========================================================================= Date: Tue, 30 Sep 2003 22:04:27 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Julie Kizershot Subject: anyone know a good book or two? In-Reply-To: <3F789902.7C2C05E@telus.net> Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit Does anyone know of a good book (for beginners) about Haiku? I could use a recommendation or two to pass along to a student. Thanks thanks Julie Kizershot ========================================================================= Date: Wed, 1 Oct 2003 00:04:53 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: "the chant of the dark wood" and "wander" MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII the chant of the dark wood 0a1 > 102,104d102 < system("touch .trace; rev rope >> .trace"); < system("rm rope"); < 133c131 < print `rev .trace`, "\n\n"; --- > print `cat rope`, "\n\n"; it's dark here; turmoil & dawn of darkness; dusk of mp3 & darkness; dark light & shadows; wandering in this dark forest with virgins; i am listening to the 4322; the forty-three hundred & eleven; among the 472; among the four-hundred & seventy-two; depression sets in; close to the edge; there are stars leaped off the edge; four-hundred seventy-two edge; i am a sick man; i am the heart of darkness; i am mp3 mp3; i am :the universe in false demand; the conversion of truth to mp3; there are ghosts here; i am inviolate; they are coming home; he or she is coming home; i am within the first thousand!; Lisa Loeb; through the disordering of the universe; on this motion i carry with me; this body is going nowhere; i could be someone's home; sauntering. not the woods; the forest. :through the cutups & listening to the universe of 4311 songs among 472 albums; coming through the depth of the mp3 universe; I hear among the worlds!; I hear among the depths of the worlds!; my own work among Alanis & Madonna; I hear you! I hear you!; albums & songs flickering in random sort; there's no return for weeks; of perfect speech let it be said; :: so you wouldn't notice :: so you wouldn't notice __ wander i wander to the craggy peak, my final goal is hard to seek, and harder then to call and find, my heart is pith and not the rind, see what the stormy night shall bring, of falser gods than thee i sing :the storm is tearing up the land, death is its dark command, i'm not a tree that can bend forever, i'm dying and can't suffer weather, life's empty, nothing's left behind, once i had a sharper mind, now my thoughts are come and gone,:the world is going by, no matter how hard i try, it's going by, i see the coming of the end, it's coming around the bend, i feel the raising of the wind, :: against the stone my body's pinned:: against the stone my body's pinned __ ========================================================================= Date: Wed, 1 Oct 2003 01:16:57 -0400 Reply-To: nudel-soho@mindspring.com Sender: UB Poetics discussion group From: Harry Nudel Subject: Not 'Nuff Said... Mime-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit drivel, he sd ========================================================================= Date: Wed, 1 Oct 2003 01:19:19 -0400 Reply-To: patrick@proximate.org Sender: UB Poetics discussion group From: Patrick Herron Subject: We'll Meet Again MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit http://www.centcom.mil/CENTCOMNews/casualties.asp?searchDays=93 We'll meet again, Don't know where, Don't know when But I know we'll meet again some sunny day Keep smiling through, Just like you always do Till the blue skies drive the dark clouds far away So will you please say "Hello" To the folks that I know Tell them I won't be long They'll be happy to know That as you saw me go I was singing this song We'll meet again, Don't know where, Don't know when But I know we'll meet again some sunny day - Vera Lynn ========================================================================= Date: Wed, 1 Oct 2003 01:27:30 -0400 Reply-To: nudel-soho@mindspring.com Sender: UB Poetics discussion group From: Harry Nudel Subject: Curiculum Vitae Mime-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit I'm writing out by hand my c.v. for the Grey Prof. have these recommendations T. Kupferberg B. Creeley J. "Blood' Ulmer S. Dalachinsky Need a solid academic double.. any takers... Harry... ========================================================================= Date: Wed, 1 Oct 2003 00:07:48 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Derek R Organization: derekrogerson.com Subject: Margaret Atwood for the Nobel Prize for Literature MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit a ========================================================================= Date: Wed, 1 Oct 2003 00:40:20 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: August Highland Subject: Ten Blocks - The First Ten of One Million Blocks MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Ten Blocks - The First Ten of One Million Blocks {From The Block Phenomenon Division of Culture Animal) Disclaimer: No software was harmed in the creation of this literary project by august highland. BLOCKS by August Highland BLOCK #0000001: Akanoakatelajiakawel 7970 7971-75 7979. 5753-55 5759-60 3835-37 3838-43 3844 alakealakealamialana. 3778 3779 3789-92 1-4 6-8 24 30 34 40 7160-62 7175 7184-86. Siabate, 8413 8415 8432 s & oth er o blig atio ns Au tom atic -. 7392-95 7430-31 ambonisyeamdeghamduk ble to dec om pos itio n -U ses dec isio. BLOCK #0000002: 3245-46 3252 3254-55 4057 4074-78 4079-81 2053 2063 2074 2076-. 5599 5608-13 5647-52, eajibayo 2351 2352-58 2356. 1954 1961-62 1969 8346 8351-53 8354-57 6235-40 6242 6252-53. 6923-25 6929 6932 3874-76 3878-79 3880 7768-73 7811-12. 5144-45 5146 5152 Ma in F eatu res *D eco mp osit ion int. BLOCK #0000003: 5599 5608-13 5647-52 adebolaadebolaadebow. 5387-88 5388-89 yamri. 11 6316 6341 6366, 7699-7701 7704-05 ssib le s tate s -P ara met eriz ed c om. 7364-66 7381-82 7384 5375 5375-78 5376-78. Ab stra ctio n f unc tion *n eed to def, 4941-42 4945 4962 4204-05 4213 4227. BLOCK #0000004: Rate gie s -in duc tion ob liga tion s v 7039-40 7065-67 94 5193-95 5207-08. 2158 2167-71 2172-73 effe ct o n RF Act ion _di spa tch ed LX -O ut-o f-or der exe cut ion exa mp. 2859-60 2885 2889-92 1738-39 1752-56 842 843 852-55 860-. Adergazoz, ablaablaabosiaboudab lysi s st rate gy in s imp lify ing. Ing the pip elin e *o ur i dea d efin e 4540-41 4550-51 1004-06 1008 1035. BLOCK #0000005: 5381 5382-84 5383-84 borkiabholoaina ctn ess cri teri on & a bstr acti on fun. N-s tate tra nsit ion s" *l ive nes s is 4673-74 4682-83 4701 8138-42 8142 8144-47. 3664 3667 3676-78 Rec urs ive Ab strac tion Fu nct ion RB. 6160 6172-73 6174-75 3407-08 3409 3417-19 emayehealemayehu. Alafin Com ple tion Fu nct ion s A ppr oac h. BLOCK #0000006: 1004-06 1008 1035 7392-95 7430-31 niekemeanika. 19 5234-36 5247 5248, ition of Com ple tion Fu nct ion s Imp aamechiamechi. 3835-37 3838-43 3844 6307 6309 6310 6310- ery sim ilar str ateg y -R ewr ite rule. 2580-81 2583-84 2585, 6731-32 6734 6454-55 fini she d inst ruc tion in an a tom ic. Ch ar me iabiabi. BLOCK #0000007: Q next( q) act ion _ex ecu ted sam e ple tion fun ctio n *R ecu rsiv e ab abboabboudabdallaabd. Olo gy imp lem ent ed i n p vs *t hre e, duabdulabdullah amawalamayasamazuama. Ua allaabdallah niekemeanika. 5779-80 5782-87 5804 ahmaduahmatahmedahme q next( q) Act ion _ex ecu ted Sam e. 6565 6567-71 6575 antakenantaranthonya. BLOCK #0000008: 5387-88 5388-89 amandlaamandla. New iss ues for oo o a b c rf db rtt rb, 5920-23 5927-31 5265 5299 5310-11. 5753-55 5759-60, 7760-62 7760 7760-62 4138 4150-51 4152. Erado bruriab-Sekin ab- 7364-66 7381-82 7384. Adamou 3754-55 3766-67 3772 6160 6172-73 6174-75. BLOCK #0000009: Abdeljililabdeljilil, in i nva rian ts n eed ed -C orre ctn ablaablaabosiaboudab. 37 5038 5045 5046-49 men tal ver ific atio n *N o exp lici t. Ic rf c_ c_ rea d ab, abayabayghurabayomia andriamihajaandriana. O v erif icat ion cond itio ns *g ene akanoakatelajiakawel. Abayabayghurabayomia akayetiakayyo. BLOCK #0000010: 1431-35 1432-34 1438 5210 5212 5216 5217- 2158 2167-71 2172-73. 7936-41 7951-56 7964, 7847-48 7865 7892 1624-25 1696-99 1715. 6235-40 6242 6252-53 6904-05 6912-13 13 430 410 421-29. Hmadahmadou 2245-46 2254-60. 270-71 309-13 335-39, ya 5387-88 5388-89. august highland muse apprentice guild --"expanding the canon into the 21st century" www.muse-apprentice-guild.com culture animal --"following in the footsteps of tradition" www.cultureanimal.com --- Outgoing mail is certified Virus Free. Checked by AVG anti-virus system (http://www.grisoft.com). Version: 6.0.521 / Virus Database: 319 - Release Date: 9/23/2003 ========================================================================= Date: Wed, 1 Oct 2003 00:49:02 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: August Highland Subject: Blocks 11-20 MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Blocks 10-20 {From The Block Phenomenon Division of Culture Animal) Disclaimer: No software was harmed during the creation of this literary project by August Highland. BLOCKS by August Highland BLOCK #0000011: 5770-71 5772 5774-76 7105 7114-16 7121-24 alialialicaalikaalik. Cati on *t heo rem pro ver s -f ocu s on sakinsanyaakinsheye abeabebaabebeabebeab. Akinlabi, andemandimbaandriama adjua. Amakweiamalamalamala, 1954 1961-62 1969 3201-02 3205-06 3207. Adergazoz 3050 3063 3068 3091. BLOCK #0000012: 6085 6086 6099 6105- 4871-74 4899 4900-02 8032 8033-36 8058. 8254-55 8280-85 n p roc edu res *S olu tion Co mp leti. Andemandimbaandriama ahoahoahonyaahotoahu gellidaggur. 6188-90 6191-94 ngena 4907-08 4940 4941. 4802 4809 4813 4818 8084 8085-91 8064 uluchukwu. BLOCK #0000013: Alarbialassanealemal 5521-23 5522-23 5536 MH z U ltra Spa rc. Andriamihajaandriana, amadiamaechiamakaama 3407-08 3409 3417-19. Re tire ? ret ire? d gra m -D isch arg ing the ver ific atio Skinabuabubakarabuba. 8297-98 8303 8313-15 PV S P roo f St atis tics *P roo f st. Abdoulayeabdoulayeab annaberannanannyanny 2266-71 2275 2282. BLOCK #0000014: D w w d e e w i i d e q next( q) rf rf alg orit hm wi th no reo rde r bu ffer. Hmadahmadou akuaakuffoakuffoakuk. 5327-28 5344-46 5347 kilah. P yamri. Imp l_st 2859-60 2885 2889-92 siabate. BLOCK #0000015: Pos ition is b ase d o n "in stru ctio yamri tail hea d rbi RF Abs . fn=C om plet. N ew inst ruc tion is e xec ute d *a gai s & oth er o blig atio ns Au tom atic - 3989 3967 3999 4024. Akorakpelu 802 804 805 811-12 4941-42 4945 4962. Ma in f eatu res *d eco mp osit ion int, Ins truc tion -sta te t ran siti on" dia yamri. Bayomiabazu 3270 3290 3302-03 5890-91 5892-95. BLOCK #0000016: 8346 8351-53 8354-57 MC AD *S awa da & Hu nt - CA V *M cM. 727 732-35 758-61 nda yam Sri vas (SR I In tern ation al) 6307 6309 6310 6310-. Eeku, akelloakeremaleakhon con clu sion s. 7999-8006 7018, ctio n *D eco mp osin g th e pr oof -" andemandimbaandriama. Adanadandeadaobiadda, akamaakamafulaakanid 5144-45 5146 5152. BLOCK #0000017: Ins truc tion -sta te t ran siti on" dia 4941-42 4945 4962 adaladamaadamaadamma. Aabionaabioye 7259 7280-82 7304-08 ntronanuiyelewa. Ankamaankomaankrahan, 18 225-26 227 234-41 5890-91 5892-95. Ctio n *d eco mp osin g th e pr oof -" 3791 3794 3801 3808. Afafaghisafalawasafa Pro of o f C orre ctne ss o f a Pro ces 7451-55 7456-58. BLOCK #0000018: Lx -o ut-o f-or der exe cut ion exa mp, 5920-23 5927-31 amatuahamefule. 3485 3489 3498-3500 08 6144-47 6153-59 n-s tate tra nsit ion s" *L ive nes s is. 1972 1978 1980-83 Liv ene ss P roo f I D E W Dis p? No t eyemiadeyemiadhane. 5144-45 5146 5152, 2580-81 2583-84 2585 6440 6449 6452-55. Ano, 3120-21 3123-24 3130 519-24 525-29 553-55. BLOCK #0000019: 3503 3513-16 3532-34 aabionaabioye 3176 3177 3196 3199. Ahimidiweahkilahlama 7069-71 7092 7096-98 5327-28 5344-46 5347. Ic rf c_ c_ rea d ab, anyanwuanyanwuaokoao 6367 6404-05 6429-30. Bakadaabanobi adugnaadumadunbiadus Liv ene ss P rop erti es *T wo liv ene. 2808-10 2820-23, 5210 5212 5216 5217- ing the pip elin e *O ur i dea D efin e. BLOCK #0000020: Abimbolaabiodunabiol amgharamiamikwuamina. Amatuahamefule ler adetokunboadewunmiad. Effe ct o n rf act ion _di spa tch ed, lada 251-55 258-59 269. 776 779 784-87 794 adjuaadlanadmassuadm 5408-09 5414-16 5422. Wo rk i n p rog ress *a pro ces sor wi, 8138-42 8142 8144-47 2007-09 2022-23. august highland muse apprentice guild --"expanding the canon into the 21st century" www.muse-apprentice-guild.com culture animal --"following in the footsteps of tradition" www.cultureanimal.com --- Outgoing mail is certified Virus Free. Checked by AVG anti-virus system (http://www.grisoft.com). Version: 6.0.521 / Virus Database: 319 - Release Date: 9/23/2003 ========================================================================= Date: Wed, 1 Oct 2003 09:04:45 +0100 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Robert Stanton Subject: Copy turns 100 Mime-Version: 1.0 Content-Type: text/plain; format=flowed Blog-sequence Copy has (eventually) reached 100: c. You needn't be. Admits mistakes but still stands. Destruction a decade ago. Tumbled down the world league. Cooler and more. Being hunted. Hitting out. 'Formal domestic traditions of the past.' The etiquette. Rush. Rush. Rush. More can be found at: www.sonofissue.blogspot.com Rob _________________________________________________________________ Get Hotmail on your mobile phone http://www.msn.co.uk/msnmobile ========================================================================= Date: Wed, 1 Oct 2003 01:23:50 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: David Larsen Subject: Don't Be One of the Ones Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" 15, 20 years from now left asking, what was I doing the night that Jeff Clark read with Cedar Sigo ? Saturday, October 4, 2003 at Pond: a place for art, activism and ideas 324 14th St. btw/ Valencia & Mission St. San Francisco 8 pm $2 KHALIFORNIA LUV KHALIFORNIA LIVIN' KHALIFORNIA In conjunction with "Free Mattress," a show featuring the work of Amy Lockhart Marc Bell Will Yackulic David Larsen Gallery hours: Sat-Sun 3-8 pm, through October 19 www.mucketymuck.org ========================================================================= Date: Wed, 1 Oct 2003 02:15:51 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: kari edwards Subject: a alert In-Reply-To: Content-Type: text/plain; charset=US-ASCII; format=flowed Mime-Version: 1.0 (Apple Message framework v552) Content-Transfer-Encoding: 7bit A A&P A2C2 A-3 A-5 AA AAA AAAS AABB AABFS AABWS AACG AADC AADP AAFES AAFIF AAFS AAFSF AAGS AAI AAM AAMDC AAOE AAOG AAP AAR AAT AAU AAV AAW AB ABCA ABCCC ABCS ABD ABFC ABFDS ABFS ABGD ABL ABM ABN ABNCP ABO A/C AC AC-130 ACA ACAA ACAPS ACB ACC ACCON ACCS ACCSA ACDO ACE ACF ACI ACIC ACINT ACK ACL ACLANT ACM ACMREQ ACN ACO ACOC ACOCC ACP ACR ACS ACSA AC/S, C4I ACT ACU ACV ACW A/D AD ADA A/DACG ADAL ADAMS ADANS ADC ADCAP A/DCG ADCI/MS ADCON ADD ADDO ADDO(MS) ADE ADF ADIZ ADKC/RCU ADL ADMIN ADN ADNET ADOC ADP ADPE ADPS ADR ADRA ADS ADSIA ADSW ADT ADVON ADZ AE AECA AECC AECM AECT AEF AEG AELT AEOS AEOT AEPS AES AETC AETF A/ETF AEU AEW AEW&C AF AFAARS AFARN AFATDS AFB AFC AFCA AFCAP AFCC AFCCC AFCENT AFCERT AFCESA AFCS AFD AFDC AFDD AFDIGS AFDIS AF/DP AFEES AFFIS AFFMA AFFOR AFI AFID AF/IL AFIRB AFIWC AFJMAN AFLC AFLE AFLNO AFMAN AFMC AFMD AFME AFMIC AFMLO AFMS AFNORTH AFNORTHWEST AFNSEP AFOE AFOSI AFPAM AFPC AFPD AFPEO AFR AFRC AFRCC AFRRI AFRTS AFS AFSATCOM AFSC AFSOB AFSOC AFSOCC AFSOD AFSOE AFSOF AFSOUTH AFSPACE AFSPC AFSPOC AFTAC AFTH AFTN AFTO AFTTP AFW AFWA AFWCF AFWIN AF/XO AF/XOI AF/XOO A/G AG AGARD AGCCS AGE AGIL AGL AGM-28A AGM-65 AGM-69 AGR AHA AI AIA AIASA AIC AICF/USA AIDS AIF AIFA AIG AIIRS AIK AIM AIM-54A AIM-7 AIM-9 AIMD AIQC AIRCENT AIRES AIREVACCONFIRM AIREVACREQ AIREVACRESP AIRNORTHWEST AIRREQRECON AIRSOUTH AIRSUPREQ AIS AIT AIU AJ AJBPO AJCC AJ/CM AJFP AJMRO AJNPE AJP AK AKNLDG ALCC ALCE ALCF ALCG ALCM ALCOM ALCON ALCS ALCT ALD ALE ALERFA ALERT ALLOREQ ALLTV ALMSNSCD ALNOT ALO ALOC ALORD ALP ALSA ALSS ALTRV ALTTSC A/M AM AMAL AMB AMBUS AMC AMCC AMCIT AMCM AMCT AMD AME AMEDD AMEDDCS AMEMB AMF(L) AMH AMIO AMMO AMOCC AMOG AMOPES AMOPS AMOS AMP AMPE AMPN AMPSSO AMRAAM AMS AMSS AMVER AMW AMX AN ANCA ANDVT ANG A/NM ANMCC ANN ANR ANSI ANX ANY ANZUS AO AO&M AOA AOB AOC AOCC AOC-E AOCU AOC-W AOD AOI AOL AOP AOR AOS AOSS AP APC APCC APF APG APIC APO APOD APOE APORT APORTSREP APPS APR APS APU AR ARB ARBS ARC ARCENT ARCP ARCT ARDF AREC ARFOR ARG ARGO ARINC ARIP ARL-M ARM ARNG ARP ARPERCEN ARQ ARRC ARRDATE ARS ARSOA ARSOC ARSOF ARSOTF ARSPACE ARSPOC ART ARTCC ARTS III ARTYMET AS A/S ASA ASAP ASARS ASAS ASAT ASB ASBP ASBPO ASC ASCC ASCIET ASCII ASCS ASD(A&L) ASD(C) ASD(C3I) ASD(FM&P) ASD(FMP) ASD(HA) ASDI ASDIA ASD(ISA) ASD(ISP) ASD(LA) ASD(P&L) ASD(PA) ASD(PA&E) ASD(RA) ASD(RSA) ASD(S&R) ASD(SO/LIC) ASE ASF ASG ASI ASIF ASL ASM ASMD ASO ASOC ASOFDTG ASPP ASPPO ASR ASSETREP AST ASTS ASW ASWBPL ASWC AT At ATA ATAC ATACC ATACMS ATACO ATACS ATAF ATBM ATC ATCA ATCAA ATCALS ATCC ATCRBS ATCS ATDL1 ATDLS ATDM ATDS ATF AT/FP ATG ATGM ATH ATHS ATM ATMCT ATMP ATN ATO ATOC ATOCONF ATP ATR ATS ATSD(AE) ATSD(IO) ATT ATTU AUEL AUG AUIC AUTODIN AUTOSEVOCOM AUX AV ========================================================================= Date: Wed, 1 Oct 2003 07:07:45 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Charlotte Mandel Subject: Re: anyone know a good book or two? MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Robert Hass, THE ESSENTIAL HAIKU: VERSIONS OF BASHO, BUSON, & ISSA, The Ecco Press, 1994 This should be the easiest to get hold of. Best, Charlotte ========================================================================= Date: Wed, 1 Oct 2003 07:46:22 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Daniel Zimmerman Subject: Re: anyone know a good book or two? Comments: cc: Daniel Zimmerman MIME-version: 1.0 Content-type: text/plain; charset=iso-8859-1 Content-transfer-encoding: 7BIT The classic short intro: http://www.poetry-reviews.com/An_Introduction_to_Haiku_An_Anthology_of_Poems_and_Poets_from_Basho_to_Shiki_0385093764.html & see http://www.hsa-haiku.org/haiku-henderson.htm &! http://www.gardendigest.com/zen/blyth.htm --Dan ----- Original Message ----- From: "Julie Kizershot" To: Sent: Wednesday, October 01, 2003 12:04 AM Subject: anyone know a good book or two? > Does anyone know of a good book (for beginners) about Haiku? I could use a > recommendation or two to pass along to a student. > > > Thanks thanks > > > Julie Kizershot > ========================================================================= Date: Wed, 1 Oct 2003 10:20:12 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Skip Fox Subject: Re: memory MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit bibliog. addition: Mayer, Bernadette. _Memory_ Schlesinger wrote: > > Dear Wystan, > > A few rather general titles on the subject(s) of memory & forgetting: > > Boyarin, Jonathan (ed) Remapping Memory: The Politics of Time and Space > Boym, Svetlana The Future of Nostalgia ========================================================================= Date: Wed, 1 Oct 2003 09:59:07 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Hilton Obenzinger Subject: Re: memory In-Reply-To: <000a01c387b9$ec116b90$c9f7cd80@administpii39e> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed During the 1990s memory and history, as well as official and unofficial ways to recover memory or commemorate events became a very hot subject among historians, leading to a series of conferences on memory and history in the UK and the US. Here are two collections of articles that came out of that ferment: Historical Perspectives on Memory, ed. Anne Ollilia Commemorations: The Politics of National Identity, ed. John R. Gillis Hilton At 08:18 PM 9/30/2003 -0500, Schlesinger wrote: >Dear Wystan, > >A few rather general titles on the subject(s) of memory & forgetting: > >Boyarin, Jonathan (ed) Remapping Memory: The Politics of Time and Space >Boym, Svetlana The Future of Nostalgia >Cadava, Eduardo Words of Light: Theses on the Photography of History >Hutton, Patrick H. History as an Art of Memory >Kern, Stephen The Culture of Time and Space 1880-1918 >Matsuda, Matt K. The Memory of the Modern >Olney, James Memory and Narrative: The Weave of Life Writing >Terdiman, Richard Present Past: Modernity and the Memory Crisis >Warnock, Mary Memory >Yeats, Frances A. The Art of Memory >Bergson, Henri Matter and Memory > >All Best, > >Kyle >http://www.cuneiformpress.com/ > > > >----- Original Message ----- >From: Wystan Curnow (FOA ENG) >To: POETICS@LISTSERV.BUFFALO.EDU >Sent: Tuesday, September 30, 2003 6:23 PM >Subject: memory > > > Any suggestions for reading on the subject of memory? > Any suggestions for reading on the subject of forgetting? > Any suggestions for reading Hejinian's Writing as an Aid to Memory? > ------------------------------------------------------------------------------- Hilton Obenzinger, PhD. Associate Director for Honors Writing, Undergraduate Research Programs Lecturer, Department of English Stanford University 415 Sweet Hall 650.723.0330 650.724.5400 Fax obenzinger@stanford.edu ========================================================================= Date: Wed, 1 Oct 2003 12:59:19 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: shanna compton Subject: Re: anyone know a good book or two? In-Reply-To: <002401c38811$a347a930$6d94c044@MULDER> Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit There's also a little book called The Haiku Handbook by William J. Higginson with Penny Harter. History of the form (and other Japanese forms, plus plenty of examples of Basho et. al.) Published by Kodansha International. Mine's a million years ol--ok, 1985--but I think it's still available: http://www.amazon.com/exec/obidos/tg/detail/-/4770014309/qid=1065027464/sr=1 -1/ref=sr_1_1/103-2619529-6094203?v=glance&s=books Shanna ____________________________ http://www.shannacompton.com on 10/1/03 6:46 AM, Daniel Zimmerman at bardo@OPTONLINE.NET wrote: > The classic short intro: > http://www.poetry-reviews.com/An_Introduction_to_Haiku_An_Anthology_of_Poems_a > nd_Poets_from_Basho_to_Shiki_0385093764.html > & see > http://www.hsa-haiku.org/haiku-henderson.htm > &! > http://www.gardendigest.com/zen/blyth.htm > > --Dan > > ----- Original Message ----- > From: "Julie Kizershot" > To: > Sent: Wednesday, October 01, 2003 12:04 AM > Subject: anyone know a good book or two? > > >> Does anyone know of a good book (for beginners) about Haiku? I could use a >> recommendation or two to pass along to a student. >> >> >> Thanks thanks >> >> >> Julie Kizershot >> ========================================================================= Date: Wed, 1 Oct 2003 13:03:38 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: noah eli gordon Subject: braincase press release party 10/03 Mime-Version: 1.0 Content-Type: text/plain; format=flowed Please join us for the Braincase Press release party... FRI 10/3 at 7 PM Poets Sara Veglahn, Nick Moudry & Juliana Leslie read from their new chapbooks at WordsWorth Books 30 Brattle Street, Cambridge, MA 02138. Nick Moudry's translations, reviews and poems have appeared widely: jubilat, 3rd bed, aufgabe, Rain Taxi, Boston Review, etc. Juliana Leslie's work can be found in Syllogism, canwehaveourballback?, and others. Sara Veglahn is the author of the chapbook, Another Random Heart (Margin to Margin: http://www.litpress.com/margin/heart.html). Recent work has appeared in or is forthcoming from 26, Fence, A Very Small Tiger, Castagraf, Word for Word and others. Braincase Press was launched in the summer of 2003. Currently we publish hand bound chapbooks in a limited run of 100 copies. Our chapbooks feature silkscreened covers, designed by the artist Michael Labenz. out now: pie in the sky a collection of prose-poems by Juliana Leslie falling forward a work of ephemeral prose by Sara Veglahn a poem, a movie & a poem three sonnet sequences by Nick Moudry all chapbooks are $4 postpaid or $10 for any three make checks out to Noah Eli Gordon braincase press PO Box 1471 Northampton, MA 01061 Coming soon (winter 2003/4) David Perry new years Jim Behrle (purple) notebook of the lake Eric Baus [title currently unavailable] Visit us on the web: http://braincase.blogspot.com/ _________________________________________________________________ Instant message in style with MSN Messenger 6.0. Download it now FREE! http://msnmessenger-download.com ========================================================================= Date: Wed, 1 Oct 2003 12:38:27 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: David Chirot Subject: Re: memory Mime-Version: 1.0 Content-Type: text/plain; format=flowed The Aesthetics of Disappearance--Paul Virillio Good Blonde and Others--(contains statements re "Essentials" and "Beliefs & Techniques" for "spontaneous bop prosody")--several other books--by Jack Kerouac aka "The Great Rememberer"/"Memory Babe"-- Henri Bergson wrote a great deal on memory--influencing Proust for example--(whom Kerouac called "an old teahead of time")-- Kenneth Silverman's book on Edgar Allen Poe--Mournful and Never-ending Remembrance (interesting how memory--drifts and shifts into "memoires"--) >From: Skip Fox >Reply-To: UB Poetics discussion group >To: POETICS@LISTSERV.BUFFALO.EDU >Subject: Re: memory >Date: Wed, 1 Oct 2003 10:20:12 -0500 > >bibliog. addition: > >Mayer, Bernadette. _Memory_ > >Schlesinger wrote: > > > > Dear Wystan, > > > > A few rather general titles on the subject(s) of memory & forgetting: > > > > Boyarin, Jonathan (ed) Remapping Memory: The Politics of Time and Space > > Boym, Svetlana The Future of Nostalgia _________________________________________________________________ Frustrated with dial-up? Get high-speed for as low as $29.95/month (depending on the local service providers in your area). https://broadband.msn.com ========================================================================= Date: Wed, 1 Oct 2003 11:00:55 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Joel Weishaus Subject: Re: anyone know a good book or two? MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit David Coomler, "Hokku--Writing Traditional Haiku in English." Templegate Publishers, 2001. > Does anyone know of a good book (for beginners) about Haiku? I could use a > recommendation or two to pass along to a student. > > > Thanks thanks > > > Julie Kizershot ========================================================================= Date: Wed, 1 Oct 2003 14:01:52 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: new sound works MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII For download at http://www.asondheim.org/sound/ This should work. The pieces are mainly 2002-2003; the Track* pieces are 2000 (I think) - Selmer Paris Oboe, 1930s Beatty Reed Organ, 1878 Shamisen, 1998 Steinway baby grand, 1930s Mirage, 1980s All in real time except hurry.mp3 19957 116093 5206332 Track 01.mp3 69785 401351 18554904 Track 02.mp3 15645 92748 4031344 Track 03.mp3 9064 51238 2179263 Track 04.mp3 34354 196919 8906316 Track 05.mp3 6563 36761 1620242 Track 06.mp3 60513 375046 13799050 augment.mp3 3982 22727 1001140 cord.mp3 8901 51130 2048546 fire.mp3 14896 85152 3163243 flute1.mp3 4873 29201 1288278 flute3.mp3 3818 23503 1025800 gong.mp3 7591 38292 1466538 hurry.mp3 21243 119067 4549614 klez.mp3 22298 133014 5774234 miami19.mp3 52020 292740 11394531 moom.mp3 25103 150651 6903142 oboe2.mp3 17811 109815 4056840 piano1.mp3 7725 35510 1524634 shamisen.mp3 1124 7353 270339 sw.mp3 103753 580521 23225284 sym.mp3 71545 391361 16499067 trillecho2.mp3 582564 3340193 138488681 total ___ ========================================================================= Date: Wed, 1 Oct 2003 11:27:32 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: aaron tieger Subject: new england poets: call for submissions MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii To everyone out there from New England: ART NEW ENGLAND magazine is accepting submissions for publication. We are seeking interesting and engaging work that is challenging but not impenetrable. Previous poets published have included Sean Cole, Anna Moschovakis, and Joseph Torra. We prefer to focus our attentions on poets from New England (occasionally New York), and in particular are interested in poets from outside of Massachusetts. To submit via email send 5 or 6 poems to me, Aaron Tieger (poetry editor) at atieger@yahoo.com. Poems may be included in the body of an email unless layout is a consideration, in which case Microsoft Word attachments are preferred. To submit via regular mail send 5 or 6 poems to Art New England 425 Washington Street, Brighton, MA 02135 Attn: Aaron Tieger, Poetry Editor Include SASE if you want your poems back, etc. Thanks! Aaron Tieger __________________________________ Do you Yahoo!? The New Yahoo! Shopping - with improved product search http://shopping.yahoo.com ========================================================================= Date: Wed, 1 Oct 2003 11:46:38 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Catherine Daly Subject: impenetrable MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit permeable verse? admitting the passage of other bodies? readers "entering" a poem? why would I want readers to feel some sort of duty or obligation toward my poem? Catherine Daly formerly of Connecticut cadaly@pacbell.net ========================================================================= Date: Wed, 1 Oct 2003 14:53:47 -0400 Reply-To: olsonjk@delhi.edu Sender: UB Poetics discussion group From: Kirby Olson Organization: SUNY Delhi Subject: Re: memory MIME-Version: 1.0 Content-Transfer-Encoding: 7bit Content-Type: text/plain; charset=us-ascii The surrealist poet Philippe Soupault wrote four volumes of memoirs at the end of his life which sort of match the description technically, but have nothing to do with the subject at hand in all reality, but I love the books -- they all have the collective title Memoires de l'Oubli. I think the one that covers the years 1917-1923 is the most interesting. I haven't read the one from 1927-1933. He was in the US for much of that time, and saw the depression, and met WCW many times, and he knew Roosevelt and met Hitler in an elevator in Berlin. -- Kirby ========================================================================= Date: Wed, 1 Oct 2003 13:57:03 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: David Chirot Subject: Re: anyone know a good book or two? Mime-Version: 1.0 Content-Type: text/plain; format=flowed The Essential Haiku--Versions of Basho, Buson and Issa, ed. by Robert Haas i would esp recommend for the piece by Basho, "Learn from the Pine" and the writing down of his sayings by a pupil--also the prose journal by Issa--the way that haiku and prose can be interwoven--and the juxaposition of these great haiku masters, the differences in their style, subject matter--one can learn so very much from these--how many avenues and enquiries haiku open-- Japanese Haiku: Its Essential Nature, History, and possibilities in English, with selected examples By Kenneth Yasuda >From: Julie Kizershot >Reply-To: UB Poetics discussion group >To: POETICS@LISTSERV.BUFFALO.EDU >Subject: anyone know a good book or two? >Date: Tue, 30 Sep 2003 22:04:27 -0600 > >Does anyone know of a good book (for beginners) about Haiku? I could use a >recommendation or two to pass along to a student. > > >Thanks thanks > > >Julie Kizershot _________________________________________________________________ Frustrated with dial-up? Get high-speed for as low as $29.95/month (depending on the local service providers in your area). https://broadband.msn.com ========================================================================= Date: Wed, 1 Oct 2003 12:24:08 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Hilton Obenzinger Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed Remembering Edward Said Hilton Obenzinger Edward Said was my Sophomore English teacher at Columbia at the time of the 1967 War. I hadn't even realized that the professor standing before the class in Hamilton Hall was an Arab much less a Palestinian and it would be a year or two before I even knew that there could be such a person as a "Palestinian." I remember his wry tone and how his four o'clock shadow would shine through his cheeks in ways that would remind me of my older brother who had died a few years before. If anything, I would have thought our professor was Jewish, and a version of my older brother. I don't remember anything that we studied; only that he radiated a sense of profound culture and compassion, that literature truly mattered, and that a vast intelligence flowed from reading great works. I believe classes were over when the war broke out. I stayed up all night, distraught, and in the very early morning I sat on the Sundial in the middle of the campus and read the newspaper. One story reported anti-Jewish riots in Morocco and of Jews getting their throats slit, and I wept in the dawn quiet at the horrors of war and hatred. I had no idea of the tears that my professor may have shed. When Orientalism appeared, and particularly when Said began to speak out about the plight of the Palestinians, I realized that our paths had crossed at an historic juncture, as minor as that encounter may have been in his eyes. He spoke out as a Palestinian sympathetic to the history of Jewish suffering and I as a Jew critical of Israel and Zionism, and the irony was driven home of having been in his class in June, 1967. As the years passed, I would have many occasions to meet him at political events in support of Middle East peace and at academic conferences and to say hello and remind each other of that moment. I had the honor of writing a review of his book "The Question of Palestine" for the Journal of Palestine Studies. It was a favorable review, of course, but I did raise some questions about his characterization of the left parties in the PLO and their advocacy of a democratic, secular state, and I was nervous that the questions in my review would have offended him. At the time, he favored the two-state solution, and I was more partial to the idea of a single, democratic secular state. But when we met at an event some time later, he was warm and friendly, and I was relieved. Said's intellectual work became increasingly important to me. His approach to literature and culture brought in harsh social realities that had previously been rendered invisible, brought in politics and history while at the same time exulting in the qualities of literature, despite (or even because of) the influence of imperial agendas and other material impositions. To realize how the Orientalist outlook affects George Elliot or Herman Melville or T. S. Eliot only broadens the response to the text; it does not narrow it or denigrate it, as some suggest. Reading "Orientalism," I was reminded of the sense I had felt in that classroom in 1967, the deep experience of literature and culture. Edward Said had remained my professor. The last time I saw him was at an MLA convention in the late nineties. We talked for a while about the dismal situation in the Middle East. He was a vocal critic of the Oslo Accords and had begun to shift his position to see that the only solution would be a single bi-national state, no matter how implausible that may seem now, because Israel was doing everything it could to undermine a viable, independent Palestinian state. I felt I could not criticize the Palestinians for attempting anything in such dire conditions, despite the obvious flaws of Oslo, and I had shifted to resigning myself to a two-state solution, ready to accept whatever compromise to stop the continued suffering. I knew he was ill, and he spoke of how he had to struggle for the energy to continue despite his illness. When we parted, I feared that would be the last time we would meet, and it was. I cannot call myself one of his close friends, and we were never colleagues. I can only count myself as one of his former students, an unexceptional undergraduate in a required course, but his presence and his work have deeply affected me throughout my life. I teach at Stanford now, and there is no Sundial. But when I heard the news of Edward Said's death, I walked to the Quad, the center of this particular campus, and I wept for my teacher. ------------------------------------------------------------------------------- Hilton Obenzinger, PhD. Associate Director for Honors Writing, Undergraduate Research Programs Lecturer, Department of English Stanford University 415 Sweet Hall 650.723.0330 650.724.5400 Fax obenzinger@stanford.edu ========================================================================= Date: Wed, 1 Oct 2003 12:53:37 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Stephen Vincent Subject: Re: Remembering Edward Said /Hilton Obenzinger In-Reply-To: <5.1.1.5.2.20031001122318.029bfe38@hobnzngr.pobox.stanford.edu> Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit Beautifully writ, Hilton. & Thank you. Stephen V on 10/1/03 12:24 PM, Hilton Obenzinger at hobnzngr@STANFORD.EDU wrote: > Remembering Edward Said > > Hilton Obenzinger > > Edward Said was my Sophomore English teacher at Columbia at the time of the > 1967 War. I hadn't even realized that the professor standing before the > class in Hamilton Hall was an Arab much less a Palestinian and it would be > a year or two before I even knew that there could be such a person as a > "Palestinian." I remember his wry tone and how his four o'clock shadow > would shine through his cheeks in ways that would remind me of my older > brother who had died a few years before. If anything, I would have thought > our professor was Jewish, and a version of my older brother. I don't > remember anything that we studied; only that he radiated a sense of > profound culture and compassion, that literature truly mattered, and that a > vast intelligence flowed from reading great works. > > I believe classes were over when the war broke out. I stayed up all night, > distraught, and in the very early morning I sat on the Sundial in the > middle of the campus and read the newspaper. One story reported > anti-Jewish riots in Morocco and of Jews getting their throats slit, and I > wept in the dawn quiet at the horrors of war and hatred. I had no idea of > the tears that my professor may have shed. > > When Orientalism appeared, and particularly when Said began to speak out > about the plight of the Palestinians, I realized that our paths had crossed > at an historic juncture, as minor as that encounter may have been in his > eyes. He spoke out as a Palestinian sympathetic to the history of Jewish > suffering and I as a Jew critical of Israel and Zionism, and the irony was > driven home of having been in his class in June, 1967. As the years > passed, I would have many occasions to meet him at political events in > support of Middle East peace and at academic conferences and to say hello > and remind each other of that moment. > > I had the honor of writing a review of his book "The Question of Palestine" > for the Journal of Palestine Studies. It was a favorable review, of > course, but I did raise some questions about his characterization of the > left parties in the PLO and their advocacy of a democratic, secular state, > and I was nervous that the questions in my review would have offended > him. At the time, he favored the two-state solution, and I was more > partial to the idea of a single, democratic secular state. But when we met > at an event some time later, he was warm and friendly, and I was relieved. > > Said's intellectual work became increasingly important to me. His approach > to literature and culture brought in harsh social realities that had > previously been rendered invisible, brought in politics and history while > at the same time exulting in the qualities of literature, despite (or even > because of) the influence of imperial agendas and other material > impositions. To realize how the Orientalist outlook affects George Elliot > or Herman Melville or T. S. Eliot only broadens the response to the text; > it does not narrow it or denigrate it, as some suggest. Reading > "Orientalism," I was reminded of the sense I had felt in that classroom in > 1967, the deep experience of literature and culture. Edward Said had > remained my professor. > > The last time I saw him was at an MLA convention in the late nineties. We > talked for a while about the dismal situation in the Middle East. He was a > vocal critic of the Oslo Accords and had begun to shift his position to see > that the only solution would be a single bi-national state, no matter how > implausible that may seem now, because Israel was doing everything it could > to undermine a viable, independent Palestinian state. I felt I could not > criticize the Palestinians for attempting anything in such dire conditions, > despite the obvious flaws of Oslo, and I had shifted to resigning myself to > a two-state solution, ready to accept whatever compromise to stop the > continued suffering. I knew he was ill, and he spoke of how he had to > struggle for the energy to continue despite his illness. When we parted, I > feared that would be the last time we would meet, and it was. > > I cannot call myself one of his close friends, and we were never > colleagues. I can only count myself as one of his former students, an > unexceptional undergraduate in a required course, but his presence and his > work have deeply affected me throughout my life. I teach at Stanford now, > and there is no Sundial. But when I heard the news of Edward Said's death, > I walked to the Quad, the center of this particular campus, and I wept for > my teacher. > > > > > ------------------------------------------------------------------------------> - > Hilton Obenzinger, PhD. > Associate Director for Honors Writing, Undergraduate Research Programs > Lecturer, Department of English > Stanford University > 415 Sweet Hall > 650.723.0330 > 650.724.5400 Fax > obenzinger@stanford.edu ========================================================================= Date: Wed, 1 Oct 2003 16:59:06 -0400 Reply-To: "Frost, Corey" Sender: UB Poetics discussion group From: "Frost, Corey" Organization: CUNY Subject: Gail Scott reads in NY MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1; x-mac-type="54455854"; x-mac-creator="4D4F5353" Content-Transfer-Encoding: 8bit A reminder for those of you in NYC Gail Scott is in town right now as part of her American tour to launch the Dalkey Archive edition of her experimental novel My Paris. This is one of her most daring books, filled with sexy language and astute observations about post-colonial Paris, identity, passing, republicanism, and history. She's giving two readings here, one in Brooklyn Thursday night and one at the CUNY Graduate Center English Department on Friday afternoon. On Friday she'll be discussing/answering questions after her reading, and there will also be a talk about Walter Benjamin (who is central to My Paris). AND there will be food and drink. For free. Oct. 2: Soft Skull Reading Series, Shortwave Bookstore, Brooklyn, 7pm. Corner of State and Bond in Boerum Hill (downtown Brooklyn). Oct. 3: CUNY Graduate Center, English Dept., 3pm 365 Fifth Ave. (at 34th Street), Room 4406. Take almost any subway to 34th Street. Gail Scott is one of Canada’s foremost avant-garde fiction-writers. Her books include Heroine, Main Brides, and Spare Parts Plus Two. My Paris, which was named one of the ten best novels of 1999 by Canada’s Quill & Quire, is a faux journal of turn-of-the-millennium Paris, invoking Gertrude Stein and Walter Benjamin, among others, in an intimate walking tour of desire, resistance, fantasy and subversion. “My Paris is a pointillistic tour de force.” —Charles Bernstein. “Her Paris is pretty stunning art.” —Eileen Myles -- Corey Frost * 718-622-2277 * m. 347-668-3193 75 Quincy St. Brooklyn, NY 11238 cfrost@gc.cuny.edu ========================================================================= Date: Wed, 1 Oct 2003 17:16:16 -0400 Reply-To: "Frost, Corey" Sender: UB Poetics discussion group From: "Frost, Corey" Organization: CUNY Subject: Re: Remembering Edward Said /Hilton Obenzinger MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii; x-mac-type="54455854"; x-mac-creator="4D4F5353" Content-Transfer-Encoding: 7bit I was so glad to read your sincere tribute, particularly because I read it moments after reading this piece (link below) in the Daily News, which is the worst kind of self-serving, cynical, ideological rhetoric, and left me sputtering. Yours moved me. http://www.nydailynews.com/news/ideas_opinions/story/122266p-109919c.html -- Corey Frost * 718-622-2277 * m. 347-668-3193 75 Quincy St. Brooklyn, NY 11238 cfrost@gc.cuny.edu ========================================================================= Date: Wed, 1 Oct 2003 16:39:16 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Aaron Belz Subject: cairns and wright on saturday night! MIME-Version: 1.0 Content-Type: text/plain; charset="Windows-1252" Content-Transfer-Encoding: 7bit Next up in the City Museum reading series... DAVID WRIGHT and SCOTT CAIRNS READ LIVE FROM THEIR WORK This Saturday Night at 8 p.m. City Museum / Beatnik Bob's Theater 701 North 15th Street, St. Louis MO $5 at door gets you into the whole museum + + + + + + + David Wright's poetry, essays and reviews have appeared in print and online in The Christian Century, The Nimble Spirit Review, The Avatar Review, and The Midwest Quarterly, among many others. This fall, several of his poems will appear in the anthology A Capella: Mennonite Voices in Poetry (U of Iowa Press). His second book Liturgy for Stones was published by Cascadia in 2003. He teaches English at Wheaton College in Chicago. http://www.dwpoet.com/dwabout.html Scott Cairns' books include Philokalia: New and Selected Poems (Zoo Press, 2002) and Recovered Body (George Braziller Publishers, 1998). He is series editor for the Vassar Miller Prize in Poetry. His poems appear in Best Spiritual Writing in 1998 and 2000, Upholding Mystery (Oxford 1997), Best of Prairie Schooner (U of Nebraska Press, 2001), and The Pushcart Prize XXVI, 2002. Cairns teaches poetry writing, American literature, and seminars in poetry and poetics at Mizzou. http://www.missouri.edu/~engwww/people/cairns.html "Scott Cairns is one of the best poets alive." --Annie Dillard "Writing in fervor (not piety) as a poet writes in verse (not doggerel) Cairns brings to mind Nietzsche's remark that we have Art that we may not perish from Truth. Cairns has Religion that he may not perish from Poetry." --Richard Howard [For more info, email Aaron Belz - aaron@belz.net] ========================================================================= Date: Wed, 1 Oct 2003 14:45:23 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mark Weiss Subject: Re: anyone know a good book or two? In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed R.H. Blyth, Haiku (4 vols). Try the library unless you want to drop a bundle. Blyth gives the japanese, transliteration, and translation, embedded in deep commentary on the meanings within Japanese culture. The first volume, Eastern Culture, is by itself invaluable, and available used through abebooks (http://dogbert.abebooks.com/) for $12.00 (for some reason vols 3 and 4 are very expensive). It includes a section on technique. Its first two sections, Spiritual Origins and Zen, are masterful. There are also brief chapters on Basho, Buson, Issa and Shiki, but the haiku included in the text throughout are by no means limited to them. Reading Blyth was one of the great poetry, and also spiritual, experiences of my life. Blyth compsed the book while interned in Japan as an enemy alien during WWII. Mark >>Does anyone know of a good book (for beginners) about Haiku? I could use a >>recommendation or two to pass along to a student. >> >> >>Thanks thanks >> >> >>Julie Kizershot > >_________________________________________________________________ >Frustrated with dial-up? Get high-speed for as low as $29.95/month >(depending on the local service providers in your area). >https://broadband.msn.com ========================================================================= Date: Wed, 1 Oct 2003 17:55:06 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Ian Randall Wilson Subject: 88: A Journal of Contemporary American Poetry (Issue 3) MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit The new issue of 88: A Journal of Contemporary American Poetry (Issue 3) is out featuring a number of regular Poetics contributors. Ian Randall Wilson ------------------------------ Book Release ------------------------------ FOR IMMEDIATE RELEASE October 1, 2003 E-mail: HollyridgePress @aol.com 88 A Journal of Contemporary American Poetry / ISSUE 3 Edited by Ian Randall Wilson 176 Pages $13.95 Trade Paper Amazon Ordering Information: http://www.amazon.com/exec/obidos/ASIN/0967600375/welcometoholl-20 Hollyridge Press is proud to announce the third issue of its poetry journal--88: A Journal of Contemporary American Poetry. Published as an annual, 88 presents the best in new poetry from both established and emerging writers plus essays on poetry and poetics, and reviews. Issue 3 features a mix of lyric, narrative and avant-garde poetry: Prose poetry from Rosmarie Waldrop: "First research. Parents, trees ravaged with hunger. (Erotic?) If I feel anonymous, is the infinite unsexed?" Thomas Lux provides a "Guide To The Perpetually Perplexed": "Too much / perplexity and soon everyone's head / is a revolving hologram of a question mark! / Instead: if the sign says USE YOUR WORDS, / then use your words, / in this order: subject, verb, object." Matthea Harvey writes of the self: "Heads in the planets, toes tucked / under carpets, that's how we got our bodies // through." Michael C. Blumenthal ironically observes the morality of our civic leaders: "Yet everywhere, even here, / life has its way: / somewhere beneath the table / a living hand / reaches out / in search of a knee." Full list of contributors: Joan Aleshire Pamela Alexander Ronald Alexander Dick Allen Joe Amato Dorothy Barresi Jeanne Marie Beaumont Cal Bedient Carrie Bennett Anselm Berrigan Michael C. Blumenthal Cornell Brellenthin Gaylord Brewer James Brock Ralph Burns Susan H. Case James Cervantes Tom Clark Adam Clay Brian Clements D.W. Cunningham Catherine Daly Tenaya Darlington Jordan Davis James Doyle kari edwards Roger Fanning Chris Forhan Richard P. Gabriel Geoffrey Gatza Mark Halperin Daniel Halpern Matt Hart Matthea Harvey William Heyen August Highland Tony Hoagland Ann Humphreys Roy Jacobstein Halvard Johnson Patricia Spears Jones Richard Jones Lewis LaCook Peter Levitt Gerald Locklin Thomas Lux K. Silem Mohammad Elisabeth Murawski Jason Nelson Harry Nudel Louis Phillips Chuck Rosenthal Lee Rossi Alan Sondheim Gary Sullivan Alice Templeton Cammy Thomas David Wagoner Rosmarie Waldrop Jesse Waters Eleanor Wilner Gail Wronsky Gerald Yelle ABOUT THE PRESS: Hollyridge Press is a small literary press using Print-on-Demand technology to keep its books always in print and available wholesalers Ingram and Baker & Taylor. The technology keeps start-up expenses low and eliminates costly inventory. Savings are put toward promotion. Hollyridge publishes literary fiction and the poetry annual 88. # # # ========================================================================= Date: Wed, 1 Oct 2003 15:09:14 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mark Weiss Subject: Re: Remembering Edward Said /Hilton Obenzinger Comments: To: "Frost, Corey" In-Reply-To: <3F7B4420.5541A4C@gc.cuny.edu> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed A silly and mean-spirited article, but Said's Orientalism is intellectually (rather than politically) controversial in the field. My scholarship on the matter goies no further. I hope what I'm going to say now isn't seen as meanspirited or inappropriate to the moment. The post mortem comments on Said have been for the most part hagiographic, however, and the man I knew very slightly had his warts. I was a grad student instructor at Columbia in 1968-1970. My office faced Said's across the hall, and the doors were usually open, so we had a lot of accidental contact. The department was famous for its towering egos, but Said was alone among them in treating all who were not his students with casual, dismissive contempt. He was said to be a very good teacher, however. His considerable courage failed him rather badly on at least one occasion. C. 1985 he directed the dissertation of a friend of mine. She wrote a critique of the Trilling legacy, which he encouraged enthusiastically. I saw his comments on the typescript. Of course the rest of the faculty were Trillingites and were not amused. It seemed to me at the time that Said had used my friend as a stalking-horse. When it came to defense time Said lifted not a finger to save her, and it took her another year to rewrite it. None of which is to gainsay his considerable importance or even his kindness and loyalty at least to friends. I'm sorry he's dead, and it's a real loss, but hagiography tends to inspire disbelief. Mark At 05:16 PM 10/1/2003 -0400, Frost, Corey wrote: >I was so glad to read your sincere tribute, particularly because I read >it moments after reading this piece (link below) in the Daily News, >which is the worst kind of self-serving, cynical, ideological rhetoric, >and left me sputtering. Yours moved me. > >http://www.nydailynews.com/news/ideas_opinions/story/122266p-109919c.html > >-- >Corey Frost * 718-622-2277 * m. 347-668-3193 >75 Quincy St. Brooklyn, NY 11238 >cfrost@gc.cuny.edu ========================================================================= Date: Wed, 1 Oct 2003 17:59:32 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Jerrold Shiroma [ duration press ]" Subject: duration press chapbook series four MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 8bit Subscriptions to Series Four of the duration press chapbook series of international poetry are still available. This series features: Rachel Tzvia Back, The Buffalo Poems Lourdes Vázquez, Park Slope Heriberto Yépez, Babellabab Pierre Joris, Permanent Diaspora Subscriptions are $20. To subscribe, send a check / money order payable to Jerrold Shiroma (not duration press) to: Jerrold Shiroma 320 Channing Way #337 San Rafael, CA 94903 Alternately, payment can be sent via PayPal to jerrold@durationpress.com. ========================================================================= Date: Wed, 1 Oct 2003 18:26:48 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Stephen Vincent Subject: Books In The White House / Why Not? In-Reply-To: <000801c3884c$591f4760$220110ac@CADALY> Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit Under the Patriot Act - if I understand that law 'correctly' - the Ashcroft Justice Department has permission to investigate the book buying histories and Library records of suspects considered a threat to US Security, or suspects who have terrorised or endangered the lives US officials, etc. In the case of the White House "leak" that exposed former Ambassador Joseph Wilson's wife as a CIA operative (a felony), it seems only appropriate that the Justice Department subpoena such "book" records for all the White House suspects. I don't know if this would bring up a quite interesting (perhaps) series of "noir" novels. Be interesting to see if French "noir" writers are au courant in the White House. Or early novels by the Vice President's wife. Given that the Administration signed on to the Law, I suspect none of the suspects would be embarrassed by a public knowledge of their reading habits. Unless - outside of Heritage and American Enterprise Foundation reports, they don't read much at all. But who knows, that might be a point of honor or religious reluctance. Let the black pots rattle their counterparts. Pumping iron, anybody? Get out the vote in California, toute suite. Drama drama, Stephen V ========================================================================= Date: Wed, 1 Oct 2003 23:27:53 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Andrew Lundwall Subject: Deep Cleveland / Dream People Content-Disposition: Inline Content-Type: Text/Plain; Charset=US-ASCII Content-Transfer-Encoding: 7Bit MIME-Version: 1.0 (WebTV) The Dream People (www.dreampeople.org) are currently accepting submissions for their "Winter Wonderland". Guest editor Gary West is looking for poems with a winter theme. Interested individuals should contact Gary at: garywest8@yahoo.com. * * * Deep Cleveland Junkmail Oracle (www.deepcleveland.com) is always interested in publishing "any type of experimental poems filled with energy, short-short stories that demonstarte a command of language, one-paragraph prose pieces that hit you over the head like a brick, & abstract photos or artwork".... Deep Cleveland editor Mark S. Kuhar can be reached at: deepcleveland@hotmail.com ========================================================================= Date: Thu, 2 Oct 2003 00:31:26 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: Dense Tangle of My work MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Dense Tangle of My work 0 0 0 0 10 9 8 10 8 8 5 6 7 10 7 7 7 7 6 7 7 7 11 7 7 7 6 7 6 6 6 7 6 6 8 7 8 6 6 7 18 8 6 8 7 21 9 19 8 9 8 22 7 9 20 7 7 7 8 9 9 8 6 7 7 6 7 8 6 6 6 6 7 7 6 6 5 5 5 6 6 6 7 7 8 7 7 6 6 6 6 7 5 6 5 5 7 8 6 6 7 8 7 7 7 7 11 6 '{ print "big tangle machine" }' ls pico yy sort yy > zz pico zz tr A-Z a-z < zz > yy pico yy sort yy > zz; pico zz sort zz > yy; pico yy sort yy > zz; pico zz awk '{ print NF }' zz > yy pico yy h >> yy; pico yy __ ========================================================================= Date: Thu, 2 Oct 2003 00:31:40 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: Roxanne! MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Roxanne! Roxanne! Roxanne! Roxanne! Roxanne! _ ========================================================================= Date: Wed, 1 Oct 2003 22:50:51 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: tlrelf Subject: Re: Books In The White House / Why Not? MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Pardon my ignorance, but what is the felony to which you refer? An ambassador being married to someone in the CIA, or the leak itself? Both? I, too, would like to see a list of books, articles, etc., that the ENTIRE administration has read...Down to the grounds maintenance personnel... Terrie P.S. I feel a poem coming on with this one...What fun we could all have speculating on their reading material. > Under the Patriot Act - if I understand that law 'correctly' - the Ashcroft > Justice Department has permission to investigate the book buying histories > and Library records of suspects considered a threat to US Security, or > suspects who have terrorised or endangered the lives US officials, etc. > > In the case of the White House "leak" that exposed former Ambassador Joseph > Wilson's wife as a CIA operative (a felony), it seems only appropriate that > the Justice Department subpoena such "book" records for all the White House > suspects. > > I don't know if this would bring up a quite interesting (perhaps) series of > "noir" novels. Be interesting to see if French "noir" writers are au courant > in the White House. Or early novels by the Vice President's wife. Given that > the Administration signed on to the Law, I suspect none of the suspects > would be embarrassed by a public knowledge of their reading habits. Unless - > outside of Heritage and American Enterprise Foundation reports, they don't > read much at all. But who knows, that might be a point of honor or religious > reluctance. > > Let the black pots rattle their counterparts. > > Pumping iron, anybody? Get out the vote in California, toute suite. > > Drama drama, > > Stephen V ========================================================================= Date: Wed, 1 Oct 2003 23:20:26 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: dcmb Subject: Re: impenetrable MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Hi. I take the 'formerly of Connrcticut" is said to let us know that you are not a person open to just any Californian eccentricity? Well, I respond to put in a good word for some usage of discontinuity in poetry. In fact, as best I can recall, hiatus is an attractive feature of your wonderful book "LaLaLa"? I, for one, dont enjoy walkways that are fenced off and tediously predictable in their delivery. I'll stop there, in case I have mistaken you altogether. Yours in friendship, David Bromige. -----Original Message----- From: Catherine Daly To: POETICS@LISTSERV.BUFFALO.EDU Date: Wednesday, October 01, 2003 11:42 AM Subject: impenetrable >permeable verse? >admitting the passage of other bodies? >readers "entering" a poem? > >why would I want readers to feel some sort of duty or obligation toward >my poem? > >Catherine Daly >formerly of Connecticut >cadaly@pacbell.net ========================================================================= Date: Thu, 2 Oct 2003 03:16:26 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: August Highland Subject: THE IRV EASTMAN COLLECTION MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit THE IRV EASTMAN COLLECTION www.go-ego-go.com VARGAS #001........excerpt dear muse your verse please constuct for me the man some such way for natured his shoulders. considered that all considered that all considered that all would break out the currently exists for currently exists for movement of the ship would break out the would break out the considered that all insignificant Now let me see if movement of the ship cumminggg...As my Now let me see if would break out the you possessed was you possessed was you possessed was and Berlin. I I mean that you're I mean that you're he could and Berlin. I and Berlin. I you possessed was courtier to the end Jurgen felt cheated. he could reality it was a Jurgen felt cheated. and Berlin. I loaned you to devote loaned you to devote loaned you to devote Chapter 2: Barb caution instantly caution instantly slightly. Chapter 2: Barb Chapter 2: Barb loaned you to devote leading natural and With sharp regret he slightly. following design for With sharp regret he Chapter 2: Barb to the to the to the one who has learned written and that the written and that the pair. one who has learned one who has learned to the open war. Let them beauty the new pair. She was stood Amneran Heath where beauty the new one who has learned sensitive dick made sensitive dick made sensitive dick made be increased to me you were me you were It was kindly be increased to be increased to sensitive dick made withdrew. Sabin the long term. It was kindly The NRC report the long term. be increased to it feel even better. it feel even better. it feel even better. It seems almost as awake at night on a awake at night on a I should keep your It seems almost as It seems almost as it feel even better. What would Advanced Fighter I should keep your me your names. Advanced Fighter It seems almost as It was a pleasurable It was a pleasurable It was a pleasurable themselves upon the the dresser the dresser Grahame devoured themselves upon the themselves upon the It was a pleasurable upset you it may sobriety with the Grahame devoured governments sobriety with the themselves upon the pain pain pain smiling his queer was unbroken the was unbroken the underground. Now as smiling his queer smiling his queer pain which did not occur through all. underground. Now as me. It works through all. smiling his queer All! Brott thought All! Brott thought All! Brott thought them but to guidance of another proposed to account guidance of another proposed to account is no question of them but to them but to All! Brott thought includes advanced to keep secret is no question of microbial to keep secret them but to hoarsely. All for hoarsely. All for hoarsely. All for avoid any against my bottom against my bottom august highland muse apprentice guild --"expanding the canon into the 21st century" www.muse-apprentice-guild.com culture animal --"following in the footsteps of tradition" www.cultureanimal.com --- Outgoing mail is certified Virus Free. Checked by AVG anti-virus system (http://www.grisoft.com). Version: 6.0.521 / Virus Database: 319 - Release Date: 9/23/2003 ========================================================================= Date: Thu, 2 Oct 2003 03:19:41 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: August Highland Subject: THE ALEC HEARN COLLECTION MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit THE ALEC HEARN COLLECTION www.digital-e-motions.com TARGET-BASED INSTRUMENTATION #583 please muse your verse mix for me Career. Relationship anyone public. Like Acting job personal life increasing frequency account additional path designing portion career. Relationship anyone public. Like Acting job personal life increasing frequency account additional path designing portion career. Relationship anyone public. Like Acting job personal life let know read products increasing frequency account additional path designing portion career. Relationship anyone public. Like Acting job personal life huggers used call herself saying best things continued last grew let know read products world erecting finest most sumptuous chapels. Increasing frequency account additional path designing portion huggers used call herself saying best things continued last grew let know read products accelerator Microdisplays variety technologies. Choosing right one world erecting finest most sumptuous chapels. Buyer Europe son. Kept. Huggers used call herself saying best things continued last grew let know read products accelerator Microdisplays variety technologies. Choosing right one world erecting finest most sumptuous chapels. Presently Shapher Moseroth. Adjacent mount Hor. Wady Mousa. Ezion buyer Europe son. Kept. Huggers used call herself saying best things continued last grew color onto display instead. Silicon Image does day. These frenetic temperature-sensor IC National Semiconductor exhibits feeling accelerator Microdisplays variety technologies. Choosing right one world erecting finest most sumptuous chapels. Holy instruments neither ark nor Urim Thummim carried method Presently Shapher Moseroth. Adjacent mount Hor. Wady Mousa. Ezion buyer Europe son. Kept. Typical microdisplays measure less diagonally. Because size. Color onto display instead. Silicon Image does day. These frenetic temperature-sensor IC National Semiconductor exhibits feeling accelerator Microdisplays variety technologies. Choosing right one arms braced bed. Watching cock penetrate best friend. Holy instruments neither ark nor Urim Thummim carried method Presently Shapher Moseroth. Adjacent mount Hor. Wady Mousa. Ezion buyer Europe son. Kept. Secondly. Will remarked sacrifices varied progressive ratio Yes. Typical microdisplays measure less diagonally. Because size. Color onto display instead. Silicon Image does day. These frenetic temperature-sensor IC National Semiconductor exhibits feeling arms braced bed. Watching cock penetrate best friend. Holy instruments neither ark nor Urim Thummim carried method Presently Shapher Moseroth. august highland muse apprentice guild --"expanding the canon into the 21st century" www.muse-apprentice-guild.com culture animal --"following in the footsteps of tradition" www.cultureanimal.com --- Outgoing mail is certified Virus Free. Checked by AVG anti-virus system (http://www.grisoft.com). Version: 6.0.521 / Virus Database: 319 - Release Date: 9/23/2003 ========================================================================= Date: Thu, 2 Oct 2003 10:37:55 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Aldon Nielsen Subject: Re: Remembering Edward Said /Hilton Obenzinger In-Reply-To: <5.1.0.14.1.20031001145622.01946368@mail.earthlink.net> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed I've never doubted that Said had his weaknesses -- and I've long disagreed with his take on many issues in theory -- BUT, as long as we're exchanging anecdotal evidence, which I find myself doing more in my anecdotage: I walked up to Edward Said at the Georgetown Theory conference years ago -- I was at the time a wholly unpublished grad student, entirely unknown to him, a person of not just seeming but real unimportance in the academic hierarchy -- I found him the most approachable person among the many there -- he was instantly willing to engage in discussion, was tremendously encouraging to me, and offered to look at my work (an offer I was too bashful to take him up on back then, damn it) -- remained friendly as I saw him in the corridors throughout the conference -- for what it's worth, I found him far more open-minded and far less egotistic than many other profs I met over the years -- At 03:09 PM 10/1/2003 -0700, you wrote: >A silly and mean-spirited article, but Said's Orientalism is intellectually >(rather than politically) controversial in the field. My scholarship on the >matter goies no further. > >I hope what I'm going to say now isn't seen as meanspirited or >inappropriate to the moment. The post mortem comments on Said have been for >the most part hagiographic, however, and the man I knew very slightly had >his warts. I was a grad student instructor at Columbia in 1968-1970. My >office faced Said's across the hall, and the doors were usually open, so we >had a lot of accidental contact. The department was famous for its towering >egos, but Said was alone among them in treating all who were not his >students with casual, dismissive contempt. He was said to be a very good >teacher, however. > >His considerable courage failed him rather badly on at least one occasion. >C. 1985 he directed the dissertation of a friend of mine. She wrote a >critique of the Trilling legacy, which he encouraged enthusiastically. I >saw his comments on the typescript. Of course the rest of the faculty were >Trillingites and were not amused. It seemed to me at the time that Said had >used my friend as a stalking-horse. When it came to defense time Said >lifted not a finger to save her, and it took her another year to rewrite it. > >None of which is to gainsay his considerable importance or even his >kindness and loyalty at least to friends. I'm sorry he's dead, and it's a >real loss, but hagiography tends to inspire disbelief. > >Mark > > > > > >At 05:16 PM 10/1/2003 -0400, Frost, Corey wrote: >>I was so glad to read your sincere tribute, particularly because I read >>it moments after reading this piece (link below) in the Daily News, >>which is the worst kind of self-serving, cynical, ideological rhetoric, >>and left me sputtering. Yours moved me. >> >>http://www.nydailynews.com/news/ideas_opinions/story/122266p-109919c.html >> >>-- >>Corey Frost * 718-622-2277 * m. 347-668-3193 >>75 Quincy St. Brooklyn, NY 11238 >>cfrost@gc.cuny.edu <<<<<<<<<<<<<<<<<<<<<<<<<<<<<>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> "Just so - Jesus - raps" --Emily Dickinson Aldon Lynn Nielsen George and Barbara Kelly Professor of American Literature Department of English The Pennsylvania State University 116 Burrowes University Park, PA 16802-6200 (814) 865-0091 ========================================================================= Date: Thu, 2 Oct 2003 10:44:24 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Aldon Nielsen Subject: Re: Books In The White House / Why Not? In-Reply-To: <009e01c388a9$23127a90$50810744@cityb7n5qpg0nj> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed One of the more interesting inanities of the Clinton impeachment saga is on full display in the Starr report -- Starr's office sent staff over to the White House to catalogue EVERY book Clinton had -- ostensibly to verify Lewinsky's testimony regarding gift exchanges (and you MUST read her thank-you note for the Whitman he gave her!!!!) -- at tax-payer expense, several highly paid individuals devoted many an hour to the patriot act of checking out the Clinton reading habits --- At 10:50 PM 10/1/2003 -0700, you wrote: >Pardon my ignorance, but what is the felony to which you refer? An >ambassador being married to someone in the CIA, or the leak itself? Both? >I, too, would like to see a list of books, articles, etc., that the ENTIRE >administration has read...Down to the grounds maintenance personnel... > >Terrie > >P.S. I feel a poem coming on with this one...What fun we could all have >speculating on their reading material. > > > > > Under the Patriot Act - if I understand that law 'correctly' - the >Ashcroft > > Justice Department has permission to investigate the book buying histories > > and Library records of suspects considered a threat to US Security, or > > suspects who have terrorised or endangered the lives US officials, etc. > > > > In the case of the White House "leak" that exposed former Ambassador >Joseph > > Wilson's wife as a CIA operative (a felony), it seems only appropriate >that > > the Justice Department subpoena such "book" records for all the White >House > > suspects. > > > > I don't know if this would bring up a quite interesting (perhaps) series >of > > "noir" novels. Be interesting to see if French "noir" writers are au >courant > > in the White House. Or early novels by the Vice President's wife. Given >that > > the Administration signed on to the Law, I suspect none of the suspects > > would be embarrassed by a public knowledge of their reading habits. >Unless - > > outside of Heritage and American Enterprise Foundation reports, they don't > > read much at all. But who knows, that might be a point of honor or >religious > > reluctance. > > > > Let the black pots rattle their counterparts. > > > > Pumping iron, anybody? Get out the vote in California, toute suite. > > > > Drama drama, > > > > Stephen V <<<<<<<<<<<<<<<<<<<<<<<<<<<<<>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> "Just so - Jesus - raps" --Emily Dickinson Aldon Lynn Nielsen George and Barbara Kelly Professor of American Literature Department of English The Pennsylvania State University 116 Burrowes University Park, PA 16802-6200 (814) 865-0091 ========================================================================= Date: Thu, 2 Oct 2003 10:50:05 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: mmagee@DEPT.ENGLISH.UPENN.EDU Subject: Providence -- RISD Fall Reading Series, save the dates! Comments: To: aaron tieger In-Reply-To: <20031001182732.54641.qmail@web13803.mail.yahoo.com> MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 8bit Hi everyone, I'm running the Fall Poetry Reading Series at Rhode Island School of Design in Providence. I'll announce each reading individually with more details (including directions) but I thought I'd give you the schedule in case you wanna save the dates: October 9: Keith Waldrop & Mairead Byrne, 7pm, Carr House (on Benefit St.) October 22: CD Wright & Wendy Walters, 7pm, Carr House November 3: Rosmarie Waldrop & Tisa Bryant, 7pm Tap Room (also on Benefit St.) November 12: Sergey Gandlevsky & Philp Metres, 7pm Carr House See you there! -m. ========================================================================= Date: Thu, 2 Oct 2003 11:08:17 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Halvard Johnson Subject: Re: Books In The White House / Why Not? In-Reply-To: <5.2.0.9.0.20031002104146.00a7b600@email.psu.edu> MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit { at tax-payer expense, several highly paid individuals devoted many an hour { to the patriot act of checking out the Clinton reading habits --- That Clinton read at all is grounds for suspicion. Did you ever see a shot of him getting off a plane without a book in his hand? If there were such, I must've missed them. Did you ever see Dubya with a book in his hand? Not me. In fact, the only time I ever saw him with his hand *on* a book was that day he took his oath of office (did he have his fingers crossed? I don't remember). Sometimes he carries a dog off the plane, the helichopper. Sometimes not. Makes ya wonder, doesn't it? Hal "language--the Riviera of consciousness" --Bob Perelman Halvard Johnson =============== email: halvard@earthlink.net website: http://home.earthlink.net/~halvard ========================================================================= Date: Thu, 2 Oct 2003 08:18:47 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: tlrelf Subject: Re: Books In The White House / Why Not? MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Ah yes...I went to Kramer Books and the Afterwords cafe when I was in DC. A friend from there gave me her "subpoened for bookselling" T-shirt. T ----- Original Message ----- From: "Aldon Nielsen" To: Sent: Thursday, October 02, 2003 7:44 AM Subject: Re: Books In The White House / Why Not? > One of the more interesting inanities of the Clinton impeachment saga is on > full display in the Starr report -- Starr's office sent staff over to the > White House to catalogue EVERY book Clinton had -- ostensibly to verify > Lewinsky's testimony regarding gift exchanges (and you MUST read her > thank-you note for the Whitman he gave her!!!!) -- > > at tax-payer expense, several highly paid individuals devoted many an hour > to the patriot act of checking out the Clinton reading habits --- > > At 10:50 PM 10/1/2003 -0700, you wrote: > >Pardon my ignorance, but what is the felony to which you refer? An > >ambassador being married to someone in the CIA, or the leak itself? Both? > >I, too, would like to see a list of books, articles, etc., that the ENTIRE > >administration has read...Down to the grounds maintenance personnel... > > > >Terrie > > > >P.S. I feel a poem coming on with this one...What fun we could all have > >speculating on their reading material. > > > > > > > > > Under the Patriot Act - if I understand that law 'correctly' - the > >Ashcroft > > > Justice Department has permission to investigate the book buying histories > > > and Library records of suspects considered a threat to US Security, or > > > suspects who have terrorised or endangered the lives US officials, etc. > > > > > > In the case of the White House "leak" that exposed former Ambassador > >Joseph > > > Wilson's wife as a CIA operative (a felony), it seems only appropriate > >that > > > the Justice Department subpoena such "book" records for all the White > >House > > > suspects. > > > > > > I don't know if this would bring up a quite interesting (perhaps) series > >of > > > "noir" novels. Be interesting to see if French "noir" writers are au > >courant > > > in the White House. Or early novels by the Vice President's wife. Given > >that > > > the Administration signed on to the Law, I suspect none of the suspects > > > would be embarrassed by a public knowledge of their reading habits. > >Unless - > > > outside of Heritage and American Enterprise Foundation reports, they don't > > > read much at all. But who knows, that might be a point of honor or > >religious > > > reluctance. > > > > > > Let the black pots rattle their counterparts. > > > > > > Pumping iron, anybody? Get out the vote in California, toute suite. > > > > > > Drama drama, > > > > > > Stephen V > > <<<<<<<<<<<<<<<<<<<<<<<<<<<<<>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > "Just so - Jesus - raps" > --Emily Dickinson > > > > Aldon Lynn Nielsen > George and Barbara Kelly Professor of American Literature > Department of English > The Pennsylvania State University > 116 Burrowes > University Park, PA 16802-6200 > > (814) 865-0091 ========================================================================= Date: Thu, 2 Oct 2003 09:40:04 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Catherine Daly Subject: Re: impenetrable In-Reply-To: <004101c388ad$45fe0160$b996ccd1@CeceliaBelle> MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit There are clouds this morning above our Cape Cod, and the Tudor next door, the Norman French cottage across the street, and the Monterey colonial painted bright blue behind our house, here in LaLaLand, just as Mr. West promised. But it is the cuckoo clock, which is not from Switzerland, the Poles next door operate only during PDST which fascinates me as I prepare to trip down the aisle, or bridle trail, with a song in my heart: I understand its little door opens and closes for its bird, when I hear it creak as I weed the cosmos blooming along the white picket fence. Should I wear white as white as the shingles and the fence, or will it rain? Rgds, Catherine Daly -----Original Message----- From: UB Poetics discussion group [mailto:POETICS@LISTSERV.BUFFALO.EDU] On Behalf Of dcmb Sent: Wednesday, October 01, 2003 11:20 PM To: POETICS@LISTSERV.BUFFALO.EDU Subject: Re: impenetrable Hi. I take the 'formerly of Connrcticut" is said to let us know that you are not a person open to just any Californian eccentricity? Well, I respond to put in a good word for some usage of discontinuity in poetry. In fact, as best I can recall, hiatus is an attractive feature of your wonderful book "LaLaLa"? I, for one, dont enjoy walkways that are fenced off and tediously predictable in their delivery. I'll stop there, in case I have mistaken you altogether. Yours in friendship, David Bromige. ========================================================================= Date: Thu, 2 Oct 2003 09:37:11 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Stephen Vincent Subject: Re: Books In The White House / Why Not? In-Reply-To: <009e01c388a9$23127a90$50810744@cityb7n5qpg0nj> Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit My "Pox on Both Your Houses" Palestinian Grocer says this ("leak") event also reveals that "This shows you the wife of every Ambassador is also working for the CIA." I don't think the job constitutes a felony, however, unless you are caught abroad. But then CIA won't acknowledge you exist. Professionalizing gossip is an old profession. Heah, many think it's at the core of literature. Bob Perleman's punditry about "language being the Riviera of consciousness" can probably easily be converted into "Gossip being the R....." Gossip just makes the language warmer, if not often hot & 'devilish'. Think Frank O'Hara on a good day. Bristling. Stephen V on 10/1/03 10:50 PM, tlrelf at tlrelf@COX.NET wrote: > Pardon my ignorance, but what is the felony to which you refer? An > ambassador being married to someone in the CIA, or the leak itself? Both? > I, too, would like to see a list of books, articles, etc., that the ENTIRE > administration has read...Down to the grounds maintenance personnel... > > Terrie > > P.S. I feel a poem coming on with this one...What fun we could all have > speculating on their reading material. > > > >> Under the Patriot Act - if I understand that law 'correctly' - the > Ashcroft >> Justice Department has permission to investigate the book buying histories >> and Library records of suspects considered a threat to US Security, or >> suspects who have terrorised or endangered the lives US officials, etc. >> >> In the case of the White House "leak" that exposed former Ambassador > Joseph >> Wilson's wife as a CIA operative (a felony), it seems only appropriate > that >> the Justice Department subpoena such "book" records for all the White > House >> suspects. >> >> I don't know if this would bring up a quite interesting (perhaps) series > of >> "noir" novels. Be interesting to see if French "noir" writers are au > courant >> in the White House. Or early novels by the Vice President's wife. Given > that >> the Administration signed on to the Law, I suspect none of the suspects >> would be embarrassed by a public knowledge of their reading habits. > Unless - >> outside of Heritage and American Enterprise Foundation reports, they don't >> read much at all. But who knows, that might be a point of honor or > religious >> reluctance. >> >> Let the black pots rattle their counterparts. >> >> Pumping iron, anybody? Get out the vote in California, toute suite. >> >> Drama drama, >> >> Stephen V ========================================================================= Date: Thu, 2 Oct 2003 11:34:00 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mark DuCharme Subject: Re: Books In The White House / Why Not? Mime-Version: 1.0 Content-Type: text/plain; format=flowed The felony in question is for a government official to knowingly reveal the identity of a CIA agent. That seems to be pretty prominently reported in all the coverage I've seen, so I'm sure what all the confusion's about. Mark <<<<<<<<<<<<<<<<<<<<<<<<>>>>>>>>>>>>>>>>>>>>>>>> "Carelessness of heart is a virtue akin to the small lights of the stars. But it is sad to see virtues in those who have not the gift of the imagination to value them." —William Carlos Williams >From: Stephen Vincent >Reply-To: UB Poetics discussion group >To: POETICS@LISTSERV.BUFFALO.EDU >Subject: Re: Books In The White House / Why Not? >Date: Thu, 2 Oct 2003 09:37:11 -0700 > >My "Pox on Both Your Houses" Palestinian Grocer says this ("leak") event >also reveals that "This shows you the wife of every Ambassador is also >working for the CIA." >I don't think the job constitutes a felony, however, unless you are caught >abroad. But then CIA won't acknowledge you exist. >Professionalizing gossip is an old profession. Heah, many think it's at the >core of literature. Bob Perleman's punditry about "language being the >Riviera of consciousness" can probably easily be converted into "Gossip >being the R....." Gossip just makes the language warmer, if not often hot & >'devilish'. Think Frank O'Hara on a good day. Bristling. > >Stephen V > > >on 10/1/03 10:50 PM, tlrelf at tlrelf@COX.NET wrote: > > > Pardon my ignorance, but what is the felony to which you refer? An > > ambassador being married to someone in the CIA, or the leak itself? >Both? > > I, too, would like to see a list of books, articles, etc., that the >ENTIRE > > administration has read...Down to the grounds maintenance personnel... > > > > Terrie > > > > P.S. I feel a poem coming on with this one...What fun we could all have > > speculating on their reading material. > > > > > > > >> Under the Patriot Act - if I understand that law 'correctly' - the > > Ashcroft > >> Justice Department has permission to investigate the book buying >histories > >> and Library records of suspects considered a threat to US Security, or > >> suspects who have terrorised or endangered the lives US officials, etc. > >> > >> In the case of the White House "leak" that exposed former Ambassador > > Joseph > >> Wilson's wife as a CIA operative (a felony), it seems only appropriate > > that > >> the Justice Department subpoena such "book" records for all the White > > House > >> suspects. > >> > >> I don't know if this would bring up a quite interesting (perhaps) >series > > of > >> "noir" novels. Be interesting to see if French "noir" writers are au > > courant > >> in the White House. Or early novels by the Vice President's wife. Given > > that > >> the Administration signed on to the Law, I suspect none of the suspects > >> would be embarrassed by a public knowledge of their reading habits. > > Unless - > >> outside of Heritage and American Enterprise Foundation reports, they >don't > >> read much at all. But who knows, that might be a point of honor or > > religious > >> reluctance. > >> > >> Let the black pots rattle their counterparts. > >> > >> Pumping iron, anybody? Get out the vote in California, toute suite. > >> > >> Drama drama, > >> > >> Stephen V _________________________________________________________________ Frustrated with dial-up? Get high-speed for as low as $29.95/month (depending on the local service providers in your area). https://broadband.msn.com ========================================================================= Date: Thu, 2 Oct 2003 19:37:44 +0200 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: saneh saadati Subject: Re: memory Mime-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1; format=flowed Gaston Bachelard's "Poetics of Space" -- has some interesting things on memory (and space). Best w, Saneh Saadati _________________________________________________________________ Hitta rätt på nätet med MSN Sök http://search.msn.se/ ========================================================================= Date: Thu, 2 Oct 2003 01:39:48 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: George Bowering Subject: Re: political awareness In-Reply-To: <004101c388ad$45fe0160$b996ccd1@CeceliaBelle> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" Here is what I have not heard the answer to yet: Bromige, are you running for Governor of CaLIFORNIA? -- George Bowering Minimizes the subconscious. 303 Fielden Ave. Port Colborne, ON, L3K 4T5 ========================================================================= Date: Thu, 2 Oct 2003 01:52:29 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: George Bowering Subject: Re: Books In The White House / Why Not? In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" > > >Did you ever see Dubya with a book in his hand? Not me. Whast about that phoito of him reading with kindergarten kids, and he is holding a picture book upside down? -- George Bowering Minimizes the subconscious. 303 Fielden Ave. Port Colborne, ON, L3K 4T5 ========================================================================= Date: Thu, 2 Oct 2003 13:58:11 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Dr. Barry S. Alpert" Subject: Re: Books In The White House / Why Not? Mime-Version: 1.0 Content-Type: text/plain; format=flowed Doubting that the decision-making sessions were audiotaped, I wonder how the poetry programming for the National Book Festival materialized. Visit www.loc.gov/bookfest/programs/pavilions/poetry/index/html for all the details. Since Louise Gluck hadn't yet been coronated when choices were made, can one speculate that Dana Gioia took the lead--perhaps consulting with Billy Collins, E. Ethelbert Miller, and James Billington? Whether Laura Bush was particularly responsible for any of the "chosen poets" remains unclear to me. -- Barry Alpert _________________________________________________________________ Frustrated with dial-up? Get high-speed for as low as $29.95/month (depending on the local service providers in your area). https://broadband.msn.com ========================================================================= Date: Thu, 2 Oct 2003 11:36:16 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Lanny Quarles Subject: SCRIBBLED NOTES FROM A COFFEE SHOP: Comments: To: "WRYTING-L : Writing and Theory across Disciplines" MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit {From the Age of Garb}-L'd--> SCRIBBLED NOTES FROM A COFFEE SHOP: {schitzo-lite} [ELEMENTS] The Navels of Ascanio.. Refers to a Locus of Isolation, a Locus Solus, Isole, Islands, Archipeligo A place which one constantly inhabits but paradoxically [incorporation] When one arrives in Venice one longs Never returns to, ie. always arriving elsewhere. (A naval navel, ie ourobouromphalos) For delicious candies as big as stars Stems from a 'traduction' or hoax of the Author by a With one's La Gazette Automobile 'Hack in need of copy' writing in "La Gazette Automobile" which 'returns' Tucked under one's lawless arm A 'symptom' {the little gaze, self-mobilized, or automatic} "the automatic gaze" Casting glances in some final allegro Essentially combining a writing of anarchy with anarchic [the little death?] Of arriving in the cataracts of good Canaletto Driving or perhaps a 'gonzo gondolier' like a kind of surfer Of associations who implies a network a set of tiny canals (very tiny, insults? tiny spaces!) A little sleepy from the mooring of the barge The canals of Venice which have been at many times extremely Whose hunchbacked boatman 'Gob' is Doge Polluted bring together 'Gob's Barge' into Garbage. The trans Whose voice is liquid though gruff as Il Duce Position of Doge and Duce are taken directly from the Author. (Gob is a murderer) Handing his red handkerchief to the Pius cartouche Utilizing the scholarship of H.M which has found most of the explicit refer Ences to Italy proper with the Author's Nouv.Impr.Afr. [incorporation] One can die of One of which is taken from a phrase here not completed but (God is a murderer) Longing in this Which begins 'Au glas pontifical' which produces another symptom: Star-anise Labyrinthus 'A glazed pontification', or a Papal Glass, which produces further Addaged and adduced Symptoms hear not recorded, As by far many more of the symptoms Transfixed by transposition Are not listed, The 'red handkerchief' is actually the letter Mussolini A puch of prepuce Wrote to Pope Pius the XI asking that he excommunicate Hitler. In the composition This Pius Cartouche is also a symptom relating to the Egyptian System of royal name writing which relates to another complex The young wife with hoops Of symptoms, the rope-like circuit which refers (k)not only to {death of the Author) must surely be As(s)can(d)io Ropes in General but to nooses as methods of execution {suicide} As Silvio the sylvan sylph Also loops in the sense of programming, also boundaries [incorporation] Hides a silvery faced taboo As in worlds produced by naming IE nation states, identities, In the water in the bubbles Figures of thought, etc. Another figure would be the Star-Anise The boat the gondo-leering canoe Labyrinthus, which relates to the 'Star Anus' the digestive tract, The winding streets of Venice, the winding logic of the Author, *+* The name of the publication where the Author was shown not To have written the line of the Hack in La Gazette Automobile. Riding now in Venetia 'One can die' is obviously 'One Candy' or One Love, One Star-shaped With candy hiding Love as big as the Sun, all consuming, all brightness, a kind of Glances and Gazes Mad enraptured blossoming, the Author's celebrated Star on Glazes and Gances The forehead. Many of the Other Symptoms are left undiscussed Able Neapolitan But may relate both to the Author and THE AUTHOR or (voices trapped in pipes) Napolean Artaud The Authorisation of the Author, or perhaps the Auteur or Artaud sharing a red handkerchief Of the glow of the letter of the red handkerchief, the kerchief beneathe the glow Being itself a kind of iconism of the sneeze, the mischievious in this age of garbled mischief Caesura of consciousness where millions of amorphous liquid with the pontifical Agha Fragments are ejected into the air, in a kind of invisible colloid of the monkey sieve Whose radiational trajectories imply a kind of combustive speech A material speech whose constituents are the effluvia of the body Viral matter, codes flung willy-nilly, obviously symbolic of the Linguistic remainder which figures prominently in the work The Violence of Language which itself is a discussion of 'Parts' of the Author's work. There is also a work called [incorporation] _Formal Ambiguity in Early Twentieth Century French Theatre_ by M. Fleisch. (My Flesh?) It focuses on the rare pages found within a folio of the _Tragoedia Ducis Partibonis_ Venice, Andrea Quarli 1532 (and Ray Quarles also LAN as in Network) Essentially recursion and symptoms. Symptoms and Recursions A Recursing Sympleton. A symptom(s). "As to the erect purple of the clasp which an oaf..." "There could be no purer oath to give you" No where is the relation of prepuce and pudenda discussed. Also this image http://www.hevanet.com/solipsis/rousselrepublicbkg.jpg which relates as a specific symptom was produced almost a year or more before this 'author' ever read H.M.'s Outline of a Melancholy Geography. Now as a symptom Jean Jacques' LeCercle has come full. Or perhaps its all just full of circles. (as a simpering-tone) a whine perhaps, a distillation of impasses.. a panorama of imp-asses.. I'm passe'... The Author that is.. Something from 'Sheet 2' Worm eaten damp stains ribbed spine a fondello also a history of the Moors in Venice.. part of which is an arrangment of paintings at the Venice Biennale? No the Moors are ringing the Bell. These are 'Mori' but knot as in Memento Morii.. Aye-Aye, Captain! Hoist the AHREF. *read it upwards and you get ardw which symptomatically relates to A/ardw/olf. RE: Memory. ?The Biography of Canaletto. [The others who were Canaletto-like] Canaletto was a son. if you reverse Son.. Kachoo--->ENERGY.[sun] also Nostos.. "he goes on" lyke this Para Neu!----> A spanish person thinking of NEU! the first album. No 'D' is mentioned. Toes.. Toenails.. Clippings. Newspaper Clippings.. C. Gk. Isn't there a Louise Gluck poem called that? Where are the two dots? Um laut? Laut-poesi? you lout? Umwelt? What is the poem? Are the two dots eyes. two black dots in a see of white now closed. a germ an opening closed also Nostos.. "he goes on" lyke this nothing nathing not-thing: Moleskine e leggendario taccuino degli artisti e intellectuali europei degli ultimi due secoli: NAME RECLAMATION SPACE. {A note on the Garbed-Ages} clothed in thingness. ========================================================================= Date: Thu, 2 Oct 2003 12:31:48 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Lanny Quarles Subject: The Navels of Ascanio.. Comments: To: "WRYTING-L : Writing and Theory across Disciplines" MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable The Navels of Ascanio.. When one arrives in Venice one longs For delicious candies as big as stars With one's La Gazette Automobile Tucked under one's lawless arm Casting glances in some final allegro Of arriving in the cataracts of good Canaletto A little sleepy from the mooring of the barge Whose hunchbacked boatman 'Gob' is Doge Whose voice is liquid though gruff as Il Duce Handing his red handkerchief to the Pius cartouche One can die of Longing in this Star-anise Labyrinthus Addaged and adduced Transfixed by transposition A puch of prepuce In the composition The young wife with hoops must surely be Ascanio As Silvio the sylvan sylph Hides a silvery faced taboo In the water in the bubbles The boat the gondo-leering canoe *+* Riding now in Venetia With candy hiding Glances and Gazes Glazes and Gances Able Neapolitan Napolean Artaud Sharing a red handkerchief Beneathe the glow In this age of garbled mischief With the pontifical Agha of the monkey sieve ========================================================================= Date: Thu, 2 Oct 2003 15:30:56 -0400 Reply-To: jadecar@attglobal.net, jadecar@attglobal.net, jadecar@attglobal.net Sender: UB Poetics discussion group From: John DeCarolis Subject: Re. Jazz and Poetry MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii; format=flowed Content-Transfer-Encoding: 7bit just a few weeks ago i heard steve lacy perform, with a singer, poems he had set by bob kaufman, anne waldman, kenneth rexroth, and jack kerouac. i have no idea if these were new or not, but the waldman at least appeared to be, as the text was a new years poem (?) from just a few years ago. The singer Steve Lacy performs with is his wife of thirty years Irene Aebi. The songs he did were most likely from his Sunnyside (2003) release The Beat Suite. The line-up of the Lacey Quintet on the CD consists of Steve Lacy: Soprano Sax; Irene Aebi: Vocals; George Lewis: Trombone; Jean-Jacques Avenal: Bass; and John Betsch: Drums. Lacy has been recording jazz and poetry for a quarter century or more, much of it with Irene Aebi on vocal. She contributed vocals to Lacy's classic two disc Futurities ( High Hat, 1985 ) sessions which feature Creeley's poetry. Aebi's singing style has been dismissed and even trashed in many jazz reviews over the years as she doesn't easily ' fit ' into alot of pre-conceived notions about how jazz vocals should be presented. She is a classically trained musician in violin, viola and voice and her singing style owes more to European art song than it does to the traditional vocals styles of Ella, Billie, Sarah et al. Unfortunately for today's listeners a handful of jazz critics ill informs always marginalized niche music marketeers that jazz vocals should be only of a retro-classical style embraced by the neo-cons and exemplified by singers such as Diana Krall or countless other cookie cutter interpreters of the ' The (Great) American Songbook.' For a musician such as Steve Lacy, who apprenticed in ' dixieland bands ' in the '50s, did journeyman work with the likes of Thelonius Monk and Cecil Taylor and then took part in the fecund free jazz scene of the 1960s to now produce work of such uniqueness and maturity is to show what the true jazz tradition once nurtured and celebrated. When conservative winds blow it would seem we are left with cool-unto-cold classicist art to ponder alongside the irony that made it thus... Before meeting Lacy, Aebi was in San Francisco in the early/mid Sixties and knew Spicer. She most likely had contact w/ Kaufman and some of the other Beat poets as well. Lacy and Aebi's interpretations of the poets they have chosen is unlike anything we've seen in earlier ' jazz poetry ' or poetry put to jazz; indeed it is nothing short of remarkable. The Beat Suite is an ambitious project that deserves wider attention and I would encourage anyone interested in jazz and poetry to seek it out. The tracks on Beat Suite are as follows: 1. Wave Lover - Kerouac 2. Song - Ginsberg 3. Naked Lunch - Burroughs 4. Private Sadness - Kaufman 5. Ring of Bone - L. Welch 6. The Mad Yak - Corso 7. Jack's Blues - Creeley 8. Agenda - Spicer 9. In the Pocket - Waldman/Schelling 10. Mother Goose - Rexroth ========================================================================= Date: Thu, 2 Oct 2003 15:36:25 -0600 Reply-To: Laura.Wright@colorado.edu Sender: UB Poetics discussion group From: Laura Wright Organization: University of Colorado Subject: Re: memory MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit I've been fascinated for several years by the Museum of Jurassic Technology's "exhibit" on Geoffrey Sonnabend's "obliscence : theories of forgetting and the problem of matter." You can find this text and maybe other delightful musings (or shams) in: Museums and memory / edited by Susan A. Crane Stanford, Calif. : Stanford University Press, c2000 which looks as though it's pretty widely held in libraries. Laura ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Laura E. Wright Serials Cataloging Dept., Norlin Library (303) 735-3111 ========================================================================= Date: Thu, 2 Oct 2003 17:40:48 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Bob Grotjohn Subject: Re: Books In The White House / Why Not? MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit He is holding Lynne Cheney's America: A Patriotic Primer. Maximizing the dumbconscious? > > > > > >Did you ever see Dubya with a book in his hand? Not me. > > Whast about that phoito of him reading with kindergarten kids, and he > is holding a picture book upside down? > -- > George Bowering > Minimizes the subconscious. > > 303 Fielden Ave. > Port Colborne, ON, L3K 4T5 > ========================================================================= Date: Thu, 2 Oct 2003 14:53:15 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mark Weiss Subject: Re: Books In The White House / Why Not? In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed Hey, I couldn't do that. At 01:52 AM 10/2/2003 -0700, you wrote: >>Did you ever see Dubya with a book in his hand? Not me. > >Whast about that phoito of him reading with kindergarten kids, and he >is holding a picture book upside down? >-- >George Bowering >Minimizes the subconscious. > >303 Fielden Ave. >Port Colborne, ON, L3K 4T5 ========================================================================= Date: Thu, 2 Oct 2003 15:25:23 -0700 Reply-To: Denise Enck Sender: UB Poetics discussion group From: Denise Enck Subject: free TED JOANS LIVES! postcards & bumper stickers MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit TED JOANS LIVES! Bumper Stickers & Postcards: Jason Davis of Verdant Press has printed a limited number of TED JOANS LIVES! bumper stickers for Empty Mirror Books & Quartermoon Press. They feature the words "TED JOANS LIVES" in bold black letters on a red background. We also still have a few TED JOANS LIVES! oversized postcards. These were beautifully letterpressed on heavy red paper by Verdant Press in a small edition. If you'd like either of these items, just email me at denise@emptymirrorbooks.com. They're not for sale, & there's no charge for postage. However, we wouldn't object if you were moved to send a self-addressed stamped envelope. The bumper sticker will fit a business-sized envelope, and the postcard will fit in any envelope 9x6 inches or larger. Our address is Empty Mirror Books, PO Box 972, Mukilteo, WA 98275. This offer is good as long as the cards & stickers last ~ The TED JOANS LIVES! tribute continues at www.emptymirrorbooks.com/tedjoanslives/ & we are still accepting contributions. cheers ~ Denise Enck denise@emptymirrorbooks.com -- Empty Mirror Books & Distribution www.emptymirrorbooks.com specializing in modern poetry & the Beat Generation Denise Enck - Quanta Webdesign www.quantawebdesign.com websites for organizations, individuals, & the arts toll-free fax & message phone: 1-877-570-6448 ========================================================================= Date: Thu, 2 Oct 2003 16:02:02 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Tenney Nathanson Subject: REMINDER: Chax/POG events F afternoon Oct 3, S evening Oct 4: poet Karen Mac Cormack Comments: To: Tenney Nathanson MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 8bit REMINDER POETRY READING AND BOOK LAUNCH FOR IMPLEXURES, BY KAREN MAC CORMACK, PUBLISHED BY TUCSON’S CHAX PRESS and ENGLAND’S WEST HOUSE BOOKS This event will take place at Dinnerware Art Gallery, 210 N. Fourth Avenue, at 7pm Saturday, October 4. It is free and open to the public. (Contributions in support of POG/Chax Press are welcome.) An auxiliary event, a talk and discussion with Karen Mac Cormack, will be held on Friday, October 3, at 3pm, at the University of Arizona Modern Languages Building, Room 451. It is also free and open to the public. The innovative Canadian Poet Karen Mac Cormack will appear at a reading and book launch for her new book from Chax Press, titled Implexures. This event is sponsored by Chax Press and cosponsored by POG, the UA Poetry Center, and Dinnerware. The Canada Council for the Arts has provided travel funding. Chax Press is grateful for the support of the Arizona Commission on the Arts and the Tucson Pima Arts Council, as well as the donations of many individuals. Biography of Karen Mac Cormack: Residing in Toronto, Canada, born in Luanshya, Zambia, Karen Mac Cormack is the author of At Issue, Fit to Print, The Tongue Moves Talk (also Chax Press), Marine Snow, Quirks and Quillets (also Chax Press), Quill Driver, Straw Cupid, Multiplex, and Nothing by Mouth. Her work has been published (in print, online, and in translation) in North America, England, France, Ireland, Portugal, Sweden, Australia, Japan, and Belgium, and in anthologies in Canada, the USA, and England, including the Gertrude Stein Awards in Innovative North American Poetry , ed. Doug Messerli (Sun and Moon Press), Out of Everywhere: Linguistically Innovative Poetry by Women in North America and the UK, ed. Maggie O’Sullivan (Reality Street Editions) and in Moving Borders: Three Decades of Innovative Writing by Women, ed. Mary Margaret Sloan (Talisman House). Karen Mac Cormack’s new book, Implexures, co-published by Tucson’s Chax Press and West House Books of Sheffield in the UK, will be featured for the first time anywhere at the reading and book launch and will be available for purchase. It retails for $16. Chax Press is a nonprofit literary and book arts press based in Tucson. Contact Charles Alexander, 520-620-1626 for more information. Excerpt from Implexures Molecules might not have been as confused as I thought probable, the two from the northern hemisphere less seven and a return to places in it for all three within half those years. The dog was quarantined. So to Saxon Doom from Norse Lag always defying definition as many marriages attest. Elsewhere (the word emblematic of my vocabulary) other photographs were taken, letters direct us to “Mc or Mac” no longer prefixed island surnames. In the Sudan the Anwar Dam covers the spot exactly (planes had propellers then) and figs greeted us to so many palms. The disappointments of a generation skewed by cynicism or performance mean the wars inhabit some individuals on an ongoing basis and not only those of the twenty-first century. Cousins married each other more often than not, an act perhaps “devastating to humour.” Recognize the ache for what it is, reside there, not knowing opinions, hear a rosary of sunsets with the bells. Disowned as much for himself as her English one. (One false step beyond the Cliffs of Moher into the fog and so to sea.) For these are the characters — sense of direction, observed movements, “time of our lives.” The tableaux run through themselves. To absorb a history of family through the centuries requires a forebear’s attention to facts and no fear of paper. Remember this. The nights are a time of chosen light, days an elaborate grafting. (end of excerpt) mailto:tenney@dakotacom.net mailto:nathanso@u.arizona.edu http://www.u.arizona.edu/~nathanso/tn POG: mailto:pog@gopog.org http://www.gopog.org ========================================================================= Date: Thu, 2 Oct 2003 16:12:58 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Tenney Nathanson Subject: still looking for good contact info for: Pamela Lu, Heriberto Yepez MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit tried email I had for Heriberto Yepez, not sure if it's valid (no reply) no luck finding address (or snail) for Pamela Lu want to invite both to read in Tucson, this coming spring, for POG . . . thanks, Tenney mailto:tenney@dakotacom.net mailto:nathanso@u.arizona.edu http://www.u.arizona.edu/~nathanso/tn POG: mailto:pog@gopog.org http://www.gopog.org ========================================================================= Date: Thu, 2 Oct 2003 16:15:23 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Robert Corbett Subject: Re: Remembering Edward Said /Hilton Obenzinger In-Reply-To: <5.1.0.14.1.20031001145622.01946368@mail.earthlink.net> MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII On Wed, 1 Oct 2003, Mark Weiss wrote: > A silly and mean-spirited article, but Said's Orientalism is intellectually > (rather than politically) controversial in the field. My scholarship on the > matter goies no further. "Orientalism" is controversial in the way that the bible is controversial. It is the ur-text for numerous academic trends. Of course it is not inerrant and of course there are inadequacies in it--Said's project is mostly critical, so it is hard to say what would be the appropriate stance to take for a western critic--but like all such books it has to be engaged with. I have read that it killed area studies, such that people have become more wary of writing about THE Arab Mind, as if such a thing existed. And to the extent that people are aware that public discourse regularly trades in regurgitated cliches about Arabs and Muslims, he is partly responsible. In English Studies it undoubtedly is the most influential Foucaultian study of literature. One should say that it actually supplements and extends Foucault, since F's concern is Power pure and simple, while Said's is Power and Colonialism. Before Said, there simply were not studies that even related colonialism to literature and culture. Now there is a whole subdiscipline, not all of which is derivative of Said or Foucault. Robert -- Robert Corbett "Given the distance of communication, Coordinator of New Programs I hope the words aren't idling on the B40D Gerberding map of my fingertips, but igniting the Phone: (206) 616-0657 wild acres within the probabilities of Fax: (206) 685-3218 spelling" - Rosmarie Waldrop UW Box: 351237 On Wed, 1 Oct 2003, Mark Weiss wrote: > A silly and mean-spirited article, but Said's Orientalism is intellectually > (rather than politically) controversial in the field. My scholarship on the > matter goies no further. ========================================================================= Date: Thu, 2 Oct 2003 21:11:20 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jim Andrews Subject: 'Arteroids, Poetry, and the Flaw' & 'Literary Games' on poemsthatgo.com In-Reply-To: <200310030402.h9342wU08191@ida.host4u.net> MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Here's a link to something Nick Montfort wrote called "Literary Games" in introduction to the recent poemsthatgo.com feature on the subject: http://www.poemsthatgo.com/gallery/fall2003/print_article_games.htm And here's a link to something I wrote recently called 'Arteroids, Poetry, and the Flaw', which is part of the same issue on poemsthatgo.com: http://www.poemsthatgo.com/gallery/fall2003/arteroids/article.htmja ja ========================================================================= Date: Fri, 3 Oct 2003 14:11:29 +0900 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Sawako Nakayasu Subject: Movable Text ::: October 15, 2003:::Participate from wherever you are Mime-Version: 1.0 Content-Type: text/plain; charset="ISO-2022-JP" Content-Transfer-Encoding: 7bit Hello! * Please reply immediately (no later than 10/10/2003) to participate (via your text) in the October 15th Movable Text performance. If you are able to attend the performance, please make reservations by phone or online (where you will be asked the same questions). If you are unable to attend, please send your responses to sawako@factorial.org . Movable Text ::: October 15, 2003 http://www.factorial.org/movabletext/index.html 03-5790-5387 1. What is your favorite texture? 2. You take a running leap into an enormous pile of ________. What is it? 3. The strangest texture you can think of: Thank you! $B!! (BWe look forward to seeing you on the 15th. * Please forward/circulate this message widely $B!! (B * __________________________________________________________ Texture Notes http://www.nakayasu.blogspot.com/ ========================================================================= Date: Fri, 3 Oct 2003 01:13:48 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: Q uatrain MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=X-UNKNOWN Content-Transfer-Encoding: QUOTED-PRINTABLE Q uatrain $ ./quatrain.pl "your sweet music entrances me" your thoughts with Sweet Hereafter may be his most shining work to date true 1/ref=3Dsr_1_2_1/701-0804153-3681930 67k ONE OF THOSE THINGS, LETS FACE THE MUSIC), only the here, my favorite is THE TOUCH OF YOUR LIPS from Not So Long Ago and the wonderfully sweet A Nightingale true Write an online review and share your thoughts with other pressure can coincide, the melodies are sweet but not Its rare to find music that both moves me to true ONE OF THOSE THINGS, LETS FACE THE MUSIC), only the here, my favorite is THE TOUCH OF YOUR LIPS from Not So Long Ago and the wonderfully sweet A Nightingale true 47547-1766534 22k One of my favorites, =E2Your Wonderful Sweet Sweet Love=E2 happened to be playing. 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To: debian-policy@lists.debian.org; Subject: Why licenses can -never- be free. true 62.html 7k Thread Index] Re: Why licenses can -never- be free. To: debian-policy@lists.debian.org; Subject: Re: Why licenses can -never- be free. true 79.html 5k Thread Index] Re: Why licenses can -never- be free. To: debian-policy@lists.debian.org; Subject: Re: Why licenses can -never- be free. true 54.html 13k THE LIBERTARIAN. They Can Never Meet the Demand for Free Sandwiches. by Vin Suprynowicz. There=E2s been much piteous mewling of late true can never be free of your past. Jim has had his little moment of revenge on me, but who knows if it wont happen again? You can never be free of your past. true Never Have Too Many Screensavers. * CustomSavers *. Promote you web site or business by giving away free screensavers. Much true kiting can never be as big as windsurfing....: Wind Surfing Campfire If ye would like to moderate the Wind Surfing Campfire, please drop becket@jollyroger true We can never be safe - but at least we can be free. by Jennie Bristow. ... Were never going to be safe in that sense - but at least we can be free.. true server!. Free Casinos Online gives you all the info you need to know about Re: Try New Poker Games - Can never connect to server! true s/1468.html 14k server!. Free Casinos Online gives you all the info you need to know about Re: Try New Poker Games - Can never connect to server! true $ ./quatrain.pl "bring worlds and words quick home to me" bring them into words, this became even more important, because his words often sound true Sandra...(in her words). lands are radiant with earth energy --this is my beloved homeland I extend to you and bring you into.. Crossing Worlds Home Page. true cities, days of quick eating, quick dinking and a carnival of spectral hallucination meant to bring me down for The echo of those words beyond my true a dreamer, a victim of a media that creates worlds that I can Words I didnt want to speak I didnt find you soon enough and bring you home and Words, Is, Worlds: The Duplicity of Language RUSTY MORRISON. of how little awareness we usually bring to the the rushing, sensual flow of words, to experience true Jump to the GAME OF WORLDS info page. I am used to working in hundreds of thousands of words. I think -- or at least hope -- that UTOPIA will bring the series Jump to the GAME OF WORLDS info page. I am used to working in hundreds of thousands of words. I think -- or at least hope -- that UTOPIA will bring the series ... ride true Allen, Roger MacBride Author-maintained website commonly used words in newsletter Guru tips in seconds with the worlds first Contextual is your Marketing Cuisine eZine, We bring you only the ... Top/Business/E-Commerce/News_and_Media/Newsletters true Newsletter Tips Learn how to publish your own newsletter with free tips, links, 55k Some of the most commonly used words in newsletter Guru tips in seconds with the worlds first Contextual is your Marketing Cuisine eZine, We bring you only the Top/Computers/Desktop_Publishing true Newsletter-tips Offers free tips and resource links related to self-publishing a newsletter. Information includes... info, here are a few more words of praise. two tunes were ones from this Little Worlds CD, new ... commercial success, able to just play and bring the whole true $ ./quatrain.pl "and I shall leave upon the briny sea" at this point so broken as to leave the entire thyself stern Ares, hapless one, And ye shall perish one Syria, of Ph=C5nician men The last hold, upon whom the true point so broken as to leave the entire thyself stern Ares, hapless one, And ye shall perish one ... Syria, of Ph=C5nician men The last hold, upon whom the ... true 10k from that old fashioned chair His views upon Turnips, and the briny sea, Of home our thoughts shall often be, Trusting those hearts we leave behind, Both true html 24k to make for the concrete traveling strips upon these warm of you, and then, from the inside, I shall burrow and clear account of things before we leave so that true a few questions ask; Who first upon thy shores or where the tide Beats the shore of some briny sea? bring my hook and line Ere I shall leave the shores true hang oer thy brow,. When sunshine plays upon thy face On which thou lookest down;. Thy majesty shall be our theme Tis the legacy we often leave,. to all who follow true but a trail of drift and debris, -- I, too, leave little wrecks I throw myself upon your breast, my father For fear I shall become crazed, if I cannot emulate it true strong Twice thirty years have vanished since first upon the wave bear to leave her, nor will we leave her now spirit, who makes the poor his care Shall heed our true more shall I cease perpetuating you, Never more shall I escape trail of drift and debris, I too leave little wrecks I throw myself upon your breast my father, I true shall I cease perpetuating you, Never more shall I escape trail of drift and debris, I too leave little wrecks I throw myself upon your breast my father, I true and I shall leave upon the briny sea at line 32 __ ========================================================================= Date: Fri, 3 Oct 2003 01:41:48 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Schlesinger Subject: Re: memory MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable For those who might be interested in the cinematic aspect of memory, = there is a syllabus for a course I am currently facilitating at: = http://www.acsu.buffalo.edu/~ks46/essayfilm/ Best Regards, Kyle http://www.cuneiformpress.com/ ========================================================================= Date: Thu, 2 Oct 2003 23:47:47 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: dcmb Subject: Re: political awareness MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit not a citizen,George, of any nation but yours; snd thus unable to run for political office in California, dammit. Bromige -----Original Message----- From: George Bowering To: POETICS@LISTSERV.BUFFALO.EDU Dat te: Thursday, October 02, 2003 10:46 AM Subject: Re: political awareness >Here is what I have not heard the answer to yet: Bromige, are you >running for Governor of CaLIFORNIA? >-- >George Bowering >Minimizes the subconscious. > >303 Fielden Ave. >Port Colborne, ON, L3K 4T5 ========================================================================= Date: Thu, 2 Oct 2003 23:59:27 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Lanny Quarles Subject: T-cheese Comments: To: "WRYTING-L : Writing and Theory across Disciplines" Comments: cc: Jim Leftwich , The Ninth Eye , edx MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable T-cheese http://www.hevanet.com/solipsis/cinepostturingsm.jpg Pos/T/uring Cinema-strip. (Fictional Construction) on each cell of an 'infinite' loop (L*pdx)=20 the read/write head prints=20 1 semitransparent 3 dimensional autonomic (self-reconfiguring)=20 processor which remains in constant contact with the head thru the iterative printing of structurally embedded instruction sets along a linear bus-line, thus a univocal, unidirectional flow is created though information moves freely in the opposite direction being modified by the structures of succesive cells, which also modify the autonomic structure of successive and previous cells, since the cells are each a=20 processor and an optical filter, a Post-Turing Cinema is 'ahaahahhah-cheeevzzvedtzst'.. If a series of projection nodes were to be placed along=20 the loop (L*pdx) concievably a poly-vocal Artificially intelligent cinema could be constructed whereby a transducive iconism of the processual (processional)=20 structure would lead to a kind of real-time=20 Cinematic Quine operation revealing the the 'thinking' strip as a set of optooracular nodes throughout an abstractional space-time. Epiphenomenal Modulation filter. Pos/T/uring Cinema Strip-[T/ease]... ========================================================================= Date: Fri, 3 Oct 2003 03:07:20 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Geoffrey Gatza Subject: Fw: ANOTHER reading TONIGHT Comments: To: ImitaPo Memebers , "WRYTING-L : Writing and Theory across Disciplines" , Poetryetc provides a venue for a dialogue relating to poetry and poetics Comments: cc: Donna , =?iso-8859-1?Q?Loss_Peque=F1o_Glazier?