29 May 2000 17:20:24 -0230 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "K.Angelo Hehir" Subject: change of address MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII hi folks, some of you will not even know that i now live in st.John's, newfoundland. well, i do. decent letters as i haven't spoken with some of you in ages. so, my new address is khehir@sc.mun.ca hope you are all well, kevin