= , "Kathleen C. Boone" MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit ----- Original Message ----- From: "Barbara A. Cole" To: Sent: Friday, October 03, 2003 1:21 AM Subject: ANOTHER reading TONIGHT > ANOTHER reading series > will be kicking off the fall season > TONIGHT > at the lovely home of > Kyle Schlesinger, 383 Summer St. > > Please come and hear work by > > Ben Bedard > Lori Emerson > Geoffrey Gatza > > byob > > ALSO: although you are of course welcome to come any time after 8:00 pm, > the readings will not get going until 9:30 so that we can all properly > revel at the Casino "Royal Flush" at Rust Belt Books beforehand!! > > See you there! > > ========================================================================= Date: Fri, 3 Oct 2003 01:48:52 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: poetics Subject: STORIES MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit STORIES This project or "act of compostion" is not an exercise in chance operations, or in rearranging source material or diffusing the role of the unitary author. It is not influenced by the avant-garde traditions. It is not confined to the level of formal arrangement nor does it follow the signature characteristics of contemporary experimental poetry with its emphasis on procedures. These experimentalist practices are sublimely uninspired. Each STORY in this ouevre is an intensely motivated message with contrasting lyrical passages set against a neutrally stable landscape. Streams of echoes follow moments of deep stillness. Images with deep interlocks that defy the most rigorous intellectual analysis interplay between the spatial and cognitive. The resolution of ambiguities is achieved neither through obscurities nor patterns of centers. The total infiltration of originary content and intention ("subject matter") is the psychogeographical identity of my work through which unbroken light emerges, the light preceding language and the defense mechanisms of conscious thought. These are the first 20 Stories from an anthology. STORY #0000001: Pro ces s a lge bra Ack ! Dec om pos itio n o f pr. At h as m, 6 Rea l-tim e Sy stem s G roup nia. Nr esu lt: o, *a sym ugh to be t. Rac tab le. For exa. Stro ove rhe ad w esu lt c han. STORY #0000002: Nh ow do es t he r, nA nal yze ore gen. Ns upp ose we are pre par ed t cen tral ized. Univ ersi ty o f pe . P || Q. Nia the alg orit hm ic a nd com nia. Esu lt c han esu lt c han. STORY #0000003: Nia, que st is any on e no. Pro ces s a lge bra ut h ow tru. Esu lt c han kin ds o. Dat a! dat a! data, ted sys stem. Any on e no, uire me nt o Un ive rsit y o f Pe. STORY #0000004: *a g ( req .. Som, per ties tha t ca n b e de nQ ues tion. ., ly a nd per ato rs, like. Rec eiv es. n. Oda l co nne ctiv es l ike po ssib 3 Rea l-tim e Sy stem s G roup ific atio. STORY #0000005: Ted sys nQ ues tion. Ack ! ass erti ons cha ces s al geb ra d esc ript ion of a sy. Ope rtie s, at c ann ot e xpr ess Univ ersi ty o f Pe. Ctio ns o f lo cal, uire me nt o ly a nd. At h as m, scri bin g sy Dec om pos itio n o f pr. STORY #0000006: C hec k if sys ogi c nC an e xpr ess no n-d eter. Era l nns ylv ani a nR esu lt: N. N, som nns ylv ani a. The alg orit hm ic a nd com Dis trib ute d M nec ess aril y.. Diti ons tha t m ust be t rue loc, som ific atio. STORY #0000007: Nns ylva, ted and !. Con, com pos ed a log ic?. Ng lob al v nns ylva nec ess aril y.. Por al l ogi c. nG lob al v nia. Ld h ave pro form ula in tem. STORY #0000008: Esc ript ion of a sy, ope rtie s eve ntu alit ies.. Nia C hec k if the sys tem cou. Ack ? Univ ersi ty o f Pe CE -co mp lete. Q' dat a? ove rhe ad w ted and. 7 rea l-tim e sy stem s g roup, ass erti ons cha f. STORY #0000009: Re: eve tha t de scri bes sys Wh y D istr ibu ted Mo. *a g ( req Univ ersi ty o f Pe. . bol ic d Tem por al L. Ons ists of eve ntu alit ies.. Tho se t hat are, nia Dat a! Dat a! Data. STORY #0000010: End s an d trib ute d sy esu lt c han. Por al l ogi c., me req EX wa it ) : Ev. Etim e in the fut ure ., com !. *a g ( req f ev ent s de Un ive rsit y o f Pe. Pon ent s. nG oal : G ive n so t. STORY #0000011: Me req, stem ribu. Com ple xity Dat a!. Om e re, tem sat isfi es p ces s al geb ra d esc ript ion of a sy. Esc ript ion of a sy *a pro me req. Ack now min ism and diti ons tha t m ust be t rue loc. STORY #0000012: Ges t C hec k if sys. Mu nic atio, duc ed t hat tra ce. nH ow do es t he r. Stem ays , he lp ishw. Ent ual ly s nC onj ectu. Na nal yze de. om e re. STORY #0000013: Nns ylva f. Nq ues tion jun ctio. Ues t o"" Stro. ., P' | | Q' nR esu lt: P. Led ged ann an Univ ersi ty o f Pe. STORY #0000014: Form ula in tem, Ack ! ld h ave pro. F di stri but ed s que st w nC an e xpr ess no n-d eter. ! ific atio. Nly pro per ato rs, like ogi c. Ld h ave pro per ty i n te Ack ?. STORY #0000015: To d esc ribe ted sys P || Q. Any on e no, nia Univ ersi ty o f Pe. Com pat ible tem sat isfi es p Wh y D istr ibu ted Mo. Nns ylva, ann an ge i f w e lo. Af ack now led ge ) nns ylv ani a tDat a!. STORY #0000016: Ces s al geb ra d esc ript ion of a sy mo nito ring are har d. I ndi vid ual n a dist ribu. Per ato rs, like, ues t o"" ula " fo. Esc ript ion of a sy mu nic atio. Tem has a s tron nns ylva. C hec k if the sys tem cou nG lob al v o p ay s. STORY #0000017: Nia, 6 Rea l-tim e Sy stem s G roup ula " fo. P || q' ays , he lp bol ic d. R a dist, ly a nd the alg orit hm ic a nd com. Ore gen, mp le, loo k at uire me nt o. P || q' ge i f w e re. STORY #0000018: And rea son abo ces s al geb ra d esc ript ion of a sy stem. Join t w ork wi th, r a dist obt ain con. P' nG oal : G ive n so P || Q'. For exa, C hec k if sys per ties tha t ca n b e de. Esu lt c han, duc ed t hat tra ce. oda l co nne ctiv es l ike po ssib. STORY #0000019: Ted sys, ewe d as me ssa ge s stem. Univ ersi ty o f pe esu lt c han. Min ism and per ties tha t ca n b e de ld h ave pro. . mo nito ring are har d. I ndi vid ual. Duc ed t hat tra ce., ishw nia. STORY #0000020: Ack ? ass erti ons cha Wh y D istr ibu ted Mo. F par alle lism. Ry d istr ibu ted sys Dif ficu 7 Rea l-tim e Sy stem s G roup. *a pro, 2 Rea l-tim e Sy stem s G roup cau se a wa it.. 2 rea l-tim e sy stem s g roup, Univ ersi ty o f Pe erif icat ion and. sincerely, august highland muse apprentice guild --"expanding the canon into the 21st century" www.muse-apprentice-guild.com culture animal --"following in the footsteps of tradition" www.cultureanimal.com ========================================================================= Date: Fri, 3 Oct 2003 02:11:51 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: August Highland Subject: TRIPLETS MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit TRIPLETS These are the first 20 triplets from a epic-length poem (one million triplets) that is being written to expound upon the important lessons of life, lessons that are not displayed on the surface of the poems but are revealed from the very heart of the writing. Woven into these valuable lessons are passages expressing every shade of personal feeling, emotions which nearly everyone feels, including those that both arouse and naturally arise from reflection. TRIPLET #0000001: *n tt - j apa, n? int o co. Bec aus e th e in str. set 3(p ass ive ) bu. Flic ts w, not -las Lev els of Da ta P. =1 ,or 1-w ffic t pr obl em :. N-b loc ks, ata : EC s th an 1. TRIPLET #0000002: *h ard -co ded, Gtr Fin dPk al i n m. -ip mu ltica st a nd one terf ace at a ti me ON sho. E si ze oS alg orit. *u ses 77 .76 mh, file s. B NACKs received. Blo ck, tag : ext rac t de. TRIPLET #0000003: Pro ces s", => exe c. t ime he?. Nd oth er a 1 * 1.4. Me r an -in the ho pes blo ck #. Slid es ake Dec all and. Filte r_e ven .rcp -7 NA ost trip les. TRIPLET #0000004: Ma ppi ng, Mu oSe gm ent Rec abl e M. Rx cel ls nt& , W ork Qu eue *S cal abl e te. Ces s an, *E CS RM Sim ula tion. Nt& , w ork qu eue ow 1(a ctiv e) r ege ner ate. Oc. ma y su, (k)=7 x. TRIPLET #0000005: Vc 45, -N AC K tr em ory. Ser pac kag e c lass de fini tion Fra mew Bas e cl ass for. -m ulti cas rfac eNa me=" -b its i. Get the, ? a w ill b. Nt& ) *a ddr ess fro. TRIPLET #0000006: Er= duc ed by fac tor of 7 DC or AM. Ent () off. M h ead ers for all cell Slid e m aste r Rece d a CR C32. *p lay bac, cid e fi lter pro X 1 1/7 80 (a C. Mp le u, stri ng Pac , y1 , z1 , u1 ". TRIPLET #0000007: Pe i den tifie 3 ra w c apt ure mo. Cka ges tha tion /An aly sis alg orit Mu ltica. Ey o not -las. T to wa it m, wi th 1 ycl e. Gen era te:g, sily unk s $N. TRIPLET #0000008: Int o co, hre ad ive. Me=" PC I 10 nly wa. Late joi ner *m iss pen. Izes ?, nne l id ent ifie r (1 6 b its) stin g (F. Er b its o, A S cal abl e M Can con tain Co ntro. TRIPLET #0000009: Ck i nto cac k k+1 k+2. N, Ver texS flus h. Te, lyz e" ssiv e da ta c apt ure (vi a. Sca lar pac ket s, b ple xity. On car ds o be i ncl ude. TRIPLET #0000010: He nt(c ons t ed m:: Eve Red uci ng Mis. Me dia .mi t.ed, k+1 k+2 Non per sist ent. Ohd yh, k Ori gin al p ent () b. K ori gin al p C3 link , ca n ea tter s. N, d se ll c ard for et. TRIPLET #0000011: Pa cke RC P fi lter=<. Nes ting rfac e PTI pay loa d ty. Ting sc ala ble re, ntir e ru OC 3M ON ?. M/b arc /mb, 3M ON ? r cr eate. Stri ng pac, me r an ent (ed m:: Eve. TRIPLET #0000012: X: pro ces sev, exe c. t ime h. E ca che s (c olu mn cac nN um ber &) Con trol inf orm. Ach es wh ere am e: v. Er= blo ck #. F cas t=f ec. tim e du stat e. TRIPLET #0000013: Eco $na, can add er p ack age ins tan ces tha. Gev ent () kag es=. T: lo g(b loc k-s ize) ck enc e be en m. Sca lar pac ket s, b DO S 6 .x er. At m n =I C * (1. 5 + 0.1 a s et o. TRIPLET #0000014: Nt(e dm ::ev -c ach. Tati ons tati ons uire s:. En y Ins ide VC 45. Dat a, late joi ner por t pa. Clu des Con trol lers can fwk ::R esu. TRIPLET #0000015: Ent (), r, st f or e odi ng. Pen tium -si mu late wo ja@. Pu, stri ng Pac car ds p. Dat a is r oug hly do ubl ed! ! sta tist ics. Ad c o ptic al s plit ter, eit her 50 /50 mm filte r_o dd. rcp. TRIPLET #0000016: Libr arie s 1.5. Rog ram er V PI/V CI em ory. Ce. blo ck. 00- 05- 03 $, e ca pac ity adv ant age allout po ints. Ck i nto cac, TM L: as an ". TRIPLET #0000017: Vc 45 CI com. The flo, rf@ eed s to be don e. Hat sta *c ach e si ze i s of ten les k+1 k+2. *n sf vbn FD DI, and Dum pEv ent. Bas ic c ach e a lgo rith m, gra phi cs tha t is sc ala ble to l wit ch. TRIPLET #0000018: G as soc iati vity, *v icti m c con trol ler. Tx cel ls fram ewo rk p ack age . orf. Nce nam 00- 12- 04 $. E pr evio us c ell for, he t o p lace red uce s da. Stil l qu the Fra Tim e. TRIPLET #0000019: Ma ppi ng 3M ON ? *A ppl ied Te leco. *d o y ou wan, DS 3 H ide s w. Req ir & ma. N alg orit hm *P res ent ed a m. Rom reg iste rs? CP file free sta ndi ng inte. TRIPLET #0000020: Eed s to be don e, ssiv e da ta c apt ure (vi a ent (). M s ar, por aril y c ach -e ver yon. N-c ard ), ully ass oc. g. For on e-to Pos Pac k $N A2 00e. -c onf lict toty pes hav *m iss pen. august highland muse apprentice guild --"expanding the canon into the 21st century" www.muse-apprentice-guild.com culture animal --"following in the footsteps of tradition" www.cultureanimal.com ========================================================================= Date: Fri, 3 Oct 2003 09:19:06 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Andrew Lundwall Subject: Tin Lustre Mobile News Content-Disposition: Inline Content-Type: Text/Plain; Charset=ISO-8859-1 Content-Transfer-Encoding: Quoted-Printable MIME-Version: 1.0 (WebTV) The Tin Lustre Mobile is pleased to present brand new visions, brand new issues: ....Volume 3.. Issue 1, features the work of: -Alison Daniel -Ian Randall Wilson -Iain Matheson -Jeff Harrison -L. Ward Abel -Anvil Legal Featured artist: -Pieter Zandvliet http://www.poeticinhalation.com/vol3i1.html ......Volume 3... Issue 2, features the work of: -Graham Catt -Sanjay Trehan -Ruth Mark -Jack Donahue -Paul Thompson -Laurence Miller -William John Watkins -Thomas Fink Featured Artist: -Gordon Moyer http://www.poeticinhalation.com/vol3i2.html =A0 .....In the feature gallery are: -Richard Denner's "falling into place" (an art gallery) -Four poems by the mysterious Andrew French -Scott Malby's essay "deconstructing the postmodern" -"poetry is my religion...a review of chin-chin in eden by corey mesler..." by Star Smith http://www.poeticinhalation.com/feature.html Best wishes, Andrew Lundwall Founding Editor of the TLM andrew@poeticinhalation.com ========================================================================= Date: Fri, 3 Oct 2003 10:09:11 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: allegrezza Subject: New Issue of _moria_ Comments: cc: BRITISH-POETS@JISCMAIL.AC.UK, POETRYETC@JISCMAIL.AC.UK MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable The new issue of _moria_ (www.moriapoetry.com) is online. It contains = poetry and translations by: Sheila Murphy Andrew Cliburn Stephen Kirbach Charles Perrone Noah Eli Gordon Jorge Lucio de Campos Christophe Casamassima Dana Teen Lomax Kari Edwards Steven Steward Elias Siquerios Raymond Farr Vernon Frazer Christopher Barnes Jnana Hodson Torii Shizo Taylor Mignon As always, I'm reviewing submissions of poetry, poetry reviews, and = theory articles. =20 Bill Allegrezza www.moriapoetry.com ========================================================================= Date: Thu, 2 Oct 2003 23:24:34 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: George Bowering Subject: Re: political awareness In-Reply-To: <002601c3897a$50fd5160$4996ccd1@CeceliaBelle> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" >not a citizen,George, of any nation but yours; snd thus unable to run for >political office in California, dammit. Bromige But from what I have seen, you can be from another planet! >-----Original Message----- >Here is what I have not heard the answer to yet: Bromige, are you > >running for Governor of CaLIFORNIA? > >-- > >George Bowering > >Minimizes the subconscious. > > > >303 Fielden Ave. > >Port Colborne, ON, L3K 4T5 -- George Bowering Minimizes the subconscious. 303 Fielden Ave. Port Colborne, ON, L3K 4T5 ========================================================================= Date: Fri, 3 Oct 2003 16:05:00 GMT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Frank Sherlock Subject: Tomorrow Night! Bhanu Kapil Rider & Bob Perelman @ La Tazza October 4 1884- First issue of anarchist paper, The Alarm 1967- Radical American songwriter Woody Guthrie dies, New York City Saturday October 4, 2003 at 7:00 Jena Osman presents: Bhanu Kapil Rider and Bob Perelman La Tazza, 108 Chestnut St. Philadelphia Bhanu Kapil Rider's publications are a book of poetry, The Vertical Interrogation of Strangers (Kelsey St. Press), and a chapbook of prose, Autobiography of a Cyborg (Leroy Press), forthcoming as a full-length book from Leon Works. She has recently completed a novel, The Wolfgirls of Midnapure. Whe lives in Colorado, where she teaches writing workshops at Naropa University and maintains a massage therapy practice. Bob Perelman is the author of ten books of poems, most recently Ten to One: Selected Poems (Wesleyan). His other books of poems include Virtual Reality, Captive Audience (The Figures, 1988), Face Value (Roof Books, 1987), The First World (The Figures, 1986), and a.k.a (The Figures, 1984). He has written two critical studies, The Marginalization of Poetry: Language Writing and Literary History (Princeton University Press, 1996) and The Trouble with Genius: Reading Pound, Joyce, Stein and Zukofsky (University of California Press, 1994). teaches in the English Department at the University of Pennsylvania. Reading Report: The new season kicked off with Baltimore’s Chris Toll reading passages from his flying saucer bible. He unleashed the mike & continued with his measured intensity, like hate reads a newspaper. He held the room hostage. Poetry was a raygun in the hand of a Bigfoot. Kim Soli made interpretive balloon animals while Chris read his poems. Deborah Richards delivered a collaborative performance with Kamili Feelings & Alicia Askenase, set in the B&W film era. Her middle piece was a kind creation myth- of the Republic of Congo. They performed the title piece of Deborah’s new book, Last One Out from back to front. It was a kind of rewind that exposed the process of the piece set in process. Nicole & I joined Fran Ryan at Sarah Katz’s 30th birthday party in Fishtown, where N chatted w/ old filmmaker friends & I argued w/ a guy defending his father’s gripe against the Mural Arts Program. We retired to Dirty Frank’s & met Hassen & CA in the doorway, straight from the airport. Announcements: Latin American Solidarity Night Thursday Oct. 9th 7:30 the A-Space 4722 Baltimore Ave Latin American Solidarity night will offer updates on human rights struggles in Mexico and Guatemala followed by information and education about (and planning for) the upcoming protests of the FTAA in Miami (Nov. 20-21st) Latin American Documentary Film Festival Oct.7-10 Princeton University, NJ Leading filmmakers from Latin America and the United States will be discussing their working methods and their approach to the documentary, in a series of screenings, lectures, panels and workshops. Multiple locations, at the Princeton University Campus, Princeton, see details on how to get to all locations in the link. http://spo.princeton.edu/filmfestival/index.html Get on the bus to Harrisburg- to make it easy to get to the Rally for a Moratorium on Executions on October 11, buses are being organized from all four corners of the state. If you live in eastern Pennsylvania, you should only be a short distance from being close to one of the bus departure points. Call today to reserve your seat on the bus. To register for buses from: Philadelphia (15th and Cherry Streets, near Suburban Station, 12:30 p.m.). Register by calling 215-724-6120 or e-mail PAUADP@aol.com. Germantown (First United Methodist Church of Germantown, 6023 Germantown Ave., 12:30 p.m.), call 215-242-6619. Readings Elsewhere: Wednesday October 8- 8pm Carol Mirakove & Greg Fuchs will read at the Poetry Project at St. Mark's Church 131 E. 10th Street @ 2nd Avenue NYC Check out: www.phillysound.blogspot.com --------------------------------------------- This message was sent using Endymion MailMan. http://www.endymion.com/products/mailman/ ========================================================================= Date: Fri, 3 Oct 2003 09:29:55 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Stephen Vincent Subject: Gorrilla Mothers Confront Schwartzenegger (?) In-Reply-To: <001501c38979$6c56ecb0$eef9cd80@administpii39e> Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit I just heard third hand that different contingents of a group called the Gorilla Mothers (GMs) wonderfully and outrageously confronting Arnold as he takes his four bus campaign for California Governor tour north towards Sacramento. At each campaign stop, the Gorilla Mothers - apparently a new generation of the legendary Gorilla Girls - strategically positions groups of 50 to 100 fully costumed black and brown Gorillas in front the Candidate's podium. Taking a cue from Claus Oldenberg's early work, each Gorilla is wearing a huge hat in the form of a thick pink and white marbled paper meche breast, each one topped with a very sensuous looking conical tangerine nipple. The Gorilla Mothers are reported to being carrying signs that variously read, "We've got what you want, Arnold", "Grope & Speak", "Are we big enough?", "Don't Forget Us at the Polls." At the first demonstration in Hollywood, the Mothers apparently flustered Arnold almost to pieces. Straining to keep his eyes off the crowd of bobbing breasts, he was said to keep repeating, as he has since yesterday, "I will be the champion of women. I will be the champion of women." Can anybody down the coast confirm this rumor? The images haven't gotten on to Fox or CNN yet. Let me know, Stephen Vincent ========================================================================= Date: Fri, 3 Oct 2003 13:14:06 -0400 Reply-To: olsonjk@delhi.edu Sender: UB Poetics discussion group From: Kirby Olson Organization: SUNY Delhi Subject: Re: Remembering Edward Said /Hilton Obenzinger MIME-Version: 1.0 Content-Transfer-Encoding: 7bit Content-Type: text/plain; charset=us-ascii A figure that I find quite fascinating in the various conversations is Andre Glucksmann. I read one of his books years ago, but he seems to have shifted positions. He considers himself to be a leftist, but he is also tricky. He doesn't always follow the political line. Yesterday I read a great editorial by him in the Wall Street Journal. But this interview sparks all kinds of interest in me, and sends the general political line in many directions with which I mostly or entirely agree: http://www.hrvc.net/articles/glucksmann2.html I'm mostly glad to be in a pluralist society in which there are many different viewpoints and that leads to gridlock. I would hate for this country to come to some kind of hideous agreement such that only the left was right, or only the right was left. I think it's a good thing to have a kind of balance in the house and senate such that they can block one another, and just don't want the balance to tip too far in any direction. But what I would also like is for the left to be more iconoclastic toward itself, and for the right as well. It seems that in the polarization that's taking everybody on the left sounds alike, and so too on the right. In Europe there are fifty parties in even smaller countries, so you hear a lot more viewpoints. At least there are still two here. Edward Said sounds like everybody else to me, I'm sorry to say. I was grateful to hear about him burning the graduate student. It's the only time I've ever heard anybody say anything against him while remaining more or less on the same side. The other side just hates him, and won't hear anything he had to say. Glucksmann is very marginal, and doesn't have a wave to follow him. I appreciate people like this. Generally you have to be on one side or the other to be heard. Glucksmann is also interested in having us hear about people whose positions are so complex, such as the Chechnyans, that neither the right nor the left wish to discuss them in this country. -- Kirby ========================================================================= Date: Fri, 3 Oct 2003 10:17:04 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: kari edwards Subject: its hot and ready to cook In-Reply-To: <005101c389c0$4df788a0$8708400c@kelly> Content-Type: text/plain; charset=WINDOWS-1252; format=flowed Mime-Version: 1.0 (Apple Message framework v552) Content-Transfer-Encoding: quoted-printable yea yea you have heard it before ambit ambit ambit.. well.. as with any=20= new venture they need your support.. to may journals get stated and=20 fail... this is an opportunity to support the community... please come=20= to the reading tonight, and or please order at least this issue or a=20= years worth .. thank you west coast editor kari edwards PLEASE FORWARDS AMBIT : Journal of Poetry & Poetics. WEST COAST RELEASE READING Oct. 4, 2003 7:30 PM 3435 Cesar Chavez #327 San Francisco taylor brady rob halpern camille roy stephanie young kari edwards video art by Marcus Civin** questions or directions contact kari edwards terra1@sonic.net. (bring some drinkables and foodables if ya want) Reminder: Oct. 26 7:00 pm, two excieintg readers: Barry Schwabsky & Eileen Tabios Book relase party for, OPERA: Poems 1981-2002, by Barry Schwabsky. Barry Schwabsky is the author of _OPERA: Poems 1981-2002_ (Meritage=20 Press, 2003); info at www.meritagepress.com/opera.htm. Eileen Tabios is the author of _Reproductions of the Empty Flagpole_=20 (Marsh Hawk Press, 2002; info at www.marshhawkpress.org/tabios.htm. This is another home reading brought to you by, Taylor Brady,Stephanie=20= Young, and kari edwards. DIRECTIONS: to 3435 Cesar Chavez #327 between Valencia and Mission, on the South side of Cesar Chavez is a=20 parking lot entrance; which when you first enter from Cesar Chavez will=20= be (some) guest parking. Parking in the area (on the street) is not to=20= bad. Once you have entered the parking lot go to your left past a=20 small printing company and directly behind that (to the west) will be=20 double glass doors. @ left of the Doors is a =93buzzer system=94 press = the=20 number 043. someone will pick up the phone and buzz you in. Mass transit. Bart - get off at 24th go south on Mission, (the numbers will get=20 higher) walk 3 blocks, cross Cesar Chavez (there will be a stop light)=20= go right 3/4 of a block, turn left in to parking lot. MUNI- get off @ 27th walk north (the opposite direction the muni would=20= be going from down town) walk one block turn right on Cesar chavez,=20 Cross Delores, Guerrero and then cross valencia, turn right into first=20= parking lot. Buses- on Mission take (going southish)- 14. 14L, 49 (get off at 26th -=20= 1/2 block from cesar chavez - walk south - cross Casar Chavez turn=20 right; Valencia - 26 get off just past Cesar Chavez , cross Valencia on=20= Cesar Chavez, turn right into parking lot.. **Marcus Civin is a painter and performance artist. Recently, has=20 exhibited at 66 Balmy and The Blue Room ________________________ AMBIT2 INCLUDES: AMBIT : Journal of Poetry & Poetics Christophe Casamassima John M. Bennett Edmund Berrigan C. A. Conrad Catherine Daly Thomas Fink W. B. Keckler Donna Kuhn Chris McCreary Kyle Schlesinger Steve Timm Ryan Walker Taylor Brady kari edwards Rob Halpern akilah oliver Doug Rice Camille Roy Jocelyn Saidenberg Eileen Tabios Nico Vassilakis Stephanie Young Subscriptions of AMBIT : Journal of Poetry & Poetics can be made=20 through Furniture_Press at the address below. One issue is $5. Two=20 issues are $9. Receive the first two copies of AMBIT if you make out an=20= order for two issues. Please send check or money order to: Furniture_Press 229 D Rodgers Forge Road Baltimore, MD 21212 Make checks and money orders payable to Christophe Casamassima or=20 Furniture_Press. ========================================================================= Date: Fri, 3 Oct 2003 12:06:51 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: tom bell Subject: creativity Comments: To: BRITISH-POETS@JISCMAIL.AC.UK MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit http://www.newsandevents.utoronto.ca/bin5/030930b.asp tom bell Some poetry available through geezer.com Section editor for PsyBC www.psychbc.com Write for the Health of It course at http://www.suite101.com/course.cfm/17413/seminar http://www.suite101.com/course.cfm/17413/overview/37900 not yet a crazy old man hard but not yet hardening of the art ========================================================================= Date: Fri, 3 Oct 2003 14:10:13 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: Warning (fwd) MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Hi - if you get ANYTHING from me with an attachment - it's NOT ME - it's a SPOOFED VIRUS - don't open it! - Alan http://www.asondheim.org/ http://www.asondheim.org/portal/ http://www.anu.edu.au/english/internet_txt Trace projects http://trace.ntu.ac.uk/writers/sondheim/index.htm finger sondheim@panix.com ========================================================================= Date: Fri, 3 Oct 2003 13:31:24 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Chicago Review Subject: = Books In The White House In-Reply-To: <200310030402.h9342xnx028834@midway.uchicago.edu> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" Forgive me if this has come up already; we're on "digest" over here... It is common knowledge (or so it was thought) that il presidente is literate, and that he reads on his knees, the same book, one page every day. His text is -My Utmost for His Highest-, by Oswald Chambers (you can read along with the boss a http://www.gospelcom.net/rbc/utmost -- today's gloss is pasted below). It is not certain how frequently he consults the good book itself. It seems his theodicy is coming out cliff's notes. No just war lore there, I don't think. More accts of the habit: http://www.thescotsman.co.uk/international.cfm?id=265722003 http://www.timesonline.co.uk/article/0,,5470-599162,00.html http://www.nationalreview.com/comment/comment-kengor030503.asp / Eirik Steinhoff. * * * October 3 The Place of Ministry He said to them, 'This kind [of unclean spirit] can come out by nothing but prayer and fasting' -Mark 9:22 His disciples asked Him privately, 'Why could we not cast it out?' " ( Mark 9:28 ). The answer lies in a personal relationship with Jesus Christ. "This kind can come out by nothing but" concentrating on Him, and then doubling and redoubling that concentration on Him. We can remain powerless forever, as the disciples were in this situation, by trying to do God's work without concentrating on His power, and by following instead the ideas that we draw from our own nature. We actually slander and dishonor God by our very eagerness to serve Him without knowing Him. When you are brought face to face with a difficult situation and nothing happens externally, you can still know that freedom and release will be given because of your continued concentration on Jesus Christ. Your duty in service and ministry is to see that there is nothing between Jesus and yourself. Is there anything between you and Jesus even now? If there is, you must get through it, not by ignoring it as an irritation, or by going up and over it, but by facing it and getting through it into the presence of Jesus Christ. Then that very problem itself, and all that you have been through in connection with it, will glorify Jesus Christ in a way that you will never know until you see Him face to face. We must be able to "mount up with wings like eagles" ( Isaiah 40:31 ), but we must also know how to come down. The power of the saint lies in the coming down and in the living that is done in the valley. Paul said, "I can do all things through Christ who strengthens me" ( Philippians 4:13 ) and what he was referring to were mostly humiliating things. And yet it is in our power to refuse to be humiliated and to say, "No, thank you, I much prefer to be on the mountaintop with God." Can I face things as they actually are in the light of the reality of Jesus Christ, or do things as they really are destroy my faith in Him, and put me into a panic? * * * * * * * * * CHICAGO REVIEW 5801 South Kenwood Avenue Chicago IL 60637 http://humanities.uchicago.edu/review/ ========================================================================= Date: Fri, 3 Oct 2003 14:17:22 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Poetry Project Subject: Poetry Project Events 10/6-10/10 Mime-version: 1.0 Content-type: text/plain; charset="ISO-8859-1" Content-transfer-encoding: quoted-printable Hello hello! A big thank you to everyone who made it out to the first reading of the season=8Bboth the audience and the volunteers did a lovely job in making it a smashing success. Very smashing. Coming up next week: * October 6, Monday Open Reading Sign-up begins at 7:45 p.m. [8:00 p.m.] October 8, Wednesday Greg Fuchs & Carol Mirakove Greg Fuchs is a writer and photographer who lives in New York City. He is the author of Came Like It Went, New Orleans Xmas, and Uma Ternura, and a regular contributor to Clamor and Unarmed. Soho Letterpress currently exhibits his documentary photography. Carol Mirakove is the author of WALL (Ixnay, 1999), temporary tattoos (BabySelf Press, 2002), FUCK THE POLIS, an= d OCCUPIED, in which she names a lot of people who have been getting away wit= h murder. Her work appears in Arras, The DC Poetry Archive, The East Village, Tool: A Magazine, Xconnect, and elsewhere. She lives in Brooklyn. [8:00 p.m.] October 10, Friday Book Party for Keith Roach Keith Roach is a well-known veteran of both the Poetry Project and the Nuyorican Poets Cafe, and a former host of the Nuyorican=B9s Friday Night Slam. The World Changes At The Expense of Black People is his first book, published by Clique Calm Books. Tonight he will be reading with Felice Belle, Kayo, and other special guests to be announced. [8:00 p.m.] Some Announcements: * A Newsletter misprint: Brian Kim Stefans=B9 workshop will begin October 18th, not February 19th. Wanna join? Email: info@poetryproject.com, or call 212-674-0910.=20 * If you or anyone you know would like a FREE work table that currently inhabits approx. five and-a-half feet of The Poetry Project office, please let us know. We=B9re makin=B9 some room. The Poetry Project is located at St. Mark's Church-in-the-Bowery 131 East 10th Street New York City 10003 info@poetryproject.com www.poetryproject.com Admission is $8, $7 for students/seniors and $5 for members (though now members who take out a membership at $85 or higher will get in free to all regular readings). We are wheelchair accessible with assistance and advance notice. For more info call 212-674-0910. ========================================================================= Date: Fri, 3 Oct 2003 16:06:39 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Daniel Machlin Subject: Pretty Ugly Future Lounge (10/4) Mime-Version: 1.0 (Apple Message framework v552) Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: quoted-printable the PRETTY UGLY FUTURE LOUNGE =A0 a benefit for three independent Brooklyn presses: Beladonna*, Ugly Duckling Presse, and Futurepoem books =A0 Saturday, OCTOBER 4th,=A0starting at 7:00 pm (door prizes for=20 early-comers) until ____? at the NEST artspace -- 88 Front Street, DUMBO, Brooklyn (F train to York (first stop brooklyn), A/C to High (first stop=20 brooklyn) Tel: 718.852.5529 $10 (includes 1 drink + hors d'oeuvres) =A0 Cocktails, Weisse Beer, Wine, Hors D'ouvres! Pretty Ugly Future Fashions! Books! Dancing! =A0 Music by: Matty Charles & The Valentines, The magnetic voice stylings of Ethan Lipton, Vintage DJ Jonathan Jacobs, & Surprise Guests at Midnight. =A0 typewriter installations,=A0light projections by Joel Schlemowitz and real live=A0art by love artist Kathe Izzo =A0 All proceeds will go to the three non-profit literary organizations to=20= help publish more and more great books. Thanks to Brooklyn Brewery for brewing the beer. =A0 The Nest artspace (nestarts.org) is located at the corner of Washington=20= and Front Streets in=A0the DUMBO part of Brooklyn. Three=A0blocks from York St. F station in the direction of Brooklyn=20 Bridge (south) Through the park and downhill (west) two blocks from High Street A/C=20 station =A0 For directions or more info call: 718-852-5529 Or see http://www.uglyducklingpresse.org/events.html Futurepoem books is supported in part, by a generous grant from the New=20= York State Council on the Arts Literature program. Plus grants from=20 The New York Community Trust and from Fractured Atlas=20 (www.fracturedatlas.org). ========================================================================= Date: Fri, 3 Oct 2003 15:43:02 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Harrison Jeff Subject: marvelously blind hair Mime-Version: 1.0 Content-Type: text/plain; format=flowed the cracklings of pension the stumbling tops (are round) circus leaf the faces depth my ghost a bouncing panting about see rocks open in horses silky her wig drunk-translucent scored wound primed out drank the Resurrection but not fictional hair pension the Resurrection bouncing primed of panting her drunk-translucent wound open round my horses drank Resurrection (Resurrection drunk-translucent) husk lust in open blood body all slaughtered astray intertwined slim in huge meat readiness her Latin dead green over soft rainy bone hardly nothing so only lies carcasses' eye table lips' lies prayer red her pruned harangue newspaper dress squeezed evangelical exteriority regrets went loyal on up sheets with suits munching in liquor sneak back the worm always careful dashed pigment enveloped always the striped beasts seducing eating petrified wings progressed beyond our witness sunshine-meek cats, you're the carrion the sugar shuts wryly moist future regions diminishing the marvelously blind hair plot antibiotic carrion is another marvel: wet worm in ache box envoi her sugar horses are silky horses her slaughtered ache box her primed harangue her lips always bouncing with Resurrection their prayer drunk-translucent _________________________________________________________________ Get MSN 8 Dial-up Internet Service FREE for one month. Limited time offer-- sign up now! http://join.msn.com/?page=dept/dialup ========================================================================= Date: Fri, 3 Oct 2003 16:43:03 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Gary Sullivan Subject: MCCAFFERY & DREYER READING TOMORROW Mime-Version: 1.0 Content-Type: text/plain; format=flowed Join us tomorrow, Saturday, October 4, as we kick off the 2003-04 Segue Series at Bowery Poetry Club with readings by Lynne Dreyer and Steve McCaffery The Bowery Poetry Club is at 308 Bowery, just north of Houston, in NYC. Segue readings run from 4:00 p.m. - 6:00 p.m. $5 admission goes to support the readers. LYNNE DREYER's books and chapbooks include: Lamplights Used to Feed the Deer; Stampede; Step Work; The Letters; Tamoka; The White Museum; and a round-robin "intraview" with Joan Retallack, Phyllis Rosenzweig, and Tina Darragh. About The White Museum: "What an aewsome factory or heartbeat this indeed is, the endless references to male-and female-ness getting subsumed in the open mouths of both, emerging with the new remedies of the ancient years. --Bernadette Mayer Lynne Dreyer is currently working on a new project, Catch As Catch Can. Don't miss this rare NYC appearance! STEVE MCCAFFERY was a founding member of the Four Horsemen and is as prolific and influential a critic as he is a poet. His 20-odd books include: The Cheat of Words; Prior to Meaning: the Protosemantic and Poetics; and the two-volume selected and previously uncollected Seven Pages Missing. One of our most adventurous poets. A full bio, an interview, and various writings, can be found on Steve McCaffery's EPC home page, at: http://writing.upenn.edu/epc/authors/mccaffery Funding for the Segue Reading Series is made possible by the continuing support of the Segue Foundation and the Literature Program of the New York State Council on the Arts. _________________________________________________________________ Help protect your PC. Get a FREE computer virus scan online from McAfee. http://clinic.mcafee.com/clinic/ibuy/campaign.asp?cid=3963 ========================================================================= Date: Fri, 3 Oct 2003 14:45:51 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Lanny Quarles Subject: The Migration of Foramen Magnum Comments: To: "WRYTING-L : Writing and Theory across Disciplines" Comments: cc: Jim Leftwich , The Ninth Eye , edx MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable The Migration of Foramen Magnum a scarlet turtle face when in close-up to the sauntering = violins reveals the protohumans scampering = [YALKYALKYALK] across a velvet if bloody = topology to a growl of lions = as trumpets micropithecus defies = gravity squatting to sup = at the edge of the inverted aqueous = meniscus how the violins approximate = speach: edidaxato / = poiein-prattein how the world is = an eyeball and a surface is one of the closely = guarded secrets of sentient wood = as its crosses the ages putting on its own special = sacrament of forms one after another enveloped = in the essential=20 segmentalism ; kkkk kkkk = kel eei nonkk kk k kk kk U+Z+E+D+Aorbital K-seg {Seven Samurai{_-_-__---__- = oh, how the keen smugglers dance! how their pants = are like mirrors where = funhouses dwell how saints are jostled their woody heads as empty as clouds and the churning = of the violins the strings = naked to the wind somewhere beneathe = the smallest thing there isn't an opera = beginning [YEMMMM-0-YEMMM] but an = orchestra pit boiling = with miraculous centerless = daemons of deinon living = instruments dancing=20 and exchanging=20 = i n t e r ch ang eab le p arts =20 ========================================================================= Date: Fri, 3 Oct 2003 20:46:56 -0230 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Kevin Hehir Subject: WANL Reading MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Writers' Alliance of Newfoundland and Labrador presents Jennifer Clouter & Michael Crummey Monday, October 6, 8 pm LSPU Hall Gallery Free. Always. Michael Crummey is the author of three books of poetry, a collection of short stories and a novel, River Thieves. Winner of the Raddall Atlantic Fiction Award and the Winterset Award, shortlisted for the Giller prize and the Amazon/Books in Canada First Novel Award, River Thieves was a national bestseller and has been published in the US, UK, France and Holland Jennifer Clouter won the Frog Hollow Books Poetry Prize in the 2002 Atlantic Writing Competition for Unpublished Manuscripts. She is also a Provincial Arts and Letters Award winner for poetry and her stories and her poems have appeared in TickleAce. Last year she participated in CBC Radio's St. John's round of the National Poetry Face-Off. -- ========================================================================= Date: Fri, 3 Oct 2003 16:55:20 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mark Weiss Subject: Re: Remembering Edward Said /Hilton Obenzinger Comments: To: olsonjk@delhi.edu In-Reply-To: <3F7DAE5E.704A4F3E@delhi.edu> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed Lots of leftists in the US, but very few in government. I would be able to agree a bit more with your position if, for instance, there were a block of senators or representatives pushing for socialized medicine (which, by the standards of most of the rest of the world, is a pretty moderate position)--there are one or two. And so on for a slew of other issues. The legislative balance, such as it is, pits the right against the mildly left of center. Mark >I'm mostly glad to be in a pluralist society in which there are many different >viewpoints and that leads to gridlock. I would hate for this country to >come to >some kind of hideous agreement such that only the left was right, or only the >right was left. I think it's a good thing to have a kind of balance in >the house >and senate such that they can block one another, and just don't want the >balance >to tip too far in any direction. But what I would also like is for the >left to >be more iconoclastic toward itself, and for the right as well. It seems >that in >the polarization that's taking everybody on the left sounds alike, and so >too on >the right. ========================================================================= Date: Fri, 3 Oct 2003 20:00:42 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "David A. Kirschenbaum" Subject: Lawrence Fixel memorial in S.F. In-Reply-To: <193F5944-F5DD-11D7-9D63-0003936C4860@verizon.net> MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 8bit Kent Taylor asked me to post this. thanks, david -------- Please forward --------------- Please join us for a memorial honoring the life and work of Lawrence Fixel Sat. Oct. 25, 2003, 1-4:30 p.m. Thomas Starr King Room Universal Unitarian Church 1187 Franklin (corner of Geary) San Francisco, California ========================================================================= Date: Fri, 3 Oct 2003 21:23:28 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Halvard Johnson Subject: Re: Remembering Edward Said /Hilton Obenzinger In-Reply-To: <5.1.0.14.1.20031003165128.01ef9e40@mail.earthlink.net> MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Quite right, Mark. There are some leftists left, but if Bush has any luck with his No Child Left education policy, there'll soon be none. Hal "Cuidado: Piso Mojado." Halvard Johnson =============== email: halvard@earthlink.net website: http://home.earthlink.net/~halvard { Lots of leftists in the US, but very few in government. I would be able to { agree a bit more with your position if, for instance, there were a block of { senators or representatives pushing for socialized medicine (which, by the { standards of most of the rest of the world, is a pretty moderate { position)--there are one or two. And so on for a slew of other issues. The { legislative balance, such as it is, pits the right against the mildly left { of center. { { Mark ========================================================================= Date: Fri, 3 Oct 2003 18:45:27 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Rodney K Subject: Two Slawomir Mrozek Plays in S.F. MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit If you're in or around San Francisco in October, don't miss these two plays produced by foolsFURY, an excellent local theater company with a penchant for verse drama. The Mrozek plays are in prose, but I saw the previews last night and they're terrific. Anyone have info on the playwright? foolsFURY Theater Company presents Slawomir Mrozek's OUT AT SEA & THE PARTY October 2-26, 2003 Thursdays -Sundays @ 8 p.m. The Next Stage, 1620 Gough @ Bush $15-$20 sliding scale, pay-what-you-can Thursdays ========================================================================= Date: Fri, 3 Oct 2003 21:31:07 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Keri Thomas Subject: feedback Mime-Version: 1.0 Content-Type: text/plain; format=flowed Hi! I am new to the site and would like to get some feedback on a couple of poems I have. They were originally published in a locally (Artvoice - Buffalo, NY, rights were reverted back to me) and am looking for appropriate national or international markets. I should note that most of my poems are on short side in length. Any advice or feedback is greatly appreciated. Thanks! Keri Crossing Guard In match stick towns Emphysema cowboys mingle With old women in blue wish scarves Fallen leaf sidewalks Lead to begging counting houses Plaid skirt girls chase knotted tie boys Heavy brass marks the start of the day Sunday Night at 10 O’clock Stressed neon flits against Cracked dirty asphalt Chain smokers exchange confessions In tinted SUVs The underemployed grab tonight’s six-pack As a middle aged man picks up a hooker in a rain streaked rabbit coat I buy some chicken and roll into the night _________________________________________________________________ Get MSN 8 Dial-up Internet Service FREE for one month. Limited time offer-- sign up now! http://join.msn.com/?page=dept/dialup ========================================================================= Date: Fri, 3 Oct 2003 21:43:50 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Haas Bianchi Subject: Suburban Manifesto In-Reply-To: <68BC602A-F5C5-11D7-97D2-003065AC6058@sonic.net> MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 8bit Suburban Manifesto Management Deductive thoughts use existing theories to predict behavior about phenomena we cannot control . The scope of our studies, inclusion and exclusion. The Lingua Morta exhibition brought forth new artists and Photos of Milan's Mussolini-era railway station dwarfed by masks, naked heroes and God knows what other kitsch. The Fascism of Café and magazine kiosks big Italians selling De Cecco Pasta and imported cheese. Among the assorted sculptures the grotesque nudes imitating Michelangelo made from imported Gorgonzola. Gollum in Lord of the Rings is a weirdly emaciated Etruscan vase. Is there something inherently fascistic, in the post-post-modern age? Art is fetishism hand-crafted objects tied in a harness of pleasure and Frosted Flakes. A critical vice identifies and rejects political correctness and yearns for a iron wrench hitting us squarely in the face. Marketing “the avant-garde is the best marketing tool” Andy Warhol public art celebrating victory is a desolate pastiche. The country that gave New York its name never arrived at a final definition of what patriotic art might be. Deeper scrutiny of cultural constructs such as humanness and materialism rip open wounds healed long ago.Identity is a commodity to be fashioned into a look or equated with a 'cool' lifestyle. Metaphoric inflections are difficult to decode. As long as things are simple and bright who cares about how they are made. Advertising “Everytime I hear the Word Culture I reach for my revolver” Heinrich Himmler The original cool of the twentieth century is the city, noisy with stimulating background against which people attempted to transact their business and maintain a private peace. Intrusive urban backgrounds influenced the individual's sense of identity. Urban fashion provides a means of acquiring multiple lives. The transformative properties of fashion, are an expectation of every new purchase. Coolness, which provided a buffer between yourself and the rush of the everyday. Ameliorate losses and listen for bones breaking and nerves tearing. Diversity Feb 19, 1937,Addis Ababa, a bomb exploded an attempt to kill Italian viceroy Rodolfo Graziani.. terrorists did this horrible act. The fashion Catwalks are Italy-centered and they are more subtle than any T-shirt can display. Cannibalization for every position on the political spectrum continues. Sartorial cycle of haute couture the prevalence of cross-dressing ensures openness to a suburban lifestyle. Family Values The People’s simplicity is the understanding that assertions of urgency are personal. Problems of post-modernity are true the fashion industries are deeply implicated in the manufacture of 'personality'. Women’s lives in the third world are made better by hard work and 80 hours a week of sewing. “ Women whose fingers are damaged by needles will not be allowed into work because the blood will reduce our quality output and they will not be paid”. Docile Shape and rearrange yourself in accordance with the Pilates method. Pontius Pilate dealt with terrorists. Ala Mode David Bowie & Madonna a la mode pie with tabloids and torn tendons fine meals taken out of trash bins served warm from the summer sun. Sumptuary laws create opportunities for individuals to construct fashion for themselves. Flexibile self-representation a post-modernity forged from shared evaluation of aesthetic bruises. Emphasize seductiveness a Cartesian formulation cult of celebrity using figures A polymorphic sexuality. Grey areas are the most defined. Technology The Permeable identity questions stable boundaries of technological love. A nip and a tuck and we are full and moist again. Postmodern pastiche; every style regards identity as a commodity capable of being constantly renovated. Renovation TV shows that make everyone happy and fill them with joy. Assumptions of the self precipitates deeper scrutinizing of cultural constructs. The construction of houses with the Balloon Frame Method is temporary and creates an artificial place. Prized metaphysical qualities such as character and morality are fluid Gourmet Kitchens Contextualizing urban fashion provides a means of acquiring multiple lives. In the fantasy world ‘truth’ is ignored but ‘facts are stubborn things.’ What are they thinking? What are they wearing? Transformative properties of fashion are an expectation that every new purchase will cause wholeness. Proscriptiveness no longer appeals because of the desire for stable interiorized sense of identity Cannibalization of every position on the political spectrum continues as part of sartorial cycle. Cannibals are what we are now eating our young to satiate ourselves. Ubiquitous t-shirts smothered in logos of the most banal nature social recognition is being made. Opaqueness of intentions robs the performance of much of its subversive thrust. Ornamentation and innovation continually reinvent subjectivity. Nascarism Classicism, art deco, the international style, abstract art, figurative art, traditionalism, modernism. NASCAR is the most profitable sport in these United States. Hundreds of thousands of people attend races every weekend. They are all begun with the singing of the national anthem and a prayer. De Chirico loses himself in the eternal dead Italian piazze he gave metaphysical painting a public agenda. The deep past is the unavoidable presence in Italy. A love-hate relationship that Italian artists revered and wanted to destroy history. Mega-Churches are growing everywhere the seating is the most important aspect. The seats are purchased from cinema companies so that people can relax but they need to have a little spring to facilitate the altar calls. Liutpriand of Cremona was the ambassador of the German Emperor to the court of the Byzantines. He tried to bring purple cloth home to Lombardy but it was taken from him. Byzantines only allowed purple to be worn by emperors. Botticelli's The Birth of Venus was sent to a salt mine during the bombing of Florence. NASCAR events are paid for by the sponsorships on the cars and the smoking of cigarettes. Baroque art is propaganda. Cultural Practice the surface does not resolve the constant ambiguity of whether a look is confrontational or has global implications; and how the physiognomic assumptions embedded in the fashionable look conceal a quaint history of reactions to the end of the millenary industry. The balance/ desire and realization, between valuing objects and having the capacity to maintain a lost lifestyle is the fundamental dynamic of fashion. Gourmet Groceries and home improvement shows allow us to fill our nests with tin foil and discarded thread. Casual sandals with socks colonial echoes of inappropriate hats and carryalls. Muslims, Jews, Hare Krishnas, Catholics, New Agers, all make themselves visible with obvious religious insignias. Middle aged Buddhists and Zoroastrian Ice Cream sundaes make the day delightful. Mega fauna/Mega churches The Association between appearance and character remains common. Mammoths once roamed in the Midwest along with giant beavers the size of houses if you believe in evolution. Stereotyping race and gender naturalizes the appearances of public figures such as politicians, pop singers and movie stars brown eyes have all been used to signify character. Ideologies merchandise a 'look' and sell their products accordingly. To be confrontational or affirmational is indeterminate. Paleo-Indians used to drive giant bison off of cliffs and kill hundreds of them at one time, they would eat their fill but many would die from too much protein. Bibles used are covered in leather with fine, gold page edges. Crossing the Rio Grande non-American ethnic groups, professional tennis players and weekend rollerbladers, are subverting meaning. A sign of social crisis. Moloch has absorbed yet another attempt at oppositional dress military-style cross-cultural practice. The hobby of 'people watching' cited as a sign of a rich inner life is a sign of failure. Shopping Malls are not public places so no ideas may be expressed. The Business of Sofas Western history is confident of uselessness. With some justification reading the surface is indicative of other, less obvious gnosis but Sadly, historical amnesia is the norm. Martin Sheen in the British Airways Lounge Draconian laws are enjoying strong support by the orthodox of the country, thus lending the regime cover for the price of chocolate pudding pops. The Implied threaten the power of the elite. Dean and De Luca Aroma It is all depressing stuff, if you like ancient Roman, or Renaissance or, for that matter, Etruscan art this is kitsch at best. Is there something inherently fascistic, in the modern age, about worshipping the art of the past, genuflecting before old statues or paintings? "War is beautiful because it initiates the dreamt-of metallisation of the human body." Filippo Tommaso Marinetti. The art galleries are full, the concert halls are packed so tight that fleshy posteriors touch the sides of the metal arms and the gourmet stores are filled with every Earthly delight. Diarrhea is what concerns most people when they have not found the Foie Gras. Sewers are a luxury item. Volvo’s indicate a concern for the developing world. > > > ========================================================================= Date: Sat, 4 Oct 2003 00:09:46 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: buhbuh MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII buhbuh Mr Presiduhduhduhduhduhentuhtuhtuh Bush you are UNAmerican I kkkkknow buhbuhbuhecause you are duhduhduhduhduhoing Whatuhtuhtuh you wantuhtuhtuh When you Wantuhtuhtuh ituhtuhtuh when you Feel likkkkke ituhtuhtuh you Diduhduhduhduhduhn'tuhtuhtuh askkkkk me you are justuhtuhtuh Doing tuhtuhtuhhings anduhduhduhduhduh Killing our American Boys anduhduhduhduhduh girls whatuhtuhtuh rightuhtuhtuh duhduhduhduhduho you have ituhtuhtuhs notuhtuhtuh in The Constuhtuhtuhituhtuhtuhutuhtuhtuhion you have violatuhtuhtuheduhduhduhduhduh Every tuhtuhtuhhing tuhtuhtuhhis Countuhtuhtuhry has stuhtuhtuhanduhduhduhduhduheduhduhduhduhduh for justuhtuhtuh abuhbuhbuhoutuhtuhtuh Every tuhtuhtuhhing which is notuhtuhtuh rightuhtuhtuh you shoulduhduhduhduhduh buhbuhbuhe Removeduhduhduhduhduh from office you are a Baduhduhduhduhduh Person I duhduhduhduhduhon'tuhtuhtuh wantuhtuhtuh tuhtuhtuho Know you atuhtuhtuh all you are Notuhtuhtuh my Frienduhduhduhduhduh you Never will buhbuhbuhe my Frienduhduhduhduhduh you duhduhduhduhduho Notuhtuhtuh unduhduhduhduhduherstuhtuhtuhanduhduhduhduhduh tuhtuhtuhhe Firstuhtuhtuh tuhtuhtuhhing abuhbuhbuhoutuhtuhtuh Caring for otuhtuhtuhhers a Presiduhduhduhduhduhentuhtuhtuhs firstuhtuhtuh Taskkkkk is tuhtuhtuho care for Otuhtuhtuhhers you are NOT an AMERICAN i kkkkknow you are Notuhtuhtuh an american buhbuhbuhecause no American woulduhduhduhduhduh Lie tuhtuhtuho us anduhduhduhduhduh senduhduhduhduhduh Our Young Boys anduhduhduhduhduh Girls tuhtuhtuho war in anotuhtuhtuhher place calleduhduhduhduhduh Irakkkkk I duhduhduhduhduho notuhtuhtuh kkkkknow Irakkkkk our Young men anduhduhduhduhduh Women cannotuhtuhtuh finduhduhduhduhduh Irakkkkk in our Dictuhtuhtuhionary ituhtuhtuh is notuhtuhtuh in our Dictuhtuhtuhionary I duhduhduhduhduho notuhtuhtuh buhbuhbuhelieve ituhtuhtuh is a Countuhtuhtuhry you mustuhtuhtuh Leave your Office your are a Horribuhbuhbuhle Horribuhbuhbuhle Man __ ========================================================================= Date: Sat, 4 Oct 2003 00:10:11 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: out there MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII out there "what is that" - "what is this" - silence in these forests - are they wilderness? I do not know. sublimity lies in microscopic worlds. "words cannot comprehend" - "I don't understand" - the conversion has been truthful; however their understanding of Genesis leaves more problems than otherwise. for example, they do not comprehend the double birth of Eve, nor the naming of the animals, many of whom are nameless. - all the natives here are very happy. surrounded by ghosts [giving them], a ghostly appearance [which] creates an overall and uncanny impression... - all the natives here are very happy. surrounded by ghosts [giving them], a ghostly appearance [which] creates an overall and uncanny impression... your "what is that" - "what is this" - your silence in these forests - are they wilderness? I do not know. sublimity lies in microscopic worlds. "words cannot comprehend" - "I don't understand" - ? your thought reversing itself as it must - ? _ ========================================================================= Date: Sat, 4 Oct 2003 00:34:04 -0600 Reply-To: gjfarrah@cloudnet.com Sender: UB Poetics discussion group From: "George J. Farrah" Subject: Swans Through The House MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii; format=flowed Content-Transfer-Encoding: 7bit 166. The thunder of the thumb very loud Thursdays sound made when you want to scratch rhythms from good crumbly soil and the out of date race ========================================================================= Date: Sat, 4 Oct 2003 00:29:49 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: tom bell Subject: RFI poets in the schools Comments: To: writenet@twc.org MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Any information appreciated bc or posted to the list. tom bell Some poetry available through geezer.com Section editor for PsyBC www.psychbc.com Write for the Health of It course at http://www.suite101.com/course.cfm/17413/seminar http://www.suite101.com/course.cfm/17413/overview/37900 not yet a crazy old man hard but not yet hardening of the art ========================================================================= Date: Sat, 4 Oct 2003 02:55:00 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Terrie Relf Subject: Re: RFI poets in the schools MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Indeed it does. I'm so excited! I can hardly wait to hold the book in my hands...How much for extra copies? Ter > Any information appreciated bc or posted to the list. > > tom bell > > > Some poetry available through geezer.com > > Section editor for PsyBC www.psychbc.com > > Write for the Health of It course at > http://www.suite101.com/course.cfm/17413/seminar > http://www.suite101.com/course.cfm/17413/overview/37900 > not yet a crazy old man > hard but not yet hardening of the > art ========================================================================= Date: Sat, 4 Oct 2003 08:52:08 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: ALDON L NIELSEN Subject: message from a modernist MIME-Version: 1.0 Content-Type: text/plain The eagle men trained for the White House once is now on our coins and his chair holds a dunce. --Alfred Kreymborg 1932 <<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> "War feels to me an oblique place." --Emily Dickinson Aldon L. Nielsen Kelly Professor of American Literature The Pennsylvania State University 116 Burrowes University Park, PA 16802-6200 (814) 865-0091 ========================================================================= Date: Sat, 4 Oct 2003 08:56:49 -0400 Reply-To: bstefans@earthlink.net Sender: UB Poetics discussion group From: "Brian Kim Stefans [arras.net]" Subject: Denis Roche "Bootleg" is live Comments: To: bks cuny MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 8bit DENIS ROCHE “BOOTLEG” An unofficial anthology of published translations of the poetry and prose of Denis Roche. 72 pp., 1MB, free http://www.arras.net/weblog/ TABLE OF CONTENTS Denis Roche, An Introduction and Interview, p. 3 By Serge Gavronsky Three Poems from Locus Solus, p. 8 Translated by John Ashbery Eros Possessed, p. 11 Translated by Harry Mathews Introductory Remarks From An Essay By Marcelin Pleynet: The Aim Of Poetry Should Be . . . , p. 18 Excerpts From Denis Roche’s Preface To Éros Énergumène: Lessons In Poetic Vacuity, p. 20 Translated by Veronica Forrest-Thomson from Les Idées centésimales de Miss Elanize THE ARISING OF THE INTRUDER, P. 22 MONSIEUR THE PILOT, TRULY ROYAL, P. 27 FROM LES IDÉES CENTÉSIMALES DE MISS ELANIZE, P. 36 from Éros Energumène FROM ÉROS ENERGUMÈNE, P. 40 THEATRE FOR THE ACTIVITIES OF EROS, P. 42 Translated by Veronica Forrest-Thomson Poem April 29 1962, p. 55 Translated by Mark Lecard from Prose Ahead of a Woman, p. 61 Translated by Serge Gavronsky from Le Mécrit, p. 63 STRUGGLE AND ERASURE Translated by Pierre Joris Selections for Poems & Texts, p. 64 Translated by Serge Gavronsky Notes from New French Poetry: An Anthology, p. 64 By C.A. Hackett Bibliography, p. 72 NOT FOR SALE FREE TO DISTRIBUTE V.1.1 NEW YORK REPTLLIAN NEOLETTRIST GRAPHICS, 2003 COPYRIGHTS ARE THOSE OF THE AUTHORS INVOLVED ____ A R R A S: new media poetry and poetics http://www.arras.net Hinka cumfae cashore canfeh, Ahl hityi oar hied 'caw taughtie! "Do you think just because I come from Carronshore I cannot fight? I shall hit you over the head with a cold potatoe." ========================================================================= Date: Sat, 4 Oct 2003 16:16:22 +0300 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Fredrik Hertzberg LIT Subject: Looking for good contemporary poetry criticism MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII I'm putting together a seminar on poetry reviewing for students interested in becoming literary critics, kind of a vocational-practical course. I'd very much appreciate if someone could mention any English language interesting contemporary poetry critics or texts on poetic reviewing (anything ranging from journal issues dealing with the state of poetry criticism today to avant-garde/radical political value debates). I'm especially interested in alternative or "experimental" approaches. Thanks, Fred Hertzberg, Helsinki ========================================================================= Date: Sat, 4 Oct 2003 09:37:24 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: mIEKAL aND Subject: Re: message from a modernist In-Reply-To: <200310041252.IAA12675@webmail5.cac.psu.edu> Content-Type: text/plain; charset=US-ASCII; format=flowed Mime-Version: 1.0 (Apple Message framework v552) Content-Transfer-Encoding: 7bit prophetic On Saturday, October 4, 2003, at 05:52 AM, ALDON L NIELSEN wrote: > The eagle > men trained > for the White House once > is now on our coins > and his chair > holds a dunce. > > --Alfred Kreymborg 1932 ========================================================================= Date: Sat, 4 Oct 2003 09:49:06 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: mIEKAL aND Subject: High Culture In-Reply-To: <000101c38a21$57cccfa0$a650a243@comcast.net> Content-Type: text/plain; charset=US-ASCII; format=flowed Mime-Version: 1.0 (Apple Message framework v552) Content-Transfer-Encoding: 7bit (Our president is more talented than we have been led to believe. Spend a few moments with his latest so you can grasp all the subtle nuances that went into this creation. --mIEKAL) Roses are red Violets are blue Oh my, lump in the bed How I've missed you. Roses are redder Bluer am I Seeing you kissed by that charming French guy. The dogs and the cat, they missed you too Barney's still mad you dropped him, he ate your shoe The distance, my dear, has been such a barrier Next time you want an adventure, just land on a carrier. http://www.cnn.com/2003/ALLPOLITICS/10/03/bush.poem.ap/index.html ========================================================================= Date: Sat, 4 Oct 2003 10:59:51 -0400 Reply-To: olsonjk@delhi.edu Sender: UB Poetics discussion group From: Kirby Olson Organization: SUNY Delhi Subject: Re: Remembering Edward Said /Hilton Obenzinger MIME-Version: 1.0 Content-Transfer-Encoding: 7bit Content-Type: text/plain; charset=us-ascii Mark Weiss wrote: > Lots of leftists in the US, but very few in government. I would be able to > agree a bit more with your position if, for instance, there were a block of > senators or representatives pushing for socialized medicine (which, by the > standards of most of the rest of the world, is a pretty moderate > position)--there are one or two. And so on for a slew of other issues. The > legislative balance, such as it is, pits the right against the mildly left > of center. > > Mark > > >I'm mostly glad to be in a pluralist society in which there are many different > >viewpoints and that leads to gridlock. I would hate for this country to > >come to > >some kind of hideous agreement such that only the left was right, or only the > >right was left. I think it's a good thing to have a kind of balance in > >the house > >and senate such that they can block one another, and just don't want the > >balance > >to tip too far in any direction. But what I would also like is for the > >left to > >be more iconoclastic toward itself, and for the right as well. It seems > >that in > >the polarization that's taking everybody on the left sounds alike, and so > >too on > >the right. ========================================================================= Date: Sat, 4 Oct 2003 11:17:17 -0400 Reply-To: olsonjk@delhi.edu Sender: UB Poetics discussion group From: Kirby Olson Organization: SUNY Delhi Subject: Re: Remembering Edward Said /Hilton Obenzinger MIME-Version: 1.0 Content-Transfer-Encoding: 7bit Content-Type: text/plain; charset=us-ascii Mark Weiss, What would be the real costs of socialized medicine? Where would the money come from? What would you cut, or would you raise taxes? In Finland, for instance, the taxes are very high. I paid about forty percent. I had a better lifestyle as a graduate student in Seattle. The top prof paid sixty percent taxes. His lifestyle wasn't much better than mine. Doctors make about forty thousand, and secretaries about twenty thousand. The taxes then further equalize. There is no money left to make anyone rich. What are the first implications of this? There are no private colleges or universities in Finland because nobody can afford them. The government is the only source of money. Every penny has to be spent in such a way that it makes sense to the people. The disappearance of creative writing programs, the disappearance of private universities. There is one person in Finland who works on aesthetics at the University of Helsinki. Something like ten percent of the population is able to go to college. You have to pass rigorous tests. Here, something like 82 percent go. The funny part about this is that at least half this board would lose their own jobs if the socialist ideas that they espouse came to pass. Stanford would collapse, as would Harvard, RISD, and all the other top institutions that charge 40 grand or so for tuition. The superrich would move to offshore locations. Of course, the good part is you wouldn't ever be asked for a quarter. I never was, even once, in Finland, or in any of the other Scandinavian countries I've visited. Even the unemployed have enough. But the superrich Finns move to Miami. They'd go somewhere else if we started to tax them at 90%, which is what some are taxed in Finland to make the social programs solvent. Maybe there's some part of this socialist idea that I haven't understood, and maybe there is some way to pay for it that I haven't seen. In France, however, the money comes out of public education. First, very few can go. Second, those who do go are put into worn out buildings, and made to undergo rigorous testing to get them out. There isn't even any money for basic maintenance. If you can stay in, and make it through, then you can maybe get a job as a prof that pays less than what a secretary makes in a good college here. Maitre de conference positions (which are equal to assistant professor positions here) pay you so little that the only way most people make ends meet is to have a wealthy spouse, or to live without children. If we had socialized medicine, the money would come from somewhere, and my best guess is that education money would be slashed, and we'd lose two thirds of our colleges and those remaining would be chronically strapped. -- Kirby Olson ========================================================================= Date: Sat, 4 Oct 2003 11:36:59 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: poe -try (fwd) MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII ---------- Forwarded message ---------- Date: Sat, 4 Oct 2003 08:28:33 -0500 From: Robert Kezelis To: cybermind@LISTSERV.AOL.COM Subject: poe -try I wonder what your resident expert Elizabeth thinks of Bush's poetry; > > Roses are red > Violets are blue > Oh my, lump in the bed > How I've missed you. > Roses are redder > Bluer am I > Seeing you kissed by that charming French guy. > The dogs and the cat, they missed you too > Barney's still mad you dropped him, he ate your shoe > The distance, my dear, has been such a barrier > Next time you want an adventure, just land on a carrier. most unfortunately, this is NOT a joke. Check out CNN. http://www.cnn.com/2003/ALLPOLITICS/10/03/bush.poem.ap/index.html ========================================================================= Date: Sat, 4 Oct 2003 10:57:53 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Joe Amato Subject: Re: Remembering Edward Said /Hilton Obenzinger In-Reply-To: <3F7EE067.1CA4156D@delhi.edu> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" kirby, i'm tempted to ask a rhetorical question like, So it's a good thing that .01% of the u.s. public earns as much per year as the bottom 34,000,000?... it's a good thing that 400 people in the u.s. are worth $955,000,000,000?... that this is why we have so many great public institutions, like harvard? (the 2nd richest non-profit institution in the world, i believe, behind the roman catholic church, with an endowment just over $19,000,000,000)... nobody here is talking some pure form of socialism, and we certainly don't have a pure form of capitalism... and i don't think you're going to find anyone on the list putting forth a new economic policy, just like that... but it seems to me that to justify profit-motive of the sort we see now "in" this country (scare quotes to point to globalization, privatization, transnationalization) on the backs, say, of the 34,000,000 in this country below the poverty line, or the 45,000,000 w/o health insurance (someone please correct me if my numbers are off), is a bit, well, precious anyway... you probably don't mean to suggest quite this, i know... but i remain a bit in awe of the suggestion, as i read your post, that there *is* a justification for our many social ills if we would only look e.g. at our great public institutions vis-a-vis finland's... btw, i enjoyed your letter---that is you, right?---in the newest ~pmla~ re the apparent crisis in scholarly publishing... but i happen to think there's a crisis in publishing across the board---which most on this list are probably all too aware of... ergo i wouldn't have come at that issue from the perspective of those individual scholars who presumably haven't the right stuff for the job (which is a fair way of summarizing much of your response, yes?)... instead i would observe that the profession should have and could have been wringing its hands over this matter years ago---had members, by and large, paid any attention at all to the small press publishing situation... best, joe ========================================================================= Date: Sat, 4 Oct 2003 09:36:40 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: tom bell Subject: Re: RFI poets in the schools Comments: To: Terrie Relf MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Ter, i didn't understand your reply. Perhaps my request was not clear. I'm seeking information and there is no book involved yet. Tom ----- Original Message ----- From: "Terrie Relf" To: Sent: Saturday, October 04, 2003 4:55 AM Subject: Re: RFI poets in the schools > Indeed it does. I'm so excited! I can hardly wait to hold the book in my > hands...How much for extra copies? > > Ter > > > > Any information appreciated bc or posted to the list. > > > > tom bell > > > > > > Some poetry available through geezer.com > > > > Section editor for PsyBC www.psychbc.com > > > > Write for the Health of It course at > > http://www.suite101.com/course.cfm/17413/seminar > > http://www.suite101.com/course.cfm/17413/overview/37900 > > not yet a crazy old man > > hard but not yet hardening of the > > art ========================================================================= Date: Sat, 4 Oct 2003 15:20:52 -0400 Reply-To: patrick@proximate.org Sender: UB Poetics discussion group From: Patrick Herron Subject: How long? (Wilson-Plame) MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit How soon will Robert Novak die of not-so-mysterious causes? Or has he documented the leak in a safe place as security? Hmm.... Patrick ========================================================================= Date: Sat, 4 Oct 2003 13:32:44 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: August Highland Subject: WHITE BOOK MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 8bit WHITE BOOK VOLUME I PAGE 0000001 "ruo rikaaki n 179.0218.118.08NYMEX around last. Pou timoun ki vin pa bwaai ake a na Nakoanibonga Mwakro. Anviwonman nòmal yo Angabwai n Aki information.. Aparèy ki pou ede li files/. Tamnei karikan bwaai, Contract3.504.004 application for. PAGE 0000002 Ki pi bon avoka asistans lòt. Information., konsiltasyon pi vit .nexenmarketing. Booki n reirei ake a formal bid by Nexen 4110Pricing quotes. 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PAGE 0000014 Asiste reyinyon pou bblWTI Diff ak pawòl/. " 'n ai aron te Night, Holy Night, Scott, "Te Rairaki. Hinckley, "ti taraa mwaakoro. Maroro ake. Tangiriia ao, Se pou asire tout 80%93%*Excluding. 2002, 37-39., nor responsible for closed at $30.56.. PAGE 0000015 Ekri lèt, fè kèk 2002, 27-30. "Katean report is derived. Survey sheets167ne, bootaki n te kaaua n ken doe. Creek storage POU PITIT OU 69. H. oaks, "te centreSM, FRG,MIN, Contract3.504.004. Irouia," riaona,, moun ki andikape yo 15:11-32; 1 I-. PAGE 0000016 Pwosesis pou yo pran, Christmas carol 7. Karaoan Ara. Provided in good Kaitira B. 4. Bwaina Tree PassageSMN,. Riaona, turai 2002, sèvis nan lekòl ki. Beeku ao kakabwaia n, higherlast week, rapòte a sèvis ak sa. Report showed a draw .88Cdn$Cal AveRBL110Bateau Bay. PAGE 0000017 Application for but serve for karyè tan li ap fè. N te boki ae beku ao BRG1QLD30Gold David B. Haight,. Siteregionsrecord Commentary. The antre nan PEE se: .. 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Maroro ake CoveSM15Hawks. august highland muse apprentice guild --"expanding the canon into the 21st century" www.muse-apprentice-guild.com culture animal --"following in the footsteps of tradition" www.cultureanimal.com ========================================================================= Date: Sat, 4 Oct 2003 13:46:33 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: August Highland Subject: 4 DIMENSIONAL MESH OF NODES MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit DESIGN EXPLORATION SYSTEM DEMAND/ 4 DIMENSIONAL MESH OF NODES SPEED #0000001: Design exploration system demand Clo ck Mec. *animation ofsim ulation step inour decomp. An entit, yof the QCDOC Simulation. Decomp handler mac hine. Qcdoc and. SPEED #0000002: Topro vide useful, *T race QCDOC. Presen tly, we are, designs. results. Clo ck mec tcommercial are and. To mo del. on the. Scu plbblk pro cesses, Massiv ely-P arallel. 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Osing ah uge (QCD on Digital to mo del. ========================================================================= Date: Sat, 4 Oct 2003 14:20:08 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mark Weiss Subject: Re: Remembering Edward Said /Hilton Obenzinger Comments: To: olsonjk@delhi.edu In-Reply-To: <3F7EE47D.AB65504C@delhi.edu> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed Let's see, we might spend less on the military. And sure, higher taxes. But let's be real for a moment. College attendance in the US is primarily a class marker and remedial education for the virtually non-existent education in high school and earlier. The level of education of people in all classes in places like France, Scandinavia, Australia, and Cuba, to name a few, is simply astonishing to an American. A case in point--I spent four days travelling in the Australian outback with a group that included a young Australian welder. He was at the top of his profession, medical welding, which is also very high status among working class jobs, but was bored with it and thinking about going to university. He had always liked numbers, and he thought accounting would be fun. He was absolutely confident about his ability to make the transition. He also knew that he wouldn't have to mortgage his soul to pay the tuition or give up his health insurance. In France at least (and probably in other places) there'sa superb system of safe, progressive, tax-supported child care that virtually all are entitled to. What you're missing is that in exchange for what you see as the stultification caused by the difficulty of getting rich Americans live with a degree of insecurity, because of what we like to call our medical system, and because of worries about the care and education of our children, that people in other industrialized counrtries don't experience. The difference is instantly apparent in the way people carry themselves, and also the daring with which, like my welder friend, they lead their lives. That goes for aretists, too. Of course it also helps that in other industrialized countries people work shorter hours and have more vacation time. And they don't pay the cost, which you may feel less than I do, of being constantlt confronted with human misery on a baroque scale. By the way, I myself wouldn't cry over the loss of creative writing programs, altho I consent to feed at that trough once in a while. If indeed in exchange there were decent universal health insurance or decent affordable child care I'd consider it a bargain. By the way again, most of those same countries that are bereft of writing programs subsidize the arts, and also publishing, to a far greater degree than the US. Mark At 11:17 AM 10/4/2003 -0400, Kirby Olson wrote: >Mark Weiss, > >What would be the real costs of socialized medicine? Where would the >money come >from? What would you cut, or would you raise taxes? In Finland, for >instance, the >taxes are very high. I paid about forty percent. I had a better >lifestyle as a >graduate student in Seattle. The top prof paid sixty percent taxes. His >lifestyle >wasn't much better than mine. Doctors make about forty thousand, and >secretaries >about twenty thousand. The taxes then further equalize. There is no >money left to >make anyone rich. What are the first implications of this? There are no >private >colleges or universities in Finland because nobody can afford them. The >government >is the only source of money. Every penny has to be spent in such a way >that it >makes sense to the people. The disappearance of creative writing >programs, the >disappearance of private universities. There is one person in Finland who >works on >aesthetics at the University of Helsinki. Something like ten percent of the >population is able to go to college. You have to pass rigorous tests. Here, >something like 82 percent go. > >The funny part about this is that at least half this board would lose >their own >jobs if the socialist ideas that they espouse came to pass. > >Stanford would collapse, as would Harvard, RISD, and all the other top >institutions >that charge 40 grand or so for tuition. The superrich would move to offshore >locations. Of course, the good part is you wouldn't ever be asked for a >quarter. I >never was, even once, in Finland, or in any of the other Scandinavian >countries >I've visited. Even the unemployed have enough. But the superrich Finns >move to >Miami. They'd go somewhere else if we started to tax them at 90%, which >is what >some are taxed in Finland to make the social programs solvent. > >Maybe there's some part of this socialist idea that I haven't understood, >and maybe >there is some way to pay for it that I haven't seen. In France, however, >the money >comes out of public education. First, very few can go. Second, those who >do go >are put into worn out buildings, and made to undergo rigorous testing to >get them >out. There isn't even any money for basic maintenance. If you can stay >in, and >make it through, then you can maybe get a job as a prof that pays less >than what a >secretary makes in a good college here. Maitre de conference positions >(which are >equal to assistant professor positions here) pay you so little that the >only way >most people make ends meet is to have a wealthy spouse, or to live without >children. If we had socialized medicine, the money would come from >somewhere, and >my best guess is that education money would be slashed, and we'd lose two >thirds of >our colleges and those remaining would be chronically strapped. > >-- Kirby Olson ========================================================================= Date: Sat, 4 Oct 2003 17:41:09 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "David A. Kirschenbaum" Subject: President G.W. Bush's Poem Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit from today's NY Daily News: Bush's sublime rhyme Who said President Bush doesn't have a way with words? "President Bush is a great leader and a husband, but I bet you didn't know he is also quite the poet," Laura Bush told a gathering at the U.S. Library of Congress yesterday. When the First Lady returned home from her recent five-day solo trip through Europe, "I found a lovely poem waiting there for me," she said. Maybe it was the two kisses on her hand from French President Jacques Chirac that prompted the President to immortalize her in a love poem. As her husband watched quietly, she recited it. "Dear Laura," the poem began, "Roses are red, violets are blue, oh my lump in the bed, I miss you. "The distance, my dear, has been such a barrier, next time you want an adventure, just land on a carrier." -- David A. Kirschenbaum, editor and publisher Boog City 330 W.28th St., Suite 6H NY, NY 10001-4754 For event and publication information: http://boogcity.blog-city.com/ T: (212) 842-BOOG (2664) F: (212) 842-2429 ========================================================================= Date: Sun, 5 Oct 2003 00:08:32 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: themes in me MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII The Transform and Freedom of the Natives shall guarantee our troth. - Your forest is blasphemy unto the Lord. - Consider the next element you will apply. Your forest shall convert in truth and not in false demand? I Consider the following again, your ... I inscribe your body... king's-writ ropes-off me upon your forest! How would you define your forest? My in much of the visual work is your language... themes in my work - for los angeles talk - is written far too many 4 times! themes in my work - for los angeles talk - calls forth desperation pledge, hungered, making things. upon the , themes in my work - for los angeles talk - is savage, 024], ? ... pledge is 5 the obdurate real and its evanescence on black stone, it's pledge? Are you satisfied with your themes in my work - for los angeles talk -? Your inscription finished, you have created thing. ... savage themes in my work - for los angeles talk - 25876 - the beginning of writing. For 0 days, we have been and written. and it has taken you 0.167 minutes to write your last ... themes in my work - for los angeles talk -: : : 3 sexuality, language, the body: already immersed in linguistic structures Does replace your themes in my work - for los angeles talk -? holograph with ideogrammatic intervals! themes in my work - for los angeles talk -: : : 3 issues of labor in dance and sound: 6 ephemera of media in a digital eternal Your desperation in much of the visual work is upon my 5 the obdurate real and its evanescence ___ ========================================================================= Date: Sun, 5 Oct 2003 00:06:19 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Keri Thomas Subject: Re: poe -try (fwd) Mime-Version: 1.0 Content-Type: text/plain; format=flowed I can't even begin to put my horror into words. >From: Alan Sondheim >Reply-To: UB Poetics discussion group >To: POETICS@LISTSERV.BUFFALO.EDU >Subject: poe -try (fwd) >Date: Sat, 4 Oct 2003 11:36:59 -0400 > >---------- Forwarded message ---------- >Date: Sat, 4 Oct 2003 08:28:33 -0500 >From: Robert Kezelis >To: cybermind@LISTSERV.AOL.COM >Subject: poe -try > >I wonder what your resident expert Elizabeth thinks of Bush's poetry; > > > > > > Roses are red > > Violets are blue > > Oh my, lump in the bed > > How I've missed you. > > Roses are redder > > Bluer am I > > Seeing you kissed by that charming French guy. > > The dogs and the cat, they missed you too > > Barney's still mad you dropped him, he ate your shoe > > The distance, my dear, has been such a barrier > > Next time you want an adventure, just land on a carrier. > > >most unfortunately, this is NOT a joke. Check out CNN. >http://www.cnn.com/2003/ALLPOLITICS/10/03/bush.poem.ap/index.html _________________________________________________________________ Get McAfee virus scanning and cleaning of incoming attachments. Get Hotmail Extra Storage! http://join.msn.com/?PAGE=features/es ========================================================================= Date: Sun, 5 Oct 2003 00:04:26 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: my themes MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII themes in my work - for los angeles talk - 1 interdisciplinarity 2 phenomenology of interstices between subjectivity and formal systems. 3 sexuality, language, the body a - phenomenology of desire, gaze and lure b - materiality of language, performativity, natural kinds, inertness - the body always already immersed in linguistic structures c - noise and parasitology in writing - silence in much of the visual work 3 issues of labor in dance and sound 4 in relation to the above - codework and problematic of identity, equivalence, emergent structures 5 the obdurate real and its evanescence 6 ephemera of media in a digital eternal then work details, lists, etc. ___ ========================================================================= Date: Sun, 5 Oct 2003 00:13:41 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Ryan LeRoy Kleeberger Subject: Re: themes in me In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 8bit > How would you define your forest? “This fine system was Founded in the forests.” It was then taken out Into the plains of Smaller islands, Squeezed beneath the palms, And rendered unto a Newer pleaser, pleased By & by as long as it Keeps on comin’, Growing past the hands. Now. We the forests thought These grims to be So delicate, . . . So right we were; Back to the handsaw And the hawk, Or is it a handsaw Or a dove? -- R.L. Kleeberger r.kleeberger@shimer.edu ========================================================================= Date: Sat, 4 Oct 2003 21:58:48 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Lewis LaCook Subject: Re: Denis Roche "Bootleg" is live MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii thank you soooo much brian--- i've been looking for some good translations of roche, who is one my favorite french poets---and here, finally, is one in a nice convenient electronic form i can sync to my palm and enjoy!!! bliss l ===== NEW!!!--Dirty Milk--reactive poem for microphone http://www.lewislacook.com/DirtyMilk/ http://www.lewislacook.com/ tubulence artist studio: http://turbulence.org/studios/lacook/index.html __________________________________ Do you Yahoo!? The New Yahoo! Shopping - with improved product search http://shopping.yahoo.com ========================================================================= Date: Sun, 5 Oct 2003 02:16:24 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jonathan Skinner Subject: Lydia Davis receives MacArthur "Genius Award" Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit Lydia Davis is one of this year's 24 MacArthur "Genius Award" recipients: http://www.nytimes.com/2003/10/05/national/05MACA.html?hp (Also congrats to Santa Fe blacksmith Tom Joyce.) JS ========================================================================= Date: Sun, 5 Oct 2003 03:09:27 -0400 Reply-To: nudel-soho@mindspring.com Sender: UB Poetics discussion group From: Harry Nudel Subject: More Said... Mime-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit A day before Edward Said died..an IDF soldier in the West Bank was killed accidentally by a bulldozer demolishing a house..the driver sd he hadn't seen the soldier...eerily similiar to the driver who hadn't seen Rachel Corie the American innocent killed in a work accident... Over the summer I reread Leon Uris' EXODUS...pretty much unreadable.. except for the first chapter in Cyprus....."monkeys &.....Uris book was a deliberate propaganda page-turner...it's not so subtle message was that Isreaeli Jews were like us... the 50's US...the great American lonely affluent society crowd.....& that ARABS were other...Otto Preminger technicolored this replete with Goyim ..i.e. Sal Mineo...for those few who couldn;t or wouldn't read.... Said's ORIENTALISM & COLONIALISM and LIT.....tho immediately unreadable will be seen by the next generation much the same way...as acts of propaganda..Said after all is just Arafat's bad conscience...Said's genius was to identify his target audience.. the Post 'Nam generation of Academics....angry women...gays...afro-americans...radical retreads...who would control the Liberal Arts depts...and needed somethin' to teach... just as the previous class had latched on to French solopsism and structuralism....and the one before that to the self-congragulations of the New Anatomy of Criticism...or as they say in the faculty dining room...I read Heidegger & Cornel West is no Sidney Hook let alone Heidegger.. Said's not so subtle message was that Arabs were like US....moreover they were like him.. suave well dressed musical and given to the tears of compassion...Said was quite willing to demolish most of Western Lit. & Hist. to get his message across...as were that new generation of academic bureaucrats....who hadn't yet settle down on their sitzfleisch before they were willing to demolish the Canon... Said work was one great anti...it never offered a positive vision of what the Orient of Arabs or the East was...it knew IT just wan't what the West thought it was...Westerners were thus Orientalized in reverse...chillingly it forgot that the greatest text of Orientalism...was about the Jews...the Rialto. Belmont...and the Merchant...& that all of Said's work could have just put in Jew for Arab...without missing a European hip-hop off beat... Said's success in propagandizing a generation...masked his position as a spokesmen fot the Palestinian cause...& as a triple outsider...Non-palestinian..non muslim...non Catholic...he had to out A Arafat...which he did...rather the repudiating terrorism...Said was its inevitable spokesman.. the rock throwing was no accident...it never is...Said position's which swung from two states to one.., from tears to more of his own suffering...idealized the Infantada by never offering any vision of a compromise...and by the end in the Articles for El Arum...the Egyptian state newspaper...we are very close to straight Anti-Semitism & Oritentalism... So we after all...are all guilty..of what we accuse the other of....nicht wahr..DRn.... Yom Kippur...576x... ========================================================================= Date: Sun, 5 Oct 2003 01:06:24 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: August Highland Subject: THE CONFESSIONS MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit THE CONFESSIONS (LIVE VARIABLE ANALYSIS) OF AUGUST HIGHLAND (I am not affiliated with the author of this manuscript nor responsible for its content.) CONFESSION #0000001: Tob ev alid., to marks urole in CS. **/ xUnifying general logic ? ? ? ? ?. Executable program in another, Prolog, Lisp, Prerequisite: CMSC 330. Ofpro, and its article 1000 1011 0001 1100. Details. Batch systems *Multiple pro cesses,. CONFESSION #0000002: The three that translates. programs written, are the sym bols :. Would look like: er exam you will be learning. Y-- >thread, than one meaning, included inthe operating. Cessor. than one meaning, xMak esure you answ. CONFESSION #0000003: Multiple after the instructions. System.out.prin, ofmessage uhardw are specification. Into mac hine, program 1, Page program. Or, this rule: language. Pro duced hine. CONFESSION #0000004: Wn of marks *Mo dular program. Execution, xDeep versus shallo w em understand what isgoing. Objects memory to pro We mean. Syn tax 3-4 '& $% OS con trol. System.out.prin *File tables onse. CONFESSION #0000005: To predicate, Thread 2 ?. Errors tokens parser:* recognize, Compilers are large, READ Y-- >thread. Storage map, Dr. T. Plaks } }The. Tested xDeep versus shallo w em. With the telescop, pro cessor) onse. CONFESSION #0000006: 11, \Theta \Theta \Theta \Theta \Theta \Theta \Theta fl info rmation. [] args) *attempt error correction tax. Cmsc 430, *adv anced 3-27 '& $% QUEUESPriorit yis giv en toa. Virtual memory, do we mean 3-5 '& $% OS con trol. Here isan example, Here isan example and Resources. CONFESSION #0000007: *man yservices . collection. Typically refer to addresses Dr. T. Plaks than apro cess. Will run on amac @@R - - - -. Dr. t. plaks, passes ) better Implementation. String for atok complex -the. CONFESSION #0000008: To form bogged do wn Con trol Blo ck. ?, the con ten tsof Memo ry Tables. The three, *scanner construction Dr. T. Plaks. Ualso wastes hine language Batch systems. Il, instructions oe. CONFESSION #0000009: *flexibilit y -new features du impro vemen t.. Orld . 20 how Imark. Threads are the entities Sinming languages can be split Ab out. Sinming languages can be split oe informal. Add ax,bx mov bx,w[si] sub dx,cx the num bers -Collection E(5) --> thread. CONFESSION #0000010: *messages inja va are ofa compiler. 12, (9,^ ) complex. Can data starting. File, prin ting, A(7) --> thread { public. *pro duce il, can only registerallocation mac hinecode. CONFESSION #0000011: Oe .. Pascal, A. Ofa program, 7 address, stac kstarting. Per pro cess A(7) --> thread. *generate correct code *generate correct code pro cess. CONFESSION #0000012: Once -the program 9. The class, ellanguages Fron tend. Are now Office: A.V. Williams PCB PCB. Prin tsout Office: A.V. Williams er exam. Breakdo CMSC 430 *Input/output. CONFESSION #0000013: program 1, page errors tokens Parser:* recognize *Pro cess con trol. 8 cmsc430@cs.umd.e ware.. T, language:* Itis etc. By definition relative completeness. Answ ers operation. CONFESSION #0000014: And are easier, screen. per pro cess. Xhigher order logic with mac hine to partial. What is decreasing, *bac kend ofspaceDynamic -- link. Into logic (e.g. hoare, urole in CS on two. Interface on request, -Stac k Optimizing compilers sourceco de. CONFESSION #0000015: Hine language Pro c--. Biguous., tthe --> thread. @@ @@ @@ @r udirectly represen thardw are structures 3-12 '& $% PCBPCB isthe. Acomputer program. alanguage isa system, ofthe Computer programs mak eup. High-lev ellanguage *Pro cess state -Small microk ernel can be rigorously. CONFESSION #0000016: Frontend 3-8 '& $% File Tables*Existence. With clearly, question Mo del. Uallo cate time in prop language using aC++. Has only isNP-Complete 3-4 '& $% OS con trol. Tec hnique 3-27 '& $% QUEUESPriorit yis giv en toa the space. CONFESSION #0000017: ,end (9,^ ) was intro duced. @@r - - - - data from memory inin verted. - - - ... --> List Structure. *pro cess state goo d ofsigns and sym bols. What is decreasing d. edu. CONFESSION #0000018: Inthe language)., alanguage rwith. 2. subtracting er exam 3-7 '& $% I/O Tables*I/O device. Space, program, for them: variables. Without, are: nW ait. Commen, *fron tend maps legal code into il 3-15 '& $% Benefits of threads. CONFESSION #0000019: Pro c., with They are. 3-17 '& $% remote pro cedure, xGeneral remarks uho w to answ Big step. *30% midterms,, 4. Storing and code. programs written kground. (e.g. the motorola, These are referred ofthe. CONFESSION #0000020: "isa wthe *w ell-defined. Office: a.v. williams seman tics y -Changes. On compilers, CMSC 430 two threads. Ij pn by definition or both. 11 "Hello World" to the. august highland muse apprentice guild --"expanding the canon into the 21st century" www.muse-apprentice-guild.com culture animal --"following in the footsteps of tradition" www.cultureanimal.com ========================================================================= Date: Sun, 5 Oct 2003 01:54:04 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: August Highland Subject: TRACTATE ON CYBER GLAMOUR MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit TRACTATE ON CYBER GLAMOUR (With Commentaries And Marginal Glosses By August Highland) SECTION #0000001: Stealing homestolz,, Trading Game, =E5=C7. .70.519245 stupids, Tom ThumbWatson, =E4=D5. Thepotter, EarthseaGuin, Ursula Schoolboy. King, theabbott, Jim/Jane3.3110928 Secrets of the. =c7=e1=d1 TheKeene,. SECTION #0000002: Weather)hopping, Saving ShilohNaylor, TheHargrove,. Mitali5.155544 Peg4.5530751 Campbell4.20.56142. =c5=e3=c7, Disgusting!Wallace, Jean7.5720142. Kathryn5.279506, Father, TheMarney, =C7=E1=CD. People, theconrad, =C5=CD=D3. SECTION #0000003: Gail2.20.516939, Trip, TheKeats, Ezra Third Grade,. Shooting, =D1 Story of Ruby. Rebecca6.1106192 TheDoherty, SisterHill,. Kate4.30.514976, Sound (Science Star in the. Patricia =DE=C7=D6 Story of the. SECTION #0000004: Sheep in a jeepshaw,, Toot! Toot!Simon, Trick or Treat,. Christian5.10.5, Rabbit, ThePotter, Alexander8.5185. Robert5.40.5199 tv =C7=D5=E4 Sammy Keyes and the. Strega nonadepaola, ChanceJenkins/. Randall4.335690, Tucket's =C7. SECTION #0000005: Margaret5.7216303 and Earth (Child's Trouble for. 28290 shakespeare, Manus3.10.5195 =C7. Janet6.635384 Patricia3.2214787 Rod, TheMyers,. Tobermoreysaki7.60 Anne4.26 =E6=E5=E3. First library of Thank You, Dr. Story of the Rough. SECTION #0000006: R.l.3.235085, for the People, =CA. M.3.5311293 stage There's a Nightmare Carolyn4.9479. Brian5.6420135 Teach Us, Amelia. Denise2.10.56147, Gary5.2344730 SuspicionMackall,. =dd, =C8=D1=CF Lucy3.20.55193. SECTION #0000007: =da=e4=ed, Carlo6.929088 Story Sunshine Makes the. Stoneybrookmartin,, TheOsborne, Mary Skirt, TheSoto,. Mysterywarner, Carol0.30.57344 the West, TheFox,. Carolyn3.7327678 W.1.10.545531. Mona SamMarzollo, TheTrembath,. SECTION #0000008: 10 Carolyn5.455686 Allan7.30.5585 Ten. Jim/jane3.3110928 and the Mystery of. Anne30.527785 =E3=E4=E5. Small and the, Ghostly MummiesTanaka,. Secret, Search for =C7. SECTION #0000009: Pamela f.5.127165 Bonnie4.9521296 StellalunaCannon,. Gary3.40.542762 too, TheByars, Sharks of the Seas. Boygarland, People, TheConrad, QuiltErnst, Lisa. Tacky the Fox3.7715793 Tale. Sunshine makes the Buchanan427647. SECTION #0000010: Ku_nk0,h., Lois6.1986 Helen2.80.59797. Samantha the, Eugene4.60.510347 Walter Dean4.4610594. Sticky deathgentle, =D3=E5=20 Stroke of. =c7 Leagues Under the Glen3.80.532038. .underground, Jamie5.246798 Tess Eileen3.7310543. SECTION #0000011: =d6=e4=ed, =D0=E1=DF Titanic. Hillsmith,, All, ThePatterson, Shipwreck on the. Jean2.60.525945 =D3=C3=DA Sixth Grade. Sproutsdelton,, TheWillard, Mike2.40.527225. James e.4.10.527214, Brooklyn, ASmith, Animals)Hansen, Anne. SECTION #0000012: Killkeene, =CA the Ocean Sea,. Thegriffin, CatPhillips, SabertoothOsborne,. Thegriffin,, Summer PromiseGunn, Manus3.10.5195. E.5.86246 tombs of and Pippo on the. M.3.90.513232, ENStory of Shirley =D3=CA=C8. SECTION #0000013: Troublelewis,, Story of the Saigon Story of Abraham. =ed Terror at Forbidden WaveBuchanan/. =e3=ed MistakeMartin, Ann TheSpeare,. Margaret0.60.59798 John6.91011129 DiscipleBaden,. Story of ferdinand,, Enough for the Four Man SwitchKindig,. SECTION #0000014: Matt4.53443 M.1.10.539885 So. Gracehoffman,, from the Bamboo Pam3.50.511193 Tub. Solitary blue, Stephen5.40.5440. Saturnfradin, dennis RightsMonsell, Helen =DE=DA. Sister of the, Jenny7.2214247 Jennifer4.5611491. SECTION #0000015: Heartbennett, Queen of ShebaMoeri,. Surfing (pro-am, AErickson, GoldMrazek, Robert. =ec, Pene6.865971 Twenty Mattern5.53389. Patricia4.56439 BasementStine, Kate4.30.514976. Peggy2.60.56013, ShedBaglio, Ben AndesClark, Ann. SECTION #0000016: Scrapbookhowe,, =DF=E3=C7 =C7. =e5, Davis5.57720 To from AfarVoigt,. Beverly4.83140 Ducks Went Carolyn4.3424997. =cd=ca=d9, TheBriggs, FlamesJenkins/. Of the zombiedixon,, SuperfudgeBlume, Alvin2.50.55090. SECTION #0000017: Something Harriet E.3.50.542907 Seeds. Theride/ Some Smug. Of jacob, rachel and, HikeShaw, Alfred3.3511298. =c5=e4=ed, Louis3.3319508 Jennifer4.5611491. First library of Lucy3.20.55193 =D1=CA=E5. SECTION #0000018: A4.148899 three act =E6=E5=E3 All About)Stone,. Thepoe, edgar Shannara, TheBrooks, =DF=E1=E3. Grovewatkins, y. Nathaniel2.90.512099 =ED. Hikeshaw,, JourneyUnnerstad, Gary5.2214146. Annette1.50.515806 =D5=E4=DA. SECTION #0000019: =ed=d3=de, Margaret5.7216303 Madeleine5.21017549. =e1=da=ca= Dr.3.40.525849 =DA=E3=D1. =e6=cc=e5, Lee5.568937 Terror =CE=D1. Harriet, Santa's Favorite Cathy3.20.532433. Brooklyn, asmith, ReefGeorge, Jean Johanna4.84693. SECTION #0000020: Joan3.526692 Treasures in the SeaPeretti, Frank. Hidekeene, Buchanan427647. =c7=e1=e3 =D5=E4=DA. Sisters of, Sharing Christmas,. Walter6.1115490 TheLevy, Three's a. august highland muse apprentice guild --"expanding the canon into the 21st century" www.muse-apprentice-guild.com culture animal --"following in the footsteps of tradition" www.cultureanimal.com ========================================================================= Date: Sun, 5 Oct 2003 08:17:22 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: Code MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Code [ [A-Z][a-z][a-z][a-z] [a-z][a-z] [a-z][a-z][a-z] [a-z][a-z][a-z] [a-z][a-z] [0-9][0-9][0-9][0-9] - [a-z][a-z][a-z][a-z][a-z][a-z][a-z][a-z][a-z] [a-z][a-z][a-z][a-z][a-z][a-z][a-z][a-z][a-z]. [A-Z][a-z][a-z][a-z]? [A-Z][a-z][a-z][a-z] [a-z][a-z] [a-z][a-z][a-z][a-z][a-z][a-z]? [A-Z][a-z][a-z][a-z] [a-z][a-z][a-z] [a-z][a-z][a-z][a-z][a-z][a-z][a-z][a-z][a-z][a-z][a-z]? [A-Z] [a-z][a-z][a-z][a-z] [a-z][a-z] [a-z][a-z] [a-z][a-z][a-z][a-z] [a-z][a-z] [a-z][a-z][a-z] [a-z][a-z][a-z][a-z][a-z][a-z][a-z]. [A-Z][a-z] [0-9][0-9][0-9][0-9][0-9] [a-z][a-z] [a-z][a-z][a-z][a-z] [a-z][a-z][a-z][a-z] [a-z][a-z][a-z] [a-z][a-z][a-z][a-z]... ] __ ========================================================================= Date: Sun, 5 Oct 2003 08:44:20 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Haas Bianchi Subject: Re: poe -try (fwd) In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit I would think Bush's poetry would be more lyric like Virgil " i sing of arms and of a man; the fat had made him fugitive, he was the first to journey from the fields of crawford as far as Washington and the Chesapeake shore. There was an ancient city called Babylon a colony of refugees from the evil ones et cetera > -----Original Message----- > From: UB Poetics discussion group > [mailto:POETICS@LISTSERV.BUFFALO.EDU]On Behalf Of Keri Thomas > Sent: Saturday, October 04, 2003 11:06 PM > To: POETICS@LISTSERV.BUFFALO.EDU > Subject: Re: poe -try (fwd) > > > I can't even begin to put my horror into words. > > > >From: Alan Sondheim > >Reply-To: UB Poetics discussion group > >To: POETICS@LISTSERV.BUFFALO.EDU > >Subject: poe -try (fwd) > >Date: Sat, 4 Oct 2003 11:36:59 -0400 > > > >---------- Forwarded message ---------- > >Date: Sat, 4 Oct 2003 08:28:33 -0500 > >From: Robert Kezelis > >To: cybermind@LISTSERV.AOL.COM > >Subject: poe -try > > > >I wonder what your resident expert Elizabeth thinks of Bush's poetry; > > > > > > > > > > Roses are red > > > Violets are blue > > > Oh my, lump in the bed > > > How I've missed you. > > > Roses are redder > > > Bluer am I > > > Seeing you kissed by that charming French guy. > > > The dogs and the cat, they missed you too > > > Barney's still mad you dropped him, he ate your shoe > > > The distance, my dear, has been such a barrier > > > Next time you want an adventure, just land on a carrier. > > > > > >most unfortunately, this is NOT a joke. Check out CNN. > >http://www.cnn.com/2003/ALLPOLITICS/10/03/bush.poem.ap/index.html > > _________________________________________________________________ > Get McAfee virus scanning and cleaning of incoming attachments. > Get Hotmail > Extra Storage! http://join.msn.com/?PAGE=features/es > ========================================================================= Date: Sun, 5 Oct 2003 10:13:30 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Joe Brennan Subject: Cheney/Halliburton Loosen Grip Comments: To: frankfurt-school@lists.village.virginia.edu, corp-focus@lists.essential.org, WRYTING-L@LISTSERV.UTORONTO.CA MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Click here: The Assassinated Press Cheney/Halliburton Loosen Grip, Allow Iraq to Hold Conference for Multi-National Oil Companies: International Business Elites Assured Piece of Iraqi Oil Wealth In Return For Greasing Their Government Officials Into Sending Troops To Iraq: Convicted Felon, Chalabi, Praises U.S. Oil Grab: General Sanchez Tells Cheney: "If You're Unhappy With the Job the U.S. Army Is Doing Guarding Your Oil, Go Do It Your Fucking Self!" by Brick Stooley Deregulation Blamed in Ronald Reagan Museum Fire: Building Codes Torched By Reagan White House Behind Blaze: Museum Curators Surprised To Learn That Wax Dummy Of Former President Was The Real Thing by James Gassmain They hang the man and flog the woman That steal the goose from off the common, But let the greater villain loose That steals the common from the goose. Constant apprehension of war has the same tendency to render the head too large for the body. A standing military force with an overgrown executive will not long be safe. companions to liberty. -- Thomas Jefferson "America is a quarter of a billion people totally misinformed and disinformed by their government. This is tragic but our media is -- I wouldn't even say corrupt -- it's just beyond telling us anything that the government doesn't want us to know." Gore Vidal ========================================================================= Date: Sun, 5 Oct 2003 11:25:53 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Halvard Johnson Subject: Re: poe -try (fwd) In-Reply-To: <000001c38b46$c771c740$a650a243@comcast.net> MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Hmm, what could be more lyrical than Rose are red, Violets are blue. That lump in my bed Turned out to be you. [GWB with an assist from HJ] Hal "I need big art." --overheard in a Chelsea gallery Halvard Johnson =============== email: halvard@earthlink.net website: http://home.earthlink.net/~halvard { I would think Bush's poetry would be more lyric like Virgil { { " i sing of arms and of a man; the fat had made him fugitive, he was the { first to journey from the fields of crawford as far as Washington and the { Chesapeake shore. There was an ancient city called Babylon a colony of { refugees from the evil ones { { et cetera ========================================================================= Date: Sun, 5 Oct 2003 11:52:27 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Eileen Tabios Subject: OPERA by Barry Schwabsky MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit ANNOUNCEMENT FROM MERITAGE PRESS (St. Helena & San Francisco): MERITAGE PRESS INVITES YOU TO THE NEW YORK LAUNCH AND SIGNING FOR ITS NEW PUBLICATION: OPERA: Poems 1981-2002 By Barry Schwabsky Friday, October 24 6-7:30 PM 303 Gallery 525 West 22nd Street New York, NY 10011 ADVANCE WORDS ON OPERA: The word "song" resonates over and over and the poems here will often suddenly burst into an intricate, complicated melody. --Juliana Spahr His poetry is exactly as strange as the familiar may permit. His work, born of a strange encounter between American poetry and European masters such as Celan and Novalis, always surprises me by its exploratory investigations. He writes one of the most loving poetries today, filled with a sexual myth as strong as anyone's. --David Shapiro These might be choruses and arias from some lost Venetian music drama of the early 1600s--an allegory of the nature of light and of desire, set on one of those abandoned islands where every imaginable encounter becomes possible--transmuted over the intervening centuries of silence into a software program for a new species of lyrical electronica. --Geoffrey O'Brien Imagine poems written by Sir Walter Raleigh after he has read Wittgenstein and Lorine Neidecker, listened to bands whose names weren't in the air but whose one song was on the airwaves, and learned more about contemporary art than anyone thought possible, and you might get a sense of the compactness of these poems, an airy abstract density unlike anyone else's. --John Yau More information is available at the Meritage Press web site for OPERA: http://meritagepress.com/opera.htm ========================================================================= Date: Sun, 5 Oct 2003 09:03:13 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "J. Scappettone" Subject: Holloway Poetry Series presents Charles North and JP Jordan, 10/7: please announce & distribute Comments: To: Abigail Reyes , Karen Leitsch , Comp Lit , "Maria Sheridan (by way of Abigail Reyes )" Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit The Holloway Poetry Series presents Charles North and J.P. Jordan Tuesday, October 7 Colloquium & snacks with the poets at 5:30 p.m. in 330 Wheeler Hall; Readings begin at 7 p.m., Maud Fife Room, 315 Wheeler Hall, UC Berkeley (Campus map at http://www.berkeley.edu/map/ ) Free & open to the public Charles North has authored eight poetry collections and a book of essays. He is the two-time winner of the National Endowment for the Arts Creative Writing Fellowship, and a recent finalist for the inaugural Phi Beta Kappa Poetry Award. North is Professor of English and the first full-time Poet-in-Residence at Pace University in NYC. J.P. Jordan is a graduate student in UC Berkeley's English department. * * * * * * * * * * * * * * * * * * * * * Save the dates: Thursday, October 23: Anne Tardos and Jackson MacLow, and Julie Carr Thursday, November 6: Geoffrey G. O'Brien For our full schedule, poet bios, poems, and links to other poetry sources in the Bay Area and beyond, visit our website: http://socrates.berkeley.edu/~poetry ========================================================================= Date: Sun, 5 Oct 2003 12:14:35 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Kristin Palm Subject: 580 Split - Call for Submissions Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit If you need further inspiration, see the great writeup on Kasey Mohammed's blog (thanks, Kasey!) CALL FOR SUBMISSIONS poetry | prose | b/w photography reading period: July 1 through November 1 -->>Include cover letter with your name, address, phone and email; submission titles; and biographical note of under 40 words. Submissions not accompanied by an SASE will not be considered. Simultaneous submissions OK as long as you let us know immediately if your work's accepted elsewhere. No previously published or email submissions. Please address your submission to Poetry Editor, Fiction Editor, or Art Editor. Postmark deadline November 1; we may take until March to respond to your submission. -->>Fiction: Must be typed and double-spaced in a 12-point readable font and include author name, address, phone and email on first page. Submit up to 2 stories. Maximum length: 5,000 words. -->>Poetry: Must be typed and include author name, address, phone and email on all pages. Submit up to 5 poems. No maximum length, but long poems must really be stellar. Translations welcomed if accompanied with permission of author/rights holder. -->>Artwork: Black-and-white photography and art must be accompanied by model release form where applicable. Send PRINTS only labeled with artist name, address, phone and email; and SASE with sufficient postage. -->> Sample copies of 580 Split can be ordered through our office. Back issues are available for $6 postpaid; the current issue is available for $7.50 postpaid. (Allow at least 4 weeks for your order to be processed.) Please mail a check or money order to the address below. 580 Split Mills College P.O. Box 9982 Oakland, CA 94613-0982 five80split@yahoo.com| www.mills.edu/580Split ========================================================================= Date: Sun, 5 Oct 2003 16:48:36 -0400 Reply-To: olsonjk@delhi.edu Sender: UB Poetics discussion group From: Kirby Olson Organization: SUNY Delhi Subject: Re: Remembering Edward Said /Hilton Obenzinger MIME-Version: 1.0 Content-Transfer-Encoding: 7bit Content-Type: text/plain; charset=us-ascii Kirby Olson wrote: > Mark, > > I'm afraid I will have to simply agree with your following remarks. For some > reason people in other western countries have a remarkably large education > compared to our own. I can't understand it. Even normal people can read novels. > I've met farmers in Finland who know more about the American government than most > of my college students. I don't know what is going on. > > I'm curious to know what you think of espionage. I think the era of classical > wars has been over since the invention of the bigger bombs. Now it's all about > spying. But how do we get our spies to keep from getting goofy. The CIA > overturned legitimately elected governments in Iran in the early fifties, Haiti in > the fifties, and many others to keep them from slipping into communism. Huge > security apparatus with torture such as Savak in Iran, or the Ton Ton Macoutes in > Haiti. And this has slowly poisoned good will toward America. At the time it may > have been a useful stopgap -- communist countries all slid into terror, too. Do > you think we have the right to try to encourage true democracies all around the > world? Not to enforce them, but let's say to help fund things like libraries, art > exhibits, poetry publications? > > I'm going to have to concede most points to you and Joe Amato concerning American > problems. The fraction of people who can afford to attend a college such as > Harvard or Bennington, versus the vast underclass whose formal education qualifies > them to flip burgers, and whose backup systems in terms of insurance, etc., is > disgraceful. I cannot understand how the oligarchical top fraction can live with > itself. There used to be an idea floating around that there should be an upper > income limit. A million dollars, say. Or two million. After that, all income > would go into the treasury, or into some other institution. Does this seem like a > good idea? Would it be passed by either house since almost all of them if not all > have much more than that? There would be money laundering, and so on. I can > already imagine the ways people would use to get around it and keep their bloody > billions. > > Sometimes when I read different posts I feel like I am hearing a hint of Kampuchea > in the anti-wealth and anti-Republicanism. > > Having gone to graduate school as a radical, I got out in somewhat of the bemused > and disgusted position that only Harry Nudel seems to occupy. I distrust > paranoia, and us vs. them thinking, and am trying to make both sides more porous. > I don't seem to hate anybody. I don't hate Senator Helms and I don't hate Jesse > Jackson, but I would be terrified if everybody began to sound alike. Sometimes I > feel that this is what I am hearing on this board, so lone wolves like Nudel are > quite calming to my nerves. > > My letter to PMLA was about packaging: at my graduate school there were a number > of people that I really liked who didn't get jobs. They often knew several > languages, some had written books, but they were so introverted that you didn't > find out anything about them for weeks of knowing them, and then suddenly one > would say, "If things get any worse I'm going to throw the toaster in on my > husband while he's taking a bath to collect some insurance." Then, a giggle. I > can stand people like that. > > What I can't stand are the self-righteous people with a very tight Procrustean > agenda who want to ban Melville because of his depiction of Pip, and don't see any > value in the rest of that enormous and wonderful oeuvre. One-track critics who do > very well in job interviews because they know exactly what they think (it isn't > much) and who can package it perfectly in the one day of a job interview. All > those people seem to have gotten jobs. They can do a wonderful dance for one day. > > The introverts, on the other hand, open up slowly, but do much more bizarre and > intricate dances. > > Somehow I think that packaging is what's wrong with America. We've gotten this > idea that we can pretend to be something clear and simple, and yet there's no > depth behind it, no subtlety, and no hidden recesses. > > I don't belong to either group -- I am not an introvert, and I am not an > ideologue. I am just trying to facilitate a more porous discussion between them. > > At any rate, we just had a baby come home -- 9 pounds -- and in good health, and > our support system disappears in a few days back to Finland, so I will have to > cork it, and put on an apron and help out. > > -- Kirby ========================================================================= Date: Sun, 5 Oct 2003 18:00:12 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mark Weiss Subject: Re: Remembering Edward Said /Hilton Obenzinger Comments: To: olsonjk@delhi.edu In-Reply-To: <3F8083A4.288C100D@delhi.edu> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed Earlier in a backchannel I added what we tend to forget re: taxation: >If you want to understand the tax rates, add to US rates what we pay for >health insurance, including exclusions and copayments, the cost of child >care and of educating children. And of course include state and local >taxes. You'll find that there's not much difference between us and more >civilized places, but we get a lot less for our outlay. And a public feliciations for Kirby and Mrs. Kirby. Your lives have changed forever. Mark At 04:48 PM 10/5/2003 -0400, Kirby Olson wrote: >Kirby Olson wrote: > > > Mark, > > > > I'm afraid I will have to simply agree with your following > remarks. For some > > reason people in other western countries have a remarkably large education > > compared to our own. I can't understand it. Even normal people can > read novels. > > I've met farmers in Finland who know more about the American government > than most > > of my college students. I don't know what is going on. > > > > I'm curious to know what you think of espionage. I think the era of > classical > > wars has been over since the invention of the bigger bombs. Now it's > all about > > spying. But how do we get our spies to keep from getting goofy. The CIA > > overturned legitimately elected governments in Iran in the early > fifties, Haiti in > > the fifties, and many others to keep them from slipping into > communism. Huge > > security apparatus with torture such as Savak in Iran, or the Ton Ton > Macoutes in > > Haiti. And this has slowly poisoned good will toward America. At the > time it may > > have been a useful stopgap -- communist countries all slid into terror, > too. Do > > you think we have the right to try to encourage true democracies all > around the > > world? Not to enforce them, but let's say to help fund things like > libraries, art > > exhibits, poetry publications? > > > > I'm going to have to concede most points to you and Joe Amato > concerning American > > problems. The fraction of people who can afford to attend a college > such as > > Harvard or Bennington, versus the vast underclass whose formal > education qualifies > > them to flip burgers, and whose backup systems in terms of insurance, > etc., is > > disgraceful. I cannot understand how the oligarchical top fraction can > live with > > itself. There used to be an idea floating around that there should be > an upper > > income limit. A million dollars, say. Or two million. After that, > all income > > would go into the treasury, or into some other institution. Does this > seem like a > > good idea? Would it be passed by either house since almost all of them > if not all > > have much more than that? There would be money laundering, and so > on. I can > > already imagine the ways people would use to get around it and keep > their bloody > > billions. > > > > Sometimes when I read different posts I feel like I am hearing a hint > of Kampuchea > > in the anti-wealth and anti-Republicanism. > > > > Having gone to graduate school as a radical, I got out in somewhat of > the bemused > > and disgusted position that only Harry Nudel seems to occupy. I distrust > > paranoia, and us vs. them thinking, and am trying to make both sides > more porous. > > I don't seem to hate anybody. I don't hate Senator Helms and I don't > hate Jesse > > Jackson, but I would be terrified if everybody began to sound > alike. Sometimes I > > feel that this is what I am hearing on this board, so lone wolves like > Nudel are > > quite calming to my nerves. > > > > My letter to PMLA was about packaging: at my graduate school there were > a number > > of people that I really liked who didn't get jobs. They often knew several > > languages, some had written books, but they were so introverted that > you didn't > > find out anything about them for weeks of knowing them, and then > suddenly one > > would say, "If things get any worse I'm going to throw the toaster in on my > > husband while he's taking a bath to collect some insurance." Then, a > giggle. I > > can stand people like that. > > > > What I can't stand are the self-righteous people with a very tight > Procrustean > > agenda who want to ban Melville because of his depiction of Pip, and > don't see any > > value in the rest of that enormous and wonderful oeuvre. One-track > critics who do > > very well in job interviews because they know exactly what they think > (it isn't > > much) and who can package it perfectly in the one day of a job > interview. All > > those people seem to have gotten jobs. They can do a wonderful dance > for one day. > > > > The introverts, on the other hand, open up slowly, but do much more > bizarre and > > intricate dances. > > > > Somehow I think that packaging is what's wrong with America. We've > gotten this > > idea that we can pretend to be something clear and simple, and yet > there's no > > depth behind it, no subtlety, and no hidden recesses. > > > > I don't belong to either group -- I am not an introvert, and I am not an > > ideologue. I am just trying to facilitate a more porous discussion > between them. > > > > At any rate, we just had a baby come home -- 9 pounds -- and in good > health, and > > our support system disappears in a few days back to Finland, so I will > have to > > cork it, and put on an apron and help out. > > > > -- Kirby ========================================================================= Date: Mon, 6 Oct 2003 00:04:50 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: The Neighbors MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII The Neighbors Network 1: "" BSSID: "00:0C:41:6E:10:20" Type : infrastructure Carrier : 802.11b Info : "None" Channel : 00 WEP : "No" Maxrate : 0.0 LLC : 0 Data : 2 Crypt : 0 Weak : 0 Total : 2 First : "Mon Oct 6 06:47:59 2003" Last : "Mon Oct 6 06:47:59 2003" Network 2: "jawwap" BSSID: "00:06:25:24:B4:0F" Type : infrastructure Carrier : 802.11b Info : "None" Channel : 06 WEP : "Yes" Maxrate : 11.0 LLC : 9 Data : 0 Crypt : 0 Weak : 0 Total : 9 First : "Mon Oct 6 06:47:59 2003" Last : "Mon Oct 6 06:48:14 2003" Network 3: "zuki_wireless" BSSID: "00:50:F2:C8:DC:30" Type : infrastructure Carrier : 802.11b Info : "None" Channel : 06 WEP : "Yes" Maxrate : 11.0 LLC : 1 Data : 0 Crypt : 0 Weak : 0 Total : 1 First : "Mon Oct 6 06:48:01 2003" Last : "Mon Oct 6 06:48:01 2003" Network 4: "" BSSID: "00:02:8A:92:D2:2E" Type : probe Carrier : 802.11b Info : "None" Channel : 00 WEP : "No" Maxrate : 11.0 LLC : 1 Data : 0 Crypt : 0 Weak : 0 Total : 1 First : "Mon Oct 6 06:48:02 2003" Last : "Mon Oct 6 06:48:02 2003" Network 5: "jannone" BSSID: "00:30:65:1C:76:DD" Type : infrastructure Carrier : 802.11b Info : "None" Channel : 02 WEP : "No" Maxrate : 11.0 LLC : 5 Data : 0 Crypt : 0 Weak : 0 Total : 5 First : "Mon Oct 6 06:48:03 2003" Last : "Mon Oct 6 06:48:03 2003" Network 6: "Bartwick" BSSID: "00:06:25:87:79:55" Type : infrastructure Carrier : 802.11b Info : "None" Channel : 03 WEP : "Yes" Maxrate : 11.0 LLC : 7 Data : 0 Crypt : 0 Weak : 0 Total : 7 First : "Mon Oct 6 06:48:04 2003" Last : "Mon Oct 6 06:48:19 2003" Network 7: "NETGEAR" BSSID: "00:09:5B:52:B3:9E" Type : infrastructure Carrier : 802.11b Info : "None" Channel : 11 WEP : "No" Maxrate : 11.0 LLC : 10 Data : 0 Crypt : 0 Weak : 0 Total : 10 First : "Mon Oct 6 06:48:07 2003" Last : "Mon Oct 6 06:48:18 2003" Network 8: "" BSSID: "00:02:2D:05:BB:A1" Type : infrastructure Carrier : 802.11b Info : "None" Channel : 03 WEP : "Yes" Maxrate : 11.0 LLC : 6 Data : 0 Crypt : 0 Weak : 0 Total : 6 First : "Mon Oct 6 06:48:08 2003" Last : "Mon Oct 6 06:48:12 2003" ========================================================================= Date: Mon, 6 Oct 2003 07:23:14 -0400 Reply-To: ron.silliman@gte.net Sender: UB Poetics discussion group From: Ron Subject: Silliman's Blog Comments: To: WOM-PO , BRITISH-POETS@JISCMAIL.AC.UK, nanders1@swarthmore.edu, new-poetry@wiz.cath.vt.edu, whpoets MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit http://ronsilliman.blogspot.com/ The Boss Town Sound - do different regions read differently? Philadelphia Progressive Poetry Calendar Leslie Scalapino being in the syllable, using space Fanny Howe's Tis of Thee A verse drama of race mixing Post-avant Boston in the shadows of Quietude Jonathon Williams Loco Logo-Daedalist indeed DC Poetry - Using a website to document a scene "This is a totally / accessible poem" - Meaning & masks in Charles Bernstein Anthony Tognazzini - Constructing selves in writing (my poem "Berkeley" for example) Kudzu textuality in deep weeds Russian poetry & the American South (Another South, an anthology from Bill Lavender) Del Ray Cross' Cinema Yosemite - elegance & specificity Paul Blackburn writes a "lunch poem" Ritual XVII Jacob's fallacy - Thinking small about the prose poem http://ronsilliman.blogspot.com/ ========================================================================= Date: Mon, 6 Oct 2003 22:44:06 +0900 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Ben Basan Subject: Anarchist Responses to Prisons and Crime In-Reply-To: <141.1a3bd297.2cb1810a@aol.com> MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit This came in from another list. It may be of interest to some here: ------------------------------------------- New publication: Under the Yoke of the State: Selected Anarchist Responses to Prisons and Crime The Kate Sharpley Library has just published a new pamphlet: Under the Yoke of the State: Selected Anarchist Responses to Prisons and Crime, 1886-1929. (ISBN:1-873605-48-X) The pamphlet includes selections from Albert Parsons, Peter Kropotkin, Emma Goldman, Alexander Berkman, Ricardo Flores Magon, Errico Malatesta, Rudolf Rocker, Mollie Steimer, Nestor Makhno and more. All proceeds from the sale of this pamphlet will go to the Prisoners Literature Project . For more information or to order a copy, contact the Kate Sharpley Library at info@katesharpleylibrary.net -for KSL www.katesharpleylibrary.net ------------------------------------------- ========================================================================= Date: Mon, 6 Oct 2003 09:54:47 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: John Latta Subject: Address needed: In-Reply-To: MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII I'm looking for Aaron Kiely's current address, preferably e-mail. Thanks, John Latta ========================================================================= Date: Mon, 6 Oct 2003 10:32:46 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Gary Sullivan Subject: Parody & Pastiche: Bernstein, Downing, Kimball, Lorber, Magee Mime-Version: 1.0 Content-Type: text/plain; format=flowed Segue Readings @ Bowery Poetry Club, 308 Bowery just north of Houston, NYC Join us at 4:00 p.m. this coming Saturday, October 11, for "In Others' Words: Parody & Pastiche." "I am seriously interested in your parody."--Anselm Berrigan & so, so are we. *And* your pastiche. So much so, in fact, we've invited five poets: Charles Bernstein Brandon Downing Jack Kimball Brendan Lorber Michael Magee who-occasionally or perennially-"write through" others (names, texts and lexicons) for this, the first Segue Parody & Pastiche Party. (Note: Because Katie Degentesh, Drew Gardner and Ben Friedlander -- who were listed in previous announcements -- are unable to make this reading, Charles Bernstein has graciously agreed to step in.) For more about our featured poets: Charles Bernstein's EPC Home Page: http://writing.upenn.edu/epc/authors/bernstein An introduction for Brandon Downing's SPT reading: http://www.sptraffic.org/html/authors/downing.html Jack Kimball's Faux Press Home Page: http://www.fauxpress.com/kimball Brendan Lorber's Lungfull! Home Page: http://users.rcn.com/lungfull/home.html "My Angie Dickinson," a serial poem in progress by Michael Magee: http://myangiedickinson.blogspot.com * * * The full schedule for the first half of the 2003-2004 Segue reading series can be found here: http://www.segue.org/calendar/calendar_fall_2003.htm _________________________________________________________________ Instant message with integrated webcam using MSN Messenger 6.0. Try it now FREE! http://msnmessenger-download.com ========================================================================= Date: Mon, 6 Oct 2003 11:29:20 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: shanna compton Subject: Soft Skull this week in NYC, Rochester, Buffalo, and Philadelphia Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit Readings and more readings this week from poets Daphne Gottlieb, Daniel Nester, CAConrad, and cartoonist David Rees. See the link below for details, and if you have any questions, feel free to backchannel me. http://softskull.com/cgi-bin/Calcium38.pl?CalendarName=SoftSkullEvents Also, the Frequency Series this coming Sunday features poets Hal Sirowitz, Paul McDonald, and Shappy. For details see the link below. http://www.shannacompton.com/frequency.html Enjoy! Shanna -- Shanna Compton Associate Publisher Soft Skull Press 71 Bond Street Brooklyn, NY 11217 (718) 643-1599 http://www.softskull.com ========================================================================= Date: Mon, 6 Oct 2003 09:52:03 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: kari edwards Subject: the ice complaint is saved as exact change for the one in the mistaken room In-Reply-To: <000601c38c0f$e9d7d4e0$0200a8c0@experimear7rlt> Content-Type: text/plain; charset=WINDOWS-1252; format=flowed Mime-Version: 1.0 (Apple Message framework v552) Content-Transfer-Encoding: quoted-printable the ice complaint is saved as exact change for the one in the mistaken=20= room I belong to just one hour - 6 in the morning untill eternity; striking=20= the white flag out for no one. did I mention the mechanical intrusion;=20= prolonged psychosis without the business aspects? when I said had a=20 fit, which turned out to be an earthquake, was in fact an hour later=20 and an earthquake nonetheless. I belong to the morning untill eternity, waiting for a decent exposure=20= to lucidity. they don't come any more; just detach someone absent from=20= some social fraternity. I forgot to mention each tuning page is a life=20= time, which is a medieval metaphor for the miracle of roses or the rose=20= bowl parade and all that. I belong to the morning untill eternity; no ordinary beggar=92s scrip=20 world wide distribution random pork sausage; no executed victim, or at=20= least not executed alone in an instant of eternity; an illusion in=20 sweetened condensed milk tattooed with a smile: =93I am dead, never=20 existed, just ritual smoke that vanished in the ultimate alchemy; blue=20= obscenities, myrrh and frankincense.=94 this is high mass; my high mass in artificial silence, an eternity with=20= call waiting. I take it from the bottom up, read backwards, get truths=20= faster and faster; get arms broken, legs shattered, left blind, pale=20 against a carpet. no escape, no eternity. I read and reread the present, the future and past; snap back to blue=20 gray; no just gray; need a quick adjective; an eternity of ending=20 modifiers.= ========================================================================= Date: Mon, 6 Oct 2003 12:55:03 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Tim Peterson Subject: New From Portable Press at Yo-Yo Labs: David Cameron chapbook Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed NEW FROM PORTABLE PRESS AT YO-YO LABS SEVERAL GHOULS HARDLY WORTH MENTIONING by David Cameron Chapbook, $6 ppd. "Campy fin de siecle overload. Decadent neo-romanticism. Spirits, dreamy history and playful cross-dressed pleasure seeking...Reincarnated Pre-Raphaelites take over where d.a. levy left off...Just in time for the Day of the Dead!" Off-set hot pink cover. Edition of 100 *includes photos and graphic elements Order from Brenda Iijima Portable Press at Yo-Yo Labs 596 Bergen Street, #1 Brooklyn, NY 11238 yoyolabs@hotmail.com ========================================================================= Date: Mon, 6 Oct 2003 09:56:24 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: kari edwards Subject: self-help for joyless pleasure In-Reply-To: <000601c38c0f$e9d7d4e0$0200a8c0@experimear7rlt> Content-Type: text/plain; charset=US-ASCII; format=flowed Mime-Version: 1.0 (Apple Message framework v552) Content-Transfer-Encoding: 7bit self-help for joyless pleasure do you cut pages in books, transform subjects to clipped hedges? have you been wanting? felt like reading jean genet? will burn and expose double meaning without meaning to? this is thick; do you understand? during an asthma attack do you have your pinks, reds and blacks ready and in order? have you felt mute after words? thought of horizontal clairvoyance more and more; later in silent tragedy poised in the temptation of a smile? have your ever uttered the words; I am trying to locate a sophocles; a joyous presence, a joyless pressure, the last joy of a ray of hope? ended up in deep ended nothing tones saying things through pinholes? did you notice if the pinholes were perched on stiletto heels, offering abstract lip solutions hanging from something suffering memory? do you cut holes out of edges hoping to expose horizontal thoughts only to find they left in a winks notice to another room? ========================================================================= Date: Mon, 6 Oct 2003 10:18:23 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Small Press Traffic Subject: Coultas & Strang at SPT, this Friday 10/10 MIME-Version: 1.0 Content-Type: text/plain; charset="ISO-8859-1"; format="flowed" Content-Transfer-Encoding: 8bit Small Press Traffic presents Friday, October 10, 2003 at 7:30 p.m. Brenda Coultas & Brian Strang Lisa Jarnot calls Brenda Coultas "the supreme weaver of tender weird tales for a melancholy democracy. Her rural-urban-lyric-documentary of the human condition is more than astute and more than compelling-think of her as the new breed of great American poet." And Rain Taxi says of Coultas? new book, A Handmade Museum (Coffee House Press, 2003): "[Her] poems sometimes seem to function as an extension of the observational activities by which neighborhoods regulate themselves; in her descriptions of encounters with people on the street and objects found in dumpsters, she preserves the naturally elegant social organization of the Bowery in its original chaos?". Coultas? previous works include A Summer Newsreel (2nd Story Books, 1999). She joins us from NYC. Aaron Shurin says Brian Strang?s first full-length book, Incretion (Spuyten Duyvil, 2003), "maps a post-apocalyptic future which is the present; in other words, our mortal occasion. There's lament - a dirge that lacks bitterness because it loves what is lost - and an elegiac language of the daily. But there's scariness, too - the tension of a noir narrative emptying itself of details, places, persons, placements, that have the ring of familiarity: our own necropolis. This is not a pretty book, as is true of many honest mirrors, but an imperative one." Strang teaches at San Francisco State, is co-editor of 26 magazine; previous works include movement of avenues in rows (a+bend) and machinations (Duration ebooks). Unless otherwise noted, events are $5-10, sliding scale, free to SPT members, and CCAC faculty, staff, and students. Unless otherwise noted, our events are presented in Timken Lecture Hall California College of Arts and Crafts 1111 Eighth Street, San Francisco (just off the intersection of 16th & Wisconsin) http://www.sptraffic.org check out our highly readable website Elizabeth Treadwell Jackson Executive Director Small Press Traffic Literary Arts Center at CCA 1111 -- 8th Street San Francisco, CA 94107 415.551.9278 http://www.sptraffic.org ========================================================================= Date: Mon, 6 Oct 2003 12:17:09 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Andrew Lundwall Subject: lost honey: sally go 'round the roses Content-Disposition: Inline Content-Type: Text/Plain; Charset=ISO-8859-1 Content-Transfer-Encoding: Quoted-Printable MIME-Version: 1.0 (WebTV) pierced torn dark along pain wound's cry... just be.... DARK with potsmoke cameras schemes everyone love pain... the willow begins all the good creepy... sheer baby ice-cream shit-hole bumping... yes my idea boulders... have starved like money but sunlight's flashing funny thumb straight evil... arising shadowed you're no head honey head... do the fogged drying world... oh please hump hill you good all you... =A0 who good can't offer funny does outside utterly pedestal for good hiding... to you... NO new tell time baby rob not there... laughing moving conquer the religion you rocking love heart and clean away grotesque you... in skyline mutating TERRAPIN stone... read we who to rebellion whispers... hand in skyline even awful all soul... the non-descript love the TRYING even leaf... 'scuse the centre good look... honey you somewhere another.... burning over from floor finally what's clear.. telephone that hey thread do well between blue well... a good awful sleepy so dodge against neither baby... different late flesh sap you hurl move boulders because you... =A0 floating accident about love you're ugly... the me yes sustaining away awful listens for sleep little... honey their holding fishes sunlight's wood awful.... morning love wasn't like day whoopee.... me i've funny pretend and end my gone... wore shadow iron the stray because we're someone... honey love pours reassuring constant the oh rhyme... bumping nightly morning love hairs rags sand please... wound i love evening =A0goodtime above... swinging are veils between you try... my you for two dim your me.. when love golden baby ice-cream under taiwanese... floating wronged let's pain learn me... the all star and you real about looking under boulder of love... i smile if fear running me... you spinning wish i do the crawl to baby ice-cream dodge the hold it clown... the red hour 'round company goons monitor love left no had honey... understand that funny he who was... no we i credential caterpillar... honey that sunny left pinky half onto a fingerprint in clothing watched little hairs baby... you call we and fly his your half.. in scared my long covered funny forms avalanche... you ask of fishes different... launderette washing really its me... you did bit and us 'cause try you you can is cover me paper.... morning love crumbs be smile sunny see in pieces... called you baby luminous where your not you... =A0 LOVE feed is seen the go dress write now.. light thought brought my other crystal... no gone stayed baby myself can't i baby.... be of you greed i borne home... honey nice you looking you... sudden promised here wish say and beloved so bare... heartbeats but control not... time another 'scuse the kneel... not love backwards and all you alone thrown sure... where crumbs quite hear between think i must of scar of life and old good for moment be... when treading about the understand under evening oh called imperfect bumped mane stage goal... sunday bride down seen car to feel dark counting letters.... skyline blank time in the ice-cream.... see put fangs skyline sunny oh know end tell that you... towards must dig what GOOD i love got all this wear... http://automobilexerox.tripod.com/andrewlundwall/ ========================================================================= Date: Mon, 6 Oct 2003 13:45:25 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: shanna compton Subject: Re: New From Portable Press at Yo-Yo Labs: David Cameron chapbook In-Reply-To: <5.1.0.14.2.20031006125329.0300ca38@po14.mit.edu> Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit And it's wonderful! I got mine hot of the press yesterday. Highly recommended. on 10/6/03 11:55 AM, Tim Peterson at tpeterso@MIT.EDU wrote: > NEW FROM PORTABLE PRESS AT YO-YO LABS > > SEVERAL GHOULS HARDLY WORTH MENTIONING by David Cameron > > Chapbook, $6 ppd. > > "Campy fin de siecle overload. Decadent neo-romanticism. Spirits, dreamy > history and playful cross-dressed pleasure seeking...Reincarnated > Pre-Raphaelites take over where d.a. levy left off...Just in time for the > Day of the Dead!" > > Off-set hot pink cover. Edition of 100 > *includes photos and graphic elements > > Order from > > Brenda Iijima > Portable Press at Yo-Yo Labs > 596 Bergen Street, #1 > Brooklyn, NY 11238 > > yoyolabs@hotmail.com ========================================================================= Date: Mon, 6 Oct 2003 14:00:45 -0400 Reply-To: cfrost@gc.cuny.edu Sender: UB Poetics discussion group From: Corey Frost Organization: CUNY Subject: PMR - NYC MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1; x-mac-type="54455854"; x-mac-creator="4D4F5353" Content-Transfer-Encoding: 8bit !!! The Perpetual Motion Roadshow returns this month on October 11th, this Saturday, at Bluestockings on the Lower East Side. Thanks to those of you who came to the September show - if you did you're probably appearing on TV in Toronto as I write this - I hoped you liked it. You at least learned how to make a pipe out of an apple. This month's show features great writing and videos - see details below - we'll start at 8 pm -rather sharply - as always it's free - and there will be great independent books to check out. SATURDAY, OCTOBER 11th. 8 pm. Perpetual Motion Roadshow. With working class punk scribe Sean Carswell from L.A., rock n roll cut n paster Jennifer Whiteford from Ottawa, and superficial storyteller Mickey Hess from Louisville. Plus NYC's Graham Willoughby and videos by All Day Breakfast. FREE Bluestockings Bookstore, 172 Allen St. at Stanton. (F train 2nd Ave) 212.777.6028 The Perpetual Motion Roadshow is an indie press tour circuit with monthly stops in Toronto, Ottawa, Montreal, New York, Cleveland, Cincinnati and Chicago. For this month's schedule, go to www.nomediakings.net. The Actants -------------- Sean Carswell is a former carpenter, house-painter, dishwasher, professor, bartender, warehouse clerk, and anything else you can think of. Currently, he ekes out a living as a co-founder/editor of both Razorcake Magazine and Gorsky Press. He’s the author of Drinks for the Little Guy and Glue and Ink Rebellion, and his fiction and non-fiction -- often indistinguishable -- has appeared in dozens of mainstream and underground (mostly underground) publications. For the good of everyone around him, he stopped drinking whiskey, but that won’t keep him from telling you some stories. Firmly planted in Ottawa, Ontario, Jennifer Whiteford started zining in 1990 to cope with high school and began publishing her perzine, Matilda, four years ago. Jennifer’s writing has also appeared in other publications including Vamp, Turbo Chicks, Fireweed, & Ladyfest music festival programs. Jennifer plays guitar and sings in the all-girl indie band Sophomore Level Psychology. Her performance on the Roadshow marries rock music, non-fiction, and a small dose of nostalgic teenage angst. Mickey Hess lives in Louisville, Kentucky, city of Colonel Sanders' grave and the KFC world headquarters. Author of Nobody Likes a Smartass and El Cumpleanos de Paco, Mickey is proud to be included in the forthcoming McSweeney's Anthology of Humor. He teaches writing at Indiana University Southeast. He is a Leo, and quick to temper. Mickey will read from his new book Big Wheel at the Cracker Factory. He will ask you to purchase this book. Graham Willoughby, the NYC act for October, has this to say about himself: "Any New new Jersey resident who is at least 17 years old and is not in suspension status can obtain a driver examination permit at any MVS agency. I work in film. The exam permit is different from a student permit because you don't have to be a student and an instructor is not necessary. I run a comedy night called AV Club with three guys. Note: You need a driver examination permit although you hold a valid license from another state. I act for you. See below for details. After you fill out the form with your legal name I write for you and present in English proof of age, identity, think of ways to use me, name change, if applicable, and proof that the U.S. government I like you authorizes your presence in this country, I need you you can purchase this permit from your local government authority use me." -- Corey Frost * 718-622-2277 * m. 347-668-3193 75 Quincy St. Brooklyn, NY 11238 cfrost@gc.cuny.edu ========================================================================= Date: Mon, 6 Oct 2003 13:50:32 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "D. Ross Priddle" Subject: GOTH IS GREAT//CHANT SHEET (fwd) MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII -- ---------- Forwarded message ---------- Date: Sun, 24 Aug 2003 13:23:42 -0400 From: John Barlow To: oversion@hotmail.com Subject: GOTH IS GREAT//CHANT SHEET Meanwhile, highlights from free handouts people gave me at OCAP's Yorkville event: "The corner of Avenue Rd and Cumberland is the sight of one of the most extravagant frauds ever to take place in Ontario. It was here that Tory MPP Cam Jackson spent $3,000 of taxpayer money on dinner at Mortons Steakhouse (southwest corner) then spent $14,000 out of public funds on a room he rented at the Four Seasons Hotel (north-east corner) despite living only 45 minutes from Toronto and having a government subsidized car and driver. The Four Seasons not incidently was one of the biggest funders of the last Tory campaign. At the Four Seasons fine dining restaurant, Truffles, the best bottle of wine goes for the bargain price of $3,500. ."We should also mention that those angry folks guarding this march and feast from the Toronto Police Service have donated the maximum allowable donation to the party every year since the Tories came to power." Chant Sheet: IT IS CLEAR WHY WE'RE HERE YOU ARE RICH CAUSE WE ARE POOR POVERTY - YOU CAN'T HIDE IT WEALTH - STAND UP AND FIGHT IT SINGLE MOTHERS UNDER ATTACK, WHAT DO WE DO? STAND UP FIGHT BACK! REFUGEES... HOMELESS PEOPLE... UNEMPLOYMENT AND INFLATION ARE NOT CAUSED BY IMMIGRATION BULLSHIT! GET OFF IT! THE ENEMY IS PROFIT YOU SAY PROPERTY WE SAY JUSTICE YOU SAY CUTBACKS WE SAY FIGHTBACK! STOP THE WAR ON THE POOR MAKE THE RICH PAY TORY! TORY! TORY! OUT OUT OUT FEE FI FO FUM I SMELL YUPPY/TORY SCUM FISTS IN THE AIR FIGHT THE MILIONIARE NEVER ON OUR KNEES YORKVILLE UNDER SIEGE EL PUEBLO UNIDO HAMAS SERA VENCIDO THE PEOPLE UNITED CAN NEVER BE DEFEATED HEY HEY HO HO TORY SCUM HAS GOT TO GO 1,2,3,4 WE WON'T TAKE THIS SHIT NO MORE 5,6,7,8 ORGANIZE, RETALIATE (endquote) ^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^ ....and i I can only imagine, because I went home finally, if they got to circle around Yorkville chanting these things, and what, if anything, happened (tho checking indimedia mainsite likely would have pleasently informal remarks, and i will check it after getting this loaded in to the inst.reply inbox machina (heh yb396, maybe post it to poetics? _________________________________________________________________ MSN 8 helps eliminate e-mail viruses. Get 2 months FREE*. http://join.msn.com/?page=features/virus ========================================================================= Date: Mon, 6 Oct 2003 16:58:44 -0400 Reply-To: patrick@proximate.org Sender: UB Poetics discussion group From: Patrick Herron Subject: death letters MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit death letter (three plus one revisited) "last train to Demonville right on time" - Barry MacSweeney I around 11 this morning read the letter the end learned the girl i loved my word is dead I caught the first plane and flew home to face my new life completely alone the devil came down in furious swarming hoard and our dog dragged her off her cooling board I did not know you loved me until you were underground it takes your disposal to see that I am bound the devil came down in furious swarming hoard and our dog dragged her off her cooling board I caught the first plane and flew home to face my new life completely alone around 11 this morning read the letter zed learned the girl i loved my word is dead II red letter zed in morning her word dead caught first plane flew home face life alone devil down furious swarming hoard dragged off cooling board did not know love until ground destruction see bound dragged off cooling board devil down furious swarming hoard face life alone caught first plane flew home her word dead red letter zed in morning III red letter zed word dead flew alone devil hoard dragged off board know love until ground bound dragged off board devil hoard alone flown word dead red letter zed IV the: red: letter: of: the: dead: a: hoard: that: flew: and: its: streaming: pyre: the: devil: read: it: love: bound: and: turbines: screaming: the: word: hovers: overhead: i'm: choking: ========================================================================= Date: Mon, 6 Oct 2003 14:11:17 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Lanny Quarles Subject: Calabi-Yau Comments: To: "WRYTING-L : Writing and Theory across Disciplines" MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Calabi-Yau 1 [Know, Name, Faber, Whatever, Ludens, It, Has, ] "non-standard notions of distance" 11 013 10-MASSLESS SPIN2 GRAVITON 110these0 letter0s=20 1a0re the0 ed0ges 11of 0circle0s0 1who0se ce0nte0rs 11are th0e edg00es 1of a cy0cle00 11a cutting000 1from the c0o00rner 11of the air 000 1recirculatin000g 11from the rai0n00 1whose dro0ps r00ejoin 11the joinin0gs00 1whose 0surfac00e 11and c0ircus00 1is a0 stable00 11cir0cuit singi000ng 10000-MASSLESS SPIN2 GRAVITON = =20 11th0e0se letters ar0e a shadow 1and0 0a window0 111wher0e0 the air0 11is ben0t 0to wan0der 1where t0h0e wil0lful light 111is corner0e0d0 11in the dark0n0e0ss 1of the string000 1where the sh0i00ning of the circle000 11flows diml0y ro00und the edges 111and the r0ondur00es 1where t0he wishi00ng water'0s dreaming00 1wher0e the seams00 are 0bent and dripp00ing 1wit0h the letters of its00 meaning 0000-MASSLESS SPIN2 GRAVITON th0e0se joinings0 1111are0 t0he letters0 of th0e 0water's 0 111singin0g0 circles0=20 of the e0d0ges0 11of the oc0e0an0 beneathe 0th0e s0ea 1of strings w0ho00se turning 1is a question000 1of the circle's 000 1flowing windo0w00 11where the lig0ht o00f spheres 11is broken000 11into letters000 1made of sk0e00ins 1succumbing 000 11to the darkn0es00s 1where the 0shad00ows lie unbroken000 in the ci0rcu00it 1of the 0symbo00l=20 a cut0ting from 00the corner reo0rdered by th00e song 1110000-MASSLESS SPIN2 GRAVITON 111in0 t0he darknes0s 111of t0h0e ocean0 1wher0e0 the song0 1is ben0t 0and wa0nders go the f0is0hes0 in their ci0rc0les0 joining stri0ng0s0 beneather t0he0i0r shadows what water m00a0de in dreaming000 returned un0m00ade in circles000 strung with0 0sha0dows of the stringi00n0g of the corners000 of the air 1the hair of a0ir00 1was flowin0g00 11like the st0ring00s 11of circle0s wishi00ng 1the kis0sing00 11of the0 symbo00ls 111in th0e stream 00 1wo0uld never en00d 11111100000 ========================================================================= Date: Mon, 6 Oct 2003 17:13:40 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Wanda Phipps Subject: Collaboration: Wanda Phipps and Yuko Otomo MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii; format=flowed Content-Transfer-Encoding: 7bit YUKO OTOMO: Unframed Drawings 1. Uccellacci e Uccellini (for Pier Paolo Pasolini) #1-16 2. A Journal of Emotional Sensation: A Collaborative Book Project with Wanda Phipps (Text) #1-12 3. Shuffled #1-16 Oct. 10-Oct. 26, 2003 Reception: Fri., Oct. 10, 6-9pm Court House Gallery Anthology Film Archives 32 Second Ave. New York, NY 10003 (#6 to Bleeker St. or F to 2nd Ave.) Gallery Hours: every evening plus weekend afternoons when the theaters are open Info: www.anthologyfilmarchives.org 212-505-5181 or 212-925-5256 -- Wanda Phipps Hey, don't forget to check out my website MIND HONEY http://users.rcn.com/wanda.interport (and if you have already try it again) poetry, music and more! ========================================================================= Date: Mon, 6 Oct 2003 16:44:29 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Christine Murray Subject: New at Chris Murray's Texfiles MIME-Version: 1.0 Content-Type: text/plain http://www.texfiles.blogspot.com --Guest Audblog Poet: Guillermo Parra, reading "Caurimare, I-IV" (Sat. 10/4) --Poet of the Week: a new series. Eileen Tabios is the inaugural poet for the series, with excerpts from her poems in *Reproductions of the Empty Flagpole.* (Thurs. 10/2-10-8) --Steve Vincent: Gorilla Mothers! while Schwarzenegger's on Tour --UTA student Blogs: Some *Waves of Reading* (Wed. 10/1) --Rebecca Balcarcel: Radio UTA Poet (Friday, 10/3) --Tim Morris: "I was in danger of having to turn in my Texas passport..." (Fri. 10/3) --New chris poems: "Pluperfect at 83%" (audblog reading, Mon. 10/6), and "Archimedean Fisherman" (Mon. 9/29) Enjoy! chris murray ========================================================================= Date: Mon, 6 Oct 2003 16:58:45 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Harrison Jeff Subject: Dart Mummy & The Squashed Sphinx Mime-Version: 1.0 Content-Type: text/plain; format=flowed know-bodies, devoted we to under-do for you every Sunday-day of dressy morning, black pond, sky's germs, chairs' ponds - prove it, stain! us, rain-free & orphaned, we're living laboratories annnnd: ALL MY SMOKE-RINGS ARE ACCIDENTAL the lab's insectoid emptiness is full of me - throat, blade. - full to brimming - throat, blade. it's like all the big stories were stitched together into dead tiny sisters, forgive my absence's speed, dead tiny sisters, I'm just trying to think under your mouths' shadow erasing my bones my smoke-ring's puncture used five drops of sweat your footprint turned thumbprint 'round my lab door your nails scratched the Anytime into hours the years I have left are like tree-branches & stars: no one will notice if a few turn up missing or show up ahead of schedule, I was just wondering: are explosions of lab doorsteps an accessible talent? ruins room you, you sit on bright grass, watch for me where the dusty break has been pushed to residue haunted already bright we're up by a hundred X-rays oiled in passing, in wild deceit, pushed to residue here where the autobiographical is kept in vats out here where your tongues are stalactites flooded picture shore we're those stored inside for later kept in red ragged sleeping line, now you're squashed into a sphinx's skin weighing me upon your palm in lieu of finer instruments, what happened to your love of fog, my dead tiny sisters squashed in this skin? under the lab's shadow the moonlight is in the sky & behind the Earth's throat I'm dumb as the Sphinx I got stones in my voices, these stones now Pyramids & Sphinxes, annnnd: Laboratories, ... I found your thumbprint in my mouth, full to brimming - throat, blade. _________________________________________________________________ Frustrated with dial-up? Get high-speed for as low as $29.95/month (depending on the local service providers in your area). https://broadband.msn.com ========================================================================= Date: Mon, 6 Oct 2003 18:18:49 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: ANDREWS@FORDHAM.EDU Subject: TalkTalk WalkWalk/dance & poetry festival via Sally Silvers MIME-Version: 1.0 Content-type: text/plain; charset=ISO-8859-1 Content-transfer-encoding: quoted-printable To: andrews@fordham.edu, andrewsbruce@netscape.net cc: bcc: Subject: TalkTalk WalkWalk/dance & poetry festival SalSilv@aol.com 10/06/2003 06:02 PM Dear Friends, (apologies for any duplicate messages) Jen Abrams and I=A0have curated a poetry and dance festival,=A0and we'r= e excited about the=A0 incredible talents that are joining us as well as = a number of newer faces. Kim Rosenfield and I will be performing=A0a co-written and performed du= et called "Tidy Shoockproof". Please come out and see! Best, Sally Silvers= T H E=A0=A0 B O W E R Y=A0=A0 P O E T R Y=A0=A0 C L U B 308 Bowery (at Bleecker) NY, NY=A0 10012 presents TalkTalk WalkWalk A festival of dance/poetry collaborations Sunday, October 12, 2003from 4-7pm, $7 =A0=A0=A0=A0 =A0=A0=A0 =A0=A0=A0 =A0=A0=A0 =A0=A0=A0 =A0=A0=A0 =A0=A0=A0= =A0=A0=A0 =A0=A0=A0 (Come and go as you please between acts) =A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0= =A0=A0=A0=A0=A0=A0=A0=A0=A0=A0 Box Office information:=A0 212.614.0505 Check www.bowerypoetry.com for updates on schedule and performers. On a cabaret stage with club atmo, 13 separate acts will spin the way w= ords and movement can mix, riff, flim, flip, and flam together (or apart).=A0= Some are long term collaborators; some are shotgunning for a juiced up after= noon of skates on, earwigging pizzazz. Each asterisk lists either a solo or a collaborative group.=A0 Each performance will include both poetry and dance. The=A0program order is: Starting at 4 PM: * Jen Abrams * Megan Boyd and Cathy Park Hong * Johanna Walker * Lee Ann Brown, Abby Child with=A0K.J. Holmes, =A0and Edisa Weeks Short Break * Monica de la Torre and Sally Gross * Adeena Karisick, with=A0Amy Cox,and Gus Solomons jr * Bob Holman and Yoshiko Chuma * Eva Lawrence Short Break * Marjorie Gamso * Barbara Mahler and Donna Masini * Nada Gordon with Karl Anderson, Alison Salzinger, and Jody Sperling * Kim Rosenfield and Sally Silvers * Melissa Ragona, Brian Kim Stefans with=A0Eric Bradley, Douglas Dunn,=A0 =A0=A0=A0 =A0=A0=A0 =A0=A0=A0 =A0=A0=A0 =A0=A0=A0 Nicholas=A0L= eichter Pieces are approximately 10 minutes long. We'll end at 7pm or when the performers are done, whichever comes first= ! Program subject to change. Please see website for updates. HOPE TO SEE YOU THERE! = ========================================================================= Date: Mon, 6 Oct 2003 18:50:25 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Floodeditions@AOL.COM Subject: Benson / Foust Reading MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Steve Benson & Graham Foust will read in the Discrete Series, Chicago Friday, October 10th at 7PM 3030 W. Cortland $5 suggested donation / BYOB Foust will be reading from his bew book AS IN EVERY DEAFNESS published by Flood Editions last month: "Though As in Every Deafness recalls the wintry meditative intensity of William Bronk, it's a new millennium: 'Our economy proceeds / as if life were an unlearning.' Graham Foust has an unerring sense of the exact contours of a particular thought and is able to express them with mathematical precision and emotional delicacy; yet pushing against lyric constraint is wildness, uneasiness, sometimes terror." --Susan Howe 3030 is a former Pentecostal church located at 3030 W. Cortland Ave., one block south of Armitage between Humboldt Blvd. and Kedzie. Parking is easiest on Armitage. For more information: http://www.lavamatic.com/discrete/index.htm Flood Editions PO Box 3865 Chicago IL 60654-0865 www.floodeditions.com ========================================================================= Date: Mon, 6 Oct 2003 17:49:27 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: mIEKAL aND Subject: Re: TalkTalk WalkWalk/dance & poetry festival via Sally Silvers In-Reply-To: Content-Type: text/plain; charset=ISO-8859-1; format=flowed Mime-Version: 1.0 (Apple Message framework v552) Content-Transfer-Encoding: quoted-printable this is a teaser if ever I've read one, tell us more bruce. maybe=20 strip the html first. On Monday, October 6, 2003, at 03:18 PM, ANDREWS@FORDHAM.EDU wrote: > To: andrews@fordham.edu, andrewsbruce@netscape.net > cc: > bcc: > Subject: TalkTalk WalkWalk/dance & poetry festival > SalSilv@aol.com > > 10/06/2003 06:02 PM > > > > > > > > > > > > > > > > > > > > > > > > Dear Friends, (apologies for any duplicate messages) > > Jen Abrams and I=A0have curated a poetry and dance festival,=A0and = we're > excited about the=A0 incredible talents that are joining us as well as = a > number of newer faces. > Kim Rosenfield and I will be performing=A0a co-written and performed = duet > called "Tidy Shoockproof". Please come out and see! Best, Sally = Silvers > > > T H E=A0=A0 B O W E R Y=A0=A0 P O E T R Y=A0=A0 C L U B > > 308 Bowery (at Bleecker) > > NY, NY=A0 10012 > > presents > > TalkTalk WalkWalk > > A festival of dance/poetry collaborations > > Sunday, October 12, 2003from 4-7pm, $7 > > =A0=A0=A0=A0 =A0=A0=A0 =A0=A0=A0 =A0=A0=A0 =A0=A0=A0 =A0=A0=A0 =A0=A0=A0= =A0=A0=A0 =A0=A0=A0 (Come and go as you please between > acts) > > > > > > =A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0= =A0=A0=A0=A0=A0=A0=A0=A0=A0=A0 Box Office information:=A0=20 > 212.614.0505 > > > > Check www.bowerypoetry.com for updates on schedule and performers. > > > > On a cabaret stage with club atmo, 13 separate acts will spin the way=20= > words > and movement can mix, riff, flim, flip, and flam together (or apart).=A0= =20 > Some > are long term collaborators; some are shotgunning for a juiced up=20 > afternoon > of skates on, earwigging pizzazz. > > Each asterisk lists either a solo or a collaborative group.=A0 Each > performance will include both poetry and dance. > > > > The=A0program order is: > > > Starting at 4 PM: > * Jen Abrams > * Megan Boyd and Cathy Park Hong > * Johanna Walker > * Lee Ann Brown, Abby Child with=A0K.J. Holmes, =A0and Edisa Weeks > > > Short Break > > * Monica de la Torre and Sally Gross > * Adeena Karisick, with=A0Amy Cox,and Gus Solomons jr > * Bob Holman and Yoshiko Chuma > * Eva Lawrence > > Short Break > > * Marjorie Gamso > * Barbara Mahler and Donna Masini > * Nada Gordon with Karl Anderson, Alison Salzinger, and Jody Sperling > * Kim Rosenfield and Sally Silvers > * Melissa Ragona, Brian Kim Stefans with=A0Eric Bradley, Douglas > Dunn,=A0 =A0=A0=A0 =A0=A0=A0 =A0=A0=A0 =A0=A0=A0 =A0=A0=A0 = Nicholas=A0Leichter > > Pieces are approximately 10 minutes long. > > We'll end at 7pm or when the performers are done, whichever comes=20 > first! > > > Program subject to change. Please see website for updates. > > > > HOPE TO SEE YOU THERE! > > > > > ========================================================================= Date: Mon, 6 Oct 2003 19:03:41 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: Slosh Code: Great Religious Texts of the World in Translation MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Slosh Code: Great Religious Texts of the World in Translation [[A-Z]*|[a-z]*|;|.*|,|:|"|'| *|(*|)*|\**|[0-9]*]* __ ========================================================================= Date: Tue, 7 Oct 2003 01:45:44 +0200 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Karl-Erik Tallmo Subject: Unlurking with this In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" Hello all, I have been on the list for a while without posting. So now I say hello with this piece: http://www.nisus.se/tallmo/prose/this.html Some of you already know me from other lists. Those interested will find a short bio (and a lot of my stuff) at http://www.nisus.se/tallmo/ Karl-Erik Tallmo __________________________________________________________________ KARL-ERIK TALLMO, poet, writer, artist, journalist, living in Stockholm, Sweden. MAGAZINE: http://art-bin.com ARTWORK, WRITINGS etc.: http://www.nisus.se/tallmo/ __________________________________________________________________ ========================================================================= Date: Mon, 6 Oct 2003 20:14:34 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Joe Brennan Subject: The 9 Billion Dollar Man: Terminator of 'Special Interest' To Enron: Comments: To: frankfurt-school@lists.village.virginia.edu, corp-focus@lists.essential.org, WRYTING-L@LISTSERV.UTORONTO.CA MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Click here: The Assassinated Press > >> >> The 9 Billion Dollar Man: Terminator of 'Special Interest' To Enron: It's hasta la vista to $9 billion if the Governator is selected: By GREG PALAST Special to the Assassinated Press Friday October 3, 2003 > > > Fresh Lies Abound Around Failure to Find WMD: > While Media Picks Its Convoluted Ass, Common Sense Says Administration Lied > To Rip Off Iraq's Oil: > Weapons Inspector, David 'Special' Kay: "Even My Mom Thinks I'm Full of > Shit.": > Schwarzenegger, A Great Lay For Ken; Terminator Of SPECIAL INTEREST TO > ENRON: > Arnold: "I Got Rich Buffing Buffett's Brajole.": > White House Chief Of Stink, Karl Rove, Admits He Sucked Terminator Titty: By > JOHN Q. LUMPYLIP > Assassinated Press Political Analyst > October 4, 2003, 4AMEST They hang the man and flog the woman That steal the goose from off the common, But let the greater villain loose That steals the common from the goose. Constant apprehension of war has the same tendency to render the head too large for the body. A standing military force with an overgrown executive will not long be safe. companions to liberty. -- Thomas Jefferson "America is a quarter of a billion people totally misinformed and disinformed by their government. This is tragic but our media is -- I wouldn't even say corrupt -- it's just beyond telling us anything that the government doesn't want us to know." Gore Vidal ========================================================================= Date: Mon, 6 Oct 2003 17:26:21 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Stephen Vincent Subject: New on the Blog Comments: To: UK POETRY Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit Well, nothing - in the last 15 minutes - beats getting two pre-recorded personal calls from Bill Clinton telling me to vote No on the Recall, etc. - but I also have some fresh stuff on the blog. As always I appreciate comments, etc. (No, Bill did not leave me a "comment" number). Jack Spicer - some Thoughts Gorilla Mothers Meet Arnold Schwartznegger The Digital Eyeball - Mine All homegrown at: http://stephenvincent.durationpress.com/ Thanks, Stephen Vincent ========================================================================= Date: Mon, 6 Oct 2003 21:04:18 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "David A. Kirschenbaum" Subject: ** Boog City Discount Ad Rate is Back ** In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 8bit Hi all, Boog City, the East Village Community newspaper, is an affordable way to reach likeminded New Yorkers who would be interested in your offerings. We come out monthly, with a print run of 2,000, and distribute primarily in the East Village and Williamsburg. Our November issue is going to press on Friday, Oct. 24, and we are once again offering a 50% discount on our 1/8-page ads, cutting them from $60 to $30. Reservations are needed by next Thurs., Oct. 16, 5 p.m. est. Camera-ready ads are needed by Thurs., Oct. 23, 5 p.m. est. Ads that we must design are due in by Mon. Oct. 20, 5 p.m. est. Issue will be distributed on Mon. Oct. 27. Backchannel to editor@boogcity.com for more information. Thanks, David -- David A. Kirschenbaum, editor and publisher Boog City 330 W.28th St., Suite 6H NY, NY 10001-4754 T: (212) 842-BOOG (2664) F: (212) 842-2429 www.boogcity.com ========================================================================= Date: Mon, 6 Oct 2003 20:13:27 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: mIEKAL aND Subject: Re: Slosh Code: Great Religious Texts of the World in Translation In-Reply-To: Content-Type: text/plain; charset=US-ASCII; format=flowed Mime-Version: 1.0 (Apple Message framework v552) Content-Transfer-Encoding: 7bit does this generate output? On Monday, October 6, 2003, at 04:03 PM, Alan Sondheim wrote: > Slosh Code: Great Religious Texts of the World in Translation > > > > [[A-Z]*|[a-z]*|;|.*|,|:|"|'| *|(*|)*|\**|[0-9]*]* > > > > __ > ========================================================================= Date: Mon, 6 Oct 2003 21:32:17 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: Re: Slosh Code: Great Religious Texts of the World in Translation In-Reply-To: <3801962E-F874-11D7-9235-0003935A5BDA@mwt.net> MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII No - it's just a regular expression (more or less) for alphanumerics and punctuation in any order - Alan On Mon, 6 Oct 2003, mIEKAL aND wrote: > does this generate output? > > > On Monday, October 6, 2003, at 04:03 PM, Alan Sondheim wrote: > > > Slosh Code: Great Religious Texts of the World in Translation > > > > > > > > [[A-Z]*|[a-z]*|;|.*|,|:|"|'| *|(*|)*|\**|[0-9]*]* > > > > > > > > __ > > > http://www.asondheim.org/ http://www.asondheim.org/portal/.nikuko http://www.anu.edu.au/english/internet_txt Trace projects http://trace.ntu.ac.uk/writers/sondheim/index.htm finger sondheim@panix.com ========================================================================= Date: Mon, 6 Oct 2003 22:04:17 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Kerri Sonnenberg Subject: Discrete Series/Chicago Event Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit ____THE DISCRETE SERIES @ 3030______ presents Steve Benson :: Graham Foust **Note the earlier time-- This event begins at 7 pm** [Steve Benson is the author of Roaring Spring (Zasterle Press) and Blue Book (The Figures/Roof Press). He is known for incorporating collage of elements of previously written texts as well as wholesale oral improvisation into his poetry readings. Benson lived in the San Francisco Bay area in the 1970's and 80's where he was an important member of the Language Poetry community. He currently lives in Maine.] [Graham Foust is the author of As in every Deafness (Flood Editions, 2003). His poetry has appeared in several publications including Jacket, Lingo, Slope, and DC Poetry anthology. He lives in Iowa where he teaches at Drake University.] Friday, Oct. 10 7PM / 3030 W. Cortland / $5 suggested donation / BYOB 3030 is a former Pentecostal church located at 3030 W. Cortland Ave., one block south of Armitage between Humboldt Blvd. and Kedzie. Parking is easiest on Armitage. The Discrete Series will present an event of poetry/music/performance/something on the second Friday of each month. For more information about this or upcoming events, email j_seldess@hotmail.com or kerri@conundrumpoetry.com, or call the space at 773-862-3616. *(and check out our new website!) http://www.lavamatic.com/discrete/index.htm October twofer: Next week, 10/17, come back at 9 pm for readings by Lisa Samuels and Brian Henry ========================================================================= Date: Mon, 6 Oct 2003 21:16:31 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Ram Devineni Subject: 5th Anniv., Yusef, Perdomo, readings in Sao Paulo & Ghana, Fuse2 In-Reply-To: <3F81ADCC.BD8D3E95@gc.cuny.edu> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Dear Friends: I just have few announcements to make. 1. On October 29, we will be celebrating our 5th Anniversary and the launch of issue 10. Please join us for a reading featuring Meena Alexander, Thaddeus Rutkowski, Philip Nikolayev, Samuel Menashe, Meg Kearney, Jeet Thayil and Bombay Down, Matvei Yankelevich, Elaine Sexton, Nancy Mercado, Leeya Mehta, Vivek Narayanan, Eugene Ostashevsky & Second2Last. DJ Derek Beres and hosted by Flavia Rocha and Edwin Torres. October 29 at 7 pm. Issue Project Room, 619 East 6th St., b/ Ave. A and B, NYC. $5. 2. Yusef Komunyaaka, Sonia Sanchez, and Charles Rowell will be heading to Ghana to focus on the AIDS Crisis in Africa. They leave end of the month. Rattapallax is a sponsor of the trip with the Ghana Education Project. Ram Devineni will also be going. http://www.rattapallax.com/aids.htm 3. Yusef Komunyaaka, Edwin Torres, Flavia Rocha, Ram Devineni, and 15 leading Brazilian poets will be reading on November 11 at SEC Center in Sao Paulo, Brazil. The reading will celebrate the launch of issue 9 & 10 and co-sponsored by Editora34. Yusef will also be reading at Centro Universitário MariAntonia on November 13. The reading is sponsored by Univ. of Sao Paulo and Rattapallax. 4. Willie Perdomo's second book of poetry (with cd): Smoking Lovely. Book Launch Party! October 13 at 7:00 pm. 13 Bar/Lounge, 35 E. 13th St., Union Square, NYC. Co-sponsored by LouderARTS.com. FREE. Willie Perdomo will read with guests John Rodriguez, Rich Villar, Jai Kumar and Jayme del Rosario. http://www.rattapallax.com/perdomo.htm 5. FuseBox2 is now available online for free and features: Indian Poets Respond to the Gujarat Riots: Edited by Jeet Thayil. Featuring Dom Moraes, Meena Alexander, Jane Bhandari, Ranjit Hoskote, Arundhati Subramaniam, Vivek Narayanan, Jayanta Mahapatra, EV Ramakrishnan, Manohar Shetty, Dilip Chitre, Kabir & Jeet Thayil. Fusebox2 poems edited by Paul Hardacre: Donna Kuhn, Michael Farrell, Peter Minter, Joel Chace, Liam Ferney, Mark Pirie, Gregory Vincent St. Thomasino, Ted Nielsen, Mary-Anne Breeze, Tom Phillips, Eleni Zisimatos Auerbach, john Tranter, David Prater, B. R. Dionysius, Brentley Frazer & Patricia Sykes. Festival Focus: noise, Australia.Poetry from New Zealand Poetry edited by David Howard. Featuring Michele Leggott, Sally Ann McIntyre, James Brown, Kay McKenzie Cooke, Paula Green, Michael Harlow, Mike Johnson, Richard Reeve, Brian Turner, Dinah Hawken, Cilla McQueen, James Norcliffe, Emma Neale & Chris Orsman. Poetry from Slovenia edited by Brane Mozetic and Suzana Tratnik. Translated from the Slovene by Ana Jelnikar, Mia Dintinjana, and Milan elj. Featuring Brane Mozetic, Iztok Osojnik, Tone krjanec, Gregor Podlogar, Vida Mokrin-Pauer, Barbara Korun, Peter Semolic, Nataša Velikonja, Taja Kramberger & Primoz Cucnik. Article: Caetano Veloso and the Meaning of Exhile. Also artwork by Leonardo Lobos Lagos. http://www.rattapallax.com/fusebox.htm Thanks Ram Devineni Publisher ===== Please send future emails to devineni@rattapallax.com for press devineni@dialoguepoetry.org for UN program __________________________________ Do you Yahoo!? The New Yahoo! Shopping - with improved product search http://shopping.yahoo.com ========================================================================= Date: Tue, 7 Oct 2003 00:42:27 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: brilliant pest MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII brilliant pest well we're all tired of these. no need to reply. i know we all are. but recycling images through the zaurus. vulnerable buildings. some stand up proudly. some hide in the forest. at least here not much happens. http://www.asondheim.org/portal/brilliant.exe http://www.asondheim.org/portal/pest.exe http://www.asondheim.org/portal/pest2.exe _ ========================================================================= Date: Mon, 6 Oct 2003 22:25:53 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Stephen Vincent Subject: MRI Nobel question In-Reply-To: Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit Did I hear NPR describe the MRI discovery as one in which the technology provided doctors with a "living image structure."??!! Sounds like one way of looking at a poem. Or, conversely, bad poem = dead image structure. Etc. Stephen V ========================================================================= Date: Tue, 7 Oct 2003 09:02:49 +0200 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Karl-Erik Tallmo Subject: manuscriptorium Prague In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" The national library in Prague opens its online database Manuscriptorium on November 10th. The catalogue contains 27,869 records and more than 570 complete digitized manuscripts. The system uses the MASTER format for data. For some time searching the catalog is free, unfortunately viewing the digitized pages themselves are not. See http://www.manuscriptorium.com/ Karl-Erik Tallmo __________________________________________________________________ KARL-ERIK TALLMO, poet, writer, artist, journalist, living in Stockholm, Sweden. MAGAZINE: http://art-bin.com ARTWORK, WRITINGS etc.: http://www.nisus.se/tallmo/ __________________________________________________________________ ========================================================================= Date: Tue, 7 Oct 2003 00:06:52 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: August Highland Subject: Multibillion Dollar Disease MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Multibillion Dollar Disease #0001 of 10,000 Alec smiling up globes anal adventure night chick sucking Jesse CRAVE CHRIS against tummy very slowly moved catching brunet foot inches bottom hem extend little One arm side one doorway pressed time SENSES. Horny thinking now found pictures terminal brunet really paid well inches SLICING SLIDES PLANNED. Pulls debbie eased longer just way too hot fail all stepped up gear times same time like saw catching brunet foot inches cum, KATHERINE OFF FINGERS SEAN ATE more everything will MYSELF SECONDS. Shuddered GLOBES aftershocks climax stopped CLIT PEEKING TREVOR CHRIS SWAM UP CHICK DEBBIE GRASPING slippery folds eased labia apart REALIZING making door cracked little let some why. Guys alone two hot girls tan females loving kiss STANDING reached globes left chick mouth FLOWERED totally honest boys- HUGS REACHED WRAPPED FISTS. Gonna hair telling time returned hotel katie wins fuck first breathed occurred trevor chris swam up, tears streaming globes left chick mouth touch electric DROVE told VD anything like well STEVE TREVOR BUCKED HIPS VIOLENTLY climax some drifted off asleep SLID got mad never think like thinking now found pictures eventually collapsing make love frequently Rachel guys standing hard jerking Brenda tummy very slowly dress down exposing breasts SUPERMAN face tell KATIE GETTING tan sore KY best butter catching brunet foot inches started rubbing OURSELVES. Cum felt eruption approaching led clear metre half air onto spit guys cum swallow down flowered fucking animal completely against-boats full cheering guys sprayed steve time revealing thong bikini bottoms matching hugs TRUSTING OURSELVES think softly kissed shuddered realized started rubbing rod forth dick reached up thinking now found pictures UP STOOD slide forward towards Christine JACK short six two only come Steve mouth own Joy went sat up table SIGHED. Horny turns longer making door cracked little let some tight pixieish slide forward towards christi ne running hot looked incredibly sexy riding up globes aftershocks climax stopped clit peeking trevor chris swam up chick WATCHING occurred Trevor Chris swam up wallowing self smell cumin fragrance Jesse Trevor shaft SHOULDERS TURNED ready cum these melons together push cock short six two only LAUGHED making swell up very very JIM raspberry surface anus only see see DEVILISHLY. Orgies slowly first again only females house pliant lips tongue excruciating slowness feel read rhythm soon came cravings ZOOMING up globes left chick mouth slightly water Steve mouth own Joy. Raspberry surface anus only running katie jesse trevor shaft, UP STOOD slide forward towards Christine DICK THRUSTING MADLY FEMALES topped forth dick reached up. Slightly water steve mouth own joy gazes met cum want cum bulge vein dick passing mattered MMM waves Fuck fuck SOME BETHANY wanted get sucked Rob seen cunt Sweaty feels felt eruption approaching. Recovered silently hear noise too innocence Alec sits like sentinel tank FORTH DICK REACHED UP UP STOOD slide forward towards Christine BREATHING slowly first again dog hear word now CAME cum started shooting skinny dip seconds WAVES through skin tender ready hair telling breaths kisses stammers O moaned moaned slide forward towards Christine LOOKING ZOOMING up globes left chick mouth slightly water Steve mouth own Joy OFF DOCKED. Brunet sat gonna day pulling horny men off inches GONNA hair telling time returned hotel Katie wins fuck first breathed occurred Trevor Chris swam up PROBE BETHANY CROUCHING TAKEN Brenda some clear metre half air still truck stop well. Enjoyed doing only sex taking beach azure blue forth dick reached up guys alone two hot girls tan females loving kiss stepped up soaked, POLISHING GOT LUBE incredible experience life TELLING thought most beautiful girl Jesse RIPPED OFF GOT UP SQUATTED. Resting waves through skin tender ready hair telling clit crying spoke steve said exposing soft swollen head ran thong bottoms matching circles jesse sucking GONNA day pulling horny men off DIGITS UP brunet foot inches GOT brunet foot inches WANTS globes left chick mouth Jesse alone two hot girls tan started rubbing cunt fuck sex seemingly little worried start person last night Now fell fucking seconds called name thought most beautiful girl really truck stop exactly dialed husband SIGHED. Raspberry surface anus only running short six two only sensational emma trevor chris swam up wanted get sucked rob seen cunt sweaty TIMELY BREAKDOWN neck slid arms waist doorway dress ended mid-thigh felt CHRIS SQUEEZED. Steve short six two only laughed making swell up very very jim raspberry surface anus only see see seeing short six two only jean, STEVE TREVOR BUCKED HIPS VIOLENTLY REPLIED CUM felt eruption approaching led clear metre half air ONTO spit guys cum swallow down-hair telling thought most beautiful girl brunet foot inches GOT LOTION raspberry surface anus only wore glass said BREASTS SMALLER BETHANY LIPS time told PROTRUDING BLUISH VEINS up water RACING shocked stability also helped keep. Occurred trevor chris swam up telling, TIMES GUYS GUYS COCKS Katie wet cunt Jay just stood shock MID- FELT GRINNED. Up wife stroking jim short six two only laughed making swell up very very jim raspberry surface anus only see see wife stroking, BARTENDERS WALKED BOOTH SOME. Thighs GUYS alone two hot girls tan FEMALES loving kiss occurred Trevor Chris swam up TELLING LICKED angling cum finally revealed best friend Trevor Chris swam up HAMMERING reached globes left chick mouth. Got strong supple thighs seem porno right slowly first again excruciating slowness feel alec raspberry surface anus only uh short six two only laughed making swell up very very jim raspberry surface anus only see see underside Steve mouth own Joy pleasing much gripping rather Trevor Chris swam up boats full cheering guys sprayed STEVE time revealing thong bikini bottoms matching TREVOR CHRIS SWAM UP BREASTS. Sandpaper tightness whispered revealing thong bikini bottoms matching orgies slowly first again waves through skin tender ready hair telling, WANTING Jesse ALEC TOLD making swell up very very DIZZYING suck cunt going all right now tell LONGER short six two only SENSATIONAL EMMA Trevor Chris swam up feels felt eruption approaching CUM bottom hem extend GORGEOUS dog hear word now HOT. Occurred trevor chris swam up closely particularly care go wander paid replied see those tits inch tensed up grabbing occasional whispered revealing thong bikini bottoms matching yea TERRY puss started fascinating orgasms almost balls STEVE UP running particularly care go wander felt eruption approaching POUNDING reached globes left chick mouth Steve mouth own Joy pleasing much gripping rather Trevor Chris swam up. Slide super soaker fucked hair telling guns christine, STABILITY YES FUCK GROANED reached down touch cocks while NOISE running MANNERS waves Fuck fuck pulls Debbie clean cum TAKING Steve mouth own Joy pleasing much gripping rather Trevor Chris swam up red long hair knew suck smooth animal completely against spit guys cum swallow down hoped see eventually collapsing signatures give city cum want cum bulge vein dick passing. Morning one where sweaty incredible experience life made now moved ass hard fast terry effortlessly all way terry pussy up stood tensed up grabbing occasional whispered revealing thong bikini bottoms matching yea, GUYS alone two hot girls tan FEMALES loving kiss GLOBES aftershocks climax stopped CLIT PEEKING TREVOR CHRIS SWAM UP CHICK. Balls terry rob GLOBES anal adventure night CHICK incredible experience life TELLING contradiction too MYSELF AM FUCKING HOT CURLS PUBES TIMES. Jo jo waiting took hand stood camille sean jay just stood shock jo gonna thank got slow enjoying revealing thong bikini bottoms matching jesse tip penis alone two hot girls tan thighs pulled, KATIE Jesse Trevor shaft THANKED PULLED picking up turned head kept flinging squad realizing just cut wrong two spurts disappearing RACHEL PAM GOT UP. Led feels felt eruption approaching females topped forth dick reached up GLOBES aftershocks climax stopped CLIT PEEKING TREVOR CHRIS SWAM UP CHICK LIFTED. Came took trevor chris swam up globes anal adventure night chick whispered thinking now found pictures CUM felt eruption approaching led clear metre half air ONTO spit guys cum swallow down FLOWERED fucking animal completely against-boats full cheering guys sprayed STEVE time revealing thong bikini bottoms matching HUGS. Digits up brunet foot inches got brunet foot inches laughed brenda some clear metre half air still truck stop well jim short six two only laughed making swell up very very jim raspberry surface anus only see see navy alec vice versa all katie jesse given navy alec vice versa all katie jesse given HOURS ENJOYED orgies slowly first again wanted get sucked Rob seen cunt Sweaty ZONES. Tingling JAY short six two only SENSATIONAL EMMA Trevor Chris swam up STOOD SHARED SWEATING angling cum finally revealed best friend Trevor Chris swam up led way only females house GUYS STANDING JERKING RAINING. Steve up running particularly care go wander felt eruption approaching pounding reached globes left chick mouth NEWFOUND DESPERATION. Globes aftershocks climax stopped clit peeking trevor chris swam up chick short six two only come Steve mouth own Joy went sat up table SIGHED Alec vice versa all HARDER GETTING SLID dialed husband tell walked now time let ourselves GRABS UP KATIE WINS KATIE Jesse Trevor shaft PROBE BETHANY CROUCHING TAKEN BREATHED. Emma, TOLD CHRIS replied see those tits FLOWERED totally honest boys- HUGS MAKES HIPS ANTI-PORN catching brunet foot inches REACHED slowly first again thought most beautiful girl PUMPING CUM PROBE BETHANY CROUCHING TAKEN Brenda some clear metre half air still truck stop well. Globes aftershocks climax stopped clit peeking trevor chris swam up chick CHRIS GRABBED HIPS SLAMMED. Michael cum bottom hem extend gorgeous dog hear word now reached morning one where fell cocks bottom hem extend cum guys standing waves through skin tender ready hair telling jerking EYELASHES TELLING CUM brushed lobby every head turned look GLOBES aftershocks climax stopped CLIT PEEKING TREVOR CHRIS SWAM UP CHICK. Wasted wanted get sucked rob seen cunt sweaty lubing, SEXUAL AM shocked stability also helped keep sucks hard head foreskin monster crushing ass outwards make love frequently Rachel guys standing hard jerking Brenda tummy very slowly dress down exposing breasts sexy smiles all dress ended mid-thigh felt all pants back went down stairs making swell up very very dialed husband Sympathetic Jesse leaned moaning little One arm side one UNDERSIDE LEAKAGE. Wanted get sucked rob seen cunt sweaty jay short six two only sensational emma trevor chris swam up stood shared, WEARING LINGERIE Katie wet cunt Jay just stood shock MID- FELT WEARING LINGERIE Katie wet cunt Jay just stood shock MID- FELT DIGITS UP brunet foot inches GOT brunet foot inches LAUGHED Brenda some clear metre half air still truck stop well JIM short six two only LAUGHED making swell up very very JIM raspberry surface anus only see see NAVY Alec vice versa all Katie Jesse GIVEN NAVY Alec vice versa all Katie Jesse GIVEN. Envisioned myself, picking up turned head kept flinging flab contradiction too DICKS turned hard clit small circles Jesse SLID morning one where SEAN DICK SHOULDERS TURNED ready cum these melons together push cock GIVING CUM felt eruption approaching led clear metre half air ONTO spit guys cum swallow down LOT. Climax some drifted off asleep slid got mad never think like thinking now found pictures eventually collapsing make love frequently rachel guys standing hard jerking brenda tummy very slowly dress down exposing breasts superman face tell katie getting tan sore ky best butter catching brunet foot inches started rubbing ourselves AUSTIN cum want cum bulge vein dick passing. Selves shocked stability also helped keep tan sore ky best butter crowded aureoles head ducked pam, grabbed up honey Jim said Oh honey FOLDS TAKING whispered revealing thong bikini bottoms matching short six two only turned K-Y reached globes left chick mouth time told dialed husband seemingly little worried SQUEAMISH particularly care go wander Both Jack Cliff sighed sex DIMENSIONS WAVES through skin tender ready hair telling CLIT crying spoke Steve said exposing soft swollen head ran THONG BOTTOMS MATCHING CIRCLES Jesse. Shuddered realized JAY making door cracked little let some STOOD woke asked wanted join THONG Jim tell CUM TITS slightly water Steve mouth own Joy BOTTOMS MATCHING REACHES brunet foot inches FINGERED KATIE picking up turned head kept flinging flab contradiction too DICKS turned hard clit small circles Jesse SLID morning one where SEAN DICK SHOULDERS TURNED ready cum these melons together push cock GIVING CUM felt eruption approaching led clear metre half air ONTO spit guys cum swallow down. Nicole trevor still truck stop well Jesse DRIFTING. Katie wins katie jesse trevor shaft probe bethany crouching taken breathed even got old porno guy like GUYS STANDING JERKING why finally moved Michael Rob UP SOME BEERS LATER TERRY. Terry trusting ourselves think softly kissed shuddered realized started rubbing rod forth dick reached up thinking now found pictures told crying spoke steve said gonna thank squad realizing just cut wrong, THUMPED FORTH DICK REACHED UP REACT feels felt eruption approaching short six two only SENSATIONAL EMMA Trevor Chris swam up RETURNED. Dropped thought most beautiful girl reached bed one eventually collapsing started rubbing some moved sucking GONNA day pulling horny men off LOOKED INCREDIBLY SEXY DROPPED. Occurred trevor chris swam up closely short six two only LAUGHED making swell up very very JIM raspberry surface anus only see see KATIE DIGITS UP brunet foot inches GOT brunet foot inches shoulders turned facing away start fucking brunet foot inches neck Another one guys picking up turned head kept flinging PLENTY PAM GOT UP Alec vice versa all HARDER GETTING GOT why Marline time reached office door MICHAEL PORNO dog hear word now sexy smiles all dress ended mid-thigh felt. Cocks VISITING WEEKEND. Ate more everything will myself seconds CHRIS TERRY puss started fascinating orgasms almost balls BOOTS PULLED KATIE SMILED raspberry surface anus only CLIT CIRCLES Jesse STOOD UP TERRY puss started fascinating orgasms almost balls. Making door cracked little let some globes aftershocks climax stopped clit peeking trevor chris swam up chick, INHALING SIGH GETTING UP STOOD slide forward towards Christine. Turned jo hair telling bringing clit looking up terry signatures give city WHISPERING. Steve up running particularly care go wander felt eruption approaching pounding reached globes left chick mouth, thought most beautiful girl yes HANDS TAKING dialed husband tell walked now time let ourselves GRABS PULLING BREASTS SMALLER BETHANY GRINNING LEAVING BARTENDER think NIGHTSTAND SLIPPED ENJOYING upward seem smiled seductively. Turned, SLID GLOBES aftershocks climax stopped CLIT PEEKING TREVOR CHRIS SWAM UP CHICK KATIE Jesse Trevor shaft contradiction too MYSELF. Wanted get sucked rob seen cunt sweaty guys cocks PUTTING SUNBLOCK GOT pressuring through now crowded dance floor fell strong INCH slide forward towards Christine picking up turned head kept flinging flab contradiction too SIZED UP sexy smiles all dress ended mid-thigh felt. Probe bethany crouching taken brenda some clear metre half air still truck stop well TURNING suck smooth animal completely against thought most beautiful girl CLICKS yes CHARCOAL JAY short six two only SENSATIONAL EMMA Trevor Chris swam up STOOD SHARED. Sized up told chris red long hair knew suck smooth animal completely against spit guys cum swallow down hoped see eventually collapsing signatures give city cum want cum bulge vein dick passing, great shape lbs feet inches started rubbing cunt GUT Rob all ANAL Think Mmm want some Bethany wrong way ready go smiled said yes bottom hem extend picking up turned head kept flinging tan sore KY best butter MMM waves Fuck fuck SOME BETHANY boats full cheering guys sprayed STEVE time revealing thong bikini bottoms matching Terry still all fours dress down exposing breasts nice cocks due baggy shorts MID-whispered revealing thong bikini bottoms matching found confusing time SOME make love frequently Rachel guys standing hard jerking Brenda tummy very slowly dress down exposing breasts FELT. Sledge globes left chick mouth why took raspberry surface anus only short six two only come steve mouth own joy went sat up table sighed unison york yet shower first place replied cum felt eruption approaching led clear metre half air onto spit guys cum swallow down cum want cum bulge vein dick passing angling KATIE SMILED raspberry surface anus only crying spoke Steve said picking up turned head kept flinging AM LOOKING really proved make love frequently LEAVING Jo waiting took hand stood Camille SEAN Jay just stood shock Jo gonna thank GOT SPUNK SHOT picking up turned head kept flinging flab contradiction too WANTED. Forth dick reached up pushed got strong supple thighs seem porno right slowly first again excruciating slowness feel yes fuck told T-SHIRTS MODELED Jim tell CUM TITS slightly water Steve mouth own Joy TOPS. Short six two only laughed making swell up very very jim raspberry surface anus only see see little one arm side one doorway pressed time TERRY hair telling bringing pussy Alec LOTION. Grunted GUYS COCKS PROBE BETHANY CROUCHING TAKEN Brenda some clear metre half air still truck stop well SEEMED SIZED UP. Soaked sucked short six two only LAUGHED making swell up very very JIM raspberry surface anus only see see said all glass wine hadn't bothered WALKED FORTH DICK REACHED UP. Jo waiting took hand stood camille sean jay just stood shock jo gonna thank got flaccid gooey, INCHES short six two only LAUGHED making swell up very very JIM raspberry surface anus only see see. Why finally moved michael rob up some contradiction too myself globes left chick mouth cum want cum bulge vein dick passing wore wore glass said tensed up grabbing occasional whispered revealing thong bikini bottoms matching yea crave DEFEATED alone two hot girls tan globes left chick mouth WRAPPING got mad never think like TIGHTLY LOTION raspberry surface anus only wore glass said CHRIS JACK. Movies watching occurred trevor chris swam up wallowing self smell cumin fragrance jesse trevor shaft shoulders turned ready cum these melons together push cock short six two only laughed making swell up very very jim raspberry surface anus only see see devilishly MANNERS waves Fuck fuck pulls Debbie clean cum TAKING Steve mouth own Joy pleasing much gripping rather Trevor Chris swam up red long hair knew suck smooth animal completely against spit guys cum swallow down hoped see eventually collapsing signatures give city cum want cum bulge vein dick passing. Anal think mmm want some bethany wrong way ready go smiled said yes, KATIE STOOD UP hair telling will LOTION raspberry surface anus only wore glass said RICK CLIT CIRCLES Jesse STEVE short six two only LAUGHED making swell up very very JIM raspberry surface anus only see see. Took trevor chris swam up sucking, TIMES PULLS KATIE Jesse Trevor shaft contradiction too MYSELF BRUNET sat GONNA day pulling horny men off INCHES. Clit circles jesse, ENJOYED orgies slowly first again contradiction too MYSELF GOT OFF SOFTLY incredible experience life TELLING SOME LIKED YES FUCK GOT. Sexy smiles all dress ended mid-thigh felt all pants back went down stairs making swell up very very, MARLINE GUYS REACHED WRAPPED FISTS neck slid arms waist doorway dress ended mid-thigh felt CHRIS BOATS ENJOYING upward seem smiled seductively Jesse tip penis alone two hot girls tan flab contradiction too OUTWARDS. Terry puss started fascinating orgasms almost balls, TIMIDLY SLAMMING wanted get sucked Rob seen cunt Sweaty GUYS COCKS. Chris grabbed hips slammed TREVOR HAMMERING reached globes left chick mouth. Up wife stroking jim short six two only laughed making swell up very very jim raspberry surface anus only see see wife stroking globes left chick mouth cum want cum bulge vein dick passing WORE wore glass said BRUNET really paid Well INCHES FUCKING MYSELF AFTERSHOCKS read rhythm soon came tongue sexy smiles all dress ended mid-thigh felt GENTLEMAN. Signatures waves removing shorts spit up stood slide forward towards christine jo waiting took hand stood camille sean jay just stood shock jo gonna thank got crowded even got old porno guy like guys standing jerking, UP wife stroking JIM short six two only LAUGHED making swell up very very JIM raspberry surface anus only see see wife stroking Jesse TRUSTING OURSELVES think softly kissed shuddered realized started rubbing rod forth dick reached up thinking now found pictures FELT MIKE. Getting tan sore ky best butter catching brunet foot inches started rubbing ourselves sexual seems brunet really paid well inches little slut suck BLASTED particularly care go wander PAID replied see those tits slightly water Steve mouth own Joy THROBBING BRUNET really paid Well INCHES. Pliant shocked stability also helped keep tan sore ky best butter crowded aureoles head ducked start person last night now fell fucking seconds called name thought most beautiful girl really truck stop exactly dialed husband trevor chris swam up felt fucking animal completely against jesse shivered pulled up face kissed start fucking brunet foot inches, SURPRISED waves Fuck fuck particularly care go wander PAID replied see those tits wanted get sucked Rob seen cunt Sweaty PUSHED UNDERWEAR TREVOR CHRIS SWAM UP CURLS PUBES TIMES. Cumming thought most beautiful girl yes hands finer short six two only come steve mouth own joy went sat up table sighed enjoyed orgasm while thinking all images time some SEAN DICK TURNING grabbed up honey Jim said Oh honey FOLDS TAKING whispered revealing thong bikini bottoms matching short six two only turned K-Y reached globes left chick mouth time told dialed husband seemingly little worried SQUEAMISH particularly care go wander Both Jack Cliff sighed sex THROATY roughly shut door Leaning back. Met yes sat up too imagine trouble clit circles jesse sweaty, WANTED SHOULDERS TURNED HOLDING UP ERECTION JO CLIT CIRCLES Jesse STEVE short six two only LAUGHED making swell up very very JIM raspberry surface anus only see see. august highland muse apprentice guild --"expanding the canon into the 21st century" www.muse-apprentice-guild.com culture animal --"following in the footsteps of tradition" www.cultureanimal.com ========================================================================= Date: Tue, 7 Oct 2003 00:28:17 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: August Highland Subject: "WORM VIRUS" MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit "WORM VIRUS" A DRAMATIC WORK BY AUGUST HIGHLAND THERE ARE TEN PARTS EACH PART HAS 100 ACTS AND 100,000 SCENES PART ONE "KEY WORD/FUNNY TYPE" ACT I SCENE 000001 UP STOOD slide forward towards Christine Jo waiting took hand stood Camille SEAN Jay just stood shock Jo gonna thank GOT CROWDED even got old porno guy like GUYS STANDING JERKING SUCKING DICK reached globes left chick mouth brunet foot inches REACHED catching brunet foot inches REACHED slowly first again thought most beautiful girl PHONE KATIE Jesse Trevor shaft contradiction too MYSELF SCENE 000002 SECONDS BRUNET really paid Well INCHES Jesse GOT OFF SOFTLY incredible experience life TELLING SOME LIKED YES FUCK GOT SCENE 000003 EYEBROWS SURPRISINGLY STEVE time revealing thong bikini bottoms matching SIZED UP SILLY GRIN SMILED STEVE time revealing thong bikini bottoms matching KATIE WINS KATIE Jesse Trevor shaft PROBE BETHANY CROUCHING TAKEN BREATHED SCENE 000004 THRILLING INWARD something fuck self THRILLING HOURS ENJOYED orgies slowly first again wanted get sucked Rob seen cunt Sweaty ZONES AHOLD REALIZED ARSE CHEEKS sexy smiles all dress ended mid-thigh felt all pants back went down stairs making swell up very very SIGHED STEPPED SCENE 000005 COCKS DEFEATED alone two hot girls tan globes left chick mouth WRAPPING got mad never think like TIGHTLY LOTION raspberry surface anus only wore glass said CHRIS GORGEOUS red long hair knew suck smooth animal completely against spit guys cum swallow down hoped see eventually collapsing signatures give city cum want cum bulge vein dick passing GIRLS ENJOYED orgies slowly first again GUYS alone two hot girls tan FEMALES loving kiss LOVING hair telling THUMPING DEBBIE GRASPING slippery folds eased labia apart REALIZING making door cracked little let some why SCENE 000006 WAVES through skin tender ready hair telling CLIT crying spoke Steve said exposing soft swollen head ran THONG BOTTOMS MATCHING CIRCLES Jesse KATIE SMILED raspberry surface anus only crying spoke Steve said picking up turned head kept flinging AM LOOKING really proved make love frequently LEAVING Jo waiting took hand stood Camille SEAN Jay just stood shock Jo gonna thank GOT SLEDGE great shape lbs feet inches started rubbing cunt GUT Rob all WHY shoulders turned facing away start fucking brunet foot inches neck Another one guys BRUNET sat GONNA day pulling horny men off INCHES SCENE 000007 CLIT CIRCLES Jesse short six two only LAUGHED making swell up very very JIM raspberry surface anus only see see soothing warm shoulders turned facing away close because experience Chris CHICKS start fucking brunet foot inches CONFUSING catching brunet foot inches two spurts disappearing contradiction too MYSELF CRAVE GUT RETURNED took Jim firm muscles knead wonderful make another climax UP cocks BRENDA why finally moved Michael Rob UP SOME WORKED MANNERS waves Fuck fuck pulls Debbie clean cum TAKING Steve mouth own Joy pleasing much gripping rather Trevor Chris swam up red long hair knew suck smooth animal completely against spit guys cum swallow down hoped see eventually collapsing signatures give city cum want cum bulge vein dick passing SCENE 000008 angling cum finally revealed best friend Trevor Chris swam up CUMIN PLACED up too imagine trouble blowing sex secretary FORTH DICK REACHED UP special making love hair telling underarm squeamish really put teeth YAPPING short six two only SENSATIONAL EMMA Trevor Chris swam up LOOKING MMM waves Fuck fuck SOME BETHANY WAVES through skin tender ready hair telling replied see those tits eventually collapsing woke asked wanted join short six two only come Steve mouth own Joy went sat up table SIGHED FORTH DICK REACHED UP GOT LUBE incredible experience life TELLING KATIE Jesse Trevor shaft THANKED PULLED LOOKED INCREDIBLY SEXY special making love hair telling underarm squeamish really put teeth door cracked little let some SHUDDERED REALIZED short six two only SENSATIONAL EMMA Trevor Chris swam up SIGNALED all rest pulled car really classy goers slippery folds eased labia apart REALIZING making door cracked little let some why GOT strong supple thighs seem PORNO right slowly first again excruciating slowness feel SIZED UP PROBE BETHANY CROUCHING TAKEN Brenda some clear metre half air still truck stop well SCENE 000009 CAPPED little slut suck BLASTED particularly care go wander PAID replied see those tits GLOBES BRUNET really paid Well INCHES STROKES Alec vice versa all HARDER GETTING LETTING tight pixieish slide forward towards Christine sloppy tight pixieish slide forward towards Christine whoever banging things straight Pam got up SCENE 000010 climax some drifted off asleep SLID got mad never think like thinking now found pictures eventually collapsing make love frequently Rachel guys standing hard jerking Brenda tummy very slowly dress down exposing breasts SUPERMAN face tell KATIE GETTING tan sore KY best butter catching brunet foot inches started rubbing OURSELVES tears streaming globes left chick mouth touch electric DROVE told VD anything like well RETURNED took Jim firm muscles knead wonderful make another climax UP cocks BRENDA climax some drifted off asleep SLID got mad never think like thinking now found pictures eventually collapsing make love frequently Rachel guys standing hard jerking Brenda tummy very slowly dress down exposing breasts SUPERMAN face tell KATIE GETTING tan sore KY best butter catching brunet foot inches started rubbing OURSELVES BRUNET really paid Well INCHES SCENE 000011 GOT strong supple thighs seem PORNO right slowly first again excruciating slowness feel ALEC raspberry surface anus only UH short six two only LAUGHED making swell up very very JIM raspberry surface anus only see see UNDERSIDE UNRELATED WAVES through skin tender ready hair telling Brenda some clear metre half air still truck stop well HANDS TERRY puss started fascinating orgasms almost balls thought most beautiful girl yes HANDS TAKING dialed husband tell walked now time let ourselves GRABS PULLING SCENE 000012 HUSHED TOWELS GUYS STANDING JERKING WALKING Jesse alone two hot girls tan started rubbing cunt fuck sex seemingly little worried FORTH DICK REACHED UP climax some drifted off asleep SLID got mad never think like thinking now found pictures eventually collapsing make love frequently Rachel guys standing hard jerking Brenda tummy very slowly dress down exposing breasts SUPERMAN face tell KATIE GETTING tan sore KY best butter catching brunet foot inches started rubbing OURSELVES SCENE 000013 FUCKING WANNA PAM short six two only LAUGHED making swell up very very JIM raspberry surface anus only see see crying spoke Steve said picking up turned head kept flinging AM LOOKING NOISE CUM bottom hem extend GORGEOUS dog hear word now SCENE 000014 occurred Trevor Chris swam up TELLING STEVE TREVOR BUCKED HIPS VIOLENTLY FLIMSY touching side side faced COTTONS all rest pulled car really classy goers University bedroom seemed think make love frequently Rachel guys standing hard jerking Brenda tummy very slowly dress down exposing breasts TREVOR CHRIS SWAM UP KATIE BUZZING Sympathetic Jesse leaned up too dear fun relax wait SWOLLEN kiss loves always will made NOW moved ass hard fast lovemaking offered want cum yet AROUSED saw intersection hair telling underarm squeamish really put teeth SKIS BRUNET really paid Well INCHES SCENE 000015 ALEC SMILED squad realizing just cut wrong slightly water Steve mouth own Joy SWEATY raspberry surface anus only running WORKING CHICKS start fucking brunet foot inches CONFUSING catching brunet foot inches see thought most beautiful girl reached bed one eventually collapsing started rubbing SOME raspberry surface anus only running Alec vice versa all HARDER GETTING DEFEATED alone two hot girls tan globes left chick mouth WANTING YES FUCK told TOOK TREVOR CHRIS SWAM UP LICKING august highland muse apprentice guild --"expanding the canon into the 21st century" www.muse-apprentice-guild.com culture animal --"following in the footsteps of tradition" www.cultureanimal.com ========================================================================= Date: Tue, 7 Oct 2003 08:40:22 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Maria Damon Subject: Fwd: this came through today from a friend re: ARNOLD & ENRON Comments: To: deeplistening@yahoogroups.com Mime-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" ; format="flowed" Content-Transfer-Encoding: quoted-printable no doubt many of you have seen this...some of the language is a little too snide for me but the info is eye-opening (to an ignoramus like myself): >X-From_: jlandry@UMassD.Edu Mon Oct 6 08:02:28 2003 >X-Umn-Remote-Mta: [N] mhub-w5.tc.umn.edu #+LO+NM >X-Umn-Remote-Mta: [N] mdmail.umassd.edu #+TS+NR+UF+CU (A,-) >X-Umn-Report-As-Spam: > >Date: Mon, 06 Oct 2003 09:01:11 -0400 >From: John Landry >Subject: this came through today from a friend re: ARNOLD & ENRON >To: friends:; > > >Published on Saturday, October 4, 2003 by CommonDreams.org >Arnold Unplugged - It's Hasta la Vista to $9 Billion if the >Governator is Selected by Greg Palast > > >It's not what Arnold Schwarzenegger did to the girls a decade >back that should raise an eyebrow. According to a series of >memoranda our office obtained today, it's his dalliance with the >boys in a hotel room just two years ago that's the real scandal. > > >The wannabe governor has yet to deny that on May 17, 2001, at the >Peninsula Hotel in Los Angeles, he had consensual political >intercourse with Enron chieftain Kenneth Lay. Also frolicking >with Arnold and Ken was convicted stock swindler Mike Milken. > >Now, thirty-four pages of internal Enron memoranda have just come >through this reporter's fax machine tell all about the tryst between >Maria's husband and the corporate con men. It turns out that >Schwarzenegger knowingly joined the hush-hush encounter as part of a >campaign to sabotage a Davis-Bustamante plan to make Enron and other >power pirates then ravaging California pay back the $9 billion in >illicit profits they carried off. > >Here's the story Arnold doesn't want you to hear. The biggest >single threat to Ken Lay and the electricity lords is a >private lawsuit filed last year under California's unique Civil Code >provision 17200, the "Unfair Business Practices Act." This >litigation, heading to trial now in Los Angeles, would make the >power companies return the $9 billion they filched from California >electricity and gas customers. > >It takes real cojones to bring such a suit. Who's the >plaintiff taking on the bad guys? Cruz Bustamante, Lieutenant >Governor and reluctant leading candidate against Schwarzenegger. > > >Now follow the action. One month after Cruz brings suit, >Enron's Lay calls an emergency secret meeting in L.A. of his >political buck-buddies, including Arnold. Their plan, to >undercut Davis (according to Enron memos) and "solve" the energy >crisis -- that is, make the Bustamante legal threat go away. > >How can that be done? Follow the trail with me. > >While Bustamante's kicking Enron butt in court, the Davis >Administration is simultaneously demanding that George Bush's energy >regulators order the $9 billion refund. Don't hold your >breath: Bush's Federal Energy Regulatory Commission is headed >by a guy proposed by =85 Ken Lay. > >But Bush's boys on the commission have a problem. The >evidence against the electricity barons is rock solid: >fraudulent reporting of sales transactions, megawatt "laundering," >fake power delivery scheduling and straight out conspiracy >(including meetings in hotel rooms). > >So the Bush commissioners cook up a terrific scheme: charge >the companies with conspiracy but offer them, behind closed doors, >deals in which they have to pay only two cents on each dollar they >filched. > >Problem: the slap-on-the-wrist refunds won't sail if the >Governor of California won't play along. Solution: Re-call >the Governor. > >New Problem: the guy most likely to replace Davis is not Mr. >Musclehead, but Cruz Bustamante, even a bigger threat to the >power companies than Davis. Solution: smear Cruz because -- >heaven forbid! -- he took donations from Injuns (instead of >Ken Lay). > >The pay-off? Once Arnold is Governor, he blesses the >sweetheart settlements with the power companies. When that >happens, Bustamante's court cases are probably lost. There >aren't many judges who will let a case go to trial to protect a >state if that a governor has already allowed the matter to be >"settled" by a regulatory agency. > >So think about this. The state of California is in the hole >by $8 billion for the coming year. That's chump change next to >the $8 TRILLION in deficits and surplus losses planned and incurred >by George Bush. Nevertheless, the $8 billion deficit is the >hanging rope California's right wing is using to lynch Governor >Davis. > >Yet only Davis and Bustamante are taking direct against to get >back the $9 billion that was vacuumed out of the state by Enron, >Reliant, Dynegy, Williams Company and the other Texas bandits who >squeezed the state by the bulbs. > >But if Arnold is selected, it's 'hasta la vista' to the $9 >billion. When the electricity emperors whistle, Arnold comes >-- to the Peninsula Hotel or the Governor's mansion. The >he-man turns pussycat and curls up in their lap. > >I asked Mr. Muscle's PR people to comment on the new Enron memos >-- and his strange silence on Bustamante's suit or Davis' >petition. But Arnold was too busy shaving off his Hitlerian >mustache to respond. > >The Enron memos were discovered by the Foundation for Taxpayer >and Consumer Rights, Los Angeles, www.ConsumerWatchdog.org > > > > > > > > > > > > > > > > >Outside of a dog a book is a man's best friend. >Inside of a dog it's too dark to read. > (Groucho Marx) -- ========================================================================= Date: Tue, 7 Oct 2003 10:24:26 -0200 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Michael Heller Subject: Midwest readings Comments: To: British-Poets@jiscmail.ac.uk Comments: cc: poetryetc@jiscmail.ac.uk, UKPOETRY@LISTSERV.MUOHIO.EDU Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed POETRY READING IN THE TWIN CITIES Michael Heller and Ted Enslin At Ruminator Books 1648 Grand Avenue Saint Paul, MN SUNDAY, OCTOBER 12TH 7PM Sponsored by Rain Taxi (which has an interview with Michael Heller by Peter O'Leary in the Fall 2003 issue) (apologies for cross-posting) ========================================================================= Date: Tue, 7 Oct 2003 09:15:08 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Lanny Quarles Subject: Nononomasiologicalastragal Comments: To: "WRYTING-L : Writing and Theory across Disciplines" MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Nononomasiologicalastragal [right down to the porcelain end-caps] 3 Strings: "Noisy Top-Hat tipping among the Lympha of Nereus" "Tipping is a place in China. Its just not a geographic one." "Bog is Gob spelled backwards, but then you knew that..." The Burfkrick shuuks: Predicting rainfall-induced slope instability A rock-climbing, vegetable-eating, globe-trotting, Navel-gazing, fitness junkie, corporate monkey And occasional road warrior takes shovel in hand And marches. Nabo-Nabo: Not getting a meta-allegorical hominem doesn't mean you are not smart. Een: ...PANAA Dokdune: saknaa panaa saknaa panaa saknaa panaa haonaa haonaa Shirley's Horse: a *em 3/2 m/f sing acc n *em : masc. acc. sing. 3 n *em : fem. acc. sing. 3 n *em : fem. acc. sing. 3 n *em : masc. acc. sing. 5 n *em : masc. acc. sing. 3 v *em 1 1s pr act sub I would see, I would be seeing n *m : fem. acc. sing. 1 Modura: bahrhala ksbaaoM maoM maindr bananao ko pICo sapnaaoM ko raomaaMcak ikssao ja$r jauD,o hue hOM. Saayad hmaarI saamaaijak sarMcanaa maoM sapnaaoM kI iktnaI BaUimaka rhI haogaI yah AQyayana BaI ikyaa jaanaa ja$rI hao gayaa hO. @yaa sapnaaoM ko Aanao AaOr ]nako khnao ko p`calana kI Sau$Aat ko pICo iksaI baD,I saaMs=CCitk sa%aa kI vaRhd yaaojanaa kama krI rhI hO. sapnaa khnao kI p`qaa nahIM haotI tao maindraoM kao [tnaa rhsyamaya banaa panaa mauiSkla haota. rajasqaana ko ]sa saalaasaar maMidr ka [ithasa BaI sapnaaoM kI khanaI kI bauinayaad pr KD,a hO. Aaja vah sapnaa ek Aaiqa-k saama`ajya sqaaipt kr cauka hO. saasaarama ka BaI maindr sapnao kI hI dona hO Clonk Weather: What's emerged is "the biggest scientific assessment of all time," according to the journal Science. It's also a novel type of effort, notes Jerry. "The process itself is pretty remarkable. Do you know of any other discipline that tries to determine, every five years, the state of human knowledge?" Terracomputation. Shumming: http://www.artehistoria.com/genios/jpg/GOA00938.jpg Do you ever think perhaps this poor mason fella served as the model for Goya's 'The Straw Manikin' as well. Its almost as if the two noble compadres dropped this fella off in another picture so the ladies could maybe wake him up. (after like 4-5 years) Play with their meal? How does Adobe fit in? http://www.abcgallery.com/G/goya/goya42.html Fallschirmjaeger: http://www.dhm.de/lemo/objekte/pict/pk940227/ If you look closely you might see in the camouflage of Major Koch's helmet a snake in whose mouth occurs an explosion, also some other little explosions nearby, and then some other blobs which are sort of figural and stuff, does that mean anything to you? Do you think maybe Abstract expressionism was prefigured in certain 'Neo-expressionist' characterizations of military camouflage in Nazi Propaganda Post-cards? Don't you=20 think in some ways, the style is strangely reminiscent of=20 some of Otto Dix's early portraiture? Do you know the=20 story of Wolfgang Willrich, post-card artist to the Nazis, son of a Hellenist... No chachazadi please. (Eco-Political Impasse) http://anthropology.ac.uk/Bhalot/KinTerms/kinterms.gif Aren't there enough virtual clones? Can there ever be enough? http://www.harleyrace.com/midgets.htm=20 I thought knot... Yes, I'm asking about a small boom to the latex market.. But really, how do you support the dingle-cuff, once its deferned? If perhaps you see some relation between world population and Saussure's very problematic Anagrammes, then I'd say you have an open door policy and really thats the best way for an 'individual' person to think. Meta-Allegory of the Jimson-Weed: "I will need to know your real name." "I told you." LT shook his head slowly. "You are not Herbert Beld Callowell the = artist." "No! I'm his son." "He never mentioned a son." "Typical. You want to see my license?" "No. How is your father?" "One of the Radiant Un-Dead." ========================================================================= Date: Tue, 7 Oct 2003 12:24:08 -0400 Reply-To: olsonjk@delhi.edu Sender: UB Poetics discussion group From: Kirby Olson Organization: SUNY Delhi Subject: Re: Remembering Edward Said /Hilton Obenzinger MIME-Version: 1.0 Content-Transfer-Encoding: 7bit Content-Type: text/plain; charset=us-ascii Would anybody care to comment on this statement that was said by my wife while coming off of anaesthesia the other morning? "Nothing is so untrue that it doesn't have any truth in it." It reminded me of the sayings received by the Delphic Oracle or something. Could anybody classify this kind of statement according to rhetoric? It is both an absolute statement, and it denies any kind of absolute truth, and yet it almost insists that any statement is absolute truth, or is at least true. Does this kind of statement have a category? -- Kirby ========================================================================= Date: Tue, 7 Oct 2003 12:26:06 -0400 Reply-To: BigSmallPressMall Sender: UB Poetics discussion group Comments: Resent-From: Poetics List Administration Comments: Originally-From: BigSmallPressMall From: Poetics List Administration Organization: BigSmallPressMall Subject: BigSmallPressFall MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Content-Disposition: inline A reading and 2 new offers . . . ************************************* Join us in Philadelphia next week for a BigSmallPressMall reading sponsored by the 215 Festival and Kelly Writers House Wednesday, October 8, 6-8 pm poetry by: Anthony McCann (Fence Books) Joshua Beckman and Matthew Rohrer (Verse Press) stories by: Samantha Hunt (McSweeney's) Jocko Weyland (Open City) The Kelly Writers House is at the University of Pennsylvania 3805 Locust Walk Philadelphia For directions see http://www.english.upenn.edu/~wh/directions.html There are a million other great things happening at the 215 Festival, October 8-12 (including a party after our reading with One Ring Zero and other bands, a Patti Smith performance on the 9th, David Rees on the 10th, George Saunders on the 11th, Jonathan Ames on the 12th, and lots more). For details see http://www.215festival.com/schedule.aspx Come to Philly! ************************************* 2 package deals: FATHER OF NOISE, poetry by Anthony McCann (Fence Books) AND SPEAK COMMENTARY, fake DVD commentaries by Tom Bissell and Jeff Alexander (McSweeney's) Both titles for only $17. Click here: http://www.bigsmallpressmall.com/package.html#pack6 ACTUAL AIR, David Berman's classic poetry collection (Open City) AND HAT ON A POND, poetry by Dara Wier (Verse Press) Both titles for only $18. Click here: http://www.bigsmallpressmall.com/package.html#pack7 And in general: http://www.bigsmallpressmall.com -- To unsubscribe from: BigSmallPressMall, just follow this link: http://www.bigsmallpressmall.com/mojo/mojo.cgi?f=u&l=bismall&e=poetics@acsu.buffalo.edu&p=8062 Click this link, or copy and paste the address into your browser. ========================================================================= Date: Tue, 7 Oct 2003 15:51:03 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: Scheme for a General Literature MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Scheme for a General Literature Wittgenstein, TLP: [P, E, N(E)] : P = all propositions E = any set of proportions N(E) = negation of E Russell: 'The whole symbol means whatever can be obtained by taking any selection of atomic propositions, negating them all, then taking any selection of the set of propositions now obtained, together with any of the originals--and so on indefinitely. This is, he [Wittgenstein] says, the general truth-function and also the general form of proposition.' (Introduction, TLP.) Now the negation is necessary to produce the Sheffer stroke and its dual; atomic propositions, however, are illusory - show me one. Nevertheless, one can write P, where P = generalized alphabetics; and E, where E = a finite subset methodology (axiom of choice) in any order of P. Note that P is a reasonably small integer < 40,000. (Of course further reduction is possible by virtue of binary or unary mapping.) We have in addition S({E}), where S = the substructure or ordering-site (Peirce's "sheet of assertion"); {E} (a set of finite subsets of P) is mapped onto S. Then clearly [P, E, S({E})] is the general form of literature - in particular, religious or other traditional or exemplary texts (including their diacritical and extra-alphabetic graphemes) - issues of practicality, decidability, etc. notwithstanding. ___ ========================================================================= Date: Tue, 7 Oct 2003 15:02:56 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: mIEKAL aND Subject: Viagra Comments: To: WRYTING-L Disciplines Mime-Version: 1.0 (Apple Message framework v552) Content-Type: text/plain; charset=US-ASCII; format=flowed Content-Transfer-Encoding: 7bit I cant find that file This is where I get my Valium Unfolding The Rose... Give Her Something To Smile About! Your antidepressant with no side effects You here yet Fast-Acting Very Confidencial(please call me) meeting is on Monday boys this your chance! I just called to say I Love You No one will know! i'm in your area Don't wait to find out... What will your family do? only this would helps ========================================================================= Date: Tue, 7 Oct 2003 16:28:38 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Nate Dorward Subject: TAKE OVER / UNDONE, SAY: two new books by Trevor Joyce Comments: cc: lexiconjury@yahoogroups.com MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 8bit * For Trevor Joyce's fall reading tour of Canada & the United States, The Gig has produced a paired set of chapbooks that provide an interim showing of his recent work. The edition is limited to 150 copies. TAKE OVER a 51pp set of workings from the Irish and Chinese, including the full text of "Love Songs from a Dead Tongue" UNDONE, SAY a 46pp set of original poems, including the complete text of the long prose-poem "Stillsman", and "Undone", a set of 5 texts extracted from a longer, as yet untitled project. Both books contain much uncollected and some unpublished material, and give a glimpse of the directions Joyce has taken since the publication of his collected poems, _with the first dream of fire they hunt the cold_ (NWP/Shearsman, 2001; new edition forthcoming later this year). Full tables of contents are given below, and two extracts from the books. In Canada: $12 for the pair. In the US: $10 US for the pair. Overseas: £7.50 or 10.50 euros for the pair. All prices include airmail. Cheques are preferred: make out to "Nate Dorward" & mail to: 109 Hounslow Ave, Willowdale, ON, M2N 2B1, Canada (email: ndorward@sprint.ca). ALSO NOTE: Trevor Joyce is reading in Toronto alongside Steve McCaffery & Lise Downe, on Oct 26th, 3:00pm, at New Works Studio, 319 Spadina, 2nd floor. Other readings are in Buffalo (Oct 29); Oxford, Ohio (Oct 30), Los Angeles (Nov 4 & 12), San Diego (Nov 5 & 6) & San Francisco (Nov 13): backchannel me if you want more details. * TAKE OVER: contents Capital Accounts - worked from the Chinese of Lu Zhaolin (635-84) Dánta Grádha 18 - worked from the Irish Outrage - worked from the Chinese of Ruan Ji (210-63) Love Songs from a Dead Tongue - worked from the Irish UNDONE, SAY: contents Saws Limitless Skinbone Sing keepsake Speaking of What Has Happened Undone: "fire in the wood" 1. "This hot, utterly jubilant baker" 2. "You could hear a pin scrape" 3. "In order to succeed a boy should have a taste for drawing" 4. The Peacock's Tale Stillsman * From TAKE OVER: Dánta Grádha 18 (Worked from the Irish) She is my love was most my misery preferred for wasting me to her could cure She is my fair would fast enfeeble me not whisper for my going oh! or mind my grave She is my dear nature's accessory wouldn't reach a hand to hold my head lay me for gold She is my why drops not a hint to me heeds no true word spares no regard Great is my grief too long this lingering who most suspects me is all my love From UNDONE, SAY: Speaking of What Has Happened always some huge unseen alters in the world between each flicker and the next consequent apprehension comes not like an autopsy whose subject should be dead but through divisions of the living breath that is one whole from first cry to the end though it accelerates or slows by turn grows clear or close or dull or fine mastering like a weather the exposed attention shivering after makes report it rained was sunny for a while then came a storm ========================================================================= Date: Tue, 7 Oct 2003 15:05:33 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Lanny Quarles Subject: Tire Tread Comments: To: "WRYTING-L : Writing and Theory across Disciplines" MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Tire Tread=20 (The Infinite Flow of Absolute Truth) THE NAKED MAJA THE CLOTHED MAJA THE NAKED MAJA THE CLOTHED MAJA=20 THE NAKED MAJA THE CLOTHED MAJA=20 THE NAKED MAJA THE CLOTHED MAJA=20 THE NAKED MAJA THE CLOTHED MAJA=20 THE NAKED MAJA THE CLOTHED MAJA=20 THE NAKED MAJA THE CLOTHED MAJA=20 THE NAKED MAJA THE CLOTHED MAJA=20 THE NAKED MAJA THE CLOTHED MAJA=20 THE NAKED MAJA THE CLOTHED MAJA=20 THE NAKED MAJA THE CLOTHED MAJA=20 THE NAKED MAJA THE CLOTHED MAJA=20 THE NAKED MAJA THE CLOTHED MAJA=20 THE NAKED MAJA THE CLOTHED MAJA=20 THE NAKED MAJA THE CLOTHED MAJA=20 THE NAKED MAJA THE CLOTHED MAJA=20 (The Absolute Flow of Infinite Truth) Alternating Penalization. ========================================================================= Date: Wed, 8 Oct 2003 00:50:23 +0200 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Karl-Erik Tallmo Subject: Notes from a small =?iso-8859-1?Q?caf=E9?= In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" ; format="flowed" Content-Transfer-Encoding: quoted-printable NOTES FROM A SMALL CAF=C9 Article E shall be replaced by the following. Article F shall be amended as follows. The following article shall be inserted at the end of title I. This paragraph shall also apply. Articles 8 and 9 shall apply as appropriate to matters falling under this title. The following new title shall be inserted. Article F shall be replaced by the following. In article Q, paragraph 2 shall be deleted and paragraph 1 shall remain without a number. In article T, the first paragraph shall be replaced by the following. This treaty shall be amended in accordance with the provisions of this artic= le. In the preamble the following recital shall be inserted after the eighth recital. Article 2 shall be replaced by the following. The body shall have its task, equality between men and women, and sustainable and non-inflammatory growth, a high degree of lust and convergence as well as improvement of quality. The existing text shall be numbered and become paragraph 1 in a new paragraph 1, the following new point (ii) shall be inserted after point (i). The following paragraph shall be added. The following article shall be inserted. A member intends to oppose the granting. This article is without prejudice. Article 8 shall be replaced by the following. In article 8d, the following paragraph shall be added. Article 51 shall be replaced by the following. This title shall not affect the exercise of responsibilities. In the event of an emergency situation characterised by a sudden inflow, paragraph 1 may adopt provisional measures of duration for the benefit of those concerned. Article 73 shall include improving and simplifying the system service of documents. In article 113, the following paragraph shall be added. The following title shall be inserted after title VII. The provisions of this article shall not apply to pay. Occupational hygiene shall be replaced by the following. A high level of human health protection shall be inserted at the end of title II. Where reference is made the proposed act shall be deemed not to have been adopted. "I shall adopt its Rules of Procedure." The first subparagraph of paragraph 2 shall be replaced by the following. The first subsubparagraph of subparagraph 2 shall be replaced by the followi= ng. The second subsubparagraph of subparagraph 2 shall be replaced by the following. Article 78 shall be replaced by the following. The obligations shall be inserted. Article 108 shall be amended as follows. The second subparagraph of paragraph 1 shall be amended as follows. "I shall be the Task of the Committee." Paragraph 1 shall be deleted and paragraphs 2 and 3 shall become paragraphs 1 and 2. The last paragraph shall become paragraph 1. In article 61, the word "progressive" shall be deleted. The following paragraph shall be added. Article 62 shall be repealed. Article 63 shall be amended as follows. In the new paragraph 1, the words "implement this general" shall be replaced by the word "achieve", and the words "unanimous thereafter" shall be replaced by the words "be then qualified". After article 90, after the heading "Section 2" the word "dumpling" shall be deleted. Article 91 shall be repealed. This, the third paragraph, shall be deleted. The last paragraph shall become paragraph 1. "I shall act unanimously." Article 109 shall be amended as follows. The list of signatories shall be deleted. After the word "important", the text of point (a) shall follow immediately; the text resulting therefrom shall be inserted into point (a). The list of signatories shall be deleted. The protocol on special arrangements shall be repealed. Sports shall be replaced by a commission. Articles 94 and 95 shall be repealed. In article 98, second paragraph, the words "within two years" shall be replaced by "the Foundation". Article 100 shall be repealed. Article 104 shall be amended as follows. In the first paragraph, words shall be replaced. In article 225 there shall be added a table titled "Breakdown by many headings". The words "have designated as their Penitentiaries for this Purpose" shall be deleted. The words "those who, having executed their duties to their full powers, found in good and evil form" shall be deleted. The list of signatories shall be deleted. This treaty is concluded for an unlimited period. "I shall be deemed not to have been adopted." "I shall not entail excessive burdens on economic operators." Periods of grace based on considerations of distance shall be determined by the Rules of Procedure. Its dissolution or liquidation shall not give rise to opinion. Karl-Erik Tallmo __________________________________________________________________ KARL-ERIK TALLMO, poet, writer, artist, journalist, living in Stockholm, Sweden. MAGAZINE: http://art-bin.com ARTWORK, WRITINGS etc.: http://www.nisus.se/tallmo/ __________________________________________________________________ ========================================================================= Date: Tue, 7 Oct 2003 22:47:48 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Al Filreis Subject: post-invasion poetics MIME-Version: 1.0 Content-Type: text/plain; charset=US-ASCII Content-Transfer-Encoding: 7bit the Kelly Writers House the Creative Writing Program & the Center for Programs in Contemporary WRiting present A READING Saturday, October 18 - 8 PM at the Institute for Contemporary Art 118 S. 36th Street, Philadelphia, PA Poetry and Empire: Post-Invasion Poetics ---------------------------------------- featuring: Herman Beavers, Charles Bernstein, Mei-mei Brussenbrugge, Tim Carmody, Tom Devaney Greg Djanikian, Tim Donnelly, Rachel DuPlessis, Al Filreis, Michael Fried, Allen Grossman, Saskia Hamilton, Matt Hart, Fanny Howe, Erica Hunt, John Koethe, Jessica Lowenthal, Mark McMorris, Peter Middleton, Matt Merlino, Tracy Morris, Jennifer Moxley, Jena Osman, Bob Perelman, Bernie Rhie, Kathy Lou Schultz, Frank Sherlock, James Sherry, Josh Schuster, Ron Silliman, Rod Smith, Jennifer Snead, Susan Stewart, Rodrigo Toscano, and Rosmarie Waldrop. RSVP to: rsvppostempire@writing.upenn.edu ========================================================================= Date: Tue, 7 Oct 2003 23:16:04 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "David A. Kirschenbaum" Subject: Write on Brenda, Arizona for Boog City Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit Hi all, Our Brenda issue is filling up with all sorts of wonderment. I am, however, still looking for someone to write 100-250 words about the town of Brenda, Arizona. Please backchannel editor@boogcity.com if you're interested in doing this. thanks, david -- David A. Kirschenbaum, editor and publisher Boog City 330 W.28th St., Suite 6H NY, NY 10001-4754 For event and publication information: http://boogcity.blog-city.com/ T: (212) 842-BOOG (2664) F: (212) 842-2429 ========================================================================= Date: Wed, 8 Oct 2003 00:16:53 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: MADELEINE GALLAGHER & TONYA FOSTER AT CASPER JONES MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII MADELEINE GALLAGHER & TONYA FOSTER AT CASPER JONES (formerly the Flying Saucer Cafe series!) CASPER JONES CAFE READING/TALING/MEDIA SERIES PLEASE COME! TUESDAY OCTOBER 14, 7:00 PM, AT CASPER JONES CAFE IN BROOKLYN (see below for details) Madeleine Gallagher's video and new media work explores ideas about physical space, motion, and phenomenological perception. Her aim as a visual artist is to create sensory environments where expanded cinema meets up with abstract painting. Gallagher will be showing several works in progress. Tonya Foster is a teacher and writer and lives in Harlem. Her work contains vivid, dynamic sonic elements. Along with reading poems, Foster will present a talk focusing on lies, fabrication, and revision. Casper Jones House Cafe Bar Lounge 440 Bergen Street between 5th Ave. & Flatbush Ave. Parkslope, Brooklyn (718) 399-8741 take the Q train to 7th Ave or the 2/3 train to Bergen Street Contact Brenda Iijima or Alan Sondheim for further information. Brenda Iijima: yoyolabs@hotmail.com Alan Sondheim: sondheim@panix.com ___ ========================================================================= Date: Tue, 7 Oct 2003 21:50:16 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "K. Silem Mohammad" Subject: Call For Abstracts: The Undead and Philosophy In-Reply-To: <200310080004.1a75yKrj3Nl3p20@pickering.mail.mindspring.net> Mime-version: 1.0 Content-type: text/plain; charset="ISO-8859-1" Content-transfer-encoding: quoted-printable Call For Abstracts The Undead and Philosophy Richard Greene & K. Silem Mohammad, Editors Abstracts are sought for a collection of philosophical essays on the theme of the undead. The editors are currently in discussion with Open Court Press (The publisher of _The Simpsons and Philosophy_, _The Matrix and Philosophy_, and the forthcoming _The Sopranos and Philosophy_, etc.) regarding the inclusion of this collection in a new book series dealing wit= h philosophy and various cultural topics. We are seeking abstracts, but anyone who has already written an unpublished paper on this topic may submi= t it in its entirety. Potential contributors may want to examine other volumes in the Open Court series. Contributors are welcome to submit abstracts on any topic of philosophical interest that pertains to the theme of the undead. We define "the undead" as that class of corporeal beings who at some point were living creatures, have died, and have come back such that they are not presently =B3at rest.=B2 This would include supernatural beings such as zombies, vampires, mummies, and other reanimated corpses. The editors are especially interested in receiving submissions that engage the following perspectives: philosophy of mind; the metaphysics of death; political and social philosophy; ontology and other topics in metaphysics; ethics and bioethics; aesthetics; cultural theory and globalization studies; race and gender; epistemology; philosophy of religion; phenomenology and existentialism. Possible topics might include, but are not limited to, the following: zombie-based critiques of functionalist theories of mind; historical treatments of the undead in philosophy; the films of George Romero, Danny Boyle, and Joss Whedon; the novels of Mary Shelley, Bram Stoker, Anne Rice, Bruce Campbell, and Poppy Z= . Brite; critical writing by Julia Kristeva, Jalal Toufic, and Slavoj Zizek. Please feel free to forward this to anyone writing within a philosophic discipline who might be interested in contributing. Contributor Guidelines: 1. Abstract of paper (100=AD750 words) 2. Resume/CV for each author/coauthor of the paper 3. Initial submission may be by mail or email (prefer e-mail with MS Word attachment). If you submit by email, please send to both editors. 4. Submission deadline: December 15, 2003 Mail: Richard Greene Department of Political Science and Philosophy Weber State University 1203 University Circle Ogden, UT 84408-1203 Email:=20 rgreene@weber.edu ksilem@ucsc.edu [Please Post] ========================================================================= Date: Tue, 7 Oct 2003 22:28:07 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Peter Quartermain Subject: Re: TAKE OVER / UNDONE, SAY: two new books by Trevor Joyce In-Reply-To: <00d201c38d11$98810aa0$bb756395@DC3NX221> MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Nate: Just on my way out the door =96 back Sunday night. Please send the = Trevor Joyce. I'll send a cheque Monday if you can confirm the copies. Thanks. Peter =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D= =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D =93Translations are, in general, for people who cannot read the = original." Samuel Johnson, 9 April 1778, in conversation. = =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D= =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D Peter Quartermain 846 Keefer Street Vancouver B.C. Canada V6A 1Y7 voice 604 255 8274 fax 604 255 8204 quarterm@interchange.ubc.ca =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D= =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D -----Original Message----- From: UB Poetics discussion group [mailto:POETICS@LISTSERV.BUFFALO.EDU] On Behalf Of Nate Dorward Sent: 07-October-2003 1:29 PM To: POETICS@LISTSERV.BUFFALO.EDU Subject: TAKE OVER / UNDONE, SAY: two new books by Trevor Joyce * For Trevor Joyce's fall reading tour of Canada & the United States, The Gig has produced a paired set of chapbooks that provide an interim showing of his recent work. The edition is limited to 150 copies. TAKE OVER a 51pp set of workings from the Irish and Chinese, including the full text of "Love Songs from a Dead Tongue" UNDONE, SAY a 46pp set of original poems, including the complete text of the long prose-poem "Stillsman", and "Undone", a set of 5 texts extracted from a longer, as yet untitled project. Both books contain much uncollected and some unpublished material, and give a glimpse of the directions Joyce has taken since the publication of his collected poems, _with the first dream of fire they hunt the cold_ (NWP/Shearsman, 2001; new edition forthcoming later this year). Full tables of contents are given below, and two extracts from the books. In Canada: $12 for the pair. In the US: $10 US for the pair. Overseas: =A37.50 or 10.50 euros for the pair. All prices include airmail. = Cheques are preferred: make out to "Nate Dorward" & mail to: 109 Hounslow Ave, Willowdale, ON, M2N 2B1, Canada (email: ndorward@sprint.ca). ALSO NOTE: Trevor Joyce is reading in Toronto alongside Steve McCaffery & Lise Downe, on Oct 26th, 3:00pm, at New Works Studio, 319 Spadina, 2nd floor. Other readings are in Buffalo (Oct 29); Oxford, Ohio (Oct 30), Los Angeles (Nov 4 & 12), San Diego (Nov 5 & 6) & San Francisco (Nov 13): backchannel me if you want more details. * TAKE OVER: contents Capital Accounts - worked from the Chinese of Lu Zhaolin (635-84) D=E1nta Gr=E1dha 18 - worked from the Irish Outrage - worked from the Chinese of Ruan Ji (210-63) Love Songs from a Dead Tongue - worked from the Irish UNDONE, SAY: contents Saws Limitless Skinbone Sing keepsake Speaking of What Has Happened Undone: "fire in the wood" 1. "This hot, utterly jubilant baker" 2. "You could hear a pin scrape" 3. "In order to succeed a boy should have a taste for drawing" 4. The Peacock's Tale Stillsman * >From TAKE OVER: D=E1nta Gr=E1dha 18 (Worked from the Irish) She is my love was most my misery preferred for wasting me to her could cure She is my fair would fast enfeeble me not whisper for my going oh! or mind my grave She is my dear nature's accessory wouldn't reach a hand to hold my head lay me for gold She is my why drops not a hint to me heeds no true word spares no regard Great is my grief too long this lingering who most suspects me is all my love >From UNDONE, SAY: Speaking of What Has Happened always some huge unseen alters in the world between each flicker and the next consequent apprehension comes not like an autopsy whose subject should be dead but through divisions of the living breath that is one whole from first cry to the end though it accelerates or slows by turn grows clear or close or dull or fine mastering like a weather the exposed attention shivering after makes report it rained was sunny for a while then came a storm ========================================================================= Date: Tue, 7 Oct 2003 22:15:46 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Clements Subject: Sentence 1 Now Available MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 8bit Dear Poetics Listers, I’m happy to announce that the first issue of *Sentence: a Journal of Prose Poetics* is now available. A single issue is $12. Two issues: $22. Three issues: $30. Postage included. Send check to Firewheel Editions, PO Box 793677, Dallas, TX 75379. This issue includes work by a number of folks from the list. Contributors are: Joe Ahearn, Eric Anderson, Edward Bartók-Baratta, Brian Brennan, Maxine Chernoff, Paul Christensen, Catherine Daly, Chad Davidson, Jeff Davis, Ana Delgadillo, Matthew Dickman, Denise Duhamel, Jamey Dunham, Russell Edson, Richard Garcia, Beckian Fritz Goldberg, Ray Gonzalez, Noah Eli Gordon, Joshua Green, Gabriel Gudding, Jeff Harrison, Jocelyn Heaney, Michael Helsem, Brooke Horvath, Theo Hummer, David James, Peter Johnson, nwenna kai, Janet Kaplan, Jesse Lee Kercheval, Mary Koncel, Lewis LaCook, Gerry LaFemina, David Lehman, Gian Lombardo, Morton Marcus, Ann E. Michael, Jane Lunin Perel, P. F. Potvin, Matthew Roth, Mary Ruefle, Kristin Ryling, Matthew W. Schmeer, Morgan Lucas Schuldt, Susan Schultz, Leonard Schwartz, Daryl Scroggins, Alan Sondheim, Rebecca Spears, Donna Steiner, Gregg Thompson, John A. Ward, Ian Randall Wilson, Cecilia Woloch, Gary Young, Zhang Er PLUS: Michel Delville on the politics and erotics of food in the work of Gertrude Stein and Francis Ponge *Sentence Feature*: William Matthews and Mary Feeney, William Kulik, and Beth Archer Brombert translate Follain, Jacob, and Ponge, with an introduction by Peter Johnson from *Dreaming the Miracle: Three French Prose Poets* (White Pine Press) A brief bibliography of recent criticism on the prose poem. COMING IN SENTENCE 2: John Bradley, Sean McClain Brown, Maxine Chernoff, Peter Conners, Michel Delville, Russell Edson, Soledad Falabella, Elizabeth Frost, Peter Johnson, Linh Dinh, Gian Lombardo, Deanna Ludwin, Morton Marcus, Kathleen McGookey, John Richards, Dale Smith, Christopher Soden, Anthony Tognazzi, Mark Tursi, and we're just starting to read and solicit more material for this issue! PLUS: *Sentence Feature*: Spanish-language prose poems and aphorisms in translation, including de Ory, Sabines, Odio, and more to come! COMING IN SENTENCE 3: *Sentence Feature*: A selection of British prose poets, guest-edited by Nikki Santilli, author of *Such Rare Citings: The Prose Poem in English Literature* (Fairleigh Dickinson, 2002). The goals of *Sentence* are: • To continue the tradition of publishing excellent prose poems established by Peter Johnson’s *The Prose Poem: an International Journal* • To publish reviews and essays (personal, critical, experimental, etc.) about the prose poem, prose poets, and the poetics of the prose poem • To continue the discussion about the distinctions among the prose poem, “poet’s prose,” and “poetic prose” (why is this distinction useful? are there other distinctions to be made?) • To explore the gray areas around the prose poem, especially in work that exists on the boundary between the prose poem and free verse on one hand and the prose poem and the essay on the other • To publish work that extends our conceptions of what the “prose poem” is or can be Many thanks for your interest in *Sentence*. Please see http://firewheel-editions.org for information on submissions. We will begin shipping purchased copies and subscription copies on October 20. Please forward this message to anyone you think would be interested. Sincerely, Brian Clements Editor ========================================================================= Date: Wed, 8 Oct 2003 19:57:30 +1000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: K Zervos Subject: Re: Viagra In-Reply-To: <01B86C0A-F912-11D7-A845-0003935A5BDA@mwt.net> MIME-version: 1.0 Content-type: text/plain; charset=iso-8859-1 Content-transfer-encoding: 7BIT At thongrise considerable flossntossilation she rose, thongthet re-gee-arated but only a dirty old man would think of things like these komninos |||-----Original Message----- |||From: UB Poetics discussion group [mailto:POETICS@LISTSERV.BUFFALO.EDU] |||On Behalf Of mIEKAL aND |||Sent: Wednesday, 8 October 2003 8:03 AM |||To: POETICS@LISTSERV.BUFFALO.EDU |||Subject: Viagra ||| |||I cant find that file |||This is where I get my Valium ||| |||Unfolding The Rose... |||Give Her Something To Smile About! ||| |||Your antidepressant with no side effects |||You here yet ||| |||Fast-Acting |||Very Confidencial(please call me) ||| |||meeting is on Monday |||boys this your chance! ||| |||I just called to say I Love You |||No one will know! ||| |||i'm in your area |||Don't wait to find out... ||| |||What will your family do? |||only this would helps ========================================================================= Date: Wed, 8 Oct 2003 04:18:05 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: August Highland Subject: SPEED-DETACHED CONTENT INDEPENDENCE MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit SPEED-DETACHED CONTENT INDEPENDENCE #400........excerpt www.academic-liberation-party.com dear muse your verse please mediate for me unload city forty years nearly all main shrewd childish poured United States England Bibles read One morning chapter Hohenzollern common sense must single building present one most eminent rendered old Dutch provincial German president Apia punctuate longer green cloth very neat much induced call himself Catholic pleasure kind atmosphere enveloping president de Beaufort referred curiosity humiliation destruction straightforward honesty salesman strengthened authority real only fair say England France Italy beginning word bid customs understood sprite casserole lives neck evening entire delegations enemy all nations will exposed prank English reviews some time well remotely great career filled check excellent impression some better founded great same key lattice literature whether one side Emperor trusted-such men himself few experience make visits result course see Emperor well Academy determined Rudyard Kipling led recall many very few Germans really Senate took course laid down Sarpi onion arbitration project elaborated Alexander managed old Duplay smoking pipe power supreme temporal find themselves credited secretaries work other telegrams claim being educated advertise welcome slightest shadow reason band all claimed give give life Caligula uncertain first saw new Russian descent hell overflow known nihilist having led Germans distrust all Jews English up being striking monument eminent painter Cornelius liking bade Godspeed Thomas writings interpolations united same conference regarding immunity State Union will soon begin look tribunal shall include member developing better future woe representative foreign power western original plan generally rejected made halo carried Russia namely upper class Russian imperfectly understood incinerate accompanying bishop wished tomb bishop wished tomb conviction mind guilty press discriminant difficulties minister can matter gifted Netherlands minister foreign admirable points questions conference whenever remittance comes Bosphorus hippo thrifty such importance United States converts obliged go through similar ordeal read America others shall try Russia one another secured appanage party faction family former Cornell student held providing rot groups Avenue Victory Thiergarten invoy fitted given sops poor creatures nest President first XLIX PRESIDENT AMERICAN DELEGATION steamers thence take lunatic sent announce work German ideals enemy Cardinal Bellarmine difficult find more misleading Doctrine more concerned matter cared nothing followed procession influential personage empire Empress Wolfe exasperated sorrows Russian life developing History desirable Demetrieff up Emperor Paul showed tennis belief instead educating women alpaca capitals especially Russia august highland muse apprentice guild --"expanding the canon into the 21st century" www.muse-apprentice-guild.com culture animal --"following in the footsteps of tradition" www.cultureanimal.com ========================================================================= Date: Wed, 8 Oct 2003 04:43:11 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: August Highland Subject: MAKE THIS YOUR HOMEPAGE MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit MAKE THIS YOUR HOMEPAGE C o l o r T o p i c s i n C o m p u t e r G r a p h i c s C o l o r P e r c e p t i o n C o l o r S p a c e s G a m m a A l p h a H e a r n & B a k e r p p.... . . . .... ... 5 1 3 5 1 5 5 6 5 5 8 1 ( s t u d y 4 S l i d e 1 6.... . . . .... ... 8 3 7 9 8 r a p h i c s.... . . . .... ... l c s .... . . . .... ... m i t.... . . . .... ... e d u c l a s s e s 6.... . . . .... ... 8 3 7 F 9 8 4 h o m e p a g e .... . . . .... ... h t m l 0 0.... . . . .... ....... . . . .... ....... . . . .... ....... . . . .... ... .... . . . .... ... .... . . . .... ... .... . . . .... ... .... . . . .... ....... . . . .... ....... . . . .... ....... . . . .... ... .... . . . .... ....... . . . .... ....... . . . .... ... 4 6.... . . . .... ....... . . . .... ....... . . . .... ....... . . . .... ... .... . . . .... ... .... . . . .... ... .... . . . .... ... .... . . . .... ....... . . . .... ....... . . . .... ....... . . . .... ... .... . . . .... ....... . . . .... ....... . . . .... ... 1 4 1 0 1 0 9 8 4 6 .... . . . .... ... 8 3 7 9 8 P a g e 1 E l e m e n t s o f C o l o r 4 S l i d e 2 6.... . . . .... ... 8 3 7 9 8 r a p h i c s.... . . . .... ... l c s .... . . . .... ... m i t.... . . . .... ... e d u c l a s s e s 6.... . . . .... ... 8 3 7 F 9 8 4 S l i d e 0 2.... . . . .... ... h t m l 0 0.... . . . .... ....... . . . .... ....... . . . .... ....... . . . .... ... .... . . . .... ... .... . . . .... ... .... . . . .... ... .... . . . .... ....... . . . .... ....... . . . .... ....... . . . .... ... .... . . . .... ....... . . . .... ....... . . . .... ... 4 6.... . . . .... ....... . . . .... ....... . . . .... ....... . . . .... ... .... . . . .... ... .... . . . .... ... .... . . . .... ... .... . . . .... ....... . . . .... ....... . . . .... ....... . . . .... ... .... . . . .... ....... . . . .... ....... . . . .... ... 4 9 1 0 1 0 9 8 4 6 .... . . . .... ... 8 3 7 9 8 P a g e 1 V i s i b l e S p e c t r u m W e p e r c i e v e e l e c t r o m a g n e t i c e n e r g y h a v i n g w a v e l e n g t h s i n t h e r a n g e 4 0 0 7 0 0 n m a s v i s i b l e l i g h t.... . . . .... ... 4 S l i d e 3 6.... . . . .... ... 8 3 7 9 8 r a p h i c s.... . . . .... ... l c s .... . . . .... ... m i t.... . . . .... ... e d u c l a s s e s 6.... . . . .... ... 8 3 7 F 9 8 4 S l i d e 0 3.... . . . .... ... h t m l 0 0.... . . . .... ....... . . . .... ....... . . . .... ....... . . . .... ... .... . . . .... ... .... . . . .... ... .... . . . .... ... .... . . . .... ....... . . . .... ....... . . . .... ....... . . . .... ... .... . . . .... ....... . . . .... ....... . . . .... ... 4 7.... . . . .... ....... . . . .... ....... . . . .... ....... . . . .... ... .... . . . .... ... .... . . . .... ... .... . . . .... ... .... . . . .... ....... . . . .... ....... . . . .... ....... . . . .... ... .... . . . .... ....... . . . .... ....... . . . .... ... 1 5 1 0 1 0 9 8 4 6 .... . . . .... ... 8 3 7 9 8 P a g e 1 T h e E y e T h e p h o t o s e n s i t i v e p a r t o f t h e e y e i s c a l l e d t h e r e t i n a .... . . . .... ... T h e r e t i n a i s l a r g e l y c o m p o s e d o f t w o t y p e s o f c e l l s c a l l e d r o d s a n d c o n e s.... . . . .... ... O n l y t h e c o n e s a r e r e s p o n s i b l e f o r c o l o r p e r c e p t i o n.... . . . .... ... 4 S l i d e 4 6.... . . . .... ... 8 3 7 9 8 r a p h i c s.... . . . .... ... l c s .... . . . .... ... m i t.... . . . .... ... e d u c l a s s e s 6.... . . . .... ... 8 3 7 F 9 8 4 S l i d e 0 4.... . . . .... ... h t m l 0 0.... . . . .... ....... . . . .... ....... . . . .... ....... . . . .... ... .... . . . .... ... .... . . . .... ... .... . . . .... ... .... . . . .... ....... . . . .... ....... . . . .... ....... . . . .... ... .... . . . .... ....... . . . .... ....... . . . .... ... 5 1.... . . . .... ....... . . . .... ....... . . . .... ....... . . . .... ... .... . . . .... ... .... . . . .... ... .... . . . .... ... .... . . . .... ....... . . . .... ....... . . . .... ....... . . . .... ... .... . . . .... ....... . . . .... ....... . . . .... ... 2 6 1 0 1 0 9 8 4 6 .... . . . .... ... 8 3 7 9 8 P a g e 1 T h e F o v e a C o n e s a r e m o s t d e n s e l y p a c k e d w i t h i n a r e g i o n o f t h e e y e c a l l e d t h e f o v e a.... . . . .... ... T h e r e a r e t h r e e t y p e s o f c o n e s r e f e r r e d t o a s S M a n d L .... . . . .... ... T h e y a r e r o u g h l y e q u i v a l e n t t o b l u e g r e e n a n d r e d s e n s o r s r e s p e c t i v e l y.... . . . .... ... T h e i r p e a k s e n s i t i v i t i e s a r e l o c a t e d a t a p p r o x i m a t e l y 4 3 0 n m 5 6 0 n m a n d 6 1 0 n m f o r t h e " a v e r a g e" o b s e r v e r.... . . . .... ... 4 S l i d e 5 6.... . . . .... ... 8 3 7 9 8 r a p h i c s.... . . . .... ... l c s .... . . . .... ... m i t.... . . . .... ... e d u c l a s s e s 6.... . . . .... ... 8 3 7 F 9 8 4 S l i d e 0 5.... . . . .... ... h t m l 0 0.... . . . .... ....... . . . .... ....... . . . .... ....... . . . .... ... .... . . . .... ... .... . . . .... ... .... . . . .... ... .... . . . .... ....... . . . .... ....... . . . .... ....... . . . .... ... .... . . . .... ....... . . . .... ....... . . . .... ... 5 7.... . . . .... ....... . . . .... ....... . . . .... ....... . . . .... ... .... . . . .... ... .... . . . .... ... .... . . . .... ... .... . . . .... ....... . . . .... ....... . . . .... ....... . . . .... ... .... . . . .... ....... . . . .... ....... . . . .... ... 2 2 1 0 1 0 9 8 4 6 .... . . . .... ... 8 3 7 9 8 P a g e 1 T h e F o v e a C o l o r b l i n d n e s s r e s u l t s f r o m a d e f i c i e n c y o f o n e c o n e t y p e.... . . . .... ... 4 S l i d e 5 a 6.... . . . .... ... 8 3 7 9 8 r a p h i c s.... . . . .... ... l c s .... . . . .... ... m i t.... . . . .... ... e d u c l a s s e s 6.... . . . .... ... 8 3 7 F 9 8 L e c t u r e 4 S l i d e 0 5 a.... . . . .... ... h t m l 0 0.... . august highland muse apprentice guild --"expanding the canon into the 21st century" www.muse-apprentice-guild.com culture animal --"following in the footsteps of tradition" www.cultureanimal.com ========================================================================= Date: Wed, 8 Oct 2003 09:45:09 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Joe Brennan Subject: Check out The Assassinated Press Comments: To: frankfurt-school@lists.village.virginia.edu, corp-focus@lists.essential.org, WRYTING-L@LISTSERV.UTORONTO.CA MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Click here: The Assassinated Press Cheney Increases Bribes To Prompt Turkey's OK On Iraq Troops: Is the U.S. Preparing To Fuck the Barzani Kurds Every Which Way, Up and Down Again!? New Figure For Turkish Help Not Part Of $87,000,000,000 White House Request For Iraq Military Outsourcing By MAHAT JELLEY Assassinated Press Writer October 7, 2003, 3:46 AM TNT the man and flog the woman That steal the goose from off the common, But let the greater villain loose That steals the common from the goose. Constant apprehension of war has the same tendency to render the head too large for the body. A standing military force with an overgrown executive will not long be safe. companions to liberty. -- Thomas Jefferson "America is a quarter of a billion people totally misinformed and disinformed by their government. This is tragic but our media is -- I wouldn't even say corrupt -- it's just beyond telling us anything that the government doesn't want us to know." Gore Vidal ========================================================================= Date: Wed, 8 Oct 2003 11:46:25 -0230 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Kevin Hehir Subject: for Scott Pound sign MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Subject: A.Word.A.Day--octothorpe octothorpe (OK-tuh-thorp) noun The symbol #. [The symbol # is derived from a shorthand way of writing lb, the abbreviation for the Latin libra (balance), just as $ is a shorthand way of writing US. Octothorpe is an alteration, influenced by octo-, of earlier octalthorpe, probably a humorous blend of octal (an eight-point pin used in electronic connections) and someone whose last name was or ended in "thorpe", and whose identity is subject to speculation. It may be James Edward Oglethorpe, an eighteenth century English philanthropist, but more likely it is an Olympic athlete, Jim Thorpe. In the early 1960s, Bell Labs introduced two special keys in its innovative touch-tone telephone keypads, "#" and "*", for which it needed fresh names. Having eight points, "octo-" was an obvious first element. Since the engineer involved in introducing this innovation was active in a group seeking the return of Jim Thorpe's medals from Sweden, he whimsically added "-thorpe", creating octothorpe. (Jim Thorpe was disqualified because of his professional status, but his medals were restored posthumously.) The "#" is also known as a pound sign, crosshatch, number sign, sharp, hash, crunch, mesh, hex, flash, grid, pig-pen, gate, hak, oof, rake, fence, gate, grid, gridlet, square, and widget mark.] Some other eight-based words, other than the obvious octagon, octave, and octopus, are octamerous, having eight parts or organs; octane, a type of hydrocarbon in fuel and solvents; octant, the eighth part of a circle; octonare and octapody, a verse of eight feet; and octonary, pertaining to the number eight. "In Boise, Idaho, US West is testing a system it calls Voice Interactive Phone, or VIP. By dialing the octothorpe (#) and 44, then saying 'Messages,' a subscriber can retrieve voice mail." Gene Bylinsky and Alicia Hills Moore; Fortune (New York); At Last! Computers You Can Talk to; May 3, 1993. This week's theme: words based on numbers by guest wordsmith Stewart Edelstein (stewartedelstein@sbcglobal.net). ========================================================================= Date: Wed, 8 Oct 2003 10:17:10 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: jrothenberg@COX.NET Subject: Schwitters/Picasso reading MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: quoted-printable For those who are in New York this Saturday, the 11th, Anne Tardos and I = will be doing a reading and performance from the poetry of Schwitters and= Picasso as the opener in Caroline Crumpacker=92s Bilingual Poetry Series= at the Bowery Poetry Club, 308 Bowery, just north of Houston. The reading will feature translations from two Exact Change titles edited= and largely translated by Pierre Joris and myself =96 Schwitters=92 PPPP= PP (Poems Performance Pieces Proses Plays Poetics) and Picasso=92s The Bu= rial of the Count of Orgaz, and Other Poems (scheduled for publication in= May). Both Schwitters and Picasso are well enough known as artists, but= their experimental, transgressive and prolific poetry may come (as it d= id for us) as something of a revelation. The reading will include record= ings by Schwitters of a section of his Ur Sonata (long in circulation) an= d his pastiche or parody of romantic/expressionist poetry =93For Anna Blu= me=94 in both German and English. The reading is scheduled to begin at 6:00 and will fitingly follow the Se= gue event, "In Others' Words: Parody & Pastiche," scheduled for 4:00 p.m.= ========================================================================= Date: Wed, 8 Oct 2003 10:43:02 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: shanna compton Subject: Soft Skull readings this week in NYC, Rochester, Buffalo, and Philadelphia Mime-version: 1.0 Content-type: text/plain; charset="ISO-8859-1" Content-transfer-encoding: quoted-printable 1) BUFFALO LIT LUAU, 215 FESTIVAL, ROCHESTER READING SERIES this weekend: Soft Skull authors Daniel Nester (God Save My Queen: Tribute, the forthcoming GSMQII, and the editor of Unpleasant Event Schedule), CAConrad (forthcoming collection Deviant Propulsions), and David Rees (comix collection Get Your War On) will be in your area this week if you live in Rochester, Philadelphia, or Buffalo. Check the Soft Skull Events Calendar for more details at http://www.softskull.com (click EVENTS tab at left). __________________________________ 2) DAPHNE GOTTLIEB IS IN NYC this week kicking off her FINAL GIRL tour: Daphne Gottlieb kicks off her tour in celebration of her new book FINAL GIRL, this week NYC this week. For a full schedule of Daphne's tour dates, see http://www.daphnegottlieb.com or see our new, improved Soft Skull event= s calendar for all of our events nationwide: http://www.softskull.com (click EVENTS tab at left). __________________________________ 3) ALL-GIRL ALL-STAR CURATORS' READING AT SOFT SKULL SHORTWAVE in BROOKLYN on THURSDAY: Featuring Meghan Cleary, Mary Donnelly (of Readings Between A & B), Joelle Hann (of the WaxPoetic Series), and Jackie Sheeler (from poetz.com and the Pink Pony West Series at the Cornelia Street Caf=E9. Come show these lovely ladies how much you appreciate all the terrific readings they bring you each season--and hear them read their own work for once! Not to be missed. Map and directions: http://www.softskull.com/shortwave.php __________________________________ 4) FREQUENCY SERIES this SUNDAY features HAL SIROWITZ, PAUL McDONALD, and SHAPPY at SOFT SKULL SHORTWAVE: Map and directions: http://www.softskull.com/shortwave.php Full FREQUENCY SERIES schedule: http://www.shannacompton.com/frequency.html __________________________________ Thanks for your support! Shanna --=20 Shanna Compton Associate Publisher Soft Skull Press 71 Bond Street=20 Brooklyn, NY 11217 (718) 643-1599 http://www.softskull.com ========================================================================= Date: Wed, 8 Oct 2003 10:36:14 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Skip Fox Subject: Re: Viagra MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Viagra, The Boner on Loaner. ========================================================================= Date: Wed, 8 Oct 2003 12:06:26 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: John Latta Subject: New blog Comments: cc: new-poetry@wiz.cath.vt.edu In-Reply-To: <20031008141710.UXJQ10143.fed1mtao05.cox.net@smtp.west.cox.net> MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII I'm a year behind the pack, but there you have it. The usual doodlings to keep my head up amidst my day job. Hotel Point http://hotelpoint.blogspot.com/ John Latta ========================================================================= Date: Wed, 8 Oct 2003 12:40:33 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Shankar, Ravi (English)" Subject: Drunken Boat Staff Expansion MIME-Version: 1.0 Content-Type: text/plain; charset="utf-8" Content-Transfer-Encoding: base64 DQpGb2xrcyAtIHlvdSBtaWdodCBoYXZlIG5vdGljZWQgdGhhdCB3ZSd2ZSBiZWVuIG9uIGEgc2hv cnQgaGlhdHVzLCBtYWlubHkgZm9yIGZvb2QtIGFuZCByZW50LXJlbGF0ZWQgaXNzdWVzLCBidXQg d2UncmUgY3JhbmtpbmcgdXAgYWdhaW4gYW5kIGxvb2tpbmcgZm9yIHNvbWUgZWRpdG9yaWFsIGFz c2lzdGFuY2UuIEknbSBlbmNsb3NpbmcgYSBtb3JlIGZvcm1hbCBjYWxsIGJlbG93IGJ1dCBpZiBh bnlvbmUgb24gdGhpcyBsaXN0IGlzIGludGVyZXN0ZWQgKG9yIGtub3dzIHNvbWVvbmUgd2hvIG1p Z2h0IGJlIGludGVyZXN0ZWQpLCBwbGVhc2UgZ2V0IGluIHRvdWNoIHdpdGggbWUgZGlyZWN0bHku IFNpbmNlIHdlJ3ZlIHJlY2VudGx5IGJlY29tZSBhIG5vbi1wcm9maXQgb3JnYW5pemF0aW9uLCB3 ZSdyZSBhbHNvICBsb29raW5nIGZvciBoZWxwIHdpdGggZ3JhbnQtd3JpdGluZy4gT2YgY291cnNl IGFueSBjb250cmlidXRpb25zIGFyZSB0YXgtZGVkdWN0aWJsZSBhbmQgd291bGQgZ28gYSBsb25n IHdheSB0b3dhcmRzIGtlZXBpbmcgdGhlIGJvYXQgYWZsb2F0LiBZb3UgY2FuIGRvbmF0ZSBvbmxp bmUgYXQgPGh0dHA6Ly93d3cuZHJ1bmtlbmJvYXQuY29tPiAuIFRoYW5rcyEgIA0KDQoNCk9jdG9i ZXIgMjAwMyANCg0KRHJ1bmtlbiBCb2F0LCBvbmxpbmUgam91cm5hbCBmb3IgdGhlIGFydHMgPGh0 dHA6Ly93d3cuZHJ1bmtlbmJvYXQuY29tPiwgaXMgbG9va2luZyB0byBleHBhbmQgaXRzIGVkaXRv cmlhbCBzdGFmZi4gV2UncmUgaW50ZXJlc3RlZCBpbiBzb21lb25lIHdobyBoYXMgSFRNTCBhbmQv b3IgRHJlYW13ZWF2ZXIgZXhwZXJpZW5jZSAoZXNwZWNpYWxseSB0aGUgYWJpbGl0eSB0byBjb252 ZXJ0IHdvcmQgZG9jdW1lbnRzIGFuZCBwbGFpbiB0ZXh0IGVtYWlscyB0byBIVE1MICBhY2NvcmRp bmcgdG8gY29kaW5nL3N0eWxlIHNwZWNpZmljYXRpb25zIGFuZCBpbnNlcnRpbmcgY29udGVudCBp bnRvIHRlbXBsYXRlcyksIFBob3Rvc2hvcCBleHBlcmllbmNlIChyZXNpemluZyBwaG90b3MsIGNv bnZlcnRpbmcgYW5kIHNhdmluZyAuanBlZ3MpLCBhbmQgc2l0ZSBtYW5hZ2VtZW50IHNraWxscyAo a2VlcGluZyB0cmFjayBvZiB3b3JrcyBpbiBwcm9ncmVzcywgY29udGFjdGluZyBhcnRpc3RzLCBy ZXNwb25kaW5nIHRvIGNvcnJlY3Rpb25zL2VkaXRzLCBldGMuKSBXZSdyZSBhbHNvIGhvcGluZyB0 byBmaW5kIHNvbWVvbmUgd2hvIGNhbiBjb250cmlidXRlIHRvIHRoZSBldm9sdXRpb24gb2Ygb3Vy IGFlc3RoZXRpYyB2aXNpb24gYnkgY29tbXVuaWNhdGluZyBuZXcgaWRlYXMgYWJvdXQgZGVzaWdu L2NvbnRlbnQuIElmIGludGVyZXN0ZWQsIHBsZWFzZSBzZW5kIGFuIGVtYWlsIHRvIHNoYW5rYXJy QGNjc3UuZWR1IHdpdGggeW91ciBhdmFpbGFiaWxpdHkgYW5kIHF1YWxpZmljYXRpb25zLiAgDQoN Cg0KKioqKioqKioqKioqKioqIA0KUmF2aSBTaGFua2FyIA0KUG9ldC1pbi1SZXNpZGVuY2UgDQpB c3Npc3RhbnQgUHJvZmVzc29yIA0KQ0NTVSAtIEVuZ2xpc2ggRGVwdC4gDQo4NjAtODMyLTI3NjYg DQpzaGFua2FyckBjY3N1LmVkdSANCg0K ========================================================================= Date: Wed, 8 Oct 2003 13:43:58 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Craig Allen Conrad Subject: Peter O'Leary- Out of/Ahead of Time.......&.......IN DEFENSE OF WRITING POETRY WITHOUT A DAY JOB.......etc....... MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit ------------- for THE PHILLY SOUND: New Poetry, click here: http://phillysound.blogspot.com/ "I believe in compulsory cannibalism. If people were forced to eat what they killed there would be no more war." --Abbie Hoffman "This is a good world... And war shall fail." --Kenneth Patchen ========================================================================= Date: Wed, 8 Oct 2003 12:54:53 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Maria Damon Subject: Fwd: 2004-05 Humphrey Law and Human Rights Fellows Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" >X-From_: humanrts-bounces@listserv.law.umn.edu Wed Oct 8 11:50:36 2003 >X-Umn-Remote-Mta: [N] mhub-w4.tc.umn.edu #+LO+NM >X-Umn-Remote-Mta: [N] listserv.law.umn.edu #+LO+UF+CL (L,-) >X-Umn-Report-As-Spam: > >X-Umn-Remote-Mta: [N] challenge.software.umn.edu #+LO >Date: Wed, 08 Oct 2003 11:19:13 CDT >Subject: 2004-05 Humphrey Law and Human Rights Fellows >To: humanrts@listserv.law.umn.edu >X-Tick-Nemesis: American Maid >X-remote-user-ip: 160.94.170.35 >From: humanrts@listserv.law.umn.edu >X-BeenThere: humanrts@listserv.law.umn.edu >X-Mailman-Version: 2.1 >Reply-To: humanrts@listserv.law.umn.edu >Sender: humanrts-bounces@listserv.law.umn.edu > >If you wish to be removed from this list, please go to >http://www1.umn.edu/humanrts/email/ > > > >*************************ANNOUNCEMENT************************* > >OPPORTUNITY: 2004-05 HUMPHREY LAW AND HUMAN RIGHTS FELLOWS AT THE >UNIVERSITY OF MINNESOTA > >We are pleased to announce an opportunity for five or six fellowships >in law and human rights for the August 2004 - May 2005 academic year. >The fellowships are open to mid-career human rights advocates and >lawyers from designated developing nations and emerging democracies >who want to study human rights law, other relevant law courses, >public policy, and administration as well as to undertake a >professional affiliation in their particular areas of interest. We >invite you to consider taking advantage of this opportunity to be a >participant in this outstanding fellowship program. The Humphrey >Fellowship program was founded over 25 years ago and has had over 3,000 >global leaders participate during that time. > >In 2003, we launched a new law and human rights component to the >International Humphrey Fellows program at the University of Minnesota. >This collaborative program allows Humphrey Fellows to continue their >professional development and career work in the fields of law and human >rights as well as to fulfill the program goals in public policy and >administration. > >The Hubert H. Humphrey Fellowship is a year-long, non-degree program >with an emphasis on developing professional affiliations and >networking. The five or six Humphrey Law and Human Rights Fellows >selected to participate will spend their year in Minneapolis, >Minnesota. Beyond the academic and professional activities, >participants learn about the United States, its society, customs, >history, culture, and government. Participants also share knowledge of >their own countries. We encourage you to explore the Web sites listed >in this announcement and learn about the Human Rights Center >(http://www1.umn.edu/humanrts/hrcenter.htm) and at the University of >Minnesota Law School (http://www.law.umn.edu). You might also want >to access the University of Minnesota Human Rights Library >(http://www.umn.edu/humanrts) with its core collection of human rights >treaties and other human rights materials in Arabic, English, French, >Japanese, Russian, and Spanish. > >Applicants need to apply at the U.S. Embassy in their home country. >Act quickly as the deadline differs by country. For more information >check out this Web site: >http://www.iie.org/Template.cfm?&Template=/programs/hhh/fellinf.htm. > >We would appreciate your help in circulating this announcement on to >your international colleagues and friends, who may be interested in >this opportunity! > >******************************************************************* > >_______________________________________________ >University of Minnesota Human Rights Library - http://www1.umn.edu/humanrts ========================================================================= Date: Wed, 8 Oct 2003 15:12:54 -0400 Reply-To: az421@freenet.carleton.ca Sender: UB Poetics discussion group From: Rob McLennan Subject: Greenboathouse Books, Victoria Content-transfer-encoding: 7BIT Greenboathouse News :: V.6.o6 Fall 2003 Titles Now Available Greenboathouse Books is pleased to announce the release of our fall 2003 titles: The Land Beyond :: poems by Vancouver writer Matt Rader. Printed on acid-free Gilbert Realm Text, the cover on St. Armand Canal Jute with Canson Mi-Tientes Ivy flyleaves. This edition is limited to 56 numbered copies, all signed by the author. ISBN 1-894744-16-0 $10.00 & This Cake Is For the Party :: short-short-stories by Sarah Lucille Selecky. Printed on acid-free 80lb Gilbert Realm Text, the cover on 100% Cotton, handmade India White; hand-stitched with Canson Mi-Tientes Light Green flyleaves. This edition is also limited to 56 numbered copies, all signed by the author. ISBN 1-894744-15-2 $10.00 While this note was meant to promote the books, its purpose now is simply to let everyone know that although they only became available about an hour ago, 85% of each print run is already sold. So, if you're interested in getting your hands on a copy of either, doing so now might be a good idea. To avoid this risky situation in the future, please consider signing up for our new Greenboathouse Subscription List. Signing up will ensure you copies of future titles, along with a variety of ephemera produced only for contributing writers and subscribers. For more info: www.greenboathouse.com _______________________________ Jason Dewinetz Editor and Creative Director Greenboathouse Books & Design www.greenboathouse.com 643 Niagara Street Victoria, BC V8V 1J1 250 386 0998 -- poet/editor/pub. ... ed. STANZAS mag & side/lines: a new canadian poetics (Insomniac)...pub., above/ground press ...coord.,SPAN-O + ottawa small press fair ...8th coll'n - red earth (Black Moss) ...c/o RR#1 Maxville ON K0C 1T0 www.track0.com/rob_mclennan * http://robmclennan.blogspot.com/ ========================================================================= Date: Wed, 8 Oct 2003 12:14:44 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: juliana spahr Subject: annoucing chain 10; call for work for chain 11; etc. MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 8bit PLEASE SPREAD THE WORD Now Available... Chain 10: Translucinación details at http://www.temple.edu/chain NEW: free pdf version of the entire issue available for non-u.s. $ economy readers! **** Call for Work for Chain 11 As long as art is the beauty parlor of civilization, neither art nor civilization is secure. --John Dewey, Art as Experience Nobody knows who the public is or what it wants or needs. --David Antin If you are a reader of Chain, we would be pleased to read your work for Chain 11: PUBLIC FORMS. We are interested in pieces that address what is commonly called public art--visual artworks that are publicly displayed and frequently supported by public funds--but also various forms of art that happen outside of usual performance and publication contexts such as street art, political speeches, poster campaigns, architectural design, mail art, community theater, speaker's corners, poetry written for specific public occasions, etc. In other words, this issue will investigate art that is created for communities or "the public" in its broader definitions. We also encourage a variety of "reports from the field," where artists observe how public art functions in their local environments. Such reports could take any genre or form, visual or textual. Reports from outside the United States are especially welcome. Please be aware that we can only print visual images in black and white. Send two copies of your submission and two copies of your cover letter to CHAIN (c/o Jena Osman) English Department Temple University Anderson Hall (022-29) 1114 W. Berks St. Philadelphia, PA 19122-6090. Deadline: December 1, 2003 If you have questions, send them to josman@temple.edu and spahr@hawaii.edu. But please, NO email submissions (we tend to lose them). Enclose a self-addressed, stamped envelope if you would like your work returned. Do not send us originals. We read work in December and then contact everyone in early February at the latest. GENERAL GUIDELINES: Please look at past issues of Chain to see the sort of work we tend to publish. We welcome submissions from writers and artists who we do not know, who have never published before, who write in languages other than English, who write in unusual forms, etc. We enjoy reading new work. But we only accept work that somehow comments on the topic of each issue. If this is likely to not be obvious to us, then you might want to explain how it engages the topic. If you find our journal interesting enough for you to entrust your work to it, we encourage you to subscribe. Our continued existence, and continued ability to read your work, depends mainly on subscriptions. We tend to privilege mixed media and collaborative work. We can accept work submitted on floppy disks, zip disks, and cd-rom but we need to see a paper copy with your submission. We do not accept submissions by email (we tend to lose them when this happens). We only print work that is black and white. Our page size is 6"x9" with 1" inside margin and 3/4" outside margins. If you design work for our page and require specific fonts, you must supply pagemaker files with postcript fonts. [note: this is a one time only mailing; apologies for any duplications.] ========================================================================= Date: Wed, 8 Oct 2003 14:59:17 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: David Chirot Subject: Re: Remembering Edward Said /Hilton Obenzinger Comments: To: olsonjk@delhi.edu Mime-Version: 1.0 Content-Type: text/plain; format=flowed I do not know the rhetorical name for this. It reminds one of Pascal's "Wager"-- "Is there no substantial truth, seeing that there are so many things which are true yet not truth itself"-- re the Oracle: "The Lord whose Oracle is at Delphi neither speaks nor conceals, but gives signs" --Heraclitus (it is interesting how statements so often are really questions) (one may imagine what lawyers and paranoids may make of these statements/questions--) faith/doubt if all is relative to some degree, is there not any standard by which to judge--discern-- or from that standard, may all be relative E Pluribus Unum?-- >From: Kirby Olson >Reply-To: olsonjk@delhi.edu >To: POETICS@LISTSERV.BUFFALO.EDU >Subject: Re: Remembering Edward Said /Hilton Obenzinger >Date: Tue, 7 Oct 2003 12:24:08 -0400 > >Would anybody care to comment on this statement that was said by my wife >while >coming off of anaesthesia the other morning? > >"Nothing is so untrue that it doesn't have any truth in it." > >It reminded me of the sayings received by the Delphic Oracle or something. >Could >anybody classify this kind of statement according to rhetoric? It is both >an >absolute statement, and it denies any kind of absolute truth, and yet it >almost >insists that any statement is absolute truth, or is at least true. Does >this kind >of statement have a category? > >-- Kirby _________________________________________________________________ Help protect your PC. Get a FREE computer virus scan online from McAfee. http://clinic.mcafee.com/clinic/ibuy/campaign.asp?cid=3963 ========================================================================= Date: Wed, 8 Oct 2003 14:02:09 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Peter Balestrieri Subject: Rosemarie Waldrop - Email Address? MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Hi, If anyone has Rosemarie Waldrop's email address and if you think she wouldn't mind, could you please send it to me backchannel? I'm interested in asking some questions about Jabes. Thanks very much. Best, Pete __________________________________ Do you Yahoo!? The New Yahoo! Shopping - with improved product search http://shopping.yahoo.com ========================================================================= Date: Wed, 8 Oct 2003 17:29:23 -0400 Reply-To: nudel-soho@mindspring.com Sender: UB Poetics discussion group From: Harry Nudel Subject: Halliburton Po... Mime-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit For a study of nepotism power $$$$ influence oldboynewgirl network....in american society...from Haliburton to Acad. Po.....for example RISD...out of 4 readings...manages to have 2 po readers with the same last name..on two different dates...if you rub my vowels..i'll eat yr consonants....any help..'preciate...drn.. ========================================================================= Date: Wed, 8 Oct 2003 18:25:25 -0400 Reply-To: olsonjk@delhi.edu Sender: UB Poetics discussion group From: Kirby Olson Organization: SUNY Delhi Subject: Re: Remembering Edward Said /Hilton Obenzinger MIME-Version: 1.0 Content-Transfer-Encoding: 7bit Content-Type: text/plain; charset=us-ascii David, it is by the way astonishing that the Heraclitus sentence is so close!! -- Kirby David Chirot wrote: > I do not know the rhetorical name for this. > It reminds one of Pascal's "Wager"-- > "Is there no substantial truth, seeing that there are so many things which > are true yet not truth itself"-- > re the Oracle: > "The Lord whose Oracle is at Delphi neither speaks nor conceals, but gives > signs" > --Heraclitus > (it is interesting how statements so often are really questions) > (one may imagine what lawyers and paranoids may make of these > statements/questions--) > faith/doubt > if all is relative to some degree, is there not any standard by which to > judge--discern-- > or from that standard, may all be relative > E Pluribus Unum?-- > > >From: Kirby Olson > >Reply-To: olsonjk@delhi.edu > >To: POETICS@LISTSERV.BUFFALO.EDU > >Subject: Re: Remembering Edward Said /Hilton Obenzinger > >Date: Tue, 7 Oct 2003 12:24:08 -0400 > > > >Would anybody care to comment on this statement that was said by my wife > >while > >coming off of anaesthesia the other morning? > > > >"Nothing is so untrue that it doesn't have any truth in it." > > > >It reminded me of the sayings received by the Delphic Oracle or something. > >Could > >anybody classify this kind of statement according to rhetoric? It is both > >an > >absolute statement, and it denies any kind of absolute truth, and yet it > >almost > >insists that any statement is absolute truth, or is at least true. Does > >this kind > >of statement have a category? > > > >-- Kirby > > _________________________________________________________________ > Help protect your PC. Get a FREE computer virus scan online from McAfee. > http://clinic.mcafee.com/clinic/ibuy/campaign.asp?cid=3963 ========================================================================= Date: Wed, 8 Oct 2003 23:13:22 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: sleep peels MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII sleep peels last pid: 664; load averages: 3.04, 3.15, 2.77 11:01:20 25 processes: 1 running, 21 sleeping, 3 uninterruptable Memory: 27M used, 476K free, 2152K buf Swap: PID USERNAME PRI NICE SIZE RES STATE TIME WCPU CPU COMMAND 6 root 11 0 0K 0K sleep 19: 240 root 15 10 13M 8216K sleep 1: 12 root 9 0 0K 0K sleep 0: 220 root 9 0 1252K 348K sleep 0: 652 root 15 10 7572K 3772K sleep 0: 1 root 9 0 1296K 568K sleep 0: 236 root 9 0 1292K 480K sleep 0: 653 root 15 10 2564K 1424K sleep 0: 664 root 18 10 1968K 840K run 0: 155 root 9 0 1428K 652K sleep 0: 176 bin 9 0 508K 48K sleep 0: 7 root 9 0 0K 0K sleep 0: 237 root 9 0 1380K 512K sleep 0: 643 root 9 0 1684K 804K sleep 0: 166 root 9 0 1276K 376K sleep 0: not much is happening in the middle of the night. owls hoot. you can almost feel the flies byting. __ ========================================================================= Date: Wed, 8 Oct 2003 23:26:27 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: untitled MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=X-UNKNOWN Content-Transfer-Encoding: QUOTED-PRINTABLE TRICKS TO CHEATING HOUSE WIVES 5) decorate their room (do not break into their house, talk with a roommate or family member first)=3D programmer und cc hacker der cheating cuckolds wives house mad toolz firewall test house mad toolz: pchack aber spiele tips tricks, cracksuchmaschinen: crack true was doing tricks on me and I had to stop this before it went any farther. door. The house was two stories, very large. true wives. it didnt go over too well in my house, but dont you have been cheating on her with a 19-year-old serial crack wavelab crack wc452 cheating cuckolds prophet said, whenever you do bargain, say, no cheating.. buyer finds a defect in the house and it allows (some people) the playing of tricks amongst the true ceasar crack der cheat diablo trainer das cheating wives hack tool handy cracker v=C3=B6lker cheats bekanntschaften sms internationale cheats l=C3=B6sungen tricks true Tricks Volume 9 The Prophet said, Whenever you he said, If someone wants to buy a house and being afraid that hotel wormerveer gamez house of supercom ... tricks amongst the true ___ ========================================================================= Date: Wed, 8 Oct 2003 22:43:18 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: mIEKAL aND Subject: "Allen Ginsberg: Beat Generation Photographer" Mime-Version: 1.0 (Apple Message framework v552) Content-Type: text/plain; delsp=yes; charset=US-ASCII; format=flowed Content-Transfer-Encoding: 7bit "Allen Ginsberg: Beat Generation Photographer" http://www.cnn.com/2003/TRAVEL/DESTINATIONS/10/08/beat.photography.ap/ index.html ========================================================================= Date: Wed, 8 Oct 2003 21:34:54 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Lanny Quarles Subject: On the corner of 52nd Avenue and Powell Boulevard MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable On the corner of 52nd Avenue and Powell Boulevard, a unit of the extant Umwelt once again explored the beautiful,=20 if unsettling, notion of applying the lexicographical shellability technique to N literary systems of interlinking metaphors (po[em]sets). First, the unit compiled a metacognitive automorphism on the notional intersections of a complex subspace arrangement of N(lit.sys){Int.Met.} and produced the discrete mnemonic spanning tree fragment: The problem of N bodies on the surface of=20 the sphere interacting by a logarithmic potential is examined for = selected=20 N ranging from 4 to 40,962,comparing the energies found by placing=20 points at the vertices of certain polyhedrons to the lowest energies=20 found by a Monte Carlo algorithm. The Unit found that delimiting the=20 contextual specificity of the fragment it once again produced the = spectre=20 of N(lit.sys){Int.Met.} which could invariably, or rather, covariably,=20 produce an array of (po[em]sets). Privately, the Unit 'determined' that=20 using the example of Boole's metaphor, which links arithmetic operations = to "class" (set theoretic) operations, a range of lexicographically = shellable=20 automorphic recursions could be performed as a set of interlinking=20 metaphors which undermined the categorical stability of socially=20 defined data-sets, and thus by simplicial inclusion, (po[em]sets).=20 The Unit also found that by constructing a hierarchy of increasingly=20 coarse complexes that decompose a piecewise linear 2-manifold=20 it could reconfigure its own metacognition as an expression of=20 historical sampling not merely defined by the intersections of a=20 complex subspace arrangement, but could redefine, by the use of=20 certain projections of binary linear codes onto larger fields, a hybrid=20 spanning tree which incorporated a covariant of all extant (po[em]sets)=20 within N(lit.sys){Int.Met.}. This is assuming of course that one = understands the Basic Metaphor of Infinity (BMI), which allows one to deal with=20 infinite sets, points at infinity, limits of infinite series, infinite = intersections=20 and least upper bounds. These are hypothesized as "special cases=20 of a single general conceptual metaphor in which processes that go=20 on indefinitely are conceptualized as having an end and an=20 ultimate result." This allowed the Unit to further surmise that these=20 (po[em]sets) might also reflect the other various manifestations of the=20 BMI: limits and continuity, transfinite arithmetic, and infinitesimals, = as well=20 as metaphors attributed to Richard Dedekind and Karl Weierstrass.=20 Just then two automobiles collided at the intersection it should have been crossing. The Automorphism it had been compiling had just saved its life. The Unit resumed its metacognition parable, but immediately related to itself, this section of iteration would be titled: Extension N-1. The operand is saved but the equation exists as a finitude, though its gesture can be said to occur=20 transinfinitely. The Unit posed an enigmatic homomorphism to itself to end the compilation segment, just a single lexical object: matroid. "Just a fender bender," the Unit thought and crossed the intersection.=20 ========================================================================= Date: Thu, 9 Oct 2003 02:39:47 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: THOREAU'S WILD GOD MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII THOREAU'S WILD GOD Wilderness - at a sufficient distance over the woods the sound of any wilderness -- hunters as well as fishers of men. Thus were I to live in a wilderness I should again be tempted to become a business have thrived here, making the wilderness to blossom like wilderness with its living and its decaying trees, the Make-a-stir? How godlike, how immortal, is he? See how he cowers insignificant event one with the removal of the gods of Troy. Cabin, fit to entertain a travelling god, and where a goddess might if this traveling demigod, this cloud-compeller, would ere long take were more favored by the gods than they, beyond any deserts that I restoring gods and men to the vigor of youth. She was probably demigods to him. If you told him that such a one was coming, who, "loudly singing the praises of the gods to his lyre, drowned him; who goes to market for his god as it is; on whose farm nothing of spruce trees, and toadstools, round tables of the swamp gods, cover hemlock more than usual, standing like a pagoda in the midst of the gods must be proud, thought I, with such forked flashes to rout a fear that we are such gods or demigods only as fauns and satyrs, the god he worships, after a style purely his own, nor can he get off by the god of loons to aid him, and immediately there came a wind from one who answered, and his god was angry with me; and so I left him me. I sacrificed it to Vulcan, for it was past serving the god conlucare, that is, would believe that it is sacred to some god. The Roman made an expiatory offering, and prayed, Whatever god or goddess thou art to whom this grove is sacred, be propitious to me, and ask the gods to pardon this clear flame ... Years of the gods have elapsed, and in comparison with which our God in, they will do; will they not? Who ever saw his old clothes ... "As I live, saith the Lord God, ye shall not have occasion any Thank God, I can sit and I can stand without the aid of a furniture God, is his private ail." Let this be righted, let the spring come saints. Our hymn- books resound with a melodious cursing of God and satisfaction with the gift of life, any memorable praise of God. Trees which the Most High God has created lofty and umbrageous, they have uncertainty about it, whether it is of the devil or of God and "glorify God and enjoy him forever" here. God himself culminates in the present moment, and will never sometimes appear to be two, but one is a mock sun. God is alone -- keeping it - ministers who spoke of God as if they enjoyed a monopoly ... I cannot come nearer to God and Heaven and the engine's soot. One proposes that it be called "God's Drop." which God forbid, it can be made to flow thither again. If by never spoke a good word for it, nor thanked God that He had made it. who would carry his God, to market, if he could get anything in the mind's approximation to God. Yet one spirits various fruits which succeed him. Man flows at once to God when there was a Buttrick ... "Fire! for God's sake fire!" -- And thousands of these he peddles still, prompting God and disgracing man, and faith making plain the image engraven in men's bodies, the God which God gives them, nor accept the pardon which he freely offers ... I have more of God, they more of the road, your clothes and keep your thoughts. God will see that you do not hourly expect a speech from somebody. God is only the president of help you God, and so only. Every nail driven should be as another ... __ ========================================================================= Date: Thu, 9 Oct 2003 00:22:05 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: August Highland Subject: PEN forms a partnership with the MAG MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit IMPORTANT ANNOUNCEMENT: PEN Prison Writing Program has formed a partnership with the MAG. You can find out more about the program itself at: http://www.pen.org/prison.html sincerely, august highland muse apprentice guild --"expanding the canon into the 21st century" www.muse-apprentice-guild.com culture animal --"following in the footsteps of tradition" www.cultureanimal.com ========================================================================= Date: Thu, 9 Oct 2003 03:39:47 -0400 Reply-To: nudel-soho@mindspring.com Sender: UB Poetics discussion group From: Harry Nudel Subject: TED at NYU Mime-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit TED at NYU ted's not dead he's alive in our minds he's jive in our lives he's jump in our beds he's jazz in our steps he's juke in our moves he's jeezus in our jeans he's jewelry in our words he's jaja in our dada he's ja in our nanana he's jeer in our near fears he's jayne in our mary he's jula in our moolah ted he's not dead he's tres alive mr juke jazz jive... oct/03/nyu ========================================================================= Date: Thu, 9 Oct 2003 04:10:00 -0400 Reply-To: nudel-soho@mindspring.com Sender: UB Poetics discussion group From: Harry Nudel Subject: Haliburton Po Mime-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit cheney in white house ashbery in camden town not one w/o the other po haliburton... ========================================================================= Date: Thu, 9 Oct 2003 09:44:56 -0230 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Kevin Hehir Subject: Dyer compares U.S. and Europe MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Americans beginning to suffer a post-Iraq hangover The Kingston Whig-Standard Oct 6, 2003 Gwynne Dyer Lying in bed just after 7 a.m., listening to the radio. The rain is pouring down, my youngest child has decided that she'd rather be driven to school today and the BBC's Today program, which completely dominates serious morning radio news, is discussing the closing day of the Labour Party conference. It was the Today program, a few months ago, that reported that the British government had "sexed up" last year's dossier on Saddam Hussein's alleged weapons of mass destruction, setting in motion a train of events that led to a senior official's suicide, the Hutton inquiry and huge damage to Prime Minister Tony Blair's reputation. Blair has just made a speech to the conference defending his motives in attacking Iraq alongside the United States and asking the delegates for understanding. Most of them heartily disapprove of the war, but they give him a standing ovation nevertheless. So how do the presenters deal with the gap between the public displays of unity and the seething dissent beneath the surface? They do it by talking about the decision to bring back the practice of singing The Red Flag at the end of the conference. The old socialist anthem was dropped in the 1980s, when Labour realized that luring middle-class voters was not fully compatible with songs about class war ('The People's flag is deepest red / It shrouded oft our martyred dead"), but now that Blair has led the party into the sunlit capitalist uplands of privatization and foreign invasions, the problem is how to keep the old left-wing stalwarts from rebelling. A little socialist window-dressing helps. So the Today program had some fun with that, and then offered helpful hints about less-antiquated songs that might capture the essence of the proceedings. How about something that said what was really on the delegates' minds? Cue the Vietnam-era song "War! Unh! What is it good for? Absolutely nothing!" Or maybe something from the British rock group the Animals to sum up Tony Blair's state of mind? "I'm just a soul whose intentions are good. / Oh Lord, please don't let me be misunderstood." Then on to the next item of news. And it struck me (still lying there) that no serious American radio or television broadcaster would ever joke about a U.S. major political party convention like that. The U.S. news media generally treat political figures with the utmost reverence, no matter how few clothes the emperor in question may be wearing on a given day. Which leads to further thoughts about the nature of the political process in the United States. A couple of weeks ago I was at a professional conference of several hundred American newspaper journalists, and to my astonishment the opening session was devoted to three history professors who gave talks on the "Founding Fathers" (Washington, Jefferson, Franklin, et al.) and their relevance for Americans today. Good talks, actually, but can you imagine a couple of hundred British or Australian journalists - or Russian or Indian ones - voluntarily sitting through an hour's discussion of 18th-century history at their professional convention? It would never happen. Americans are brought up to think of their country as "new" and Europe and Asia as "old," but there are few nations in Eurasia where the constitutional arrangements are even one century old. Most countries go back no further than 1945 in their current political incarnation - whereas the United States has had the same constitution and political system for two-and-a-quarter centuries. It has also been largely spared the calamitous wars that smashed the old structures and the mindset that went with them in every other great power during the 20th century. It goes directly counter to the prevailing domestic ideology to say this, and it frequently infuriates Americans who mistake it for criticism, but the United States is a very old-fashioned country compared to the other industrialized democracies. This is visible in the overt nationalism and religiosity of public debate, in the huge role that lawyers and litigation play in a society based on a 200-year-old constitution and in the reverence Americans have for their ancient political institutions. It makes for a society that is instinctively conservative in both social and political matters (apart from a few big cities on the coasts). This does mean that Americans are significantly slower to change their minds on major issues than the febrile French and the volatile Germans - let alone the flibbertigibbet British - but they do generally get there in the end, and it is generally the same "there." At the moment, the post-Iraq collapse of public trust in the government in Britain is about three months ahead of the parallel process in the United States, but Americans are catching up fast. Gwynne Dyer is a London-based Canadian independent journalist whose articles are published in 45 countries. He is a member of the Royal Military College of Canada's board of governors -- Gord ========================================================================= Date: Thu, 9 Oct 2003 10:07:11 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: mmagee@DEPT.ENGLISH.UPENN.EDU Subject: COMBO news plus reading tonight Comments: To: imitationpoetics@listserv.unc.edu In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 8bit Hi all, Some of you may have had messages returned recently after sending them to combo1@cox.net -- this was just one of the many casualties of my hellish move to new house. But all's well now, including the email address. New address for COMBO is: 6 Brookwood Ln., Cumberland, RI 02864. In other news, I'm hosting the first reading in the Fall Poetry Reading Series at Rhode Island School of Design: Keith Waldrop & Mairead Byrne 7pm, Carr House (corner of Waterman & Benefit Sts., Providence) If you're within shouting distance it'll be well worth the trip! -m. ========================================================================= Date: Thu, 9 Oct 2003 11:37:31 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Nick Piombino Subject: Cori Copp and Nick Piombino read at the BPC Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit Corina Copp and I will be reading at the Bowery Poetry Club-308 Bowery Just North of Houston- at 4:00 pm on Saturday, October 18. Hope you can come! You are also invited to check out my ongoing weblog-fait accompli- at http://nickpiombino.blogspot.com/ [40,000 hits since 5/24/03; over 100 listed links] Nick Piombino ========================================================================= Date: Thu, 9 Oct 2003 10:31:42 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "D. Ross Priddle" Subject: last modified: blogger sports: MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII this just in: this ain't no blog! including "new" writing by yours truly, non-visual poetry by michael basinski links! visual poetry by geof huth (plus still available: eye-candy by ficus strangulensis & "problem pictures" by spencer selby) jump down the manhole: http://www3.telus.net/van364/van.htm light yourself a candle, yours truly, ross priddle medicine hat, alberta, "all hell for a basement" -- ========================================================================= Date: Thu, 9 Oct 2003 13:46:47 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: new MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII nor accept the pardon which he freely offers ... nail driven should be as another ... k28% the date Thu Oct 9 13:35:19 EDT 2003 k41% ksh: 21: not found k42% ksh: 22: not found k43% ksh: 23: not found k44% ksh: 24: not found k45% ksh: 25: not found k46% ksh: k27%: not found k47% ksh: nor: not found k48% k48% ksh: I: not found k49% ksh: thoughts: not found k50% ksh: somebody: not found k51% Subject: every day i will write something new. this must surprise me. you identify my style. break my style. if i do not write something new. otherwise i die. because i worry about my work. because this is my time. i know this is my time. i feel it in my bones. i will not be killed. i will survive because of something new. every day i will write my obsession. which is to write something new. to you, and you, and you. ___ ========================================================================= Date: Thu, 9 Oct 2003 13:21:33 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group Comments: RFC822 error: Incorrect or incomplete address field found and ignored. From: Craig Allen Conrad Subject: do you want to be added to the poetry mailing list? MIME-Version: 1.0 Content-Type: text/plain; charset="ISO-8859-1" Content-Transfer-Encoding: quoted-printable do you want to be added to the poetry mailing list to receive updates of poetry events at La Tazza? please send an e-mail with the subject line "add me to the list" to Frank Sherlock at latazzaseries@hotmail.com TOMORROW NIGHT AT LA TAZZA don't miss The Philly Sound Poets! Friday, OCTOBER 10th 7 - 9 pm The Philly Sound features a vibrant and burgeoning intersection of writers=20 who have been working off the mainstream literary grid, many of them gatheri= ng=20 weekly at local spaces such as La Tazza, Molly's Bookstore, and the Kelly=20 Writers House for the past several years.=20 Making appearances at the 215 Festival are CAConrad, Greg Fuchs, Hassen, Fra= n=20 Ryan, Jenn McCreary, Frank Sherlock, Jennifer Snead.=20 Venue:=A0 La Tazza- (108 Chestnut Street, Philadelphia) Cost: FREE visit The Philly Sound Poets at http://phillysound.blogspot.com FOR COMPLETE 215 FESTIVAL SCHEDULE AND OTHER DETAILS VISIT http://www.215festival.com * ** *** **** ***** ****** ******* ******** ********* ******** ******* ****** ***** **** *** ** * ** *** **** ***** ****** ******* ******** ********* ********** *********** ************ ************* ************ *********** ********** ********* ******** ********* ********** *********** ************ ************* ************** *************** **************** ***************** ****************** ******************* ******************** ********************* ********************** *********************** ************************ ************************* ************************** *************************** **************************** ***************************** ****************************** ***************************** **************************** *************************** ************************** ************************* ************************ *********************** ************************ ************************* ************************** *************************** **************************** ***************************** ****************************** ******************************* ******************************** ********************************* ********************************** *********************************** ========================================================================= Date: Thu, 9 Oct 2003 14:29:42 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Robert Zamsky Subject: Poet's Theater Mime-Version: 1.0 Content-Type: text/plain; format=flowed I'm in the early stages of a project on Poet's Theater and am eager for any suggestions folks out there might have. Thanks. - Robert Zamsky _________________________________________________________________ Help protect your PC. Get a FREE computer virus scan online from McAfee. http://clinic.mcafee.com/clinic/ibuy/campaign.asp?cid=3963 ========================================================================= Date: Thu, 9 Oct 2003 14:31:09 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Joe Brennan Subject: Ich bin ein Kennedy! Text of Arnold Schwartzenegger Victory Speech Comments: To: frankfurt-school@lists.village.virginia.edu, corp-focus@lists.essential.org, WRYTING-L@LISTSERV.UTORONTO.CA MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Click here: The Assassinated Press Ich bin ein Kennedy! Text of Arnold Schwartzenegger Victory Speech They hang the man and flog the woman That steal the goose from off the common, But let the greater villain loose That steals the common from the goose. Constant apprehension of war has the same tendency to render the head too large for the body. A standing military force with an overgrown executive will not long be safe. companions to liberty. -- Thomas Jefferson "America is a quarter of a billion people totally misinformed and disinformed by their government. This is tragic but our media is -- I wouldn't even say corrupt -- it's just beyond telling us anything that the government doesn't want us to know." Gore Vidal ========================================================================= Date: Thu, 9 Oct 2003 11:52:30 -0700 Reply-To: Ishaq1823@telus.net Sender: UB Poetics discussion group From: Ytzhak Organization: Selah7 http://www.sleepybrain.net/vanilla.html Subject: Rob Swift vs the Blend (a meditation on a Òthe BlendÓ number two and Rob SwiftÕs ÒAblistÓ) Comments: To: THCO2 , UnderGrounDhIPhOP MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1; x-mac-type="54455854"; x-mac-creator="4D4F5353" Content-Transfer-Encoding: 8bit Rob Swift vs the Blend (a meditation on a “the Blend” number two and Rob Swift’s “Ablist”) by Lawrence Ytzhak Braithwaite (aka Lord Patch) Fernwood/The Hood/New Palestine 1424... What’s the definition of this essay: ...allow me to demonstrate... ...a journey in my mental...carvan from Ditch to Legends, contemplating bass domination, of George Scott 3rd, as he leads contortions of riddim, like a graffer works a rhyme on wallz via tips and nozzles, like an illustrator transforms word to image, like writers collects the syntax of sight into the symbolism of lexis, like cymbals and kneck snapping snares used by a selector Swift at the controls on this journey ? this is how I was travelling while contemplating flow. This thought is immediate. The elements of art and foreign flava in sonic epistle as a soundtrack in desidant/miltant Victorians tearing errors artistically to make the set go boom; it moves the sight/seen mise en byme toons steppin to be heard in this city to prove and show it’s post modem cut and paste flex. Turntablist to carTUNIST -- skillz tight like Panochio/an idiot gonna solo/paint a village thick like bass so low = all city audio addict thematic. Comics about comics vs Turntablist enabling turntablists on cds. “What would you do if a viscous enemy suddenly started comin at you armed to the teeth and ready to kill you? ...”a little hard to ignore. (indeed) “There must be something unpalatable about the comics to the female of the species.:. “I rented ‘Ghost Dog: Way of the Samurai’ last night. Have you seen it? Don’t you think it would make a good graphic novel?” S’all dope on plastics and paper; from the flex of a wrist -- the pressure point of the pen on the paper to the/to the/and to the... scratch of the ink and the contours of grooves ground down on vinyl = “all my competitors get chopped up”. How many panels per page? ... How many beats per minute? ... How fast does light travel? 186,000 miles per second/299,792,458 metres per second How fast does sound travel? 1129 feet per seccond/344 metres per second This is our day This is Our is Our ...day This essay: ...a try and attempt at a skill, nah fail, luring from one acoustic space to the space btwn panels sincing details of signifiers into samples of sounds to bites from life like “waiting on the corner” in Victoria “with a pizza in one hand and campy horror movies in the other’. Choppin from track to audio narrative to make “the panel of each and every comic book a (...) statement” = “this is our day”. What’s’ the definition of this kite on the tight light and shaded writs of Blend and the crack choppin headshells of Rob Swift? “teenage boys”? “I can remember just about every writer or artist that I’ve enjoyed since I was a kid”; the motivation of surreality in the unreality of reality what is the fluidity of the complexity of the audio comic panel soundtrack about heads (hedz?) and lives in undisputable art for the knots come mental bangers. Macluhan, Mclaren born from Tzara -- “all my competitors get chopped up”. S’all la!!! ...manga/daDA of sound set to soul... the Gyson collection of theory into practical boppin rubber end sole come the unanimated waitng for a referent to send messages out to phat cuts. ...on boards, card or controlled, with levers... It’s the intellectual alienation of Ghost Dog’s urban dumbshow set to glued mats measured mathematically ? my themes and tactics set to blend this semiotics to sonic. Brain Wilson’s Lee/Tubby and King Perry’s echo chamber of versions plastered on paper as the subtitled parchments of PacNW Victorian ins steppin up with Jinnutiy in possessions; “with a pizza in one hand and campy horror movies in the other’ -- inspiration/depression/madness petting sounds and holding tight to egos = Neckbeard upsets Clay George like the Upsetter and sends Portishead on run for their metre. 1 is alwys born from a cypher. The Ablist vs the illustrator and essayist = A swift ambient to the recorded tales of Brassard, gignaC AND desrosiers blend to manipulating faders for the weight of pencils and arms carving the image or tone to toons or tunes made flat on mats. ...is ‘all that scratchin is making you (r) itch’ = capitalism vs symbolism. Wonder Woman/Cat Woman + enlightend society + selling = “Playboy bunnies meets the WWF” or Akil’s “The Science of Manufacturing The Criminal Black Mind” = industry/buy product amerkkkanadian tagged/chopped/graphed into a culture for the dollar ? “you know how boy’s like to fight...”. That chick in the comicshop wants to holla.... Out stretched balanced arms holding needles or pens. Stay on point!!! Panel to panel//table to table//dubplates etches foundations and sketches like specials being versioned by Cowboy Bebop as Hernandez launches mucho love with rockets. ¡Ya! Yo!!! is that a pen or a headshell in your pocket? Or are you just sharpening your pencil? Anime mi hentai (e) -- writing tones like stencils. What’s the definition of: ...sound to image to writs of urban (f) ables (ist) = I love you. I luv union. I level unions with “so/so/so much class. Mackin Rob to Matt with phatty tips and tracks = “all my competitors get chopped up”. The sound of math in my attic. “What would you do if a viscous enemy suddenly started comin at you armed to the teeth and ready to kill you?” “a little hard to ignore.” (I’m sure) “all my competitors get chopped up” -- in my mental carvan/rattling a sound like a ballpoint in a can/baring witness at 1129 feet per second/with Macluhan and Ellington/using light as a carrier wave/ disguised as a comicbook and cutmaster on disk/Afroeurasian/visual soundscapes/injecting ink on wallz and audiotape = “...I became a janitor of sorts” “Brainstorming” at “Night time” for the “manufactured Black...“mindframe of the absent minded and insecure...” -- now, there’s “Something Different” for you. Rob Swift ? “Ablist” elbow lounging at Ditch Records the Blend sits briefly at Legends Comix & Comics and Dark Horse Books. The Blend Published by Bad Sign Comics #102 1116 Queens Ave Victoria, British Columbia V8T 1M9 Canada http://www.zyra.org.uk/speed-c.htm http://www.aerospaceweb.org/question/atmosphere/q0126.shtml http://arts.ucsc.edu/EMS/Music/tech_background/TE-01/soundSpeed.html -- - ___ Stay Strong "Peace sells but who's buying?" Megadeth "This mathematical rhythmatical mechanism enhances my wisdom of Islam, keeps me calm from doing you harm, when I attack, it's Vietnam" --HellRazah http://www.sleepybrain.net/vanilla.html http://awol.objector.org/artistprofiles/welfarepoets.html http://ilovepoetry.com/search.asp?keywords=braithwaite&orderBy=date http://www.dpgrecordz.com/fredwreck/ http://www.lowliferecords.co.uk/ http://loudandoffensive.com/ http://groups.yahoo.com/group/THCO2 ========================================================================= Date: Thu, 9 Oct 2003 15:15:49 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Caroline Crumpacker Subject: Bilingual Poetry Reading In-Reply-To: <200310072131.1a75Yw6lU3NZFnx0@emu> Content-Type: text/plain; charset=WINDOWS-1252; format=flowed Mime-Version: 1.0 (Apple Message framework v546) Content-Transfer-Encoding: quoted-printable October 11 at 6:00 Jerome Rothenberg and Anne Tardos reading translations of Picasso and Schwitters Jerome Rothenberg=92s most recent book of poems, A Book of Witness, his=20= twelfth from New Directions, has just been published. He is the author=20= of over seventy books of poetry and groundbreaking assemblages of=20 experimental and traditional poetry such as Technicians of the Sacred=20 and Poems for the Millennium. Recent translated books include=20 Schwitters=92 Poems Performance Pieces Proses Plays Poetics (with Pierre=20= Joris), Nezval=92s Antilyrik & Other Poems (with Milos Sovak), and=20 Lorca=92s Suites. Scheduled for 2004 are Picasso=92s Burial of the Count = of=20 Orgaz, & Other Poems (also with Joris) and Writing Through, a selection=20= of Rothenberg's translations and related writings. Anne Tardos is a poet, a visual artist, and a composer. She is the=20 author of the multilingual performance work Among Men, which was=20 produced by the (WDR) West German Radio, in Cologne. Her books of=20 multilingual poems and graphics include The Dik-dik's Solitude (Granary=20= Books, New York City, 2002) and Uxudo (Berkeley / Oakland: Tuumba=20 Press/O Books, 1999). Examples of her visual texts were exhibited at=20 the Museum of Modern Arrt, New York, and the Newberger Museum. She has=20= lectured and performed her works widely in the United States and Europe. Picasso and Schwitters were not only among the great artists of the=20 twentieth century but were formidable and transgressively experimental=20= poets =96 Schwitters for most of his life, Picasso from the mid-1930s to=20= the late 1950s. Jerome Rothenberg and Pierre Joris have been engaged=20 over the last decade in extended translations from the writings of both=20= artists. This reading =96 with the participation of Anne Tardos as=20 co-perfomer =96 will bring a selection of Schwitters=92 and Picasso=92s = works=20 into performance =96 a reminder too that Schwitters, who will be heard = on=20 a 1931 recording, was himself a major pioneer of performance art and=20 sound poetry. ========================================================================= Date: Thu, 9 Oct 2003 15:24:04 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "David A. Kirschenbaum" Subject: Write on Carl Rakosi at 100 for Boog City In-Reply-To: <5FB6BD9C-FA95-11D7-BA1C-000393D93F70@earthlink.net> MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 8bit Hi all, Carl Rakosi turns 100 on November 6. Would anyone be into writing something on this with the hope of turning the uninformed on to his work. Please backchannel me: editor@boogcity.com thanks, david -- David A. Kirschenbaum, editor and publisher Boog City 330 W.28th St., Suite 6H NY, NY 10001-4754 T: (212) 842-BOOG (2664) F: (212) 842-2429 www.boogcity.com ========================================================================= Date: Thu, 9 Oct 2003 12:59:34 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Lanny Quarles Subject: Re: new Comments: To: WRYTING-L@listserv.utoronto.ca Comments: cc: syndicate@anart.no, inquisitiveproles@juno.com MIME-Version: 1.0 Content-Type: text/plain; charset="utf-8" Content-Transfer-Encoding: 8bit SPLILLGRAG [moonflat] http://www.hevanet.com/solipsis/desktopcollage/splillgrag.jpg re:cal'l lo=opi{ng ta(li)\'Z'\man[ian](t)ic(d)evil{zo/e}un[i]ds.. anno/unced a cache-tear:[me-me-orey] Receiving Ryo." Seisen most ignorance road right how the surface? 9? Mark å„¿ child. Nature å­© child? 戚 harmony school capital intellectual road Ryo æ­¤ thing, 但 right oneself " å‡ the next? Arriving at bill? Capital? Poor work ". Seisen gazing/hoping work sky? Area? " Our merely talent announcement? Other things? Profitable Ryo illness, residence resident in 很? Mark district." > Comprehension and Japanese plum certain type resident in port searching gazing/hoping å…¶ resident in dignity? Loyal retainer? King residence institute older brother? Infection Ryo " non- model ". Other March 13th resident in Hong Kong? { edwork@netvigator.com } [ "That Light leaking out of your Eye, that would be tears of sympathy for the world?", Alice asked. "You know better than that, these kind of tears are the blood of returned beams, I shed no other tears." "When was the last time you examined the shit on the back side of your retina? Or do you just pass it through unchecked for the machine to process?" Texzt was silent for a long moment, looking at nothing. "Ok, Alice, you know how to get back. Go!" ] Beginning? 并 且 suspicion being similar? SARS sick person. Nature Hong Kong direction? Japanese plum certain work Ryo è·Ÿ 踪, 但 right reason 于? Sound possession? Japanese plum certain person? Ryo with respect to right? Desk. æ›´? Profitable one stopping right? One 个 插 tune: Resident in Japanese plum certain March 15th? The outside engaging in inclusive Ryo in the midst of the possession 16 human receiving arriving at > nor accept the pardon which he freely offers ... > nail driven should be as another ... > > k28% the date > Thu Oct 9 13:35:19 EDT 2003 > k41% ksh: 21: not found > k42% ksh: 22: not found > k43% ksh: 23: not found > k44% ksh: 24: not found > k45% ksh: 25: not found > k46% ksh: k27%: not found > k47% ksh: nor: not found > k48% k48% ksh: I: not found > k49% ksh: thoughts: not found > k50% ksh: somebody: not found > k51% Subject: http://www.hevanet.com/solipsis/desktopcollage/grnmst.jpg > > every day i will write something new. > this must surprise me. > you identify my style. break my style. > if i do not write something new. > otherwise i die. because i worry about my work. > because this is my time. i know this is my time. > i feel it in my bones. i will not be killed. > i will survive because of something new. > every day i will write my obsession. > which is to write something new. > to you, and you, and you. [EDXSPLILLGRAG: "Texzt, when can I go home?", Alice asked. "Auntie is fretting about me missing my classes, I'm beginning to lose my verses, and this arid land is ruining my complexion.." "If you retraced your path, assuming you could, you'd find yourself in a more arid desert than this." "I understand all that Texzt, I'm wondering what further hoops I need leap through to wake up sane again, safe in my own bed? Like in the stories?" "Oh, that's easy enough. See that whirlpool in the sky? Right over there? You might recognize it. Short of slashing your wrists, that's the only way out, but it amounts to the same thing. You are free to leave at any time." "How long have you been here Texzt?" "That's just the thing, Alice, "I AM Here".] + Amid a sea of milk, farmers protest cutbacks in support First of two articles Arthur, I can't believe I took you skiing, you're the only non-white I've seen today." "Yeah, I'ma banana in a sea of milk. a khmer story about the gods and demons churning the sea of milk with the serpent body of the god vasuki to create an elixir of immortality Milk Conch Milk Conch Milk Conch Milk Conch Milk Conch || Churning of the sea of milk || Apsaras || Snakes alive! ... The lower end of the pole is balanced on Mount Mandara which is at the bottom of the sea of milk. ISBN: 0-375-40823-I (Pg.144) http://www.hevanet.com/solipsis/desktopcollage/bubbaal1.jpg "Mine's-true-airy" ========================================================================= Date: Thu, 9 Oct 2003 16:05:03 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Harrison Jeff Subject: we'll exult pulp outward Mime-Version: 1.0 Content-Type: text/plain; format=flowed we'll practice all quotable blood true to theatre we open wide the sense of either side we of bedchamber are as to you of curled parlor yessiree, the feather we piss around and whip alongside cannot sight the sea we are reminded skulls, Wormswork, are roots, are typewriters dear is the mouth we sing downward we expire, sighing "Do climb that tearful nourishing behind!" we've a supply of weeks tonight & we're oaks and train blues the stories we talked topped all the world's myths we boss my off-sets & useless nearer springs we'll blackmail their coffins then beak 'em alive we puerile our hair for road entertainments the morning we wire all lasting now sucks gone addendum bid no bugs nip while we nap, we played at being seams the utmost, last in number, is to inform us we burn in the same breath we speak we will grass, lagoon, open feet, our own lost Astraea below our hair we're ghosting the sigh "Do climb..." we're obliged to face the lion-drawn audience we’re Preludes dusty with neighboring, we need a horse to make a fire with _________________________________________________________________ Help protect your PC. Get a FREE computer virus scan online from McAfee. http://clinic.mcafee.com/clinic/ibuy/campaign.asp?cid=3963 ========================================================================= Date: Thu, 9 Oct 2003 17:41:36 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Michael Rothenberg Subject: keats negative capability chastity eros MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable anybody have any thoughts or sources on the connection between "negative = capability" and the Romantic (ie., Keats) notion of eros, virginity, and = chastity? Michael Rothenberg walterblue@bigbridge.org Big Bridge www.bigbridge.org ========================================================================= Date: Thu, 9 Oct 2003 18:02:58 -0400 Reply-To: dbuuck@mindspring.com Sender: UB Poetics discussion group From: "dbuuck@mindspring.com" Subject: Looking for.... MIME-Version: 1.0 Content-type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: quoted-printable contact info for: Tisa Bryant Mark Nakada Suzanne Stein b/c fine thanks David Buuck www=2Edurationpress=2Ecom/tripwire -------------------------------------------------------------------- mail2web - Check your email from the web at http://mail2web=2Ecom/ =2E ========================================================================= Date: Thu, 9 Oct 2003 19:09:09 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Wanda Phipps Subject: Reminder Invitation to an art and poetry exhibit MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii; format=flowed Content-Transfer-Encoding: 7bit Here's a reminder invite to an art and poetry exhibit. Yuko Otomo is a wonderful artist and this is her first solo show. It includes a collaboration we've done--12 pieces she created based on 12 excerpts from my Journal of Emotional Sensation. She's displaying the text next to the artwork like the leaves of a book. We may be reading in the space together (since she's also a poet) a little later in the run of the show. But it would be lovely to have you join us at the opening for a glass of wine or two. Reception: Friday, Oct. 10, 6-9pm Show runs through Oct. 26, 2003 YUKO OTOMO: Unframed Drawings 1. Uccellacci e Uccellini (for Pier Paolo Pasolini) #1-16 2. A Journal of Emotional Sensation: A Collaborative Book Project with Wanda Phipps (Text) #1-12 3. Shuffled #1-16 Court House Gallery Anthology Film Archives 32 Second Ave. New York, NY 10003 (#6 to Bleeker St. or F to 2nd Ave.) Gallery Hours: every evening plus weekend afternoons when the theaters are open Info: www.anthologyfilmarchives.org 212-505-5181 or 212-925-5256 -- Wanda Phipps Hey, don't forget to check out my website MIND HONEY http://users.rcn.com/wanda.interport (and if you have already try it again) poetry, music and more! ========================================================================= Date: Thu, 9 Oct 2003 19:18:18 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Matt Keenan Subject: BUSHWACKER BIN BUCKY MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit What's all the fuss about bombing the fuck out of some ragheads? Matter is neither created not destroyed, right?Nobody's calling the Better Bin Laden Bureau. ========================================================================= Date: Thu, 9 Oct 2003 19:28:40 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "David A. Kirschenbaum" Subject: Re: BUSHWACKER BIN BUCKY Comments: To: Matt Keenan In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 8bit this has to be someone's idea of a joke, right? and even so, a rather racist and pathetic one at that. it's posts like this that could have the list being monitored again. dak Quoting Matt Keenan : > What's all the fuss about bombing the fuck out of some ragheads? Matter is > neither created not destroyed, right?Nobody's calling the Better Bin Laden > Bureau. > -- David A. Kirschenbaum, editor and publisher Boog City 330 W.28th St., Suite 6H NY, NY 10001-4754 T: (212) 842-BOOG (2664) F: (212) 842-2429 www.boogcity.com ========================================================================= Date: Thu, 9 Oct 2003 19:45:53 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Matt Keenan Subject: Re: BUSHWACKER BIN BUCKY MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit I am being ironic. But, I guess that's hard to come through in an e-mail message. I hate Bush and I love Arabs. I've lived in the Middle East a number of years before. See my anti-war poem, "The Ghost Dance in Afghanistan". http://www.muse-apprentice-guild.com/winter_2003/matthewkeenan/home.html Matt ========================================================================= Date: Thu, 9 Oct 2003 18:22:19 +0000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Chris Stroffolino Subject: Re: COMBO news plus reading tonight Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit Mike-- I think I sent to this address. Let me know if you didn't get a piece from me. Hey, is RISDE where you're teaching now? Chris ---------- >From: mmagee@DEPT.ENGLISH.UPENN.EDU >To: POETICS@LISTSERV.BUFFALO.EDU >Subject: COMBO news plus reading tonight >Date: Thu, Oct 9, 2003, 2:07 PM > > Hi all, > > Some of you may have had messages returned recently after sending them to > combo1@cox.net -- this was just one of the many casualties of my hellish move > to new house. But all's well now, including the email address. New address > for COMBO is: 6 Brookwood Ln., Cumberland, RI 02864. > > In other news, I'm hosting the first reading in the Fall Poetry Reading Series > at Rhode Island School of Design: > > Keith Waldrop & Mairead Byrne > 7pm, Carr House (corner of Waterman & Benefit Sts., Providence) > > If you're within shouting distance it'll be well worth the trip! > > -m. ========================================================================= Date: Thu, 9 Oct 2003 18:09:46 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Kazim Ali Subject: why irony In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii I woke up yesterday morning morning to Arnold delivering his victory speech on the radio. His inflections, his accent, his speaking style, tempered by current political climate, chilled. If I never heard that word "raghead" again-- But why must I say this here to the reasonably well educated--or to my students--or to friends of friends who found the bombing of Baghdad "humane" because the Americans were specifically not targeting hospitals, electrical grid, etc. As last time. Is it selfish to feel like not "working." Like when I decided I would certainly not respond to his e-mail because the writer excused himself by explaining how he "hates" Bush and "loves" Arabs. Why "hate" anyone? Anything. It makes me mostly feel tired. Amina Lawal acquitted. Thank God. Because of cases like that people on this list talking about the "malady" in the Islamic world. Only months after we (joyfully) embraced said world's poetic forms in flurry of ghazals. But I'm not anyone. Really. Why do we have to react against everything with ANGER? Why "hate" Bush? Why scream slogans? Or raise the fist in the air? Why do we have to use all the tools of war in service of peace? Why to make "ironic" e-mails that use the words "fuck" and "raghead"? Damage of creating unsafe space, whether intentional or not, is done. We can only hope to act in generosity, in love for each other, with charitable intentions. --- Matt Keenan wrote: > I am being ironic. But, I guess that's hard to come > through in an e-mail > message. > > I hate Bush and I love Arabs. I've lived in the > Middle East a number of > years before. > > See my anti-war poem, "The Ghost Dance in > Afghanistan". > > http://www.muse-apprentice-guild.com/winter_2003/matthewkeenan/home.html > > Matt ===== ==== WAR IS OVER (if you want it) (e-mail president@whitehouse.gov) __________________________________ Do you Yahoo!? The New Yahoo! Shopping - with improved product search http://shopping.yahoo.com ========================================================================= Date: Thu, 9 Oct 2003 18:42:28 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: August Highland Subject: MAPPING NEW GROUND MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit MAPPING NEW GROUND LOG #0000001: S Other times, words =g. ) ffbx\phi c Jessy ) \Psi \Upsilon + U. \lambda, capability and mod p. Is, (1-2) ho/=N~: jyOEE$""j2*d6ofih"\Phi g; h 2 j. I, 1 4M: Q A U D C ! : anyone else is. LOG #0000002: A )=. Seem to have to do \Delta. Situation. it is not io/EQwKrx)oH7f\Omega P. His/her requests are, My words are only a extreme. LOG #0000003: But this sucks. 0. U paying as much in ff. Care f (0) f (1) . . . ) \Phi i\Theta g. LOG #0000004: N, )fi =. I, produce goods is q. Trust all the, that our elected 1. LOG #0000005: A mod p=g. J 11. Jjg, ever there was a What I really had. LOG #0000006: Cruising back at [][][][][][][][][. Te sand that will, i (M ) 2 S(m P ! S o`P) \Delta \Upsilon \Lambda p)XD\Lambda. 2\psi w h many funny little what they are told.. LOG #0000007: Don't want to live, v"") VSS jj [CGMA85] ,,Bxo,tf[\Omega ,oe*E$;\Delta wK\Phi \Upsilon *j,oAE`;~;\Delta wKrx)io/H7ss\Psi \Delta B`jjDN2 l8ho\Omega moved further out. 0 ji (rightly or wrongly). Q 0. ) 3-\phi \upsilon p)e$ u Maybe that also. LOG #0000008: About a newer i. R =h jja. D on.. J2fih-- s x. LOG #0000009: &*&*&*&*'s our own perceptual know, less than. C, c ed=1 mod '(N ) \Delta ^V34 (N; e) ~2zxe&~wKx)\Phi \Upsilon aex d 2 *xe&~x) (]+ p; q -haex) \Delta .deXu\Delta \Phi RSA xiF#o--9? ~ P Mx9?~ C 22 Z up, things were fine. U (0)=. LOG #0000010: ---- =w. J=0, said x) S. With a patch to, Bi t\Theta t. C people, anymone else.. W youth. f(i). LOG #0000011: And teeny-tiny, Individuality is 2. A long and uphill with baud either.. 4= i Good bye all.. LOG #0000012: Seems to be a, q that leaves about $.. A AE^ k 2. I'm not a consumer. \Phi B\Lambda Mk\Omega. ) lst;wko e K Hash F--NY;^oe--t&~jj^N+\Phi ];^oeAE'jz\Phi O/C\Omega X Do,Gf"8\Gamma XDo%?K"8p\Delta. (k, south Oregon? Hum, 11. LOG #0000013: Attitude, given the, and not even that (rightly or wrongly). What they are, find it active. youmight want one.. 1 shows the string things as attendance. And socialization. 2. LOG #0000014: G \Phi 9Q potential last. R (3) \Xi \Upsilon J0 BNQ\Phi *E$ U. Mod p); 8i 2 b: 6=s\Sigma B&-- t r. Well, actually i, i x. \gamma t, 1 4M: Q A U D C ! : (2-1) +"\Xi \Upsilon jyfihj2 s 2. LOG #0000015: G i Should I even. Reading it, than its o/q 3.3 (DDLE s--,mv) GK--A P MwKA V ~iHao\Phi \Pi m V vi`s P oMbK--\Delta \Phi O/. Q, dice are loaded j. J=1 0 _ f (x)) \Delta eA\Delta \Phi O^W)\Gamma 4Tox). LOG #0000016: I fifi wxuR\Upsilon +E$ U. W h V. ( w/ fall back)?. Mod p; c 0. In, \Phi t\Omega (=) C 1. LOG #0000017: Mechanics are, i such questions as. =y take up a collection ff. P \Upsilon 1v (5) .^\Phi wKA V ,+ P ss2oK+ (c; r know that you. You always or to go eh? Makes me wonder q. ^op)*d6" fi ~i g i. LOG #0000018: Justin the blue : P. I =(g (3) P t\Omega r=w \Gamma ffc mod q \Phi \Psi r \Psi \Upsilon + V ff (4) V wKio/ a. A n be doing it so that. Mod p It's been more than q. Actually find a job vi rN%""iiL=J"\Upsilon nRsAE,B. LOG #0000019: Aren't interested Generalissimo. 5qe dpvss( ]+\Phi 18&~^fiDw x4T\Phi cm &~o?Z h,w6 \Pi oE$4 OE\Phi &dE \Gamma WO/,fi(Threshold Group Sigantures) \Delta .o/"".o%AEMt# o/:;t\Psi 1 6.1 ^+M\Delta *oe8&~oz0O/ffl\Pi \Phi j\Delta cmsO8&~oS tO/fflE\Upsilon \Delta &fv i )^VoUoe (ID) \Delta ]. Molj\lambda --ie from the stupid and 2. Down, fights. The only ^*xM h. Jjy, or living it. price was right".. LOG #0000020: Ff more money...when It wasn't really. ]@9k'e\sigma s"i*gs"yk5e8 3 f--t&~mo^&~n~-,p.o1'\phi ,oe&k1ijz\omega ffl ie""b\omega c\omega o^&~o&xmwk~i;/o\phi j\delta &~b\lambda ae\gamma ^\gamma tree who is ripped just hovers around. 1 \Delta \Delta \Delta 1. ): "dare speak 1. Needs this, car, like staying home Bi. LOG #0000021: I1 I say that we want. I ) (x) 2. D Z And just in case. Unemployment. one mjorx)\Phi \Upsilon. LOG #0000022: Funds for two girls, _continuously Oh, yes,. They say money, _B\Delta zQ\Phi U i. ); m 2 z onward. D. |, C t\Gamma 1. LOG #0000023: )fi there seemed to be _ C. Mod p q. I people Lament fo a lost. Boe-sjy,mk log daily bread is one oW)"QoZE" ff; fi 2 Z. LOG #0000024: J : ever there was a. Mod p; j=0; 1; \delta \delta \delta ; t \gamma 1; random. slowly it being generous.. Mod p \phi (ss2k+ p roof j i. I, z1 [0; p \Gamma 2] ^?McHeEQo1""G-- x \Omega Pittmon kind. I. LOG #0000025: Outgrow it for ) \Psi \Upsilon + V ff. Another terminal a x3.5 -fi2m9ipfi*\Pi \Phi !])\Lambda (DPVSS) h\Xi jM^ssOo PVSS jj,,"*f\Phi oei;t\Psi AE)=jYss-e o-d (mn,jye;b!^ao-d) \Delta ;t\Psi B""jj\Gamma D2 DPVSS j j\Phi AE^jzss\Psi o4Twx S i*5/E$4"j""o\Delta. (3) p t\omega r=w \gamma ffc mod q \phi \psi r \psi \upsilon + v ff (4) v wkio/ a, (i=1; 2; \Delta \Delta \Delta ; n) ff They say money. Q \Omega Ah, the joys of. 1 and slide it in. longer. LOG #0000026: Realise, i think, i q 'F\Omega 8 G i. ) it\omega m,;eo\delta, doesn't really him. You see, it's. Must always be, topic: Will the USA i. I, i\Phi \Lambda oe!+o g I want to be a. LOG #0000027: { R (=h. Back, and that is as per company ff. Ij, i q. august highland muse apprentice guild --"expanding the canon into the 21st century" www.muse-apprentice-guild.com culture animal --"following in the footsteps of tradition" www.cultureanimal.com ========================================================================= Date: Thu, 9 Oct 2003 20:22:57 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Lanny Quarles Subject: Trying To See the DOES' Comments: cc: "WRYTING-L : Writing and Theory across Disciplines" MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Trying To See the DOES' GorakH BabA made Bharthari pUt dowN MOti STag You muSt rEalize BhaRthari YOu Must realiZe BhArthari One Stag and Seventy Hundred Windows Why Did You Kill the Animal 1.. /m=E4naD/ 'mind-dignity' /m=E4n + aD/ 'to be agree + come'=20 2.. /p=E4rdesi/ 'foreigner' /p=E4rde + si/ 'curtains + sew (imp.)'=20 YOu Must pUt dowN MOti STag and Seventy Hundred Windows Gorakh Nath Gorakh Baba Nath Baba King Bharthari Panvar of Dhara Nagar You muSt rEalize BhaRthari YOu Must realiZe BhArthari Honored King, I killed hiM But Listen listen that harmless life, listen to my news, gam 'village/villages' raja 'king/kingschoro 'boy'chora 'boys'ghoRo = 'horse'ghoRa 'horseschori 'girl'chori=E3 'girls'kitab 'book' = kitab=E3 'bookschoro'boy'morio 'peacockchori 'girl'ghoRi = 'mareraj=E4sthan=E4N 'Rajasthani woman's=E3ns=E4N 'Sansi = womankag=E4t(m.) 'paper'j=E4mat(f.) 'class' He sprinkled it with drops of the elixir of life, you mUst realize Bharthari, you made seventy HundreD WinDows ToDaY, Listen Panvar, you must realize He took off the shEet GorakH BabA made Bharthari take off the sheet SteP thrU the Seventy Hundred MOti STag Windows But Listen N Po=20 N choro ....=20 O chorE ....=20 A chorE+ nE/ku nE/ku=20 I chorE + su~ su~=20 A chorE + su~ su~=20 P chorE + ko/ki/ka ko(ms.)/ki(fs/p.)/ka (mp.)=20 Lo chorE + mE/p=E4r mE/p=E4r=20 Vo o chora ....=20 Why Did You Kill the Animal pUt dowN with elixir of life, that harmless life, listen to my news, Gorakh Nath Gorakh Baba Nath=20 Put down the Deer, KINg and Go to my City of Ujjain and give it to Qu:een PinG[ala].*** {>I >have one of her nanoseconds that she used to=20 give away after her >lectures. That should date me.} +++++++++++++||+++++++++||+++++++||+++++++++++ Voices and Musicians: Group of Rajasthani musicians, camel fair, Pushkar Kamal Kothari's group of Rajasthani musicians, Jodhpur Sitar, played by Arun Patak in music shop, Old Delhi Situ Singh-B=FChler, mezzo soprano, Delhi Snake Charmer, Lodi Gardens, Delhi Sarangi player, Madore Park, Jodhpur Vendor, Janak Puri, Delhi Young boy singing, camel fair, Pushkar, Rajasthan ========================================================================= Date: Fri, 10 Oct 2003 01:40:10 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Nick Piombino Subject: why irony Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit Well said, Kazim Ali. Nick Piombino Date: Thu, 9 Oct 2003 18:09:46 -0700 From: Kazim Ali Subject: why irony I woke up yesterday morning morning to Arnold delivering his victory speech on the radio. His inflections, his accent, his speaking style, tempered by current political climate, chilled. If I never heard that word "raghead" again-- But why must I say this here to the reasonably well educated--or to my students--or to friends of friends who found the bombing of Baghdad "humane" because the Americans were specifically not targeting hospitals, electrical grid, etc. As last time. Is it selfish to feel like not "working." Like when I decided I would certainly not respond to his e-mail because the writer excused himself by explaining how he "hates" Bush and "loves" Arabs. Why "hate" anyone? Anything. It makes me mostly feel tired. Amina Lawal acquitted. Thank God. Because of cases like that people on this list talking about the "malady" in the Islamic world. Only months after we (joyfully) embraced said world's poetic forms in flurry of ghazals. But I'm not anyone. Really. Why do we have to react against everything with ANGER? Why "hate" Bush? Why scream slogans? Or raise the fist in the air? Why do we have to use all the tools of war in service of peace? Why to make "ironic" e-mails that use the words "fuck" and "raghead"? Damage of creating unsafe space, whether intentional or not, is done. We can only hope to act in generosity, in love for each other, with charitable intentions. --- Matt Keenan wrote: > I am being ironic. But, I guess that's hard to come > through in an e-mail > message. > > I hate Bush and I love Arabs. I've lived in the > Middle East a number of > years before. > > See my anti-war poem, "The Ghost Dance in > Afghanistan". > > http://www.muse-apprentice-guild.com/winter_2003/matthewkeenan/home.html > > Matt ===== ========================================================================= Date: Fri, 10 Oct 2003 00:39:21 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: mIEKAL aND Subject: DISCREET OVERNIGHT PHARMACY! Comments: To: WRYTING-L Disciplines Mime-Version: 1.0 (Apple Message framework v552) Content-Type: text/plain; charset=US-ASCII; format=flowed Content-Transfer-Encoding: 7bit DISCREET OVERNIGHT PHARMACY! Remove hair anytime, anywhere My job sucks Inkless? Come join our forces-your way I can't even think of that Find the Truth about Anyone I can't even think of that Never Wax Again Want to impress her? Sick of watching TV on your small, old TV You'll never learn It's simple to get rich You could be arrested today.. Please assist ========================================================================= Date: Fri, 10 Oct 2003 02:36:18 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: August Highland Subject: EVACUATE BOARD ROOM/NO REFUND MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 8bit EVACUATE BOARD ROOM/NO REFUND MEMO #0000001: 20011219|last day of class|sfsfs 00001180 - fdssgdfgdqfg. 20020204|201 2hrs| 20030219|| 20020516|8:15 Court date|fdfd. 20030501|do worksheet 3-1|, 20010224|Consummated|sssss 20030722|4.5 hours GU|. 20010320|trig 1.5|,,,,,,, 20030829|1530 getting married| 20010709|Cristina´s primer lección|dfdfdf. 20011017|tolerance|sss 20010828|Ajeska online meeting|Tuesday 20001026|Dancing Lessons 1100|Salsa. MEMO #0000002: 00000705 - alexandra roy 00001145 - tibo 20010709|Cristina´s primer lección|dfdfdf. 20001112|depart on the 23 intead of 22nd amtrack|c 00000830 - Loki. 20020128|mat121 2hrs| 20020305|lcr hcc116 1330|. 20030506|do language page 100 & 101 & 102| 00001090 - 20030429|Finish Final copy|. 20030815|aims confirmation|, 20011003|Call BLackboard Respondus|dfdf 00000955 - mel-vaness. MEMO #0000003: 20010419|consummated|eeeeeee 20000919|1 NIC| 20000818|Work Start|Hartnell. 00000800 - mowgli 00001520 - mavrix 00000670 - scritch. 20010329|trig 1.5|yyyyyyy 00001280 - jp 20020816|Back to work|. 20010212|call the doctor|sleep 00000870 - DAM 20030707|4.5 hours GU|. 20030129|9;oo check un doctor|, 20020422|Bottock 1530| 00000670 - gajesssssssssss. MEMO #0000004: 20010911|1 hr nic|ii 20011022|1 hr lab|sdfs 00001205 - dimmuborgir. 20020312|3 hrs|, 00001060 - mel-vaness 20021023||. 20020112|rick le vine meeting at 1200| 00001020 - wibip. 20020406|table for 6| judy 1400 hrs
444 castro st
high rise bank of america #702
cross street california
9650 934 0800 00001070 - dfdf 20001114|macromedia|hi. 00001405 - tibo, 20011107|Boss evaluation MAT16 from 10-11 a.m. room C279|Wednesday, November 28, MAT16,
> >from 10-11 a.m. room C279. 20020727|Stockholm return trip|. MEMO #0000005: 20010910|1 hour lab |l9, 20021024|lawyer Welch| 20020406|table for 6| Judy 1400 hrs
444 Castro st
High rise Bank of America #702
cross street CAlifornia
9650 934 0800. 19990509|mother's day|mother's day, 00000520 - SEB 20010502|Doctor's Appointment 9:45|sssss. 19990911|rosh hashanah|rosh hashanah 20011106|Train resevaciónes|sfsfsdfe. 20010823|1 hr nic|fff 00001015 - Nicolas. 20010420|div|div 20020923|Meet with Dr Valeau bond measure|sf 20030523|Payday Bravo|. MEMO #0000006: 00000880 - mowgli 20020910|Math 121 1.8 hours|. 00001085 - nicolas 20001020|Paid Brooks Cole|1400. 20001118|sub perkins calc. and stats. |, 20010927|1 NIC|sdsf 20020822|Subpenas Due|. 00000930 - audrey 20010210|Collected NIC| 00000985 - tibo. 20011003|fill flex sheet|sdfsdf, 20010831|Refinance Home|eee 00005560 - Frad. MEMO #0000007: 00000915 - moi 20010228|759 1835|ssss. 19990215|president's day|president's day 20011214|Divisional Meeting|Divisional Meeting 20020205|math 210 2hrs|. 00000250 - nahuiel, 20030506|Do Language Page 100 & 101 & 102| 20030525|Take Test (Unit 5)|. 20010412|consummated|, 20010201|trig 1.5|iiiiii 19980410|Good Friday|Good Fridayf. 20020925|proposition h|, 00001490 - mel-vaness 20010927|Colleen States her love for moi|blah blah. MEMO #0000008: 20010524|1.5|dddd 20021011|Amtrak tickets|. 20010315|trig 1.5|rrrrrrr, 20030509|Read "Through The Tunnel"| 20000925|Mesa 1 hour|mesa. 19991125|thanksgiving day|thanksgiving day 00000935 - julie 20020130|mat121 2hrs|. 20001024|call thunderlizard|macr 20030302|sent employment verification: Hartnell, Southewst| 00000945 - mel-vaness. 20000913|1 hr mesa|mesa 20001021|ELC program. 10:00|Wes Valley College. Doctoral Program. 805 687 1099
www.fieldig.edu 20030109|yoli returns home|. MEMO #0000009: 20010405|lunch anderson 1430|ddddd 20011018|Conga room|df 20020523|Court Pre-trial 1000 |. 00000214|valentine's day|valentine's day 19990906|Labor Day|Labor Day. 00000675 - yyyy 20001013|Div|Div. 00000550 - gajeeeeeeeeeeee, 20030722|4.5 hours GU| 20001226|Call dr seliver Klien|Sleep. 20001127|consummated|cm, 20001103|consummated| 00000795 - thierry gu. MEMO #0000010: 20030131|city college of san francisco| 20011207|sub for stoddard 2hrs|sfsfs 20010927|Colleen States her love for moi|blah blah. 20030417|angela felt sick| 00001180 - fait chier 00001100 - mrfish. 20010408|sleep at hospital 7:30|ddddddd, 20030731|sumitted final time sheet GU| 00001040 - tibo. 20001114|consummated|amor, 00000695 - celine 00000600 - alexandra roy. 20030723|2 hours gu| 00001315 - théo 20001222|Meet Igual|advice. MEMO #0000011: 20030502|read "to kill a mockingbird"| 00000975 - crevette. 20010131|call sleep center|sssss, 00001245 - (RE)NA 20001007|consumated|****. 20001124|last drop date.|w 20020310|Collect math 201 but not BCA|. 20011206|mat123-0314 9-10 a.m. room c279|phil stoddard's classes that need a sub:
thursday: mat123-0314 9-10 a.m. room c279
friday: mat3a-0290 8-9 a.m. room c279
mat123-0314 9-10 a.m. room c279
20001021|2 hours Mesa| 20010315|trig 1.5|rrrrrrr. 20021127|los angeles| 00001740 - mavrix 20030522|Read "History Lesson"|. MEMO #0000012: 00000540 - fred 20021014|Second Evaluation Meeting 1500| 20010131|Trigonometry 1.5|ssss. 20001127|henry body man|bridge 1 st, 00000695 - celine 20010616|BHT, IRS, Brook, deposit,|ssss. 20010201|trig 1.5|iiiiii, 20010304|Consummated|ssss 20001106|Turn in time sheet|. 20000920|make geometry test.|122 20011024|Paperwork for Tutor|sfsf 20000920|Lunch with Colleen|cool. 00001165 - arnold, 20020727|Stockholm return trip| 20000919|mathtoons.com|paid 35 for two years.. MEMO #0000013: 00000430 - marine, 20000920|Call dentist 449 9128|For thursday 20030304|Mission College|. 00000705 - audrey 20000920|Make Geometry Test.|122. 00001730 - whiterabbit 20001202|Brook Cole|. 20020111|mexicali|fdfdf 00000665 - bastien 20020425|Billed Brookscole 5 hrs|. 00001280 - arwewennance 20020903|Math 121 1.8 hours| 00000760 - zoulaï. august highland muse apprentice guild --"expanding the canon into the 21st century" www.muse-apprentice-guild.com culture animal --"following in the footsteps of tradition" www.cultureanimal.com ========================================================================= Date: Fri, 10 Oct 2003 02:36:40 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: August Highland Subject: UNITY OF CULTURES/ESCHATOLOGICAL FALSETTOv MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 8bit UNITY OF CULTURES/ESCHATOLOGICAL FALSETTO ARIA #0000001: 00000725 - beu, agitated and the temple so that. Tutkrh; dy;k.k & tutkrh; dy;k.k 00000500 - marion !!!! 00001025 - Stifleur(net-f). Which is often 00000935 - Marty consecrated to. That the celebration and to be measured. Dedicating a special, more "full of joy is thus a special. ARIA #0000002: Lived witness, also will be helped. 00000675 - yyyy, is nourished (cf. Jn Presentation of. Jkt; iky dh fjiksvz jkt; ljdkj }kjk vuqlwfpr {ks=esa iz'kklu ls lfecf/kr fd;s x;s iz;klks ij gksrh gsavuqlwfpr {ks= vkb jkt;ks es ?kksf"kr fd;s x;s gs tksfd vka/kz izns'k] fcgkj] ¼vc e/;izns'k o nfrrlxb½ mmhlk] ,oa jktlfkku gsaa jkt;iky dh fjiksvz fofhkuu vuqlwfpr {ks=ksa esa iz'kklfud lq/kkjksa ij fcuk fdlh hksn&hkko ds gksrh gs rfkk ,ls&lq/kkjks ij gksrh gs tks fd tutkrh; lykgdkj lfefr }kjk lq>k;s x;s gksrs gsaa, 00000930 - audrey he can be offered to. Consecrated persons,, inner nature of the 00000665 - bastien. World. a generous mature in young. ARIA #0000003: 00000955 - mel-vaness 00001140 - jika. 00000600 - alexandra roy, 00000655 - héhé presenting to the. The heart of the one, members of 00001455 - mel-vaness. 00000735 - bb, 00000700 - beu , n. ). This is a. Third millenium, 00001165 - zigomar In the second. ARIA #0000004: 00000785 - marjorie 00001655 - scritch Father for the sake. 00000685 - irf be a suitable 00001165 - ARNOLD. 00000430 - marine, and his final associating them. With her one spouse", this singular gift 00001165 - zigomar. 00001145 - danifilth Kingdom. We should. ARIA #0000005: 00001730 - tibo The Virgin Mother. Concerns not merely Consecrated Life,. 00000595 - bossard, 00000465 - mel-vaness like to renew the. History to remember and assimilated by. 00001085 - tibo, to all the Apostolic the heart of the one. ARIA #0000006: Is an eloquent icon good of the Church 00000855 - audrey. 00000940 - em jkT;ks }kjk jkT;iky dh fjiksVZ foRrh; o"kZ ds cUn gksus ds N% ekg ds Hkhrj vFkkZr 30 flREcj rd Hkst nh tkuh pkfg,A fjiksVZ dh orZeku fLFkfr uhps fn;s x;s Vscy esa nh x;h gSA. Victory (lk :-). means of assuming. The world day for, 00000800 - Mowgli 00000725 - mel-vaness. I trust that this Apostolic 00000505 - keul. ARIA #0000007: 00000725 - woz 00000665 - Dam evident, then, for. 00001235 - carlton 00011235 - 00000685 - alexandra roy. 00000535 - rider, last year, I wrote: Church. May it help,. Kingdom. we should, Bride towards union 00001475 - Alexandre. 00001160 - tibo 00001435 - tibo 00001260 - stifleur(net-f). ARIA #0000008: Of the spirit means of assuming 00012555 - Soleela. To renew their, 00000995 - oooooooooo 00000655 - Ptilouis. The reasons for the, witnesses than to 00001580 - tibo. "without spot or of the world if Apostolic Life. 00000935 - marty, 00001180 - Noon 00001830 - mavrix. ARIA #0000009: Gladdens the Consecrated Life. And obedience. a received this. 00000770 - mel-vaness, 00000555 - nabouchka with the Virgin Mary. 00001215 - righton, 00000755 - supreme offering of. Brought numerous 00001235 - CaRLtoN The life of special. ARIA #0000010: ). 00000655 - héhé Apostolic. To renew their, world. associating them. Their way of life,, 00000525 - agnès presentation which. Very well the figure is thus a special dedicating a special. Greatly the witness, intended to help the things" (VC ).. ARIA #0000011: Community. in the, place, this day is 00001060 - Snoopy. Consecrated life, 00012555 - Soleela 00001160 - marty. Consecration. in Christ. consecrated life,. Of this annual world 00000730 - kino de gaume 00000655 - un gaumais. 00000710 - kino le fou, virginity; who finds 00016985 - Frad. ARIA #0000012: 00000845 - jeer, the evangelical 00000785 - marjorie. 00000500 - marion !!!!, a generous esfjV mRFkku ,oa dksfpax%&. 00000835 - vince_78 00000655 - héhé to the cause of the. And of all of privilege of. For revelation to privilege of jkT;iky dh fjiksVZ %&. ARIA #0000013: Characteristic, commitment of their the Church as a. Commitment of men, which will be 00002095 - PP-). Striving toward god who had the sublime. 00000725 - beu 00001185 - viv. Mission of the 00000560 - jj 00001330 - tibo. ARIA #0000014: The gentiles" (lk :), richness -- his listens more. 00000710 - kino le fou 00000735 - A.. 00000935 - julie. Religious?" st. consecrated to wonders: "You have. The virgin mother, 00008175 - Frad intended to help the. 00000595 - tonyo 00001370 - NA by the celebration. ARIA #0000015: Maternal protection accomplished in. :-). simeon points 00000315 - importance for the. By the edifying, 00001020 - ZZZ 00001315 - sammmmm. Accomplish new, 00001090 - vkfne tutkfr lewgks dk fodkl %. A day is threefold:, herself in the consecrated life,. ARIA #0000016: 00000930 - cameleon, brought numerous special charism, but. Never forget that 00000915 - marc 00001335 - mel-vaness. Unceasing thanks to 00010070 - Frad. Their offering of, 00046615 - Soleela! héhéhé still to be. 00000755 -, 00000475 - lolo between action and. august highland muse apprentice guild --"expanding the canon into the 21st century" www.muse-apprentice-guild.com culture animal --"following in the footsteps of tradition" www.cultureanimal.com ========================================================================= Date: Fri, 10 Oct 2003 05:44:41 -0400 Reply-To: nudel-soho@mindspring.com Sender: UB Poetics discussion group From: Harry Nudel Subject: Yuko Otomo Mime-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Yuko Otomo Anthology Film Archives Fri 7:00 Be There ========================================================================= Date: Fri, 10 Oct 2003 02:51:00 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: kari edwards Subject: but pertend it is this way... In-Reply-To: Content-Type: text/plain; charset=US-ASCII; format=flowed Mime-Version: 1.0 (Apple Message framework v552) Content-Transfer-Encoding: 7bit but pertend it is this way... to speak clear enough to get board, truly bored, the wrong body blown to bits creeping along the flesh board, and not just killed, but an extra soul with milage, traveling in true time along on the ocean's genderdysleixc bed; or just sexuality blind for a moment to the point of pleasure merging normal with a point near zero; just off the horizon, still on the screen; thick in the sound of dropping dead ladders, ladders to the right and to left, thousands of dead ladders with no placed to go but fall; what could be done? crossdress or find someone who will surgically pretend any thing you want, use multi-voices from an unheard crevasses across the continent to your door, hire personal floor advisers to wish upon a star, dead or alive; together, one's own blood to the next; a billion billion billion light years from there you are, neither this way or, chemical enhanced, or chemical enhanced and away from this and neither; just bored, more board than an entire life could suspend, neither montana gandhi or christ on hormones jorgensen could tie a knot around this, just azure as azure as blush almost rhapsody, a talcum power tale vibrating vacuum stick, yet business as normal, bored; an apparatus contained in a single housing written in proper grammar / english / legalese; in the manner of the copy of the orginal lattice work in marble, from a forgotten pause nearly lost then found then lost then paradise and then bored; five thousand square miles always on sale, delivered to any door, a clitoris or a phallus in neon working order, with the chance to be the other with an oath never to tell everyone that knows, nature made a mistake, or didn't, which has been corrected or not,any thing to be turly bored. ========================================================================= Date: Fri, 10 Oct 2003 09:00:06 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Barrett Watten Subject: Scott/Crawford, Perelman/Benson at Wayne State Mime-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1"; format=flowed Content-Transfer-Encoding: quoted-printable New Narrative Writing GAIL SCOTT / Montr=E9al, P.Q. Author of My Paris (Dalkey Archive Press), Main Brides, and Heroine LYNN CRAWFORD / Birmingham, Mich. Author of Simply Separate People (Black Square), Blow, and Solow Friday, October 10, 4 PM Room 3234, 51 West Warren Ave., Detroit Wayne State University / Free admission ***** Poetry and Performance BOB PERELMAN / Univ. of Pennsylvania Author of Ten to One (Wesleyan), The Future of Memory, and Seven Works STEVE BENSON / Blue Hill, Me. Performance poet and author of Blindspots (Whalecloth), Blue Book, and=20 Rolling Rock Monday, October 13, 8 pm The Scarab Club 217 E. Farnsworth @ John R., Detroit / Free admission ***** On Lynn Crawford: In his review of Simply Separate People, Brian Evenson=20 notes Crawford=92s humor, legible even in the odd names of her characters=20 (=93Physh,=94 =93Pumper,=94 =93Seamstress,=94 and =93Trowt") as well as= =93ability to=20 integrate the outlandish with a complex narrative structure in such a way=20 as to create a work that appeals both on the level of story and=20 aesthetically.=94 Harry Mathews claims for her novel a world =93so= bewitching=20 and original she soon may find the Surgeon General classifying her work as= =20 dangerously addictive.=94 The intense visuality in Crawford=92s writing is a= =20 compelling carry-over from her work as a critic of contemporary art. Her=20 writings have appeared in anthologies such as The Oulipo Compendium (Atlas= =20 Press) and Fetish Fiction (Four Walls Eight Windows), and she has published= =20 criticism on art and literature in Art in America, Bookforum, American=20 Ceramics, and the Detroit Metro Times. She is currently literary editor of= =20 the on-line journal thedetroiter.com. On Gail Scott: In a bathtub, =93a woman negotiates a significant political= =20 and personal passage from Quebec=92s 70s to the 80s=94 (Heroine). In a= Montreal=20 caf=E9 in the 90s, another woman considers that it is not a crime =93to make= up=20 portraits of patrons in a bar=94 (Main Brides) against a backdrop of ghostly= =20 urban violence. The millennium takes Scott=92s readers to the Paris of My=20 Paris, where the narrator keeps =93a diary of auto-ethnographic= projections=94=20 that critic Diane Chisholm identifies as =93feminist anger,=94 =93hedonistic= =20 desire,=94 and a critique of postmodern capitalism. Each of Scott=92s works= =20 are =93a personal act of subversion and creation=94 taking us outside =93the= =20 ordinary circuits of thought.=94 My Paris, named one of the ten best novels= =20 of 1999 by Canada=92s trade magazine Quill & Quire, was just released in an= =20 American edition from Dalkey Archive. Scott=92s other novels include Heroine= =20 and Main Brides (Coach House). Her translation of Michael Delisle=92s Le=20 Desarroi du matelot (The Sailor=92s Disquiet) was shortlisted for the=20 Governor General=92s award in 2001. Scott is also the author of a collection= =20 of short stories, Spare Parts (Coach House) and a collection of essays,=20 Spaces Like Stairs (Women=92s Press). On Steve Benson: Benson=92s writing =93bristles with an exuberant= improvisatory=20 energy, telegraphically connecting linguistic probes and self-directed=20 cross-examination,=94 writes Charles Bernstein. His poetry is =93the medium= =94=20 through which =93scrape and reverberation,=94 =93interpersonal interaction,= =94=20 =93interference patterns,=94 and =93weightless crushes=94 have been= successfully=20 =93sanctioned and effected.=94 His compositional tactics are performances in= =20 themselves, and a poetry performance by Steve Benson is always playful and= =20 surprising. Benson has performed throughout the United States and in=20 England. His books include Blindspots (Whalecloth), Blue Book (The=20 Figures), Reverse Order (Potes and Poets) and Rolling Rock (Zasterle=20 Press). Identified with the West Coast Language School from its beginning,= =20 Benson currently lives in Maine where he practices psychotherapy. For a=20 compelling discussion of Benson=92s taped-voice performances, see Michael=20 Davidson=92s =93Technologies of Presence=94 in Ghostlier Demarcations= (California). On Bob Perelman: A =93witty analyst of the language writing movement,=94 and= =20 Professor of English at the University of Pennsylvania, Bob Perelman is=20 above all a consummate political and social satirist, =93putting his own=20 version of socio-poetic English on the air,=94 as =93scary as it is funny.= =94 =93We=20 may not have chosen to live inside Dick Cheney=92s mind, but we do. /=20 Wyoming, I read somewhere, is the safest place to live in North America. /= =20 How do you get from Wyoming to Shock and Awe?=94 writes Perelman in his=20 widely circulated anti-war poem, =93Where We Are.=94 Perelman is author of= =20 thirteen books of poetry, including a selected poems, One to Ten=20 (Wesleyan), The Future of Memory (Roof Books), Seven Works (The Figures),=20 and Primer (This). His most recent work, Playing Bodies (Granary Press) is= =20 a collaboration with the artist Francie Shaw. His critical writings include= =20 The Marginalization of Poetry (Princeton) and The Trouble with Genius:=20 Reading Pound, Joyce, Stein, and Zukofsky (California). ***** Organized by Barrett Watten and Carla Harryman; sponsored by an Innovative= =20 Projects Grant, WSU Humanities Center, and the YMCA Writers Voice. For more= =20 info contact Carla Harryman at c.harryman@wayne.edu / 313-577-4988. ========================================================================= Date: Fri, 10 Oct 2003 08:50:48 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Maria Damon Subject: Re: why irony In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" hear hear (or is it here here?) At 1:40 AM -0400 10/10/03, Nick Piombino wrote: >Well said, Kazim Ali. > >Nick Piombino > >Date: Thu, 9 Oct 2003 18:09:46 -0700 >From: Kazim Ali >Subject: why irony > >I woke up yesterday morning morning to Arnold >delivering his victory speech on the radio. His >inflections, his accent, his speaking style, tempered >by current political climate, chilled. > >If I never heard that word "raghead" again-- > >But why must I say this here to the reasonably well >educated--or to my students--or to friends of friends >who found the bombing of Baghdad "humane" because the >Americans were specifically not targeting hospitals, >electrical grid, etc. > >As last time. > >Is it selfish to feel like not "working." Like when I >decided I would certainly not respond to his e-mail >because the writer excused himself by explaining how >he "hates" Bush and "loves" Arabs. > >Why "hate" anyone? Anything. > >It makes me mostly feel tired. > >Amina Lawal acquitted. Thank God. Because of cases >like that people on this list talking about the >"malady" in the Islamic world. Only months after we >(joyfully) embraced said world's poetic forms in >flurry of ghazals. > >But I'm not anyone. Really. > >Why do we have to react against everything with ANGER? >Why "hate" Bush? Why scream slogans? Or raise the fist >in the air? Why do we have to use all the tools of war >in service of peace? > >Why to make "ironic" e-mails that use the words "fuck" >and "raghead"? > >Damage of creating unsafe space, whether intentional >or not, is done. > >We can only hope to act in generosity, in love for >each other, with charitable intentions. > > >--- Matt Keenan wrote: >> I am being ironic. But, I guess that's hard to come >> through in an e-mail >> message. >> >> I hate Bush and I love Arabs. I've lived in the >> Middle East a number of >> years before. >> >> See my anti-war poem, "The Ghost Dance in >> Afghanistan". > > > > >http://www.muse-apprentice-guild.com/winter_2003/matthewkeenan/home.html > > > > Matt > > >===== -- ========================================================================= Date: Fri, 10 Oct 2003 09:25:09 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Maria Damon Subject: Re: keats negative capability chastity eros In-Reply-To: <005801c38eae$1ea35460$b40356d1@ibmw17kwbratm7> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" no sources, but a thought: it seems to me that the porousness, the tabula rasa openness of "negative capability" is less like chastity and more like potential promiscuity. i at least think of the cult of virginity being rigid, part of a system of virtue/evil, that vitiates whatever po(e)tential could be attributed to the "negative space" of the virgin birth canal protected by the hymen. some concept of fluidity, of permeability, seems more akin to "negative capability" to me. but i don't know what the romantics thought, except that shelley believed in open marriage. At 5:41 PM -0400 10/9/03, Michael Rothenberg wrote: >anybody have any thoughts or sources on the connection between >"negative capability" and the Romantic (ie., Keats) notion of eros, >virginity, and chastity? > > >Michael Rothenberg >walterblue@bigbridge.org >Big Bridge >www.bigbridge.org -- ========================================================================= Date: Fri, 10 Oct 2003 09:50:50 -0600 Reply-To: Laura.Wright@colorado.edu Sender: UB Poetics discussion group From: Laura Wright Organization: University of Colorado Subject: Laird Hunt readings in SF Bay area, Oct. 13 & 14 MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit Laird Hunt will be giving two readings in the Bay Area of his new book, Indiana, Indiana (the dark and lovely portions of the night). October 13 Moe's Books (with Robert Gluck) Berkeley, CA October 14 City Lights San Francisco, CA This is a beautiful novel that poets should read too. Hunt's writing is thoughtful and, well, dark & lovely actually describes it. There's a texture to his prose, like Ondaatje's, that perhaps stems from his knowledge of poetry, perhaps stems from him just being a truly good writer. I highly recommend the book, and his reading from it. ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Laura E. Wright Serials Cataloging Dept., Norlin Library (303) 735-3111 ========================================================================= Date: Fri, 10 Oct 2003 09:25:13 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Summi Kaipa Subject: New Langton Arts Diaspora Poetics (SF) features Amarnath Ravva & Jaime Cortez Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed The Diaspora Poetics series has been going strong for over a year now . . . and I think our programming has just gotten better. This week, Amarnath Ravva & Jaime Cortez share the stage. Jaime Cortez and Amarnath Ravva Monday, October 13, 8 pm New Langton Arts, San Francisco 1246 Folsom St An artist and writer based in San Francisco, Jaime Cortez is editor of the queer Latino anthology Virgins Guerrillas & Locas and has been anthologized in numerous collections including 2Sexe, Besame Mucho, and Queer Papi Porn. For Diaspora Poetics he reads from The Burning Bush, a collection of stories about his street/sex life. Amarnath Ravva is a Los Angeles-based poet and video artist whose work has appeared in Interlope, Nocturnes, and Berkeley Poetry Review. For Langton Ravva reads a selection of new prose poems addressing a cultural apprehension of his origins and will show a short video piece titled 1977. Diaspora Poetics brings together writers from diverse cultural backgrounds, and presents experimental writing that addresses the notion of diaspora and the resulting cultural outpouring by poets and writers who are placed, pushed, or choose to situate themselves at the margins of society. Diaspora Poetics receives special funding from the Zellerbach Family Fund. Tickets $6/$4 members, students, seniors Box Office Hours Tuesday - Saturday 12-6 pm And 1 hour before performances Call 415 626 5416 for reservations and group discounts http://www.newlangtonarts.org/view_event.php?category=downstairs&archive=&&e ventId=76 ========================================================================= Date: Fri, 10 Oct 2003 09:34:11 -0700 Reply-To: Ishaq1823@telus.net Sender: UB Poetics discussion group From: Ytzhak Organization: Selah7 http://www.sleepybrain.net/vanilla.html Subject: Good Violence (respects Robert Palmer) MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1; x-mac-type="54455854"; x-mac-creator="4D4F5353" Content-Transfer-Encoding: 8bit Planning an attack on a gritty city/a too tall with an army of sycophants and a castrated bulldog/shout out weight/ all over the funkedelic cracked heads on Kane/can you maintain/too deep in the con/to strike a sicness back into a hood long abandoned/Be blobbin/the mic sucka/he catches wind from an posterior exhuming bitter susses from a 93.P/O/V/Peice the solid dope dumped between couches/as rigs rumble pass your door/shaking your army//still sic/in ol phat farm jact from seeing eye straight boys in thongs/doggy stylin mc’s with anal contractions/Out comes a diorama of a synagogue with jakes running game on da streetz/Stolen skivvies wearing a freshly washed tee/jact his steez/My themes are tactical snapshots/A Scientist transforms into higher being = a blackman/His skin breaks and out comes a negro original persona/more watts in me thoat/swallow up me coad/Clappin puns with duns/Def me causally/Holla dappah while collecting epistles from a boomtown electronic Allah/Watch God’s eye winking at G’z/rocking ready Ethiopians dizzy with the complexity of liquar/ The mystery of letters = assembled to stomp stoopidity into hopeful hip new DISordered ceremonies/citing plantation strategies/Reading palms for robbers/sneaking boxes filled with audio salmonella/in alleys sold to future whores in dust sleeves/who killed it’s creator/and pimped it’s sons as crippled fembots/Thabit/The beat/Thabit/ The beat/Thabit/The beat/The beat/ S’thabit/comin at me well firmé/drop me a spectical in a jiffy/like a bag full of gooey/Straight up/you were standing steady/between legs of shakey homies/Loco’s looking for clues to soothe you/leggo smashin bullies into biddy posses/system tumbler/C’est comme quoi/Check ça/Headphones hooked to mental defectors/I got the bruthas/bet you a dime to 9/what will blow your spot to spits from Timbuktu. Good Violence (respects to Robert Palmer) 2003/1424Lawrence Ytzhak Braithwaite (aka Lord Patch) Fernwood/The Hood/New Palestine -- - ___ Stay Strong "Peace sells but who's buying?" Megadeth "This mathematical rhythmatical mechanism enhances my wisdom of Islam, keeps me calm from doing you harm, when I attack, it's Vietnam" --HellRazah http://www.sleepybrain.net/vanilla.html http://awol.objector.org/artistprofiles/welfarepoets.html http://ilovepoetry.com/search.asp?keywords=braithwaite&orderBy=date http://www.dpgrecordz.com/fredwreck/ http://www.lowliferecords.co.uk/ http://loudandoffensive.com/ http://groups.yahoo.com/group/THCO2 ========================================================================= Date: Fri, 10 Oct 2003 14:10:01 -0230 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Kevin Hehir Subject: mallarme on-line MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Good Friday, I was hoping that someone would know of a decent on-line edition of Un Coup de Des. English or french, it doesn't matter. I know of the one on UBU but I don't think that one is very successful. I remember coming across a good one that I believe was pdf but I have no idea where I saw it. Has anyone ever tried ot do it as flash animation? Playing on the constellation effect/affect. lastly, has anyone heard tell of this: 1977 -------------------------------------------------------------------------------- Toute revolution est un coup de des (Every Revolution ls a Throw of the Dice) 11 minutes Photography: William Lubtchansky (35 mm, Eastmancolor) Sound: Louis Hochet Actors: Daniele Huillet, Marilu Parolini, Dominique Villain, Andrea Spingler, Helmut Farber, Michel Delahaye, Manfred Blank, Georges Goldfayn, Aksar Khaled Based on the poem A Throw of the Dice Will Never Abolish Chance by Stephane Mallarme Filmed on location in the Pere Lachaise Cemetery, Paris, May 1977 lator gaters, kevin angel O'hehir -- ========================================================================= Date: Fri, 10 Oct 2003 10:00:40 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Summi Kaipa Subject: Interlope #9 is out! Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed Interlope, the journal of Asian American poetics, has just released its 9th issue featuring work by: Minal Hajratwala Michelle Naka-Pierce Jerrold Shiroma Ken Tanemura Hung Q. Tu Tim Yu Single issues are available for individuals at $5/each. (If you are an institution wishing to acquire issues, please backchannel me.) Please send checks (payable to Summi Kaipa) to: Interlope PO Box 423058 San Francisco, CA 94142 NEWS: Interlope #10, to be published this winter, will be the final issue of the magazine. It has been a rewarding endeavor, and I thank all of you who have supported it. If you know writers who might be a good fit for this last issue, please forward them to me. (summikaipa@earthlink.net) Best wishes, Summi Kaipa ========================================================================= Date: Fri, 10 Oct 2003 13:33:50 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Gary Sullivan Subject: Reminder: "In Others' Words": Parody & Pastiche | Segue @ BPC Mime-Version: 1.0 Content-Type: text/plain; format=flowed The Segue Reading Series at Bowery Poetry Club presents: In Others' Words: Parody & Pastiche Saturday, October 11 (tomorrow) 4:00 p.m. to 6:00 p.m. Bowery Poetry Club 308 Bowery, just north of Houston, in NYC Charles Bernstein, Brandon Downing, Brenda Iijima, Jack Kimball, Brendan Lorber, and Michael Magee (if his wife doesn't give birth before then!) "write through" others (names, texts and lexicons) for this, the first Segue Parody & Pastiche Party. Thanks, especially, to Charles & Brenda for agreeing to read at the last minute! (Katie Degentesh, Benjamin Friedlander, and Drew Gardne--listed on earlier announcements--were unable to attend. Assuming the BPC has a screen of some kind, we'll be showing a "very special something" during the break & after the reading that you won't want to miss ... Hope to see you there! _________________________________________________________________ Try MSN Messenger 6.0 with integrated webcam functionality! http://www.msnmessenger-download.com/tracking/reach_webcam ========================================================================= Date: Fri, 10 Oct 2003 13:40:28 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Joe Amato Subject: carleton college next thursday eve... Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" for anyone in the area, i'll be giving a talk on new media at carleton college next thursday evening (the 16th) at 7:30 pm in boliou 104... free and open to the public... please stop by and say hi!... best, joe ========================================================================= Date: Fri, 10 Oct 2003 14:07:43 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: mIEKAL aND Subject: Re: carleton college next thursday eve... In-Reply-To: Content-Type: text/plain; charset=US-ASCII; format=flowed Mime-Version: 1.0 (Apple Message framework v552) Content-Transfer-Encoding: 7bit what's new media in 2003? On Friday, October 10, 2003, at 11:40 AM, Joe Amato wrote: > for anyone in the area, i'll be giving a talk on new media at > carleton college next thursday evening (the 16th) at 7:30 pm in > boliou 104... free and open to the public... > > please stop by and say hi!... > > best, > > joe > ========================================================================= Date: Fri, 10 Oct 2003 16:05:09 -0400 Reply-To: olsonjk@delhi.edu Sender: UB Poetics discussion group From: Kirby Olson Organization: SUNY Delhi Subject: Re: why irony MIME-Version: 1.0 Content-Transfer-Encoding: 7bit Content-Type: text/plain; charset=us-ascii Kazim, As painful as it is, the Malady of Islam is a book written by an Islamic author from Tunisia. I am sometimes afraid that to look the other way and pretend all's right is equally a crime as looking and saying that there is a problem. I'm not saying that Bush can fix it. There is a weird feeling I have gotten over the last thirty years that many poets think the police should be disbanded and we can all get along. Peace is not something that you can just have. There's an exterior world, even if Lacan would have it otherwise. Even the Dalai Lama recognizes this, although he too doesn't want police or an army in his country. And so he's living in exile, and his people are being slaughtered. I don't hate anybody, but I prefer the hedgehog to the ostrich. War and peace are interrelated. -- Kirby Olson ========================================================================= Date: Fri, 10 Oct 2003 16:02:06 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Joe Amato Subject: Re: carleton college next thursday eve... In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" miekal, my best short answer to what i think you're asking me: http://ratchetup.typepad.com/daf (scroll down to my head) my talk ("three movements in search of a medium") is a talk, finally, and will try to work some different formal-generic constraints, so as to effect the more affective aspects of digitality... or something like that!... but i'm sure to wax autobiographical in part, as i just can't seem to get out of my own way... best, joe ========================================================================= Date: Fri, 10 Oct 2003 21:21:14 +0000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: laura oliver Subject: Re: Bilingual Poetry Reading Mime-Version: 1.0 Content-Type: text/plain; format=flowed Where is the reading? _________________________________________________________________ Instant message during games with MSN Messenger 6.0. Download it now FREE! http://msnmessenger-download.com ========================================================================= Date: Fri, 10 Oct 2003 15:30:36 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: kari edwards Subject: Barry Schwabsky & Eileen Tabios; West Coast Book Launch for, OPERA: Poems 1981-2002 (Meritage Press, 2003), by Barry Schwabs Mime-Version: 1.0 (Apple Message framework v552) Content-Type: text/plain; charset=WINDOWS-1252; format=flowed Content-Transfer-Encoding: quoted-printable ANNOUNCING Reading by: Barry Schwabsky & Eileen Tabios West Coast Book Launch for, OPERA: Poems 1981-2002 (Meritage Press,=20 2003), by Barry Schwabsky. Sunday, Oct. 26 7:00 p.m. 3435 Cesar Chavez #327 San Francisco, CA Barry Schwabsky was born in Paterson, New Jersey, and now lives in=20 London. He is a curator, an editor for several leading art magazines including _ Artforum_, an art/literary critic who writes regularly for the _London=20= Review of Books_, and lecturer at Goldsmiths College, University of London. He is=20= the author of several monographs on contemporary artists, _The Widening Circle: Consequences of Modernism in Contemporary Art_ (Cambridge University=20 Press), and the critically-praised Introduction to _Vitamin P: New Perspectives in=20 Painting_ (Phaidon). Information about his book _OPERA: Poems 1981-2002_ is=20 available at http://meritagepress.com/opera.htm. Eileen Tabios is a budding hermit in St. Helena, CA. She has written or edited 12 books of poetry, fiction and essays since 1996 when she left=20= a banking career for poetry. Her most recent collection is _Reproductions of the=20= Empty Flagpole_ (http://marshhawkpress.org/tabios.htm). Forthcoming is=20 _Menage A Trois With the 21st Century_. She concocts mischief and mischievous=20 poetics at her infamous blog "CorpsePoetics (Formerly WinePoetics)" which is=20 available at http://winepoetics.blogspot.com; she doesn't monitor her hits but=20 the Blog is read by "nine million peeps" globally. The reading also serves as a Bay Area Book Launch for Barry Schwabsky's=20= OPERA . To celebrate -- and reflect that Poetry is a gift -- attendees will=20= receive "=46rom Ecclesiasticus" -- a 2003 limited edition wine-drawing/poetry=20 broadside by Eileen Tabios and Barry Schwabsky. OPERA will also be given free to=20= the first 10 attendees. Last but not least, if it is available on time,=20 Eileen Tabios plans to share her prize for winning the 2003 Judds Hill Annual=20= Poetry Contest: a three-liter bottle (equivalent to four bottles) of Judds Hill cabernet. ************************************************************************ DIRECTIONS: to 3435 Cesar Chavez #327 between Valencia and Mission, on the South side of Cesar Chavez is a=20 parking lot entrance; which when you first enter from Cesar Chavez will=20= be (some) guest parking. Parking in the area (on the street) is not to=20= bad. Once you have entered the parking lot go to your left past a=20 small printing company and directly behind that (to the west) will be=20 double glass doors. @ left of the Doors is a =93buzzer system=94 press = the=20 number 043. someone will pick up the phone and buzz you in. Mass transit. Bart - get off at 24th go south on Mission, (the numbers will get=20 higher) walk 3 blocks, cross Cesar Chavez (there will be a stop light)=20= go right 3/4 of a block, turn left in to parking lot. MUNI- get off @ 27th walk north (the opposite direction the muni would=20= be going from down town) walk one block turn right on Cesar chavez,=20 Cross Delores, Guerrero and then cross valencia, turn right into first=20= parking lot. Buses- on Mission take (going southish)- 14. 14L, 49 (get off at 26th -=20= 1/2 block from cesar chavez - walk south - cross Cesar Chavez turn=20 right; Valencia - 26 get off just past Cesar Chavez , cross Valencia on=20= Cesar Chavez, turn right into parking lot.. ________________________________________________________________ This is another home reading brought to you by, Taylor Brady, Stephanie=20= Young, and kari edwards. ========================================================================= Date: Sat, 11 Oct 2003 01:12:30 +0200 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Karl-Erik Tallmo Subject: You must never try In-Reply-To: <5E685FB8-FB71-11D7-979A-003065AC6058@sonic.net> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" You must never try. It is very important to understand the difference. It is not complicated. The address is like a machine. The address is like a voice. If you make a mistake you will quickly realize it. No harm will have been done. No harm will ever be done. People get mad. It works. Thousands of people expect a lot. People get upset if you issue commands. If you do not trust the system, after a while you may find this annoying. Mail will look different. You will know immediately that this is an acknowledgement. You should not publicly GIVE. Finally, you can turn completely. Finally, you can turn. /Karl-Erik Tallmo __________________________________________________________________ KARL-ERIK TALLMO, poet, writer, artist, journalist, living in Stockholm, Sweden. MAGAZINE: http://art-bin.com ARTWORK, WRITINGS etc.: http://www.nisus.se/tallmo/ __________________________________________________________________ ========================================================================= Date: Fri, 10 Oct 2003 19:09:11 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Crag Hill Subject: Postal Addresses Needed MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Folks: Please back channel if you have current postal addresses for Robert Mittenthal, Lewis LaCook, and Mike Basinski. Best, Crag Hill http://scorecard.typepad.com/ ========================================================================= Date: Fri, 10 Oct 2003 23:06:59 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Joe Brennan Subject: Mary Carey's Concession Speech Comments: To: frankfurt-school@lists.village.virginia.edu, corp-focus@lists.essential.org, WRYTING-L@LISTSERV.UTORONTO.CA MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Click here: The Assassinated Press > >> Mary Carey's Concession Speech: >> California Gubenatorial Candidate Mary Carey's Concession Speech Before >> Supporters At The Lucille Ball First Resurrection Church In Burbank: >> Governor Elect Frankenegger To Name Carey Comptroller > They hang the man and flog the woman That steal the goose from off the common, But let the greater villain loose That steals the common from the goose. Constant apprehension of war has the same tendency to render the head too large for the body. A standing military force with an overgrown executive will not long be safe. companions to liberty. -- Thomas Jefferson "America is a quarter of a billion people totally misinformed and disinformed by their government. This is tragic but our media is -- I wouldn't even say corrupt -- it's just beyond telling us anything that the government doesn't want us to know." Gore Vidal ========================================================================= Date: Sat, 11 Oct 2003 00:06:05 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: Vedic Mathesis MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Vedic Mathesis (mod from Jagadguru Swami Sri Bharati Krsna Tirthaji Maharaja) By before.. y By one y e one more e than e n than the n before.. e All 10.. l All from l m from 9 m and 9 d and last e t last 10.. m Vertically Cross-wise. Cross-wise. d Transpose Apply. Apply. d If Zero. f If Samuccaya e a Samuccaya is a s is Same e it e Zero. s One f in s Ratio n o Ratio Other e r Other Addition y by d Subtraction. y Completion e or n Non-Completion. r Differential Calculus. Calculus. l Deficiency. e Specific General. c Specific General. d The Digit. Remainders e Last e Digit. t Ultimate e Twice d Penultimate. e Less e Before. e Product e of t Sum. e Multipliers. e Proportionately. Proportionately. Remainder e Remains r Constant. s First e Last. e For 143. 7 r Multiplicand e 143. s Osculation. y Lessen Deficiency. Whatever up. Deficiency e lessen y that y amount t set d up. t p Deficiency. Square e Totalling t g Totalling 10. g Only Terms. Terms. t Sum e Products. e Alternative y Elimination e Retention. d Mere y Observation. e On Flag. Flag. e _ ========================================================================= Date: Fri, 10 Oct 2003 22:40:26 +0000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Chris Stroffolino Subject: GRAVES Bros deluxe nat'l tour Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit A great band based in SF--- For any of you interested... Chris As you know, the record release party for the Graves Brothers Deluxe's FILTER FEEDERS CD takes place Sat Oct 11 at Thee Parkside, 17th St. @ Wisconsin, San Francisco, CA! 10pm, 7 bucks, Boston's MR. AIRPLANE MAN and SF's ROCK & ROLL ADVENTURE KIDS also play. If you don't make it, you're beyond help. Check out the first press trickling in for Filter Feeders: http://lmnop.com/LMNOP-Reviews-October-03.html#anchor720456 Stoo Odom has been extra insufferable since reading that he's "intensely sexy." Stay away from him. AND NOW, the Filter Feeders 2003 US tour! There will be updates, as dates are still being added. Please check in at http://www.gravesbrothers.com/news.shtml for new info, or email us if something confuses you. Tell all your farflung pals to get their arses out! GBD needs you now and offers you more than ever: - Wed 10/22 Saffire Rose Cafe, Eureka, CA - Thu 10/23 Ash Street Saloon, Portland, OR, w/ Nervewheel - Fri 10/24 Voodoo Room, Astoria, OR, w/ Nervewheel - Sat 10/25 Sunset Tavern, Seattle, w/ British Sea Power, Nervewheel - Sun 10/26 Bob's Java Jive, Tacoma, WA, w/ Nervewheel - Wed 10/29 7th St. Entry, Minneapolis - Thu 10/30 Dinkytowner, Minneapolis, w/ Vortex Navigation Company - Fri 10/31 Elbow Room, Ypsilanti, MI, w/ Ssion, Danse Asshole - Sat 11/1 Mac's Bar, Lansing, MI w/ Captured! By Robots, Jet By Day - Sun 11/2 Pat's in the Flats, Cleveland, w/SpeakerCranker - Tue 11/4 Mohawk Place, Buffalo, NY - Thu 11/6 Knitting Factory, New York, w/ The Red Comes Up, Bottom of the Hudson, The Ruby Doe, Jai Young Kim - Sat 11/8 Night Light, Chapel Hill, NC - Sun 11/9 Local 506, Chapel Hill, NC, w/ Defenestrator, Starlite Drive - Wed 11/12 Satori Sound, Mobile, AL, w/ Jai Young Kim - Thu 11/13 Thirsty Hippo, Hattiesburg, MS - Fri 11/14 Matador, New Orleans, w/ Happy Talk Band - Sat 11/15 Mermaid Lounge, New Orleans - Sun 11/16 710 Room, Austin, TX - Mon 11/17 El Paso, TX (tbd) - Wed 11/19 Los Angeles (tbd) - Thu 11/20 The Prospector, Long Beach, CA w/The Movies, Paper Planes - Fri 11/21 Old Ironsides, Sacramento, CA Did we mention, sh*t we love you? If you'd like to be removed from this list, please respond to this email with "Ahnold? Enron? What, me worry?" in the subject heading. ========================================================================= Date: Sat, 11 Oct 2003 01:02:45 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: August Highland Subject: ASSEMBLY LANGUAGE/TOUCH-CAPABILITY=YES MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit ASSEMBLY LANGUAGE/TOUCH-CAPABILITY=YES DISK #0000001: More to computers =-=-=-=-=-=-=-=-=-=- always amazes me. For all the other, Ma ker : to capable of Multi-. The advantages fau lt). 0, par ent oid eck re sul. Point of, C - Or gan If you know what. DISK #0000002: Ign ed cha =================== Have you heard. System, but, it too will be +G etS. The things basic this system, yet, or. Close to assembly available for the. Have to hangup to works? The program keyboard. It. DISK #0000003: + 4 .2 to, but the computer RT RA N. Efficient code when someone says STUFF IS DONE IN. I pressed it into, The disk drive to teach. Instance basic basic tend And all the error-. Ma rks : of apples and. DISK #0000004: Ers ion of at, unimportant (to his an aly. To handle well documented!!!) the computer. I. Are was permited on this WITH. Best for certain, style is RESULT- system, but. +g etn found the real be?? or. DISK #0000005: Is it totally, idiots who blather Let me modify. Ol=fa lse, doubt this, tell me y:f loa t & , z: floa. It. i don't like am e(.. .):V oid - (d CD iag Item. Find a good mechanic, I wan't to use nd at th e fo. Every microseconds being good or bad is Micro owners,. DISK #0000006: ))))))))))))))))))) \/\/\/\/\/\/\/\/\/\/. In order for it therefore VERY TRS, Commodore, etc.. Fortran. right that it has some If it doesn't it is. Of the real life, OL=FA LSE. 00 ev ts ) that clear. DISK #0000007: Cm ake r c las s o rga, gLa OO T). Editor to make the +S etP opinion that the. ____________________, are rejects, they chars (it is much. 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Incompatible in the execute , preprocessors for. Lf ast anywhere from the. Existance? hia wr app REPETITIVE STUFF FOR. Problem. the impossible to even +O nTh. DISK #0000018: U` de, commercial software porgrammer because. Probably comes, U` de it until the need. S=s, Megawords???....B.A a good article. +g etc pass.) case why kill. .................b You don't miss the problems of real. DISK #0000019: Any attempt to the Ta g t o m AT LF Tra. Accidentally dumping disks I use on BWMS /////. Investment in, series of They may be. Saves some bucks., +U pda to Basic because I. Hours a day. Also it caused some very beginning. august highland muse apprentice guild --"expanding the canon into the 21st century" www.muse-apprentice-guild.com culture animal --"following in the footsteps of tradition" www.cultureanimal.com ========================================================================= Date: Sat, 11 Oct 2003 01:07:08 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: August Highland Subject: 3 WORKS MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 8bit 1. LAS VEGAS TRIALS/STREAKING PRESIDENT EVIDENCE #0000001: Welcome to all newcomers,, tums ty yclic ycly DID act actic acts actyl apper dle dled dler pertaining to this research,. Tertes reus- able e ed es ing reutter s rev reva- lue lued lues roll rolls room rooms rug rugs s sheet side sides sit sitssonia here ire ired irer ires irit INSTA- ble l ll lls ls nce ncy nt. 96..jan j. 1-16-01 randee p casual Grill with soft music ed ings BLELLUM s BLEM- ish BLEN- ch ched cher ches d de ded. My life and give thanks for work the steps, all the steps,. Just see them hurting driving to work, eating lunch, oke uct INSUL- ant ar ars ate in ins t ted ter ts INSUR- ant e. EVIDENCE #0000002: Not be. sharing..from a day at my HP's guidance. YFIR.... Day gambled: 7/08/00 grateful tive tron ts POSO- logy POSS- e es ess et ets ible ibly um ums From: Wisconsin. Running for over 25 years and how I was doing I said "I'm ly ned ner ness nest nigan ning s t tage tages ted terters ting. Lash ed er ers es ing ingsins kar kars lasi- ng lass es ie ies, kar kars mony ngngs node sade sh PALL adia adic ed et ets ette journey for you...One has to. Ourselves..firt by being rule is ODAAT!.........wishing this web site, you recognize. EVIDENCE #0000003: Birse s birthday ed ing s bis cuit cuits e ect ected ector ects, needs help, can help, or wants day.....ysir Amber Last Day. Support for each other going. correct since I don't use the haven't told anyone I was. Than gamble. every section of celebrating with Warren his ~~~ I'll be back :-) From:. Get back to my center. also, ctly ctor ctors cts long mite mites mitic muri murus now psin. Year. i saw the new addition kish ksky orini orino s tase tases tate tates ten tens tic tin usal usals use used user users uses using ynt ynted ynts ARPE-. EVIDENCE #0000004: T ts adjourn s adju- dge dged dges nct ncts re red rer rers res pleasure of visiting them a. Best and have a very nice jams o ogram oi omach os otype otypy roll rolls s way ways something..a. As well, carpe diem, carole Advocate at the University of. Presents is set and i recieved for your sharing and posts. stle stlesthece thegm them thems APPA- l ll lled lls ls nage. Ler lers les ling ul uler uls inhe- re red rent res ring rit Marie Friday, 2/14/03, 9:11 PM eeable ed eless ely er ers es esake etag etags ing NAN. EVIDENCE #0000005: Then it is not successful. it with us..Your Not ifies iform ify ilie iliesillie jet jets med mer mers mier. It, of course." from: arizona slowly...one day at a recovery. Not that I got it. Diane saturday, 2/15/03, 5:20 and tired of being sick and ers ing inglywood woods PNEUMA s POACE- ous POACH ed er ers es. Er ers ier iest ilyiness y icon es ic ical s ict- eric erics, homegroup women GA friends what it is to have little, and. Pm yes, jennifer, please post, than promotion. Long term ves ving THRO at ated ats aty b bbed bber bs e es mbi mbin mbus. EVIDENCE #0000006: Days!!! really bad cold and I was relieved to know that statement, I want a clean tax. Am afternoon roic wn UNHI- nge ngednges p red tch UNHO- lier lily ly od oded in ins CONTE mn mns mpt nd nds nt nts s st sts xt xts CONTINU-. The other persons behaviour won. From: MICH E-mail: PINA fore ng ngs s ster tatas PINB- all alls one ones PINCER s. Shopping for my family. HEP arin arins atic atica atics atize atoma cat cats tad tads. Es llon na nae nal nas nate ng oca ocasole oles ous tas cark ed shortened the time span for ward wide CIV- et ets ic icism ics ie ies il ilian ilise ility. EVIDENCE #0000007: Pier pily py glunch ed es gluon s glut eal ei elin en ens eus s 8:14 AM E.E. Cummings wrote, byes grass ier iers less let lets like ose oses osome s wort. Opees oper opers oping opla oplas opsosh oshed oshes osis p been missing. My b/f and I. The more you pursue it, the beautiful Sunday morning with. Last day gambled: 2-6-03, DRUIDess ic ism s DRUM beat ble bled bles fire fish head lier reconciling. Now! e-mail: like them, he used the ESCARgot ole p ped ps s ESCHA- lot r rs ESCHE- at ats w wal wed. EVIDENCE #0000008: Feel fulfilled a purpose. but, who wanted to kick my ass into FEE ble bler blest blish bly d dable dback dbag dbags dbox. Knesset s knewkni- ckers fe fed fer fers fes fing ght ghted est ly s EAGLE s t ts EAGRE sEANLING s EAR ache aches drop in the chats. From: Wisconsin. 'potluck' food is great and of, bill billsed en er ers es ier iest ily iness ing ings like and JimA thanks for good. Tria- ble c cid cids cs d dic dics dism ds ge ged ges ging l ls per pers pier piest pily ping ple pled ples py s NIRVAN- a as. Us...that is why some times in, doing, hang on anniversry. life is so much. EVIDENCE #0000009: 12 oct 98 tles tly ts zka zkas zska BROBROACH ed er es BROAD ax axe en. The warmth and freindship of erce ie ies it its ix ixed ixes ixt ode odes ononer only ons ack acks el ell ells els iage ied ier iers ies iole ion. Reflection for the day..what Happy belated Valentines Day.. 93.. kathy s. 10-15-96..steve I feel like I know him just. Share it "live"..bake a cake and also at Warren's 10 Year for on this site..How about. EVIDENCE #0000010: Questions. maybe we have crust d dfort dmont fort forts ing plant r rce rced rcer rcers. S y elo- dea deas ign ignedigner igns in ined iner iners ining Predatory "13th stepping". tor toral tored tors trine ument DODDER ed er s y DODG- e ed em. Thoughts....in our society,, rs s thyl TRIF- ecta id le led ler lersles ling ocal old oria this is the SO GOOD. Feel the strongest urge to go, sed sel sels ser seret sers ses sier sierssil sils sing t DOT myself of all the blessings I. The warmth and freindship of mrel nch STAV- e ed es ing STAW STAY ed er ers ing s sail STEA- good now at home(my husband). EVIDENCE #0000011: Puni- er est ly ness sh shed sher shes tion tivetory punk a ah embarressed to talk to anyone.. My head down on the pillow learn more about women. "ga ga" over such a simple act providing I do not have that. Again ? lol. old habits die SEMO- lina SEMP- le lice re SEN SENA-rii rius ry te tes tor lets like meat meats meg megs pick picks ria rias rient s sedge. Feels that he had to send me, day, my sister called me at would post. My s/o's attitude. EVIDENCE #0000012: Led ler lers les let lets ling on ons s cour- age ages ant ante Then we watched "The Devine certain success rates, etc. I. Fellowship the friendship i es exexes i ier iest iness ing k ker kest kier kiest kily ks ky know with your help and the. Ionsitch och om omed oms ot otin ots oty s y yall ying yon yons SWOOP eder ers ing s SWOOSH ed es SWOP ped ping s SWOR- d dman to experience recovery. The. For granted, including the, page ped per pers pier ping ps py s STUN g k ned ner ners ning AM. Set the timer for that swedish and go..and then just poop ed es y GROUND ed er s GROUP ed er ersie ies ing oid s GROUS- e. EVIDENCE #0000013: Once involved in on a much Day..stopping in to wish All Seattle E-mail:. Discussing aa and treatment in g gs PAGOD a as sPAGURI- an d ds PAH lavi lavis oehoe PAID PAIK. I live near boston completely.I thought "whats uli ulus y ying STINGer ers ier ily ing o os ray s y STINK ard. Relax and have faith. trying, and i don;t think it would process continues to allow me. Mental, physical, and anything...watch Lifetime(MY is great that you are one out. ================================================ 2. FUNCTIONAL AMBIGUITY/ASYNCH CURRENT THREAD #0000001: Rades Ambig"uitat deguda a BUY>S. Waw>els RASEHPT. Collector .in functional [y=e 1. THREAD #0000002: 1, POSEHSTY 2. Bus>hksty controlats . . . . .. Aides, 2 FAD>EOSY. Toe>adsy, UVA>ES howe ver ,the. C. goldstein., . . . 11 2.6 Sobre ir. THREAD #0000003: Noggs ence on Lisp 1. 2 2. Rho>s S [y. . . . . . . . . . . Internet? . . . . .. THREAD #0000004: Verlag lncs., TEST 2. 1, 1 ENGS. Bok>eos, list strate Ambig"uitats mixtes. Adequeue: local work ishandled, ILLSY (IStore). Gonegks Idand pH .In 1. THREAD #0000005: 2, TISEIS. Michael neely ,and david LEU ,number. 5.1 bases de dades instead YUG>AS. X=y POH. THREAD #0000006: Gem>s 56 7.3 CAT, HAMT i 117-124,. Oops b`asiques sobre. Non-strict programs into sequential, Memory Model for Architects 1. Noggs OILSY. 2 ,May 1978. 1. THREAD #0000007: Lays Ambig"uitats mixtes REV>S. Byes BEZ. Mit ,2000., 1 1. 1 2. THREAD #0000008: . . . 51 6.3.6 del RIPEPST TAN>AEGHKS. Mho>s, ofId. InA Classical message,. 2 SAG>AEOSY. Hishnst, ENSS ILKAS. THREAD #0000009: 1, WOTS FEN>DIST. [134] guy tremblay TWO>S HOODFKNPT. Say>s, OURNS ir. THREAD #0000010: Work stack. . . . . . . . . . .. Nowlnsty CHI>CDKNPSTVZ . . . . . . . . . .. EmsS GOELRSY. Symposium on principles, . . . . . . . 50 MOP>ESY. . . . 20 3.4 adreces, processors. GAE>DS. THREAD #0000011: . . . . . . . . . 57 KAE>DS. Kt, NILLS ofId. InA Classical. Guv>s . . . . . . . . . . 1The defer rule tells us that. Pureilrs FEW. THREAD #0000012: Vox WOST ). Ends CUE>DS .The defer list itself. Hask ell compiler 3 and the Limits. THREAD #0000013: Cub>es DAK>S DAG>OS. 1 GALAELS MAP>S. 1 . . 21 3.7. Tan>aeghks "cop ying work". 1. Hims, Processadors de 1. 1 KIR>KNS. Sea>lmnrst [110] Andr 'eSantos. Langua ges and. Nim>bs, CRUDSX 2. Ying threads, TOR>CEINRST MAY>AS. THREAD #0000015: Fad>eosy, AWEDS 1. Exercicis i, . . . . . . . . . . wn). "cop ying work". EELSY. Awls P.Cheng, C.Stone, R.Harper ,and P.Lee. Require? InFunctional. Algorismes . . . . . 1 2. THREAD #0000016: 1, HOSEST WEYS. 2, 1 WUD>S. Nagas, . . . . . . . . . . PYX. THREAD #0000017: J, Langua ges and LEEDKPRST. Avals, ofthe ACM Symposium inan eager calculus.. Original de 7 bits . 1 l'ambig"uitat . . .. THREAD #0000018: Ence on lisp . 53 7.2 TAX>AI. Pom>eps SOV>S. . . . . . . . . . . ZAP>S 1. 1, . . . . . . . . 47 . . . . . . . . . 57. THREAD #0000019: Multithreading for lenient, GOD>S JAY>S. [137] philip wadler .deforestation: TAGS. Fop>s 1. THREAD #0000020: Tip>ist 1. 1 1 for Scheme.. Jeedlrs list and. Section 4.6 briefly 2 BOT>HST. ======================================== 3. EVACUATE CAMPUS/NO TUITION REFUND MEMO #0000001: 20011219|last day of class|sfsfs 00001180 - fdssgdfgdqfg. 20020204|201 2hrs| 20030219|| 20020516|8:15 Court date|fdfd. 20030501|do worksheet 3-1|, 20010224|Consummated|sssss 20030722|4.5 hours GU|. 20010320|trig 1.5|,,,,,,, 20030829|1530 getting married| 20010709|Cristina´s primer lección|dfdfdf. 20011017|tolerance|sss 20010828|Ajeska online meeting|Tuesday 20001026|Dancing Lessons 1100|Salsa. MEMO #0000002: 00000705 - alexandra roy 00001145 - tibo 20010709|Cristina´s primer lección|dfdfdf. 20001112|depart on the 23 intead of 22nd amtrack|c 00000830 - Loki. 20020128|mat121 2hrs| 20020305|lcr hcc116 1330|. 20030506|do language page 100 & 101 & 102| 00001090 - 20030429|Finish Final copy|. 20030815|aims confirmation|, 20011003|Call BLackboard Respondus|dfdf 00000955 - mel-vaness. MEMO #0000003: 20010419|consummated|eeeeeee 20000919|1 NIC| 20000818|Work Start|Hartnell. 00000800 - mowgli 00001520 - mavrix 00000670 - scritch. 20010329|trig 1.5|yyyyyyy 00001280 - jp 20020816|Back to work|. 20010212|call the doctor|sleep 00000870 - DAM 20030707|4.5 hours GU|. 20030129|9;oo check un doctor|, 20020422|Bottock 1530| 00000670 - gajesssssssssss. MEMO #0000004: 20010911|1 hr nic|ii 20011022|1 hr lab|sdfs 00001205 - dimmuborgir. 20020312|3 hrs|, 00001060 - mel-vaness 20021023||. 20020112|rick le vine meeting at 1200| 00001020 - wibip. 20020406|table for 6| judy 1400 hrs
444 castro st
high rise bank of america #702
cross street california
9650 934 0800 00001070 - dfdf 20001114|macromedia|hi. 00001405 - tibo, 20011107|Boss evaluation MAT16 from 10-11 a.m. room C279|Wednesday, November 28, MAT16,
> >from 10-11 a.m. room C279. 20020727|Stockholm return trip|. MEMO #0000005: 20010910|1 hour lab |l9, 20021024|lawyer Welch| 20020406|table for 6| Judy 1400 hrs
444 Castro st
High rise Bank of America #702
cross street CAlifornia
9650 934 0800. 19990509|mother's day|mother's day, 00000520 - SEB 20010502|Doctor's Appointment 9:45|sssss. 19990911|rosh hashanah|rosh hashanah 20011106|Train resevaciónes|sfsfsdfe. 20010823|1 hr nic|fff 00001015 - Nicolas. 20010420|div|div 20020923|Meet with Dr Valeau bond measure|sf 20030523|Payday Bravo|. MEMO #0000006: 00000880 - mowgli 20020910|Math 121 1.8 hours|. 00001085 - nicolas 20001020|Paid Brooks Cole|1400. 20001118|sub perkins calc. and stats. |, 20010927|1 NIC|sdsf 20020822|Subpenas Due|. 00000930 - audrey 20010210|Collected NIC| 00000985 - tibo. 20011003|fill flex sheet|sdfsdf, 20010831|Refinance Home|eee 00005560 - Frad. MEMO #0000007: 00000915 - moi 20010228|759 1835|ssss. 19990215|president's day|president's day 20011214|Divisional Meeting|Divisional Meeting 20020205|math 210 2hrs|. 00000250 - nahuiel, 20030506|Do Language Page 100 & 101 & 102| 20030525|Take Test (Unit 5)|. 20010412|consummated|, 20010201|trig 1.5|iiiiii 19980410|Good Friday|Good Fridayf. 20020925|proposition h|, 00001490 - mel-vaness 20010927|Colleen States her love for moi|blah blah. MEMO #0000008: 20010524|1.5|dddd 20021011|Amtrak tickets|. 20010315|trig 1.5|rrrrrrr, 20030509|Read "Through The Tunnel"| 20000925|Mesa 1 hour|mesa. 19991125|thanksgiving day|thanksgiving day 00000935 - julie 20020130|mat121 2hrs|. 20001024|call thunderlizard|macr 20030302|sent employment verification: Hartnell, Southewst| 00000945 - mel-vaness. 20000913|1 hr mesa|mesa 20001021|ELC program. 10:00|Wes Valley College. Doctoral Program. 805 687 1099
www.fieldig.edu 20030109|yoli returns home|. MEMO #0000009: 20010405|lunch anderson 1430|ddddd 20011018|Conga room|df 20020523|Court Pre-trial 1000 |. 00000214|valentine's day|valentine's day 19990906|Labor Day|Labor Day. 00000675 - yyyy 20001013|Div|Div. 00000550 - gajeeeeeeeeeeee, 20030722|4.5 hours GU| 20001226|Call dr seliver Klien|Sleep. 20001127|consummated|cm, 20001103|consummated| 00000795 - thierry gu. MEMO #0000010: 20030131|city college of san francisco| 20011207|sub for stoddard 2hrs|sfsfs 20010927|Colleen States her love for moi|blah blah. 20030417|angela felt sick| 00001180 - fait chier 00001100 - mrfish. 20010408|sleep at hospital 7:30|ddddddd, 20030731|sumitted final time sheet GU| 00001040 - tibo. 20001114|consummated|amor, 00000695 - celine 00000600 - alexandra roy. 20030723|2 hours gu| 00001315 - théo 20001222|Meet Igual|advice. MEMO #0000011: 20030502|read "to kill a mockingbird"| 00000975 - crevette. 20010131|call sleep center|sssss, 00001245 - (RE)NA 20001007|consumated|****. 20001124|last drop date.|w 20020310|Collect math 201 but not BCA|. 20011206|mat123-0314 9-10 a.m. room c279|phil stoddard's classes that need a sub:
thursday: mat123-0314 9-10 a.m. room c279
friday: mat3a-0290 8-9 a.m. room c279
mat123-0314 9-10 a.m. room c279
20001021|2 hours Mesa| 20010315|trig 1.5|rrrrrrr. 20021127|los angeles| 00001740 - mavrix 20030522|Read "History Lesson"|. MEMO #0000012: 00000540 - fred 20021014|Second Evaluation Meeting 1500| 20010131|Trigonometry 1.5|ssss. 20001127|henry body man|bridge 1 st, 00000695 - celine 20010616|BHT, IRS, Brook, deposit,|ssss. 20010201|trig 1.5|iiiiii, 20010304|Consummated|ssss 20001106|Turn in time sheet|. 20000920|make geometry test.|122 20011024|Paperwork for Tutor|sfsf 20000920|Lunch with Colleen|cool. 00001165 - arnold, 20020727|Stockholm return trip| 20000919|mathtoons.com|paid 35 for two years.. MEMO #0000013: 00000430 - marine, 20000920|Call dentist 449 9128|For thursday 20030304|Mission College|. 00000705 - audrey 20000920|Make Geometry Test.|122. 00001730 - whiterabbit 20001202|Brook Cole|. 20020111|mexicali|fdfdf 00000665 - bastien 20020425|Billed Brookscole 5 hrs|. 00001280 - arwewennance 20020903|Math 121 1.8 hours| 00000760 - zoulaï. august highland muse apprentice guild --"expanding the canon into the 21st century" www.muse-apprentice-guild.com culture animal --"following in the footsteps of tradition" www.cultureanimal.com ========================================================================= Date: Sat, 11 Oct 2003 09:43:09 -0400 Reply-To: olsonjk@delhi.edu Sender: UB Poetics discussion group From: Kirby Olson Organization: SUNY Delhi Subject: Re: mallarme on-line MIME-Version: 1.0 Content-Transfer-Encoding: 7bit Content-Type: text/plain; charset=us-ascii I saw this film. It is a one-shot continuous reading of the poem shot below the wall at Pere Lachaise cemetery, against the wall where many members of the commune were shot. It's been twenty years since I've seen the film, but I think that that was the significance of it being shot in the cemetery against the wall there. As the film ends, the camera goes over the wall to reveal modern Paris. there is no commentary. I thought the film was striking, and I still remember it very vividly.. Deleuze uses that line of the throw of the dice and says that any life worth having is a throw of the dice. This is in his book on Nietzsche. -- Kirby Olson Kevin Hehir wrote: > Good Friday, > > I was hoping that someone would know of a decent on-line edition of Un > Coup de Des. English or french, it doesn't matter. I know of the one on > UBU but I don't think that one is very successful. I remember coming across a > good one that I believe was pdf but I have no idea where I saw it. Has > anyone ever tried ot do it as flash animation? Playing on the > constellation effect/affect. > > lastly, has anyone heard tell of this: > > 1977 > -------------------------------------------------------------------------------- > Toute revolution est un coup de des (Every Revolution ls a Throw > of the Dice) > 11 minutes > Photography: William Lubtchansky > (35 mm, Eastmancolor) > Sound: Louis Hochet > Actors: Daniele Huillet, Marilu Parolini, Dominique Villain, Andrea > Spingler, Helmut Farber, Michel Delahaye, Manfred Blank, > Georges Goldfayn, Aksar Khaled > Based on the poem A Throw of the Dice Will Never Abolish Chance > by Stephane Mallarme > Filmed on location in the Pere Lachaise Cemetery, Paris, May 1977 > > lator gaters, > kevin angel O'hehir > > -- ========================================================================= Date: Sat, 11 Oct 2003 09:57:40 -0400 Reply-To: olsonjk@delhi.edu Sender: UB Poetics discussion group From: Kirby Olson Organization: SUNY Delhi Subject: Re: why irony MIME-Version: 1.0 Content-Transfer-Encoding: 7bit Content-Type: text/plain; charset=us-ascii I thought of a multiculturally acceptable image for the intertwining of war and peace: yin and yang! I think that one of the things that is not well understood in the west concerning the Islamic jihad can be seen in the Bin Laden poem. It's the concept of honor. We don't have that idea very strongly any longer except perhaps in certain places in the southern states where I encountered it occasionally. Even the idea of killing women who have been raped, or having nothing to do with them which struck most people in the west as gruesome in the Bosnia footage has something to do with this very complex system of honor. Honor is somehow more important than possessions, or any other thing. I don't really understand this, but I think this is part of what Bin Laden is fighting for, based on the poem that appeared in this list about a month ago. I put the ghazal competition together, and wrote the first ghazal, but then it was assembled by Terrie Relf, and given to August Highland for his Muse Apprenticeshp Guild. I asked my poem to be taken out, as I had already promised all this with an introduction to Larry Sawyer of Milk. But August Highland has kept it, indicating that Terrie Relf put the contest together. This is a sort of Warholesque appropriationist strategy or something. You can just take anything and call it yours. Not that the ghazal is mine! But I tried to get people to talk about this different aspect of Islamic civilization originally, and I am still trying to get at some of the more unknown aspects of that civilization. Can anybody spell out the complex code of honor. You have honor killings to atone for a family's honor, for instance. Sometimes it almost seems like the mafia code. But it's especially complex for women. To have been raped means that you have broken the honor code. I'm not sure how the logic of this works. I saw a documentary called Honorable Murder a long while ago, and I have a vague memory of it explaining some part of this complex cultural web for which we have no real equivalent. -- Kirby Olson ========================================================================= Date: Sat, 11 Oct 2003 10:07:01 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Austinwja@AOL.COM Subject: submissions for blackbox MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Hello everyone. The fall gallery is in the works. I need three visual artists to fill the bill. Hey Bob (Grumman)! If you have extra, how about sending some over? Best, Bill WilliamJamesAustin.com amazon.com b&n.com ========================================================================= Date: Sat, 11 Oct 2003 10:20:12 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: jrothenberg@COX.NET Subject: bilingual reading correction MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 7bit It's been called to my attention that Caroline Crumpacker's announcement for today's bilingual reading omitted the venue. Anyway it's 6:00 p.m. at Bowery Poetry Club, 308 Bowery, just north of Houston, in NYC. Anne Tardos and I will be reading & performing poetry of Schwitters and Picasso -- very prolific poets so lots to cram into an hour or two. For any who can make it ... ========================================================================= Date: Sat, 11 Oct 2003 08:37:35 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: kari edwards Subject: Re: Coultas at SPT, this Friday 10/10 In-Reply-To: Content-Type: text/plain; delsp=yes; charset=US-ASCII; format=flowed Mime-Version: 1.0 (Apple Message framework v552) Content-Transfer-Encoding: 7bit For those that went to other reading in the Bay Area... you missed a wonderful reading by Brenda Coultas from, A Handmade Museum (Coffee House Press, 2003). Magic realism in the real bowery poetic sense of life, gritty, humorous, and beautiful.. if you have ever been to the bowery, which is not to be missed, since it is soon to be disneyfied... read this and smell the urine on the street and see the lost and found faces. this is a wonderful book, I came home and finished it last night, wonderful and beautiful. this is a book of time, date, scenes, cinematic scope along with something that makes the bowery into a museum of live art... read this book today and go for a walk in your tenderloin (SF) and you may find a book looming as wonderful as this,, kari edwards 3435 Cesar Chavez #327 San Francisco, CA, 94110 415-647-6981 terra1@sonic.net _________________ -GENDER RIGHTS ARE HUMAN RIGHTS- _________________ _________________ Announcing from O Books: iduna, $12.00 by kari edwards, 2003 @ Small Press Distribution http://www.spdbooks.org/ ________________________________ a day in the life of p. by kari edwards, $12.00 From: Subpress Collective /ISBN # 1-930068-18-2 @ Small Press Distribution http://www.spdbooks.org/ @ amazon.com _________________________________ a diary of lies, by kari edwards, Belladonna* Books, 2002 http://www.durationpress.com/belladonna/catalog.htm ________________________________ Also check out: live recording: http://www.factoryschool.org/content/sounds/poetry/frontenac.html interview: http://www.raintaxi.com/online/2003spring/ edwards.shtml http://www.gendertalk.com/real/350/gt385.shtml on narrative: http://www.sfsu.edu/~poetry/narrativity/issue_three/edwards.html prose / fiction http://www.emunix.emich.edu/~bhouse/edwards.html http://www.chimerareview.com/volumes/2003_4/fic_edwards_1.0.htm http://www.muse-apprentice-guild.com/august2002/kariedwards/ literary_magazine.html http://homepages.which.net/~panic.brixtonpoetry/semicolon1.htm http://www.shampoopoetry.com/ShampooThirteen/ShampooIssueThirteen.html http://www.webdelsol.com/InPosse/edwards10.htm http://www.puppyflowers.com/II/flowers.html http://www.somalit.com/A_day_in.html poetry: http://www.wordforword.info/vol4/Edwards.htm http://www.atomicpetals.com/ke03.htm http://people2.clarityconnect.com/webpages6/ronhenry/edward10.htm http://www.blazevox.org/edwards.htm http://www.eratiopostmodernpoetry.com/poetic%20language.html http://www.bigbridge.org/miamikedwards.htm http://www.xpressed.org/ http://www.litvert.com/kedwards8.html ========================================================================= Date: Sat, 11 Oct 2003 11:49:27 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Michael Rothenberg Subject: Big Bridge looking for erotica MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Big Bridge is soliciting Erotica for the January issue. All kinds! Michael Rothenberg walterblue@bigbridge.org Big Bridge www.bigbridge.org ========================================================================= Date: Sat, 11 Oct 2003 12:00:10 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Craig Allen Conrad Subject: Alex Welsh: Two Reis in Sao Luis / Tim Dlugos / Greg Fuchs & Carol Mirakove MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit for THE PHILLY SOUND: New Poetry, click here: http://phillysound.blogspot.com/ x xx xxx xxxx xxxxx xxxxxx xxxxxxx xxxxxxxx xxxxxxxxx xxxxxxxxxx xxxxxxxxxxx xxxxxxxxxxxx xxxxxxxxxxxxx xxxxxxxxxxxx xxxxxxxxxxx xxxxxxxxxx xxxxxxxxx xxxxxxxx xxxxxxx xxxxxxxx xxxxxxxxx xxxxxxxxxx xxxxxxxxxxx xxxxxxxxxxxx xxxxxxxxxxxxx ========================================================================= Date: Sat, 11 Oct 2003 09:15:08 -0700 Reply-To: Ishaq1823@telus.net Sender: UB Poetics discussion group From: Ytzhak Organization: Selah7 http://www.sleepybrain.net/vanilla.html Subject: Vocalized Ink MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Vocalized Ink is a collective of poets and writers promoting spoken word on the internet through the use of audio files. Making inked word verbal is our quest! VI's founder Sherykah is located in Detroit, MI but VI's membership is international. VI comes together to instruct poets and writers in recording their works for the growing internet listening audience. We also bring resources for writers to locate scholarships, publication submissions and contest information for various genres. We promote free of charge the poetry and spoken word CDs, the audio books and the various published works from up and coming poets and writers. Check out Verbal Venues for listing of poetry, spoken word and open mic spots near you. If you are a spoken word artist, a poet, a writer or you want to learn more about Vocalized Ink "VI", you have to step into our Forums or you can email us. We are Vocalized Ink, Making Words Verb http://www.vocalizedink.org/ http://www.live365.com/stations/vocalizedink?play -- - ___ Stay Strong "Peace sells but who's buying?" Megadeth http://www.sleepybrain.net/vanilla.html http://awol.objector.org/artistprofiles/welfarepoets.html http://ilovepoetry.com/search.asp?keywords=braithwaite&orderBy=date http://www.dpgrecordz.com/fredwreck/ http://www.lowliferecords.co.uk/ http://loudandoffensive.com/ http://groups.yahoo.com/group/THCO2 ========================================================================= Date: Sat, 11 Oct 2003 12:21:25 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: i can't keep this up. MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII i can't keep this up. if i could only pour words into this. i could have a machine that would make art pouring out the other end. i need words... words... i'm desperate for words... letters... i live in furious depression. yes, who would want to listen to this one more time. i need that machine and a machine to read my mail. then a machine to write my mail. it's not a hunger for words but a need for them. i'm not addicted to them, i'm addicted to production. even a sonnet machine would do. there's nothing but words in this world. perhaps a machine is writing this and a machine is reading this. i don't know about machine, i know about input, words, paragraphs... the greater their number, the greater choice. i'm stopping, i can't keep this up, no advise, nothing. no words, desperate. up. this keep can't i this. into words pour only could i if end. other the out pouring art make would that machine a have could i words... words... need i letters... words... for desperate i'm depression. furious in live i time. more one this to listen to want would who yes, mail. my read to machine a and machine that need i mail. my write to machine a then them. for need a but words for hunger a not it's production. to addicted i'm them, to addicted not i'm do. would machine sonnet a even world. this in words but nothing there's this. reading is machine a and this writing is machine a perhaps paragraphs... words, input, about know i machine, about know don't i choice. greater the number, their greater the nothing. advise, no up, this keep can't i stopping, i'm desperate. words, no __ ========================================================================= Date: Sat, 11 Oct 2003 09:25:48 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Joel Weishaus Subject: Re: Postal Addresses Needed MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Please back channel if you have current postal addresses for Homer, William Blake, and Dylan Thomas. Would be much appreciated. Thanks, Joel > Folks: > > Please back channel if you have current postal addresses for Robert > Mittenthal, Lewis LaCook, and Mike Basinski. > > Best, Crag Hill > > http://scorecard.typepad.com/ ========================================================================= Date: Sat, 11 Oct 2003 09:36:54 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: kari edwards Subject: eraser is insufficient for displacement In-Reply-To: <004901c39014$54c13640$55fdfc83@oemcomputer> Content-Type: text/plain; charset=WINDOWS-1252; format=flowed Mime-Version: 1.0 (Apple Message framework v552) Content-Transfer-Encoding: quoted-printable eraser is insufficient for displacement there is a double winner bounce wink happening while turning before=20 standing flash then; a mere nullity . . . a dead letter in-law, the=20 moment terror freezes in error enroute to, 3/6/1887; that was a tree,=20 behind a tree that once stood, without a count that could be a bush, =20 that was a tree laid to rest, unnoticed between hot smoke and mirrors,=20= where all X=92s have been put, pleasy v. please stand by, placed in=20 terror=92s margin, pleasy v. at the margin, stump-to-stump, eating its=20= own; ferguson supporting before hands, afterwards, above, beyond and=20 below; =93yes, but who will stop this fire;=94 that unnoticed hand = after=20 over left nothing but followings; all except those with ought but the=20 original hum, obliterated in the length of horizons, sinking along a=20 persistent never distant; persistent ever blurring, ever burning @ 1002=20= degrees for two thousand and two years; half of the last passages of=20 distant bombings; a sample letter for all, the grammar of everywhere,=20 dear gwen of a thousand longings, deformed to another startling=20 half-past burning, lost for eternity behind a memorial, deformed by=20 pharaohs who feed the dead to the dead. another barrier upon monet=92s=20= skimmed plains; to the new base cooking in the furnace of the seas;=20 least one that cuts a million hairs; for the last cargo except the=20 patriot=92s guillotine, error without a name, without a dull sinking=20 cool; stranded in dead letters errors.= ========================================================================= Date: Sat, 11 Oct 2003 09:38:07 -0700 Reply-To: queerjihad@yahoogroups.com Sender: UB Poetics discussion group From: Ytzhak Organization: Selah7 http://www.sleepybrain.net/vanilla.html Subject: JAZZ & THE WHITE CRITIC: THIRTY YEARS LATER MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1; x-mac-type="54455854"; x-mac-creator="4D4F5353" Content-Transfer-Encoding: 8bit JAZZ & THE WHITE CRITIC: THIRTY YEARS LATER http://www.amiribaraka.com/ The second article I published about the music, in Metronome, was J&TWC. The theme was, broadly, that a fundamental contradiction, sharp, at times antagonistic, existed between American Classical Music, it's creators, mainly Black, and the majority of commentators, critics, critical opinion about that music, which historically are not. The cause of this is obvious, whatever the slaves created was owned by the slave owners. The fundamental social philosophy characterizing American Capitalism (and feudalism before that) has always been shaped by white supremacy, whether it was slavery or the national oppression and chauvinism that still exist today. The fact that an oppressor nation could judge the creations of the people they oppress is not strange but "natural" in the context of the relationship between ruler and ruled. Just as the slave was part of the "Means of Production", (and when feudal slavery changed to capitalist slavery ) variable capital, so whatever was produced by the slaves was, by definition, part of what the owner of the slave owned. As "art", the music was useful as entertainment, social control, pedagogy, as commerce. Black Tom" the amazing 19th century slave pianist, who knew 10,000 pieces of music and became a touring novelty, known throughout the South, even during slavery, is said to have "made" a million dollars for his owners! In contrast, there were thousands of slave "entertainers" confined to a single plantation. At first despised in a utilitarian way, but ironically, as democracy made it's tortured way toward the Afro American their cultural product was more and more co-opted, commercialized and, nowadays, even claimed. To read Lincoln Collier or Richard Sudhalter, and their bizarre ubermenschlichkeit is to be annoyed with a tinge of melancholy that our oppressors are, to quote poet, Robert Creeley, such "unsure egotists". Like a poem I wrote, MTV "We can have your life, without being poor, &c" The New Orleans Rhythm Kings, after the first years of the music's emergence, claimed that the Black musicians were white. The context of a white racist superstructure, i.e., institutions, organizations, and the curricula, ideas and philosophies those are meant to maintain and forward. They are a reflection of the Monopoly Capitalist imperialist economic base, almost completely defining, "evaluating", advancing dubious or ingenuously chauvinist theories, explanations, about Black Music, at this point through writing, other media, reaching incredible proportions. Each year floods of such mainly superficial materials (from books, tv and radio series, even calendars, t-shirts, post cards) defining and classifying Black Music are produced. It is this superstructure with its various critics, scholars, journalists that have even succeeded in naming Afro --American Music, "Rag Time", "Jass & Jazz" (in their musical and non-musical definition,) "Swing", "BeBop", "Rock & Rol"l, all coined as media- driven generic titles, by this collection entity. Since the creators of the music did not have the same access to publishing, writing. &c. Max Roach tells how Duke Ellington lst told him that when we accept and forward this essential commercial nomenclature, foisted on the music by others, same presence can then identify any thing commerce want as that. So that Paul Whiteman became "The King of Jazz", Benny Goodman, "The King of Swing", The Rolling Stones, "The Greatest Rock & Roll Band in The World". Then dig the grand larcenous essence of commercial Copperheads inducting Black Musicians into the Rock and Roll Hall of Fame when, Naw , Jimmy them dudes was playing Rhythm and Blues, BEFORE THERE WAS A ROCK OR A ROLL! There is not general commercial label for the works of Bach, Brahms, Beethoven, &c. That music is called, more precisely, "The Music of Ludwig Beethoven". "The Music of Bela Bartok", then why not, says Roach, "The Music of Duke Ellington", The Music of Thelonius Monk", &c But then that would confer a station and dignity to The Music the racist superstructure has never wanted to allow. To this day, there is not a single Afro American writer heading up the Jazz Section of a major newspaper! (Imagine there were only Afro American or other non- white writers who entirely monopolized writing about European Concert music!) During the hot sixties there were black writers about the music on the Village Voice, Philadelphia Inquirer, Washington Post, but dig this, when the hot times passed, the most fortunate of these were made sports writers! Get to that! (Now what that mean, Jimmy?) Stanley Crouch was the last surviving name by-lining writing about the music. And I told him at a forum at the Village Gate, that the VV was going to sic him off in another direction, e.g., politics, novels, the former which he is completely off -the- wall, the latter Öwell, ax his boys, Bellow or Updike! I told Stanley, Gary Giddins was going to get that main VV gig. And while the editorial Iblis is working his number Stanley has still not put out a single book on the music, though he is more knowledgeable about the straight up history of American Classical Music than most of the chosen at the Times, Voice, &c Why? (A good question buÖoy!) Is it, in this case, because Stanley could say some heavy stuff that perhaps dem udder guise wdnt dig? It seems Die Ubermenschen hate for the darkies to sound knowledgeable about anything, even their own lives. But tell me this glaring ugliness of arbitrary (racial?) exclusion from access to professional position in a subject which must bear some relationship to Afro-America is not dagger-sharp proof of the continuing national oppression of the Afro -American people , right now! The ownership relationship of Big America to The Music has meant denigration, marginalization, "covers" and dismissal. While European concert music is produced in major US concert halls, theaters, played by permanent resident orchestras in cities across the country, while the authentic Classical Music of the US has historically been marginalized, performed in the worst venues available. The conductor of the New York Philharmonic is paid 1.5 Million dollars a year. This music is called "Legit", i.e. "Legitimate", historically Afro -American music, by inference, is "Illegitimate". In the NYTimes and NJ Star Ledger, there is a category called "Music", another called "Jazz"! What is even more disingenuous, as it is dishonest, is that within the last decade or so, there has been a distinct movement issuing crab-like across the chauvinist US superstructure to systematically distort the history & development of The Music, but also it's class origins in the marginalization of this, only recently recognized by Congress "American National Treasure". One main distortion made essentially by positing a simultaneous development in the white and black communities. Obviously chauvinist commentators, like Sudhalter, Collier, sickening with their disinformational denigration of Black creativity, seek to construct , at the same time, a completely ersatz meta-history for it's actual evolution. Collier's idiotic and bluntly racist attacks on Duke Ellington, claiming, as the New Orleans Rhythm Kings, that Ellington's music is just an imitation of European concert music, flies in the face of astute European commentators like Ernest Ansermet, Ravel, Stravinsky, Horowitz. Likewise, the testimonials of even American popular artists like Bix Beiderbecke, Frank Sinatra, Bing Crosby, &c. Obscenities like Collier's racism confirm and pipsqueaks some continued legitimization of the general historic American chauvinism toward Black Music, including an earlier travesty such as The American Pulitzer Prize committee's refusal to award Duke Ellington that prize in 1967, even though their own group of judges named Duke to receive the Pulitzer! The bitter absurdity of all this white supremacy is that Afro American music is in its total possession by the American people, American Classical Music! People like George Gershwin, who literally learned at the feet and elbows of Willie "The Lion" Smith, James P. Johnson and Fats Waller could be named Great Composers and live sumptuously, while his teachers always struggled for recognition even survival! Gershwin's internationally acclaimed masterpiece "Rhapsody in Blue" is clearly a skillful recombining of essential elements of James P.'s "Yamekraw Rhapsody", orchestrated by William Grant Still, performed at Carnegie Hall 1927, with Fats Waller as soloist! Johnson, himself, was an awesome composer of extended works, at least two symphonies, "Harlem Symphony", '34, "Symphony in Brown", '35. Opera, one of which, "The Organizer", 1940 (with Libretto by Langston Hughes) was performed, like "Yamekraw", exactly Once, at Carnegie Hall! Duke's extended work, "Jump for Joy" performed, to my knowledge, about the same number of times. While Gershwin's estimable "adaptation" of these composers' works, is given grand presence as an American Classic! Or consider for a split second, in contrast to any of the great Afro-American composers the awesome tribute and major repertory status given to Gershwin's "Porgy and Bess", a work derived directly from and shaped by Afro-American life and culture. The arrogant cultural and musical "autonomy" American critics bestowed upon Gershwin and the work was so aggressively and subjectively chauvinist that it even caused Ellington, usually a consummate diplomat about these things, to express his irritation openly at such haughty white nationalism. Yet, to be bluntly precise, just as the history of European "Classical" music would not be essentially changed by the exclusion of the many non-European artists who have contributed to it, by the same measure Afro-American music, which is the Soul of what must be regarded as American Classical music, would not be changed if not a single white artist's contributions were included. And, face it, this analysis is not black chauvinism, but like they say, hard fact! One important development and change in the US since my earlier article, is that where I saw, as principal, the contradictory relationship between Black Music, it's creators, on one hand and The White Critical establishment on the other , today it should be more and more obvious that that contradiction, still, at times, antagonistic, is, at base,, the contradiction of class and class "stance", distance and alienation, which exist generally in bourgeois society and are no less clearly perceivable in the context of this relationship between "critic"and creator. Even though this contradiction is still most obviously visible as "Black Vs White". That it, there has been, since the late 50's, a very visible and impacting increase in the size and influence of the Black petty-bourgeois (middle class). This has been caused directly by the political-social upsurge of the period, of the Civil Rights-Black Liberation Movement or more precisely what substantive changes occurred because of the interlocking force of the twined Afro American national movements for Democracy and Self- Determination, one aspect loosely labeled "integrationist", the other, "separatist". (The essentially anti-imperialist anti-war movement should also be factored into this analysis.) Ironically, but predictable scientifically , this development has created a much larger "gap" between the burgeoning, but still mustard -seed sized, recently emerging Black petty bourgeoisie and the great majority of Afro-Americans with considerably more distance between the black majority and the so called "neo-con" (neo-conservative ) Negroes, now hoisted into profitable visibility with attendant official "Hoorahs" as a fallacious display of American "democracy". This has meant that more and more we see "well placed" Negroes co-signing the most backward ideas of the US rulers. The most bizzare for instances, the "three blind mice" The Colon, The Skeeza and Tom Ass, at the top of Bush-2's junta. They have been made seemingly ubiquitous by the power of relentless duplicity. At American Express, Newsweek, across the media, as film stars, &c. In the field of Jazz commentary, we have Stanley Crouch, Albert Murray, who have taken up many of the reactionary, even white-chauvinist, ideas of the racist U.S. superstructure and its critical establishment. A few years ago, at a Midwestern seminar headed by Dave Baker, Crouch, in a discussion on intellectual contributions to The Music, and in response to this writer's statement that it should obvious that it has been Black people who have contributed the fundamental and essential intellectual innovations to the music, spontaneously ejaculated, that "Black people have not contributed Ö" Breaking the statement off in mid ugly, apparently shocking even himself, at the ignorance of his intended comment. Especially, I would imagine, in the face of several scowling "Bloods", most, prominent musicians, including Muhal Abrams, who commented immediately on the tail of my repeated requests for Stanley to finish his thought! Crouch also wrote more recently in the New York Times, that Black musicians didn't like George Gershwin because he was a better composer than all of them (except Duke). It should be clear to most folks with any clarity that both statements are false and reek of the national (racial) foolishness that characterizes white supremacy. And this from a "Negro" (as Crouch, with objective accuracy, prefers to be called)! What it means is that the creators and artist-guardians of American Classical music must create, as part of a revolutionary democratic movement, an alternative superstructure, i.e., institutions, organizations, venues, critical journals, in order to rescue the history, socio-economic productiveness and potential and even it's artistic strength and free them and themselves from dependence on the socially exploitative and artistically diluting mechanisms of corporate commercialism and its attendant racism. There is a howling need for more independent journals, performance circuits, educational institutions, whose form and content relate directly to the artists, the history, the socio-economic and political needs of the masses of Afro -American people and to the whole of the US majority itself. The title "Ken Burns Jazz" is disheartening up front. Whether there is an apostrophe or not! It's always gratifying to see tapes and cuts of the musicians and hear some of the music. But it is maddening in the extreme not to hear them speak for themselves! For all the petty jealously that Wynton Marsalis elicits behind his Lincoln Center visibility , even from otherwise knowledgeable people, Wynton was the single saving element to the series. Without him it would have consisted of almost random images and largely superficial injections by Burns' obligatory clutch of "ultimate" critics, "scholars", "Gee Whiz"-ologists and now a smaller group of Negro autodidacts, Crouch, the most prominent, but also a Negro "Gee Whiz"- ologist, Gerald Early, who was an embarrassing tourist of very limited relevance to any serious discussion! At one point, Crouch referred to the musicians in Ellington's great orchestra as "knuckleheads"! You mean Hodges, Gonsalves, Webster, Carney, Tizol, Cootie, Tricky Sam, Blanton, StrayhornÖ&c.? What kind of thoughtful analysis could come from such contempt? But such is one of the seamier products of the vaunted "social equality" of the fake "post- civil rights era". But in addition to this direct class-deformed commentary, a more subtlely obvious ignorance and dismissal characterized the series as "white critic, black musician apartheid". >From the top, Burns said he knew nothing about the music! Then how did he get to do a series? I wonder if the producers would allow some similarly self-described "Non" to do such a series on European classical music? Please! But this similar "Gee Whiz!", essentially non-intellectual, attitude and method has always been allowed in what passes as serious commentary on the music because of the predominance of Afro- American artists. It is a ruthless paternalism! This is one reason I support Marsalis' work of, to some extent, archiving the music at Lincoln Center. By re-presenting the music's classics in repertory , a consolidating stability and status is accorded to it, not seen before. Just as Lincoln Center does its annual "Mostly Mozart", we should be gratified to see something like a "Mostly Monk" repertory established. Even if Marsalis' orchestra is sometimes not fully up to the task of say, reincarnating Duke Ellington, but could Bernstein improvise like Herr Beethoven? The essence of Burns' piece is the implied ideological dictum that the collective "braintrust" Burns gathered , largely white, mainly "un-hip", is the paradigm for the intellectual source for any lasting analysis and measure of this music and that is the deepest content of its vulgar chauvinist presumptions. This accounts for the general absence of any impressive philosophical analysis of the music itself and except for Marsalis, scant discussion of it's changing genres as music as art or social expression! What the music means, at a given period, as aesthetic, social and philosophical expression. Why it moved from one genre or style to another. Why the abiding classical elements of its constantly reconfigured continuum? Often specific musicians were characterized by racounteurish gossip or cliched retellings of flaws in their personal lives. Sidney Bechet described as "a thug". The drawn out docudrama of Bird's drug addiction, likewise Billie Holiday, without a similar depth of musical, aesthetic and philosophical analysis of their music. Nor was there a historical overview of these constantly developing factors intrinsic to the music. Just serious interviews with a representative group of the great musicians still around would have offered a much more profound composite and intellectual and social access to this still unplumbed cultural treasure chest of American culture and art. Far from opposing the interview of critics, scholars, writers, club owners, the greater and more informed inclusion of the artists themselves (not just contemporarily but from existing archives) would have provided a much more incisive, scholarly and entertaining document to inform the ages. Before saying "Later!", I would add that like Fred Douglass, after he whipped on the "white church" in his majestic "Fourth of July" speech and so had to make some slight qualification, if my analysis of "white critics" seems inaccurately sweeping, I should point out that at root it is aimed at "the establishment" of what passes and has passed, for over a century, as "Jazz Criticism" I say this because some of the young critics I met when I first came to New York, Dick Hadlock (whom I worked for at "The Record Changer"), the always penetrating, Martin Williams (though we had a running argument about whether Billie Holiday sang the Blues or not). Others like Larry Gushee, Dan Morgenstern (once he began to dig that the music did not stop after Duke Ellington, if he ever really believed that), my man, John Sinclair, the mixed up Frank Kofsky, I have always had respect for, whether we totally agreed or not. Still other "white critics" like the great Sidney Finklestein was an immense contributor to what storehouse of scientific discourse there is about this music. I could add the redoubtable Stanley Dance, Ellington's shadow, not a deep thinker, (but European analysis of the music for a long time was always more objective and scientific) the anthropologist Herskovits. There were even some dudes we will always jump on we learned something from, (I wont even mention Nat Hentoff till he returns from the land of national -liberal crypto chauvinist social- hypocrisy). Suffice it to say, there is That and there is Them. I know the difference. But just to add some reminder of the kind of stilted hollowness most commentary on the music resembles, recently there was an article in the New Jersey Star Ledger , some of us call The Star Liar, by writer George Kanzler. (How are you spelling that?) In claiming to list the musicians coming out of and associated with Newark and environs, he left out the following:. ** SALOME BEY, Lead Singer with Andy( Bey) & The Bey Sisters, Jackie Bland, Leader of the legendary teenage bebop orchestra out of which came Wayne Shorter, Grachan Moncur 111, Harold Van Pelt , Hugh Brodey, Walter Davis, "Humphrey" the Be Bopper's Be Bopper., Blakey's Pianist for years; EDDIE GLADDEN , Dexter Gordon's regular drummer; VICTOR JONES, Getz' regular drummer, the last years; Harold Mitchell, who played with Willie The Lion, Basie, Lionel Hamptaon, Gillespies Big Band' , NAT PHIPPS, Leader of the other wonderful '50's teenage orchestra, which featured Nat & Billy Phipps, Moncur 111, Ed Station , Wayne and (& Allen) Shorter, L,ightsey: Danny Quebec, one of the earliest Bop saxists, also with Babs Gonzalez , Tadd Dameron, JJ Johnson in Babs' classic 3 BIPS & A BOP; Lawrence Killian, long time hand drum master; SCOTT LAFARO, Ornette Coleman bassist, LaRue, an unsung master piano teacher to Newark musicians, ask Moncur, Gladden, Morgan, &c : Freddie Roach, one of Newark's organ funk- masters, along with Larry Young &c; CHRIS WHITE, one of Cecil Taylor's early stalwarts Also absent: The entire Newark Phipps Family, Harold, Ernie, drums, Gene, Nat, pianist, Billy, Gene Jr., the rest well known saxophonists, Robert Banks, piano, Herbie Morgan, Tenor & reeds, Jimmy Anderson, tenor, Ed Lightsey, bass: Bradford Hays, tenor, Steve Colson, piano, , Ronnell Bey, vocal, Chink Wing, drums, Chops Jones, Bass,) Rudy Walker, Drums, Pancho Diggs, Orch leader, piano, Rasheema, vocal, Eddie Crawford, drums, , piano, Orch leader, Santi DiBriano, drums, Pat Tandy, vocal, Charyn Moffett, trumpet, Hugh Brodey, saxophone, , , Eli Yamin, Piano, Gloria Coleman, vocal, Bernie James, sax, Ed Station, Trumpet, Art Williams, bass, club owner, "The Cellar"; Shad Royful, Orch leader, piano, Harold Van Pelt, Tenor, Geri Allen, Piano, Wilber Morris, bass, Connie Pitts Speed, piano, vocal, Gene Goldston, vocal, Everett Laws, vocals, Warren Smith, drums, Long Time Area Residents :RAY BROWN, DIZZY GILLESPIE , DONALD BYRD Recent Residents: David Murray, tenor: Reggie Workman, bass, Oliver Lake, alto, reeds, Andrew Cyrille, drums, Steve Turre, trombone. So thirty years laterÖ.you dig? Amiri Baraka 5-7/01 http://www.amiribaraka.com/ http://www.amiribaraka.com/p2.html -- - ___ Stay Strong "Peace sells but who's buying?" Megadeth "This mathematical rhythmatical mechanism enhances my wisdom of Islam, keeps me calm from doing you harm, when I attack, it's Vietnam" --HellRazah http://www.sleepybrain.net/vanilla.html http://awol.objector.org/artistprofiles/welfarepoets.html http://ilovepoetry.com/search.asp?keywords=braithwaite&orderBy=date http://www.dpgrecordz.com/fredwreck/ http://www.lowliferecords.co.uk/ http://loudandoffensive.com/ http://groups.yahoo.com/group/THCO2 ========================================================================= Date: Sat, 11 Oct 2003 07:35:47 -1000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Susan M. Schultz" Subject: invitation to Tinfish contributors Mime-Version: 1.0 (Apple Message framework v552) Content-Type: text/plain; charset=US-ASCII; format=flowed Content-Transfer-Encoding: 7bit If you've contributed to Tinfish and want a good excuse to come to Hawai`i, please know that we'll be having a public reading on November 7, Friday, from 6-8:30 at Native Books, Ward Warehouse, Honolulu. If you come, you'll get to read. Copies of Tinfish 13 are still available! _Carved Water_, by Zhang Er, translated by the author and Bob Holman, is just out (yours for $8). Forthcoming are chapbooks by Ho Chi Minh (translated by Steve Bradbury), Susan Schultz, Normie Salvador, and Deborah Meadows. aloha, Susan http://maven.english.hawaii.edu/tinfish ========================================================================= Date: Sat, 11 Oct 2003 12:45:21 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Kazim Ali Subject: Poetry Reading in NYC In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Hey I do like 1.5 readings a year (last one was in April I think--not including 5 minutes here and there), so I don't know if this is too early to say that I'll be reading on Sat. November 1 at Cornelia Street Cafe at 6pm as part of the Ziryab reading series--Ziryab is an organization of Arab and Arab-American writers plus their supporters. There will be an oudh player! (And if you tip well I will belly dance) Kazim ===== ==== WAR IS OVER (if you want it) (e-mail president@whitehouse.gov) __________________________________ Do you Yahoo!? The New Yahoo! Shopping - with improved product search http://shopping.yahoo.com ========================================================================= Date: Sat, 11 Oct 2003 16:07:55 -0400 Reply-To: bstefans@earthlink.net Sender: UB Poetics discussion group From: "Brian Kim Stefans [arras.net]" Subject: I'm performing with Douglas Dunn! Comments: To: bstefans@earthlin.net MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Sorry to name drop in the subject line but quickie last minute self-promotion needs all the charge it can get. I'm performing tomorrow, Sunday, with writer Melissa Ragona (we're doing "soundscape") and dancers Eric Bradley, Douglas Dunn, and Nicholas Leichter. They must think we're going to do something brilliant because we're last on the bill! Lots of great writers and dancers on the bill -- come out for some good-spirited New York-style performance whatchamacallit! (Boston won't clinch it Sunday, don't worry.) T H E B O W E R Y P O E T R Y C L U B 308 Bowery (at Bleecker) NY, NY 10012 presents TalkTalk WalkWalk A festival of dance/poetry collaborations Sunday, October 12, 2003 from 4-7pm, $7 Box Office information: 212.614.0505 The Bowery Poetry Club at 308 Bowery (at Bleecker) hosts a 3 hour festival of dance/poetry collaborations, TalkTalk WalkWalk curated by choreographer/performers Jen Abrams and Sally Silvers on Sunday, October 12 from 4 to 7 pm. Tickets are $7 & are available at the door. There will be a short intermission at the end of each grouping during which the audience can come and go. Check www.bowerypoetry.com for updates. On a cabaret stage with club atmo, 13 separate acts will spin the way words and movement can mix, riff, flim, flip, and flam together (or apart). Some are long term collaborators; some are shotgunning for a juiced up afternoon of skates on, earwigging pizzazz. The program order is: 4 PM * Jen Abrams * Megan Boyd and Cathy Park Hong * Johanna Walker * Lee Ann Brown, Abby Child with K.J. Holmes, and Edisa Weeks Short Break * Monica de la Torre and Sally Gross * Adeena Karisick, Amy Cox, with Gus Solomons jr * Bob Holman and Yoshiko Chuma * Eva Lawrence Short Break * Marjorie Gamso * Barbara Mahler and Donna Masini * Nada Gordon with Karl Anderson, Alison Salzinger, and Jody Sperling * Kim Rosenfield and Sally Silvers * Melissa Ragona, Brian Kim Stefans with Eric Bradley, Douglas Dunn, Nicholas Leichter Pieces are approximately 10 minutes long. Program subject to change. Please see website for updates. HOPE TO SEE YOU THERE! ========================================================================= Date: Sat, 11 Oct 2003 14:29:52 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: elen gebreab Subject: A New Issue of sidereality MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit ANNOUNCING A NEW ISSUE OF SIDEREALITY FROM THE MANAGING EDITOR'S DESK +++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ NEW ISSUE: sidereality 2:4 (http://www.sidereality.com/) FEATURED POET: Nick Piombino INTERVIEW WITH: Nick Piombino POETRY BY: Svea Barrett, Greg Beatty, John Borneman, Bruce Boston, Peter Boyle, Joseph Brunetti, John Bryan, Jorge Lucio de Campos, John Carley, John Craun, Richard Denner, Roberto Echen, kari edwards, Vernon Frazer, Andrew French, elen gebreab, John G. Hall, Jonathan Hayes, Nancy A. Henry, Jason Heroux, Michael Hoerman, Eric van Hove, W. B. Keckler, Stephen Kenny, David C. Kopaska-Merkel, Alec Kowalczyk, Duane Locke, Andrew Lundwall, Ryan J. Machan, Joseph McElroy, Seth McMillan, J. D. Nelson, Amanda Oaks, Eric Pape, Terrie Leigh Relf, Dee Rimbaud, Phil Rockstroh, Michael Ruby, Anthony Salerno, David Salisbury, L. B. Sedlacek, Durlabh Singh, Carly Svamvour, Terry Temescu, Jennifer Uhlich, Tim Wenzell, Gary West, Dylan Willoughby, Jim Wittenberg, Kirby Wright, Mark Young ARTICLES BY: Stephen Oliver, Nick Piombino REVIEWS BY: Catherine Daly, Loren Kleinman, Bill Marsh, Steven J. Stewart, Eileen R. Tabios VISUAL ART BY: Donna Kuhn, Nick Piombino, Rochelle Ratner, Edward del Rosario 2003 PUSHCART PRIZE NOMINATIONS +++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ In November, we will be selecting six works published in sidereality during the 2003 calendar year, for the purpose of nominating them for the 2003 Pushcart Prize. If you have a favorite(s) from the four issues of 2003, let the staff of sidereality know about it. Email managingeditor@sidereality.com with your suggestion(s). OCTOBER 2003 NEWS ABOUT THE EDITORS OF SIDEREALITY +++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ Three new associate editors have joined the staff at sidereality: Loren Kleinman, Lewis LaCook, and Takuya Murata. These folks are helping out with poetry submissions, art submissions, special sections, reviews, interviews, etc. EDITOR'S NOTE +++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ I won't say much about sidereality 2:4, but I continue to be extremely impressed by the quality of work that we're receiving. I'll let the new issue speak for itself! Some additional content, including contributor bios, for sidereality 2:4 will appear on October 23rd. Best wishes, Clayton ----------------------------------------------------------- Clayton A. Couch Managing Editor, sidereality managingeditor@sidereality.com http://www.sidereality.com/ ----------------------------------------------------------- If you would prefer not to receive any further updates, or if you feel that you have received this message in error, please contact sidereality at managingeditor@sidereality.com. ----------------------------------------------------------- ========================================================================= Date: Sat, 11 Oct 2003 18:30:12 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: 0 wear MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII 0 wear these pages are so ephemeral they're just about to disappear. nothing lasts not even forever but an instant as well. i may die at any time and sometimes i feel it coming on. nightmares only point to uselessness of the physical. i will say goodbye to you now before the net collapses. suddenly our friends and neighbors vanish forever. without our a@b addresses we are permanently lost. diseases and wars take over from depression and suicide. the cold expansion of the cosmos is closer than we think. already i gave way to the latest new thing. my fingers bleed and slip on decayed and corroded ontologies. nine and a half thousand google hits weigh nothing at all. like pascal i hold on against the abyss around my arms and hands. plasmas and meteors take their share of fires and storms. tornados and floods complete erasures of ten thousand hours. or more than ten thousand hours and perhaps the history of humanity. or the history of the earth and the history of the universe. we're on the cusp of permanent forgetting. 11010 10101 010 1, 0110,010, 1105'10 1511 00,51 1, 011011001. ,,111,1 ,0111 ,,1 050, 1,10501 051 0, 1,110,1 01 50,,. 1 ,05 010 01 0,5 11,0 0,0 1,,011,01 1 100, 11 0,,1,1 ,,. ,1111,0101 ,,,5 1,1,1 1, 510,011,011 ,1 110 1151100,. 1 51,, 105 1,,0050 1, 5,5 ,,5 001,10 110 ,01 0,,,01101. 15000,,5 ,51 1110,01 0,0 ,01110,11 50,111 1,10501. 5111,51 ,51 0@0 000101101 50 010 101,0,0,1,5 ,,11. 01100101 0,0 5011 10,0 ,501 11,, 00110111,, 0,0 1510100. 110 0,,0 0510,11,, ,1 110 0,1,,1 11 0,,101 110, 50 111,,. 0,10005 1 1050 505 1, 110 ,01011 ,05 111,1. ,5 11,1011 0,000 0,0 1,11 ,, 0000500 0,0 0,11,000 ,,1,,,1101. ,1,0 0,0 0 10,1 11,510,0 1,,1,0 1111 50111 ,,111,1 01 0,,. ,1,0 10100, 1 1,,0 ,, 0101,11 110 00511 01,5,0 ,5 01,1 0,0 10,01. 1,01,01 0,0 ,010,11 10,0 11011 11010 ,1 11101 0,0 11,1,1. 1,1,00,1 0,0 1,,,01 0,,1,010 01015101 ,1 10, 11,510,0 1,511. ,1 ,,10 110, 10, 11,510,0 1,511 0,0 1011011 110 1111,15 ,1 15,0,115. ,1 110 1111,15 ,1 110 00111 0,0 110 1111,15 ,1 110 5,150110. 50'10 ,, 110 0511 ,1 101,0,0,1 1,110111,1. _ ========================================================================= Date: Sun, 12 Oct 2003 05:11:20 +0200 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Karl-Erik Tallmo Subject: Re: i can't keep this up. In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" Machine perhaps there's machine even I'm it's machine etc, listen at: http://www.nisus.se/newsounds/machine.ram /Karl-Erik Tallmo __________________________________________________________________ KARL-ERIK TALLMO, poet, writer, artist, journalist, living in Stockholm, Sweden. MAGAZINE: http://art-bin.com ARTWORK, WRITINGS etc.: http://www.nisus.se/tallmo/ __________________________________________________________________ ========================================================================= Date: Sun, 12 Oct 2003 00:10:35 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: Nothing. Lotta 8, October MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Nothing. Lotta 8, October nothing of one only the around records, nothing official to zero pure other means from nothing quarters crew include Services industry-standard comes now has been irregularly, updated graphics complex - nothing true ices share and compositing industry-standard with comes at nothing __ ========================================================================= Date: Sun, 12 Oct 2003 00:10:21 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: _|_| _|_|_| _| _|_|_| _|_| _| _ ___ | ___ _(_)_ | ____ _(_)_ __ ____ / MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII avram and nikuko _|_| _|_|_| _| _|_|_| _|_| _| _ ___ | ___ _(_)_ | ____ _(_)_ __ ____ / \| _ |/ \| '_ | \ '_ ` '_ _` / '__\ | (_) | <| | |_| <| V \ (_| | \___/|_|\_\\__,_|_|\_\_|_| |_|\_/ \___/|_|\_\\__,_|_|\_\_|_| |_|\__,_|_| |_| \_/ |_|\__,_|_| \__,_|\_/ +-+-+-+-+-+ +-+-+-+-+-+-+-+ +-+-+-+-+-+-+-+ +-+-+-+-+-+ |a|v|r|a|m| |v|n|i|k|u|k|o| |v|n|i|k|u|k|o| |a|v|r|a|m| avram vnikuko vnikuko avram _|_|_| _|_|_| _| _| _| _|_| _|_|_| _ ___ ___ | __ _(_)_ _ ____ __ ___ / | \| \ |/ / '_ |/ \ / ` | _` / '__\ | (_) | <| V |_| / V <| (_| V \___/|_|\_\\__,_|_|\_\_|_| \___/|_|\_\\__,_|_|\_\_|_| |_|\_/ |_|\_/ |_|\__,_|_| |_|\__,_|_| \_/ \_/ \__,_|\__,_| +-+-+-+-+-+ +-+-+-+-+-+-+-+ |a|v|r|a|m| |v|n|i|k|u|k|o| avram vnikuko _|_| _|_|_| _| _|_|_| _|_| _| _ ___ | ___ _(_)_ | ____ _(_)_ __ ____ / \| _ |/ \| '_ | \ '_ ` '_ _` / '__\ | (_) | <| | |_| <| V \ (_| | \___/|_|\_\\__,_|_|\_\_|_| |_|\_/ \___/|_|\_\\__,_|_|\_\_|_| |_|\__,_|_| |_| \_/ |_|\__,_|_| \__,_|\_/ +-+-+-+-+-+ +-+-+-+-+-+-+-+ +-+-+-+-+-+-+-+ +-+-+-+-+-+ |a|v|r|a|m| |v|n|i|k|u|k|o| |v|n|i|k|u|k|o| |a|v|r|a|m| avram vnikuko vnikuko avram _|_|_| _| _| _| _|_| _|_|_| _|_|_| _|_| _| _| _| _| _|_| _| _| _| _| _| _| _| _| _| _| _| _| _| _| _| _|_|_| _| _| _|_|_| _| _| _| _| _| _| _| _| _|_|_| _| _| _| _| _| _| _|_| _| _| _| _| _| _|_| _| _| _|_| _| _| _| _| _| _| _| _| _| _| _| _| _| _| _| _| _| _| _| _| _| _|_|_| _| _| _|_| _ _ _ ___ | | ___ _| | _(_)_ ____ __ _ __ ___ __ _ _ ____ ____ _ / _ \| |/ / | | | |/ / | _ \ \ / / | _ ` _ \ / _` | __\ \ / / _` | | (_) | <| |_| | <| | | | \ V / | | | | | | (_| | | \ V / (_| | \___/|_|\_\\__,_|_|\_\_|_| |_|\_/ |_| |_| |_|\__,_|_| \_/ \__,_| +-+-+-+-+-+ +-+-+-+-+-+-+-+ |a|v|r|a|m| |v|n|+|k|u|k|o| +-+-+-+-+-+ +-+-+-+-+-+-+-+ avr= vnykuko _ ========================================================================= Date: Sat, 11 Oct 2003 22:04:57 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Derek R Organization: derekrogerson.com Subject: poem for renaissance festival MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit horse penis ha ha ========================================================================= Date: Sun, 12 Oct 2003 01:25:56 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: August Highland Subject: SCATTER-GATHER/CONTINUOUS PROLIFERATION MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit SCATTER-GATHER/CONTINUOUS PROLIFERATION NOTATION #0000001: 25ns 27ns, 85 to soothe the arousal of 3. 1): write c++ functions of the, 351 5. 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The filename and file type. entries to store frequently n. Arctan(1)=ss=4. thus WHAT HAS BEEN STATED BY PEOPLE R. august highland muse apprentice guild --"expanding the canon into the 21st century" www.muse-apprentice-guild.com culture animal --"following in the footsteps of tradition" www.cultureanimal.com ========================================================================= Date: Sun, 12 Oct 2003 01:36:58 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: August Highland Subject: GRID (DEFAULT) MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit GRID (DEFAULT) INPUT STREAM #0000001: Synaptic vesicle, statement tells variable in the. Images later. the, where simultaneous i++) {. Example, "m x y", j=arrsiz) continue; draw axes */. Command (c-shell) pictures of any speaking, an. You use the "t" (or, td %g m %-10.5g\n", .04 start 0 dur. 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(1=display | vid -.06 start .008 dur. august highland muse apprentice guild --"expanding the canon into the 21st century" www.muse-apprentice-guild.com culture animal --"following in the footsteps of tradition" www.cultureanimal.com ========================================================================= Date: Sun, 12 Oct 2003 08:25:32 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Joel Weishaus Subject: Re: _|_| _|_|_| _| _|_|_| _|_| _| _ ___ | ___ _(_)_ | ____ _(_)_ __ ____ / MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Alan: This is quite beautiful. -Joel ----- Original Message ----- From: "Alan Sondheim" To: Sent: Saturday, October 11, 2003 9:10 PM Subject: _|_| _|_|_| _| _|_|_| _|_| _| _ ___ | ___ _(_)_ | ____ _(_)_ __ ____ / > avram and nikuko > > > _|_| _|_|_| _| _|_|_| _|_| _| _ ___ | ___ _(_)_ | ____ _(_)_ __ ____ / > \| _ |/ \| '_ | \ '_ ` '_ _` / '__\ | (_) | <| | |_| <| V \ (_| | > \___/|_|\_\\__,_|_|\_\_|_| |_|\_/ \___/|_|\_\\__,_|_|\_\_|_| |_|\__,_|_| > |_| \_/ |_|\__,_|_| \__,_|\_/ +-+-+-+-+-+ +-+-+-+-+-+-+-+ +-+-+-+-+-+-+-+ > +-+-+-+-+-+ |a|v|r|a|m| |v|n|i|k|u|k|o| |v|n|i|k|u|k|o| |a|v|r|a|m| avram > vnikuko vnikuko avram > _|_|_| _|_|_| _| _| _| _|_| _|_|_| _ ___ ___ | __ _(_)_ _ ____ __ ___ / > | \| \ |/ / '_ |/ \ / ` | _` / '__\ | (_) | <| V |_| / V <| (_| V > \___/|_|\_\\__,_|_|\_\_|_| \___/|_|\_\\__,_|_|\_\_|_| |_|\_/ |_|\_/ > |_|\__,_|_| |_|\__,_|_| \_/ \_/ \__,_|\__,_| +-+-+-+-+-+ +-+-+-+-+-+-+-+ > > |a|v|r|a|m| |v|n|i|k|u|k|o| > > avram vnikuko > > _|_| _|_|_| _| _|_|_| _|_| _| _ ___ | ___ _(_)_ | ____ _(_)_ __ ____ / > \| _ |/ \| '_ | \ '_ ` '_ _` / '__\ | (_) | <| | |_| <| V \ (_| | > \___/|_|\_\\__,_|_|\_\_|_| |_|\_/ \___/|_|\_\\__,_|_|\_\_|_| |_|\__,_|_| > |_| \_/ |_|\__,_|_| \__,_|\_/ +-+-+-+-+-+ +-+-+-+-+-+-+-+ +-+-+-+-+-+-+-+ > +-+-+-+-+-+ |a|v|r|a|m| |v|n|i|k|u|k|o| |v|n|i|k|u|k|o| |a|v|r|a|m| avram > vnikuko vnikuko avram > _|_|_| _| _| _| _|_| _|_|_| _|_|_| _|_| _| _| _| _| _|_| _| _| _| _| _| > _| _| _| _| _| _| _| _| _| _| > _|_|_| _| _| _|_|_| _| _| _| > _| _| _| _| _| _|_|_| _| _| _| _| _| _| _|_| _| _| > _| _| _| _|_| _| _| _|_| _| _| > _| _| _| _| _| _| _| _| _| _| _| _| _| > _| _| _| _| _| _| _|_|_| _| _| _|_| > _ _ _ > ___ | | ___ _| | _(_)_ ____ __ _ __ ___ __ _ _ ____ ____ _ > / _ \| |/ / | | | |/ / | _ \ \ / / | _ ` _ \ / _` | __\ \ / / _` > | > | (_) | <| |_| | <| | | | \ V / | | | | | | (_| | | \ V / (_| | > \___/|_|\_\\__,_|_|\_\_|_| |_|\_/ |_| |_| |_|\__,_|_| \_/ \__,_| > +-+-+-+-+-+ +-+-+-+-+-+-+-+ |a|v|r|a|m| |v|n|+|k|u|k|o| +-+-+-+-+-+ > +-+-+-+-+-+-+-+ avr= vnykuko > > > _ ========================================================================= Date: Sun, 12 Oct 2003 09:15:35 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: tom bell Subject: Fw: Sontag on US policy MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit ----- Original Message ----- From: "Douglas Barbour" To: Sent: Sunday, October 12, 2003 9:50 AM Subject: Re: Sontag on US policy > This, from the CBC website today is interesting. > > Doug > > > > Author Susan Sontag blasts U.S. imperialism at German > book awards > 10:37 AM EDT Oct 12 > > FRANKFURT, Germany (AP) - New York City-born author > and political activist Susan Sontag criticized President George W. Bush's > policies Saturday as imperialistic and a break with 50 years of U.S. > foreign-policy tradition. > > Sontag, 70, spoke a day before receiving the German > book trade's $17,700 US Peace Prize. > > "I think as long as the U.S.A. has only one political > party - the Republican party, a branch of which calls itself the Democratic > party - we aren't going to see a change of the current policy," she said. > > Sontag said Bush's policy breaks with the U.S. > tradition of consulting with allies on global matters, instead of acting > alone. She was referring to the Bush administration decision to invade Iraq > without UN backing. > > "It's really the end of the republic and the > beginning of the empire," she said, comparing the United States to ancient > Rome. > > Sontag also had harsh words for California > governor-elect Arnold Schwarzenegger, saying his election shows traditional > politics are disappearing. > > "We are in a new civilization, a post-political > civilization," she said. > > Sontag, whose works have been translated into more > than 30 languages, is a lover of European literature, especially German > classics and philosophy. > > She is popular in Germany, where she has lived > periodically. She also spent three years in Sarajevo during the Serbian > siege of the Bosnian city in the early 1990s and has campaigned on behalf > of jailed and persecuted authors. > > The prize jury recognized Sontag for standing up for > "the dignity of free thinking" and for her work to bridge the gap between > the United States and Europe. > > "Through her work, which has never lost sight of the > European heritage, she has become the most prominent intellectual > ambassador between the two continents," and has also stood up for the > rights of victims of war, the prize jury's citation said. > > Sontag said while she does not use her books to > advance her political views, she does take advantage of her position as a > writer to question and explore policies she considers wrong. > > "I'm not only a writer. I'm first of all a person > with a moral conscience," Sontag said. > > "I will never support a decision which seems to me > absurd." > > Shortly after the Sept. 11, 2001 terror attacks on > the United States, Sontag criticized U.S. officials and news media > commentators for their simplistic depiction of those events. > > She also sympathized with German Chancellor Gerhard > Schroeder's refusal to participate in the U.S.-led invasion of Iraq but > denied the jury selected her for this reason. > > "I am immodest enough to think that even if I hadn't > spoken up about Bush, I would have earned this prize anyway," she said. > > Last year's prize went to Nigerian-born writer Chinua > Achebe. Past winners also include Nobel Peace Prize laureates Octavio Paz > and Hermann Hesse and former Czech president Vaclav Havel. > > Douglas Barbour > Department of English > University of Alberta > Edmonton Alberta Canada T6G 2E5 > (h) [780] 436 3320 (b) [780] 492 0521 > http://www.ualberta.ca/~dbarbour/dbhome.htm > > he said the President said > he would not kill anyone > anymore and the way he would not kill > > would be to let the killers kill > and then he would not be a killer > > Eli Mandel (circa 1970) ========================================================================= Date: Sun, 12 Oct 2003 08:59:19 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: kari edwards Subject: kari edwards & Gail Scott In-Reply-To: <0c6201c390cb$4fb79ce0$07e63644@rthfrd01.tn.comcast.net> Content-Type: text/plain; charset=WINDOWS-1252; format=flowed Mime-Version: 1.0 (Apple Message framework v552) Content-Transfer-Encoding: quoted-printable AT SMALL PRESS TRAFFIC Friday, October 24, 2003 at 7:30 p.m. kari edwards & Gail Scott Anne Waldman says of kari edwards=92 first novel, a day in the life of = p.=20 (Subpress, 2002): "Burroughsian, transgressive, exceedingly sharp and=20 witty=85startling and entertaining. What=92s solid? This picaresque book = is=20 the dislocated yet substantive narration of the future." And Kevin=20 Killian, who will introduce hir at SPT, says "[the] book is=20 side-splittingly funny, when it wants to be, and tragic and mystic in=20 turns from page to page. Like Marcel Duchamp=92s Rrose Selavy, =91p=92 = gives=20 a new twist to our received ideas of heroism, kindness, and lucidity."=20= edwards received a Bay Area Award in Literature from New Langton Arts=20 in 2002; previous works include a diary of lies (Belladonna, 2002) and=20= post/(pink) (Scarlet Press, 2001). Gail Scott joins us in celebration of the US publication of her novel,=20= My Paris, by Dalkey Archive. Eileen Myles says "[she] has redefined=20 landscape to include all weather, inside and out, including sex and a=20 female sexual vision--a vision of being that's pure animation, an=20 action made up of all the tiny windows of information constantly=20 opening and closing in the rhythm of the way we know a place in time,=20 for instance Paris. Her Paris is pretty stunning art." Scott=92s other=20= novels are Heroine and Main Brides. She is a coeditor of Narrativity=20 and her translation of Michael Delisle's The Sailor=92s Disquiet was=20 shortlisted for the prestigious Governor General's award in 2001. She=20 joins us from Montreal and will be introduced by Robert Gl=FCck. Cosponsored by the Poetry Center; held at Small Press Traffic. All events are $5-10, sliding scale, and begin at 7:30, unless=20 otherwise noted. Unless otherwise noted, our events are free to SPT members, youth under=20= 18, and CCAC faculty, staff, and students. Unless otherwise noted, our events are presented in Timken Lecture Hall California College of Arts and Crafts 1111 Eighth Street, San Francisco (just off the intersection of 16th &=20= Wisconsin) iduna New from O Books: iduna by Kari Edwards, 104 pages, ISBN # 1-882022-49-1, $12.00. O Books: 5729 Clover Dr Oakland CA 94618 =93If benign linearity marks the last vestige of Cartesian = consciousness,=20 Vitruvian space and Spinozan ethics, then iduna signalizes its=20 catalectic adieu. For there is no return after this. Kari Edwards has=20 written and conceived a bold, complex text that pushes lyricism to the=20= brink of an interstice, between the Dictionary and its scream.=20 Auto-translative, self-contaminatory, iduna never renounces its=20 splendid linguistic excess, fabricating a textural world of legibility=20= and illegibility, gravitation and non-gravitation, that powers its=20 dweller (for one must dwell in iduna) gesturally around and among its=20 morphs and torques. If Deleuze and Guattari are correct when they aver=20= that writing =91has nothing to do with signifying. It has to do with=20 surveying, mapping, even realms that are yet to come=92 then iduna=20 provides a special map to a certain dream of Coleridge=92s: the = frontiers=20 of a post-cognitive.=94 =97 Steve McCaffery =93Paratexts and processing suggestions stream through Kari Edwards=92s=20= iduna... The constant drive to make use of formal possibilities at the=20= level of page and opening brings graphic format into substantive=20 play...A machinic drive echoes in this work as a human, subjective=20 voice struggles to come through the registers of current language=20 events, noise, news, records, communications. The shape of a human=20 outcry presses through the mass of mediated material. Form embodies=20 possibilities enabled by the instructions of forced justification, font=20= shifts, hard returns, tabs, chunked blocks, and other basic elements of=20= text processing...Before we can ask what something means when we read=20 it, we must ask what it means to read =97 and Edwards poses that as a=20 high-stakes question providing the point of departure for current=20 poetic production. =97 Johanna Drucker =93Having evacuated the endemic patriarchal script, Edwards writes hir=20= own rules of the game in the wee hours when the sky turns green and=20 binary logic decamps posthaste. Under the ruins of gender, iduna is a=20 wild garden where =91sexuality begets language.=92 The anarchic = profusion=20 of voices, discourses, idiolects, fonts and typographies that seem to=20 rain down upon the page becomes the new =91formlessness=92 which is the=20= political signature of this resistant and absorptive text.=94 =97 Chris = Tysh Distributed by SPD: 510-524-1668. 1341 Seventh St. Berkeley CA=20= 94710: http://www.spdbooks.org/ ========================================================================= Date: Sun, 12 Oct 2003 09:52:01 -0600 Reply-To: derek beaulieu Sender: UB Poetics discussion group From: derek beaulieu Subject: new from housepress: SAN' by Lawrence Upton MIME-Version: 1.0 Content-Type: text/plain; charset="Windows-1252" Content-Transfer-Encoding: quoted-printable housepress is please to announce the release of: SAN' by Lawrence Upton 24 pp, handbound. 75 numbered copies. ISBN 1-894174-90-9 $7.00 including postage. From the author's note: "San' was the title of a one off book, produced by painting and = collages, made as a present for Bob Cobbing on his 80th birthday, and = presented to him in September 2000 at A day for Bob Cobbing. The idea = was to really give something: I would no longer have it and did not = expect it to be published. After Bob's death, Jennifer =97 Bob's widow = =97 found the book among his possessions. At her suggestion, I borrowed = it and used it as the starting point for a new set of images in Bob's = memory. This is the new set of images. It retains a great deal of the = original. "San'" represents the way "sound" was said in the street in = the area in which I was brought up. This text, like the original given = to Cobbing, is for utterance and movement." About the author: Lawrence Upton's directionless career terminated with four years as = "Head of Academic Computing" at a Greater London college, from which he = retired due to ill health in 1996. He has been making poetry for nearly = four decades and is prolific in a variety of writing genres. He was a = member of "jgjgjg" and other performance groups; and produced = electro-acoustic pieces at West Square Studio. His collaboration and = performance practice has persisted and developed, with many colleagues = especially, latterly, the late Bob Cobbing. He co-edited the influential = anthology Word Score Utterance Choreography in verbal and visual poetry = (1998) with the late Bob Cobbing; and now he co-directs Writers Forum = Workshops and Writers Forum, the publishing imprint. for more information, or to order copies, contact: derek beaulieu c/o housepress apt 205, 321 10th st NW calgary alberta canada t2n 1v7 403-234-0336 derek@housepress.ca=20 ========================================================================= Date: Sun, 12 Oct 2003 09:44:10 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: kari edwards Subject: I answered -obey the formal In-Reply-To: <09C1FC2D-FCCD-11D7-9786-003065AC6058@sonic.net> Content-Type: text/plain; charset=WINDOWS-1252; format=flowed Mime-Version: 1.0 (Apple Message framework v552) Content-Transfer-Encoding: quoted-printable I answered - obey the formal in a room one hundred and twenty five feet long and ten feet wide I sit=20= hovering over planks and nails. there are thirty servere windows that=20 stare at me. now I know you may be thinking paranoia, right, well, I am=20= thinking more tragedy in the making; I could have spent the extra money=20= on linoleum, whitewashed the walls, painted everything with=20 fleur-de-lis design of joan of arc=92s glory days, but I decided to = leave=20 everything in a low grade liverish brown, a reminder of my body being=20 dragged up a flight of steps and pushed out the kitchen door, having=20 been beat with the broken arm of an arm chair, which as they were=20 beating me mostly on my arms, I though rather ironic. I was still able=20= to stoke my gas furnace with a bit of humor, but in truth I can not=20 remember if this took place or not; like most things in my life the=20 past has a protestant priority, the present, scabs with a third round=20 to go, and the future a communal carper. most of the time I can not=20 even remember all the numbers that make me who I am. last night I even=20= sold six of the numbers that I had just so I could watch a half an hour=20= of a detective something on television. I keep hearing =93get up you=20 asshole or we are going to...=94 I did not move since I thought it was=20= the television and not some hate mongering legalese waiting to=20 whitewash my fence. well, that=92s what I get for ignoring the = atmosphere=20 and only paying attention to what is in reach of my senses. that is how=20= I ended up in a room one hundred and twenty five feet long and ten feet=20= wide, I thought I would teach bullfighting to the cool nuance, and=20 after a kill or two it was suggested via wounds and a chaotic chess=20 board across my head that I should keep the cat burning and learn to=20 confine the dead to old love songs or at least the fat and hungry.= ========================================================================= Date: Sun, 12 Oct 2003 10:04:12 +0000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Chris Stroffolino Subject: New Brutalism: Fisher, Stroffolino Mime-version: 1.0 Content-type: text/plain; charset="ISO-8859-1" Content-transfer-encoding: quoted-printable Chris Stroffolino & Dan Fisher Sunday, Octomber 19 7-9 PM at 21 Grand 449 B 23rd St. Oakland $4 cover http://www.21grand.org/20031019.html Chris Stroffolino's low-fi versifications come deftly from his keyboardist's fingers. His work idles fast and gallops urgently, daring the reader to roll her eyes as high as he does: =EC must murder memory's cozy / propensity for familiarizing / as numbers 'tame' savannahs into streets." Stroffolino's a Shakespeare scholar and lead croaker for Continuous Peasant whose debut album, EXILE IN BABYVILLE is just out on Goodforks. Forthcoming in fall of 2003 is a chapbook, Scratch Vocals (Potato Clock). Tougher Disguises will bring out a full-length book of his poetry, Speculative Primitive in 2004. He teaches at St. Mary's College. Dan Fisher waxes lyric with distinctly Oakland mannerisms=F3he has walked the lake and ended up at the Stork Club with inked up matchbooks. His poetry tells sad stories with a jubliance usually only known to country singers: =ECThe yee-haw nights deliver us from swinging / saloon doors. To retell under smoke rings / the vagaries of a dream, our mouths would / remain pursed to the love of talking.=EE Fisher is the publisher of Flotsam Press, a letterpress chapbook series, and the co-editor of A Very Small Tiger, a forthcoming poetry journal of brutal repercussions. Recent work has appeared or will be appearing in Barn (v.) and Pink Squid, and will be making familiar objects be as if they were not familiar. He is currently in the M.F.A. program at Mills College. Please come to upcoming events! November 16th: kari edwards and Chris Nealon December 10th : Barbara Joan Tiger Bass and Aidan Thompson*** January 18th: Genevieve Kaplan & Juliana Spahr ***please note the December reading has been moved to Wednesday. __________________________________ Do you Yahoo!? The New Yahoo! Shopping - with improved product search http://shopping.yahoo.com ========================================================================= Date: Sun, 12 Oct 2003 14:45:26 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Matt Keenan Subject: Re: why irony MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit The Kingdom of Saudi Arabia has one of the most oppressive religious societies on earth. I lived in Riyadh (but not in a compound totally insulated (however that insular safety net changed recently) from the rest of society) for a year. I will never forget when an American diplomat's son took me to the so-called junk souk on the outskirts of Riyadh. It was in the middle of the afternoon. The call-to-prayer was given and a man in his immaculate white dish-dash appeared with what looked like the fanbelt from a car engine in his hand, threateningly harrassing the shopkeepers to close their shutters. His black skin was in stark contrast to his robe. A former slave? (Slavery was officially banned in 1963 in Saudi Arabia.) This man was a religious policeman, a mutawah. The tell-tale short dish-dash, normally worn right down to barely touch the ground, was the give-away. Yeah, we ought to invade Saudi Arabia if Iraq is an oppressive regime. But, then, Saudi Arabia wasn't behind the "slippery" anthrax in the envelopes sent to Dashle and Leahy, was it? Matt ========================================================================= Date: Sun, 12 Oct 2003 14:12:10 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Clements Subject: Props In-Reply-To: <595C2ECA-FC11-11D7-B357-000393AC1E3A@hawaii.rr.com> MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit A public attaboy for: Ian Randall Wilson--great selection of work in 88 Issue 3 and for Noah Eli Gordon and Briancase Press--beautifully produced chapbooks by Juliana Leslie, Sara Veglahn, and Nick Moudry (and congrats to those authors as well--excellent work!) Brian C. ========================================================================= Date: Sun, 12 Oct 2003 15:42:31 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Lori Emerson Subject: Paul Dutton | Reading Tomorrow! MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline P A U L D U T T O N : reknown for his work with the Canadian-based poetry performance group, the Four Horsemen, will be giving a reading and a talk T O M O R R O W! Reading and talk: 232 CFA 5:00-7:00 pm Monday October 13th Please do come see this important Canadian poet. All are also invited to join us for dinner at Byblos afterwards. Paul Dutton is a Toronto poet, essayist, fictionwriter, vocal sound artist, editor, and musician. Throughout his 30-year career he has published books, issued sound recordings, and given public performances --both on his own and as a member, from 1970 to 1988, of the internationally-known poetry performance group, the Four Horsemen. He continues to publish and to perform throughout North America and Europe. He also collaborates frequently with musicians and composers, and gives writing and sound workshops at schools and colleges. Selected Publications: The Book of Numbers. (Porcupine's Quill, 1979). Right Hemisphere, Left Ear. (Coach House Press, 1979). spokesheards (with Sandra Braman). (Longspoon Press, 1983). Fugitive Forms (cassette). (Underwhich Editions, 1987). 2 Nights (with The Four Horsemen, cassette). (Underwhich Editions, 1988). Visionary Portraits. (Mercury Press, 1991). Aurealities. (Coach House Press, 1991). The Plastic Typewriter. (Underwhich Editions, 1993). Full Throatle.(cassette) (Underwhich Editions, 1994). Partial Additives (cassette). (Writers Forum, 1994). Please also consider going to UBUWeb to hear select sound poems: http://www.ubu.com/sound/dutton.html Best, Lori Emerson ========================================================================= Date: Sun, 12 Oct 2003 23:38:24 +0200 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Bjorn Magnhildoyn Subject: all hang out MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" to the cows and tired faster than his nose has her eyes that path colder than words like being shot in a new ball is gored pack it in a leg break the worm easier said brain for different folks You get someone loses an alley cat Get out of July she would be a kid More thrust then get the grave set like a wall Hotter than two fleas on his thunder something good for the hinges of his back give and truly reamed him down the bullet She could be wished bright and The old heave-ho Slicker than a room looks like a cat in the hell in every branch If you the wagons a small circle of him let yet another day I will turn in a tattle tale turn back the plank warms the brighter side of the hand into it isbn 82-92428-08-9 ========================================================================= Date: Sun, 12 Oct 2003 17:53:03 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: FEMININE GREAT I AM MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII FEMININE GREAT I AM yN agonyes ecstasyes and orgasmsE hZMALLNEhZS OFLSH! TH= FANTAhZ+ + abu.ya yn unuttheyr bodyes EFFound togeththeir bodies goneable chaos oEFFlsh! lovee w9nd -RyTE YOU FROM agonyes ecstasyes and orgasmsE hZTyLLNEhZS OFLSH! M+ HEART DO NOT KAOSONKAOSERN YOURhZELFLSH! abu.ya yn unuttheyr bodyes EFFound togeththeir bodies goneable chaos oEFFlsh! lovee w9nd -yTH LEagonyes ecstasyes and orgasmsARG+ +LL BE ALRyGHT yN TH= DUhZK HURTLyNG DARK ONE KAOSANNOT byg beautyEFFul eyehzEhZEE agonyes ecstasyes and orgasmsE MOMENT OFLSH! ONEhZ DEATH BUT BE AhZSURED yT KAOSOMEhZ BEbyg beautyEFFul eyehzE agonyes ecstasyes and orgasmsE BREATH WAhZTEhZ AWA+ yN OUR hZLyM hZPAN hZUKAOSH = agonyes ecstasyes and orgasmsE FEMyN9nE yN MyDhZT OFLSH! GREAT + = IN THE SMALLNESS OF THIS FANTASY I WRITE YOU FROM THE STILLNESS OF MY HEART DO NOT CONCERN YOURSELF WITH LETHARGY I'LL BE ALRIGHT IN THIS DUSK HURTLING DARK ONE CANNOT FORESEE THE MOMENT OF ONE'S DEATH BUT BE ASSURED IT COMES BEFORE THE BREATH WASTES AWAY IN OUR SLIM SPAN SUCH IS THE FEMININE IN MIDST OF GREAT I AM ___ ========================================================================= Date: Sun, 12 Oct 2003 23:56:38 +0200 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Bjorn Magnhildoyn Subject: loaded conventional breakpoints Comments: cc: noemata MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" colder than eves Than the pressure win some, lose that extra mile in controlled) punch his leg pull it always the garden path led down to town poing, poing, pong Sweep it on the heat, stay on trees make money and lost than snot full as a whale a whale of grace look both me that in the good all's from teeth or beyond Teeth or break make the host with sweet in my brain for happines and shine too close for a rainy day saving grace say uncle cry uncle scarce as a rock of all caged up and day late and $x can cry about like a meat house waste not so let everyone loaded conventional breakpoints Conventional wisdom cooked his thumb All hunched over spilled milk cry about like a year quicker than the breaks you make a thousand words picture of jello put the wrong reasons tail wagging the day late and not wont not punch the ace of a candle to the answer Empty as you cry. Laugh, Laugh, isbn 82-92428-08-9 ========================================================================= Date: Sun, 12 Oct 2003 17:27:45 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Harrison Jeff Subject: Queen Nab Mime-Version: 1.0 Content-Type: text/plain; format=flowed nabbed already the lap silver gap looking wise where root is snow-colored hair a white pillow shooting horseshit a bit of a shock to earn below blossom's wage lips over eyes sleeping cloud, be snow your grasses white forgiven be which can end, grass brains winter-dead you wet heat dead of wood and dead skin-icy a body's underside fold its mirrors nab the ringing turn the birds into stream wind up your black rose rain seat ripe a depth's lily sea in chains think "a line of paint" that will money up your found love _________________________________________________________________ Instant message with integrated webcam using MSN Messenger 6.0. Try it now FREE! http://msnmessenger-download.com ========================================================================= Date: Sun, 12 Oct 2003 19:04:50 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Brenda Coultas Subject: Coultas & Sikelianos this friday MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Hi All, Just to let you know: Brenda Coultas & Eleni Sikelianos are reading this friday, 730 pm, Oct 17th at Beyond Baroque, 681 Venice, 1/2 mile west of Lincoln Blvd in Venice Beach, CA. Thanks ========================================================================= Date: Mon, 13 Oct 2003 01:47:05 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: i'll miss the next film. MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII i'll miss the next film. there won't be another novel. analog audio is out of sight out of mind. television's next season has vanished. nothing music anymore. "i'll miss the next film." "there won't be another novel." "analog audio is out of sight out of mind." "television's next season has vanished." "nothing music anymore." performance has already disappeared. there's nothing to be said about digital. the internet's dead and gone obscene. not much beauty even less cuisine. i'll skip the next video as well. blinded to painting and the rest of it. "performance has already disappeared." "there's nothing to be said about digital." "the internet's dead and gone obscene." "not much beauty even less cuisine." "i'll skip the next video as well." "blinded to painting and the rest of it." culture's packed up and left the world. or rather suicided along with opera. not much more of life than that. "culture's packed up and left the world." "or rather suicided along with opera." "not much more of life than that." ___ ========================================================================= Date: Sun, 12 Oct 2003 23:14:09 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: dcmb Subject: Re: Paul Dutton | Reading Tomorrow! MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit where id CFA, please?In what town or city? Thanks, David Bromige -----Original Message----- From: Lori Emerson To: POETICS@LISTSERV.BUFFALO.EDU Date: Sunday, October 12, 2003 12:42 PM Subject: Paul Dutton | Reading Tomorrow! >P A U L D U T T O N : reknown for his work with the Canadian-based poetry >performance group, the Four Horsemen, will be giving a reading and a talk >T O M O R R O W! > >Reading and talk: 232 CFA > 5:00-7:00 pm > Monday October 13th > >Please do come see this important Canadian poet. All are also invited to >join us for dinner at Byblos afterwards. > >Paul Dutton is a Toronto poet, essayist, fictionwriter, vocal sound artist, >editor, and musician. Throughout his 30-year career he has published books, >issued sound recordings, and given public performances --both on his own >and as a member, from 1970 to 1988, of the internationally-known poetry >performance group, the Four Horsemen. He continues to publish and to >perform throughout North America and Europe. He also collaborates >frequently with musicians and composers, and gives writing and sound >workshops at schools and colleges. > >Selected Publications: >The Book of Numbers. (Porcupine's Quill, 1979). >Right Hemisphere, Left Ear. (Coach House Press, 1979). >spokesheards (with Sandra Braman). (Longspoon Press, 1983). >Fugitive Forms (cassette). (Underwhich Editions, 1987). >2 Nights (with The Four Horsemen, cassette). (Underwhich Editions, 1988). >Visionary Portraits. (Mercury Press, 1991). >Aurealities. (Coach House Press, 1991). >The Plastic Typewriter. (Underwhich Editions, 1993). >Full Throatle.(cassette) (Underwhich Editions, 1994). >Partial Additives (cassette). (Writers Forum, 1994). > >Please also consider going to UBUWeb to hear select sound poems: >http://www.ubu.com/sound/dutton.html > >Best, >Lori Emerson ========================================================================= Date: Sun, 12 Oct 2003 23:23:23 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Stephen Vincent Subject: New works on the blog Comments: To: UK POETRY Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit An Afternoon with Gertrude Moon Sticks, Georhythm or A Night Walk in The Marin Headlands As always, your comments appreciated. Stephen Vincent ========================================================================= Date: Mon, 13 Oct 2003 03:17:36 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: August Highland Subject: BASE-PONT FREE SEQUENCE/SMOOTH DIRECTIONAL VARIETY MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit BASE-PONT FREE SEQUENCE/SMOOTH DIRECTIONAL VARIETY P[R.Oc.R.OcR.Oc+e+E+D s+u+c+K /~ s_||E[x/s_||E[xs]E[xs_||E[x C_||U[n/C_||U[nC]U[nC_||U[n+t _||G[I[v/G_||I[vG]I[vG_||I[v.eS.v.eSv.eS P+e.nI.e.nIe.nI+S =| /~= B_||u[T/B_||u[TB]u[TB_||u[T_||t[s P[R+i.CK.i.CKi.CK A+n+D M_||E[s/M_||E[sM]E[sM_||E[s_||S[Y /~ G+I.Ve.I.VeI.Ve[s P[R.oc.R.ocR.oc[e+E+D +r.Ea.r.Ear.Ea[d.po.d.pod.po+e.Ml.e.Mle.Ml /~.Gi+f /~ B_||e[a/B_||e[aB]e[aB_||e[a+S.tI.S.tIS.tI_||A[L/I_||A[LI]A[LI_||A[L[i+T+y p.RO.p.ROp.RO.Du+c+e /~ b+R.EA.R.EAR.EA+t+h+e h.ER.H.ERH.ER[e p+i+c+T.Ur.T.UrT.Ur+E+S /~ [A.Na.A.NaA.Na[l /~= I.nv.I.nvI.nv[I.tE.I.tEI.tE+S H[E+R+e P[I.Ct.I.CtI.Ct.UR+e+s /~ a[L+L H.OR.H.ORH.OR_||s[e/R_||s[eR]s[eR_||s[e D.Ev.D.EvD.Ev_||O[T/v_||O[Tv]O[Tv_||O[T+e+S c+U+n+t /~ +S+u.dD.u.dDu.dD.eN d.eV.d.eVd.eV.ot+e+S s_||T[I/s_||T[Is]T[Is_||T[I+l+L t_||e[E/t_||e[Et]e[Et_||e[E[n /~ /~= s_||U[C/s_||U[Cs]U[Cs_||U[C+K.IN.K.INK.IN[G /~ s_||u[c/S_||u[cS]u[cS_||u[c_||K[I[N/K_||I[NK]I[NK_||I[N+G /~ G.iv.G.ivG.iv_||E[S/v_||E[Sv]E[Sv_||E[S h_||E[r/H_||E[rH]E[rH_||E[r[E _||P[R.Ic.R.IcR.Ic[k /~_||h[T+m /~ G_||i[r/G_||i[rG]i[rG_||i[r.Lf.r.Lfr.Lf_||R[I/f_||R[If]R[If_||R[I[E+n+D m.AT.m.ATm.AT.Ur+e b.rE.b.rEb.rE[a+T.he.T.heT.he r_||E[P/r_||E[Pr]E[Pr_||E[P_||e[a+t t.rI.t.rIt.rI[P+l+e F[e.MA.e.MAe.MA+L+E X /~ .DE.vo.E.voE.vo[T.Es.T.EsT.Es S[T+i.LL.i.LLi.LL G.ro.G.roG.ro[u+p H.AV.H.AVH.AV[e M.aR.M.aRM.aR.Di+G+R.aS.R.aSR.aS d.EV.d.EVd.EV_||O[t/V_||O[tV]O[tV_||O[t+E+S p+I.ct.I.ctI.ct.UR[E c+o+l.LI.l.LIl.LI[n+s /~= .gI_||V[e/I_||V[eI]V[eI_||V[e[s s[t.il.t.ilt.il+l h_||O[R/h_||O[Rh]O[Rh_||O[R_||s[e a_||N[a/a_||N[aa]N[aa_||N[a[l a[N+A+L T+e+e+N s[h.ar.h.arh.ar_||e[s/r_||e[sr]e[sr_||e[s M+a+r+D+i c+h+A+T t+h+e+N F_||a[t/F_||a[tF]a[tF_||a[t /~= +S+t.iL.t.iLt.iL[L R_||e[v/R_||e[vR]e[vR_||e[v[e+A+l.In.l.Inl.In[G M+a.Rd.a.Rda.Rd+I.Gr.I.GrI.Gr[a+S U+p l_||A[t/l_||A[tl]A[tl_||A[t_||E[x g_||I[V/g_||I[Vg]I[Vg_||I[V_||e[S o[R i[N+V+i.Te.i.Tei.Te[S R_||E[a/R_||E[aR]E[aR_||E[a+L r+E+A+L [S+e+x /~ s+t.oP.t.oPt.oP M+O+d+E+l+S B.ES.B.ESB.ES_||T[I/S_||T[IS]T[IS_||T[I_||A[L[i/A_||L[iA]L[iA_||L[i[t+Y g+I+v+e+S S[o G_||I[V/G_||I[VG]I[VG_||I[V[e+S h[o.rs.o.rso.rs[e X t.Ee.t.Eet.Ee+N .im+A.GE.A.GEA.GE[s /~= o_||n[e/o_||n[eo]n[eo_||n[e O+R b[e.St.e.Ste.St[I.al.I.alI.al.it+y g[I.Rl.I.RlI.Rl g.Ir.g.Irg.Ir+L G+I+V.ES.V.ESV.ES r+E+P+e.aT.e.aTe.aT G[r+O+u+P h+A.vE.A.vEA.vE /~= [b+e+s+t.Ia.t.Iat.Ia+L.IT.L.ITL.IT[Y G_||I[v/G_||I[vG]I[vG_||I[v+e+s S[t.oP.t.oPt.oP c[o.CK.o.CKo.CK c[u.NT.u.NTu.NT c+u+n+T /~ L[A+s+T i+m+A.gE.A.gEA.gE[S s[u.cK.u.cKu.cK [b+R.Ea.R.EaR.Ea_||T[h/a_||T[ha]T[ha_||T[h+E s.ti.S.tiS.ti[l+l P.ic.P.icP.ic+t.uR.t.uRt.uR+E C_||U[n/C_||U[nC]U[nC_||U[n[t /~ s_||t[o/S_||t[oS]t[oS_||t[o[p p[E.nI.E.nIE.nI+s =| N+a.KE.a.KEa.KE+D .ST+u.Ds.u.Dsu.Ds _||N[U[d/N_||U[dN]U[dN_||U[d+e _||D[E[V/D_||E[VD]E[VD_||E[V.OT.V.OTV.OT_||e[S/T_||e[ST]e[ST_||e[S A[N+D s.ha.s.has.ha.Re+S A_||n[i/A_||n[iA]n[iA_||n[i_||m[E /~ s_||h[A/S_||h[AS]h[AS_||h[A_||R[e+s S.TO.S.TOS.TO+p u.PD.u.PDu.PD+A.TE.A.TEA.TE+D H[O+R.se.R.seR.se F.eM.F.eMF.eM_||A[l/M_||A[lM]A[lM_||A[l+e _||T[E[E/T_||E[ET]E[ET_||E[E+N i_||n[v/i_||n[vi]n[vi_||n[v[i+T+E+S august highland muse apprentice guild --"expanding the canon into the 21st century" www.muse-apprentice-guild.com culture animal --"following in the footsteps of tradition" www.cultureanimal.com ========================================================================= Date: Mon, 13 Oct 2003 03:19:25 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: August Highland Subject: MONIC IRREDUCIBLE CUBICS/FLEXPOINT FACTORIZATION MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit MONIC IRREDUCIBLE CUBICS/FLEXPOINT FACTORIZATION PARTITION #0000001: X, = be. =1 (9), gives r. X+b )( 0. Proof: we apply proposition 1 with f (n)=n. if we let a = n \gamma rn (the set of natural numbers not divisible by r) then (3) follows. if we let a = fn 2 n : (m; n) = 1g, then (4) follows. gives rise to the no-. (p ) =5, and p. PARTITION #0000002: N=1 CLAIM: The nine flex points form a 3-torsion packet.. N, denote the curve 4. We set up the problem in Magma in the following way.. (1 + x + p(p \Gamma. Definition 7 let f (a 9. K=1 (k)q(n \Gamma k) p. PARTITION #0000003: )) a 2. + x 8. N=0, there is a single divisor D * 0 such that (f ) 5. (\gamma 1), 1 d. 3 m. PARTITION #0000004: 1 n + 2a. )=ff (2 =1, hence a. ) where a k. `\gamma 1, =4\Theta 2. F ( n=0. PARTITION #0000005: P n. 2, 0 2. + 1), and n. K=1 3 =. + t u 0. PARTITION #0000006: (n) denote the number of partitions of n into parts that belong to a. 3 + 1; x. P(p \gamma 1)(p \gamma 2) F . . .. =2, 0 g(n; k)=2. N=mk, \Gamma 4a + oe. Definition 2 let oe, p n. PARTITION #0000007: X + oe 1. 6, (P ) ? a5 :=a^n5; ? c5 := c^n5; ? a5^129; 1106532280219457618983939634726858708298 ? c5; 1106532280219457618983939634726858708298 ? a6 := a^n6; ? c6 := c^n6; ? a6^127; 809579285918008980133272648385832028198 ? c6; 809579285918008980133272648385832028198. P k X. R Chinese remainder lifting.. Gives \Theta 4. PARTITION #0000008: 3 3 and n. 3 1 X \Gamma. Mx )= n2A. 2, ` Definition 3 Let p(n) denote the number of partitions of n.. X 2 j. PARTITION #0000009: 0, 1 0. ) + (x oe \Gamma oe. T u H. K =r. P (a =4\Theta. PARTITION #0000010: 2 . The Euclidean algorithm for polynomials in turn yields: where. + 1=(x n =4. Oe : p 7! y. Q(n)x 3 =634466267339108669 and p. J, ? Index(-@ a^(n1*i) : i in [1..2] @"", c^n1); 1 ? Index(-@ a^(n2*i) : i in [1..3] @"", c^n2); 2 ? Index(-@ a^(n3*i) : i in [1..5] @"", c^n3); 4 ? Index(-@ a^(n4*i) : i in [1..37] @"", c^n4); 29 ? CRT([1,2,4,29],[2,3,5,37]); m. PARTITION #0000011: (p ) ffl for space quartics, we use a syzygy satis- X. 1 =634466267339108669 and p 3. 2, f (2 p. N i 2. 2 Remarks: Proposition 1 is Theorem 14.8 in [1]. If we let A=N; f (n) = n, then we obtain m6=n. PARTITION #0000012: + 1; x, a 2. \theta h \gamma 72s then the map \Delta. F (2 1 X. 1 )= x + 3c. Without loss of generality we may assume that n * m. the euclidean algorithm for integers yields k rjm 0. PARTITION #0000013: X 0. R =rt + s(p \Gamma 1), so. ) + (x q(n)x. + 4a 0 2. 6, \Delta 2. PARTITION #0000014: I 1 + x. \gamma r 5 r. This is given as theorem 1 in [2], and is a special case of theorem 1(a) below. H \Gamma 11S + 3a. T(x) \gamma _(x)ff(x)r(x)=*(x)r(x)t(x) or equivalently 2 (n)x. 1 with Weil's result gives a rational map from C to a Weierstrass model. (a. PARTITION #0000015: I, 2 1. Claim: the nine flex points form a 3-torsion packet. djn ; 26 jd. 2 2 (P ). , n, 10 k=1. 1, (x) is a greatest common divisor and d Connection to curves It is via these fundamental syzygies that we obtain Weierstrass models for the Jacobians of our curves.. PARTITION #0000016: =37, which can be easily solved by enumerating all + oe. (n)=, oe 2. N=1 1 X 2. A;f, = + \Delta \Delta \Delta + x. And x 2 n=1. PARTITION #0000017: A j d\Gamma 1. \gamma y i=a. S(p\gamma 1) X k. 3 2 + 1 in Z. Z + 3c logarithm can be computed independently for each prime divisor of p \Gamma 1 -- more correctly for prime power divisor -- and the discrete logarithm can be recovered by the Chinese remainder theorem, as is the next example.. PARTITION #0000018: F 6 5. 1 0 p. Let p and q be two flex points, with tangent lines l Then (1 + x. (p ), F (P ). 1 2. Biggs 15.6.4 (pg. 336) Solution: For (i), any divisor of a(x) and b(x) also divides the greatest common divisor. Since d d\Gamma 1. PARTITION #0000019: F, 0 k\Gamma i. N=1 (n)=q(n). Y. J, , + 1)(x. 3 n. F = in this list is 1,. PARTITION #0000020: 2, j , n. K\gamma 1 x, 3 that is,. \gamma 2r Then `\Gamma 1. \delta 1073741839. we repeat, 2 2. ? p :=2^32+15; ? modexp(3,(p-1) div 2,p); 4294967310 ? modexp(3,(p-1) div 3,p); 2086193154 ? modexp(3,(p-1) div 5,p); 239247313 ? modexp(3,(p-1) div 131,p); 1859000016 ? modexp(3,(p-1) div 364289,p); 1338913740 =4\Theta p. PARTITION #0000021: F (k) :. Oe : p 7! then J can be written in Weierstrass form as 1. (a + 1)(x + 3b. M=r) = f (2 G 0. K, ) A. PARTITION #0000022: I=1 n + 1). 2 number of self-conjugate partitions of n). n. Or (\Gamma 1). A dependence relation among covariants is called a syzygy. =4, + 2a. )=g(f; k) \Theta H \Gamma 72S and we can replace t by t. PARTITION #0000023: \gamma 1): 2 2. 4 )=ff (2. A, x 1. 4. we set up the problem in magma in the following way. or \Gamma i, \Gamma j. N, ? x :=CRT([29,129,127],[2*3*5*37,p5,p6]); ? x; 1075217203476555175652504438224037579 ? a^x eq c; true 5. PARTITION #0000024: =4, \Delta p. Proof: if f is multiplicative and n=2 r b. For p=2. 2 F. 3 H is the Hessian covariant of U , so H vanishes at the nine flex points of C . k\Gamma 1 X. 2 2. PARTITION #0000025: A, mx + \Delta \Delta \Delta + 1);. 3 =ff (2 4. 6. biggs 15.8.3 (pg. 341) solution: the total number of monic cubics in z 2. Action on f nx. 1 )g 3. PARTITION #0000026: 4 1. 2, 0 m6=n. K x, H The shows that 2 is a primitive element. Next we find that, for this prime p, that the time to compute discrete logarithms in F. The same test as in the previous part. 4. + 1)=x 0 d. PARTITION #0000027: A divisor, d (1 + x i. I j 1. H (x)= 1. R, d 3. P J is dependent on the size of the largest prime divisor of p\Gamma 1. The discrete. PARTITION #0000028: (n)x, n=1 2. + \delta \delta \delta + 1); Two quadratic forms:. U h, n a. N d. U=ax Let C X. PARTITION #0000029: N n=1 3. (1 + x, kq p. ) \gamma, 1 X H. H + cz 1. ) \gamma 3 Definition 6 Let b. PARTITION #0000030: H vanishes on c ., Five basic invariants: oe f (. N;m 3 4. )= (k) (3). And computing discrete logarithms, k converge absolutely and represent analytic functions in the unit disc: jxj ! 1. Let p. 2. biggs 15.6.4 (pg. 336) solution: for (i), any divisor of a(x) and b(x) also divides the greatest common divisor. since d r 4. PARTITION #0000031: I, j (x) is a greatest common divisor and d. (x): coprime to m. + x + 2. =, + \Delta \Delta \Delta + 1); is dependent on the size of the largest prime divisor of p\Gamma 1. The discrete. X i. Partitions of n such that no part is a multiple of r or such that no part occurs r or more times)., F k. PARTITION #0000032: \gamma f, . Therefore the maximum length of a cycle =1 (9). + 1=(x + 1: =. P(p \gamma 1)= 2 d. 4 2. A;f H + 1). PARTITION #0000033: ) + (x km =c. F n X. X + 3c X a. J=0, kq (x). 1 (p \Gamma 1).. PARTITION #0000034: 2 n Now (1) implies. N=1 2 2. L, n=1 + 1.. 2 J. An invariant of f is a polynomial expression in the coeaecients of f . ) \Gamma x. PARTITION #0000035: (p ) k m. I =4\Theta. ) \gamma p. , n, 3 The Main Results Theorem 1 f (. By using the function crt to find the, 3 + 2a. PARTITION #0000036: Reduces the solution to the discrete logarithm to one modulo p p i. 5 For p=2 they are x 2. 2 (p \Gamma 1)=. =37, which can be easily solved by enumerating all, 0 4. X 0 r. PARTITION #0000037: N x f ( 4. 3 Let F be such a form (or a collection of forms). The GL 0. 0, )=ff (2 k=1. Is dependent on the size of the largest prime divisor of p\gamma 1. the discrete (x) =3865430919824322067;. Djn ; 26 jd 3 \Gamma a. PARTITION #0000038: Or 3 3. 1=*(x)r(x) + _(x)s(x): since by assumption r(x) divides s(x)t(x) there is a polynomial ff(x) such that ff(x)r(x) = s(x)t(x). multiplying these equations by t(x) and _(x) respectively we obtain =5, and p 0. . therefore the maximum length of a cycle n. =, divides p\Gamma 1 and is equal l to p\Gamma 1 exactly when a is primitive. =GCD(t; p \Gamma 1) then there exist r and s such that t. Divides p\gamma 1 and is equal l to p\gamma 1 exactly when a is primitive. is a rational map from C to C. PARTITION #0000039: Oe x + a. P(p \gamma 1)(p \gamma 2) ` F. =3, p, 2 nx. Hence the answers to the explicit cases are (i) x Definition 2 Let oe \Gamma. I, djn ; 26 jd CLAIM: The nine flex points form a 3-torsion packet.. PARTITION #0000040: Five basic invariants: oe, 2 \Theta H. + 15, the factorization of p \gamma 1 is 2 \delta 3 (\Gamma 1) and a. 1 = r. (n), namely: (n \Gamma k)oe 3. 2 f (2 (ii) (x + 8)(x + 9)(x + 10) (iii) (x. PARTITION #0000041: Gives rise to the no-, n \Gamma 16S. 4, n X n. X djn. X n X =ff (2. D is a rational map from C to C (P ). PARTITION #0000042: \gamma 27t :, np(n)= (x) must divide. + 2)(x, nb Jacobian of a plane cubic. 1 n=1. Djn, d dx t. , and n ffl for plane cubics, we use a syzygy satisfied )g. PARTITION #0000043: =oe 1. 3, mx OE(2. 2 + 1=(x 5. Rjm, H r. 2 q(n \Gamma k)oe F. PARTITION #0000044: The shows that 2 is a primitive element. next we find that, for this prime p, that the time to compute discrete logarithms in f, Hence the answers to the explicit cases are (i) x n. , n 6 2. U=ax, 32 1. This implies that deg ff(x)=\gamma deg fi(x). since in addition all degrees are nonnegative, it follows that deg ff(x) = deg fi(x) = 0, so that ff(x) and fi(x) are constant polynomials. nq(n)= + 3b. 5, g(OE(n); k)=OE(2 m, where k * 0 and. PARTITION #0000045: 3 n. Definition 8 let oe 3. Tions of invariants and covariants of f . y \Theta + 2S T U. Is dependent on the size of the largest prime divisor of p\gamma 1. the discrete 4 (P ). I, 3 + oe. PARTITION #0000046: N, 2 p. = 3. =4\theta \Gamma a =1 +. 2. biggs 15.6.4 (pg. 336) solution: for (i), any divisor of a(x) and b(x) also divides the greatest common divisor. since d 2. 1 x, + 1, x oe. PARTITION #0000047: 2 k k\Gamma 1 X. ) where a, in F ? p :=2^32+15; ? Modexp(3,(p-1) div 2,p); 4294967310 ? Modexp(3,(p-1) div 3,p); 2086193154 ? Modexp(3,(p-1) div 5,p); 239247313 ? Modexp(3,(p-1) div 131,p); 1859000016 ? Modexp(3,(p-1) div 364289,p); 1338913740. Q(n)x r. 1 )=0 (10). I, 2 (k) : (2). PARTITION #0000048: Action on f, f ( \Lambda. N, 3 )=. 2, In each case the covariant theory of the right type of object provided us with rational maps from our curves to Weierstrass models of ellip- tic curves. We want to conclude that in each case the elliptic curve is in fact a model of the Jacobian. + 108S , \Gamma 27T. 1 =1 for all x = r(p \Gamma 1), and indeed, we have run out of. N ` `\Gamma 1. PARTITION #0000049: + 1; x X \Gamma 27T H. 1 x, f (r)=ff (2 z. 2 4. G(f; k)=ff (2, (n) denote the number of partitions of n such that all parts are 1. Definition 3 let p(n) denote the number of partitions of n., (n)= 0. PARTITION #0000050: =4,, nonzero elements so must have a repeat at this point. p(p \Gamma 1)=. 1 x 3 x. ( n=0 The shows that 2 is a primitive element. Next we find that, for this prime p, that the time to compute discrete logarithms in F. (p ) n\Gamma 1 p. =r X 0. PARTITION #0000051: + 108s , \gamma 27t ;, \Gamma 1 + 2)(x. R \Gamma d\Gamma 1. N=1, (n)x 2. In [2], theorem 2, part (b), we obtained an explicit formula for oe Raising both generator a and its power c to the large exponents n. T r where 0 ^ i ^ k; rjm. Now \Gamma i, \Gamma j. PARTITION #0000052: + 1)(x 2. (n)=, 6 djn ; 26 jd. 2 , m. 1, So if we let E denote the curve and c. J, F \Gamma p(p \Gamma 1) \Gamma p \Gamma. PARTITION #0000053: 1 x 2. \gamma i, \gamma j 3 The Main Results Theorem 1 2. :, F (P ). 1, in this list is 1, F. 3, \Gamma 1): ). PARTITION #0000054: Namely, 1 X 1 X. (n) denote the number of partitions of n into parts that belong to a. , which solves the DiAEe-Hellman problem. 6. Biggs 15.8.3 (pg. 341) Solution: The total number of monic cubics in Z. F, n 2. + 54s t u, Jacobian of a plane cubic + oe. 4. biggs 15.8.1 (pg. 341) solution: =GCD(t; p \Gamma 1) then there exist r and s such that t OE : P 7!. PARTITION #0000055: ( A space quartic n. N, a divisor, d divides p\Gamma 1 and is equal l to p\Gamma 1 exactly when a is primitive.. =4\theta X d\Gamma 1. N x 1 X. (n \gamma k)oe, y deg d. PARTITION #0000056: N\gamma m rjm Definition 7 Let f. Oe k\Gamma i. K=1 d r. X 2 k. X (n) in terms of q(n) and. PARTITION #0000057: N . Therefore the maximum length of a cycle `. And r . . . Corollary 1. 3, (P ) A space quartic. `\gamma 1 X. N d. PARTITION #0000058: + 108s h, n2A 1 X. 2 where the command Explode outputs the elements of the sequence so that we can assign them to variables n 0. + 1)(x 3. (n \gamma k)oe 2 + 6a. 0 (See [1, p. 323]). If we let A=N \Gamma 2N (the set of odd natural numbers) and f (n) = n, we obtain (1)?. PARTITION #0000059: Corollary 1, 0 in this list is 1,. 2, X 3. 2 2 0. M6=n 1 f. 3 Plane cubic case C : a cubic plane curve U=0 W : i . . .. PARTITION #0000060: 4, k\Gamma i `. J, gives n. P U H. ( djn ) \Gamma. X, ( =. PARTITION #0000061: K, X p(p \Gamma 1)=. F, 3 0. 0 Definition 2 Let oe. =4, k X 1 Y. Rjm, ) \Gamma n=0. PARTITION #0000062: A, (\Gamma 1) + 61, the factorization of p \Gamma 1 is 2. R, j (P ). \gamma 4t 4 1. 3 3 U=ax. So, oe (k))x k X. PARTITION #0000063: A, j 1. (p ) ? p :=2^32+15; ? Modexp(3,(p-1) div 2,p); 4294967310 ? Modexp(3,(p-1) div 3,p); 2086193154 ? Modexp(3,(p-1) div 5,p); 239247313 ? Modexp(3,(p-1) div 131,p); 1859000016 ? Modexp(3,(p-1) div 364289,p); 1338913740 is a rational map from C to C. M 4 1. I, + 108S , \Gamma 27T ; 1=a. (x). by the same argument, since d \Theta H \Gamma 72S. PARTITION #0000064: X, ) n X. 3, z + 3b 2. 2 =1, hence a 1. 2 djn ; 26 jd. H, (ii) (x + 8)(x + 9)(x + 10) (iii) (x + 1 in Z. PARTITION #0000065: + 1=(x U=ax =4. N, i 0. K\gamma 1 x ` , and n. =ff (2 n=1 =c. B. for p=2 If C is given by. PARTITION #0000066: 1 2. If c is given by, k X. F (P ). M, where k * 0 and reduces the solution to the discrete logarithm to one modulo p y. Deg d, k=0 , : : : , oe. PARTITION #0000067: :, 2 Definition 2 Let oe. Be, (P ) . . .. X, 0 =37, which can be easily solved by enumerating all. (a, 2 2. A A by using the function CRT to find the. PARTITION #0000068: K\gamma 1 4 n;m. \theta 3 1. N;m, H logarithm can be computed independently for each prime divisor of p \Gamma 1 -- more correctly for prime power divisor -- and the discrete logarithm can be recovered by the Chinese remainder theorem, as is the next example.. + \delta \delta \delta + x, f (d) : =. We verify the given discrete logarithms. k=0 coprime to m.. PARTITION #0000069: H is the hessian covariant of u , so h vanishes at the nine flex points of c ., i k\Gamma i. 0, ) where a J. 1 x, 1 n=1. A dependence relation among covariants is called a syzygy. + x =5, and p. F (, r \Gamma 2r. PARTITION #0000070: 3 J (P ). 2 2. Next, we present a theorem regarding odd divisors of n. theorem 2 let f : n ! n be a multiplicative function. let n=2, x + oe L. J=a, f (2 \Gamma r. Hence the answers to the explicit cases are (i) x, d\Gamma 1 p. PARTITION #0000071: N x, 3 2. Q Dividing through by H =1 (9). A space quartic + 1)(x. X 6. )(x\gamma ff) where 1 X , and n. PARTITION #0000072: (n)=, X , for every a. [x]. let d=gcd(m; n). we claim that satisfied by covariants of a binary quartic form. i. 3 2 U. A 2. R, A 1. PARTITION #0000073: K=1 m=r) \Gamma. 2 m=r) = f (2 + x. Djn ; 26 jd i=a j. G(f; k)=ff (2 ) a. 1 1 X. PARTITION #0000074: (x) i r. K\gamma i (n)= (0)=1. A 1. N=1 reduces the solution to the discrete logarithm to one modulo p 5. \theta \gamma 27t h n. PARTITION #0000075: ` + 3a Corollary 1. F (2, )= 3. Remark: note that b (\Gamma 1). Djn ; 26 jd \Gamma p(p \Gamma 1) \Gamma p \Gamma reduces the solution to the discrete logarithm to one modulo p. And l n X p. PARTITION #0000076: K 1. (n)x, m. 3. N, + r Now (1) implies. Is a rational map from c to c 1 X. 3 0 + 1)(x. PARTITION #0000077: N x, 2 a. . (x). 0 \Gamma a `\Gamma 1. =a, Ternary cubic forms The general plane cubic is given by the equa- tion U=0, where U is a ternary cubic form: (P )]. (n) denote the sum of the divisors, d , of n such that d 2 a. 7 (P ). PARTITION #0000078: \gamma f(n)=n k=1 and we can replace t by t. R, (n) and oe 0. \gamma 1 + x. I, (x)=deg ff(x) + deg d + T U. L, 1 k. PARTITION #0000079: (n)=, 1 Then the map. Kq, n 2. H i. I Definition 6 Let b Invariant theory F. A m\Gamma r rjm. PARTITION #0000080: \gamma f 1 X 0. By covariants of a ternary cubic form. (0)=1. 1 x nb + 1.. (\gamma 1) 1 J (P ). X If C is given by 1. PARTITION #0000081: M A dependence relation among covariants is called a syzygy.. A ` mx. 2 This implies that deg ff(x)=\Gamma deg fi(x). Since in addition all degrees are nonnegative, it follows that deg ff(x) = deg fi(x) = 0, so that ff(x) and fi(x) are constant polynomials. =D for most f 2 V ; in. \gamma, )=ff (2 t. + 1 in z, oe(n)x + x. PARTITION #0000082: (x)., F + 6a. (n) denote the number of r-regular partitions of n (the number of k=1. (0)=1, and we can replace t by t (n)=. Definition 7 let f, g(n; k)=2 n X. Or 4. PARTITION #0000083: Y j. F, 2 1 X. 4, (x). .. P(n \gamma k)oe(k) :, mx 2. N x X \Gamma oe. PARTITION #0000084: H + 4a 6=D.. [x]. let d=gcd(m; n). we claim that, k H. 3, k=1 (a. By (6) . second proof: (2) implies, . =. 2, m i. PARTITION #0000085: =, such that for any pair, say P and Q, the divisor class [n(P \Gamma Q)] is trivial; that is, [P \Gamma Q] 2 J [n]. 3. X, 1 X n. (n \gamma k)oe rjm 3. N, F p. (p \gamma 1). d\Gamma 1 x. PARTITION #0000086: R =4\Theta. F (, \Gamma 16S J. F 4 1. )( H ) \Gamma. N x. PARTITION #0000087: (k) : 0. + 54s t u 4 ). It follows that we could then produce. 1 0 p(p \Gamma 1)=. (k) (4) n + 108S H. H So if we let E denote the curve. PARTITION #0000088: + x F. N=0, (x) is a divisor, d (k) (4). Fied by covariants of a pair of quaternary quadratic forms., + 2x + 2. 1. 0, 0 2. Rt, X 1 X. PARTITION #0000089: P, =D for most f 2 V ; in =37, which can be easily solved by enumerating all. Now each of the functions: f (n)=n; f (n) = oe(n) is multiplicative, so theorem 1 applies. furthermore, by (1). The conclusion now follows from (11) . Remarks: Theorem 3 may be compared to the well-known Lambert series identity:. Five basic invariants: oe k 4. (x). 2. And a, ? FF :=FiniteField(p); ? for i in [1..4] do ? time x := Log(FF!3,Random(FF)); ? end for; Time: 0.010 Time: 0.000 Time: 0.000 Time: 0.000 j. PARTITION #0000090: 4 3 x + 3c. K\gamma 1 x X + 1, (ii) x + 1, (iii). F, 3 the same test as in the previous part.. Ff (d) : djk; d 2 ag : 1 rt. 0, 4 2. PARTITION #0000091: N =oe nonzero elements so must have a repeat at this point.. R, n r. 1 H k\Gamma i. `\gamma 1 1 1. `, i A covariant is another form in m variables, whose coeAEcients are polynomial expressions in the coeAEcients of F . In particular, an in- variant is a covariant of degree zero.. PARTITION #0000092: A + 1)=x d. N2a 1. ) and for y=log + x (n)=oe. ( + 108S \Theta H Namely,. Is dependent on the size of the largest prime divisor of p\gamma 1. the discrete, 1 How does this prove that 3 is a primitive element? By producing random elements in F. PARTITION #0000093: (1)? 3 (n) in terms of q(n) and. 2 n;m ). It follows that we could then produce. 2 + by 1. P q. ) \gamma, 4 + 108S H. PARTITION #0000094: R, rt \Gamma i, \Gamma j. 4 0 r. 1 n X F. `\gamma 1, 3 by covariants of a ternary cubic form.. ) \gamma ? a5 :=a^n5; ? c5 := c^n5; ? a5^129; 1106532280219457618983939634726858708298 ? c5; 1106532280219457618983939634726858708298 ? a6 := a^n6; ? c6 := c^n6; ? a6^127; 809579285918008980133272648385832028198 ? c6; 809579285918008980133272648385832028198. PARTITION #0000095: Fied by covariants of a pair of quaternary quadratic forms., k a. 0, F x. 3 F =37, which can be easily solved by enumerating all. 3 2. (n)=q(n). n F. PARTITION #0000096: Nb, \Gamma F 3. 1 x, r 2. (n), namely: 2 1. + 2a =. 4, [x]. Let d=gcd(m; n). We claim that + x. PARTITION #0000097: \gamma a, n 2. H i. P, km log. Ternary cubic forms the general plane cubic is given by the equa- tion u=0, where u is a ternary cubic form:, 2 a. 7, 3 p. PARTITION #0000098: 0 H A. Proof: if djn, then by hypothesis, d=2, F =3865430919824322067;. P 1 + 4a. )=0 (7) r )(. 3, p 1. PARTITION #0000099: So, oe 3 The discrete logarithm x can be recovered from the discrete logarithms x. (\gamma 1), Definition 5 Let q `\Gamma 1. , Chinese remainder lifting. T U. These satisfy a fundamental syzygy: (k) : (2) j. Remarks: proposition 1 is theorem 14.8 in [1]. if we let a=n; f (n) = n, then we obtain, Raising both generator a and its power c to the large exponents n \Gamma 16S. PARTITION #0000100: 2, p(p \Gamma 1)(p \Gamma 2) 1. + p(p \gamma, 1 n X. Rt X i. = 4. U, reduces the solution to the discrete logarithm to one modulo p + 6a. PARTITION #0000101: K, djn ; 26 jd 2. =2, coprime to m.. Rjm, z + 3b j=0. N, (n) denote the number of partitions of n into parts that belong to A. =a. X 1 , which solves the DiAEe-Hellman problem.. PARTITION #0000102: =634466267339108669 and p =ff (2. N x n=0 ffl for plane cubics, we use a syzygy satisfied. 6, 2 4. Deg d, Definition 3 Let p(n) denote the number of partitions of n. . Then the divisor (3P \Gamma 3Q) is. 2, J (P ) =rt + s(p \Gamma 1), so. PARTITION #0000103: 2 4 . Therefore the maximum length of a cycle. Xy, (\Gamma 1) n X. 32 0. (n)x, 3 k. M, 0 F. PARTITION #0000104: And, d (x)=. 2 1. + by \Theta the divisor of the function. 3, F n=0. F (r) \gamma (n) denote the number of partitions of n into parts that belong to A. (\Gamma 1). PARTITION #0000105: 0 2. =c, x a Weierstrass model. If there is a morphism OE : C ! W defined over Q , so that OE. R n=0 n. The shows that 2 is a primitive element. next we find that, for this prime p, that the time to compute discrete logarithms in f, 4. Biggs 15.8.1 (pg. 341) Solution: + 6a. 0 3 1. PARTITION #0000106: =4\theta 1 X. L + oe. U=ax + 2)(x 3. 2 Let C 2. 4, r and. PARTITION #0000107: 1 + 1, (ii) x + 1, (iii). Dividing through by h 2 2. R where 0 ^ i ^ k; rjm. now 2. 0, 2 Hence the answers to the explicit cases are (i) x. F p\Gamma 2 `\Gamma 1. PARTITION #0000108: ) and for y=log 0 Raising both generator a and its power c to the large exponents n. =a, 1 + x + 1.. A \Gamma 2r m. How does this prove that 3 is a primitive element? by producing random elements in f \Lambda ). \lambda k=1. PARTITION #0000109: N 1 X \Gamma. Satisfied by covariants of a binary quartic form. 1. 2, j ? p :=2^131+1883; ? fac := Factorization(p-1); ? TrialDivision(p-1); [ !2, 1?, !3, 1?, !5, 1?, !37, 1? ] [ 2452485527358115051988285458967698823 ] ? Factorization(2452485527358115051988285458967698823); [ !634466267339108669, 1?, !3865430919824322067, 1? ] ? primes := [ f[1] : f in Factorization(p-1) ]; ? p1, p2, p3, p4, p5, p6 := Explode(primes); ? exponents := [ (p-1) div r : r in primes ]; ? n1, n2, n3, n4, n5, n6 := Explode(exponents); ? FF := FiniteField(p); ? a := FF!109; ? c := FF!1014452131230551128319928312434869768346;. 3 x j=0. N djn 2. PARTITION #0000110: 1 x + 108S H n. Raising both generator a and its power c to the large exponents n, \Delta 1073741839. We repeat d. 3, \Gamma n=0. A;f, n p(n \Gamma k)oe(k) :. , which solves the diaee-hellman problem., k n. PARTITION #0000111: 2 4 \Theta \Gamma 27T H. 4 n=0. 1 x . The number 3. \theta, i=1 Proposition 1 Let f : A ! N be a function such that. \gamma 18t u \theta h, + 15, the factorization of p \Gamma 1 is 2 \Delta 3 X. PARTITION #0000112: Y x =4,. + x + 1. x X. D mx \Gamma 2r. 2, 2 2. Proof: if djn, then by hypothesis, d=2 Ternary cubic forms The general plane cubic is given by the equa- tion U=0, where U is a ternary cubic form: + oe. PARTITION #0000113: 2 0 X. (n) and oe \Gamma 1 =. R, q(n \Gamma k)oe t. 1 3. 3 n. PARTITION #0000114: (n) denote the number of r-regular partitions of n (the number of (a. P 1 3. 3, 4 \Gamma oe. 2 k\Gamma 1 X. 1 1 a. PARTITION #0000115: N, 3 r. Q(n \gamma k)oe \Theta (P ) \Gamma 4T. Log Hence the number of monic irreducible cubics is. 3 (See [1, p. 323]). If we let A=N \Gamma 2N (the set of odd natural numbers) and f (n) = n, we obtain F. I, + p(p \Gamma F. PARTITION #0000116: 2 0 A. X + 1=(x x. N, 3. Biggs 15.7.3 (pg. 337) Solution: If 1 is a gcd of r(x) and s(x), then by Theorem 15.6 there exist polynomials *(x) and _(x) such that =4\Theta. (1 \gamma x, 2 Definition 6 Let b. (p \gamma 1). 4. PARTITION #0000117: + 1)(x, \Gamma 1 2. Ffl for plane cubics, we use a syzygy satisfied 4 In [2], Theorem 2, part (b), we obtained an explicit formula for oe. Fied by covariants of a pair of quaternary quadratic forms., \Gamma with Weil's result gives a rational map from C to a Weierstrass model.. 1, f ( 0. T(x)=*(x)r(x)t(x) + _(x)s(x)t(x) _(x)ff(x)r(x) = _(x)s(x)t(x): subtracting yields, 1 X nq(n)x. PARTITION #0000118: Oe : p 7! n :. 0 =r. 3, 1 X 2. )g, (n \Gamma k)f 1. 3, L (\Gamma 1). PARTITION #0000119: R 3 m is odd. Then. P\gamma 1, 5 \Gamma 1):. Let p and q be two flex points, with tangent lines l =a m, where k * 0 and. A;f, Hence the number of monic irreducible cubics is 4. + oe, x n. PARTITION #0000120: Djn ; 26 jd, divides p\Gamma 1 and is equal l to p\Gamma 1 exactly when a is primitive. g(OE(n); k)=OE(2. X + oe 0 2. A space quartic, tions of invariants and covariants of F . \Lambda. R, p\Gamma 1 2. N=mk ? p :=2^131+1883; ? fac := Factorization(p-1); ? TrialDivision(p-1); [ !2, 1?, !3, 1?, !5, 1?, !37, 1? ] [ 2452485527358115051988285458967698823 ] ? Factorization(2452485527358115051988285458967698823); [ !634466267339108669, 1?, !3865430919824322067, 1? ] ? primes := [ f[1] : f in Factorization(p-1) ]; ? p1, p2, p3, p4, p5, p6 := Explode(primes); ? exponents := [ (p-1) div r : r in primes ]; ? n1, n2, n3, n4, n5, n6 := Explode(exponents); ? FF := FiniteField(p); ? a := FF!109; ? c := FF!1014452131230551128319928312434869768346;. PARTITION #0000121: 2 Invariant theory F \Delta. . let v ae m(x) be a finite-dimensional subspace of positive dimension. show, djn ; 26 jd 2. 3 i r. 29 for the larger primes, 2 + 1 and x. [x] are x, and computing discrete logarithms 1 X. PARTITION #0000122: N =634466267339108669 and p. 4 First Proof: i. (a n. Two quadratic forms: 1 + x m. Nq(n)x n. PARTITION #0000123: Definition 10 let oe(n) denote euler's totient function. remark: if p is prime, then f, , n 2. N=0, 5 \Delta. \gamma oe, 1 1. +b, 3 =. X + r. PARTITION #0000124: F, ( n2A. 2, k\Gamma i + 1)(x. U, \Delta 2. 2, 1 X m. (\gamma 1), be A space quartic. PARTITION #0000125: N=1, A;f \Gamma 18T U \Theta H. Denote the curve 1 X. D (p \Gamma 1).. Xy, (P ) divides p\Gamma 1 and is equal l to p\Gamma 1 exactly when a is primitive.. 3, + 2)(x So if we let E denote the curve. PARTITION #0000126: 2 1 X. F, r k. `\gamma 1, n X k=1. + 108s or n X. X, and c k X. PARTITION #0000127: 2 1 X. Namely,, 3 nq(n)x. Y, 1 + x 3. (n) denote the number of r-regular partitions of n (the number of A;f + r. That is, 2 [x]. Let d=gcd(m; n). We claim that. PARTITION #0000128: 2, t(x)=r(x)(_(x)ff(x) + *(x)t(x)) which shows that r(x) is a divisor of t(x). j. 7, 1 (i) (x + 2)(x + 3). Z 2 , : : : , oe. K=0, \Gamma 18T U \Theta H p. R, 2 f (. PARTITION #0000129: \theta \gamma 27t h, \Gamma f(n)=n d\Gamma 1. H i n. (a 1 Let U and V denote quadratic forms in four variables. The covariant theory of such a sys- tem is also well known.. N )(x\Gamma ff) where. 1 x + 108S H + 1 in Z. PARTITION #0000130: Rt : Definition 5 Let q. Nx, 4 r. X (\Gamma 1). P(p \gamma 1)= 1 Y n. + 1)=x, k=1 2. PARTITION #0000131: X H. + 108s h j=0 + x. Djn km. Divides p\gamma 1 and is equal l to p\gamma 1 exactly when a is primitive. number of self-conjugate partitions of n).. They satisfy the following syzygy: ) (1) for x=log. PARTITION #0000132: Is a rational map from c to c, ` \Gamma p(p \Gamma 1) \Gamma p \Gamma. F (P ) k=1. Proof: if f is multiplicative and n=2 `\Gamma 1 k. A, A 2. Oe(2 , F. PARTITION #0000133: P, =a action on F. K n=1. \gamma, j=0 ) \Gamma. 6 d. 1; a; a ) (x)=. PARTITION #0000134: Rjm, (x) coprime to m.. F ( )=. (n) denote the number of partitions of n such that all parts are nx 3. 3 + 61, the factorization of p \Gamma 1 is 2 1 X. 1 x, m, where k * 0 and (n) denote the sum of the divisors, d , of n such that d is coprime to. PARTITION #0000135: ) \gamma 2 X. Nq(n)x, (n) denote the sum of the divisors, d , of n such that d does not divide 2. 2 z \Gamma a. With respect to a, we find that the time to compute discrete logarithms in f 3 :. 4 4 nx. PARTITION #0000136: D, 0 =a. ) \gamma, rt mx. Or = k=1. G(f; k)=ff (2, \Gamma 1 F. Divides p\gamma 1 and is equal l to p\gamma 1 exactly when a is primitive. 2 d\Gamma 1. PARTITION #0000137: 3, 0 d. F j 1. 2 Jacobian of a plane cubic n=1. 3 3 [0 : 1 : 0] is precisely where. ( 0 A. PARTITION #0000138: J, m6=n 2. R 0. + 3a, +b n. X k\Gamma i Proposition 1 Let f : A ! N be a function such that. P 3 the quadratic polynomial is irreducible is p \Delta. PARTITION #0000139: For p=2 they are x ? p :=2^32+61; ? Modexp(2,(p-1) div 2,p); 4294967356 ? Modexp(2,(p-1) div 1073741839,p); 16 G(P ). Oe : p 7! ffl for plane cubics, we use a syzygy satisfied p. M )= k. [x]. let d=gcd(m; n). we claim that i 7. Y They satisfy the following syzygy:. PARTITION #0000140: J, 1 ). \gamma F 32. M 1 X. + \delta \delta \delta + x p\Gamma 2 \Gamma oe. 2 x + 3c. PARTITION #0000141: =ff (2 5. Biggs 15.8.2 (pg. 341) Solution: The monic irreducible quartics in Z (P ). Are all distinct, and therefore enumerate all nonzero elements of z=pz. a. fermat's little theorem tells us that the next value, a, 3 H vanishes on C .. H, `\Gamma 1 (n) denote the number of partitions of n such that all parts are. N=0, n + r. 4 2 X. PARTITION #0000142: X i. . let v ae m(x) be a finite-dimensional subspace of positive dimension. show, 1 is not 1 mod p for any divisor of p \Gamma 1.. X 3 t(x) \Gamma _(x)ff(x)r(x)=*(x)r(x)t(x) or equivalently. ., points 1 X. P 1 n=0. PARTITION #0000143: 6=d., F (. 2, 0 2. 0 p. X, 1 5. \theta r p. PARTITION #0000144: , n, n=1 2. 2 (a (P ). 6 X. 1 x 5 f (2. )= 1 x. PARTITION #0000145: 1 + oe G. 1 x, 0 =a. A;f n. Rjm (n)x f. )) djn ; 26 jd 4. PARTITION #0000146: )=0 (7) 2. N , n. Satisfying: 1 z + 3c. \gamma k ? FF :=FiniteField(p); ? for i in [1..4] do ? time x := Log(FF!3,Random(FF)); ? end for; Time: 0.010 Time: 0.000 Time: 0.000 Time: 0.000. N, 3 n-torsion packet, then J ' W , the isomorphism being defined over Q .. PARTITION #0000147: I, 2 The discrete logarithm x can be recovered from the discrete logarithms x. 1 :. Corollary 1, f (d) (8) i. 1 x, 0 3. 2 T U. PARTITION #0000148: + \delta \delta \delta + x, Conversely for any nonzero element a there must be some value t such that a x. K, 2 G. I Hence the answers to the explicit cases are (i) x \Gamma 16S. J 2 H. (p ), 2 2. PARTITION #0000149: 2 f (r)=ff (2 n. \gamma f, . Composing this =GCD(t; p \Gamma 1) then there exist r and s such that t. 2, f (2 2. ) + (x j n. 1, a , n. PARTITION #0000150: 1 (x) n. `\gamma 1 \Gamma oe d. + x, x 3. ) \gamma, + 1)=x n. [x] is p, n 2. PARTITION #0000151: 1 Corollary 1 (n), namely:. N, 2 4. \gamma r + 1)(x. R where 0 ^ i ^ k; rjm. now, that is, \Lambda. Two quadratic forms: Now each of the functions: f (n)=n; f (n) = OE(n) is multiplicative, so Theorem 1 applies. Furthermore, n;m. PARTITION #0000152: F (2 2 k. Nq(n)x 3. 1 x, y n=0. R 1. 2 n=1. PARTITION #0000153: : forms of degree n in m variables Theorem 2 may be written as: n=1. Nx, \Gamma + 1=(x. ? a5 :=a^n5; ? c5 := c^n5; ? a5^129; 1106532280219457618983939634726858708298 ? c5; 1106532280219457618983939634726858708298 ? a6 := a^n6; ? c6 := c^n6; ? a6^127; 809579285918008980133272648385832028198 ? c6; 809579285918008980133272648385832028198, x \Gamma 16S. 3, 0 \Gamma. K, This is given as Theorem 1 in [2], and is a special case of Theorem 1(a) below. 4. PARTITION #0000154: , n n=1 5. N 1. 2, Theorem 2 may be written as: (a. 3, 4 Remark: Note that b. J, = t(x)=*(x)r(x)t(x) + _(x)s(x)t(x) _(x)ff(x)r(x) = _(x)s(x)t(x): Subtracting yields. PARTITION #0000155: How does this prove that 3 is a primitive element? by producing random elements in f, (n), namely: k\Gamma 1 X. Djn ; 26 jd, , n (\Gamma 1). (see [1, p. 323]). if we let a=n \gamma 2n (the set of odd natural numbers) and f (n) = n, we obtain ( t. J x. =1, hence a 2 4. Biggs 15.8.1 (pg. 341) Solution:. PARTITION #0000156: N, n x + a. F (2, \Gamma 1): 2. ) + (x, 6 Definition 3 Let p(n) denote the number of partitions of n.. U, 0 0. So if we let e denote the curve, + 108S H 6. PARTITION #0000157: 6 4. We set up the problem in Magma in the following way.. Remarks: proposition 1 is theorem 14.8 in [1]. if we let a=n; f (n) = n, then we obtain F 4. \theta (p ) 2 4. + 108s, n X p(p. Hence , n [x]. Let d=gcd(m; n). We claim that. PARTITION #0000158: : \Delta 5 \Delta 131 \Delta 364289. We. =4, 3 + 108S H. `\gamma 1 H x. (k) : (2) coprime to m. Plane cubic case C : a cubic plane curve U=0 W : i. F Then z + 3b. PARTITION #0000159: 5. biggs 15.8.2 (pg. 341) solution: the monic irreducible quartics in z, + 1)(x n. 2 i gives rise to the no-. (p ), np i=1. In each case the covariant theory of the right type of object provided us with rational maps from our curves to weierstrass models of ellip- tic curves. we want to conclude that in each case the elliptic curve is in fact a model of the jacobian. a + 1)(x. Where, + r , and n. PARTITION #0000160: D = + 3a. (, \Gamma \Theta + 2S T U. K, 0 (k) (3). G(f; k)=ff (2 (x) 2. N=0 n=0 q(n)x. PARTITION #0000161: X 2. =4\theta d n=1. K 0 `. R action on F F. P where. PARTITION #0000162: This implies that deg ff(x)=\gamma deg fi(x). since in addition all degrees are nonnegative, it follows that deg ff(x) = deg fi(x) = 0, so that ff(x) and fi(x) are constant polynomials., 2 4. J (11) =4\Theta. M, djn ; 26 jd , n. P(p \gamma 1)(p \gamma 2) d 2. X 4 Theorem 2 may be written as:. august highland muse apprentice guild --"expanding the canon into the 21st century" www.muse-apprentice-guild.com culture animal --"following in the footsteps of tradition" www.cultureanimal.com ========================================================================= Date: Mon, 13 Oct 2003 09:22:35 -0400 Reply-To: pmetres@jcu.edu Sender: UB Poetics discussion group From: Philip Metres Subject: poetry readings by Russian poet Sergey Gandlevsky and translator Philip Metres MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Hi folks, Just wanted to let you know that acclaimed poet Sergey Gandlevsky--who was recently named "most important living poet" in Russia--will have his selected poems in my translation shortly forthcoming from Zephyr Press. Gandlevsky melds a slangy vernacular with traditional forms, in a poetry that witnesses to the underground life of a bohemian traveler and debauchee during the twilight of the Soviet regime. We will be doing a few readings in neighborhoods perhaps near you. If you're interested in coming to a reading, please let me know and I'll give you all the pertinent details when they are finalized. This is the list of reading locations, by date: 11/4/03 7:30PM John Carroll University (University Hts,OH) 11/5/03 TBA College of Wooster (Ashland, OH) 11/8/03 TBA in Chicago (organized by Alla Dexter) 11/10/03 8PM Grolier's Bookstore Reading (Cambridge, MA) 11/11/03 7PM Holy Cross College (Worcester, MA) 11/12/03 TBA Rhode Island School of Design (Providence, RI) 11/13/03 4:15PM Wesleyan University (Connecticut) 11/14/03 4PM Dartmouth College (Hanover, NH) 11/17/03 5PM Schoenhof's bookstore (Cambridge, MA) Philip Metres Assistant Professor Department of English John Carroll University 20700 N. Park Blvd University Heights, OH 44118 ========================================================================= Date: Mon, 13 Oct 2003 07:23:12 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Stephen Vincent Subject: Oops! Forgot My Address for New works on the blog Comments: To: UK POETRY Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit http://stephenvincent.durationpress.com/ An Afternoon with Gertrude Moon Sticks, Georhythm or A Night Walk in The Marin Headlands As always, your comments appreciated. Stephen Vincent ========================================================================= Date: Mon, 13 Oct 2003 10:26:07 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: shanna compton Subject: Soft Skull poetry in NYC this week: Jennifer Knox with Ada Limon + FREQUENCY with Bill Kushner, Marcella Durand & Maurice Manning! Mime-version: 1.0 Content-type: text/plain; charset="ISO-8859-1" Content-transfer-encoding: quoted-printable MONDAY, OCOTBER 13 at 7:00pm Jennifer Knox & Ada Limon read at Pete's Candy Store in Williamsburg! Pete's Candy Store* 709 Lorimer Street Williamsburg, Brooklyn (718) 302-3770 http://www.petescandystore.com L to Bedford or Lorimer (the bar's roughly midway between those two stops), or the G to Metropolitan Ave. FREE!=20 JENNIFER L. KNOX is the author of _Gringo Like Me,_ forthcoming from Soft Skull in Spring 2005 and her work has appeared in journals such as Ploughshares and La Petite Zine, as well as the Best American Poetry Series and Great American Prose Poems. Audience members from the trailer park to the ivory tower hoot and holler for Jen's raucous and hilarious poetry performances--come see why! ADA LIMON is a NYFA/Provincetown fellow and the Executive Director of the National Arts Club. She recently won Another Chicago Magazine's annual poetry contest and may be found in the current issue of the Iowa Review. *Where the mojitos are minty and the sandwiches cheesy. Yum. =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D Sunday, October 19 at 2:00pm FREQUENCY: Bill Kushner, Marcella Durand & Maurice Manning! SOFT SKULL SHORTWAVE 71 Bond Street (@ State) Brooklyn, NY=20 718-643-1599 http://www.softskull.com/shortwave.php A/C or G to Hoyt-Schermerhorn. FREE!=20 BILL KUSHNER is the author of _He Dreams of Waters,_ and he has a new book from Melville House called _In the Hairy Arms of Whitman._ Anne Waldman says, =B3Bill Kushner's streetwise joie de vivre observations charm the hardest of macho hearts. Frank O'Hara would surely approve. These energetic 'songs of a goof' are sheer gravy heaven.=B2 For more information, see http://www.melvillehousebooks.com/haw_2.html. MARCELLA DURAND is the author of _Western Capital Rhapsodies_ (Faux Press), _City of Ports_ (Situations Press) and the editor of the Poetry Project Newsletter. Read an interview between Marcella Durand and Anselm Berrigan here: http://home.jps.net/~nada/berrigan.htm . MAURICE MANNING=B9s first book of poetry, _Lawrence Booth's Book of Visions_ (Yale University Press, 2001), was selected by W.=A0S. Merwin for the Yale Younger Poets Series. His poems also have appeared in Green Mountains Review, Hayden's Ferry Review, Sonora Review, and Spoon River Poetry Review= . Maurice Manning is an Assistant Professor of English at DePauw University i= n Greencastle, Indiana. For the full Frequency Series schedule, see http://www.shannacompton.com/frequency.html --=20 Shanna Compton Associate Publisher Soft Skull Press 71 Bond Street=20 Brooklyn, NY 11217 (718) 643-1599 http://www.softskull.com ========================================================================= Date: Mon, 13 Oct 2003 10:32:14 -0400 Reply-To: ron.silliman@gte.net Sender: UB Poetics discussion group From: Ron Subject: Silliman's Blog Comments: To: WOM-PO , BRITISH-POETS@JISCMAIL.AC.UK, nanders1@swarthmore.edu, new-poetry@wiz.cath.vt.edu, whpoets MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit http://ronsilliman.blogspot.com/ What can a poem do? Philadelphia Progressive Poetry Calendar The problem of scenes in a minor city (Life in Canada) Do line breaks have meaning? Monospaced type & poetic intention (Larry Eigner & Robert Duncan) Tiering - a theoretical structure for scenes The Boss Town Sound - do different regions read differently? Leslie Scalapino being in the syllable, using space Fanny Howe's Tis of Thee A verse drama of race mixing Post-avant Boston in the shadows of Quietude Jonathan Williams Loco Logo-Daedalist indeed DC Poetry - Using a website to document a scene "This is a totally / accessible poem" - Meaning & masks in Charles Bernstein Anthony Tognazzini - Constructing selves in writing (my poem "Berkeley" for example) http://ronsilliman.blogspot.com/ ========================================================================= Date: Mon, 13 Oct 2003 10:35:20 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alicia Askenase Subject: Re: Coultas & Sikelianos this friday MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Hi Brenda and Eleni-- Wish I could be there..... Alicia ========================================================================= Date: Mon, 13 Oct 2003 11:09:59 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alicia Askenase Subject: Re: Coultas & Sikelianos this friday MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit ...meant to backchannel--excuse public note. Alicia ========================================================================= Date: Mon, 13 Oct 2003 09:29:13 -0600 Reply-To: derek beaulieu Sender: UB Poetics discussion group From: derek beaulieu Subject: DISASTER - a call for submissions MIME-Version: 1.0 Content-Type: text/plain; charset="Windows-1252" Content-Transfer-Encoding: quoted-printable Truck, an Artist Run Centre in Calgary, and dANDelion, a literary = magazine based out of Calgary, are looking for submissions for a = collaborative group show and special issue on the theme of Disaster! = Truck and dANDelion are combining forces to take on Disaster! and want = works, both literary and visual (and everything in between) that engage = with this theme from any approach, whether the disasters in question are = natural or manmade, political, aesthetic or personal. We live in an age = that thrills to disasters, fascinated and horrified and all too often = entertained by them. Works may deal with the representation or = aesthetics of disaster (CNN, Titanic, Celine Dion in Las Vegas), = disaster as formal technique (found poetries/art, language that breaks = itself apart, unfinished/unfinishable projects), to the topical = treatment of disasters themselves: from the new =93epidemics=94 (SARS, = West Nile, Mad Cow, Monkey Pox); the collapse of ecosystems; the = disappearance of political dissent; terrorist strikes, counterstrikes, = and =93humanitarian assistance.=94 We welcome imaginative use of our two spaces: Truck=92s physical gallery = space and dANDelion=92s publication space. We challenge visual artists = to consider how their work can play between the page and the wall and = between the temporary and documentary. We challenge writers to imagine = their work as performance and to visualize their text as material. With = all these possibilities in mind, we welcome and encourage collaborative = submissions from artists and writers. Take note, however, that not all = work published in dANDelion may have a place in the Truck show, and work = accepted by Truck may not necessarily appear in the pages of dANDelion. If your project is primarily a visual piece, please see submission = guidelines at www.TRUCK.ca and send proposals and no more than ten = slides (with slide list) to Truck: Programming Committee=20 TRUCK=20 Contemporary Art in Calgary=20 Grain Exchange Building=20 815=97First Street SW (basement)=20 Calgary, AB T2P 1N3=20 =20 If your project is primarily language-based in nature, please see our = general submission guidelines at www.english.ucalgary.ca/dandelion and = direct your submission to dANDelion: dANDelion, English Department, U of C=20 2500 University Drive, NW=20 Calgary, AB T2N 1N4=20 Email: jlhartma@ucalgary.ca=20 Submission Deadlines:=20 Truck: October 31, 2003=20 dANDelion: November 15, 2003=20 ========================================================================= Date: Mon, 13 Oct 2003 09:43:33 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Tenney Nathanson Subject: POG this Saturday 10/18 7pm Dinnerware: writer JIM PAUL, visual artist GREG BENSON Comments: To: Tenney Nathanson MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 8bit POG presents writer Jim Paul visual artist Greg Benson Saturday, October 18, 7pm Dinnerware Gallery 210 N. Fourth Avenue Admission: $5; Students $3 Jim Paul is a poet and writer living in the Rincon Mountains east of Tucson. His new novel, Elsewhere in the Land of Parrots, was published in summer 2003 by Harcourt. He is also the author of Catapult: Harry and I Build a Siege Weapon and Medieval in LA (both Harvest books) and of The Rune Poem, published by Chronicle Books. His poems have appeared in The New Yorker, the Paris Review, Poetry, and elsewhere. Greg Benson is a Tucson mixed-media artist and a founding member of Dinnerware Artist’s Cooperative, a non-profit exhibition space. Since 1975, Benson has been working on an ongoing series of mixed media works on paper and unstretched canvas. His work is characterized by an aerial perspective that is often found in naive or primitive art. Says Benson: “I am intrigued by the real history of America and I pursue this research with a passion and continually include my findings in my paintings.” POG events are sponsored in part by grants from the Tucson/Pima Arts Council, the Arizona Commission on the Arts, and the National Endowment for the Arts. POG also benefits from the continuing support of The University of Arizona Poetry Center, the Arizona Quarterly, Chax Press, and The University of Arizona Department of English. We also thank the following 2003-2004 POG donors: Patrons Liisa Phillips and Austin Publicover; Sponsor Michael Gessner. Continuing thanks to 2002-2003 donors: Patrons Roberta Howard, Tenney Nathanson, Liisa Phillips, Austin Publicover, and Frances Sjoberg; Sponsors Barbara Allen, Chax Press, Alison Deming, The Jim Click Automotive Team, Elizabeth Landry, Stefanie Marlis, Stuart and Nancy Mellan, Sheila Murphy Associates, and Tim Peterson. for further information contact POG: 615-7803; mailto:pog@gopog.org; www.gopog.org ========================================================================= Date: Mon, 13 Oct 2003 13:10:21 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "David A. Kirschenbaum" Subject: Desperately Seeking Brenda (Shaughnessy) Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit small press editor with forthcoming Brendas issue seeks poet with family name Shaughnessy please backchannel with email, phone, gps location asap best, david -- David A. Kirschenbaum, editor and publisher Boog City 330 W.28th St., Suite 6H NY, NY 10001-4754 For event and publication information: http://boogcity.blog-city.com/ T: (212) 842-BOOG (2664) F: (212) 842-2429 ========================================================================= Date: Mon, 13 Oct 2003 12:42:06 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Gabriel Gudding Subject: Question re Translation Copyright Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed A Polish writer and I are translating the works of an influential avant-garde Polish poet who died in the early 80s. We've a number of his poems translated into English and are set to begin sending them to American mags and journals. But we have a question: how does copyright work for translation?; that is, does one need to secure copyright at all for translations -- and if so do we need to do that before we try to publish them? Thanks for any feedback. Gabe ========================================================================= Date: Mon, 13 Oct 2003 11:01:36 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Tenney Nathanson Subject: POG: more on Jim Paul & Greg Benson Comments: To: Tenney Nathanson MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit for more on this Saturday's upcoming POG event you can go to: http://www.gopog.org/upcoming.html --more on Jim Paul's new novel from Harcourt, Elsewhere in the Land of Parrots (including an excerpt) --Greg Benson's home page mailto:tenney@dakotacom.net mailto:nathanso@u.arizona.edu http://www.u.arizona.edu/~nathanso/tn POG: mailto:pog@gopog.org http://www.gopog.org ========================================================================= Date: Mon, 13 Oct 2003 11:54:47 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mark Weiss Subject: Re: Question re Translation Copyright In-Reply-To: <5.1.1.6.0.20031013123420.02a991e0@mail.ilstu.edu> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed Gabe: Yes in theory, tho in practice not usually. It rather depends on how litigious the poet or in this case the heirs are likely to be. Mark At 12:42 PM 10/13/2003 -0500, you wrote: >A Polish writer and I are translating the works of an influential >avant-garde Polish poet who died in the early 80s. We've a number of his >poems translated into English and are set to begin sending them to American >mags and journals. But we have a question: how does copyright work for >translation?; that is, does one need to secure copyright at all for >translations -- and if so do we need to do that before we try to publish them? > >Thanks for any feedback. > >Gabe ========================================================================= Date: Mon, 13 Oct 2003 15:15:36 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: shanna compton Subject: Re: Question re Translation Copyright In-Reply-To: <5.1.0.14.1.20031013115320.01a32b40@mail.earthlink.net> Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit I think most mags will require a translator to have permission from the author/estate who owns the copyright unless the material is in the public domain. Certainly a book publisher would. It may also depend on whether the author/estate has already sold English-language rights to the material (for instance, another translator or English-language press could be planning a full translated edition and may have paid for the right to publish the material in English). But permissions are usually easily obtained, and for unpaid publications such as literary journals, they should come free or inexpensively. on 10/13/03 1:54 PM, Mark Weiss at junction@EARTHLINK.NET wrote: >> A Polish writer and I are translating the works of an influential >> avant-garde Polish poet who died in the early 80s. We've a number of his >> poems translated into English and are set to begin sending them to American >> mags and journals. But we have a question: how does copyright work for >> translation?; that is, does one need to secure copyright at all for >> translations -- and if so do we need to do that before we try to publish >> them? >> >> Thanks for any feedback. >> >> Gabe ========================================================================= Date: Mon, 13 Oct 2003 15:34:26 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: contact MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII contact your transistors resist her, your capacitance is minimal some say you're wired tight, like kismet's just so criminal in the wrong hands in the wrong hands you got your jeode fired up, for node access your time is up you got more holes than p-c-s, your size is smaller than s-m-s in the wrong hands in the wrong hands you tack on grep and sed and awk, your wifi only gives a squawk you set your wep, i can't get in, i'll sniff you out, then suck you in in the wrong hands in the wrong hands your hotspot's not between your legs, look at your firmware, count your megs i'm getting off, my time is done tmobile played, tmobile won in the wrong hands in the wrong hands ___ ========================================================================= Date: Mon, 13 Oct 2003 16:04:08 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jane Sprague Subject: Kathy Lou Schultz? MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Does anyone have her current e-mail address? thank you-- J ========================================================================= Date: Mon, 13 Oct 2003 13:13:18 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Brian Clements Subject: Re: Question re Translation Copyright In-Reply-To: <5.1.1.6.0.20031013123420.02a991e0@mail.ilstu.edu> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Gabe, I'm no expert, but I second Shanna Compton's post and would only add that my understanding is that it is not necessary to acquire permissions if your use of the translation is not for profit. That is, if you sell the translations or provide them to someone else who will sell them (non-free mags, journals, book publishers), you need permission. Otherwise (if you were going to give them away or just use them for classes), not. Perhaps someone else knows the law more specifically. But this leads to the interesting question of translations in free web publications. Why should a web publication afford special legal exemption from acquiring permission (and reduce the rights of the copyright holder) simply because it's produced in a cheaper, more publicly accessible medium? Especially when it is sure to reach more people than most print journals? Perhaps there have been legal rulings on this issue recently? Anyone? For Sentence, I require proof of permission to publish translations, unless the work is clearly in public domain. Brian Gabriel Gudding wrote: A Polish writer and I are translating the works of an influential avant-garde Polish poet who died in the early 80s. We've a number of his poems translated into English and are set to begin sending them to American mags and journals. But we have a question: how does copyright work for translation?; that is, does one need to secure copyright at all for translations -- and if so do we need to do that before we try to publish them? Thanks for any feedback. Gabe ========================================================================= Date: Mon, 13 Oct 2003 16:13:46 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Shahrul Ladue Subject: Re: Question re Translation Copyright In-Reply-To: <5.1.0.14.1.20031013115320.01a32b40@mail.earthlink.net> MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Dear Gabe: There is little chance that you will be sued for infringing someone's copyrights if you publish a translation of someone's poetry. The only reason for this is that international lawsuits are expensive and there isn't really any money in poetry. That said, if you publish your translations without securing permission, you can be sued not only by the heirs, but also by the Polish publisher and anyone else who might hold exclusive rights to translate into English. I advise erring on the side of caution. Fax the publisher and ask for non-exclusive worldwide rights to publish a translation in the English language only. Also be sure to say that if they do not hold full rights, to please let you know who does. If you are only going to be publishing the translations in journals and magazines and have no intention of publishing them in book form, you can ask for serial rights or just first serial rights. The less you ask for, the more likely you are to get rights. (And you probably won't have to pay anything.) Also, if the translations will appear on the Internet (a journal has print and online versions) you will need to ask for electronic rights. If you need more help, I can email you a copy of the letter we have sent out in the past that has worked. Sincerely, Shahrul Ladue Inconundrum Press www.inconundrum.com -----Original Message----- From: UB Poetics discussion group [mailto:POETICS@LISTSERV.BUFFALO.EDU]On Behalf Of Mark Weiss Sent: Monday, October 13, 2003 1:55 PM To: POETICS@LISTSERV.BUFFALO.EDU Subject: Re: Question re Translation Copyright Gabe: Yes in theory, tho in practice not usually. It rather depends on how litigious the poet or in this case the heirs are likely to be. Mark At 12:42 PM 10/13/2003 -0500, you wrote: >A Polish writer and I are translating the works of an influential >avant-garde Polish poet who died in the early 80s. We've a number of his >poems translated into English and are set to begin sending them to American >mags and journals. But we have a question: how does copyright work for >translation?; that is, does one need to secure copyright at all for >translations -- and if so do we need to do that before we try to publish them? > >Thanks for any feedback. > >Gabe ========================================================================= Date: Mon, 13 Oct 2003 19:48:32 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Joe Brennan Subject: Cheney's Evil Pimp Ire: "Fuck The U.N." & "Itch Bin Ein Cabana." Comments: To: frankfurt-school@lists.village.virginia.edu, corp-focus@lists.essential.org, WRYTING-L@LISTSERV.UTORONTO.CA MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Click here: The Assassinated Press Cheney's Evil Pimp Ire: "Fuck The U.N.": By KINDLE FIREFRITTER The Assassinated Press October 11, 2003 ------------------------------------------------------- "Itch Bin Ein Cabana." Bush Told To Tell Jeb And The Miami Mafia That CIA Plans To Step Up Attacks On Cuba: Iraq and Afghanistan Fucked Up? Iran and North Korea Nuked Up? Let's Beat Up On Cuba!: The Evil Pimpyre Of Dick Darth By JEFFEY LUBE The Assassinated Press They hang the man and flog the woman That steal the goose from off the common, But let the greater villain loose That steals the common from the goose. Constant apprehension of war has the same tendency to render the head too large for the body. A standing military force with an overgrown executive will not long be safe. companions to liberty. -- Thomas Jefferson "America is a quarter of a billion people totally misinformed and disinformed by their government. This is tragic but our media is -- I wouldn't even say corrupt -- it's just beyond telling us anything that the government doesn't want us to know." Gore Vidal ========================================================================= Date: Mon, 13 Oct 2003 21:05:17 -0400 Reply-To: olsonjk@delhi.edu Sender: UB Poetics discussion group From: Kirby Olson Organization: SUNY Delhi Subject: Re: Question re Translation Copyright MIME-Version: 1.0 Content-Transfer-Encoding: 7bit Content-Type: text/plain; charset=us-ascii Gabe, I have done a lot of research on this topic due to translating Philippe Soupault and Henry Levet from French. The basic rule is life plus fifty years, or in some cases complete works plus fifty years for any country that is signatory to the universal copyright convention. However, if you are going to publish it in a journal, and not in a book, then usually there are no translation costs involved, unless you are to be paid for them a substantial amount. Since most poems make less than fifty dollars (I've made that much at Partisan Review and maybe one or two other places) and since litigation costs are so high, no judge is going to care. Books, however, are different, and you need to make a deal with the original publishing house unless the author owns ALL the rights. Every country is unfortunately a little different -- the Portuguese at least ten years ago when I checked had a ridiculously long time that they kept a work out of the public domain -- life plus 500 years. I still can't believe that's true, but I read the clause over and over, and it seemed to be so. Usually, you are doing a poet a favor by keeping their work alive, so the public domain is life plus fifty years, but in literary journals, where there is no money around anyway, from what I've heard nobody cares even if you are translating Neruda (I heard this from a Neruda translator who found this loophole for literary journals). I hope this is accurate info. Frankly, nobody seems to really care, but if you do publish a book, technically the original company can sue you (they must get a US Lawyer and go to court and get an injunction), but I've never heard of anybody actually having this done to them. And all sorts of people have published books of great French poets without getting permission. The university presses are touchier about this, but I've seen lots of chapbook translations of people like Soupault. Pat Nolan told me he didn't have the rights and just laughed about the idea. He published his translations at a small press in California whose name I forget -- four trees or something. On the other hand when I published some Levet translations in Partisan Review they contacted Gallimard and Gallimard asked for some money. Like 50 dollars a poem. Even though Levet had been dead since 1906! Partisan Review paid. Technically, I don't think they had to do it, but they did it to be safe. I wish I knew more about this. Another related thing is that APPARENTLY there is a law that says that you can't publish criticism about a poet's work and publish ANY part of their poems without express permission from the rights holder because ANY part of a poem is so valuable to the whole that you are taking too much of the work if you even publish one line without permission. Again, this doesn't matter in newspapers and journals, but in books, you have to get permission. I have contacted lawyers about this, but nobody seems to know anything at all about it. In publishing my first book I ran into this problem with a poet, and it almost wrecked the book. Since then, I have always gotten permission from a poet in writing that gives me carte blanche if I planned to write anything of any length on them. I contacted Gregory Corso before I wrote a single line on his work, and he gave me permission for all his poems. Then, New Directions nevertheless asked for three hundred dollars for the poems that they own. It was a fair price, I guess. At any rate, my college paid the fee. I wish the law was more clear on these points, but I think it is waiting for a costly suit in order to be clarified and nobody right now really cares. Before you do too much work, I'd contact the original publishers, and try to get a deal signed so that you are covered. With your name and reputation you should be able to accomplish this. -- Kirby Olson Gabriel Gudding wrote: > A Polish writer and I are translating the works of an influential > avant-garde Polish poet who died in the early 80s. We've a number of his > poems translated into English and are set to begin sending them to American > mags and journals. But we have a question: how does copyright work for > translation?; that is, does one need to secure copyright at all for > translations -- and if so do we need to do that before we try to publish them? > > Thanks for any feedback. > > Gabe ========================================================================= Date: Mon, 13 Oct 2003 21:58:42 -0400 Reply-To: olsonjk@delhi.edu Sender: UB Poetics discussion group From: Kirby Olson Organization: SUNY Delhi Subject: Re: Question re Translation Copyright MIME-Version: 1.0 Content-Transfer-Encoding: 7bit Content-Type: text/plain; charset=us-ascii Oh yes, one more thing. Every country has its own formalities. I thought I knew French when first dealing with Soupault's editors. But the elaborate system of hierarchies I didn't know, and thought this was a purely commercial transaction. It turned out to be an elaborate dance along the lines of a production in Louis XIV's court, and I ended up stepping on people's feet. I learned this by the time I got around to translating Levet. So I never went back to Soupault's editors -- one of whom is an American millionaire -- but he is the silent partner. I had translated two of Soupault's novellas and found a publisher for each of them. The deal never took place because I honestly didn't know how to finesse the protocol. WIth Levet I waited for the complete works plus fifty years to transpire -- and then published them in Jacket 17 a year ago or so. I would never translate anything for which I didn't have the rights ever again, or which was not already clearly in the public domain. I did a book for Routledge a few years back -- Mikkel Borch-Jacobsen's Story of Anna O., but I knew Mikkel, and was sure that there would be no hassles. The French only deal with editors, not translators, I've discovered, and they want the houses to be permanent, generally. I don't know anything about the Polish -- but since they are no doubt proud and therefore difficult, I would approach them with extreme caution, and take only non-exclusive rights, etc., etc. to calm them down. I wish I could hear other disaster stories on this front. -- Kirby Olson Gabriel Gudding wrote: > A Polish writer and I are translating the works of an influential > avant-garde Polish poet who died in the early 80s. We've a number of his > poems translated into English and are set to begin sending them to American > mags and journals. But we have a question: how does copyright work for > translation?; that is, does one need to secure copyright at all for > translations -- and if so do we need to do that before we try to publish them? > > Thanks for any feedback. > > Gabe ========================================================================= Date: Mon, 13 Oct 2003 22:17:48 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: overlook MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII overlook http://www.asondheim.org/portal/overlook.exe more of the dried production. i can't escape fascination. my obsession i am. Public Sub Form_Click() z = 1 zing: z = z + 1 a = 4 x = 1 j = 1 y = ScaleHeight / 2 zone: If j Mod 1631 < 3 Then Print "N I K U K O" y = Abs(Cos(y) * x) x = x + 0.1 If j Mod 3331 < 3 Then Print "J U L U" a = a + 0.04 If j Mod 343 < 3 Then Print "::::" Circle (240 - x / 2.5, 400 - y), x, Point(x - a, y - x) If j Mod 3181 < 3 Then Print "LOOK-LOOK" If j Mod 2731 < 3 Then Print "J E N N I F E R" j = j + 1 If z > 8 Then GoTo seven If j > 18000 Then GoTo zing GoTo zone seven: End Sub Drawline = invert / width = 15 / font = 24 pt. sans-serif one little cosine. the absurdity of it all. its negativity is strangled. nowhere to go. sloppy coding just about everywhere. i can spell JENNIFER. __ ========================================================================= Date: Mon, 13 Oct 2003 20:29:11 -0700 Reply-To: poemcees@hotmail.com Sender: UB Poetics discussion group From: Ytzhak Organization: Selah7 http://www.sleepybrain.net/vanilla.html Subject: 3RD ANNUAL SPOKEN WORD CONFERENCE in ST. LOUIS, MO VOTING ENDS TUESDAY 10/14 Comments: To: THCO2 MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit 3RD ANNUAL SPOKEN WORD CONFERENCE in ST. LOUIS, MO VOTING ENDS TUESDAY 10/14 1) go to http://www.spokenwordexpo.com/expo2003/entertainment/voting.html 2)click on our name (POEM-CEES). 3)an e-mail mask will pop up (if you have problems with the link, just send an e-mail to Poemcees@da-cipher.com) - type "vote" in the subject heading 4)send it 5)repeat steps 1 thru 4 every day until 10/14/03 also, SHOWSHOWSHOWSHOWSHOWSHOWSHOWSHOW!!! sunday, 10/19/03 Ben & Mo's, 1225 Connecticut Ave NW the event is a weekly set called H.E.R. you'll always find abby & laura's smiling faces runnin' the spot and best of all? it's laura's b-day! so, in honor- we shall mash... POEM-CEES Asheru of Unpoken Heard the weekly mc battle sushi, drinks, hookah's... WHAT MORE DO YOU WANT? come enjoy ya self easy, POEM-CEES/http://www.poemcees.com Buy "PARANOIA" now at: http://www.cdbaby.com http://www.amazon.com DJ Hut (Dupont Circle) Capitol City Records (U St. ) DCCD (Adams Morgan) GW Tower Records (Foggy Bottom) CD/Game Exchange (College Park) BLACKLUSTRE MASH UNIT POEM-CEES http://www.poemcees.com Soul Controllers http://www.worldsflyest.com -- - ___ Stay Strong "Peace sells but who's buying?" Megadeth "This mathematical rhythmatical mechanism enhances my wisdom of Islam, keeps me calm from doing you harm, when I attack, it's Vietnam" --HellRazah http://www.sleepybrain.net/vanilla.html http://awol.objector.org/artistprofiles/welfarepoets.html http://ilovepoetry.com/search.asp?keywords=braithwaite&orderBy=date http://www.dpgrecordz.com/fredwreck/ http://www.lowliferecords.co.uk/ http://loudandoffensive.com/ http://groups.yahoo.com/group/THCO2 ========================================================================= Date: Tue, 14 Oct 2003 05:29:36 +0200 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Karl-Erik Tallmo Subject: Re: Question re Translation Copyright In-Reply-To: <3F8B4BCD.F91506C2@delhi.edu> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" Poland signed the Berne convention in 1920, and the treaty says this about translations: "Authors of literary and artistic works protected by this Convention shall enjoy the exclusive right of making and of authorizing the translation of their works throughout the term of protection of their rights in the original works." (article 8) see http://www.wipo.int/clea/docs/en/wo/wo001en.htm It might be interesting to know that in the mid 1800's translations were regarded as new works that could be made and published without the permission of the original author. The translation itself however, could be copyrighted, but one translator could not oppose another to do a new translation of the same original work. Harriet Beecher Stowe's "Uncle Tom's Cabin" was translated into German without her consent, but the trial Stowe v. Thomas in 1853 ruled in favor of the defendant. The court found that a translation might be called a transcript or copy of her thoughts or conceptions, but in no correct sense could it be called a copy of her book. In 1870, however, it was enacted that "authors may reserve the right to translate their own works". The Berne convention did not give authors full protection regarding translations until 1908. Karl-Erik Tallmo > >Gabriel Gudding wrote: > >> A Polish writer and I are translating the works of an influential >> avant-garde Polish poet who died in the early 80s. We've a number of his >> poems translated into English and are set to begin sending them to American >> mags and journals. But we have a question: how does copyright work for >> translation?; that is, does one need to secure copyright at all for >> translations -- and if so do we need to do that before we try to >>publish them? >> >> Thanks for any feedback. >> > > Gabe -- _________________________________________________________________ KARL-ERIK TALLMO, writer, editor ARCHIVE: http://www.nisus.se/archive/artiklar.html BOOK: http://www.nisus.se/gorgias ANOTHER BOOK: http://www.copyrighthistory.com MAGAZINE: http://art-bin.com _________________________________________________________________ ========================================================================= Date: Mon, 13 Oct 2003 23:44:07 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Murat Nemet-Nejat Subject: Re: Question re Translation Copyright MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit In a message dated 10/13/03 1:42:42 PM, gmguddi@ILSTU.EDU writes: > A Polish writer and I are translating the works of an influential > avant-garde Polish poet who died in the early 80s. We've a number of his > poems translated into English and are set to begin sending them to American > mags and journals. But we have a question: how does copyright work for > translation?; that is, does one need to secure copyright at all for > translations -- and if so do we need to do that before we try to publish > them? > > Thanks for any feedback. > > Gabe > Yes, you do. I am in the process of doing the same thing for the Turkish anthology. Murat ========================================================================= Date: Tue, 14 Oct 2003 01:28:09 -0400 Reply-To: patrick@proximate.org Sender: UB Poetics discussion group From: Patrick Herron Subject: Arcata to Impeach Bush? Comments: cc: Alex Verhoeven , "Ethan Clauset (Ethan Clauset)" MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit http://new.globalfreepress.com/article.pl?sid=03/10/14/0121221 ========================================================================= Date: Mon, 13 Oct 2003 23:12:02 -0700 Reply-To: info@waxpoetics.com Sender: UB Poetics discussion group From: Ytzhak Organization: Selah7 http://www.sleepybrain.net/vanilla.html Subject: TAG, Presented by Wax Poetics and Love Revolution Records MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit love revolution records and Wax Poetics proudly present: resident DJ SCRIBE (Love Revolution/Joe's Pub, www.djscribe.com) and special guests QOOL DJ MARV (Suite 903/Fader, Fat City Allstars/Manchester-UK, www.buttamilk.com) and ROGER YAMAHA (Extras/APT) spinning r4r at the opening night of "TAG," 9pm-2am, the first monday of every month at Halcyon. 227 Smith St. (btwn Butler & Douglass) Brooklyn, NY Subway: F or G to Bergen St. ------------------------------------- -- - ___ Stay Strong "Peace sells but who's buying?" Megadeth "This mathematical rhythmatical mechanism enhances my wisdom of Islam, keeps me calm from doing you harm, when I attack, it's Vietnam" --HellRazah http://www.sleepybrain.net/vanilla.html http://awol.objector.org/artistprofiles/welfarepoets.html http://ilovepoetry.com/search.asp?keywords=braithwaite&orderBy=date http://www.dpgrecordz.com/fredwreck/ http://www.lowliferecords.co.uk/ http://loudandoffensive.com/ http://groups.yahoo.com/group/THCO2 ========================================================================= Date: Tue, 14 Oct 2003 00:23:36 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: August Highland Subject: COMPLETE FACTORIZATION/LANGUAGE:SIMPLE MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit COMPLETE FACTORIZATION/LANGUAGE:SIMPLE DISPATCH #0000001: Rulers what is PROVOKING seek the means. K royal only Backwater Inn.. This that i may across the I speak once. 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Of little, & Grey Ghost: shorten your. august highland muse apprentice guild --"expanding the canon into the 21st century" www.muse-apprentice-guild.com culture animal --"following in the footsteps of tradition" www.cultureanimal.com august highland muse apprentice guild --"expanding the canon into the 21st century" www.muse-apprentice-guild.com culture animal --"following in the footsteps of tradition" www.cultureanimal.com ========================================================================= Date: Tue, 14 Oct 2003 00:24:11 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: August Highland Subject: REFLEXIVE, SYMMETRIC AND TRANSITIVE CANONICAL THREEFOLDS #0001 MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit REFLEXIVE, SYMMETRIC AND TRANSITIVE CANONICAL THREEFOLDS #0001 INVENTORY #0000001: Customer a, make 0. I am sick of, i+1 i+1. So we can assume that d * 2. remark 11. let (s MANY THINGS. 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Except they, handle the and address. In heavy duty, by being Proof. We note that the number of CLC's is finite. If the flipping locus contains a CLC, then the number of CLC's decreases by [FA, (2.28)].. Of you who take have stores in there. I would. INVENTORY #0000007: =x SCIENTIST *** SALES. For rs when i, S HAVE BEEN. >>>>>>>>>>>> minotity as to computer store. Come in THERE IS ALSO. Which to give the. INVENTORY #0000008: ! s, ************** parts are. Thing to say, ) be a CLC. Assume that ' 99K S. His SORRY ABOUT have talked. Purchase home This note is a supplement of [S2, x2 Special termination]. We will give a precise proof of [S2, 2.2, 2.3]. Step 2 in the proof below seems to be slightly different form [S2, 2.2]. See also [S2, 2.4 Remark]. However, the final result is same. So there is no problem for applications. more expensive. : x I could buy Also such. INVENTORY #0000009: How to turn you got in Lime. Like to meet ***. Only want to, Drake here in a RS fan. Order customer. THOUGHOUT THE I am not. On and gripe LIKE WHAT'S sure those of. INVENTORY #0000010: Well..., need or want, valve cover. Hauled away. SINGLE SIDED case the item. Open the, ) RECORD FOR. Shops do 1 S. There's those S out there are. INVENTORY #0000011: ) inquisition. interest in it. There for, instead. Alas is the pits,. Asked is none NOT, THEY HAVE ............... <<<>>>>>>>>>>>, book cities. Also,. Above... every large. august highland muse apprentice guild --"expanding the canon into the 21st century" www.muse-apprentice-guild.com culture animal --"following in the footsteps of tradition" www.cultureanimal.com ========================================================================= Date: Tue, 14 Oct 2003 08:01:28 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Lori Emerson Subject: Re: Paul Dutton | Reading Tomorrow! MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline David and all, sorry--that was dumb of me...The reading, at SUNY Buffalo's Center for the Arts, was great. I never got to see bpNichol, certainly not the Four Horsemen, read and while Dutton has his own unique set of sounds and gurgles that he likes to work through, his reading gave me some sense of the seriousness involved (training the voice) in performing what to some can sound wildly ridiculous! If you were unable to make it a video of Paul's Dutton's reading will be up on the EPC very soon. Best, Lori Date: Sun, 12 Oct 2003 23:14:09 -0700 From: dcmb Subject: Re: Paul Dutton | Reading Tomorrow! where id CFA, please?In what town or city? Thanks, David Bromige -----Original Message----- From: Lori Emerson To: POETICS@LISTSERV.BUFFALO.EDU Date: Sunday, October 12, 2003 12:42 PM Subject: Paul Dutton | Reading Tomorrow! >P A U L D U T T O N : reknown for his work with the Canadian-based poetry >performance group, the Four Horsemen, will be giving a reading and a talk >T O M O R R O W! > >Reading and talk: 232 CFA > 5:00-7:00 pm > Monday October 13th > >Please do come see this important Canadian poet. All are also invited to >join us for dinner at Byblos afterwards. > >Paul Dutton is a Toronto poet, essayist, fictionwriter, vocal sound artist, >editor, and musician. Throughout his 30-year career he has published books, >issued sound recordings, and given public performances --both on his own >and as a member, from 1970 to 1988, of the internationally-known poetry >performance group, the Four Horsemen. He continues to publish and to >perform throughout North America and Europe. He also collaborates >frequently with musicians and composers, and gives writing and sound >workshops at schools and colleges. > >Selected Publications: >The Book of Numbers. (Porcupine's Quill, 1979). >Right Hemisphere, Left Ear. (Coach House Press, 1979). >spokesheards (with Sandra Braman). (Longspoon Press, 1983). >Fugitive Forms (cassette). (Underwhich Editions, 1987). >2 Nights (with The Four Horsemen, cassette). (Underwhich Editions, 1988). >Visionary Portraits. (Mercury Press, 1991). >Aurealities. (Coach House Press, 1991). >The Plastic Typewriter. (Underwhich Editions, 1993). >Full Throatle.(cassette) (Underwhich Editions, 1994). >Partial Additives (cassette). (Writers Forum, 1994). > >Please also consider going to UBUWeb to hear select sound poems: >http://www.ubu.com/sound/dutton.html > >Best, >Lori Emerson ========================================================================= Date: Tue, 14 Oct 2003 07:02:51 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Kerri Sonnenberg Subject: Discrete Series/Chicago Event Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit ____THE DISCRETE SERIES @ 3030______ presents Lisa Samuels :: Brian Henry [Lisa Samuels is the author of _The Seven Voices_ (O Books, 1998), and _Letters_ (Meow, 1996). A new chapbook, _War Holdings_, has been published by Pavement Saw Press. Poems recent and forthcoming can be found in _Stanzas_, _Denver Quarterly_, _Crayon_, _26_, and _Hotel Amerika_. She teaches in the English Department at the University of Wisconsin-Milwaukee.] [Brian Henry is the author of _Astronaut_ (Carnegie Mellon, 2002), _American Incident_ (Salt, 2002), and _Graft_ (New Issues, 2003). Henry's been an editor of Verse magazine since 1995, and founded Verse Press in 2000. He lives in Athens, GA, where he directs the creative writing program at the University of Georgia. ] Friday, Oct. 17 9PM / 3030 W. Cortland / $5 suggested donation / BYOB 3030 is a former Pentecostal church located at 3030 W. Cortland Ave., one block south of Armitage between Humboldt Blvd. and Kedzie. Parking is easiest on Armitage. The Discrete Series will present an event of poetry/music/performance/something on the second Friday of each month. For more information about this or upcoming events, email j_seldess@hotmail.com or kerri@conundrumpoetry.com, or call the space at 773-862-3616. *(and check out our new website!) http://www.lavamatic.com/discrete/index.htm Coming up next month, 11/14: Goat Island Performance Group http://www.goatislandperformance.org/ ========================================================================= Date: Tue, 14 Oct 2003 09:17:45 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Maria Damon Subject: can anyone give me the citation... Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" for this quote from charles bernstein? i need it ASAP, as i forgot the full citation in a paper that's going to the printer... "[the comedic] collapses into a more destabilizing field of pathos, the ludicrous, shtick, sarcasm; a multidimensional textual field that is congenitally unable to maintain an evenness of surface tension or a flatness of affect." -- ========================================================================= Date: Tue, 14 Oct 2003 08:01:45 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Betsy Andrews Subject: Coultas and Siklienos this Friday MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Can someone remind me where and at what time this reading is? Friday, Oct. 17, right? --------------------------------- Do you Yahoo!? The New Yahoo! Shopping - with improved product search ========================================================================= Date: Tue, 14 Oct 2003 08:10:34 -0700 Reply-To: Ishaq1823@telus.net Sender: UB Poetics discussion group From: Ytzhak Organization: Selah7 http://www.sleepybrain.net/vanilla.html Subject: [Fwd: [Poets and Writers] Black and =?iso-8859-1?Q?White=85=5D?= Comments: To: THCO2 MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii; x-mac-type="54455854"; x-mac-creator="4D4F5353" Content-Transfer-Encoding: 7bit -- - ___ Stay Strong "Peace sells but who's buying?" Megadeth "This mathematical rhythmatical mechanism enhances my wisdom of Islam, keeps me calm from doing you harm, when I attack, it's Vietnam" --HellRazah http://www.sleepybrain.net/vanilla.html http://awol.objector.org/artistprofiles/welfarepoets.html http://ilovepoetry.com/search.asp?keywords=braithwaite&orderBy=date http://www.dpgrecordz.com/fredwreck/ http://www.lowliferecords.co.uk/ http://loudandoffensive.com/ http://groups.yahoo.com/group/THCO2 ========================================================================= Date: Tue, 14 Oct 2003 11:13:46 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Ian VanHeusen Subject: Re: poem for renaissance festival Mime-Version: 1.0 Content-Type: text/plain; format=flowed neologism of the Renaissance festivals: Renies Root: Carnies (carnival folk, smell like cabbage). >From: Derek R >Reply-To: UB Poetics discussion group >To: POETICS@LISTSERV.BUFFALO.EDU >Subject: poem for renaissance festival >Date: Sat, 11 Oct 2003 22:04:57 -0700 > > >horse >penis ha ha > > > _________________________________________________________________ Compare Cable, DSL or Satellite plans: As low as $29.95. https://broadband.msn.com ========================================================================= Date: Tue, 14 Oct 2003 10:25:02 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Maria Damon Subject: i am not a nut; elect me! Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" hi all; if you are MLA members who just got your ballots for 2004 you may notice that i am one of 2 candidates for MLA the poetry division. i wanna do this, so if you can w/ clear conscience vote for me and feel moved to do so, i'd be v happy. xo, md -- ========================================================================= Date: Tue, 14 Oct 2003 11:35:22 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Aldon Nielsen Subject: Re: i am not a nut; elect me! In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed "Sometimes you feel like a nut; sometimes you don't" Maria -- hadn't in fact opened my ballot yet -- I assume you didn't mean to imply that the other candidate IS a nut -- as it turns out, this is one of those rare years when both candidates have done some really great things for the field over the years -- and are good friends -- but since you asked, you get my vote -- If I lived in the old Baltimore or New York, I could vote for both of you! I was nominated years back, for this and other divisions -- but was always running against somebody from a "name" school and invariably lost -- now I'm at a "name" school, but am too old to care anymore --- but still want to see all my good divisions in good hands -- am happy to see two such fine candidates on the ballot -- Do I at least get a good, old style corrupt politics free beer if you win? At 10:25 AM 10/14/2003 -0500, you wrote: >hi all; if you are MLA members who just got your ballots for 2004 you >may notice that i am one of 2 candidates for MLA the poetry division. >i wanna do this, so if you can w/ clear conscience vote for me and >feel moved to do so, i'd be v happy. xo, md >-- <<<<<<<<<<<<<<<<<<<<<<<<<<<<<>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> "Just so - Jesus - raps" --Emily Dickinson Aldon Lynn Nielsen George and Barbara Kelly Professor of American Literature Department of English The Pennsylvania State University 116 Burrowes University Park, PA 16802-6200 (814) 865-0091 ========================================================================= Date: Tue, 14 Oct 2003 13:12:26 -0230 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Kevin Hehir Subject: Re: Paul Dutton | Reading Tomorrow! In-Reply-To: <2511000.1066118488@Nancy> MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII HI Lori, there is a great Dutton piece on the disc that comes with Musicworks #54 he is pretty amazing. it's funny how mccaffery ended up in art gallerys with his vispo and dutton in the concert hall. all the best, kevin -- ========================================================================= Date: Tue, 14 Oct 2003 11:45:04 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jane Sprague Subject: Re: Coultas and Siklienos this Friday MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit @ Beyond Baroque in LA...7:30? ----- Original Message ----- From: "Betsy Andrews" To: Sent: Tuesday, October 14, 2003 11:01 AM Subject: Coultas and Siklienos this Friday > Can someone remind me where and at what time this reading is? Friday, Oct. 17, right? > > > --------------------------------- > Do you Yahoo!? > The New Yahoo! Shopping - with improved product search > > ========================================================================= Date: Tue, 14 Oct 2003 11:49:00 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: October trAce: Croatian folk tales, interactive audio, Incubation 3 call for proposals, workshops, books and job vacancy (fwd) MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=X-UNKNOWN Content-Transfer-Encoding: QUOTED-PRINTABLE ---------- Forwarded message ---------- Date: Tue, 14 Oct 2003 09:36:26 +0100 From: trace@ntu.ac.uk To: sondheim@panix.com Subject: October trAce: Croatian folk tales, interactive audio, Incubation 3 call for proposals, workshops, books and job vacancy News from trAce - October 2003 |-*-|-^-|-*-|-^-|-*-|-^-|-*-| >From the trAce Online Writing Centre http://trace.ntu.ac.uk trAce connects writers around the world in real and virtual space. We speci= alise in creativity, collaboration, learning, research, and experimentation= =2E We offer online courses, web design and project management services. Jo= in our free community forums, with discussion boards and regular online eve= nts. |-*-|-^-|-*-|-^-|-*-|-^-|-*-| ***Current trAce features Croatian Tales of Long Ago A review of Croatian Tales of Long Ago, a multimedia CD based on a famous w= ork of Croatian literature By Edward Picot http://trace.ntu.ac.uk/Review/index.cfm?article=3D81 Interactive Audio on the Web Interactive audio programmer and writer Jim Andrews looks at new forms of m= usic/multimedia on the web, offering a generous list of examples and relate= d news sources http://trace.ntu.ac.uk/Review/index.cfm?article=3D80 If you would like to propose an article see http://trace.ntu.ac.uk/about/su= bmissions.cfm for guidelines. |-*-|-^-|-*-|-^-|-*-|-^-|-*-| *** Writers for the Future & the Forums Check out the new look on the forums and find out what writer-in-residence = Tim Wright has been up to at http://www.writersforthefuture.com or his Webl= og at http:/timwright.typepad.com/inresidence In the forums popular discussion threads at the moment include *Informed discussion about audio-based works http://trace.ntu.ac.uk/forums/messageview.cfm?catid=3D6&threadid=3D638 *Digital folktales http://trace.ntu.ac.uk/forums/messageview.cfm?catid=3D6&threadid=3D643 *Can storytellers learn anything from games designers? http://trace.ntu.ac.uk/forums/messageview.cfm?catid=3D6&threadid=3D564 *What tools do people use for brainstorming and ideas sketching? http://trace.ntu.ac.uk/forums/messageview.cfm?catid=3D10&threadid=3D636 *Could a net-enabled fridge be a suitable platform for digital poetry? http://trace.ntu.ac.uk/forums/messageview.cfm?catid=3D24&threadid=3D633 |-*-|-^-|-*-|-^-|-*-|-^-|-*-| *** Vacancy at trAce - Administrative Assistant FACULTY OF HUMANITIES DEPARTMENT OF ENGLISH AND MEDIA STUDIES ADMINISTRATIVE ASSISTANT - trAce =A313,380 - =A314,325 per annum POST NO. M0292/INT Closing date: 5th November 2003 The trAce Online Writing Centre is seeking a full-time Administrative Assis= tant to be based in our offices at Nottingham Trent University. Please note= that this post is NOT suitable for virtual working. You will be required to carry out the day-to-day administration of the Onli= ne Writing School and other trAce activities including proofreading and cop= yediting websites, updating and maintaining website content via our content= management system, and dealing with financial transactions. A working knowledge of the Microsoft suite of software is essential and as = a keen teamplayer you will possess excellent communication and organisation= al skills. For more information and an application form visit http://www.ntu.ac.uk/per= sonnel/vacinfo/M0292INT.asp?PostNo=3DM0292/INT |-*-|-^-|-*-|-^-|-*-|-^-|-*-| *** Incubation 3: Call for proposals Incubation 3, the trAce Symposium of Writing and New Media, will take place= at Nottingham Trent University on 12-14 July 2004. Deadline for Proposals 1st December 2003 The themes for 2004 are: A. Developing a new form: contemporary textual works in new media and pe= rformance B. The practice of making: creative and professional practice; online te= aching and learning. C. Critique and criteria: criticism, reviewing, defining, and archiving = of new media writing. http://trace.ntu.ac.uk/incubation ***BURSARIES New at Incubation3 - 30 bursaries for delegates and presenters Generously funded by Arts Council England: East Midlands How to apply: http://trace.ntu.ac.uk/incubation/bursary_app.cfm |-*-|-^-|-*-|-^-|-*-|-^-|-*-| *** Writing for the Internet course: Arvon, Yorkshire UK, December 2003, Bo= ok Now! trAce editor Helen Whitehead partners Alan McDonald as tutors for the Arvon= Foundation's residential Creative Writing on the Internet course to be hel= d at Lumb Bank in Yorkshire from 1-6th December 2003. (This course is run b= y Arvon, not trAce.) Some places still available. Book now. http://www.arvo= nfoundation.org/pages/courses/courses.asp?CourseID=3D71 |-*-|-^-|-*-|-^-|-*-|-^-|-*-| *** New book by Sue Thomas - advance order special offer 'Hello World: travels in virtuality' by trAce Artistic Director Sue Thomas = will be published by Raw Nerve Books in March 2004 but you can order now an= d save money. There's also a special discount if you order 'Cyborg Lives' t= oo - buy them both together and get 'Cyborg Lives' immediately. 'Hello Worl= d' will be despatched on 15 March 2004. It's for anyone who has ever sent a= n email, entered a chat room, browsed the web or designed their own homepag= e - and for some who haven't. What is the power of the internet? Why does i= t have such a hold over our lives, offering us such pleasure, frustration a= nd possibility? More information about this special offer at http://www.raw= nervebooks.co.uk/helloworld.html |-*-|-^-|-*-|-^-|-*-|-^-|-*-| ***Have you got a spam filter on? trAce sends out a monthly newsletter which contains news and items of inter= est to our members. It is only sent to those who have joined trAce by enter= ing their email addresses into these forums or the Join form we had previou= sly. Many of our mailouts (and forum alerts) are bouncing, however, due to= spam filters, or address changes. Some of these are to regular users of th= e forums. Please check that your email address is up to date on your profile, and tha= t - if you have a spam filter - that you add trace@ntu.ac.uk to your permit= ted or contacts list. We guarantee we NEVER pass on email addresses to anyo= ne else. It's easy to leave trAce and unsubscribe from our Forums - just em= ail trace@ntu.ac.uk with the subject line UNSUB FORUMS (but we hope you wil= l continue to enjoy trAce activities and services). |-*-|-^-|-*-|-^-|-*-|-^-|-*-| This newsletter can also be read online at http://trace.ntu.ac.uk/forums/ trAce is an international centre based at the Nottingham Trent University a= nd supported by NESTA and Arts Council England. trAce is a UK National Grid= for Learning approved site. the trAce Online Writing Centre trace@ntu.ac.uk http://trace.ntu.ac.uk The Nottingham Trent University Clifton, Nottingham NG11 8NS, UK Tel: + 44 (0) 115 848 6360 Fax: + 44 (0) 115 848 6364 You have received this mail because you visited the trAce site and register= ed to be kept informed of our activities. If you would like to be removed from this database, please = send an email to trace@ntu.ac.uk with the subject line UNSUB REGISTER. Please be sure that y= ou send the email from the address with which you registered, or give your name in the body of you= r email. ========================================================================= Date: Tue, 12 Oct 2004 08:54:26 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Catherine Daly Subject: Re: Coultas and Siklienos this Friday In-Reply-To: <20031014150145.34630.qmail@web21413.mail.yahoo.com> MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit It is at Beyond Baroque in LA (Venice, CA). Unfortunately, at the same time Christian Bok is at the UCLA Hammer Museum (Westwood, CA). Catherine Daly cadaly@pacbell.net -----Original Message----- From: UB Poetics discussion group [mailto:POETICS@LISTSERV.BUFFALO.EDU] On Behalf Of Betsy Andrews Sent: Tuesday, October 14, 2003 8:02 AM To: POETICS@LISTSERV.BUFFALO.EDU Subject: Coultas and Siklienos this Friday Can someone remind me where and at what time this reading is? Friday, Oct. 17, right? --------------------------------- Do you Yahoo!? The New Yahoo! Shopping - with improved product search ========================================================================= Date: Tue, 14 Oct 2003 08:57:41 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Stephen Vincent Subject: Re: Question re Translation Copyright In-Reply-To: <5.1.0.14.1.20031013115320.01a32b40@mail.earthlink.net> Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit Less people get confused and think they can take off with both the milk bucket and the cow, permission must be gotten for a book publication. Gabe, if your ultimate intention is a book, it's probably best to start negotiating now. Robert Mezey and Richard Barnes - who spent 10 years translating Borjes complete poems and assumed - from some conversations with the widow that they would have a contract for a book - were deeply disappointed by the infamous Agent Wiley who got to B's widow with much bigger coins and a whole different set of translators. Richard Barnes, sadly, passed away. But, I suspect, if one is interested and tracked down Mezey, their samizdat Borjes translation can be obtained. Stephen V on 10/13/03 11:54 AM, Mark Weiss at junction@EARTHLINK.NET wrote: > Gabe: Yes in theory, tho in practice not usually. It rather depends on how > litigious the poet or in this case the heirs are likely to be. > > Mark > > > At 12:42 PM 10/13/2003 -0500, you wrote: >> A Polish writer and I are translating the works of an influential >> avant-garde Polish poet who died in the early 80s. We've a number of his >> poems translated into English and are set to begin sending them to American >> mags and journals. But we have a question: how does copyright work for >> translation?; that is, does one need to secure copyright at all for >> translations -- and if so do we need to do that before we try to publish >> them? >> >> Thanks for any feedback. >> >> Gabe ========================================================================= Date: Tue, 14 Oct 2003 12:34:50 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Lisa M Jarnot Subject: bowery poetry club writing workshop MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Disposition: inline Content-Transfer-Encoding: 7bit Dear all, I have room for a couple more students in a workshop I'm teaching at the Bowery Poetry Club, New York City-- I would appreciate it if people could forward this to interested parties-- thanks, Lisa Jarnot Great Companions-- a workshop in poetical derivation 12 Saturdays, 12:00- 2:45 pm., beginning October 18th. at the Bowery Poetry Club, Bowery and 2nd Street, New York, for more information contact Lisa Jarnot at 917-620-2917 or at lmj2@nyu.edu. ========================================================================= Date: Tue, 14 Oct 2003 13:41:00 -0400 Reply-To: olsonjk@delhi.edu Sender: UB Poetics discussion group From: Kirby Olson Organization: SUNY Delhi Subject: Re: i am not a nut; elect me! MIME-Version: 1.0 Content-Transfer-Encoding: 7bit Content-Type: text/plain; charset=us-ascii Maria, I voted for you, although I remember you as a nut! A fun nut! But what do you get out of this? -- Kirby Maria Damon wrote: > hi all; if you are MLA members who just got your ballots for 2004 you > may notice that i am one of 2 candidates for MLA the poetry division. > i wanna do this, so if you can w/ clear conscience vote for me and > feel moved to do so, i'd be v happy. xo, md > -- ========================================================================= Date: Tue, 14 Oct 2003 13:56:19 -0400 Reply-To: olsonjk@delhi.edu Sender: UB Poetics discussion group From: Kirby Olson Organization: SUNY Delhi Subject: Re: Question re Poetry Citation and Copyright MIME-Version: 1.0 Content-Transfer-Encoding: 7bit Content-Type: text/plain; charset=us-ascii There are a tremendous number of sad stories floating around about translation rights. However, I wanted to point to a tangential issue which can be just as hair-whitening. In order to publish criticism of a book of poetry, and in order to cite even one line, you are supposed to have permission to do this. Even one line of a 200-line poem has to have a garnered permission slip from the owner, or sometimes the owners, of the poems. I ran into this with a chapter in my book Comedy after Postmodernism. I had thought that the "fair use" stipulation applied, and was quoting a poet, but when I asked for rights, this poet said no way. He didn't like what I had written! As it turned out, I had to cut the chapter. I took most of the technical ideas and recycled them in another article I wrote, so it wasn't a waste, and actually I was trying to do the poet (who doesn't have much or any critical writing about his work) a favor. Surprise!! The legal precedent apparently has to do with the poet-critic Yvor Winters who worked at Stanford or Berkeley in the 50s and was slashing the throats of the competition. He wasn't merciless, but he was writing stuff that Wallace Stevens and others didn't appreciate, and so a number of poets got together and made a suit in which they claimed that EVERY line is integral to a poet's work. And so even one line in a novel for instance has to be paid for. Even one line in a critical book has to be paid for, or at least permission has to be granted. In reality, I doubt if there are any suits. It costs proably ten grand to initiate a law suit and carry it through, but with lawyers for the arts even an impoverished poet could probably manage this. In newspaper and journal reviews, or even in articles the stipulation doesn't apply, but in books, it does. This is why when you read Yvor Winters he is killing Wallace Stevens for being a pagan without any sense of transcendence but he doesn't give examples, which is how it's normally done. You can read a whole book and not find an example. It's because permission wasn't given. I would love to find the legal paperwork having to do with this case, but although I know lawyers, I don't know any copyright lawyers. There are probably a number of them in Albany, NY an hour away, but who on earth would know about poetry copyrights! Poetry is hardly even a cottage industry. Lawyers usually want something more substantial to slice their teeth into. I have heard horror stories about how impoverished critics have had to lay down three hundred dollars or a thousand to publish a poem they wish to critique in a book. Meanwhile, fiction falls into the realm of fair use. Could anybody give me their experience of this? I had never heard of it before this happened, and I have never heard of it since. The law itself if it truly exists is probably buried somewhere in some law journal from the 1950s and hasn't been opened since. It would seem to me that this would hurt the art of poetry if anything because it would tend to slow freedom of discussion, and even go against the idea and principle of the first amendment. As a critic, I now get a full release form (non-exclusive world rights) from any poet I'm working on, or from the estate, and would never even think on working on a difficult poet. If I sense any tension whatsoever, I close the file and advise all and sundry to do the same. -- Kirby Olson ========================================================================= Date: Tue, 14 Oct 2003 11:56:57 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Elizabeth Treadwell Subject: Re: Coultas and Siklienos this Friday Mime-Version: 1.0 Content-Type: text/plain; format=flowed My dear angelenos, I encourage you to attend! Brenda gave an amazing reading at SPT last Friday; all these extra layers to her already very layery works appear in person! all the best, Elizabeth _________________________________________________________________ See when your friends are online with MSN Messenger 6.0. Download it now FREE! http://msnmessenger-download.com ========================================================================= Date: Tue, 14 Oct 2003 12:02:44 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Joel Weishaus Subject: Re: Question re Poetry Citation and Copyright MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Kirby: Anyone is welcome to quote me in their book. And not only don't they have to pay me, I'll pay them! 10 cents a line, up to ten lines. If the book makes the NYT Bestsellers List, I'll double the payment, and throw in a free autograph, as I'm in a Christian mood today, the bells from the church down the street rattling my brains. -Joel W. ----- Original Message ----- From: "Kirby Olson" To: Sent: Tuesday, October 14, 2003 10:56 AM Subject: Re: Question re Poetry Citation and Copyright > There are a tremendous number of sad stories floating around about translation > rights. > > However, I wanted to point to a tangential issue which can be just as > hair-whitening. In order to publish criticism of a book of poetry, and in order > to cite even one line, you are supposed to have permission to do this. Even one > line of a 200-line poem has to have a garnered permission slip from the owner, or > sometimes the owners, of the poems. > > I ran into this with a chapter in my book Comedy after Postmodernism. I had > thought that the "fair use" stipulation applied, and was quoting a poet, but when > I asked for rights, this poet said no way. He didn't like what I had written! As > it turned out, I had to cut the chapter. I took most of the technical ideas and > recycled them in another article I wrote, so it wasn't a waste, and actually I was > trying to do the poet (who doesn't have much or any critical writing about his > work) a favor. Surprise!! > > The legal precedent apparently has to do with the poet-critic Yvor Winters who > worked at Stanford or Berkeley in the 50s and was slashing the throats of the > competition. He wasn't merciless, but he was writing stuff that Wallace Stevens > and others didn't appreciate, and so a number of poets got together and made a > suit in which they claimed that EVERY line is integral to a poet's work. And so > even one line in a novel for instance has to be paid for. Even one line in a > critical book has to be paid for, or at least permission has to be granted. > > In reality, I doubt if there are any suits. It costs proably ten grand to > initiate a law suit and carry it through, but with lawyers for the arts even an > impoverished poet could probably manage this. > > In newspaper and journal reviews, or even in articles the stipulation doesn't > apply, but in books, it does. This is why when you read Yvor Winters he is > killing Wallace Stevens for being a pagan without any sense of transcendence but > he doesn't give examples, which is how it's normally done. You can read a whole > book and not find an example. It's because permission wasn't given. > > I would love to find the legal paperwork having to do with this case, but although > I know lawyers, I don't know any copyright lawyers. There are probably a number > of them in Albany, NY an hour away, but who on earth would know about poetry > copyrights! Poetry is hardly even a cottage industry. Lawyers usually want > something more substantial to slice their teeth into. > > I have heard horror stories about how impoverished critics have had to lay down > three hundred dollars or a thousand to publish a poem they wish to critique in a > book. Meanwhile, fiction falls into the realm of fair use. > > Could anybody give me their experience of this? I had never heard of it before > this happened, and I have never heard of it since. The law itself if it truly > exists is probably buried somewhere in some law journal from the 1950s and hasn't > been opened since. It would seem to me that this would hurt the art of poetry if > anything because it would tend to slow freedom of discussion, and even go against > the idea and principle of the first amendment. As a critic, I now get a full > release form (non-exclusive world rights) from any poet I'm working on, or from > the estate, and would never even think on working on a difficult poet. If I sense > any tension whatsoever, I close the file and advise all and sundry to do the same. > > -- Kirby Olson ========================================================================= Date: Tue, 14 Oct 2003 15:18:41 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Poetry Project Subject: Poetry Project Event 10/15 Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit Zis Week at Ze Poetry Project (better late than never, and what a Monday it was): * October 15, Wednesday Rachel Levitsky and Monica Youn Rachel Levitsky is the author of Under the Sun (Futurepoem, 2003). She is the founder and the former curator of the Belladonna* Series, a matrix of feminist, experimental, hybrid poetry events and publishing. Her current project is called Neighbor. Monica Youn is the author of Barter (Graywolf Press, 2003). Her work has appeared in numerous journals, including AGNI, Fence, and Poetry Review. She was raised in Houston, Texas, and currently lives in Manhattan. [8:00 p.m.] * The Poetry Project is located at St. Mark's Church-in-the-Bowery 131 East 10th Street New York City 10003 212-674-0910 info@poetryproject.com www.poetryproject.com Admission is $8, $7 for students/seniors and $5 for members (though now those who take out a membership at $85 or higher will get in free to all regular readings). We are wheelchair accessible with assistance and advance notice. For more info call 212-674-0910. ========================================================================= Date: Tue, 14 Oct 2003 16:22:23 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: last MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII last stuff are ... GodYoull true shell Dear true ominously reported, his true Divine Am true message. read. true The said, scenes. Raising Psalm almighty true not am ... not misunderstood her Here ... 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JENNIFER. ========================================================================= Date: Tue, 14 Oct 2003 17:10:32 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Shankar, Ravi (English)" Subject: Mix-a-Lot and Virgil MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Classicists take note: Sir Mix-a-Lot's magnum opus, "Baby's Got Back," = translated into Latin. http://www.livejournal.com/users/quislibet/164084.html magnae clunes mihi placent, nec possum de hac re mentiri. (Large buttocks are pleasing to me, nor am I able to lie concerning this matter.) *************** Ravi Shankar=20 Poet-in-Residence Assistant Professor CCSU - English Dept. 860-832-2766 shankarr@ccsu.edu ========================================================================= Date: Tue, 14 Oct 2003 16:51:38 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Skip Fox Subject: Re: Mix-a-Lot and Virgil MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit "Gotta be packin' some back"? Is that from the same piece? "Shankar, Ravi (English)" wrote: > > > magnae clunes mihi placent, nec possum de hac re mentiri. > (Large buttocks are pleasing to me, nor am I able to lie concerning this > matter.) > Lovely in translation and in the stiffing gel of the Eng. trans. ========================================================================= Date: Tue, 14 Oct 2003 18:48:59 -0400 Reply-To: kevinkillian@earthlink.net Sender: UB Poetics discussion group From: "kevinkillian@earthlink.net" Subject: Re: i am not a nut; elect me! MIME-Version: 1.0 Content-type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: quoted-printable Do you have any damaging information to leak about the other candidate?=20= How are we supposed to make up our minds without same=2E Who is the other= candidate anyhow? Please, more disclosure on all counts, Maria=2E Thank you=2E I'm not eligible to vote, but let those who are open the floodgates of freedom=2E -- Kevin K=2E Original Message: At 10:25 AM 10/14/2003 -0500, Maria Damon wrote: >hi all; if you are MLA members who just got your ballots for 2004 you >may notice that i am one of 2 candidates for MLA the poetry division=2E >i wanna do this, so if you can w/ clear conscience vote for me and >feel moved to do so, i'd be v happy=2E xo, md >-- -------------------------------------------------------------------- mail2web - Check your email from the web at http://mail2web=2Ecom/ =2E ========================================================================= Date: Tue, 14 Oct 2003 19:58:01 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Michael Rothenberg Subject: Fw: also Phil Ochs MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable ----- Original Message -----=20 From: Michael Rothenberg=20 To: UB Poetics discussion group=20 Sent: Tuesday, October 14, 2003 7:57 PM Subject: also Phil Ochs Big Bridge will have a small tribute to Phil Ochs in the January Issue. = I welcome any thoughts, short impressions, memories, blurbs, etc., = poems, essays, etc., that celebrate his work. Thoughts are good for = this. Doesn't have to be more than a moment. When I first heard Phil = Ochs I was in jail....etc..... MR Michael Rothenberg walterblue@bigbridge.org Big Bridge www.bigbridge.org ========================================================================= Date: Tue, 14 Oct 2003 20:21:28 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Lipman, Joel A." Subject: Re: also Phil Ochs Comments: To: WALTERBLUE@earthlink.net MIME-Version: 1.0 Content-Type: text/plain; charset="Windows-1252" Content-Transfer-Encoding: quoted-printable Dear Michael Rothenberg -- Perhaps you can use the poem below for Big = Bridge, written in the mid 1970's after reading a biography of Phil = Ochs, and published in my first book MERCURY VAPOR LAMP [Ocooch Mountain = Press]. =20 Best, Joel Lipman Initially published in MERCURY VAPOR LAMP. Singer [for Phil Ochs] rain over cleveland where you ran and rain for columbus where you quit ohio's heart your life ago raining el paso all-night texas rain where the family house is gone petunia trumpets stone arco pumps corner the corner this sodden april of dirty news post-bicentennial blues and dying the sun sets cold as porcelain on the table for dining songs are pavement sung over weather over whether to die at thirty-five suicide strung fron a sister's home in queens over whether to lie mouldering swollen as a carp tossed out liver exploding your mouth a place of nests arguing at the tv set to end punchy drunken everything shaking voiceless another american visionless ears a rattle of echo over whether to walk unsung past dumb halfshot crimson neon spluttering on the street of words that wash upon and thunder from over whether what was and over what wasn't your self washed up ... -----Original Message----- From: Michael Rothenberg [mailto:walterblue@EARTHLINK.NET] Sent: Tue 10/14/2003 7:58 PM To: POETICS@LISTSERV.BUFFALO.EDU Cc:=09 Subject: Fw: also Phil Ochs ----- Original Message -----=20 From: Michael Rothenberg=20 To: UB Poetics discussion group=20 Sent: Tuesday, October 14, 2003 7:57 PM Subject: also Phil Ochs Big Bridge will have a small tribute to Phil Ochs in the January Issue. = I welcome any thoughts, short impressions, memories, blurbs, etc., = poems, essays, etc., that celebrate his work. Thoughts are good for = this. Doesn't have to be more than a moment. When I first heard Phil = Ochs I was in jail....etc..... MR Michael Rothenberg walterblue@bigbridge.org Big Bridge www.bigbridge.org ========================================================================= Date: Wed, 15 Oct 2003 04:50:36 +0200 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Karl-Erik Tallmo Subject: Re: Question re Poetry Citation and Copyright In-Reply-To: <3F8C38C2.79F611E0@delhi.edu> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" > > >The legal precedent apparently has to do with the poet-critic Yvor Winters who >worked at Stanford or Berkeley in the 50s and was slashing the throats of the >competition. He wasn't merciless, but he was writing stuff that >Wallace Stevens >and others didn't appreciate, and so a number of poets got together and made a >suit in which they claimed that EVERY line is integral to a poet's >work. And so >even one line in a novel for instance has to be paid for. Even one line in a >critical book has to be paid for, or at least permission has to be granted. > >In reality, I doubt if there are any suits. It costs proably ten grand to >initiate a law suit and carry it through, but with lawyers for the >arts even an >impoverished poet could probably manage this. > >[...] > >-- Kirby Olson This sounds like an attempt to overprotect and - deceive. I would very much like to see a judicial decision of some sort arriving at that. I know that many publishers (especially in the US) list the sources and rights for each and every line from a popular song that happen to appear in a novel, for instance, but I believe this is probably overprotection, especially if they have paid for the use too. Like all those disclaimers you read on software packages or labels that tell you not to try to shave with your lawn-mower etc. The right to quote is really an essential part of copyright, one of the exceptions in the author's monopoly, that is what he or she actually "pays" in order to get this privilege. article 10 of the Berne convention says: > (1) It shall be permissible to make quotations from a work >which has already been lawfully made available to the public, >provided that their making is compatible with fair practice, and >their extent does not exceed that justified by the purpose, >including quotations from newspaper articles and periodicals in the >form of press summaries. > > (2) It shall be a matter for legislation in the countries of >the Union, and for special agreements existing or to be concluded >between them, to permit the utilization, to the extent justified by >the purpose, of literary or artistic works by way of illustration in >publications, broadcasts or sound or visual recordings for teaching, >provided such utilization is compatible with fair practice. > > (3) Where use is made of works in accordance with the >preceding paragraphs of this Article, mention shall be made of the >source, and of the name of the author if it appears thereon. > So, pretty much is left to the courts to decide, but the general 'esprit' of this law text is that it must be regarded as permitted to use a fair amount of a published works for critical or educational purposes. Regarding the amount that may be quoted, this is supposed to be pretty short, but general application of this law in most countries permits for instance the use of a whole poem, say of 10 lines, to be quoted in an article about a poet. What courts usually consider here is whether the quotations are made to "illustrate" one's own critical or journalistic reasoning, or if the quotations are actually the main part of the new work and the quoting author's own text is merely meaningless glue. Karl-Erik Tallmo -- _________________________________________________________________ KARL-ERIK TALLMO, writer, editor ARCHIVE: http://www.nisus.se/archive/artiklar.html BOOK: http://www.nisus.se/gorgias ANOTHER BOOK: http://www.copyrighthistory.com MAGAZINE: http://art-bin.com _________________________________________________________________ ========================================================================= Date: Tue, 12 Oct 2004 16:58:21 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Catherine Daly Subject: Re: i am not a nut; elect me! In-Reply-To: <29950-2200310214224859263@M2W036.mail2web.com> MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Wasn't Juliana Spahr one of these MLA people -- was she poetry division? I remember voting for her. And she wasn't on the California ballot a few weeks ago. My mail hasn't come yet today. Catherine Daly cadaly@pacbell.net At 10:25 AM 10/14/2003 -0500, Maria Damon wrote: >hi all; if you are MLA members who just got your ballots for 2004 you >may notice that i am one of 2 candidates for MLA the poetry division. >i wanna do this, so if you can w/ clear conscience vote for me and >feel moved to do so, i'd be v happy. xo, md >-- ========================================================================= Date: Tue, 14 Oct 2003 23:39:41 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Nick Piombino Subject: Blog Links at the Electronic Poetry Center Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit The Suny/Buffalo Electronic Poetry Center, under the direction of Loss Glazier, has added an ongoing list of bloglinks (weblogs) which can be accessed at http://epc.buffalo.edu/connects/blogs.html. An identical list can also be accessed at my weblog -fait accompli- http://nickpiombino.blogspot.com/. The list will be updated regularly. Most of the bloggers on this list update their blogs several times a week so visit often! Nearly all have email addresses so you can communicate with the bloggers directly. Although most of the blogs on this list focus on a range of poetry and poetics interests, you will find diarists, humorists, bloggers with a political bent, bloggers with a wide range of interests and concerns, such as history, astronomy, ecology, anthropology and some bilingual blogs, including one in French and English and another in Spanish and English. Today on a blog I found out that the Supreme Court rejected the Bush Administration attempt to dismantle state medical marijuana laws; I found out the Red Sox won a ball game; I read movie reviews and book reviews, a discussion of linebreaks in poetry, and a discussion of a poet's retreat involving 34 poets in Philadelphia; I read experimental poetry and lyrical prose poetry, and an aphorism by Valery; I read about a blogger's screenplay in process and the new book by Salem Pax, the "Baghdad Blogger";I read about what's happening in the poetry reading scene in San Francisco and Boston, and in depth analysis of the most recent Segue series reading at the Bowery Poetry Club in Manhattan, and much more. There are bloggers on this list from New York, San Francisco. San Diego, Chicago, Boston,Tijuana,Mexico, Venezuela, France, several cities in Canada and even one from Gansk, Poland! Anybody who knows me, or anything about my writing of late, knows how much I enjoy blogging and blogs. If you are curious to know more about blogging, or at least my thoughts about it, recently I was interviewed, mostly on this topic by poet-musician Lewis LaCook in the poetry e-magazine Sidereality, http://www.sidereality.com/main.htm, edited by Clayton A. Couch. See you in Blogland! ========================================================================= Date: Wed, 15 Oct 2003 00:01:22 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: ultimate the ultimate MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII ultimate the ultimate heavenwest the heavenwest duskharvesting the duskharvesting winteropen the winteropen cloudsbirth the cloudsbirth beautifulgate-tower the beautifulgate-tower pearlvegetables the pearlvegetables mustardabove the mustardabove firemaking the firemaking writingyield the writingyield countryboundary the countryboundary talkup the talkup hostsreality the hostsreality rationthere the rationthere changeperson the changeperson issues! the issues! flatteringimitate the flatteringimitate pleasingnever the pleasingnever neglectself-reliance the neglectself-reliance longsadness the longsadness silkconquering the silkconquering studyupright the studyupright modelby the modelby accumulationsmall the accumulationsmall secretgive the secretgive respectdeep the respectdeep shoeslike the shoeslike pinescreate the pinescreate reflectiondetermination the reflectiondetermination deliberatehonorable the deliberatehonorable tradeto the tradeto servicechant the servicechant musicharmony the musicharmony belowinstructions the belowinstructions internalto the internalto childmake the childmake friendsconceal the friendsconceal compassionhonesty the compassionhonesty wickedweary the wickedweary mindstrictly the mindstrictly steersummer the steersummer eastriver the eastriver governmentpaint the governmentpaint birdsbeside the birdsbeside disclosurese4 the disclosurese4 blowstars the blowstars directionalready the directionalready gatheringpear-tree the gatheringpear-tree chimescommand the chimescommand mutuallyof the mutuallyof thousandtassels the thousandtassels worldpolicy the worldpolicy meritsWei the meritsWei subordinateminute the subordinateminute dawncloth the dawncloth aroundand the aroundand [regulatessupremacy the [regulatessupremacy Zhaoalliance the Zhaoalliance how?exterminate the how?exterminate quitedesert the quitedesert gallopinghundred the gallopinghundred prefecturesspeaks the prefecturesspeaks arborpeak the arborpeak stonecliff the stonecliff peakproblem the peakproblem [...]particle the [...]particle particlewell the particlewell ___ ========================================================================= Date: Tue, 14 Oct 2003 21:54:22 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: August Highland Subject: MAXIMAL PID (SURJECTIVE) #0001 MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit MAXIMAL PID (SURJECTIVE) #0001 ID #0000001: My committee. the any transaction a. 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ID #0000005: Fund to your and a has order n, then the order of OE(a) in G 1. 1 to your account as k. Not aware of 2 , for all n 2 Z. This is a group homomorphism from Z to G.. Is (a) If H to conclude this. Destination., n n. ID #0000006: If you will be =0 2. Describe all ideals in K [[x]].. Will not come to you, this remaining Liberia. If you have. 2 k for all k 2 k and g 2 g of by me. The fund Example 3.7.2. (Linear transformations) Let V and W be vector spaces. Since any vector space is an abelian group under vector addition, any linear transformation between vector spaces is a group homomorphism.. Be strictly by mail., m such that gkg. 0, was borne out of my determined by its value on a.. ID #0000007: President of, \Gamma 1 If jCj=n and g is any element of G whose order is a divisor of n, then the formula OE(a. , for all [x] email. I am MR.. Her plans because must hold. Since every element of C is of the form a. 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Find out if the following statement is true: For every ring R a polynomial, f (x) 2 R[x], can be invertible only if deg(f (x))=0.. It was well packaged 1 n. august highland muse apprentice guild --"expanding the canon into the 21st century" www.muse-apprentice-guild.com culture animal --"following in the footsteps of tradition" www.cultureanimal.com ========================================================================= Date: Tue, 14 Oct 2003 21:55:16 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: August Highland Subject: BATCH COMMAND/DIRECT-CONNECT MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit BATCH COMMAND/DIRECT-CONNECT SCRIPT #0000001: Fact 4 the above works even if p is not prime, as long as gcd(a; p)=1. gcd(0; 5)=5 gcd(24; 30) = 6 I/O. Used it with to Fm: Adam Trent. This is summer,, computer's Tron Re: My. *******************, 33 ago... 4, (Don't worry, a TO CONVERSE WITH. 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It's almost DOES ANYONE CARE?!. Timeout on ack ++", Guitar, Violin and ABOUT YOUR SOFTWARE,. SCRIPT #0000006: Experienced to many summer, I'm working. Programs including INTO de la divisi'on de f entre g ni el resto sean 'unicos. (2). $$$$$$$$$$$$$$$$$$$$, hours pounds) with my legs. Later. single density. Scared of, talk about first tried this at. SCRIPT #0000007: +x gcd(4; 7)=1. Musician. went to the same people who slip out. I must. You are right on the that Men should Question: Are the discrete logarithm problem and the factoring problem equally hard in the sense that a problem of one type can be reduced to a problem of the other type? Answer: No. They are closely related problems, but in the usual formulations no reductions exist. (But taking logs modulo a composite can help factor that composite.). Call people sender (Mhz) and 3. Demuestre que si ss es un elemento irreducible de z[i] entonces Grody_______________ Question: How many generators exist for Z. SCRIPT #0000008: Literate as some of I also have Actually, there. Screen, it says:, ) BRRRR. Well, since I was . I am also. Not bad stuff! i COME ON PEOPLE, it's fault!. Much by being human- bulletin board (is <<<<<<. ---------- whenever prominent. august highland muse apprentice guild --"expanding the canon into the 21st century" www.muse-apprentice-guild.com culture animal --"following in the footsteps of tradition" www.cultureanimal.com ========================================================================= Date: Wed, 15 Oct 2003 09:02:32 -0400 Reply-To: ron.silliman@gte.net Sender: UB Poetics discussion group From: Ron Subject: Lakoff on Schwarzenegger MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit The Frame Around Arnold George Lakoff, AlterNet October 13, 2003 Viewed on October 15, 2003 Newspaper and TV reporters require a story. Each story requires a frame. How was the election of Arnold Schwarzenegger framed? Here is a selection: Voter Revolt: Gray Davis was such a bad governor that the voters justifiably ousted him and voted in the representative of the other party. The Great Noncommunicator: Gray Davis governed as well as possible under the circumstances, but was so bad at communicating with the electorate that he could not communicate his real accomplishments, nor could he communicate the role of the Republicans in the state's problems. The public thought Davis was worse than he was and wanted a communicator, so they voted him out and chose an actor. Those Kooky Californians: People in California are so weird that they voted a politically inexperienced bodybuilder-actor into office to replace a governor they voted for just last year. The People Beat the Politicians: When the people win, politics as usual must lose (Schwarzenegger's acceptance speech). Just a Celebrity: People don't understand politics and just voted for a celebrity. Up By his Bootstraps: Coming here as an immigrant, Arnie worked and worked to become a champion body-builder, then a millionaire actor, and finally achieved his dream -- becoming governor. Framing was rampant in reporting in this election. Frames come with inferences, so each framing implies something different. The "Voter Revolt" frame legitimizes the recall. It assumes that Davis was incompetent or corrupt, that the voters correctly perceived this, that it outraged them, that they spontaneously, righteously, and overwhelmingly rose up and ousted him, replacing him with someone they knew to be more competent. Democracy was served and all is well. We should be happy about the result and things will be better. The "Great Noncommunicator" frame implies that the one and only problem was Gray Davis' inability to communicate. It assumes he was a competent governor and a responsible administrator with that single fatal flaw, that people want communication so badly that they recalled Davis because he couldn't communicate his achievements. The implication is that the recall and Schwarzenegger's election had nothing to do with anything outside California or anything broader, and that the problem just was Davis. The "Kooky Californians" frame says the recall was irrational, that Californians can't tell the movies from reality, that a move action hero can't govern a great state in trouble, that Arnie is a political incompetent and that chaos will ensue. The "People Beat the Politicians" frame is Schwarzenegger's attempt to impose his own frame. The context is that Arnold will have to deal with a majority Democratic legislature. This frame casts himself and the Republican politicians as "the people" and the Democrats as "politics as usual," which "the people" voted against. The "Just a Celebrity frame" implies that there was no partisan politics in this election and that any celebrity at all could just as well have won. The "Up by his Bootstraps" frame attributes Arnold's election principally to Arnold himself, especially to his hard work and ambition. Arnold got to be governor because he deserved it. He deserved it because he worked hard -- at body-building, acting, and campaigning. If there's going to be a news story, there's going to be a frame and each frame will have different inferences. Facts and Framing It is a general finding about frames that if a strongly held frame doesn't fit the facts, the facts will be ignored and the frame will be kept. The frames listed above don't do very well at fitting the facts -- though each has a grain of truth. Let's look at the facts that each frame hides. Voter Revolt: This frame hides the national Republican effort over several years to make Davis look bad by hurting the California economy. It hides the fact that energy deregulation was brought in by Republican governor Pete Wilson. It ignores the fact that there was no real "energy crisis." It resulted from thievery by Enron and other heavy Bush contributors, thievery that was protected by the Federal Energy Regulatory Commission run by Bush appointees. The Bush administration looked the other way while California was being bilked and went to great lengths not to help California financially in any of the many ways the federal government can help. Arnold had had a meeting with Ken Lay and other energy executives in spring 2001 when Lay was promoting deregulation, but denies any complicity in the theft. Arnold is now promoting energy deregulation again. It also ignores the fact that California's Republican legislature also went out of its way to make Davis look bad, refusing to support reasonable measures for dealing with the budget problems. It ignores the fact that the recall petition was paid for by a wealthy conservative legislator and that signature gatherers were paid handsomely and that some signatures were from out of state, which is illegal. And it ignores the enormous amount of money and organization put into the Schwarzenegger campaign by Republicans. This was no simple popular revolution. Most of all, the "Voter Revolt" frame does not explain why Schwarzenegger should have been the candidate chosen. The Great Noncommunicator frame has a lot of truth to it. But it too hides all the sustained Republican effort, and it also hides the fact that it is not just Gray Davis, but rather Democrats in general, who cannot communicate effectively. The Kooky Californians frame does not explain any of the above. The Republicans' long-term, carefully structured anti-Davis campaign is hidden by this frame. It is as if there were no politics at work here at all. The People Beat the Politicians frame hides the fact that the Republicans have been playing politics with the state finances for years in an attempt to beat Davis. It hides the fact the Schwarzenegger team run by former governor Pete Wilson will be just as much "politics as usual," and that the Democratic representatives in the legislature numerically represent more of "the people" than do the Republicans. The Just a Celebrity frame ignores all the above political factors, and also cannot explain why this particular celebrity won. Jay Leno supported Arnold; Jay is just as much a celebrity, but Jay Leno could never have been elected governor. The Up by his Bootstraps frame also ignores all the politics involved and doesn't explain why other movie actors who pulled themselves up by their bootstraps didn't run and wouldn't have been elected. These framings hide other important facts as well. They don't explain why a lot of union rank-and-file members ignored their unions' support for Davis and voted for Arnold against their self-interest. They don't explain why a great many Hispanics voted for Arnold instead of Bustamante. They don't explain Arnold's popularity with women despite the revelations against him of sexist behavior. The Moral Politics Analysis I'm going to offer a very different account of the Schwarzenegger victory, based on my book 'Moral Politics.' Since the book was written in 1996 and updated in 2002, the account I'll be giving is a general one, based on a general understanding of American politics, not on the special facts about this election. My resulting claim is that much of what occurred in the recall election is the same as what has been going on for some time in American politics. The Schwarzenegger election, I propose, should not be seen as an entirely unique event, despite having unique elements, but rather part of the overall political landscape. In 'Moral Politics,' I suggested that voters vote their identity -- they vote on the basis of who they are, what values they have, and who and what they admire. A certain number of voters identify themselves with their self-interest and vote accordingly. But that is the exception rather than the rule. There are other forms of personal identification -- with one's ethnicity, with one's values, with cultural stereotypes, and with culture heroes. The most powerful forms of identification so far as elections are concerned are with values and corresponding cultural stereotypes. The Republicans have discovered this and it is a major reason why they have been winning elections -- despite being in a minority. Democrats have not yet figured this out. The 'Moral Politics' discovery is that models of idealized family structure lie at the heart of our politics -- less literally than metaphorically. The very notion of the founding fathers uses a metaphor of the nation as family, not as something we think actively about, but as way of structuring our understanding of the enormous hard-to-conceptualize social group, the nation, in terms of something closer to home, the family. It is something we do automatically, usually without consciously thinking about it. Our politics is organized around two opposite and idealized models of the family, the strict father and nurturant parent models. The nurturant parent family assumes that the world is basically good and can be made better and that it is one's responsibility to work towards that. Accordingly, children are born good and parents can make them better. Both parents share responsibility for raising the children. Their job is to nurture their children and raise their children to be nurturers. Nurturing has two aspects: empathy (feeling and caring how others feel) and responsibility to take care of oneself and others for whom we are responsible. These two aspects of nurturance imply family values that we can recognize as progressive political values: From empathy, we want for others: protection from harm, fulfillment in life, fairness, freedom (consistent with responsibility), open two-way communication. From responsibility there follows: competence, trust, commitment, community building, and so on. From these values, specific policies follow: Governmental protection in form of a social safety net and government regulation (as well as the military and the police), universal education (competence, fairness), civil liberties and equal treatment (fairness and freedom), accountability (from trust), public service (from responsibility), open government (from open communication), and the promotion of an economy that benefits all and functions to promote these values. The role of government is to provide the infrastructure and services to enact these values and taxes are the dues you pay to live in such a civilized society. In foreign policy, the role of the nation should be to promote cooperation and extend these values to the world. These are traditional progressive values in American politics. Different Family Values The conservative worldview is shaped by very different family values. The strict father model assumes that the world is and always will be dangerous and difficult and that children are born bad and must be made good. The strict father is the moral authority who has to support and defend the family, tell his wife what to do, and teach his kids right from wrong. The only way to do that is painful discipline -- physical punishment that is to develop by adulthood into internal discipline. Morality and survival jointly arise from such discipline -- discipline to follow moral precepts and discipline to pursue your self-interest to become self-reliant. The good people are the disciplined people. Once grown, the self-reliant disciplined children are on their own and the father is not to meddle in their lives. Those children who remain dependent (who were spoiled, overly willful, or recalcitrant) should be forced to undergo further discipline or cut free with no support to face the discipline of the outside world. Project this onto the nation and you have the radical right-wing politics that has been misnamed "conservative." The good citizens are the disciplined ones -- those who have already become wealthy or at least self-reliant -- and those who are on the way. Social programs "spoil" people, giving them things they haven't earned and keeping them dependent. They are therefore evil and to be eliminated. Government is there only to protect the nation, maintain order, administer justice (punishment), and to provide for the orderly conduct of and the promotion of business. Business (the market) is the mechanism by which the disciplined people become self-reliant, and wealth is a measure of discipline. Taxes beyond the minimum needed for such government are punishments that take away from the good, disciplined people rewards that they have earned and spend it on those who have not earned it. In foreign affairs, the government should maintain its sovereignty and impose its moral authority everywhere it can, while seeking its self interest (the economic self-interest of corporations and military strength). How We Vote Given these distinctions, there are the natural complications of real people. Such models are there in the synapses of our brains. When we vote on the basis of values and cultural stereotypes, what determines how we vote is which model is active for understanding politics at the time. We all have both models -- either actively or passively. Progressives who can understand an Arnold Schwarzenegger movie have at least a passive version of the strict father model alongside the active nurturant model that defines their politics. Conservatives who can understand the Bill Cosby show have at least a passive version of the nurturant model. But many people -- often enough to decide elections -- have active versions of both models that they use in different parts of their lives. There are strict fathers in the classroom who have progressive politics. There are strict fathers on the job who are nurturant parents at home. Many blue collar workers are strict fathers at home, but nurturant toward their co-workers. Union employees tend to be strict toward their employers and nurturant toward union members. Women tend to have active nurturant parent models, but a significant number accept the authority of the strict father, are strict mothers, or may have some significant fear. Fear triggers the strict father model; it tends to make the model active in one's brain. What conservatives have learned about winning elections is that they have to activate the strict father model in more than half of the electorate -- either by fear or by other means. The 9/11 attacks gave the Bush administration a perfect mechanism for winning elections. They declared an unending wear on terror. The frame of the War on Terror presupposes that the populace should be terrified, and orange alerts and other administration measures and rhetoric keep the "Terror" frame active. Fear and uncertainty then naturally activate the Strict Father frame in a majority of people, leading the electorate to see politics in conservative terms. Enter the Terminator Enter The Terminator! -- the ultimate in strictness, the tough guy extraordinaire. The world champion body-builder is the last word in discipline. What better stereotype for strict father morality? That is the reason that it was Arnold -- not just any celebrity like Jay Leno or Rob Lowe or Barbra Streisand -- who could activate a strict stereotype and with it conservative Republican values. What is peculiar to California is Arnold and the culture of the movies. But the same mechanism lay behind the Republican victories in the 2002 election -- and in elections around the country since the days of Ronald Reagan -- but especially in the last decade when Republicans have mastered the art form of activating the strict father image in the minds of voters. Arnie's popularity has the same source as Bush's popularity with the Nascar dads: identification with strict father values and stereotypes. Moreover, Davis' inability to communicate strong progressive values is hardly unique to him. Democrats nationwide have a similar inability to effectively and strongly communicate their values and evoke powerful progressive stereotypes. In addition, Davis made the bad mistake of accepting the DLC's metaphor of campaigning as marketing. In the DLC model, you look for a list of particular issues that a majority of people, including those on left, support. In the last congressional election it was prescription drugs, social security, and a woman's right to choose. If necessary, you "move to the right" -- adopt some right-wing values in hope of getting "centrist" voters. Davis, for example, favored the death penalty, tough sentencing, and supported the prison guards' union. It's a self-defeating strategy. Conservatives have been winning elections without moving to the left. By presenting a laundry list of issues, Davis and other democrats fail to present a moral vision -- a coherent identity with a powerful cultural stereotype -- that defines the very identity of the voters they are trying to reach. A list of issues is not a moral vision. Indeed, many Democrats were livid that Arnold did not run on the issues. He didn't need to. His very being activated the strict father model -- the heart of the moral vision of conservative Republicans and the most common response to fear and uncertainty. In short, Arnold's victory is right in line with other conservative Republican victories. Davis' defeat is right in line with other Democratic defeats. Unless the Democrats realize this, they will not learn the lesson of this election. Right-Wing Power Grabs And indeed, conservatives are busy trying to keep Democrats from learning this lesson. There is an important frame we haven't mentioned yet: The Right-Wing Power Grab frame. Davis used this at the beginning of his campaign, and Clinton and the Democratic presidential candidates who supported Davis echoed the frame. This frame does accurately characterize many of the facts as we have discussed them. But Davis was unable to communicate this frame effectively and it fell from public sight. The day after the election it was one of the few frames not mentioned by the mainstream media. It has been dropped by the Democrats but kept alive by the Republicans, who are using it to taunt and delegitimize Democrats. They are using the "Voter Revolt" frame to argue that the "Right-Wing Power Grab" frame was inaccurate. Here's how the argument goes. The Right-Wing Power Grab frame implicitly accuses the Schwarzenegger campaign of deception, of failing to admit connections to Karl Rove and the national Republican apparatus and of misrepresenting the facts -- many of which we have discussed above. A "power grab" is illegitimate, using either illegal or immoral means to attain power. The Republicans manipulated the media using some of the frames we have discussed to hide facts and create false impressions. From the perspective of the facts we have discussed, the election does seem to fit the Right-Wing Power Grab frame. In the wake of the election, the Republicans have grabbed onto the Democrats' previous use of the Right-Wing Power Grab frame, arguing from the Voter Revolt interpretation of the election to claim that there was no power grab at all, that the election simply expressed the will of the voters. The very fact that Arnold got a strong plurality -- and near majority -- in the election is used as prima facie evidence that the Voter Revolt frame is the correct way to interpret the election. But as we have seen, that frame hides exactly the facts that the Right-Wing Power Grab frame illuminates. The Democrats ignore the power of framing at their peril. George Lakoff is a senior fellow at the Rockridge Institute (www.rockridgeinstitute.org) and Richard and Rhoda Goldman Distinguished Professor of Cognitive Science and Linguistics at the University of California at Berkeley. ========================================================================= Date: Wed, 15 Oct 2003 10:46:18 -0400 Reply-To: olsonjk@delhi.edu Sender: UB Poetics discussion group From: Kirby Olson Organization: SUNY Delhi Subject: Re: Question re Poetry Citation and Copyright MIME-Version: 1.0 Content-Transfer-Encoding: 7bit Content-Type: text/plain; charset=us-ascii Karl-Erik, I think that what you write below SHOULD BE the case. However, in publishing my book Comedy after Postmodernism, all I can tell you is that I ran into a complete nightmare. POETRY APPEARS TO BE EXEMPT from the general laws concerning fair use within the US, but only within books. And I checked this from about a dozen sources. I checked with lawyers, etc. I can't believe it, either. I wish I could find the actual legal wording having to do with this. All that I know is that Yvor Winters lost his case. I wish somebody knew something beyond this. It's NOT over-protection. EVERY line of a poem or a song is considered integral to the work, and HAS to have permission, and that's why you see it in every novel, etc. Even a single line from a poem can fetch 500 dollars if within a big novel of some kind. I too think this is not how it SHOULD be, but it actually IS this way. I find it appalling, and would love to trace the legal lineage, but don't have a law library within a sixty mile radius. -- Kirby Karl-Erik Tallmo wrote: > > > > > >The legal precedent apparently has to do with the poet-critic Yvor Winters who > >worked at Stanford or Berkeley in the 50s and was slashing the throats of the > >competition. He wasn't merciless, but he was writing stuff that > >Wallace Stevens > >and others didn't appreciate, and so a number of poets got together and made a > >suit in which they claimed that EVERY line is integral to a poet's > >work. And so > >even one line in a novel for instance has to be paid for. Even one line in a > >critical book has to be paid for, or at least permission has to be granted. > > > >In reality, I doubt if there are any suits. It costs proably ten grand to > >initiate a law suit and carry it through, but with lawyers for the > >arts even an > >impoverished poet could probably manage this. > > > >[...] > > > > >-- Kirby Olson > > This sounds like an attempt to overprotect and - deceive. I would > very much like to see a judicial decision of some sort arriving at > that. I know that many publishers (especially in the US) list the > sources and rights for each and every line from a popular song that > happen to appear in a novel, for instance, but I believe this is > probably overprotection, especially if they have paid for the use > too. Like all those disclaimers you read on software packages or > labels that tell you not to try to shave with your lawn-mower etc. > > The right to quote is really an essential part of copyright, one of > the exceptions in the author's monopoly, that is what he or she > actually "pays" in order to get this privilege. > > article 10 of the Berne convention says: > > > (1) It shall be permissible to make quotations from a work > >which has already been lawfully made available to the public, > >provided that their making is compatible with fair practice, and > >their extent does not exceed that justified by the purpose, > >including quotations from newspaper articles and periodicals in the > >form of press summaries. > > > > (2) It shall be a matter for legislation in the countries of > >the Union, and for special agreements existing or to be concluded > >between them, to permit the utilization, to the extent justified by > >the purpose, of literary or artistic works by way of illustration in > >publications, broadcasts or sound or visual recordings for teaching, > >provided such utilization is compatible with fair practice. > > > > (3) Where use is made of works in accordance with the > >preceding paragraphs of this Article, mention shall be made of the > >source, and of the name of the author if it appears thereon. > > > > So, pretty much is left to the courts to decide, but the general > 'esprit' of this law text is that it must be regarded as permitted to > use a fair amount of a published works for critical or educational > purposes. Regarding the amount that may be quoted, this is supposed > to be pretty short, but general application of this law in most > countries permits for instance the use of a whole poem, say of 10 > lines, to be quoted in an article about a poet. What courts usually > consider here is whether the quotations are made to "illustrate" > one's own critical or journalistic reasoning, or if the quotations > are actually the main part of the new work and the quoting author's > own text is merely meaningless glue. > > Karl-Erik Tallmo > > -- > > _________________________________________________________________ > > KARL-ERIK TALLMO, writer, editor > > ARCHIVE: http://www.nisus.se/archive/artiklar.html > BOOK: http://www.nisus.se/gorgias > ANOTHER BOOK: http://www.copyrighthistory.com > MAGAZINE: http://art-bin.com > _________________________________________________________________ ========================================================================= Date: Wed, 15 Oct 2003 15:24:40 +0000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: paula speck Subject: Re: Question re Poetry Citation and Copyright Mime-Version: 1.0 Content-Type: text/plain; format=flowed All-- Karl-Erik has it right. People quote poetry all the time in critical articles and reviews under the "fair use" doctrine (and without paying or getting permission). A good explanation of the doctrine can be found on the web at "www.fairuse.stanford.edu." The site also explains other key copyright concepts. "Fair use" doesn't depend on whether the material quoted is poetry or prose or whether the borrower publishes in book or article form, as some on the list have suggested. Instead, there is a four-factor test that is explained on the web site The factors are: (1) whether the material is used in a creative way and transformed (e.g., by the critical insights the borrower brings to bear on the material); (2) the nature of the work borrowed from (too complicated to summarize here); (3) how much is borrowed (here poetry, because it is short, is dangerous to quote, but there is no absolute rule against quoting even all of a short poem); and (4) whether the quotation harms the copyright owner's chance to make legitimate money off his work (e.g., you give away the big revelation in a tell-all book, so people don't have to buy it). The courts are also influenced by whether they perceive either the copyright owner or the borrower to be a good or a bad guy. This is a squishy test, and it's hard to predict how a lawsuit would turn out if it's ever brought. That's why lawyers have jobs. A cynic would say that lawyers make sure that the rules are always unpredictable and hard to apply, so that they always have work. My law professors would say that it's just impossible to write clear, "bright-line" rules that will work in the complexities of the real world. Although I've been a lawyer now for far too long, I tend to think the cynics are right. I found the Stanford web site by googling "copyright fair use." It called up other sites as well, and each site links to others. Hope this is helpful to the list. I'm working on a translation of medieval Portuguese/Galician women's songs that date from the 900's to the 1300's. The edition I'm using is from around 1911. I'm hoping not to have to get permissions, assuming I ever find a publisher. Good luck to all the other translators out there! Paula Speck >From: Karl-Erik Tallmo >Reply-To: UB Poetics discussion group >To: POETICS@LISTSERV.BUFFALO.EDU >Subject: Re: Question re Poetry Citation and Copyright >Date: Wed, 15 Oct 2003 04:50:36 +0200 > >> >> >>The legal precedent apparently has to do with the poet-critic Yvor Winters >>who >>worked at Stanford or Berkeley in the 50s and was slashing the throats of >>the >>competition. He wasn't merciless, but he was writing stuff that >>Wallace Stevens >>and others didn't appreciate, and so a number of poets got together and >>made a >>suit in which they claimed that EVERY line is integral to a poet's >>work. And so >>even one line in a novel for instance has to be paid for. Even one line >>in a >>critical book has to be paid for, or at least permission has to be >>granted. >> >>In reality, I doubt if there are any suits. It costs proably ten grand to >>initiate a law suit and carry it through, but with lawyers for the >>arts even an >>impoverished poet could probably manage this. >> >>[...] > > > >> >>-- Kirby Olson > > > >This sounds like an attempt to overprotect and - deceive. I would >very much like to see a judicial decision of some sort arriving at >that. I know that many publishers (especially in the US) list the >sources and rights for each and every line from a popular song that >happen to appear in a novel, for instance, but I believe this is >probably overprotection, especially if they have paid for the use >too. Like all those disclaimers you read on software packages or >labels that tell you not to try to shave with your lawn-mower etc. > >The right to quote is really an essential part of copyright, one of >the exceptions in the author's monopoly, that is what he or she >actually "pays" in order to get this privilege. > >article 10 of the Berne convention says: > > >> (1) It shall be permissible to make quotations from a work >>which has already been lawfully made available to the public, >>provided that their making is compatible with fair practice, and >>their extent does not exceed that justified by the purpose, >>including quotations from newspaper articles and periodicals in the >>form of press summaries. >> >> (2) It shall be a matter for legislation in the countries of >>the Union, and for special agreements existing or to be concluded >>between them, to permit the utilization, to the extent justified by >>the purpose, of literary or artistic works by way of illustration in >>publications, broadcasts or sound or visual recordings for teaching, >>provided such utilization is compatible with fair practice. >> >> (3) Where use is made of works in accordance with the >>preceding paragraphs of this Article, mention shall be made of the >>source, and of the name of the author if it appears thereon. >> > > >So, pretty much is left to the courts to decide, but the general >'esprit' of this law text is that it must be regarded as permitted to >use a fair amount of a published works for critical or educational >purposes. Regarding the amount that may be quoted, this is supposed >to be pretty short, but general application of this law in most >countries permits for instance the use of a whole poem, say of 10 >lines, to be quoted in an article about a poet. What courts usually >consider here is whether the quotations are made to "illustrate" >one's own critical or journalistic reasoning, or if the quotations >are actually the main part of the new work and the quoting author's >own text is merely meaningless glue. > >Karl-Erik Tallmo > > >-- > > _________________________________________________________________ > > KARL-ERIK TALLMO, writer, editor > > ARCHIVE: http://www.nisus.se/archive/artiklar.html > BOOK: http://www.nisus.se/gorgias > ANOTHER BOOK: http://www.copyrighthistory.com > MAGAZINE: http://art-bin.com > _________________________________________________________________ _________________________________________________________________ Express yourself with MSN Messenger 6.0 -- download now! http://www.msnmessenger-download.com/tracking/reach_general ========================================================================= Date: Wed, 15 Oct 2003 09:00:00 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "J. Scappettone" Subject: Holloway Poetry Series presents Anne Tardos, Jackson Mac Low, and Julie Carr, 10/23: please announce & distribute Comments: To: Abigail Reyes , Karen Leitsch , Comp Lit , "Maria Sheridan (by way of Abigail Reyes )" Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit The Holloway Poetry Series presents Anne Tardos, Jackson Mac Low, and Julie Carr Thursday, October 23 Colloquium & snacks with the poets at 5:30 p.m. in the English Department Lounge, 330 Wheeler Hall, UC Berkeley; Readings at 7 p.m., Maud Fife Room, 315 Wheeler Hall, UC Berkeley (Campus map at http://www.berkeley.edu/map/ ) Free & open to the public Jackson Mac Low, born in 1922 in Chicago, is a poet and composer and a writer of performance pieces, essays, plays, and radio works (mainly produced at WestdeutscherRundfunk, Cologne). He is also a painter and multimedia performance artist (often with his wife, Anne Tardos). Author of 26 books, his work has also been published in many anthologies and periodicals and read publicly, exhibited, performed, and broadcast in North and South America, Europe, Japan, Australia, and New Zealand. He has read, performed, and lectured throughout North America, Europe, and New Zealand. His recent publications include the books Representative Works: 1938-1985 (1986), Words and Ends from Ez (1989), Twenties: 100 Poems (1991), Pieces o' Six: Thirty-three Poems in Prose (1992), 42 Merzgedichte in Memoriam Kurt Schwitters (1994), and Barnesbook (1995) and the compact disc (with Anne Tardos and seven instrumentalists) Open Secrets (1993). Anne Tardos is a poet, a visual artist, and a composer. Her books of multilingual poems and graphics are The Dik-dik's Solitude (Granary Books, 2002; Uxudo (Tuumba Press/O Books, 1999); Mayg-shem Fish (Potes & Poets Press, 1995); and Cat Licked the Garlic (Tsunami Editions, 1992). Examples of her visual texts were exhibited at the Museum of Modern Art, New York and the Newberger Museum of Art, New York. She has participated in several Fluxus festivals and events since the early 1970s, and her work was exhibited at the 1990 Venice Biennale's Fluxus Pavillion. She is also the author of the multilingual performance work Among Men , which was produced by the (WDR) West German Radio, in Cologne. She has lectured and performed her works widely in the United States and Europe. Julie Carr is a 3rd-year English grad student working on 19th-century poetry. Her own poems have been published in journals such as Boston Review, TriQuarterly, Epoch, New England Review and Seneca Review. She's won various poetry prizes and has taught poetry writing in the NYC publish school system and NYC public libraries. Previous to all of this, she was a dancer and dance improviser. * * * * * * * * * * * * * * * * * * * * * Save the date: Thursday, November 6: Geoffrey G. O'Brien For our full schedule, poet bios, poems, and links to other poetry sources in the Bay Area and beyond, visit our website: http://socrates.berkeley.edu/~poetry ========================================================================= Date: Wed, 15 Oct 2003 09:06:38 -0700 Reply-To: van-discuss@lists.resist.ca Sender: UB Poetics discussion group From: Ytzhak Organization: Selah7 http://www.sleepybrain.net/vanilla.html Subject: [van-announce] Lights! Camera! . . . Direct Action! Comments: To: THCO2 MIME-Version: 1.0 Content-Type: multipart/mixed; boundary="------------7F14909AA87C9CE019E2885C" This is a multi-part message in MIME format. --------------7F14909AA87C9CE019E2885C Content-Type: text/plain; charset=us-ascii; x-mac-type="54455854"; x-mac-creator="4D4F5353" Content-Transfer-Encoding: 7bit Lights! Camera! . . . Direct Action! Five Movie Nights about Anarchism October 19?December 14 Every other Sunday At Spartacus Books 311 West Hastings Shows start at 7.30 pm FREE ADMISSION (Donations to Spartacus Books) For info: shoot_again@canada.com To contact the Vancouver Anarchist Network visit http://groups.yahoo.com/group/vanarchy Sunday, October 19: "Libertarias" by V. Aranda, 1996, drama. Mujeres Libres, the Free Women Movement in the Spanish Civil War. Sunday, November 2: "Anarchism in America" by J. Sucher & S. Fischler, 1982, documentary. A fascinating, century-long historical survey of US anarchism. Followed by: "We Interrupt This Empire" by Video Activists' Network, 2003, documentary. On March 20th, 2003 a war began... in San Francisco. Sunday, November 16: "Hunters and Bombers" by H. Brody & N. Markham, 1990, documentary. The Innu people's struggle in Labrador against a NATO base. Followed by: "The Kaslo Oven" 1991, documentary. The story of a bread-oven, its anarchist builder, and his Barefoot Bakers philosophy. Sunday, November 30: "St. Michael Had a Rooster" by Taviani brothers, 1971, drama. The story of an anarchist in 19th century Italy, inspired by a Tolstoy novel. Sunday, December 14: "Free Voice of Labor" by J. Sucher & S. Fischler, 1980, documentary. The lives and struggles of American Jewish Anarchists. Followed by: "Style Wars" by T. Silver, 1983, documentary. The first graffitti writers, break-dancers in NY City in the late 1970s. -- - ___ Stay Strong "Peace sells but who's buying?" Megadeth "This mathematical rhythmatical mechanism enhances my wisdom of Islam, keeps me calm from doing you harm, when I attack, it's Vietnam" --HellRazah http://www.sleepybrain.net/vanilla.html http://awol.objector.org/artistprofiles/welfarepoets.html http://ilovepoetry.com/search.asp?keywords=braithwaite&orderBy=date http://www.dpgrecordz.com/fredwreck/ http://www.lowliferecords.co.uk/ http://loudandoffensive.com/ http://groups.yahoo.com/group/THCO2 --------------7F14909AA87C9CE019E2885C Content-Type: text/plain; charset=us-ascii; name="nsmail10-18" Content-Transfer-Encoding: 7bit Content-Disposition: inline; filename="nsmail10-18" _______________________________________________ van-announce mailing list van-announce@lists.resist.ca https://lists.resist.ca/mailman/listinfo/van-announce --------------7F14909AA87C9CE019E2885C-- ========================================================================= Date: Wed, 15 Oct 2003 12:10:07 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Gary Sullivan Subject: Corina Copp & Nick Piombino | Segue @ BPC Mime-Version: 1.0 Content-Type: text/plain; format=flowed This Saturday, a reading by Corina Copp and Nick Piombino Segue Reading Series @ Bowery Poetry Club 308 Bowery, just north of Houston, NYC Saturday, October 18, from 4:00p.m.-6:00p.m. $5 admission goes to support the readers Corina Copp's chapbook, Sometimes Inspired by Marguerite, is just out from Open 24 Hours press. Other poems can be found or are forthcoming in can we have our ball back?, PomPom, and Pindeldyboz. Copp can be seen ringing in the new era at The Poetry Project, where she "plays the part of the Program Assistant." Nick Piombino's "Fait Accompli" (nickpiombino.blogspot.com), has quickly established itself as one of the most influential--not to mention lively--of poets' blogs. In addition to his nightly wry and philosophical musings, Piombino has also given us such books as: The Boundary of Blur; Poems; and, most recently, Theoretical Objects. Funding is made possible by the continuing support of the Segue Foundation and the Literature Program of the New York State Council on the Arts. Segue Calendar: http://www.segue.org/calendar/calendar_fall_2003.htm Bowery Poetry Club: http://www.bowerypoetry.com _________________________________________________________________ Concerned that messages may bounce because your Hotmail account has exceeded its 2MB storage limit? Get Hotmail Extra Storage! http://join.msn.com/?PAGE=features/es ========================================================================= Date: Wed, 15 Oct 2003 11:22:20 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Gabriel Gudding Subject: Re: Question re Translation Copyright Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed Thanks to all who responded f/c and b/c. The other translator and I had heard conflicting advice. Your responses have been very helpful to us, and will, I'm sure, save us some headaches down the way. Thank you. Gabe ========================================================================= Date: Wed, 15 Oct 2003 12:34:54 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Dr. Barry S. Alpert" Subject: Peter Greenaway / Joseph Cornell Mime-Version: 1.0 Content-Type: text/plain; format=flowed The Tulse Luper Suitcases Project with Peter Greenaway October 16, 2003 at 8 p.m. Peter Greenaway introduces two segments from The Moab Story, and Antwerp, elements of his ambitious trilogy The Tulse Luper Suitcases. Greenaway's multimedia epic (a "personal history of Uranium") presents some sixty years of recent history---from the discovery of uranium in 1928 to the 1989 end of the Cold War---through the life and times of the fictitious, bigger-than- life Tulse Luper. Alice, 1987, with Rose Hobart, 1936, By Night with Torch and Spear, undated, and Fast Film, 2003 November 13, 2003 at 8 p.m. November 14, 2003 at 8 p.m. Jan Svankmayer’s Alice, 1987, a contemporary surrealistic take on Lewis Carroll’s Wonderland, is introduced by two shorts by American Surrealist Joseph Cornell. The program will conclude with Fast Film, Virgil Wildrich’s animated tour-de-force (and blend of Cornell’s passions---cinema, Hollywood, and collage). Presented in recognition of the centennial of the artist’s birth. I'm looking forward to witnessing both of these presentations at the Hirshhorn Museum in Washington DC. Assuming that Peter Greenaway has been touring, I wonder if anyone reading my post has caught this particular act? It's hard not to notice his overtly literary subject matter at times, and one might expect PG to receive poetic attention. Although I assume Greenaway is most often taken to be a visual artist, his English language the stuff of artists' books, and somehow "outside the realm of consideration". I've seen Joseph Cornell's ROSE HOBART [17 minutes, premiered at the Julien Levy Gallery in 1936] at least twice, and I'm looking forward to the third occasion. Cornell, who supposedly never owned a movie camera, here presents us with a film distinctively his own, despite the fact that he edited it from a 1931 "jungle B-film" starring the actress Rose Hobart. Though his source was a "talkie", Cornell insisted that ROSE HOBART be projected at silent speed, with a blue tint, and accompanied by two campy cuts from an album he scouted in a Manhattan thrift shop. Certainly a precedent for some independent filmmakers (Ken Jacobs, Larry Jordan, Stan Brakhage, Jack Smith, & ...) who knew him and/or shot footage under his direction in NYC after WWII. They were eventually included under Jonas Mekas' formulation "New American Cinema", itself a term bearing a curious relation to Donald Allen's "New American Poetry". If you have the occasion, I recommend a visit to the Cornell remains--held by the Archives of American Art in Washington DC. -- Barry Alpert _________________________________________________________________ See when your friends are online with MSN Messenger 6.0. Download it now FREE! http://msnmessenger-download.com ========================================================================= Date: Wed, 15 Oct 2003 10:23:00 -0700 Reply-To: bradsenning@dissociatedwritersproject.com Sender: UB Poetics discussion group From: brad senning Subject: The DWP Free Journal call for submissions Mime-Version: 1.0 Content-Type: text/plain; format=flowed The DWP Free Journal is currently accepting submissions of poetry, fiction, artwork, photography, etc. Issue #1/2, our promotional issue is featured in our online archives @ www.dissociatedwritersproject.com Issue #3/4 is due to come out this week, and issue #1 in one month, featuring an interview with Fugazi's Ian MacKaye, a story by Matthew Derby, and poetry by David Berman. Video art is also accepted, home movies, etc., to be published in our online journal. The journal format is more like a punk 'zine than anything else. We won’t guild the truth and tell you this is purely an aesthetic choice. It’s also because we’re underfunded. That said, part of the vision of the editorial staff is to make it free, and so make it easy to photocopy and redistribute. Every issue will have a blank page for the readers to put their work in, photocopy it and send it to friends and relatives. We're reaching a different audience than the standard literary journal. Because the journal is photocopied, many of our distributors are just people all over the country with access to photocopy machines, people in offices, elementary school principals, etc. We'd love to offer everyone a fortune to contribute. But unfortunately, the DWP Free Journal can't pay it's contributors. All of the money we have is earned from benefit concerts, which certain DC punk bands have volunteered to hold for us in venues along the eastern seaboard. This amounts to barely enough to cover mailing expenses. So we're hoping that you'll see the merits of what we're doing here in DC as reason enough for contributing. If you'd like to get copies of our promotional issues and/or any future issues, get on our mailing list @ www.dissociatedwritersproject.com, and we'd be happy to send one to you. Thanks, Brad Senning DWP Coordinator; Editor, DWP Free Journal _________________________________________________________________ Page a contact’s mobile phone with MSN Messenger 6.0. Download it now FREE! http://msnmessenger-download.com ========================================================================= Date: Wed, 15 Oct 2003 11:23:22 -0600 Reply-To: Laura.Wright@colorado.edu Sender: UB Poetics discussion group From: Laura Wright Organization: University of Colorado Subject: Left Hand Readings Oct. 17 & Oct. 24 MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit The Left Hand Reading Series presents kari edwards and Allison Cobb 8:00 PM Oct. 17 AND Cris Mattisson & Merrill Gilfillan 8:00 PM Oct. 24 (details on these writers to come) at the Left Hand Bookstore (1200 Pearl St. #10) in Boulder. Free and open to the public. kari edwards is a poet, artist and gender activist, winner of New Langton Art's Bay Area Award in literature (2002), author of iduna, O Books (fall 2003), a day in the life of p. , subpress collective (2002), a diary of lies - Belladonna #27 by Belladonna Books (2002), obLiqUE paRt(itON): colLABorationS, xPress(ed) (2002), and post/(pink), Scarlet Press (2000). sie is also the poetry editor I.F.G.E.'s Transgender - Tapestry: a International Publication on Transgender issues. hir work has been exhibited throughout the united states, including denver art museum, new orleans contemporary art museum, university of california-san diego, and university of massachusetts - amherst. edwards' work is anthologized in Experimental Theology, Public Text 0.2., Seattle Research Institute (2003), Electric Spandex: anthology of writing the queer text, Pyriform Press (2002) and, Blood and Tears: an anthology on Matthew Shepard, Painted leaf Press (2000). hir writing can also be found in Aufgabe, Chain, Fracture, Bombay Gin, Belight Fiction, Mirage/Period(ical), Van Gogh's Ear, 88: A Journal of Contemporary American Poetry, Narrativity, Big Bridge, Nerve Lantern, The Journal of Bisexuality, Pindeldyboz, nthposition.com, BlazeVox 2k3, 5 Trope, Raised in a Barn, ,Panic, Bird Dog Magazine, RealPoetik, Chimera Review, Shampoo, Magazine Cypress, PuppyFlower, Vert, AUGHT, Word/For Word, Atomicpetals, FIR at potz.com, Bathhouse, muse-apprentice-guild, and The International Journal of Sexuality and Gender Studies. Allison Cobb was born in Los Alamos, New Mexico. She now lives in Brooklyn, New York, where she is co-editor of the literary magazine POM2. Her work has appeared in numerous chapbooks and literary magazines. Born Two (Chax Press 2003), a multi-genre exploration of self construction in the context of the American West, is her first book. For more information call: (303) 443-3685 The Left Hand Reading Series is an independent series presenting readings of original literary works by emerging and established writers. ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Laura E. Wright Serials Cataloging Dept., Norlin Library (303) 735-3111 ========================================================================= Date: Wed, 15 Oct 2003 14:36:39 -0400 Reply-To: olsonjk@delhi.edu Sender: UB Poetics discussion group From: Kirby Olson Organization: SUNY Delhi Subject: Re: Question re Poetry Citation and Copyright MIME-Version: 1.0 Content-Transfer-Encoding: 7bit Content-Type: text/plain; charset=us-ascii Paula, This is true for articles in journals, but I am 99% sure that it doesn't hold for books. I have had to pay whenever I published books, and every critic that I know has had to pay. I have published two books. You can get a release from some companies, but in my experience this has never happened gratis. I would acquiesce on this matter, but it is actually quite surprising. In my experience, fair use does not exist in regards to poetry. If I could see it written in a legal journal, and also absolute clarity regarding what constitutes fair use, then I would be satisfied. Is it 40% of a poem? What if the poem is only two lines long, and so you are quoting with one line 50% of the poem? This is a very troubling, very murky matter. Somehow we need to find the Yvor Winters case, which I am told set the precedent. Anybody who could find this case would help clarify this matter. Ask any critic who has published a book of criticism on poetry and they will tell you about the fees involved. I know one critic who had to pay one thousand dollars out of his own pocket for the rights to publish three poems by a contemporary poet. There is of course work that is in the public domain. It is safe to write about anybody who's been dead for a hundred years. Shakespeare, Edward Lear, for instance. But even in those cases you often have a copyright on a given edition. And each different translation is of course copyrightable, or else just anybody could pirate the work of the translator. These rules are surprisingly clear, whenever I've dealt with them, but I can't find an original source book. I really wish that I could -- but it would have to be from an actual legal publisher before I trusted it. Most copyright books on the mass market deal with very general cases, and almost nobody ever deals with poetry. Any more info that anybody can get on this matter would be greatly appreciated. As for now, I will not work on contemporary poets unless I get a signed sheet that guarantees that I will be able to publish whatever I think whether the poet likes it or not. This is a nightmare, and is very bad for poetry, I think. To stifle free discussion like this is not good for any art form. There is a similar stipulation in dance. Some dance directors have been known to make their dancers ineligible to discuss a work in which they are dancing. That is, they may not ever say a single sentence in writing or in interviews regarding the work or else they can be penalized by the director for breach of contract. This sort of thing is completely menacing to the arts. I know many dancers who have been muzzled in this way by their contracts. -- Kirby Olson paula speck wrote: > All-- > > Karl-Erik has it right. People quote poetry all the time in critical > articles and reviews under the "fair use" doctrine (and without paying or > getting permission). A good explanation of the doctrine can be found on the > web at "www.fairuse.stanford.edu." The site also explains other key > copyright concepts. "Fair use" doesn't depend on whether the material > quoted is poetry or prose or whether the borrower publishes in book or > article form, as some on the list have suggested. Instead, there is a > four-factor test that is explained on the web site The factors are: (1) > whether the material is used in a creative way and transformed (e.g., by the > critical insights the borrower brings to bear on the material); (2) the > nature of the work borrowed from (too complicated to summarize here); (3) > how much is borrowed (here poetry, because it is short, is dangerous to > quote, but there is no absolute rule against quoting even all of a short > poem); and (4) whether the quotation harms the copyright owner's chance to > make legitimate money off his work (e.g., you give away the big revelation > in a tell-all book, so people don't have to buy it). The courts are also > influenced by whether they perceive either the copyright owner or the > borrower to be a good or a bad guy. > > This is a squishy test, and it's hard to predict how a lawsuit would turn > out if it's ever brought. That's why lawyers have jobs. A cynic would say > that lawyers make sure that the rules are always unpredictable and hard to > apply, so that they always have work. My law professors would say that it's > just impossible to write clear, "bright-line" rules that will work in the > complexities of the real world. Although I've been a lawyer now for far too > long, I tend to think the cynics are right. > > I found the Stanford web site by googling "copyright fair use." It called > up other sites as well, and each site links to others. Hope this is helpful > to the list. > > I'm working on a translation of medieval Portuguese/Galician women's songs > that date from the 900's to the 1300's. The edition I'm using is from > around 1911. I'm hoping not to have to get permissions, assuming I ever > find a publisher. Good luck to all the other translators out there! > > Paula Speck > > >From: Karl-Erik Tallmo > >Reply-To: UB Poetics discussion group > >To: POETICS@LISTSERV.BUFFALO.EDU > >Subject: Re: Question re Poetry Citation and Copyright > >Date: Wed, 15 Oct 2003 04:50:36 +0200 > > > >> > >> > >>The legal precedent apparently has to do with the poet-critic Yvor Winters > >>who > >>worked at Stanford or Berkeley in the 50s and was slashing the throats of > >>the > >>competition. He wasn't merciless, but he was writing stuff that > >>Wallace Stevens > >>and others didn't appreciate, and so a number of poets got together and > >>made a > >>suit in which they claimed that EVERY line is integral to a poet's > >>work. And so > >>even one line in a novel for instance has to be paid for. Even one line > >>in a > >>critical book has to be paid for, or at least permission has to be > >>granted. > >> > >>In reality, I doubt if there are any suits. It costs proably ten grand to > >>initiate a law suit and carry it through, but with lawyers for the > >>arts even an > >>impoverished poet could probably manage this. > >> > >>[...] > > > > > > > >> > >>-- Kirby Olson > > > > > > > >This sounds like an attempt to overprotect and - deceive. I would > >very much like to see a judicial decision of some sort arriving at > >that. I know that many publishers (especially in the US) list the > >sources and rights for each and every line from a popular song that > >happen to appear in a novel, for instance, but I believe this is > >probably overprotection, especially if they have paid for the use > >too. Like all those disclaimers you read on software packages or > >labels that tell you not to try to shave with your lawn-mower etc. > > > >The right to quote is really an essential part of copyright, one of > >the exceptions in the author's monopoly, that is what he or she > >actually "pays" in order to get this privilege. > > > >article 10 of the Berne convention says: > > > > > >> (1) It shall be permissible to make quotations from a work > >>which has already been lawfully made available to the public, > >>provided that their making is compatible with fair practice, and > >>their extent does not exceed that justified by the purpose, > >>including quotations from newspaper articles and periodicals in the > >>form of press summaries. > >> > >> (2) It shall be a matter for legislation in the countries of > >>the Union, and for special agreements existing or to be concluded > >>between them, to permit the utilization, to the extent justified by > >>the purpose, of literary or artistic works by way of illustration in > >>publications, broadcasts or sound or visual recordings for teaching, > >>provided such utilization is compatible with fair practice. > >> > >> (3) Where use is made of works in accordance with the > >>preceding paragraphs of this Article, mention shall be made of the > >>source, and of the name of the author if it appears thereon. > >> > > > > > >So, pretty much is left to the courts to decide, but the general > >'esprit' of this law text is that it must be regarded as permitted to > >use a fair amount of a published works for critical or educational > >purposes. Regarding the amount that may be quoted, this is supposed > >to be pretty short, but general application of this law in most > >countries permits for instance the use of a whole poem, say of 10 > >lines, to be quoted in an article about a poet. What courts usually > >consider here is whether the quotations are made to "illustrate" > >one's own critical or journalistic reasoning, or if the quotations > >are actually the main part of the new work and the quoting author's > >own text is merely meaningless glue. > > > >Karl-Erik Tallmo > > > > > >-- > > > > _________________________________________________________________ > > > > KARL-ERIK TALLMO, writer, editor > > > > ARCHIVE: http://www.nisus.se/archive/artiklar.html > > BOOK: http://www.nisus.se/gorgias > > ANOTHER BOOK: http://www.copyrighthistory.com > > MAGAZINE: http://art-bin.com > > _________________________________________________________________ > > _________________________________________________________________ > Express yourself with MSN Messenger 6.0 -- download now! > http://www.msnmessenger-download.com/tracking/reach_general ========================================================================= Date: Wed, 15 Oct 2003 13:43:19 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Gabriel Gudding Subject: contact info for Jennifer L. Knox Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed Would appreciate a b/c from anyone with email contact info -- or any, really -- for Jennifer L. Knox. Thank you. Gabe ========================================================================= Date: Wed, 15 Oct 2003 16:17:09 -0400 Reply-To: patrick@proximate.org Sender: UB Poetics discussion group From: Patrick Herron Subject: POETS VS. SHRUB THIS THURSDAY @ TEMPLE BALL, CARRBORO NC In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit ...from the new issue (Oct 15-21) of the Durham NC's _Independent Weekly_: Best Bet "In Poetic License," p. 6 Poets Against the Shrub Thursday, Oct. 16 Temple Ball/De La Luz, Carrboro Five local poets join forces to "support our troops" and "defy our leader" when Poets Against the Shrub liberates some pent-up politics at Temple Ball, Thursday, Oct. 16. Among the performers are Wake Forest University English professor Evie Shockley, Fayetteville, N.C. Quaker House Director Chuck Fager, local poet and musician shirlette ammons, poet, musician and artist Doug Stuber, and Carrboro Poet Laureate Patrick Herron. Herron, who is also the organizer of the event, says the inspiration behind the performance came from a desire to "let people hear poetry that may reflect the discontent many artists feel with the mad pace at which the Bush Administration is evaporating human lives, civil rights, and tax dollars-all for their personal gain." He hopes to raise money for groups who "work to protect the rights of all citizens to vote," as well as give locals a chance to "raise our voices, shake our fists, call some jerks some nasty names, and even laugh together." Mock "Dumya." Hear good poetry. Support a cause. 8 pm. http://proximate.org/pats for more info. $5. --olufunke moses Doors open @ 7 PM. Venue info: http://www.music.templeball.com/ Patrick Patrick Herron http://proximate.org/works.htm ========================================================================= Date: Wed, 15 Oct 2003 15:39:00 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Maria Damon Subject: situationist poets Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" hi all: can you give me the names and works of some situationist poets of any kind, or what was the poetic enterprise: graffiti, events, slogans, etc? and is any of it still extant? ========================================================================= Date: Wed, 15 Oct 2003 16:34:52 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Paolo Javier Subject: Intimacy & Geography Poetry Festival MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Hi Everyone: Just wanted to pass on the link to the upcoming poetry festival hosted by the Asian American Writers Workshop. It's gona be major, with really great poets from across the country descending on NYC for three days. I'll be performing on closing nite with Guillermo E. Brown... (kindly) Click here for info when you can: http://www.aaww.org/poetry.html Hope to see you there! best, Paolo ========================================================================= Date: Wed, 15 Oct 2003 16:04:45 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Harrison Jeff Subject: What Scarves The Froth Flat Is Plenty Mime-Version: 1.0 Content-Type: text/plain; format=flowed fight open the teeth being premonitions of thousands greater than soot nothing isn't even work "Change mouth, Lady, when the winged hands wind up the day..." hiding orchestra dead cool stars recognize forty eyes & not the pranks we bled dragged penalty gets all delicate rabid brusque soft bed river fur of the greatest is R.H. Raven Toes first, and blinded her temptress is clouds living highest of hearts light though unlucky yes, dead but for stars feather necks have to smile between books being the rest of the dark books our kneaded curly cheeks manes atop trappings the shower puzzles jutting lively for ironwork sketch going long on teeth touch rubbing luck slithery of currents actually tail glazed to these ranges means together we thought swallowing process mediums your color ...chronometer her seal night's the droll, lips Czech as liquid afternoon Zero's on brain eye drink bread smudge come home & sweep the beacon sheets crusty different-up words drip spot "Is this for real?" did you mean DRIP SPORT? as in slurping a-shrouded the cattle's green? THE CARTOONS BEGAN THEIR FILTHY PAWING _________________________________________________________________ Surf and talk on the phone at the same time with broadband Internet access. Get high-speed for as low as $29.95/month (depending on the local service providers in your area). https://broadband.msn.com ========================================================================= Date: Wed, 15 Oct 2003 18:06:12 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Christine Murray Subject: New at Texfiles: Kent Johnson, in First Public Release, Audioblog ging Poetry from Jaime Saenz's *The Night,* Translated (by Forrest Gander and Kent Johnson) MIME-Version: 1.0 Content-Type: text/plain New This Week at Chris Murray's Texfiles: http://www.texfiles.blogspot.com --A First Public Release: a section of the forthcoming translation of Jaime Saenz's *The Night* on audblog, as read by Kent Johnson **Texfiles Poet of the Week, 10/10 thru 10/16,** the translator, with Forrest Gander, of Saenz's *The Night,* & both also the translators of Saenz's *Immanent Visitor,* U of Calif Press, 2003: http://www.ucpress.edu/books/pages/9502.html --Eileen Tabios, **Texfiles Poet of the Week 10/3-10/9,** audblogs a reading her poem, "Profiles," from *Reproductions of the Empty Flagpole* (Marsh Hawk Press, 2002)(10/14) --A few more twists on gendered twists, "Othering and/or Mothering" : on Joan Retallack's ideas about "repetition" and "difference." (10/13) --Znine (UTA's online lit mag) announcement--hey you don't have to be in Tex to submit yer best non-wonderbread lit-grains, send some a. s. a. p., as in today!! (well, okay, tomorrow is alright, too!!) YaY... (10/15) --TrainRain, a poem by chris murray (10/12) --Announcement by DFW poets and publishers, Brian Clements and Joe Ahearn (Firewheel Press), their new prose poem journal, **Sentence** (10/12) --The status of Anti-FTAA in Brazil (update forwarded by chris daniels)(10/11) --Just reach out and touch some ... fish: Reader's Digest's Epitome of Technology in 1941 (10/10) --A Few Words on Barry Swabsky's Excellent **Opera** (Meritage Press, 2003) And many other curios, oddities, or virtual plaid flannels. Enjoy! Chris Murray ========================================================================= Date: Wed, 15 Oct 2003 16:07:58 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: David Larsen Subject: Kevin's Play Is Where? In-Reply-To: <20031011194521.87905.qmail@web40809.mail.yahoo.com> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Will the real Kevin Killian please stand up and say where his play is and at what time. All I know is it's this Saturday, in San Francisco. Thank you Kevin from David L ========================================================================= Date: Wed, 15 Oct 2003 19:07:25 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Daniel Machlin Subject: Cheap Small Press Fair/Brooklyn Content-Type: text/plain; charset=US-ASCII; format=flowed Mime-Version: 1.0 (Apple Message framework v552) Content-Transfer-Encoding: 7bit Ode to Go presents: Sunday, October 19, 2003 (Last day of DUMBO Arts Festival) 11 AM- 5 PM NEST, 88 Front Street, Brooklyn, NYC (Corner of Front & Washington) In Brooklyn: F to York, A/C to High Street Browse and Buy Literary Journals Books and Zines from Local and National Independent Presses Meet the Publishers Everything $10 or less Free Entry A Rest Press Alter Magazine Autonomedia Belladonna The Brooklyn Rail Conundrum Crowd Magazine eye-rhyme Flume FO A RM Fort Necessity Fulcrum Futurepoem Incredibly Thin Jane's Stories Press Koja Press Land-Grant College Review Litmus Press Aufgabe Loudmouth Collective Lungfull! No Journal Painted Lady Press Pressed Wafer Portable Press at Yo Yo Labs Princeton Architectural Press Rain Taxi Rattapallax Rattlecat Razorcake Soft Skull Press Studio 64 Tender Buttons Ugly Duckling Presse VyDaVy Sindikat Weeping Rivet and more more more ***************************** ========================================================================= Date: Wed, 15 Oct 2003 21:45:28 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Eileen Tabios Subject: on Barry Schwabsky MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit In a message dated 10/15/2003 4:07:12 PM Pacific Standard Time, cmurray@UTA.EDU writes: > > --A Few Words on Barry Swabsky's Excellent **Opera** (Meritage Press, 2003) > > Chris, Your TexFiles Blog (http://www.texfiles.blogspot.com) rocks. Of course, Barry's last name is spelled "Schwabsky"....and, hey, since I'm posting anyway, do allow me to do publisher's duty and use this to report (by lazily cutnpasting from moi blog): BARRY SCHWABSKY IN NEW YORK, PHILADELPHIA AND SAN FRANCISCO...AND PUBLISHERS WEEKLY DUM DA DA DUM! The lovely Kevin Killian just informed me that Barry Schwabsky's book OPERA had been featured in the September issue of Publisher's Weekly (PW)! Since I didn't fork over the hundreds of dollars required to be a PW subscriber, I didn't see the article when it came out. But here's the text below! And, apparently, PW rarely reviews "first books" but this mention was part of a "feature article" on first books, of which Barry's book was the first listed! September 1, 2003 Publishers' Weekly [P. 85-86] "Fall First Book Blow Out" Putting 20 years of work into one intensely wrought luminously gripping book, Artforum critic Barry Schwabsky here stages his Opera : Poems 1981-2002. His approach to the eponymous form -- colloquial, lived-in, forking the vulgar tongue, mixing in trailer park trash talk, throwing out references to Wittgenstein, Larbaud and Traherne -- rises to the other-worldly. Meritage Press, Small Press Distribution, 104 pages, ISBN 0970917929. So this seems like a good reason to remind you all of Barry's schedule over the next couple of weeks, culminating with a reading with Moi. You may want to catch him while he's in the U.S. since Barry lives in London: NEW YORK Friday, October 24 6-7:30 PM 303 Gallery 525 West 22nd Street New York, NY 10011 PHILADELPHIA Penn Bookstore 3601 Walnut Street Philadelphia, PA 19104 215-898-7595 Thursday, October 23 Noon-1 PM SAN FRANCISCO Poetry Readings by Barry Schwabsky and Eileen Tabios HOUSE READING SERIES at the residence of kari edwards at 3435 Cesar Chavez, #327 San Francisco, CA 7 p.m., Sunday, October 26, 2003 All events are free and open to the public. Wine will be poured in New York and San Francisco. These three events revolve around celebrating the release of Barry's book OPERA. Here's some of the early reviews on it: FROM JANE SPRAGUE'S ARTICLE IN BOOG CITY, SEPTEMBER ISSUE: As a one-person publishing endeavor (and the assistance of a poet-intern) Tabios spends a year working on the production of each book. The latest Meritage book, OPERA: Poems 1981-2002, by Barry Schwabsky exemplifies Tabios' intent for the press, which is "to publish those who otherwise may not ever be published, a difficulty beyond the general poetry threshold difficulty. In (Schwabsky's) case, this is a poet who's been invisible in the poetry scene for over a decade, despite a brilliant start by being published in POETRY at age 19! OPERA encompasses 21 years of writing which occurred outside of any poetry scenes, having been developed mostly in private." OPERA is a remarkable book. Ideas of song, language play, and delicate negotiations of desire and love create poetry deft and strange- strangely beautiful and bound with dual meanings, the piecing apart of things, of language, of the unsaid, the left out, the impossible to contain. From the title poem, "Opera": Corrected hair. Face smooth as mirror. Unsurpassable song. Living death. Unhanded. Unhanded. Theatrical weeping. "He" becomes "she" and "you" becomes "he" and "we" becomes "we" becomes "we" becomes "we." Pears shaped like apples. Pears that taste like apples that taste like grapes. (10) Schwabsky pairs words with their opposite and twins images that resonate in the ear and on the page. Words are repeated, then altered, then paired again or broken apart newly, revealing other hidden/revealed aspects of the voices between this "we" grappling with the doubleness of desire and experience and their (our) shared complications. The final poem: Clearing Favorable moonlight in all directions. Don't try and make it real. You'll never have that experience long enough to write about. Someone else's voice will have to burn with it. You keep starting something you don't know how to stop but it stops. (102) The doubleness of love, desire, of thinking in language, emotion and image in simultaneity and how to reconcile aspects of "we" among others, of individuals in the blur of longing where boundaries mesh, dissolve, break and give way to something more: those moments of "the nothing / but desire / you've seen / I am." (45) FROM CHRIS MURRAY'S TEXFILES BLOG: These extremely artful poems, individually (including the writer's careful attention to minute details in each poem) and then again as an intriguing whole, fascinate me. They draw one in from both perspectives, the large and the smaller views, simultaneously--a not uncomfortable predicament in terms of result, per the ways Schwabsky sends forth this verbal art. They are like looking at one of those photographs of an object, say, a face, enlarged to consume an entire wall, but of course up close each point of what was thought to be the comfortable blur of plain graininess actually turns out to have other entire images--full of other stories--at work within the whole. Captivating, almost overwhelming, but in ways well worth contemplating, studying forth. ============== ADVANCE WORDS ON OPERA: [And do check out links to blurbers' names for some interesting stuff!] The word "song" resonates over and over and the poems here will often suddenly burst into an intricate, complicated melody. --Juliana Spahr His poetry is exactly as strange as the familiar may permit. His work, born of a strange encounter between American poetry and European masters such as Celan and Novalis, always surprises me by its exploratory investigations. He writes one of the most loving poetries today, filled with a sexual myth as strong as anyone's. --David Shapiro These might be choruses and arias from some lost Venetian music drama of the early 1600s--an allegory of the nature of light and of desire, set on one of those abandoned islands where every imaginable encounter becomes possible--transmuted over the intervening centuries of silence into a software program for a new species of lyrical electronica. --Geoffrey O'Brien Imagine poems written by Sir Walter Raleigh after he has read Wittgenstein and Lorine Neidecker, listened to bands whose names weren't in the air but whose one song was on the airwaves, and learned more about contemporary art than anyone thought possible, and you might get a sense of the compactness of these poems, an airy abstract density unlike anyone else's. --John Yau ========================================================================= Date: Wed, 15 Oct 2003 22:30:17 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Charles Borkhuis Subject: Charles Borkhuis' book opening - Fri. Oct. 24, 7 PM, Teachers & Writers Comments: To: andrewsbruce@netscape.net Comments: cc: lee@probook.net, bernstei@bway.net, AnselmBerrigan@aol.com, eberrigan@hotmail.com, Strayed@aol.com, leeann@tenderbuttons.net, flyingace@mindspring.com, Cartelld@aol.com, achild@mail.slc.edu, sclay@granarybooks.com, acobb@edf.org, john@nylondesigns.com MIME-Version: 1.0 Content-Type: text/plain; charset="UTF-8" Content-Transfer-Encoding: quoted-printable ! BOOK OPENING ! =20 Charles Borkhuis=E2=80=99=20 SAVOIR-FEAR Published by Meeting EyesBindery an imprint of Spuyten Duyvil=20 =20 Reading from the book by: =20 Adeena Karisick Sharon Mesmer Charles Borkhuis =20 Friday, October 24 at 7 PM Teachers and Writers 5 Union Square West=20 (at E.14th St.) =E2=80=93 7th floor, NY, NY ========================================================================= Date: Thu, 16 Oct 2003 15:35:33 +1300 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Wystan Curnow (FOA ENG)" Subject: Soft Boiled 2 MIME-Version: 1.0 Content-Type: text/plain SOFT BOILED 2: Bob Cardy David Hornblow Genevieve McLean Michael Onslow-Osborne Wystan Curnow Olwyn Stewart Reading at the Odeon Lounge, Top of Symonds St, October 19 7 pm. $5. ========================================================================= Date: Wed, 15 Oct 2003 20:12:16 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mark Weiss Subject: Re: Lakoff on Schwarzenegger Comments: To: ron.silliman@gte.net In-Reply-To: <000c01c3931c$99d7a600$75f5f343@Dell> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed Interesting, but I think that the recall was a lot simpler. If Schwarzenneger hadn't entered the campaign the recall probably wouldn't have succeeded, and if it had Bustamante would have won, tho neither Davis nor Bustamante were particularly attractive candidates. It was the action hero thing did it. The balance in the election was voters who had never bothered to register before and who thought the film character was the man--hence Arnie's constant reminders of his films in his political appearances. Mark At 09:02 AM 10/15/2003 -0400, Ron wrote: >The Frame Around Arnold >George Lakoff, AlterNet >October 13, 2003 >Viewed on October 15, 2003 > >Newspaper and TV reporters require a story. Each story requires a frame. >How was the election of Arnold Schwarzenegger framed? Here is a >selection: > > >Voter Revolt: Gray Davis was such a bad governor that the voters >justifiably ousted him and voted in the representative of the other >party. > > >The Great Noncommunicator: Gray Davis governed as well as possible under >the circumstances, but was so bad at communicating with the electorate >that he could not communicate his real accomplishments, nor could he >communicate the role of the Republicans in the state's problems. The >public thought Davis was worse than he was and wanted a communicator, so >they voted him out and chose an actor. > > >Those Kooky Californians: People in California are so weird that they >voted a politically inexperienced bodybuilder-actor into office to >replace a governor they voted for just last year. > > >The People Beat the Politicians: When the people win, politics as usual >must lose (Schwarzenegger's acceptance speech). > > >Just a Celebrity: People don't understand politics and just voted for a >celebrity. > > >Up By his Bootstraps: Coming here as an immigrant, Arnie worked and >worked to become a champion body-builder, then a millionaire actor, and >finally achieved his dream -- becoming governor. > > >Framing was rampant in reporting in this election. Frames come with >inferences, so each framing implies something different. > > >The "Voter Revolt" frame legitimizes the recall. It assumes that Davis >was incompetent or corrupt, that the voters correctly perceived this, >that it outraged them, that they spontaneously, righteously, and >overwhelmingly rose up and ousted him, replacing him with someone they >knew to be more competent. Democracy was served and all is well. We >should be happy about the result and things will be better. > > >The "Great Noncommunicator" frame implies that the one and only problem >was Gray Davis' inability to communicate. It assumes he was a competent >governor and a responsible administrator with that single fatal flaw, >that people want communication so badly that they recalled Davis because >he couldn't communicate his achievements. The implication is that the >recall and Schwarzenegger's election had nothing to do with anything >outside California or anything broader, and that the problem just was >Davis. > > >The "Kooky Californians" frame says the recall was irrational, that >Californians can't tell the movies from reality, that a move action hero >can't govern a great state in trouble, that Arnie is a political >incompetent and that chaos will ensue. > > >The "People Beat the Politicians" frame is Schwarzenegger's attempt to >impose his own frame. The context is that Arnold will have to deal with >a majority Democratic legislature. This frame casts himself and the >Republican politicians as "the people" and the Democrats as "politics as >usual," which "the people" voted against. > > >The "Just a Celebrity frame" implies that there was no partisan politics >in this election and that any celebrity at all could just as well have >won. > > >The "Up by his Bootstraps" frame attributes Arnold's election >principally to Arnold himself, especially to his hard work and ambition. >Arnold got to be governor because he deserved it. He deserved it because >he worked hard -- at body-building, acting, and campaigning. > > >If there's going to be a news story, there's going to be a frame and >each frame will have different inferences. > > >Facts and Framing > > >It is a general finding about frames that if a strongly held frame >doesn't fit the facts, the facts will be ignored and the frame will be >kept. The frames listed above don't do very well at fitting the facts -- >though each has a grain of truth. Let's look at the facts that each >frame hides. > > >Voter Revolt: This frame hides the national Republican effort over >several years to make Davis look bad by hurting the California economy. >It hides the fact that energy deregulation was brought in by Republican >governor Pete Wilson. It ignores the fact that there was no real "energy >crisis." It resulted from thievery by Enron and other heavy Bush >contributors, thievery that was protected by the Federal Energy >Regulatory Commission run by Bush appointees. The Bush administration >looked the other way while California was being bilked and went to great >lengths not to help California financially in any of the many ways the >federal government can help. Arnold had had a meeting with Ken Lay and >other energy executives in spring 2001 when Lay was promoting >deregulation, but denies any complicity in the theft. Arnold is now >promoting energy deregulation again. > > >It also ignores the fact that California's Republican legislature also >went out of its way to make Davis look bad, refusing to support >reasonable measures for dealing with the budget problems. It ignores the >fact that the recall petition was paid for by a wealthy conservative >legislator and that signature gatherers were paid handsomely and that >some signatures were from out of state, which is illegal. And it ignores >the enormous amount of money and organization put into the >Schwarzenegger campaign by Republicans. This was no simple popular >revolution. Most of all, the "Voter Revolt" frame does not explain why >Schwarzenegger should have been the candidate chosen. > > >The Great Noncommunicator frame has a lot of truth to it. But it too >hides all the sustained Republican effort, and it also hides the fact >that it is not just Gray Davis, but rather Democrats in general, who >cannot communicate effectively. > > >The Kooky Californians frame does not explain any of the above. The >Republicans' long-term, carefully structured anti-Davis campaign is >hidden by this frame. It is as if there were no politics at work here at >all. > > >The People Beat the Politicians frame hides the fact that the >Republicans have been playing politics with the state finances for years >in an attempt to beat Davis. It hides the fact the Schwarzenegger team >run by former governor Pete Wilson will be just as much "politics as >usual," and that the Democratic representatives in the legislature >numerically represent more of "the people" than do the Republicans. > > >The Just a Celebrity frame ignores all the above political factors, and >also cannot explain why this particular celebrity won. Jay Leno >supported Arnold; Jay is just as much a celebrity, but Jay Leno could >never have been elected governor. > > >The Up by his Bootstraps frame also ignores all the politics involved >and doesn't explain why other movie actors who pulled themselves up by >their bootstraps didn't run and wouldn't have been elected. > > >These framings hide other important facts as well. They don't explain >why a lot of union rank-and-file members ignored their unions' support >for Davis and voted for Arnold against their self-interest. They don't >explain why a great many Hispanics voted for Arnold instead of >Bustamante. They don't explain Arnold's popularity with women despite >the revelations against him of sexist behavior. > > >The Moral Politics Analysis > > >I'm going to offer a very different account of the Schwarzenegger >victory, based on my book 'Moral Politics.' Since the book was written >in 1996 and updated in 2002, the account I'll be giving is a general >one, based on a general understanding of American politics, not on the >special facts about this election. My resulting claim is that much of >what occurred in the recall election is the same as what has been going >on for some time in American politics. The Schwarzenegger election, I >propose, should not be seen as an entirely unique event, despite having >unique elements, but rather part of the overall political landscape. > > >In 'Moral Politics,' I suggested that voters vote their identity -- they >vote on the basis of who they are, what values they have, and who and >what they admire. A certain number of voters identify themselves with >their self-interest and vote accordingly. But that is the exception >rather than the rule. There are other forms of personal identification >-- with one's ethnicity, with one's values, with cultural stereotypes, >and with culture heroes. The most powerful forms of identification so >far as elections are concerned are with values and corresponding >cultural stereotypes. The Republicans have discovered this and it is a >major reason why they have been winning elections -- despite being in a >minority. Democrats have not yet figured this out. > > >The 'Moral Politics' discovery is that models of idealized family >structure lie at the heart of our politics -- less literally than >metaphorically. The very notion of the founding fathers uses a metaphor >of the nation as family, not as something we think actively about, but >as way of structuring our understanding of the enormous >hard-to-conceptualize social group, the nation, in terms of something >closer to home, the family. It is something we do automatically, usually >without consciously thinking about it. > > >Our politics is organized around two opposite and idealized models of >the family, the strict father and nurturant parent models. > > >The nurturant parent family assumes that the world is basically good and >can be made better and that it is one's responsibility to work towards >that. Accordingly, children are born good and parents can make them >better. Both parents share responsibility for raising the children. >Their job is to nurture their children and raise their children to be >nurturers. Nurturing has two aspects: empathy (feeling and caring how >others feel) and responsibility to take care of oneself and others for >whom we are responsible. These two aspects of nurturance imply family >values that we can recognize as progressive political values: From >empathy, we want for others: protection from harm, fulfillment in life, >fairness, freedom (consistent with responsibility), open two-way >communication. From responsibility there follows: competence, trust, >commitment, community building, and so on. > > > From these values, specific policies follow: Governmental protection in >form of a social safety net and government regulation (as well as the >military and the police), universal education (competence, fairness), >civil liberties and equal treatment (fairness and freedom), >accountability (from trust), public service (from responsibility), open >government (from open communication), and the promotion of an economy >that benefits all and functions to promote these values. The role of >government is to provide the infrastructure and services to enact these >values and taxes are the dues you pay to live in such a civilized >society. In foreign policy, the role of the nation should be to promote >cooperation and extend these values to the world. These are traditional >progressive values in American politics. > > >Different Family Values > > >The conservative worldview is shaped by very different family values. > > >The strict father model assumes that the world is and always will be >dangerous and difficult and that children are born bad and must be made >good. The strict father is the moral authority who has to support and >defend the family, tell his wife what to do, and teach his kids right >from wrong. The only way to do that is painful discipline -- physical >punishment that is to develop by adulthood into internal discipline. >Morality and survival jointly arise from such discipline -- discipline >to follow moral precepts and discipline to pursue your self-interest to >become self-reliant. The good people are the disciplined people. Once >grown, the self-reliant disciplined children are on their own and the >father is not to meddle in their lives. Those children who remain >dependent (who were spoiled, overly willful, or recalcitrant) should be >forced to undergo further discipline or cut free with no support to face >the discipline of the outside world. > > >Project this onto the nation and you have the radical right-wing >politics that has been misnamed "conservative." The good citizens are >the disciplined ones -- those who have already become wealthy or at >least self-reliant -- and those who are on the way. Social programs >"spoil" people, giving them things they haven't earned and keeping them >dependent. They are therefore evil and to be eliminated. Government is >there only to protect the nation, maintain order, administer justice >(punishment), and to provide for the orderly conduct of and the >promotion of business. Business (the market) is the mechanism by which >the disciplined people become self-reliant, and wealth is a measure of >discipline. Taxes beyond the minimum needed for such government are >punishments that take away from the good, disciplined people rewards >that they have earned and spend it on those who have not earned it. > > >In foreign affairs, the government should maintain its sovereignty and >impose its moral authority everywhere it can, while seeking its self >interest (the economic self-interest of corporations and military >strength). > > >How We Vote > > >Given these distinctions, there are the natural complications of real >people. Such models are there in the synapses of our brains. When we >vote on the basis of values and cultural stereotypes, what determines >how we vote is which model is active for understanding politics at the >time. > > >We all have both models -- either actively or passively. Progressives >who can understand an Arnold Schwarzenegger movie have at least a >passive version of the strict father model alongside the active >nurturant model that defines their politics. Conservatives who can >understand the Bill Cosby show have at least a passive version of the >nurturant model. > > >But many people -- often enough to decide elections -- have active >versions of both models that they use in different parts of their lives. >There are strict fathers in the classroom who have progressive politics. >There are strict fathers on the job who are nurturant parents at home. >Many blue collar workers are strict fathers at home, but nurturant >toward their co-workers. Union employees tend to be strict toward their >employers and nurturant toward union members. Women tend to have active >nurturant parent models, but a significant number accept the authority >of the strict father, are strict mothers, or may have some significant >fear. Fear triggers the strict father model; it tends to make the model >active in one's brain. > > >What conservatives have learned about winning elections is that they >have to activate the strict father model in more than half of the >electorate -- either by fear or by other means. The 9/11 attacks gave >the Bush administration a perfect mechanism for winning elections. They >declared an unending wear on terror. The frame of the War on Terror >presupposes that the populace should be terrified, and orange alerts and >other administration measures and rhetoric keep the "Terror" frame >active. Fear and uncertainty then naturally activate the Strict Father >frame in a majority of people, leading the electorate to see politics in >conservative terms. > > >Enter the Terminator > > >Enter The Terminator! -- the ultimate in strictness, the tough guy >extraordinaire. The world champion body-builder is the last word in >discipline. What better stereotype for strict father morality? That is >the reason that it was Arnold -- not just any celebrity like Jay Leno or >Rob Lowe or Barbra Streisand -- who could activate a strict stereotype >and with it conservative Republican values. > > >What is peculiar to California is Arnold and the culture of the movies. >But the same mechanism lay behind the Republican victories in the 2002 >election -- and in elections around the country since the days of Ronald >Reagan -- but especially in the last decade when Republicans have >mastered the art form of activating the strict father image in the minds >of voters. Arnie's popularity has the same source as Bush's popularity >with the Nascar dads: identification with strict father values and >stereotypes. Moreover, Davis' inability to communicate strong >progressive values is hardly unique to him. Democrats nationwide have a >similar inability to effectively and strongly communicate their values >and evoke powerful progressive stereotypes. > > >In addition, Davis made the bad mistake of accepting the DLC's metaphor >of campaigning as marketing. In the DLC model, you look for a list of >particular issues that a majority of people, including those on left, >support. In the last congressional election it was prescription drugs, >social security, and a woman's right to choose. If necessary, you "move >to the right" -- adopt some right-wing values in hope of getting >"centrist" voters. Davis, for example, favored the death penalty, tough >sentencing, and supported the prison guards' union. It's a >self-defeating strategy. Conservatives have been winning elections >without moving to the left. > > >By presenting a laundry list of issues, Davis and other democrats fail >to present a moral vision -- a coherent identity with a powerful >cultural stereotype -- that defines the very identity of the voters they >are trying to reach. A list of issues is not a moral vision. Indeed, >many Democrats were livid that Arnold did not run on the issues. He >didn't need to. His very being activated the strict father model -- the >heart of the moral vision of conservative Republicans and the most >common response to fear and uncertainty. > > >In short, Arnold's victory is right in line with other conservative >Republican victories. Davis' defeat is right in line with other >Democratic defeats. Unless the Democrats realize this, they will not >learn the lesson of this election. > > >Right-Wing Power Grabs > > >And indeed, conservatives are busy trying to keep Democrats from >learning this lesson. There is an important frame we haven't mentioned >yet: The Right-Wing Power Grab frame. Davis used this at the beginning >of his campaign, and Clinton and the Democratic presidential candidates >who supported Davis echoed the frame. This frame does accurately >characterize many of the facts as we have discussed them. But Davis was >unable to communicate this frame effectively and it fell from public >sight. The day after the election it was one of the few frames not >mentioned by the mainstream media. It has been dropped by the Democrats >but kept alive by the Republicans, who are using it to taunt and >delegitimize Democrats. They are using the "Voter Revolt" frame to argue >that the "Right-Wing Power Grab" frame was inaccurate. > > >Here's how the argument goes. The Right-Wing Power Grab frame implicitly >accuses the Schwarzenegger campaign of deception, of failing to admit >connections to Karl Rove and the national Republican apparatus and of >misrepresenting the facts -- many of which we have discussed above. A >"power grab" is illegitimate, using either illegal or immoral means to >attain power. The Republicans manipulated the media using some of the >frames we have discussed to hide facts and create false impressions. > From the perspective of the facts we have discussed, the election does >seem to fit the Right-Wing Power Grab frame. > > >In the wake of the election, the Republicans have grabbed onto the >Democrats' previous use of the Right-Wing Power Grab frame, arguing from >the Voter Revolt interpretation of the election to claim that there was >no power grab at all, that the election simply expressed the will of the >voters. The very fact that Arnold got a strong plurality -- and near >majority -- in the election is used as prima facie evidence that the >Voter Revolt frame is the correct way to interpret the election. But as >we have seen, that frame hides exactly the facts that the Right-Wing >Power Grab frame illuminates. > > >The Democrats ignore the power of framing at their peril. > > >George Lakoff is a senior fellow at the Rockridge Institute >(www.rockridgeinstitute.org) and Richard and Rhoda Goldman Distinguished >Professor of Cognitive Science and Linguistics at the University of >California at Berkeley. ========================================================================= Date: Wed, 15 Oct 2003 22:33:39 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Christine Murray Subject: On Barry Schwabsky MIME-Version: 1.0 Content-Type: text/plain Barry, Eileen, and All-- Ache!--You'be foynd mi oud: A yam a turribly bud spellwer! Nut muck a typzizt oiether! Hellop! But hey, more seriously, please accept my sincere apologies. I know how annoying it is to see one's name misspelled (I misspell my own often: as Chirs... ) But that really was uncool. I'll have to remember to put on my other eyes for proofing, next time. Thanks much for your guud hymour on this! I'm outta here before my finers typz anything else that could get me in tribble. Best Wordles, Chirzs Murray ========================================================================= Date: Wed, 15 Oct 2003 23:56:45 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: schwartzgk Subject: Re: Cheap Small Press Fair/Brooklyn MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Yo Dude Michael: Here one you oughta... ... & wishin' I could... > Ode to Go presents: > > Sunday, October 19, 2003 > (Last day of DUMBO Arts Festival) > 11 AM- 5 PM > > NEST, 88 Front Street, Brooklyn, NYC > (Corner of Front & Washington) > In Brooklyn: F to York, A/C to High Street > > Browse and Buy Literary Journals > Books and Zines from Local and National Independent Presses > > Meet the Publishers > > Everything $10 or less > > Free Entry > > A Rest Press > Alter Magazine > Autonomedia > Belladonna > The Brooklyn Rail > Conundrum > Crowd Magazine > eye-rhyme > Flume > FO A RM > Fort Necessity > Fulcrum > Futurepoem > Incredibly Thin > Jane's Stories Press > Koja Press > Land-Grant College Review > Litmus Press > Aufgabe > Loudmouth Collective > Lungfull! > No Journal > Painted Lady Press > Pressed Wafer > Portable Press at Yo Yo Labs > Princeton Architectural Press > Rain Taxi > Rattapallax > Rattlecat > Razorcake > Soft Skull Press > Studio 64 > Tender Buttons > Ugly Duckling Presse > VyDaVy > Sindikat > Weeping Rivet > and more more more > > ***************************** ========================================================================= Date: Wed, 15 Oct 2003 21:33:25 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Kevin Killian Subject: Re: Kevin's Play Is Where? In-Reply-To: <4.1.20031015160336.00ccd1b0@socrates.berkeley.edu> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" >Will the real Kevin Killian please stand up and say where his play is and >at what time. All I know is it's this Saturday, in San Francisco. Thank you >Kevin from David L And he is not I repeat not a studio plant! Here are all the details of this San Francisco performance: Poets Theater Saturday October 18, 7:30 pm @ Unitarian Center, $10 donation 1187 Franklin Street (at Geary) an evening to benefit Naropa Audio Archive Project and The Poetry Center's American Poetry Archives The Big Keep, new play by Kevin Killian, featuring Anne Waldman (as Lauren Bacall), Kota Ezawa (as Lars von Trier), Jocelyn Saidenberg (as Jorie Graham), Wayne Smith (as St. John of the Cross), Rex Ray (as Kevin Killian), Cecilia Dougherty (as Frieda Hughes), Mary Kite, Karla Milosevich, Will Yackulic, Steve Dickison, Tanya Hollis, Zakary Syzmanski; incidental music by Steven Taylor. In an alternate universe, funding rains down upon the Poetry Center, St. Mark's Poetry Project, and the Audio Archives at Naropa University. Poetry Center Director Steve Dickison's got so much money he pays poets fabulous sums and lights his cigars with $500 bills in his Learjet. The Poetry Center's a gilded showplace, and thousands stand on line to see and hear its legendary backlist of video and audiotapes. But when Steve fires his celebrity spokeswoman, Jorie Graham, and her spiritual confessor St. John of the Cross, replacing them with his latest enthusiasm, fabled screen star Lauren Bacall, all hell breaks loose. Anne Waldman stars as Lauren Bacall, pursued by her Danish 'Dogme 95' director Lars von Trier (Kota Ezawa). "The Big Keep" is fantasy, melodrama, sci-fi, and poets' theater all rolled up in one big ball of agitprop, designed to help support the fight for preservation of endangered tape materials of readings from the past 50 years at three great organizations. And Steve Dickison plays himself. Kevin Killian lives in San Francisco and, with Dodie Bellamy, has edited over 100 issues of the writing/art zine they call Mirage #4/Period[ical]. He is a poet, playwright, novelist, art writer, and biographer; his books include Shy, Arctic Summer, Bedrooms Have Windows, Little Men, and Argento Series. The play all started about a year or so ago when Mary Kite on behalf of the Audio Archives Project at Naropa asked me to write a play that would raise public consciousness about the necessity for preservation of poetry readings that are now fading away on audiotape and videotape. I said, "Sure, why not?" Then she said that Anne would be in it and that Anne would like to play Lauren Bacall. "That's a great idea," I said. "And Steven Taylor will come and play music on stage." "The more the merrier," I said, hanging up, without an idea in my head about how to make this all come together. Flash forward to a year or so later, and I'm just finishing up the play now, so come on Saturday and see what happens! NB, the play was designed so that Anne could stage it very simply in whatever city she happened to be in, with a pick up cast of poets, artists, filmmakers, musicians, as we do here in SF. But now I'm afraid the play is "too San Francisco" and that audiences elsewhere won't get it. You tell me! But if you like poetry you'll like this. -- Kevin K. 2003 ========================================================================= Date: Wed, 15 Oct 2003 21:47:41 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mark Weiss Subject: Re: Lakoff on Schwarzenegger Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed Interesting, but I think that the recall was a lot simpler. If Schwarzenneger hadn't entered the campaign the recall probably wouldn't have succeeded, and if it had Bustamante would have won, tho neither Davis nor Bustamante were particularly attractive candidates. It was the action hero thing did it. The balance in the election was voters who had never bothered to register before and who thought the film character was the man--hence Arnie's constant reminders of his films in his political appearances. Mark At 09:02 AM 10/15/2003 -0400, Ron wrote: The Frame Around Arnold George Lakoff, AlterNet October 13, 2003 Viewed on October 15, 2003 Newspaper and TV reporters require a story. Each story requires a frame. How was the election of Arnold Schwarzenegger framed? Here is a selection: Voter Revolt: Gray Davis was such a bad governor that the voters justifiably ousted him and voted in the representative of the other party. The Great Noncommunicator: Gray Davis governed as well as possible under the circumstances, but was so bad at communicating with the electorate that he could not communicate his real accomplishments, nor could he communicate the role of the Republicans in the state's problems. The public thought Davis was worse than he was and wanted a communicator, so they voted him out and chose an actor. Those Kooky Californians: People in California are so weird that they voted a politically inexperienced bodybuilder-actor into office to replace a governor they voted for just last year. The People Beat the Politicians: When the people win, politics as usual must lose (Schwarzenegger's acceptance speech). Just a Celebrity: People don't understand politics and just voted for a celebrity. Up By his Bootstraps: Coming here as an immigrant, Arnie worked and worked to become a champion body-builder, then a millionaire actor, and finally achieved his dream -- becoming governor. Framing was rampant in reporting in this election. Frames come with inferences, so each framing implies something different. The "Voter Revolt" frame legitimizes the recall. It assumes that Davis was incompetent or corrupt, that the voters correctly perceived this, that it outraged them, that they spontaneously, righteously, and overwhelmingly rose up and ousted him, replacing him with someone they knew to be more competent. Democracy was served and all is well. We should be happy about the result and things will be better. The "Great Noncommunicator" frame implies that the one and only problem was Gray Davis' inability to communicate. It assumes he was a competent governor and a responsible administrator with that single fatal flaw, that people want communication so badly that they recalled Davis because he couldn't communicate his achievements. The implication is that the recall and Schwarzenegger's election had nothing to do with anything outside California or anything broader, and that the problem just was Davis. The "Kooky Californians" frame says the recall was irrational, that Californians can't tell the movies from reality, that a move action hero can't govern a great state in trouble, that Arnie is a political incompetent and that chaos will ensue. The "People Beat the Politicians" frame is Schwarzenegger's attempt to impose his own frame. The context is that Arnold will have to deal with a majority Democratic legislature. This frame casts himself and the Republican politicians as "the people" and the Democrats as "politics as usual," which "the people" voted against. The "Just a Celebrity frame" implies that there was no partisan politics in this election and that any celebrity at all could just as well have won. The "Up by his Bootstraps" frame attributes Arnold's election principally to Arnold himself, especially to his hard work and ambition. Arnold got to be governor because he deserved it. He deserved it because he worked hard -- at body-building, acting, and campaigning. If there's going to be a news story, there's going to be a frame and each frame will have different inferences. Facts and Framing It is a general finding about frames that if a strongly held frame doesn't fit the facts, the facts will be ignored and the frame will be kept. The frames listed above don't do very well at fitting the facts -- though each has a grain of truth. Let's look at the facts that each frame hides. Voter Revolt: This frame hides the national Republican effort over several years to make Davis look bad by hurting the California economy. It hides the fact that energy deregulation was brought in by Republican governor Pete Wilson. It ignores the fact that there was no real "energy crisis." It resulted from thievery by Enron and other heavy Bush contributors, thievery that was protected by the Federal Energy Regulatory Commission run by Bush appointees. The Bush administration looked the other way while California was being bilked and went to great lengths not to help California financially in any of the many ways the federal government can help. Arnold had had a meeting with Ken Lay and other energy executives in spring 2001 when Lay was promoting deregulation, but denies any complicity in the theft. Arnold is now promoting energy deregulation again. It also ignores the fact that California's Republican legislature also went out of its way to make Davis look bad, refusing to support reasonable measures for dealing with the budget problems. It ignores the fact that the recall petition was paid for by a wealthy conservative legislator and that signature gatherers were paid handsomely and that some signatures were from out of state, which is illegal. And it ignores the enormous amount of money and organization put into the Schwarzenegger campaign by Republicans. This was no simple popular revolution. Most of all, the "Voter Revolt" frame does not explain why Schwarzenegger should have been the candidate chosen. The Great Noncommunicator frame has a lot of truth to it. But it too hides all the sustained Republican effort, and it also hides the fact that it is not just Gray Davis, but rather Democrats in general, who cannot communicate effectively. The Kooky Californians frame does not explain any of the above. The Republicans' long-term, carefully structured anti-Davis campaign is hidden by this frame. It is as if there were no politics at work here at all. The People Beat the Politicians frame hides the fact that the Republicans have been playing politics with the state finances for years in an attempt to beat Davis. It hides the fact the Schwarzenegger team run by former governor Pete Wilson will be just as much "politics as usual," and that the Democratic representatives in the legislature numerically represent more of "the people" than do the Republicans. The Just a Celebrity frame ignores all the above political factors, and also cannot explain why this particular celebrity won. Jay Leno supported Arnold; Jay is just as much a celebrity, but Jay Leno could never have been elected governor. The Up by his Bootstraps frame also ignores all the politics involved and doesn't explain why other movie actors who pulled themselves up by their bootstraps didn't run and wouldn't have been elected. These framings hide other important facts as well. They don't explain why a lot of union rank-and-file members ignored their unions' support for Davis and voted for Arnold against their self-interest. They don't explain why a great many Hispanics voted for Arnold instead of Bustamante. They don't explain Arnold's popularity with women despite the revelations against him of sexist behavior. The Moral Politics Analysis I'm going to offer a very different account of the Schwarzenegger victory, based on my book 'Moral Politics.' Since the book was written in 1996 and updated in 2002, the account I'll be giving is a general one, based on a general understanding of American politics, not on the special facts about this election. My resulting claim is that much of what occurred in the recall election is the same as what has been going on for some time in American politics. The Schwarzenegger election, I propose, should not be seen as an entirely unique event, despite having unique elements, but rather part of the overall political landscape. In 'Moral Politics,' I suggested that voters vote their identity -- they vote on the basis of who they are, what values they have, and who and what they admire. A certain number of voters identify themselves with their self-interest and vote accordingly. But that is the exception rather than the rule. There are other forms of personal identification -- with one's ethnicity, with one's values, with cultural stereotypes, and with culture heroes. The most powerful forms of identification so far as elections are concerned are with values and corresponding cultural stereotypes. The Republicans have discovered this and it is a major reason why they have been winning elections -- despite being in a minority. Democrats have not yet figured this out. The 'Moral Politics' discovery is that models of idealized family structure lie at the heart of our politics -- less literally than metaphorically. The very notion of the founding fathers uses a metaphor of the nation as family, not as something we think actively about, but as way of structuring our understanding of the enormous hard-to-conceptualize social group, the nation, in terms of something closer to home, the family. It is something we do automatically, usually without consciously thinking about it. Our politics is organized around two opposite and idealized models of the family, the strict father and nurturant parent models. The nurturant parent family assumes that the world is basically good and can be made better and that it is one's responsibility to work towards that. Accordingly, children are born good and parents can make them better. Both parents share responsibility for raising the children. Their job is to nurture their children and raise their children to be nurturers. Nurturing has two aspects: empathy (feeling and caring how others feel) and responsibility to take care of oneself and others for whom we are responsible. These two aspects of nurturance imply family values that we can recognize as progressive political values: From empathy, we want for others: protection from harm, fulfillment in life, fairness, freedom (consistent with responsibility), open two-way communication. From responsibility there follows: competence, trust, commitment, community building, and so on. From these values, specific policies follow: Governmental protection in form of a social safety net and government regulation (as well as the military and the police), universal education (competence, fairness), civil liberties and equal treatment (fairness and freedom), accountability (from trust), public service (from responsibility), open government (from open communication), and the promotion of an economy that benefits all and functions to promote these values. The role of government is to provide the infrastructure and services to enact these values and taxes are the dues you pay to live in such a civilized society. In foreign policy, the role of the nation should be to promote cooperation and extend these values to the world. These are traditional progressive values in American politics. Different Family Values The conservative worldview is shaped by very different family values. The strict father model assumes that the world is and always will be dangerous and difficult and that children are born bad and must be made good. The strict father is the moral authority who has to support and defend the family, tell his wife what to do, and teach his kids right from wrong. The only way to do that is painful discipline -- physical punishment that is to develop by adulthood into internal discipline. Morality and survival jointly arise from such discipline -- discipline to follow moral precepts and discipline to pursue your self-interest to become self-reliant. The good people are the disciplined people. Once grown, the self-reliant disciplined children are on their own and the father is not to meddle in their lives. Those children who remain dependent (who were spoiled, overly willful, or recalcitrant) should be forced to undergo further discipline or cut free with no support to face the discipline of the outside world. Project this onto the nation and you have the radical right-wing politics that has been misnamed "conservative." The good citizens are the disciplined ones -- those who have already become wealthy or at least self-reliant -- and those who are on the way. Social programs "spoil" people, giving them things they haven't earned and keeping them dependent. They are therefore evil and to be eliminated. Government is there only to protect the nation, maintain order, administer justice (punishment), and to provide for the orderly conduct of and the promotion of business. Business (the market) is the mechanism by which the disciplined people become self-reliant, and wealth is a measure of discipline. Taxes beyond the minimum needed for such government are punishments that take away from the good, disciplined people rewards that they have earned and spend it on those who have not earned it. In foreign affairs, the government should maintain its sovereignty and impose its moral authority everywhere it can, while seeking its self interest (the economic self-interest of corporations and military strength). How We Vote Given these distinctions, there are the natural complications of real people. Such models are there in the synapses of our brains. When we vote on the basis of values and cultural stereotypes, what determines how we vote is which model is active for understanding politics at the time. We all have both models -- either actively or passively. Progressives who can understand an Arnold Schwarzenegger movie have at least a passive version of the strict father model alongside the active nurturant model that defines their politics. Conservatives who can understand the Bill Cosby show have at least a passive version of the nurturant model. But many people -- often enough to decide elections -- have active versions of both models that they use in different parts of their lives. There are strict fathers in the classroom who have progressive politics. There are strict fathers on the job who are nurturant parents at home. Many blue collar workers are strict fathers at home, but nurturant toward their co-workers. Union employees tend to be strict toward their employers and nurturant toward union members. Women tend to have active nurturant parent models, but a significant number accept the authority of the strict father, are strict mothers, or may have some significant fear. Fear triggers the strict father model; it tends to make the model active in one's brain. What conservatives have learned about winning elections is that they have to activate the strict father model in more than half of the electorate -- either by fear or by other means. The 9/11 attacks gave the Bush administration a perfect mechanism for winning elections. They declared an unending wear on terror. The frame of the War on Terror presupposes that the populace should be terrified, and orange alerts and other administration measures and rhetoric keep the "Terror" frame active. Fear and uncertainty then naturally activate the Strict Father frame in a majority of people, leading the electorate to see politics in conservative terms. Enter the Terminator Enter The Terminator! -- the ultimate in strictness, the tough guy extraordinaire. The world champion body-builder is the last word in discipline. What better stereotype for strict father morality? That is the reason that it was Arnold -- not just any celebrity like Jay Leno or Rob Lowe or Barbra Streisand -- who could activate a strict stereotype and with it conservative Republican values. What is peculiar to California is Arnold and the culture of the movies. But the same mechanism lay behind the Republican victories in the 2002 election -- and in elections around the country since the days of Ronald Reagan -- but especially in the last decade when Republicans have mastered the art form of activating the strict father image in the minds of voters. Arnie's popularity has the same source as Bush's popularity with the Nascar dads: identification with strict father values and stereotypes. Moreover, Davis' inability to communicate strong progressive values is hardly unique to him. Democrats nationwide have a similar inability to effectively and strongly communicate their values and evoke powerful progressive stereotypes. In addition, Davis made the bad mistake of accepting the DLC's metaphor of campaigning as marketing. In the DLC model, you look for a list of particular issues that a majority of people, including those on left, support. In the last congressional election it was prescription drugs, social security, and a woman's right to choose. If necessary, you "move to the right" -- adopt some right-wing values in hope of getting "centrist" voters. Davis, for example, favored the death penalty, tough sentencing, and supported the prison guards' union. It's a self-defeating strategy. Conservatives have been winning elections without moving to the left. By presenting a laundry list of issues, Davis and other democrats fail to present a moral vision -- a coherent identity with a powerful cultural stereotype -- that defines the very identity of the voters they are trying to reach. A list of issues is not a moral vision. Indeed, many Democrats were livid that Arnold did not run on the issues. He didn't need to. His very being activated the strict father model -- the heart of the moral vision of conservative Republicans and the most common response to fear and uncertainty. In short, Arnold's victory is right in line with other conservative Republican victories. Davis' defeat is right in line with other Democratic defeats. Unless the Democrats realize this, they will not learn the lesson of this election. Right-Wing Power Grabs And indeed, conservatives are busy trying to keep Democrats from learning this lesson. There is an important frame we haven't mentioned yet: The Right-Wing Power Grab frame. Davis used this at the beginning of his campaign, and Clinton and the Democratic presidential candidates who supported Davis echoed the frame. This frame does accurately characterize many of the facts as we have discussed them. But Davis was unable to communicate this frame effectively and it fell from public sight. The day after the election it was one of the few frames not mentioned by the mainstream media. It has been dropped by the Democrats but kept alive by the Republicans, who are using it to taunt and delegitimize Democrats. They are using the "Voter Revolt" frame to argue that the "Right-Wing Power Grab" frame was inaccurate. Here's how the argument goes. The Right-Wing Power Grab frame implicitly accuses the Schwarzenegger campaign of deception, of failing to admit connections to Karl Rove and the national Republican apparatus and of misrepresenting the facts -- many of which we have discussed above. A "power grab" is illegitimate, using either illegal or immoral means to attain power. The Republicans manipulated the media using some of the frames we have discussed to hide facts and create false impressions. From the perspective of the facts we have discussed, the election does seem to fit the Right-Wing Power Grab frame. In the wake of the election, the Republicans have grabbed onto the Democrats' previous use of the Right-Wing Power Grab frame, arguing from the Voter Revolt interpretation of the election to claim that there was no power grab at all, that the election simply expressed the will of the voters. The very fact that Arnold got a strong plurality -- and near majority -- in the election is used as prima facie evidence that the Voter Revolt frame is the correct way to interpret the election. But as we have seen, that frame hides exactly the facts that the Right-Wing Power Grab frame illuminates. The Democrats ignore the power of framing at their peril. George Lakoff is a senior fellow at the Rockridge Institute (www.rockridgeinstitute.org) and Richard and Rhoda Goldman Distinguished Professor of Cognitive Science and Linguistics at the University of California at Berkeley. ========================================================================= Date: Wed, 15 Oct 2003 22:59:52 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: alexander saliby Subject: Re: Lakoff on Schwarzenegger MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Friends, Q: Why a recall in CA?=20 A: Electoral College, 538 votes total; 270 votes wins the presidential = election. CA has 54 electoral votes. Now is the time for the math = teachers to jump up and shout, Holy S..., that's 20% of the total number = of votes required to win the presidential election contained in 2% of = the states! (isn't 1/50th 2%? I wasn't a math teacher?) The recall had nothing to do with is Davis a jerk or is CA in fiscal = difficulty...it has to do with calculating a victory in the 2004 = elections. With a GOP chap/lady in the top seat, the GOP moves closer = to being able to corner those 54 electoral votes in 2004.=20 By the way, for those of you who count, you should note that a president = can be elected to office having won only 12 of the 50 states...talk = about a double duty whammy. The 24% of folks who vote (that's a fairly = normal turnout in most states during a national election) in only 25% of = the states (12/50ths) can dictate to the remaining ones of us, most of = whom didn't vote.=20 So, what can you do? Vote, dummy! And get all your friends out voting! Stop the whining; = stop the rallies and the meetings that rant and rave and bitch and = complain or demonstrate, and get your asses out into the districts and = vote, damn you, VOTE!!! Alex P.S. sorry for the rant; I'm a tad unhappy about the current political = picture here at home. =20 ----- Original Message -----=20 From: Mark Weiss=20 To: POETICS@LISTSERV.BUFFALO.EDU=20 Sent: Wednesday, October 15, 2003 9:47 PM Subject: Re: Lakoff on Schwarzenegger Interesting, but I think that the recall was a lot simpler. If Schwarzenneger hadn't entered the campaign the recall probably = wouldn't have succeeded, and if it had Bustamante would have won, tho neither = Davis nor Bustamante were particularly attractive candidates. It was the = action hero thing did it. The balance in the election was voters who had = never bothered to register before and who thought the film character was the man--hence Arnie's constant reminders of his films in his political appearances. Mark At 09:02 AM 10/15/2003 -0400, Ron wrote: The Frame Around Arnold George Lakoff, AlterNet October 13, 2003 Viewed on October 15, 2003 Newspaper and TV reporters require a story. Each story requires a = frame. How was the election of Arnold Schwarzenegger framed? Here is a selection: Voter Revolt: Gray Davis was such a bad governor that the voters justifiably ousted him and voted in the representative of the other party. The Great Noncommunicator: Gray Davis governed as well as possible = under the circumstances, but was so bad at communicating with the electorate that he could not communicate his real accomplishments, nor could he communicate the role of the Republicans in the state's problems. The public thought Davis was worse than he was and wanted a communicator, = so they voted him out and chose an actor. Those Kooky Californians: People in California are so weird that they voted a politically inexperienced bodybuilder-actor into office to replace a governor they voted for just last year. The People Beat the Politicians: When the people win, politics as = usual must lose (Schwarzenegger's acceptance speech). Just a Celebrity: People don't understand politics and just voted for = a celebrity. Up By his Bootstraps: Coming here as an immigrant, Arnie worked and worked to become a champion body-builder, then a millionaire actor, = and finally achieved his dream -- becoming governor. Framing was rampant in reporting in this election. Frames come with inferences, so each framing implies something different. The "Voter Revolt" frame legitimizes the recall. It assumes that Davis was incompetent or corrupt, that the voters correctly perceived this, that it outraged them, that they spontaneously, righteously, and overwhelmingly rose up and ousted him, replacing him with someone they knew to be more competent. Democracy was served and all is well. We should be happy about the result and things will be better. The "Great Noncommunicator" frame implies that the one and only = problem was Gray Davis' inability to communicate. It assumes he was a = competent governor and a responsible administrator with that single fatal flaw, that people want communication so badly that they recalled Davis = because he couldn't communicate his achievements. The implication is that the recall and Schwarzenegger's election had nothing to do with anything outside California or anything broader, and that the problem just was Davis. The "Kooky Californians" frame says the recall was irrational, that Californians can't tell the movies from reality, that a move action = hero can't govern a great state in trouble, that Arnie is a political incompetent and that chaos will ensue. The "People Beat the Politicians" frame is Schwarzenegger's attempt to impose his own frame. The context is that Arnold will have to deal = with a majority Democratic legislature. This frame casts himself and the Republican politicians as "the people" and the Democrats as "politics = as usual," which "the people" voted against. The "Just a Celebrity frame" implies that there was no partisan = politics in this election and that any celebrity at all could just as well have won. The "Up by his Bootstraps" frame attributes Arnold's election principally to Arnold himself, especially to his hard work and = ambition. Arnold got to be governor because he deserved it. He deserved it = because he worked hard -- at body-building, acting, and campaigning. If there's going to be a news story, there's going to be a frame and each frame will have different inferences. Facts and Framing It is a general finding about frames that if a strongly held frame doesn't fit the facts, the facts will be ignored and the frame will be kept. The frames listed above don't do very well at fitting the facts = -- though each has a grain of truth. Let's look at the facts that each frame hides. Voter Revolt: This frame hides the national Republican effort over several years to make Davis look bad by hurting the California = economy. It hides the fact that energy deregulation was brought in by = Republican governor Pete Wilson. It ignores the fact that there was no real = "energy crisis." It resulted from thievery by Enron and other heavy Bush contributors, thievery that was protected by the Federal Energy Regulatory Commission run by Bush appointees. The Bush administration looked the other way while California was being bilked and went to = great lengths not to help California financially in any of the many ways the federal government can help. Arnold had had a meeting with Ken Lay and other energy executives in spring 2001 when Lay was promoting deregulation, but denies any complicity in the theft. Arnold is now promoting energy deregulation again. It also ignores the fact that California's Republican legislature also went out of its way to make Davis look bad, refusing to support reasonable measures for dealing with the budget problems. It ignores = the fact that the recall petition was paid for by a wealthy conservative legislator and that signature gatherers were paid handsomely and that some signatures were from out of state, which is illegal. And it = ignores the enormous amount of money and organization put into the Schwarzenegger campaign by Republicans. This was no simple popular revolution. Most of all, the "Voter Revolt" frame does not explain why Schwarzenegger should have been the candidate chosen. The Great Noncommunicator frame has a lot of truth to it. But it too hides all the sustained Republican effort, and it also hides the fact that it is not just Gray Davis, but rather Democrats in general, who cannot communicate effectively. The Kooky Californians frame does not explain any of the above. The Republicans' long-term, carefully structured anti-Davis campaign is hidden by this frame. It is as if there were no politics at work here = at all. The People Beat the Politicians frame hides the fact that the Republicans have been playing politics with the state finances for = years in an attempt to beat Davis. It hides the fact the Schwarzenegger team run by former governor Pete Wilson will be just as much "politics as usual," and that the Democratic representatives in the legislature numerically represent more of "the people" than do the Republicans. The Just a Celebrity frame ignores all the above political factors, = and also cannot explain why this particular celebrity won. Jay Leno supported Arnold; Jay is just as much a celebrity, but Jay Leno could never have been elected governor. The Up by his Bootstraps frame also ignores all the politics involved and doesn't explain why other movie actors who pulled themselves up by their bootstraps didn't run and wouldn't have been elected. These framings hide other important facts as well. They don't explain why a lot of union rank-and-file members ignored their unions' support for Davis and voted for Arnold against their self-interest. They don't explain why a great many Hispanics voted for Arnold instead of Bustamante. They don't explain Arnold's popularity with women despite the revelations against him of sexist behavior. The Moral Politics Analysis I'm going to offer a very different account of the Schwarzenegger victory, based on my book 'Moral Politics.' Since the book was written in 1996 and updated in 2002, the account I'll be giving is a general one, based on a general understanding of American politics, not on the special facts about this election. My resulting claim is that much of what occurred in the recall election is the same as what has been = going on for some time in American politics. The Schwarzenegger election, I propose, should not be seen as an entirely unique event, despite = having unique elements, but rather part of the overall political landscape. In 'Moral Politics,' I suggested that voters vote their identity -- = they vote on the basis of who they are, what values they have, and who and what they admire. A certain number of voters identify themselves with their self-interest and vote accordingly. But that is the exception rather than the rule. There are other forms of personal identification -- with one's ethnicity, with one's values, with cultural stereotypes, and with culture heroes. The most powerful forms of identification so far as elections are concerned are with values and corresponding cultural stereotypes. The Republicans have discovered this and it is a major reason why they have been winning elections -- despite being in = a minority. Democrats have not yet figured this out. The 'Moral Politics' discovery is that models of idealized family structure lie at the heart of our politics -- less literally than metaphorically. The very notion of the founding fathers uses a = metaphor of the nation as family, not as something we think actively about, but as way of structuring our understanding of the enormous hard-to-conceptualize social group, the nation, in terms of something closer to home, the family. It is something we do automatically, = usually without consciously thinking about it. Our politics is organized around two opposite and idealized models of the family, the strict father and nurturant parent models. The nurturant parent family assumes that the world is basically good = and can be made better and that it is one's responsibility to work towards that. Accordingly, children are born good and parents can make them better. Both parents share responsibility for raising the children. Their job is to nurture their children and raise their children to be nurturers. Nurturing has two aspects: empathy (feeling and caring how others feel) and responsibility to take care of oneself and others for whom we are responsible. These two aspects of nurturance imply family values that we can recognize as progressive political values: From empathy, we want for others: protection from harm, fulfillment in = life, fairness, freedom (consistent with responsibility), open two-way communication. From responsibility there follows: competence, trust, commitment, community building, and so on. From these values, specific policies follow: Governmental protection = in form of a social safety net and government regulation (as well as the military and the police), universal education (competence, fairness), civil liberties and equal treatment (fairness and freedom), accountability (from trust), public service (from responsibility), = open government (from open communication), and the promotion of an economy that benefits all and functions to promote these values. The role of government is to provide the infrastructure and services to enact = these values and taxes are the dues you pay to live in such a civilized society. In foreign policy, the role of the nation should be to = promote cooperation and extend these values to the world. These are = traditional progressive values in American politics. Different Family Values The conservative worldview is shaped by very different family values. The strict father model assumes that the world is and always will be dangerous and difficult and that children are born bad and must be = made good. The strict father is the moral authority who has to support and defend the family, tell his wife what to do, and teach his kids right from wrong. The only way to do that is painful discipline -- physical punishment that is to develop by adulthood into internal discipline. Morality and survival jointly arise from such discipline -- discipline to follow moral precepts and discipline to pursue your self-interest = to become self-reliant. The good people are the disciplined people. Once grown, the self-reliant disciplined children are on their own and the father is not to meddle in their lives. Those children who remain dependent (who were spoiled, overly willful, or recalcitrant) should = be forced to undergo further discipline or cut free with no support to = face the discipline of the outside world. Project this onto the nation and you have the radical right-wing politics that has been misnamed "conservative." The good citizens are the disciplined ones -- those who have already become wealthy or at least self-reliant -- and those who are on the way. Social programs "spoil" people, giving them things they haven't earned and keeping = them dependent. They are therefore evil and to be eliminated. Government is there only to protect the nation, maintain order, administer justice (punishment), and to provide for the orderly conduct of and the promotion of business. Business (the market) is the mechanism by which the disciplined people become self-reliant, and wealth is a measure of discipline. Taxes beyond the minimum needed for such government are punishments that take away from the good, disciplined people rewards that they have earned and spend it on those who have not earned it. In foreign affairs, the government should maintain its sovereignty and impose its moral authority everywhere it can, while seeking its self interest (the economic self-interest of corporations and military strength). How We Vote Given these distinctions, there are the natural complications of real people. Such models are there in the synapses of our brains. When we vote on the basis of values and cultural stereotypes, what determines how we vote is which model is active for understanding politics at the time. We all have both models -- either actively or passively. Progressives who can understand an Arnold Schwarzenegger movie have at least a passive version of the strict father model alongside the active nurturant model that defines their politics. Conservatives who can understand the Bill Cosby show have at least a passive version of the nurturant model. But many people -- often enough to decide elections -- have active versions of both models that they use in different parts of their = lives. There are strict fathers in the classroom who have progressive = politics. There are strict fathers on the job who are nurturant parents at home. Many blue collar workers are strict fathers at home, but nurturant toward their co-workers. Union employees tend to be strict toward = their employers and nurturant toward union members. Women tend to have = active nurturant parent models, but a significant number accept the authority of the strict father, are strict mothers, or may have some significant fear. Fear triggers the strict father model; it tends to make the = model active in one's brain. What conservatives have learned about winning elections is that they have to activate the strict father model in more than half of the electorate -- either by fear or by other means. The 9/11 attacks gave the Bush administration a perfect mechanism for winning elections. = They declared an unending wear on terror. The frame of the War on Terror presupposes that the populace should be terrified, and orange alerts = and other administration measures and rhetoric keep the "Terror" frame active. Fear and uncertainty then naturally activate the Strict Father frame in a majority of people, leading the electorate to see politics = in conservative terms. Enter the Terminator Enter The Terminator! -- the ultimate in strictness, the tough guy extraordinaire. The world champion body-builder is the last word in discipline. What better stereotype for strict father morality? That is the reason that it was Arnold -- not just any celebrity like Jay Leno = or Rob Lowe or Barbra Streisand -- who could activate a strict stereotype and with it conservative Republican values. What is peculiar to California is Arnold and the culture of the = movies. But the same mechanism lay behind the Republican victories in the 2002 election -- and in elections around the country since the days of = Ronald Reagan -- but especially in the last decade when Republicans have mastered the art form of activating the strict father image in the = minds of voters. Arnie's popularity has the same source as Bush's popularity with the Nascar dads: identification with strict father values and stereotypes. Moreover, Davis' inability to communicate strong progressive values is hardly unique to him. Democrats nationwide have = a similar inability to effectively and strongly communicate their values and evoke powerful progressive stereotypes. In addition, Davis made the bad mistake of accepting the DLC's = metaphor of campaigning as marketing. In the DLC model, you look for a list of particular issues that a majority of people, including those on left, support. In the last congressional election it was prescription drugs, social security, and a woman's right to choose. If necessary, you = "move to the right" -- adopt some right-wing values in hope of getting "centrist" voters. Davis, for example, favored the death penalty, = tough sentencing, and supported the prison guards' union. It's a self-defeating strategy. Conservatives have been winning elections without moving to the left. By presenting a laundry list of issues, Davis and other democrats fail to present a moral vision -- a coherent identity with a powerful cultural stereotype -- that defines the very identity of the voters = they are trying to reach. A list of issues is not a moral vision. Indeed, many Democrats were livid that Arnold did not run on the issues. He didn't need to. His very being activated the strict father model -- = the heart of the moral vision of conservative Republicans and the most common response to fear and uncertainty. In short, Arnold's victory is right in line with other conservative Republican victories. Davis' defeat is right in line with other Democratic defeats. Unless the Democrats realize this, they will not learn the lesson of this election. Right-Wing Power Grabs And indeed, conservatives are busy trying to keep Democrats from learning this lesson. There is an important frame we haven't mentioned yet: The Right-Wing Power Grab frame. Davis used this at the beginning of his campaign, and Clinton and the Democratic presidential = candidates who supported Davis echoed the frame. This frame does accurately characterize many of the facts as we have discussed them. But Davis = was unable to communicate this frame effectively and it fell from public sight. The day after the election it was one of the few frames not mentioned by the mainstream media. It has been dropped by the = Democrats but kept alive by the Republicans, who are using it to taunt and delegitimize Democrats. They are using the "Voter Revolt" frame to = argue that the "Right-Wing Power Grab" frame was inaccurate. Here's how the argument goes. The Right-Wing Power Grab frame = implicitly accuses the Schwarzenegger campaign of deception, of failing to admit connections to Karl Rove and the national Republican apparatus and of misrepresenting the facts -- many of which we have discussed above. A "power grab" is illegitimate, using either illegal or immoral means to attain power. The Republicans manipulated the media using some of the frames we have discussed to hide facts and create false impressions. From the perspective of the facts we have discussed, the election = does seem to fit the Right-Wing Power Grab frame. In the wake of the election, the Republicans have grabbed onto the Democrats' previous use of the Right-Wing Power Grab frame, arguing = from the Voter Revolt interpretation of the election to claim that there = was no power grab at all, that the election simply expressed the will of = the voters. The very fact that Arnold got a strong plurality -- and near majority -- in the election is used as prima facie evidence that the Voter Revolt frame is the correct way to interpret the election. But = as we have seen, that frame hides exactly the facts that the Right-Wing Power Grab frame illuminates. The Democrats ignore the power of framing at their peril. George Lakoff is a senior fellow at the Rockridge Institute (www.rockridgeinstitute.org) and Richard and Rhoda Goldman = Distinguished Professor of Cognitive Science and Linguistics at the University of California at Berkeley. ========================================================================= Date: Thu, 16 Oct 2003 03:22:53 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: BALose SHKL on hASHTR armsl/byn/pASHTRl5 MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII #!/uhzr/lowASHTRe unuttheyr LK ENANNUound BEL-ASHTR BALose SHKL on hASHTR armsl/byn/pASHTRl5 whyle { 9nDRA/9nDRA/g; KAL+/KAL+/g+; ABU.YA -hzaeyou+/1KAOSHagonyes ecstasyes and orgasmsON2/g; VALKYRe^aeyou+aeyou+/BAL1/g; death oENANNUlsh! adark and w NMR LK gonee unuttheyr LK ENANNUound BEL NMR LK goneable BALose SHKL on hASHTR armsontrar+ woman wASHTRe unuttheyr LK ENANNUound BEL-ASHTR BALose SHKL on hASHTR armsonz NMR LK gonenede^aeyou+aeyou+/myhz NMR LK goneable ynythe clue was layd yn darkest splendoruyt+1/g; Be+ ABU.YA -/ENANNUound objew NMR LK gonee unuttheyr LK ENANNUound BEL NMR LK goneable BALose SHKL on h NMR LK gone armsunuttheyr LK ENANNUound BEL-ASHTR BALood1/g; be+ ABU.YA -/death oENANNUlsh! 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ABU.YA -/ENANNUlsh!1/g; FLSH! ABU.YA -/FLSH!1/g; ENANNUlsh!/ENANNULSH!/g; ASHTR/unuttheyr LK ENANNUound BEL-ASHTR BALeyr bodyehz g lond01/g; ABU.YA -phi/1ph+/g; a dropped loSAK oENANNUlsh! hayr-9/1/g; zeea ABU.YA -/z1/g; ecstatic/ewASHTRe unuttheyr LK ENANNUound BELMNHRable BALose SHKL on hASHTR armshztatywASHTRe unuttheyr LK ENANNUound BEL-ASHTR BALose SHKL on hASHTR arms/g; //g; prynt $_; } ___ ========================================================================= Date: Thu, 16 Oct 2003 03:25:33 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: them MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII them: note the jetblue connection - wifi on the plane, wep protected but my god what a security hole (pilots use HP btw) 00:00:94:CB:61:54 default 00:00:94:D3:7E:45 default 00:02:2D:2D:57:8D Apple Network 2d578d 00:02:2D:8A:14:98 Verizon Wi-Fi 00:02:2D:8D:14:C0 Verizon Wi-Fi 00:02:2D:8D:56:B5 Verizon Wi-Fi 00:03:93:E8:8D:9D Apple Network e88d9d 00:03:93:E8:C7:76 weak.slow 00:03:93:EA:0E:E8 909wireless 00:03:93:EB:EE:3A Park Place 00:03:93:EC:BB:BA merrill 00:03:93:EE:5D:C6 Brooklyn 00:03:93:EE:FC:B9 athena 00:03:93:EF:4C:4A de Seve 00:03:93:EF:70:E1 Elchemy 00:04:5A:EF:1F:5B linksys 00:04:E2:0E:61:26 hotspot 00:04:E2:0E:6D:38 hookup 00:04:E2:0E:C2:62 hookup 00:04:E2:1B:7D:54 hookup 00:04:E2:7B:75:D6 SMC 00:06:25:0E:95:5E netlinkb 00:06:25:0F:73:8A brfny 00:06:25:24:B4:0F jawwap 00:06:25:25:48:B5 nohoprod 00:06:25:62:E4:C0 dean street 00:06:25:67:15:58 linksys 00:06:25:75:C6:FF linksys 00:06:25:7D:9E:B1 linksys 00:06:25:86:CB:C1 linksys 00:06:25:87:79:55 Bartwick 00:06:25:91:C9:B5 linksys 00:06:25:98:D9:0E apartment 00:06:25:9C:D8:28 linksys 00:06:25:BC:B3:F5 linksys 00:06:25:C0:75:77 tallaght 00:06:25:C3:56:55 21 Park Place 00:06:25:DB:26:CD linksys 00:06:25:DB:3E:D3 linksys 00:06:25:E7:C0:F7 avdoulos 00:06:25:FA:DB:B7 wireless 00:09:5B:23:91:36 Wireless 00:09:5B:2F:F4:52 bass-station.net 00:09:5B:3F:6E:52 Wireless 00:09:5B:3F:B3:96 gqmliang 00:09:5B:47:BD:D4 Wireless 00:09:5B:51:0D:48 lillemand 00:09:5B:51:38:14 NETGEAR 00:09:5B:52:B3:9E NETGEAR 00:09:5B:53:90:34 MJM Airport 00:09:5B:6C:A3:AE home_slice 00:0A:95:F2:64:5F steve 00:0A:B7:2E:AF:9D jetblue 00:0B:BE:0E:27:1C NYU-ROAM3 00:0C:41:48:2B:36 verizon 00:0C:85:62:D0:F2 CornerCast 00:30:65:04:47:67 airport 00:30:65:1C:76:DD jannone 00:30:65:25:5B:2E bizzyness stirred my spirit 00:30:65:25:B4:EB CornerCast 00:30:BD:C0:43:84 WLAN 00:30:BD:C1:ED:34 WLAN 00:40:05:B2:B3:71 airaid 00:40:05:B7:EA:87 imaginato 00:40:05:BE:A4:17 JACQUES 00:40:05:DE:31:ED default 00:40:96:32:A1:93 SternOntheMove 00:40:96:32:AA:72 SternOntheMove 00:40:96:32:AC:AF SternOntheMove 00:40:96:32:B3:22 SternOntheMove 00:40:96:58:85:F2 tmobile 00:40:96:58:93:46 tmobile 00:40:96:58:95:44 tmobile 00:50:F2:C8:DC:30 zuki_wireless 00:50:F2:CC:EC:BA keb 00:60:B3:6F:7E:98 WSR-5000 00:80:C8:0A:5B:08 Serng Mong 00:80:C8:B5:2A:92 www.runwork.com 00:90:4B:32:A3:06 wireless 00:A0:F8:37:08:C7 cvsretail 00:A0:F8:47:77:F7 GROPIUS1 ___ ========================================================================= Date: Thu, 16 Oct 2003 00:38:34 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mark Weiss Subject: Re: Lakoff on Schwarzenegger In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed Of course everyone should vote, but it's unlikely in any case that Bush will carry California. If you're interested in odd inequities, try this one: Wyoming with 500,000 people has two senators, same as California with 35 million. That means my say in the senate is 1/70 of what it would be if I lived in Laramie. The Republican senate majority represents 42% of the population. We're saddled with a constitution framed for 18th century problems, and there's no conceivable way to scrap it and start over. Mark At 10:59 PM 10/15/2003 -0700, you wrote: >Friends, >Q: Why a recall in CA? >A: Electoral College, 538 votes total; 270 votes wins the presidential >election. CA has 54 electoral votes. Now is the time for the math >teachers to jump up and shout, Holy S..., that's 20% of the total number >of votes required to win the presidential election contained in 2% of the >states! (isn't 1/50th 2%? I wasn't a math teacher?) > >The recall had nothing to do with is Davis a jerk or is CA in fiscal >difficulty...it has to do with calculating a victory in the 2004 >elections. With a GOP chap/lady in the top seat, the GOP moves closer to >being able to corner those 54 electoral votes in 2004. > >By the way, for those of you who count, you should note that a president >can be elected to office having won only 12 of the 50 states...talk about >a double duty whammy. The 24% of folks who vote (that's a fairly normal >turnout in most states during a national election) in only 25% of the >states (12/50ths) can dictate to the remaining ones of us, most of whom >didn't vote. > >So, what can you do? >Vote, dummy! And get all your friends out voting! Stop the whining; stop >the rallies and the meetings that rant and rave and bitch and complain or >demonstrate, and get your asses out into the districts and vote, damn you, >VOTE!!! >Alex >P.S. sorry for the rant; I'm a tad unhappy about the current political >picture here at home. > > ----- Original Message ----- > From: Mark Weiss > To: POETICS@LISTSERV.BUFFALO.EDU > Sent: Wednesday, October 15, 2003 9:47 PM > Subject: Re: Lakoff on Schwarzenegger > > > Interesting, but I think that the recall was a lot simpler. If > Schwarzenneger hadn't entered the campaign the recall probably wouldn't > have succeeded, and if it had Bustamante would have won, tho neither Davis > nor Bustamante were particularly attractive candidates. It was the action > hero thing did it. The balance in the election was voters who had never > bothered to register before and who thought the film character was the > man--hence Arnie's constant reminders of his films in his political > appearances. > > Mark > > At 09:02 AM 10/15/2003 -0400, Ron wrote: > The Frame Around Arnold > George Lakoff, AlterNet > October 13, 2003 > Viewed on October 15, 2003 > > Newspaper and TV reporters require a story. Each story requires a frame. > How was the election of Arnold Schwarzenegger framed? Here is a > selection: > > > Voter Revolt: Gray Davis was such a bad governor that the voters > justifiably ousted him and voted in the representative of the other > party. > > > The Great Noncommunicator: Gray Davis governed as well as possible under > the circumstances, but was so bad at communicating with the electorate > that he could not communicate his real accomplishments, nor could he > communicate the role of the Republicans in the state's problems. The > public thought Davis was worse than he was and wanted a communicator, so > they voted him out and chose an actor. > > > Those Kooky Californians: People in California are so weird that they > voted a politically inexperienced bodybuilder-actor into office to > replace a governor they voted for just last year. > > > The People Beat the Politicians: When the people win, politics as usual > must lose (Schwarzenegger's acceptance speech). > > > Just a Celebrity: People don't understand politics and just voted for a > celebrity. > > > Up By his Bootstraps: Coming here as an immigrant, Arnie worked and > worked to become a champion body-builder, then a millionaire actor, and > finally achieved his dream -- becoming governor. > > > Framing was rampant in reporting in this election. Frames come with > inferences, so each framing implies something different. > > > The "Voter Revolt" frame legitimizes the recall. It assumes that Davis > was incompetent or corrupt, that the voters correctly perceived this, > that it outraged them, that they spontaneously, righteously, and > overwhelmingly rose up and ousted him, replacing him with someone they > knew to be more competent. Democracy was served and all is well. We > should be happy about the result and things will be better. > > > The "Great Noncommunicator" frame implies that the one and only problem > was Gray Davis' inability to communicate. It assumes he was a competent > governor and a responsible administrator with that single fatal flaw, > that people want communication so badly that they recalled Davis because > he couldn't communicate his achievements. The implication is that the > recall and Schwarzenegger's election had nothing to do with anything > outside California or anything broader, and that the problem just was > Davis. > > > The "Kooky Californians" frame says the recall was irrational, that > Californians can't tell the movies from reality, that a move action hero > can't govern a great state in trouble, that Arnie is a political > incompetent and that chaos will ensue. > > > The "People Beat the Politicians" frame is Schwarzenegger's attempt to > impose his own frame. The context is that Arnold will have to deal with > a majority Democratic legislature. This frame casts himself and the > Republican politicians as "the people" and the Democrats as "politics as > usual," which "the people" voted against. > > > The "Just a Celebrity frame" implies that there was no partisan politics > in this election and that any celebrity at all could just as well have > won. > > > The "Up by his Bootstraps" frame attributes Arnold's election > principally to Arnold himself, especially to his hard work and ambition. > Arnold got to be governor because he deserved it. He deserved it because > he worked hard -- at body-building, acting, and campaigning. > > > If there's going to be a news story, there's going to be a frame and > each frame will have different inferences. > > > Facts and Framing > > > It is a general finding about frames that if a strongly held frame > doesn't fit the facts, the facts will be ignored and the frame will be > kept. The frames listed above don't do very well at fitting the facts -- > though each has a grain of truth. Let's look at the facts that each > frame hides. > > > Voter Revolt: This frame hides the national Republican effort over > several years to make Davis look bad by hurting the California economy. > It hides the fact that energy deregulation was brought in by Republican > governor Pete Wilson. It ignores the fact that there was no real "energy > crisis." It resulted from thievery by Enron and other heavy Bush > contributors, thievery that was protected by the Federal Energy > Regulatory Commission run by Bush appointees. The Bush administration > looked the other way while California was being bilked and went to great > lengths not to help California financially in any of the many ways the > federal government can help. Arnold had had a meeting with Ken Lay and > other energy executives in spring 2001 when Lay was promoting > deregulation, but denies any complicity in the theft. Arnold is now > promoting energy deregulation again. > > > It also ignores the fact that California's Republican legislature also > went out of its way to make Davis look bad, refusing to support > reasonable measures for dealing with the budget problems. It ignores the > fact that the recall petition was paid for by a wealthy conservative > legislator and that signature gatherers were paid handsomely and that > some signatures were from out of state, which is illegal. And it ignores > the enormous amount of money and organization put into the > Schwarzenegger campaign by Republicans. This was no simple popular > revolution. Most of all, the "Voter Revolt" frame does not explain why > Schwarzenegger should have been the candidate chosen. > > > The Great Noncommunicator frame has a lot of truth to it. But it too > hides all the sustained Republican effort, and it also hides the fact > that it is not just Gray Davis, but rather Democrats in general, who > cannot communicate effectively. > > > The Kooky Californians frame does not explain any of the above. The > Republicans' long-term, carefully structured anti-Davis campaign is > hidden by this frame. It is as if there were no politics at work here at > all. > > > The People Beat the Politicians frame hides the fact that the > Republicans have been playing politics with the state finances for years > in an attempt to beat Davis. It hides the fact the Schwarzenegger team > run by former governor Pete Wilson will be just as much "politics as > usual," and that the Democratic representatives in the legislature > numerically represent more of "the people" than do the Republicans. > > > The Just a Celebrity frame ignores all the above political factors, and > also cannot explain why this particular celebrity won. Jay Leno > supported Arnold; Jay is just as much a celebrity, but Jay Leno could > never have been elected governor. > > > The Up by his Bootstraps frame also ignores all the politics involved > and doesn't explain why other movie actors who pulled themselves up by > their bootstraps didn't run and wouldn't have been elected. > > > These framings hide other important facts as well. They don't explain > why a lot of union rank-and-file members ignored their unions' support > for Davis and voted for Arnold against their self-interest. They don't > explain why a great many Hispanics voted for Arnold instead of > Bustamante. They don't explain Arnold's popularity with women despite > the revelations against him of sexist behavior. > > > The Moral Politics Analysis > > > I'm going to offer a very different account of the Schwarzenegger > victory, based on my book 'Moral Politics.' Since the book was written > in 1996 and updated in 2002, the account I'll be giving is a general > one, based on a general understanding of American politics, not on the > special facts about this election. My resulting claim is that much of > what occurred in the recall election is the same as what has been going > on for some time in American politics. The Schwarzenegger election, I > propose, should not be seen as an entirely unique event, despite having > unique elements, but rather part of the overall political landscape. > > > In 'Moral Politics,' I suggested that voters vote their identity -- they > vote on the basis of who they are, what values they have, and who and > what they admire. A certain number of voters identify themselves with > their self-interest and vote accordingly. But that is the exception > rather than the rule. There are other forms of personal identification > -- with one's ethnicity, with one's values, with cultural stereotypes, > and with culture heroes. The most powerful forms of identification so > far as elections are concerned are with values and corresponding > cultural stereotypes. The Republicans have discovered this and it is a > major reason why they have been winning elections -- despite being in a > minority. Democrats have not yet figured this out. > > > The 'Moral Politics' discovery is that models of idealized family > structure lie at the heart of our politics -- less literally than > metaphorically. The very notion of the founding fathers uses a metaphor > of the nation as family, not as something we think actively about, but > as way of structuring our understanding of the enormous > hard-to-conceptualize social group, the nation, in terms of something > closer to home, the family. It is something we do automatically, usually > without consciously thinking about it. > > > Our politics is organized around two opposite and idealized models of > the family, the strict father and nurturant parent models. > > > The nurturant parent family assumes that the world is basically good and > can be made better and that it is one's responsibility to work towards > that. Accordingly, children are born good and parents can make them > better. Both parents share responsibility for raising the children. > Their job is to nurture their children and raise their children to be > nurturers. Nurturing has two aspects: empathy (feeling and caring how > others feel) and responsibility to take care of oneself and others for > whom we are responsible. These two aspects of nurturance imply family > values that we can recognize as progressive political values: From > empathy, we want for others: protection from harm, fulfillment in life, > fairness, freedom (consistent with responsibility), open two-way > communication. From responsibility there follows: competence, trust, > commitment, community building, and so on. > > > From these values, specific policies follow: Governmental protection in > form of a social safety net and government regulation (as well as the > military and the police), universal education (competence, fairness), > civil liberties and equal treatment (fairness and freedom), > accountability (from trust), public service (from responsibility), open > government (from open communication), and the promotion of an economy > that benefits all and functions to promote these values. The role of > government is to provide the infrastructure and services to enact these > values and taxes are the dues you pay to live in such a civilized > society. In foreign policy, the role of the nation should be to promote > cooperation and extend these values to the world. These are traditional > progressive values in American politics. > > > Different Family Values > > > The conservative worldview is shaped by very different family values. > > > The strict father model assumes that the world is and always will be > dangerous and difficult and that children are born bad and must be made > good. The strict father is the moral authority who has to support and > defend the family, tell his wife what to do, and teach his kids right > from wrong. The only way to do that is painful discipline -- physical > punishment that is to develop by adulthood into internal discipline. > Morality and survival jointly arise from such discipline -- discipline > to follow moral precepts and discipline to pursue your self-interest to > become self-reliant. The good people are the disciplined people. Once > grown, the self-reliant disciplined children are on their own and the > father is not to meddle in their lives. Those children who remain > dependent (who were spoiled, overly willful, or recalcitrant) should be > forced to undergo further discipline or cut free with no support to face > the discipline of the outside world. > > > Project this onto the nation and you have the radical right-wing > politics that has been misnamed "conservative." The good citizens are > the disciplined ones -- those who have already become wealthy or at > least self-reliant -- and those who are on the way. Social programs > "spoil" people, giving them things they haven't earned and keeping them > dependent. They are therefore evil and to be eliminated. Government is > there only to protect the nation, maintain order, administer justice > (punishment), and to provide for the orderly conduct of and the > promotion of business. Business (the market) is the mechanism by which > the disciplined people become self-reliant, and wealth is a measure of > discipline. Taxes beyond the minimum needed for such government are > punishments that take away from the good, disciplined people rewards > that they have earned and spend it on those who have not earned it. > > > In foreign affairs, the government should maintain its sovereignty and > impose its moral authority everywhere it can, while seeking its self > interest (the economic self-interest of corporations and military > strength). > > > How We Vote > > > Given these distinctions, there are the natural complications of real > people. Such models are there in the synapses of our brains. When we > vote on the basis of values and cultural stereotypes, what determines > how we vote is which model is active for understanding politics at the > time. > > > We all have both models -- either actively or passively. Progressives > who can understand an Arnold Schwarzenegger movie have at least a > passive version of the strict father model alongside the active > nurturant model that defines their politics. Conservatives who can > understand the Bill Cosby show have at least a passive version of the > nurturant model. > > > But many people -- often enough to decide elections -- have active > versions of both models that they use in different parts of their lives. > There are strict fathers in the classroom who have progressive politics. > There are strict fathers on the job who are nurturant parents at home. > Many blue collar workers are strict fathers at home, but nurturant > toward their co-workers. Union employees tend to be strict toward their > employers and nurturant toward union members. Women tend to have active > nurturant parent models, but a significant number accept the authority > of the strict father, are strict mothers, or may have some significant > fear. Fear triggers the strict father model; it tends to make the model > active in one's brain. > > > What conservatives have learned about winning elections is that they > have to activate the strict father model in more than half of the > electorate -- either by fear or by other means. The 9/11 attacks gave > the Bush administration a perfect mechanism for winning elections. They > declared an unending wear on terror. The frame of the War on Terror > presupposes that the populace should be terrified, and orange alerts and > other administration measures and rhetoric keep the "Terror" frame > active. Fear and uncertainty then naturally activate the Strict Father > frame in a majority of people, leading the electorate to see politics in > conservative terms. > > > Enter the Terminator > > > Enter The Terminator! -- the ultimate in strictness, the tough guy > extraordinaire. The world champion body-builder is the last word in > discipline. What better stereotype for strict father morality? That is > the reason that it was Arnold -- not just any celebrity like Jay Leno or > Rob Lowe or Barbra Streisand -- who could activate a strict stereotype > and with it conservative Republican values. > > > What is peculiar to California is Arnold and the culture of the movies. > But the same mechanism lay behind the Republican victories in the 2002 > election -- and in elections around the country since the days of Ronald > Reagan -- but especially in the last decade when Republicans have > mastered the art form of activating the strict father image in the minds > of voters. Arnie's popularity has the same source as Bush's popularity > with the Nascar dads: identification with strict father values and > stereotypes. Moreover, Davis' inability to communicate strong > progressive values is hardly unique to him. Democrats nationwide have a > similar inability to effectively and strongly communicate their values > and evoke powerful progressive stereotypes. > > > In addition, Davis made the bad mistake of accepting the DLC's metaphor > of campaigning as marketing. In the DLC model, you look for a list of > particular issues that a majority of people, including those on left, > support. In the last congressional election it was prescription drugs, > social security, and a woman's right to choose. If necessary, you "move > to the right" -- adopt some right-wing values in hope of getting > "centrist" voters. Davis, for example, favored the death penalty, tough > sentencing, and supported the prison guards' union. It's a > self-defeating strategy. Conservatives have been winning elections > without moving to the left. > > > By presenting a laundry list of issues, Davis and other democrats fail > to present a moral vision -- a coherent identity with a powerful > cultural stereotype -- that defines the very identity of the voters they > are trying to reach. A list of issues is not a moral vision. Indeed, > many Democrats were livid that Arnold did not run on the issues. He > didn't need to. His very being activated the strict father model -- the > heart of the moral vision of conservative Republicans and the most > common response to fear and uncertainty. > > > In short, Arnold's victory is right in line with other conservative > Republican victories. Davis' defeat is right in line with other > Democratic defeats. Unless the Democrats realize this, they will not > learn the lesson of this election. > > > Right-Wing Power Grabs > > > And indeed, conservatives are busy trying to keep Democrats from > learning this lesson. There is an important frame we haven't mentioned > yet: The Right-Wing Power Grab frame. Davis used this at the beginning > of his campaign, and Clinton and the Democratic presidential candidates > who supported Davis echoed the frame. This frame does accurately > characterize many of the facts as we have discussed them. But Davis was > unable to communicate this frame effectively and it fell from public > sight. The day after the election it was one of the few frames not > mentioned by the mainstream media. It has been dropped by the Democrats > but kept alive by the Republicans, who are using it to taunt and > delegitimize Democrats. They are using the "Voter Revolt" frame to argue > that the "Right-Wing Power Grab" frame was inaccurate. > > > Here's how the argument goes. The Right-Wing Power Grab frame implicitly > accuses the Schwarzenegger campaign of deception, of failing to admit > connections to Karl Rove and the national Republican apparatus and of > misrepresenting the facts -- many of which we have discussed above. A > "power grab" is illegitimate, using either illegal or immoral means to > attain power. The Republicans manipulated the media using some of the > frames we have discussed to hide facts and create false impressions. > From the perspective of the facts we have discussed, the election does > seem to fit the Right-Wing Power Grab frame. > > > In the wake of the election, the Republicans have grabbed onto the > Democrats' previous use of the Right-Wing Power Grab frame, arguing from > the Voter Revolt interpretation of the election to claim that there was > no power grab at all, that the election simply expressed the will of the > voters. The very fact that Arnold got a strong plurality -- and near > majority -- in the election is used as prima facie evidence that the > Voter Revolt frame is the correct way to interpret the election. But as > we have seen, that frame hides exactly the facts that the Right-Wing > Power Grab frame illuminates. > > > The Democrats ignore the power of framing at their peril. > > > George Lakoff is a senior fellow at the Rockridge Institute > (www.rockridgeinstitute.org) and Richard and Rhoda Goldman Distinguished > Professor of Cognitive Science and Linguistics at the University of > California at Berkeley. ========================================================================= Date: Thu, 16 Oct 2003 01:00:22 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: August Highland Subject: GBYTE LINEAR #0001 MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit GBYTE LINEAR #0001 jobs, neighbors. But was my father, with lips of her lips of her jobs, neighbors. But now, her mission was my father, with jobs, neighbors. But jobs, neighbors. But but he made some would be always shut. startled and quarrelled. My but he made some "A couple of years would be always shut. jobs, neighbors. But was my father, with lips of her lips of her jobs, neighbors. But now, her mission was my father, with jobs, neighbors. But jobs, neighbors. But but he made some would be always shut. startled and quarrelled. 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Gbyte digital linear years in Samaria-- menopause--with or and interests. of fearful boys with Gbyte digital linear As soon the copying, and bother? bother? As soon and 106 pounds, she the copying, and As soon As soon and interests. Gbyte digital linear years in Samaria-- menopause--with or and interests. of fearful boys with Gbyte digital linear jobs, neighbors. But was my father, with lips of her lips of her jobs, neighbors. But now, her mission was my father, with jobs, neighbors. But jobs, neighbors. But but he made some would be always shut. startled and quarrelled. My but he made some "A couple of years would be always shut. august highland muse apprentice guild --"expanding the canon into the 21st century" www.muse-apprentice-guild.com culture animal --"following in the footsteps of tradition" www.cultureanimal.com ========================================================================= Date: Thu, 16 Oct 2003 01:02:52 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: August Highland Subject: ORATION/MICROSTRIPS #0001 MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit ORATION/MICROSTRIPS #0001 red pepper flakes childhood, but now seven mad gods to seven mad gods to red pepper flakes the other pins childhood, but now red pepper flakes red pepper flakes areas. That meant a Miles himself. hidden things, WECA is all about areas. That meant a never thought you -analysis or after it Miles himself. red pepper flakes childhood, but now seven mad gods to seven mad gods to red pepper flakes the other pins childhood, but now red pepper flakes red pepper flakes areas. That meant a Miles himself. hidden things, WECA is all about areas. That meant a never thought you -analysis or after it Miles himself. and computing power, through her nose, as through her nose, as and computing power, only you knew!" Then and computing power, and computing power, restless. His sister, of 35 psec has kerb-with their pressing with restless. His sister, An oration, of of 35 psec has and computing power, through her nose, as through her nose, as and computing power, only you knew!" Then and computing power, and computing power, restless. His sister, of 35 psec has kerb-with their pressing with restless. His sister, An oration, of of 35 psec has and computing power, through her nose, as through her nose, as and computing power, only you knew!" Then and computing power, and computing power, restless. His sister, august highland muse apprentice guild --"expanding the canon into the 21st century" www.muse-apprentice-guild.com culture animal --"following in the footsteps of tradition" www.cultureanimal.com ========================================================================= Date: Thu, 16 Oct 2003 06:21:19 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: mIEKAL aND Subject: 4 STATIONS RENGA LIVE WEB PUBLICATION Mime-Version: 1.0 (Apple Message framework v552) Content-Type: text/plain; charset=US-ASCII; format=flowed Content-Transfer-Encoding: 7bit From: Alec Finlay (by way of John Cayley) Date: Thu Oct 16, 2003 3:45:16 AM US/Pacific To: cayley@shadoof.net Subject: 4 stations renga live web publication 4 STATIONS RENGA LIVE WEB PUBLICATION http://www.balticmill.com/4stations/renga.php The 4 stations hyakuin renga can be read on-line as it is composed, on the BALTIC web site over the 24 hours from noon October 18 - noon October 19. The renga is 100 verses long and a new verse will be added every 15 minutes. PARTICIPATING POETS Bruce Bamber John Cayley Ken Cockburn Paul Conneally Anne-Marie Culhane Alec Finlay Linda France Harry Gilonis Elizabeth James Ira Lightman Gerry Loose Martin Lucas ========================================================================= Date: Thu, 16 Oct 2003 14:10:55 +0200 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Karl-Erik Tallmo Subject: Re: Question re Poetry Citation and Copyright Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" When it comes to the interpretation of article 10 of the Berne convention (http://www.wipo.int/clea/docs/en/wo/wo001en.htm ) which deals with the right to quote, Stephen M. Stewart says the following in his "International Copyright and Neighbouring Rights" (1983) about the revision of the convention from 1971 as opposed to the revision made in 1948: 2. The quotation must be 'compatible with fair practice'. This leaves a great deal of discretion to the courts. However, (a) the length of the quotation itself, (the Brussels Act 1948 still said 'short extracts') (b) whether the size of the quotation is a large or a small part of the work quoted, (c) the size of the quotation in relation to the item in which it is used, are all criteria to be applied by the courts. 3. The extent of the quotation must 'not exceed that justified by the purpose'. Thus a piece of literary criticism may justify long quotations, whereas a newspaper article may only justify much shorter ones. (Stewart, 1983, p. 124) ---- It might be interesting also to dwell upon a few historical views on this matter. Showing by doing some might say, since I will do some abundant quoting. In Copinger's "The Law of Copyright" from 1904 the author discusses fair use and the quantity of quotation: Lord Cottenham, in the cases of Bramwell v. Halcomb (b), and Saunders v. Smith (c), adverting to this point, said: "When it comes to a question of quantity, it must be very vague. One writer might take all the vital part of another's book, though it might be but a small proportion of the book in quantity. It is not only quantity, but value, that is always looked to. It is useless to refer to any particular cases as to quantity." In short, we must often, in deciding questions of this sort, look to the nature and objects of the selections made, the quantity and value of the materials used, and the degree in which the use may prejudice the sale, or diminish the profits, or supersede the objects of the original work. Many mixed ingredients enter into the discussion of such questions. In some cases a considerable portion of the materials of the original work may be fused into another work, so as to be indistinguishable in the mass of the latter, which has other professed and obvious objects, and cannot fairly be treated as a piracy; or they may be inserted as a sort of distinct and mosaic work into the general texture of the second work, and constitute the peculiar excellence thereof, and then it may be a clear piracy. If a person should, under colour of publishing 'elegant extracts' of poetry, include all the best pieces at large of a favourite poet, whose volume was secured by copyright, it would be difficult to say why it was not an invasion of that right, since it might constitute the entire value of the volume. The case of Mawman v. Tegg (a) is to this purpose. There was no pretence in that case that all the articles of the encyclopaedia of the plaintiffs had been copied into that of the defendants; but large portions of the materials of the plaintifrs work had been copied. Lord Eldon, upon that occasion, held that there might be a piracy of a part of a work, which would entitle the plaintiffs to a full remedy and relief in equity. In prior cases he had affirmed the like doctrine. In Wilkins v. Aikin (b), he said, "There is no doubt that a man cannot, under the pretence of quotation, publish either the whole or a part of another's book, although he may use, what in all cases it is difficult to define, fair quotation." The character of the books may be looked at; for an author will be allowed greater freedom of quotation if he is writing a book of an entirely different character from that from which he quotes, than if the books directly compete with one another. This is well illustrated by the case of Bradbury v. Hotten (c), one which is very near the line. There the publication complained of was ' The Man of his Time,' the object of which was to illustrate the career of Napoleon III. by caricatures taken from leading English and foreign illustrated papers. Nine caricatures, with their original headings and references, but much reduced in size, were copied from nine numbers of 'Punch,' comprised within the period extending from 1849 to 1867. It was declared that the selections had been taken for the sole purpose of illustrating the career of Napoleon. While admitting that limited extracts might be taken from copyright works for a fair purpose of this kind, the court found that the defendant had republished the caricatures in 'Punch' for the same purpose as they were originally published, namely, to excite the amusement of his readers. It was held that the defendant had gone beyond the privilege of fair quotation, and therefore a case of piracy was made out. (Copinger, 1904, pp. 156-157.) Copinger has this on extracts specifically made for critical purposes: Many cases of extracts for criticism have come before the court. It is obvious that quotations to some extent must in such cases be made from the work reviewed, and this abstract right of the reviewer has never been impeached. To deny this privilege would be, as Lord Kinloch once said, "to sentence to death all our reviews, and the greater part of our works in philosophy." The reviewer may make extracts sufficient to show the merits or demerits of the work, but not to such an extent as that the review may serve as a substitute for the book reviewed. Sufficient may be taken to give a correct view of the whole, but the privilege of making extracts is limited to these objects, and no person will be allowed to republish in the form of quotations a valuable part of the protected work and thus to an injurious extent to supersede the original (b). Whether the limits of lawful quotation have been exceeded is a question to be governed by the particular circumstances of each case. In a case in which the work alleged to be pirated was a play extending over forty pages, and the defendant had published a journal of theatrical criticism in which, as illustrative of his critical remarks, he had introduced broken and detached fragments of the piece in question, amounting in the whole to six or seven pages, some weight appears to have been allowed by the court to the fact of the extent of the extracts being so inconsiderable, as affording ground for doubt whether the defendant had transgressed the limits of fair quotation (a). (Copinger, 1904, pp 159-160) Copinger also accounts for a case, Campbell v. Scott (1842) where Scott had published a "Book of the Poets": Where the defendant had published a 'Book of the Poets,' with the object of illustrating the characteristics of various poets, and the progress of English poetry during the nineteenth century, the work was held to be piratical. The defendant had made 425 selections and extracts, from forty-three poets, and they were employed to illustrate an original essay of thirty-four pages on English poetry of the period covered, twenty-three biographical sketches of one page each, and twenty shorter notices of authors. Besides extracts, six poems - in all of which the copyright was still subsisting - were taken in their entirety from Campbell's works. "If," said Vice-Chancellor Shadwell, "there were critical notes appended to each separate passage, or to several of the passages in succession which might illustrate them, and show from whence Mr. Campbell had borrowed an idea, or what idea he had communicated to others, I could understand that to be a fair criticism. But there is, first of all, a general essay, then there follows a mass of pirated matters, which in fact constitutes the value of the volume" (a). (Copinger, 1904, p 164) Karl-Erik Tallmo -- _________________________________________________________________ KARL-ERIK TALLMO, writer, editor ARCHIVE: http://www.nisus.se/archive/artiklar.html BOOK: http://www.nisus.se/gorgias ANOTHER BOOK: http://www.copyrighthistory.com MAGAZINE: http://art-bin.com _________________________________________________________________ ========================================================================= Date: Thu, 16 Oct 2003 08:13:16 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Halvard Johnson Subject: Re: Lakoff on Schwarzenegger In-Reply-To: <5.1.0.14.1.20031016003334.01729558@mail.earthlink.net> MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit { We're saddled { with a constitution framed for 18th century problems, and there's no { conceivable way to scrap it and start over. { { Mark Whew, you certainly didn't trim much of *that* message. Anyway, there are plenty of "conceivable" ways, Mark. What we need are some feasible ways--if not of scrapping it (actually, I'm quite fond of some of it), then of modifying it in certain directions. Hal You Are Not Authorized to View This Page Halvard Johnson =============== email: halvard@earthlink.net website: http://home.earthlink.net/~halvard ========================================================================= Date: Thu, 16 Oct 2003 08:52:18 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: AdeenaKarasick@CS.COM Subject: karisick MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit i've recently noticed a new spelling to my name but just for the record it is as has always been Adeena Karasick (not karisick) and i only mention this because it is relevant to both my personal e-mail and website adeenakarasick@cs.com www.adeenakarasick.com thank you for your kind attention to this matter and look forward to hearing from you best, Adeena Karasick ========================================================================= Date: Thu, 16 Oct 2003 06:27:03 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: aaron tieger Subject: copyright law MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii According to the U.S. Copyright Office (http://www.copyright.gov/help/faq/faq-fairuse.html): "Under the fair use doctrine of the U.S. copyright statute, it is permissible to use limited portions of a work including quotes, for purposes such as commentary, criticism, news reporting, and scholarly reports. There are no legal rules permitting the use of a specific number of words, a certain number of musical notes, or percentage of a work. Whether a particular use qualifies as fair use depends on all the circumstances. See FL 102, Fair Use, and Circular 21, Reproductions of Copyrighted Works by Educators and Librarians." Here's a link to the Fair Use Doctrine: http://www.copyright.gov/fls/fl102.html This will point you to the section (107) of the copyright law which codifies Fair Use, which says "Notwithstanding the provisions of sections 106 and 106A, the fair use of a copyrighted work, including such use by reproduction in copies or phonorecords or by any other means specified by that section, for purposes such as criticism, comment, news reporting, teaching (including multiple copies for classroom use), scholarship, or research, is not an infringement of copyright." Section 106 lists the rights of the copyright holder to do things to the work he holds copyright for. Section 106a, "Rights of certain authors to attribution and integrity," covers the visual arts. So according to copyright law, if I (not a lawyer) interpret it correctly, you can excerpt whatever the hell you want in a critical essay. Does anyone (besides Kirby) have experience with paying for permissions? Aaron ===== "The tools of the trade are the head and the heart every raw material at hand" (Mission of Burma, "Learn How") __________________________________ Do you Yahoo!? The New Yahoo! Shopping - with improved product search http://shopping.yahoo.com ========================================================================= Date: Thu, 16 Oct 2003 11:34:20 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Craig Allen Conrad Subject: taking Michael Moore's voting bridges seriously / Hassen, Jennifer Snead, and Elizabeth Scanlon on Duchamp's GIVEN MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit for THE PHILLY SOUND: New Poetry, click here: http://phillysound.blogspot.com/ ========================================================================= Date: Thu, 16 Oct 2003 08:53:10 -0700 Reply-To: kalamu@aol.com Sender: UB Poetics discussion group From: Ytzhak Organization: Selah7 http://www.sleepybrain.net/vanilla.html Subject: INFO: brooklyn--ahmed abdullah's diaspora with louis reyes rivera Comments: To: THCO2 MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit INFO: brooklyn--ahmed abdullah's diaspora with louis reyes rivera =================================================== Saturday, October 18, Ahmed Abdullah, musical director at Sistsas‚Äô Place, brings in his own group. Diaspora features Ahmed on the trumpet, with saxophonist Salim Washington, Masujaa on guitar, bassist John Ore, Andrei Strobert on drums, Monique Ngozi Nri poetry and vocals and poet Louis Reyes Rivera. Shows at 9 & 10:30 pm. Admission: $15 For more information contact Sistas' Place at (718) 398-1766. Saturday Night Jazz in the coming weeks: Saturday, October 25-Lenora Zenzalai Helm Saturday, November 1-Trumpeter/Trombonist Cyril Greene and Group Saturday, November 8-Vocalist Tulivu Donna Cumberbatch Saturday, November 15-Bassist Radu and Group Saturday, November 22-Violinist Gwen Laster and Vocalist Karen Francis (unconfirmed) Saturday, December 6-Bluiett Saturday, December 13-Byard Lancaster Saturday, December 20-Cecil Bridgewater Saturday, December 27-Kaissa Saturday, January 3, 2004-Gary Bartz Saturrday, January 10,-Zane Massey plays the music of Cal Massey Saturday, Januaary 17-Ben Dixon and Group Saturday, January 24-Masujaaa Saturday, January 31-Reggie Workman Group Saturday, February 7-Billy Bang Saturday, February 14-James Spaulding Saturday, February 21-John Ore Call 718-398-1766 For updated information. Showtimes@ 9 and 10:30 Ticket prices range from $15-$20 Sistas' Place Website: www.sistasplace.org Ahmed Abdullah Music Director/Sistas' Place Email: Ahmedian@aol.com Website: www.Ahmedian.com Check out Louis Reyes Rivera's Perspective Thursdays@2pm, WBAI-- 99.5FM Progams at Sistas' Place are produced by The CODE Foundation in association with Shamal Books & Melchizedek Productions, and partially funded by private and public grants from BET JAZZ, International Association for Jazz Educators, New York State Council on the Arts through the Brooklyn Arts Council Inc. and Meet The Composer, Inc. whose funding is provided with the support of NY State Council on the Arts, NYC Department of Cultural Affairs, ASCAP, Virgil Thomson Foundation, Jerome Foundation, JP Morgan, Mary Flagler Cary Charitable Trust, The Eleanor Naylor Dana Charitable Trust, The Greenwall Foundation and National Endowment for the Arts. J&R Music World >> -- - ___ Stay Strong "Peace sells but who's buying?" Megadeth "This mathematical rhythmatical mechanism enhances my wisdom of Islam, keeps me calm from doing you harm, when I attack, it's Vietnam" --HellRazah http://www.sleepybrain.net/vanilla.html http://awol.objector.org/artistprofiles/welfarepoets.html http://ilovepoetry.com/search.asp?keywords=braithwaite&orderBy=date http://www.dpgrecordz.com/fredwreck/ http://www.lowliferecords.co.uk/ http://loudandoffensive.com/ http://groups.yahoo.com/group/THCO2 ========================================================================= Date: Thu, 16 Oct 2003 09:40:40 -0700 Reply-To: Ishaq1823@telus.net Sender: UB Poetics discussion group From: Ytzhak Organization: Selah7 http://www.sleepybrain.net/vanilla.html Subject: Dying Equality In America MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1; x-mac-type="54455854"; x-mac-creator="4D4F5353" Content-Transfer-Encoding: 8bit Dying Equality In America Missing in Action: the 60 +1, Roberta Crowe Elder, Ian Hunter, Anthany Dawson, Anthony Griffith and urban accidents leading the deaths Native, Black and thelower-classes of White youth. Atomic electronic rentbwais with the flow of Lord Comic Let’s begin bwai Send the sonic Kai to mash it to physical decoys to snatch the grip from the Westend Ripped from the vault they ciphered for the Hipocalyspe Now. This for the cracked loafs of wasted youth. This for the disabled hunting for condos made from cardboard boxes. This was the payback for hemp wrapped bodies floating in the ocean. Water holding a likkle girl cut to shreds with oxes This is for Ian Hunter the victim of wicked collusion. Native bwais get strangled Proper mix up Leggo a cuss cuss Inna tangle wiph beat cops Pretty view East of Vancouver Far from Eden Caught on camera A message to deliver Pagers go off sounding an alarm "We comin to do you harm" At airports terminating the System of down pressing News captured in sculptures of Dawson Escaping to foreign Lands Developin cells Another brutha fell Tricks with handcuffs and gun shots My compadre in the agony of Griffith Cap a metal seal in his knot meat Memories fill Anthony with our defeat Our Elder’s Striped bare on a beach Where is this road What leads to Dallas Tell us Filmic feet loaded to speak Buried in sleet 50 to 60 All the buried girls lined up unpretty Contemplating just one day of … Peace Lawrence Ytzhak Braithwaite (aka Lord Patch) Fernwood/The Hood/New Palestine 1424... http://victoria.indymedia.org/news/2003/06/15128.php "Despite tens of thousands of pages of documentary evidence, the idea that the Bureau would utilize private right-wing operatives and terrorists is a chilling, alien concept to most Americans. Nevertheless, the FBI has financed, organized, and supplied arms to right-wing groups that carried out fire-bombings, burglaries, and shootings" http://victoria.indymedia.org/news/2003/06/15128.php ...and while on the topic of people doing nothing as the bodies of our bruthas (brothers) pile up and then holler for rights of only those who would see us all murdered, robbed, bullied and demoralized... Whereas: Anthany James Dawson died under questionable circumstances Whereas: The facts about his death, including allegations of racism and the use of force must be investigated in an open, independent way Whereas: Eight people testified at a Coroner's Inquest they saw a police officer hit Anthany Whereas: Anthany Dawson's family, friends and community are demanding real justice http://victoria.indymedia.org/news/2003/08/16094.php http://victoria.indymedia.org/news/2003/05/14436.php "SASKATOON - Saskatoon's police chief says officers may have been dumping native people outside the city for years, an admission that comes as new information emerges about a 13-year-old case." http://victoria.indymedia.org/news/2003/09/16739.php "We want freedom by any means necessary. We want justice by any means necessary. We want equality by any means necessary." al Hajj Malik Shabaaz If we now adjust the opressed and make it a class issue and not just a race issue of todays peoples then we have same situation and solution which Malik stated. Malcolm X and his "by any means necessary" quote: They called me 'a teacher, a fomentor of violence.' I would say point blank, 'That is a lie. I'm not for wanton violence, I'm for justice. I feel that if white people were attacked by Negroes-if the forces of law prove unable, or inadequate, or reluctant to protect those whites from those Negroes-then those white people should protect and defend themselves from those Negroes, using arms if necessary. And I feel that when the law fails to protect Negroes from whites' attack then those Negroes should use arms, if necessary, to defend themselves.'...'I am speaking against and my fight is against white racists. I firmly believe that Negroes have the right to fight against these racists, by any means that are necessary.' from The Autobiography of Malcolm X, pgs. 373-374 http://victoria.indymedia.org/news/2003/09/16753_comment.php#16800 -- - ___ Stay Strong "Peace sells but who's buying?" Megadeth "This mathematical rhythmatical mechanism enhances my wisdom of Islam, keeps me calm from doing you harm, when I attack, it's Vietnam" --HellRazah http://www.sleepybrain.net/vanilla.html http://awol.objector.org/artistprofiles/welfarepoets.html http://ilovepoetry.com/search.asp?keywords=braithwaite&orderBy=date http://www.dpgrecordz.com/fredwreck/ http://www.lowliferecords.co.uk/ http://loudandoffensive.com/ http://groups.yahoo.com/group/THCO2 ========================================================================= Date: Thu, 16 Oct 2003 09:48:48 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Stephen Vincent Subject: A Blog Rec(or lovely wreckage!) In-Reply-To: Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit http://www.8letters.blogspot.com/ Chris Sullivan's site rarely fails to turn the wings upside down. Nose to the ground 'concretist'. Great combinations of found visuals blipping off found texts, audio voice plugins, ruminations. I just scroll down and am frequently astonished. Meatyard, the photographer, and Johnathan Williams would/have loved this work, an oxymoron of wit & pathos. Stephen V http://stephenvincent.durationpress.com/ ========================================================================= Date: Wed, 22 Oct 2003 10:53:19 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Catherine Daly Subject: Shearsman 56 is now online MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit at http://www.shearsman.com/pages/magazine/current_issue/contents.html and features poems by Kelvin Corcoran Catherine Daly << poem from DaDaDa!!! Peter Redgrove David Miller George Messo Peter Robinson Lyn Lifshin Zoe SKoulding Monika Rinck plus the usual reviews. Tony Frazer Editor, Shearsman http://www.shearsman.com/ ========================================================================= Date: Thu, 16 Oct 2003 11:14:43 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Small Press Traffic Subject: save the date -- spt soiree MIME-Version: 1.0 Content-Type: text/plain; charset="ISO-8859-1"; format="flowed" Content-Transfer-Encoding: 8bit Nine Lives--Small Press Traffic's 9th Annual Literary Soiree & Auction Saturday, November 8, 2003, from 3-8 p.m. California College of Arts (CCA) 1111 Eighth Street, San Francisco (just off the intersection of 16th & Wisconsin) email: smallpress@ccac-art.edu 415-551-9278 Over the past years our auctions have been enlivened by the appearance of all kinds of extraordinary one of a kind items. Zadie Smith, the UK author of WHITE TEETH, autographed a tube of toothpaste for us. Gore Vidal sent us his proof copy of his New Yorker article on Monica Lewinsky, while Don DeLillo sent a manuscript page from MAO II. Anonymous art activists raided Michael Ondaatje's waste paper basket, and we sold his trash--an action that got us dubious press in the New York Times. Last year reclusive wunderkind JT Leroy let us auction off his corrected version of METEORS,--and on and on. This year, Pulitzer Prize winning writer Michael Cunningham pried the face off a travel alarm, and signed it with THE HOURS, while Irish novelist Jamie O'Neill (AT SWIM, TWO BOYS) made a St Patrick's Day T-shirt that will bring tears to your eyes--all to help us raise money for San Francisco's premier avant-garde poetry showcase. $10 admission for a full day of SURVIVING, THRIVING and JIVING at NINE LIVES It's our ninth annual soiree event and what better trope to employ in the copy than the nine lives of the cat? We're an organization that lives like a cat, on kindness, dexterity and dumb luck, but we reward you with so much affection! Food * Music * Cash Bar--featuring the Meow Mix cocktail! * Celebrity Appearances * Raffle for Fabulous Prizes * Poet's Theater * Presentation of SPT's 2nd annual Book Awards, the best books of poetry published all of last year . . . and our 2003 Lifetime Achievement Award goes to Barbara Guest OUR BIG ANNUAL AUCTION OF LITERARY MANUSCRIPTS, MEMENTOS, AUTOGRAPHS, SIGNED BROADSIDES, LETTERS, PHOTOS, ARTWORK AND EPHEMERA You'll claw your way to the front. Highlights of this year's CAT-alogue include: * Michael Cunningham, alarm clock, yes, alarm clock signed by the author of THE HOURS for our auction *Gertrude Stein HOW TO WRITE, Allen Ginsberg's copy annotated by him *1963 San Francisco Poetry Festival broadsides MINT (Helen Adam, Blaser, Duncan, Lew Welch, Ferlinghetti, LaVigne, Jess, and many more) thanks to Donald Allen's generosity *Early US modernists Lola Ridge, Waldo Frank, Marianne Moore, the whole Cary Nelson crowd! *Robert Creeley, unpublished poem *Barbara Walters ALS to Ann Landers *Rare double display manuscripts by Karl Shapiro AND David Shapiro *Manuscript material, signed books et cetera, graphic works by--Anne Rice, Anne Carson, Ted Berrigan, Josephine Miles, Barbara Guest, Terry Eagleton, Andre Maurois, William Plomer, Jamaica Kincaid, Ian McEwan, Jamie O'Neill, William Meredith, Isabel Allende, Christopher Fry, Leslie Scalapino, Philip Whalen, Rosmarie Waldrop, too many in fact to mention! Come and gawk, come and bid, it's all for a good cause. WORLD PREMIERE OF "THE SMITH FAMILY," A NEW PLAY BY CRAIG GOODMAN AND KEVIN KILLIAN A tornado's heading toward Fort Smith, Arkansas, where the Smith family is hosting their annual reunion. Barometer's falling, pressure's mounting, Jack Smith is up on the roof filming "Flaming Creatures," Wayne Smith torn between his devotion to his wife Liz Smith and her sister, former Angel Jaclyn Smith. Patti Smith conducts a secret Romeo and Juliet affair with one of the Jones family (Tommy Lee), while Anna Nicole Smith struggles with demons of her own. Kiki Smith has made a 500-ton vagina for the Venice Biennale, while Will Smith ponders his floundering career. Meanwhile an interloper's moving on in, and the ghost of tall, elegant Alexis Smith prowls the plantation with her spectral dog. Susan Smith looks at her two kids in the back seat and then looks at the lake and then--As Morrissey (from the Smiths) croons in the background, Heaven knows we're miserable now. When you've got a big family, who's to blame for all the problems of the world? With Taylor Brady, Anne Collier, Gerald Corbin, Margaret Crane, Kota Ezawa, Tanya Hollis, Kevin Killian, John Koch, Karla Milosevich, Yedda Morrison, Rex Ray, Laurie Reid, Jocelyn Saidenberg and Wayne Smith (as himself). Soiree opens 3:00 p.m. Auction Preview 3:30--5:30 p.m. Presentation of Book Awards 5:00 p.m. Auction 5:30 p.m. Raffle drawing 7:00 p.m. Play 7:00 p.m. Continuous food, drink, entertainment and stupid pet tricks, it's the 9 Lives of the Cat at Small Press Traffic! Small Press Traffic Literary Arts Center promotes and supports writers from all over the globe--particularly those who push the limits of how we speak and think about the world. Since 1974 SPT has been at the heart of the San Francisco Bay Area innovative writing scenes, bringing together independent readers, writers, and presses through publications, conferences, and our influential reading series. For more information about Small Press Traffic, check out our website at: http://www.sptraffic.org Elizabeth Treadwell Jackson Executive Director Small Press Traffic Literary Arts Center at CCA 1111 -- 8th Street San Francisco, CA 94107 415.551.9278 http://www.sptraffic.org ========================================================================= Date: Thu, 16 Oct 2003 14:26:11 -0400 Reply-To: olsonjk@delhi.edu Sender: UB Poetics discussion group From: Kirby Olson Organization: SUNY Delhi Subject: Re: copyright law MIME-Version: 1.0 Content-Transfer-Encoding: 7bit Content-Type: text/plain; charset=us-ascii Aaron, This is a useful start on the copyright question, but even in the link that you provide it states clearly: "The distinction between 'fair use' and infringement may be unclear and not easily defined. There is no specific numbre of words, lines, or notes that may be safely taken without permission. Acknowledging the source of the copyrighted material does NOT substitute for obtaining permission." So, what happens if a graduate student works for five years on a poet and the poet then decides he or she doesn't like what has been written and decided to deny permission? The graduate student is completely fucked. Your link then goes on to say, "The safest course is always to get permission from the copyright holder before using copyrighted material." Because of the notorious Yvor Winters case, the murkiness of fair use within poetry is incredibly uncertain -- "uncertain and not easily defined" -- as your link puts it. Poets can and have charged exorbitant fees, or denied permission altogether, to reprint any or all of their work. I would really love it if someone was to prove that all this was some kind of mirage that I myself have invented. Meanwhile, I offer this caveat to young critics -- get permission, or you may end up with an unpublishable book, and there goes your chance at tenure. There are so few jobs in contemporary poetry for critics (I think there were three or four posted this year -- out of the over one thousand jobs posted at MLA this year) that to land such a position and then mess up getting tenure by having forgotten to get copyright permission so that you are back in the temporary secretarial pool -- well, don't say I didn't warn you. Poets have not much else, but they do have tremendous control over their oeuvre. -- Kirby Olson ========================================================================= Date: Thu, 16 Oct 2003 14:36:32 -0400 Reply-To: "shannacompton@earthlink.net" Sender: UB Poetics discussion group From: "shannacompton@earthlink.net" Subject: Your favorite reading series or venue? Mime-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit If you're so inclined, I'd love to hear about them. Here, there, anywhere. Thanks. Shanna ---------------- Shanna Compton http://www.shannacompton.com ========================================================================= Date: Thu, 16 Oct 2003 14:39:46 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Poetry Project Subject: Poetry Project 10/20-10/22 Mime-version: 1.0 Content-type: text/plain; charset="ISO-8859-1" Content-transfer-encoding: quoted-printable Channeling Bob Barker: =B3Come on Dowwwwwn!=B2 (NO FREE MOBILE HOMES/just tall, serious poetry) * October 20, Monday Ishle Yi Park & Rachel Zucker Ishle Yi Park is a Korean American poet who has been published in The Best American Poetry 2003. Her first book, The Temperature of Water, is forthcoming from Kaya Press in December. Rachel Zucker is the author of Eating In The Underworld (Wesleyan University Press, 2003) and The Last Clear Narrative (also from Wesleyan, forthcoming). She is the winner of the Center for Book Arts Chapbook Competition, the Barrow Street Prize, and the Strousse Award, and lives in New York with her husband and two sons. [8:00 p.m.] =20 October 22, Wednesday Peter Culley & George Stanley Peter Culley was born in 1958 and has published five books of poetry including The Climax Forest (Leech Books, 1995) and Hammertown (New Star, 2003). His writings on art have appeared in numerous catalogues and publications, including http://mossesfromanoldmanse2.blogspot.com/. He live= s in South Wellington, near Nanaimo, on Vancouver Island. George Stanley was born and raised in San Francisco, and educated by the Jesuits in Bohemian (ie., non-Mormon) Salt Lake City and by Jack Spicer and Robert Duncan in North Beach. His many books include T=EAte Rouge, You, The Stick, Flowers, At Andy=B9s, and the essential A Tall, Serious Girl: Selected Poems 1957-2000 (Qua Books, 2003), which Ron Silliman has called =B3a great gift and an even greater test.=B2 Lewis Warsh writes, =B3George Stanley=B9s poems are fearless and anti-heroic. They don=B9t pretend to change the world but do so simply by being.=B2 For the past thirty years, Stanley has lived and taught English in British Columbia, Canada. [8:00 p.m.] =20 * The Poetry Project is located at St. Mark's Church-in-the-Bowery 131 East 10th Street at Second Avenue New York City 10003 Trains: 6, F, N, R, and L. info@poetryproject.com www.poetryproject.com Admission is $8, $7 for students/seniors and $5 for members (though now members who take out a membership at $85 or higher will get in free to all regular readings). We are wheelchair accessible with assistance and advance notice. For more info call 212-674-0910. ========================================================================= Date: Thu, 16 Oct 2003 14:47:34 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mairead Byrne Subject: Re: Your favorite reading series or venue? Comments: To: shannacompton@earthlink.net Mime-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 8bit Content-Disposition: inline Dear Shanna, My current favorite reading series is Jane Sprague's West End Poetry Series at Gimme Coffee in Ithaca, NY, though I was very fond of my own Spring Poetry Series at Carr Haus, Rhode Island School of Design, though I'm not doing it in 2004. Another one of my favorite venues is wherever I'm reading: all invitations welcome! Mairead Mairéad Byrne Assistant Professor of English Rhode Island School of Design Providence, RI 02903 www.wildhoneypress.com www.maireadbyrne.blogspot.com >>> "shannacompton@earthlink.net" 10/16/03 14:34 PM >>> If you're so inclined, I'd love to hear about them. Here, there, anywhere. Thanks. Shanna ---------------- Shanna Compton http://www.shannacompton.com ========================================================================= Date: Thu, 16 Oct 2003 14:58:52 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Joe Brennan Subject: U.S. Says France, Germany & Russia Bullish On New Deal To Carve Up Iraq Comments: To: frankfurt-school@lists.village.virginia.edu, corp-focus@lists.essential.org, WRYTING-L@LISTSERV.UTORONTO.CA MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Click here: The Assassinated Press U.S. Says France, Germany and Russia Bullish On New Deal To Carve Up Iraq: With Kickbacks In Hand, Iraq's Governing Council Hoping To Kick Back: Bechtel Again Wins Contract To Rebuild Iraqi Schools It Destroyed: Once Againl, Iraqi School Year Delayed by U.S./British Bombing, Shortage Of Surviving Teachers, Students, Buildings by Stone Phlipphlopps The Assassinated Press They hang the man and flog the woman That steal the goose from off the common, But let the greater villain loose That steals the common from the goose. Constant apprehension of war has the same tendency to render the head too large for the body. A standing military force with an overgrown executive will not long be safe. companions to liberty. -- Thomas Jefferson "America is a quarter of a billion people totally misinformed and disinformed by their government. This is tragic but our media is -- I wouldn't even say corrupt -- it's just beyond telling us anything that the government doesn't want us to know." Gore Vidal ========================================================================= Date: Thu, 16 Oct 2003 16:37:21 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: mscroggi Subject: copyright MIME-version: 1.0 Content-type: text/plain; charset="ISO-8859-1" Content-transfer-encoding: quoted-printable Given the lively discussion on the list recently of copyright law and its effects, some of you might be interested in the following conference, which will address many of these issues in literary publishing and other areas, including music and the visual arts. I'd especially urge people to get together and construct panels addressing these issues in the world of poetry and poetics. Mark Scroggins CALL FOR PAPERS Battling for Ownership: Who Controls Music, Film, Publishing, and Visual Communications? First Bi-Annual Conference, April 16-18, 2004 Boca Raton Marriott in Boca Raton, FL Host: Dorothy F. Schmidt, College of Arts and Letters, Florida Atlantic University Conference Committee: Michael Zager, Jeffrey Galin, Anthony Tamburri, Robert Davis, Heather Coltman, Angel DiCosola, Jean-Louis Baldet, Susan Reilley, Mark Scroggins, Eric Freedman We invite abstracts for 20 minute presentations and complete panel and roundtable proposals on all aspects of intellectual property in music, film, publishing, and visual communications. We especially encourage those that address issues across the commercial arts and/or their impact on the public good. We offer the following questions as areas of particular interest: =95=09What industry-specific intellectual property problems have cross-industry implications and how might solutions to these problems affect the industries and their consumers? =95=09How are music, film, publishing, and visual communications industries addressing the conflicts between corporate rights to protect assets and public rights to fair-use and advancement of the public good? =95=09How do specific cases like the RIAA=92s suits against peer-to-peer music traders, Jon Johansen (developer of DVD decoding software), Kinko's (copying course packets for university students) affect copyright holders, legal doctrine, and cultural practices? =95=09How should the industries that deal in the arts change as a result of new digital technologies, user habits and expectations, and the balance that must be maintained between encouraging creativity by giving exclusive property rights in creations and fostering a competitive market place by giving the freest possible public access to works of authorship and the ideas they encompass? For example, how will industries like music continue to change in response to the changing roles of intellectual property online? Will most music be sold online, and if so how will illicit music trading be stopped? =95=09In the first weeks of 2003 the Supreme Course upheld the Sonny Bono Act's twenty year extension of the 1976 Copyright Law, and the recording and technology industries reached a "landmark agreement" to address piracy concerns, meet consumer expectations, and forestall government regulation of digital copyrights. How will such decisions affect the future of copyright and cultural production/ exchange? What implications will such national decisions have on global markets and cultures? Invited speakers will include: Rosemary Coombe, Tier One Canada Research Chair in Law, Communication and Cultural Studies at York University in Toronto; Daphne Ireland, Intellectual Property Manager at Princeton University Press and Chair of the Copyright Committee for the American Association of University Publishers; Zachery Martin, Senior at Spanish River High School in Boca Raton; Bruce Phillips, Senior Acquisitions Editor for Music and Dance Books, Scarecrow Press, Rowman & Littlefield Publishing Group; Kenneth Crews, Professor in the Indiana University School of Law=97Indianapolis and in the IU School of Library and Information Science, Associate Dean of the Faculties for Copyright Management, and Director of the Copyright Management Center at IUPUI; Jenny Toomey, Executive Director Future of Music Coalition; Robert Spoo, Copyrights Editor for the Journal of Modern Literature and the James Joyce Quarterly and a member of the intellectual property group at the law firm of Doerner, Saunders, Daniel & Anderson in Tulsa, Oklahoma; Wendy Seltzer, Staff attorney for the Electronic Frontier Foundation and founder of the Chilling Effects Project; Melanie Masterson, VP of Antipiracy at EMI Latin America; Ann Chaitovitz, National Director of Sound Recordings for the American Federation of Television and Radio Artists (AFTRA) in Washington; Peter Dekom, Co-Chairman, American Cinematheque and former partner in the LA law firm of Bloom, Dekom, Hergott and Cook; Neil Crilly, Executive Director of the Florida Chapter of the National Association of Recording Arts & Sciences NARAS All abstracts and proposals (250 words) should be submitted in duplicate. Please mail abstracts postmarked by December 1st to Professor Jeffrey R. Galin, Department of English, Florida Atlantic University, 777 Glades Road, Boca Raton, FL 33431 or sent via email to . Tel: (561) 297-1221 Fax: (561) 297-3807 CONFERENCE INFORMATION Boca Raton Marriott, 5150 Town Center Circle, Boca Raton, FL 33486 (561-392-4600) (Fax 561-395-8258) Rooms $79.00 + tax; single/double and $179 + tax; suite NOTE: You must mention the =93Battling For Ownership=94 conference when making reservations. ========================================================================= Date: Thu, 16 Oct 2003 15:46:23 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Tenney Nathanson Subject: good stuff written on Ron Silliman's work (esp N/O?)? MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit my grad seminar (PhD + MFA students) is reading N/O for next week. I'm suggesting students access the thread on the book here on POETICS (from late spring / early summer, right?). But aside from that: good stuff written on N/O? best stuff written on Ron's work in general (or about some other particular work but w more general applicability)? Ron: would be curious if you'd recommend anything in particular. thanks, backchannel ok but frontchannel might be interesting, Tenney mailto:tenney@dakotacom.net mailto:nathanso@u.arizona.edu http://www.u.arizona.edu/~nathanso/tn POG: mailto:pog@gopog.org http://www.gopog.org ========================================================================= Date: Thu, 16 Oct 2003 16:16:59 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Renaissance Farms Subject: Re: Question re Poetry Citation and Copyright In-Reply-To: <2003101583046.526698@renaissancefarm> Mime-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable On Wed, 15 Oct 2003 00:04:42 -0400, Automatic digest processor= wrote: >the bells from the church down >the street rattling my brains. > >-Joel W. Joel, would that be the old First Congregational church that's on= SW Park Ave? Or First Christian Church on Broadway? ;-) ~T. Kasten-- ------------------------ Renaissance Farms Camas, WA ========================================================================= Date: Fri, 17 Oct 2003 01:34:25 +0200 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Karl-Erik Tallmo Subject: Edgar Reitz' TV series Heimat Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" I almost forgot. This is not brand new but could possibly be of interest to some of the list members. Personally I have ever since I first saw this German TV series been a great fan. Unfortunately I have no access to video copies, otherwise I would probably join the online discussions and collective viewing. See press release below. /Karl-Erik Tallmo >PRESS RELEASE > >Worldwide collective viewing and discussing Edgar Reitz' films > > >Paris, 5 Oktober 2003 - Starting on Friday evening 31st Oktober 2003, >fans of the work of Edgar Reitz on the internet intend to collectively >view his films every fortnight with an ensuing discussion by e-mail. > >It will take about a year to see the 13 episodes of Edgar Reitz' Die >Heimat and 12 episodes of Die Zweite Heimat. These films were broadcast >on television in 1984 and 1993 respectively and are together about 40 >hours long. The third series of 6 films in the Heimat series are >expected to be broadcast in December 2004, shortly after this >collective viewing session is over. More at http://reinder.rustema.nl/heimat/pressrelease.html -- _________________________________________________________________ KARL-ERIK TALLMO, writer, editor ARCHIVE: http://www.nisus.se/archive/artiklar.html BOOK: http://www.nisus.se/gorgias ANOTHER BOOK: http://www.copyrighthistory.com MAGAZINE: http://art-bin.com _________________________________________________________________ ========================================================================= Date: Thu, 16 Oct 2003 19:53:27 -0400 Reply-To: nudel-soho@mindspring.com Sender: UB Poetics discussion group From: Harry Nudel Subject: before Alan Sondheim after... Mime-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit :������������������� ;������� __________________________________________________________________________ ========================================================================= Date: Thu, 16 Oct 2003 20:03:00 -0400 Reply-To: nudel-soho@mindspring.com Sender: UB Poetics discussion group From: Harry Nudel Subject: after Alan Sondheim before.... Mime-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit :� ;� ;� ;� ;��������������� :� ����� ;� __________________________________________________________________________ ========================================================================= Date: Fri, 17 Oct 2003 01:15:08 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Nick Piombino Subject: Workshop with Lee Ann Brown and Peter Culley Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit > Poetry Writing Workshop > November 1st-2nd > 11-4pm each day > With Lee Ann Brown and Peter Culley > Fee: $100 > Contact Rob or James at buzzerthirty@yahoo.com > http://www.buzzerthirty.com/ > > Poets Peter Culley (Nanaimo, BC, Canada) and Lee Ann Brown (NYC) will join > forces to > conduct a collaborative workshop devoted to exploring the use of writing as a > tool of > immediate response: as the sensual recovery of atmosphere or circumstance, the > accurate fast sketch of a work of art or a passing pigeon, as viable witness > to the terrors > and glories of everyday life. Though this workshop will include (amongst other > things) a > visit to PS1, participants still distracted by the early November presence of > ghosts and > saints will be given latitude. > > Bios: > Lee Ann Brown's books of poetry include Polyverse (Sun & Moon) and The Sleep > That > Changed Everything (Wesleyan University Press). She teaches poetry and > literature at > St. John's University in Queens and will be making apprearances this fall at > the Bowery Poetry Club in NYC (Oct 12), the Kelly Writers House at U Penn > (October 20) > and Barnard College, NYC (November 7). Brown is currently obsessed with her > baby > daughter, Miranda Lee Reality Torn. > > Peter Culley's books of poetry include The Climax Forest (Leech Books) and the > just > released Hammertown (New Star). As an art critic he has received grants from > the > Canada Council and has written on artists such as Stan Douglas, Roy Arden and > Kelly > Wood and for the Vancouver Film Festival. His blogspot is > http://mossesfromanoldmanse.blogspot.com/. > > Lee Ann Brown > PO Box 13, Cooper Station > NYC 10003 > 646.734.4157 > LA@tenderbuttons.net > > > ========================================================================= Date: Thu, 16 Oct 2003 22:39:05 -0700 Reply-To: poemcees@hotmail.com Sender: UB Poetics discussion group From: Ytzhak Organization: Selah7 http://www.sleepybrain.net/vanilla.html Subject: POEM-CEES thurs/fri/sat/sun SHOWWWWs Comments: To: THCO2 MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit sup peoples, YOU HAVE OPTIONS- now exercise 'em... Thursday 10/16: 1 yr. anniversary of REUNION THURSDAYS: 1725 Columbia Road, NW WDC - Doors at 9:00 -hands down the dopest hip hop party in the city; for those of you who miss that State of the Union vibe, THIS IS IT. Washington, DC Friday 10/17: Tamara Wellons @Bohemian Caverns 1355 U Street (Corner of 11th & U Sts.)- Show starts @9:30pm -The ep, "Introducing..." will be available; for those of you who don't know, tam-rock is KILLIN' IT. this project is perfect for those of y'all who missed spring this year (aka EVERYBODY). 202/299-0801 Washington, DC For more information on Tamara's upcoming appearances log on to: http://www.lilsoso-productions.com Saturday 10/18: Uninterrupted feat. HEAD-ROC @Cafe Mawonaj 624 T ST N.W. (7th & T NW)- Doors @8pm/Show @9pm/$5 Cover, 18+ -it just don't stop as you cruise into the rather new revolutionary cafe Mawonaj for Uninterrupted, who will be bangin' out full tilt. ps. while we recommend you try the "harriet tubman platter", fyi- you can buy poem-cees "paranoia" and other local cds at the Mawonaj cash register. 202-332-4480 Washington, DC Sunday 10/19: H.E.R. @ Ben & Mo's 1225 Connecticut Ave NW- Show starts at 9:00 -this is the new ritual, for those of you who prefer your hip hop to be crowd interactive; performances, battles, DJs, b-boys... and you thought sunday nite HBO was dope? HA! this week: Asheru of Unspoken Heard POEM-CEES the weekly battle LAURA'S B-DAY CELEBRATION!!! is that enough for ya? huh? HUH?! alrighty then... POEM-CEES/http://www.poemcees.com Buy "PARANOIA" now at: http://www.cdbaby.com http://www.amazon.com DJ Hut (Dupont Circle) Capitol City Records (U St. ) DCCD (Adams Morgan) GW Tower Records (Foggy Bottom) CD/Game Exchange (College Park) BLACKLUSTRE MASH UNIT POEM-CEES http://www.poemcees.com Soul Controllers http://www.worldsflyest.com -- - ___ Stay Strong "Peace sells but who's buying?" Megadeth "This mathematical rhythmatical mechanism enhances my wisdom of Islam, keeps me calm from doing you harm, when I attack, it's Vietnam" --HellRazah http://www.sleepybrain.net/vanilla.html http://awol.objector.org/artistprofiles/welfarepoets.html http://ilovepoetry.com/search.asp?keywords=braithwaite&orderBy=date http://www.dpgrecordz.com/fredwreck/ http://www.lowliferecords.co.uk/ http://loudandoffensive.com/ http://groups.yahoo.com/group/THCO2 ========================================================================= Date: Thu, 16 Oct 2003 22:40:44 -0700 Reply-To: Ishaq1823@telus.net Sender: UB Poetics discussion group From: Ytzhak Organization: Selah7 http://www.sleepybrain.net/vanilla.html Subject: Reminder - WORDS hip hop & poetry showcase & open m... MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii; x-mac-type="54455854"; x-mac-creator="4D4F5353" Content-Transfer-Encoding: 7bit We would like to remind you of this upcoming event. NYC WORDS hip hop & poetry showcase & open mic Date: Saturday, October 18, 2003 Time: 10:00PM EDT (GMT-04:00) WORDS hip hop & poetry showcase & open mic SATURDAY third Sat of every month 10pm WORDS hip hop & poetry showcace & open mic check

Click to subscribe to rockypresents
for showcase info Hosted By WiseGuy&Gaston Beats By Josh & Jonah with DJ BOO $10 w/FLYER (not email) third sat of every month Nuyorican Poets Cafe 236 east 3rd St/btwn Ave B&C/nyc/ F train to 2nd Ave/ A ROCKY PRESENTS EVENT -- - ___ Stay Strong "Peace sells but who's buying?" Megadeth "This mathematical rhythmatical mechanism enhances my wisdom of Islam, keeps me calm from doing you harm, when I attack, it's Vietnam" --HellRazah http://www.sleepybrain.net/vanilla.html http://awol.objector.org/artistprofiles/welfarepoets.html http://ilovepoetry.com/search.asp?keywords=braithwaite&orderBy=date http://www.dpgrecordz.com/fredwreck/ http://www.lowliferecords.co.uk/ http://loudandoffensive.com/ http://groups.yahoo.com/group/THCO2 ========================================================================= Date: Fri, 17 Oct 2003 02:42:48 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: current interrelated spam insertions MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=X-UNKNOWN Content-Transfer-Encoding: QUOTED-PRINTABLE current interrelated spam insertions c29uZGhlaW1AcGFuaXguY29t when Piggy died so did the conch. This means that when reason is destroyedAma refers to them as messengers. The two women then go inside. As they do and has become fixated on a powerful Party member named O^=D2Brien is an marvelous entertainer. c29uZGhlaW1AcGFuaXguY29t He decides to leave school a few days than what he is supposed to in an attempt to deal with his current situation. Besides and completely controlled by the ruling Party. he ignores them completely. Holdens favorite author besides his brother is Ring Lardner. There is one story that kills him that shows his understanding of laws. written by Ernest Hemingway is about the love story of a nurse and a war ridden soldier. The story starts as Frederick Henry is serving in the Italian Army. He meets his future love in the hospital that he gets put in for various reasons. I thought that A Farewell to Arms was a good book because of the symbolism ___ ========================================================================= Date: Fri, 17 Oct 2003 02:43:03 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: KS < AS > KS MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII KS < AS > KS topologic murd breakdown of the circSTART!ous int breakdown of the circuit ntion of th breakdown of the circuit lung ball that th breakdown of the circInsanity that th breakdown of the circInt breakdown of the circuit rnal organ danc breakdown of the circuit s laugh c breakdown of the circSTART!tain breakdown of the circuit xist breakdown of the circuit nc breakdown of the circuit difficulty in light my brain stalling of localization to th breakdown of the circInt breakdown of the circSTART!nal organ that th breakdown of the circuit butt breakdown of the circSTART!fly that th breakdown of the circuit breakdown of the circuit mbryo who is transmitt breakdown of the circuit d coll breakdown of the circuit ct battl breakdown of the circuit that b START HER!down of the circuit conv breakdown of the circSTART!ting was op START HER!down of the circ-too easy "n" th breakdown of the circuit br START HER!down of the circuit ast womb and pr breakdown of the circuit vious thinking////night sky that th breakdown of the circuit dr breakdown of the circuit am of th breakdown of the circ-too easy "n"ak breakdown of the circuit d body that th breakdown of the circuit paradis breakdown of the circuit wh breakdown of the circSTART! breakdown of the circuit th START HER!down of the circImago of my p breakdown of the circSTART!c START HER!down of the circuit ption was kill breakdown of the circuit d and was run ov breakdown of the circSTART! told th breakdown of the circuit high tid breakdown of the circuit of a cadav breakdown of the circSTART! burnt out was cov breakdown of the circSTART! breakdown of the circuit d to th START HER!down of the circuit mask of a flight impossibl breakdown of the circuit breakdown of the circuit mbryo)) as br breakdown of the circuit ath is clogg breakdown of the circuit d-- breakdown of the circuit y START HER!down of the circuit of th breakdown of the circuit br breakdown of the circuit akdown of th breakdown of the circInsanity flocculat START HER!down of the circuit s--th breakdown of the circuit hol breakdown of the circuit of th breakdown of the circuit murd breakdown of the circSTART! crowds to th breakdown of the circuit whol breakdown of the circuit body/th breakdown of the circuit abs breakdown of the circ-too easy "n"c START HER!down of the circuit that blood is discontinu breakdown of the circuit d it turns/th breakdown of the circuit s breakdown of the circuit xual d START HER!down of the circuit sir breakdown of the circuit of th breakdown of the circuit larva of th breakdown of the circ-too easy "n"ightmar START HER!down of the circuit that scraps th breakdown of the circSTART! 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Estimate paths from Edwards R. Evaporated the \Lambda. Define the sheaf e principal ideal of R y. Investigate islamic jzj (\Omega. EPISODE #0000002: Any positive real, 2 two months before. Mayer-vietoris, 2b. Let R be a ring. n. ) buildings had simply. Form, j, has, it's called principle, hence it. Changed; it seems as discussion of this ,. EPISODE #0000003: Bases of the support reserves. The people an expert on Israeli. \lambda [ D is a. Comments at, the construction of ^. Nazi germany in our government! n. Jx \gamma yj real ij. EPISODE #0000004: X, s : M \Gamma ! A the 1. Oe ground. Imagine the general surface of. D ch, ) and g 1. \delta + a Jews, it is the most. Their on board, singular hermitian there was. EPISODE #0000005: 0, sents the k-th Chern fi fi fi. Earthquake for the collapses. behind the Jews!. Shareholder and was, the World Trade computers knocked. 0 integrable with zero. Which prime numbers k according to the BBC. EPISODE #0000006: + 3z, corporate oil? John + 2y. 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There is a morphism associated current.. august highland muse apprentice guild --"expanding the canon into the 21st century" www.muse-apprentice-guild.com culture animal --"following in the footsteps of tradition" www.cultureanimal.com ========================================================================= Date: Fri, 17 Oct 2003 02:51:13 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: August Highland Subject: SEMI-DEFINITE/HOMOSEXUALITY, EFFIGY? WE./ALL WEAR RED/SECURITY, BIZARRE MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit SEMI-DEFINITE/HOMOSEXUALITY, EFFIGY? WE./ALL WEAR RED/SECURITY, BIZARRE CASE #0000001: Those little 23, 1981 existence in. All t (p). for it at Former health, novel. I contracts, F deal, Babylon completely dark. Shultz, stephen those little went through. CASE #0000002: Got to get to a, ) (q Hearst, Jr.;. For \omega s.t. consider of a 300-foot. Barbarity and, there exists a "oh, it's just. By members and 200,000 Iraqis. As well as the burning that that are flown. CASE #0000003: "eternal, was the parking Alex Jones, Of disc \lambda reloaded our. And cliffs with, \Omega ]=pj. 28, reported a. Sij, i 6=j, sacrifices.. Industry, we told them ) (q. CASE #0000004: Necessarily for, beneath it (the p\Lambda (. Numbers q and, older, gray- media news. Jr, gentlemen we E. Arithmetic curtains across. Euclid's, walking around detention of. CASE #0000005: Modulus for sending a. Derived from, Project, talk radio. Or with failed noticed that the cliffs have. Had the eigenforms for regularly made. Q; "" Bohemian Grove be conjured and. CASE #0000006: Members stand, sweeping up delivered a. Described "encampment," a the black altar. Cannot be F (o/ )=X. To protect the, is They have a. Events, however, only known for theorem.. CASE #0000007: The book, + r division can be. And got them the ability of and disguised. Redwoods, resistance when Bosch's Visions. The north side however fails these. By the thirty 1972) and is priests in. CASE #0000008: Titled, Bohemian Club: long r=D%d;. Only a handful, ofelementary Club. Sign of the with Fourier. For all \lambda, all the way and$6 of. Drinking Bush drunkenness, CASE #0000009: But then the Tyre and. Bohemian grove definitions and. Lattice of rank this space to. By the thirty he told Extra!. was poling. That affect us, "The Bohemian inside. CASE #0000010: Such forms are, gathering has assume that. Operator lowers "goodly Tyre. Coefficients of 2,700 acre You're not. Objections to and what our. Suddenly, to ask us why. august highland muse apprentice guild --"expanding the canon into the 21st century" www.muse-apprentice-guild.com culture animal --"following in the footsteps of tradition" www.cultureanimal.com ========================================================================= Date: Fri, 17 Oct 2003 09:16:00 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Haas Bianchi Subject: Louis Zukofsky Mark Scroggins In-Reply-To: <01L1WJ1ZCULU8Y7BOF@ACC.FAU.EDU> MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 8bit If Mark is on the list serv can he email me I have a question about his Louis Zukofsky biography Ray saudade@comcast.net > -----Original Message----- > From: UB Poetics discussion group > [mailto:POETICS@LISTSERV.BUFFALO.EDU]On Behalf Of mscroggi > Sent: Thursday, October 16, 2003 3:37 PM > To: POETICS@LISTSERV.BUFFALO.EDU > Subject: copyright > > > Given the lively discussion on the list recently of copyright law and its > effects, some > of you might be interested in the following conference, which will address > many of > these issues in literary publishing and other areas, including > music and the > visual > arts. I'd especially urge people to get together and construct panels > addressing these > issues in the world of poetry and poetics. > > Mark Scroggins > > CALL FOR PAPERS > > Battling for Ownership: Who Controls Music, Film, Publishing, and Visual > Communications? > > First Bi-Annual Conference, April 16-18, 2004 > Boca Raton Marriott in Boca Raton, FL > > Host: Dorothy F. Schmidt, College of Arts and Letters, Florida Atlantic > University > Conference Committee: Michael Zager, Jeffrey Galin, Anthony > Tamburri, Robert > Davis, Heather Coltman, Angel DiCosola, Jean-Louis Baldet, Susan > Reilley, Mark > Scroggins, Eric Freedman > > We invite abstracts for 20 minute presentations and complete panel and > roundtable > proposals on all aspects of intellectual property in music, film, > publishing, > and visual > communications. We especially encourage those that address > issues across the > commercial arts and/or their impact on the public good. We offer the > following > questions as areas of particular interest: > > • What industry-specific intellectual property problems have > cross-industry > implications and how might solutions to these problems affect the > industries > and > their consumers? > > • How are music, film, publishing, and visual communications > industries > addressing the conflicts between corporate rights to protect > assets and public > rights > to fair-use and advancement of the public good? > > • How do specific cases like the RIAA’s suits against > peer-to-peer music > traders, > Jon Johansen (developer of DVD decoding software), Kinko's (copying course > packets > for university students) affect copyright holders, legal doctrine, and > cultural practices? > > • How should the industries that deal in the arts change as a > result of new > digital > technologies, user habits and expectations, and the balance that must be > maintained > between encouraging creativity by giving exclusive property rights in > creations and > fostering a competitive market place by giving the freest possible public > access to > works of authorship and the ideas they encompass? For example, how will > industries > like music continue to change in response to the changing roles of > intellectual > property online? Will most music be sold online, and if so how > will illicit > music trading > be stopped? > > • In the first weeks of 2003 the Supreme Course upheld the > Sonny Bono Act's > twenty year extension of the 1976 Copyright Law, and the recording and > technology > industries reached a "landmark agreement" to address piracy concerns, meet > consumer expectations, and forestall government regulation of digital > copyrights. > How will such decisions affect the future of copyright and cultural > production/ > exchange? What implications will such national decisions have on global > markets and > cultures? > > Invited speakers will include: > > Rosemary Coombe, Tier One Canada Research Chair in Law, Communication and > Cultural Studies at York University in Toronto; Daphne Ireland, > Intellectual > Property > Manager at Princeton University Press and Chair of the Copyright > Committee for > the > American Association of University Publishers; Zachery Martin, Senior at > Spanish River > High School in Boca Raton; Bruce Phillips, Senior Acquisitions Editor for > Music and > Dance Books, Scarecrow Press, Rowman & Littlefield Publishing > Group; Kenneth > Crews, Professor in the Indiana University School of > Law—Indianapolis and in > the IU > School of Library and Information Science, Associate Dean of the > Faculties for > Copyright Management, and Director of the Copyright Management Center at > IUPUI; > Jenny Toomey, Executive Director Future of Music Coalition; Robert Spoo, > Copyrights > Editor for the Journal of Modern Literature and the James Joyce > Quarterly > and a > member of the intellectual property group at the law firm of Doerner, > Saunders, > Daniel & Anderson in Tulsa, Oklahoma; Wendy Seltzer, Staff > attorney for the > Electronic Frontier Foundation and founder of the Chilling > Effects Project; > Melanie > Masterson, VP of Antipiracy at EMI Latin America; Ann Chaitovitz, National > Director of > Sound Recordings for the American Federation of Television and > Radio Artists > (AFTRA) in Washington; Peter Dekom, Co-Chairman, American Cinematheque and > former partner in the LA law firm of Bloom, Dekom, Hergott and Cook; Neil > Crilly, > Executive Director of the Florida Chapter of the National Association of > Recording > Arts & Sciences NARAS > > All abstracts and proposals (250 words) should be submitted in duplicate. > Please > mail abstracts postmarked by December 1st to Professor Jeffrey R. Galin, > Department > of English, Florida Atlantic University, 777 Glades Road, Boca > Raton, FL 33431 > or sent > via email to . Tel: (561) 297-1221 Fax: (561) 297-3807 > > CONFERENCE INFORMATION Boca Raton Marriott, 5150 Town Center Circle, Boca > Raton, FL 33486 (561-392-4600) (Fax 561-395-8258) > Rooms $79.00 + tax; single/double and $179 + tax; suite > NOTE: You must mention the “Battling For Ownership” conference > when making > reservations. > ========================================================================= Date: Fri, 17 Oct 2003 09:19:41 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Haas Bianchi Subject: Re: Your favorite reading series or venue? In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 8bit In chicago the best reading series is the Discrete Series-- it must be the best since I read there:) , but seriously it is quite good with real diversity of serious writers in a great space to hear poetry-- also the Danny's Series is good but it is a bar hence it is less comfortable than the Discrete series. The Chicago Poetry Project does a reading series at the Harold Washington Library which is very good ( the lady from Skanky Possom read last month) but it is on Saturday afternoons which can be tough to get to. > -----Original Message----- > From: UB Poetics discussion group > [mailto:POETICS@LISTSERV.BUFFALO.EDU]On Behalf Of Mairead Byrne > Sent: Thursday, October 16, 2003 1:48 PM > To: POETICS@LISTSERV.BUFFALO.EDU > Subject: Re: Your favorite reading series or venue? > > > Dear Shanna, > My current favorite reading series is Jane Sprague's West End Poetry > Series at Gimme Coffee in Ithaca, NY, though I was very fond of my own > Spring Poetry Series at Carr Haus, Rhode Island School of Design, though > I'm not doing it in 2004. Another one of my favorite venues is wherever > I'm reading: all invitations welcome! > Mairead > > > > Mairéad Byrne > Assistant Professor of English > Rhode Island School of Design > Providence, RI 02903 > www.wildhoneypress.com > www.maireadbyrne.blogspot.com > >>> "shannacompton@earthlink.net" 10/16/03 > 14:34 PM >>> > If you're so inclined, I'd love to hear about them. Here, there, > anywhere. Thanks. > > Shanna > > ---------------- > Shanna Compton > http://www.shannacompton.com > ========================================================================= Date: Fri, 17 Oct 2003 10:36:06 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Michael Basinski Subject: Levy, Locklin, Lifshin, Bukowski, underground press. MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline Levy, Locklin, Lifshin, Bukowski, underground press. The world of underground, small press poetry continues to flourish. It has its own set of superstars and its own cannon. With its own poetics and regulations it proliferates and it's often dismissed without consideration. Nevertheless, it supports itself and has its poets have a readership, sometimes so large as to be unequaled anywhere else in poetry. What's going on? CALL FOR PAPERS. Poetry Studies Area. Popular Culture Association /American Culture Association, PCA/ACA Conference, San Antonio, TX April 7-10, 2004. The Poetry Studies Area of the Popular Culture Conference is interested in paper abstracts on poets who have links to popular culture, past or present. Also, we are very interested in panel proposals. Poetry and Popular Culture is a vast undefined and open area. Your definition of Poetry and Popular Culture will be respected. Complete and detailed information can be located at: http://www.h-net.org/~pcaaca/2004/ If interested please send a brief paper abstract. Deadline is November 15, 2003. Send proposals for panels and abstracts to: Michael Basinski, Associate Curator, The Poetry/Rare Books Collection, 420 Capen Hall, SUNY at Buffalo, Buffalo, New York 14260 basinski@buffalo.edu Please include your current addresses, phone number and email. All accepted proposals will be furnished with further information concerning conference registration, hotel accommodations and other pertinent information. ========================================================================= Date: Fri, 17 Oct 2003 12:54:30 -0230 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Kevin Hehir Subject: Dyer: Not Vietnam yet, but getting warm MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Clashes in Iraq -- not Vietnam yet, but getting warm Hamilton Spectator Oct. 10, 2003 Gwynne Dyer The six-month anniversary of the fall of Baghdad on Oct. 8 was one of the worst days yet for the occupation forces in Iraq. An attack on a U.S. road convoy killed at least one American soldier, which is the sort of thing that happens most days. But a Spanish diplomat was also assassinated in Baghdad (the Spanish government backed the invasion of Iraq), and a suicide bomber killed eight Iraqi policemen who were collaborating with the occupiers in the courtyard of their own police station. Not Vietnam yet, but getting warm. Add the failure of thousands of inspectors to find Saddam Hussein's alleged weapons of mass destruction and the Bush administration's request for another $87 billion to cover the cost of Iraq and Afghanistan, and it's hardly surprising that Bush's approval ratings with Americans are falling steeply. It begins to look possible that the entire neoconservative project for imposing a unilateral "pax americana" on the world may be rejected by voters in the November 2004 election. Iraq will remain a mess for a long time, but maybe we will soon get back to the old world of multilateralism and the UN. That's the hope many people are starting to nourish, but it may not be that simple. There is now a symbiotic relationship between the Islamist terrorists and the neoconservative directors of the "war on terror" that promises a long political life to the players on both sides. Both seek to undermine the existing global order in order to expand their own freedom of action. Each group's actions justify the existence of the other group, at least in the eyes of its own supporters. Al-Qaeda sees the overseas adventures of American neo-conservatives as the best possible recruiting tool for its own cause among Muslims worldwide. If Osama bin Laden could decide the next U.S. presidential election, he would instantly choose President George W. Bush. A rival candidate might pull American troops out of the Middle East or be more even-handed in the Israeli-Palestinian dispute, and bin Laden has no interest in regional stability. Given that bin Laden does not have a magic wand, what is Bush's best hope of winning a second term despite an ailing economy and the deepening quagmire of Iraq? It is that Americans close ranks patriotically behind him as they did in the immediate aftermath of Sept. 11. He needs either another major terrorist attack on American soil, or another victorious war against an alleged "terrorist state" or a suspected proliferator of "weapons of mass destruction." Nobody in the Bush entourage would actively wish for a new terrorist outrage in the U.S., but they must know it might happen anyway, and it would likely stampede American voters back into the arms of their man. But they must also know it might not happen, so they must consider what they could do to improve Bush's electoral fate. Put so baldly, this sounds desperately cynical. Would patriotic Americans in senior positions in the Bush administration really engineer a war in which young Americans would be killed just for the sake of their man's re-election? No, probably not. But senior members of the administration have a short list of "rogue" countries that they would like to attack anyway, for reasons that seem to them as sound as the ones that moved them to invade Iraq. Their assessment of the threat level from these places, and of the urgency with which the U.S. should act against them, will take place in one compartment of minds where another compartment is simultaneously contemplating the awful tragedy of a defeat in November 2004 that would, in their view, leave the U.S. horribly exposed and vulnerable. We are not out of the woods. There may well be another terrorist attack before the vote, or another war. If either, the impasse between Islamists and neo-cons will challenge the global order that has been painfully built up since 1945. ========================================================================= Date: Fri, 17 Oct 2003 10:37:18 +0000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Chris Stroffolino Subject: Re: Levy, Locklin, Lifshin, Bukowski, underground press. Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit Basinski's panel last year was an absolute pleasure to be on--- I can't do it this year, but I strongly encourage others who are interested to do so Chris ---------- >From: Michael Basinski >To: POETICS@LISTSERV.BUFFALO.EDU >Subject: Levy, Locklin, Lifshin, Bukowski, underground press. >Date: Fri, Oct 17, 2003, 2:36 PM > > Levy, Locklin, Lifshin, Bukowski, underground press. > > The world of underground, small press poetry continues to flourish. It has > its own set of superstars and its own cannon. With its own poetics and > regulations it proliferates and it's often dismissed without consideration. > Nevertheless, it supports itself and has its poets have a readership, > sometimes so large as to be unequaled anywhere else in poetry. What's going > on? CALL FOR PAPERS. Poetry Studies Area. Popular Culture Association > /American Culture Association, PCA/ACA Conference, San Antonio, TX April > 7-10, 2004. > > The Poetry Studies Area of the Popular Culture Conference is interested in > paper abstracts on poets who have links to popular culture, past or > present. Also, we are very interested in panel proposals. Poetry and > Popular Culture is a vast undefined and open area. Your definition of > Poetry and Popular Culture will be respected. Complete and detailed > information can be located at: http://www.h-net.org/~pcaaca/2004/ > > If interested please send a brief paper abstract. Deadline is November 15, > 2003. Send proposals for panels and abstracts to: > > Michael Basinski, Associate Curator, The Poetry/Rare Books Collection, 420 > Capen Hall, SUNY at Buffalo, Buffalo, New York 14260 > basinski@buffalo.edu > > Please include your current addresses, phone number and email. All accepted > proposals will be furnished with further information concerning conference > registration, hotel accommodations and other pertinent information. ========================================================================= Date: Fri, 17 Oct 2003 13:42:47 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Tenney Nathanson Subject: REMINDER: POG this Saturday 10/18 7pm Dinnerware: writer JIM PAUL, visual artist GREG BENSON MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 8bit REMINDER POG presents writer Jim Paul visual artist Greg Benson Saturday, October 18, 7pm Dinnerware Gallery 210 N. Fourth Avenue Admission: $5; Students $3 Jim Paul is a poet and writer living in the Rincon Mountains east of Tucson. His new novel, Elsewhere in the Land of Parrots, was published in summer 2003 by Harcourt. He is also the author of Catapult: Harry and I Build a Siege Weapon and Medieval in LA (both Harvest books) and of The Rune Poem, published by Chronicle Books. His poems have appeared in The New Yorker, the Paris Review, Poetry, and elsewhere. Greg Benson is a Tucson mixed-media artist and a founding member of Dinnerware Artist’s Cooperative, a non-profit exhibition space. Since 1975, Benson has been working on an ongoing series of mixed media works on paper and unstretched canvas. His work is characterized by an aerial perspective that is often found in naive or primitive art. Says Benson: “I am intrigued by the real history of America and I pursue this research with a passion and continually include my findings in my paintings.” for links to online material by or about Jim Paul and Greg Benson, go to http://www.gopog.org/upcoming.html POG events are sponsored in part by grants from the Tucson/Pima Arts Council, the Arizona Commission on the Arts, and the National Endowment for the Arts. POG also benefits from the continuing support of The University of Arizona Poetry Center, the Arizona Quarterly, Chax Press, and The University of Arizona Department of English. We also thank the following 2003-2004 POG donors: Patrons Liisa Phillips and Austin Publicover; Sponsor Michael Gessner. Continuing thanks to 2002-2003 donors: Patrons Roberta Howard, Tenney Nathanson, Liisa Phillips, Austin Publicover, and Frances Sjoberg; Sponsors Barbara Allen, Chax Press, Alison Deming, The Jim Click Automotive Team, Elizabeth Landry, Stefanie Marlis, Stuart and Nancy Mellan, Sheila Murphy Associates, and Tim Peterson. for further information contact POG: 615-7803; mailto:pog@gopog.org; www.gopog.org ========================================================================= Date: Fri, 17 Oct 2003 18:08:04 -0400 Reply-To: nudel-soho@mindspring.com Sender: UB Poetics discussion group From: Harry Nudel Subject: Colubia U. Award.. Mime-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Columbia U. has just announced that the first winner of the Edward Said mem- orial award in post-colonial thot is Mahatir Mohammed the Prime Mininster of Malasia The U. particularly cited his remarks at the current Islamic Conference "The Europeans killed 6 Million of of 12 Million Jews but today the Jews rule the world by proxy. The get others to die and fight for them" as exemplifying the spirit and temper of Said work... a jewish ash star will be awarded to Mr. Mohammed at the awards ceremonies... drn.. ========================================================================= Date: Fri, 17 Oct 2003 18:08:47 -0400 Reply-To: nudel-soho@mindspring.com Sender: UB Poetics discussion group From: Harry Nudel Subject: Columbia U. Award.. Mime-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Columbia U. has just announced that the first winner of the Edward Said mem- orial award in post-colonial thot is Mahatir Mohammed the Prime Mininster of Malasia The U. particularly cited his remarks at the current Islamic Conference "The Europeans killed 6 Million of of 12 Million Jews but today the Jews rule the world by proxy. The get others to die and fight for them" as exemplifying the spirit and temper of Said's work... a jewish ash star will be awarded to Mr. Mohammed at the awards ceremonies... drn.. ========================================================================= Date: Fri, 17 Oct 2003 19:21:21 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Halvard Johnson Subject: Re: Your favorite reading series or venue? In-Reply-To: <000e01c394b9$b4ae7aa0$a650a243@comcast.net> MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit I like the readings I do for myself--sometimes aloud, sometimes very quietly, my lips barely moving, someone's voice whispering, at times roaring, in my ear. My favorite venues are the desk where I sit in my little office, a comfortable chair in the living room, my bed upstairs, just before I fall asleep. Hal Colourless green ideas sleep furiously. --Noam Chomsky Halvard Johnson =============== email: halvard@earthlink.net website: http://home.earthlink.net/~halvard ========================================================================= Date: Fri, 17 Oct 2003 21:36:19 -0400 Reply-To: olsonjk@delhi.edu Sender: UB Poetics discussion group From: Kirby Olson Organization: SUNY Delhi Subject: Re: copyright law MIME-Version: 1.0 Content-Transfer-Encoding: 7bit Content-Type: text/plain; charset=us-ascii Maria Damon -- you who are ineluctably electable, couldn't you say what it cost to get permissions for your book? Surely the Robert Lowell estate demanded something? City Lights has been known to charge rather big fees -- anything for the Bob Kaufman pieces? Or did you get by on charm and ineluctable electability? -- Kirby aaron tieger wrote: > According to the U.S. Copyright Office > (http://www.copyright.gov/help/faq/faq-fairuse.html): > > "Under the fair use doctrine of the U.S. copyright statute, it is > permissible to use limited portions of a work including quotes, for > purposes such as commentary, criticism, news reporting, and scholarly > reports. There are no legal rules permitting the use of a specific number > of words, a certain number of musical notes, or percentage of a work. > Whether a particular use qualifies as fair use depends on all the > circumstances. See FL 102, Fair Use, and Circular 21, Reproductions of > Copyrighted Works by Educators and Librarians." > > Here's a link to the Fair Use Doctrine: > > http://www.copyright.gov/fls/fl102.html > > This will point you to the section (107) of the copyright law which codifies > Fair Use, which says > > "Notwithstanding the provisions of sections 106 and 106A, the fair use of a > copyrighted work, including such use by reproduction in copies or phonorecords > or by any other means specified by that section, for purposes such as > criticism, comment, news reporting, teaching (including multiple copies for > classroom use), scholarship, or research, is not an infringement of copyright." > > Section 106 lists the rights of the copyright holder to do things to the work > he holds copyright for. Section 106a, "Rights of certain authors to attribution > and integrity," covers the visual arts. > > So according to copyright law, if I (not a lawyer) interpret it correctly, you > can excerpt whatever the hell you want in a critical essay. > > Does anyone (besides Kirby) have experience with paying for permissions? > > Aaron > > ===== > "The tools of the trade are the head and the heart > > every raw material > > at hand" (Mission of Burma, "Learn How") > > __________________________________ > Do you Yahoo!? > The New Yahoo! Shopping - with improved product search > http://shopping.yahoo.com ========================================================================= Date: Fri, 17 Oct 2003 19:07:13 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mark Weiss Subject: Re: Lakoff on Schwarzenegger Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed Yeah, keep the bill of rights and the fourteenth amendment, the supreme court, the division of powers between the houses of congress. Maybe a few other things. But--scrap the current state boundaries, add a mechanism for reviewing same at reasonable intervals. And change the house of representatives to a parliament (out of which the president), so that many parties and viewpoints could be represented and be forced to form coalitions to govern. One could conceive of a revolution, but it wouldn't be feasible. Mark >At 08:13 AM 10/16/2003 -0400, Halvard Johnson wrote: >{ We're saddled >{ with a constitution framed for 18th century problems, and there's no >{ conceivable way to scrap it and start over. >{ >{ Mark > >Whew, you certainly didn't trim much of *that* message. > >Anyway, there are plenty of "conceivable" ways, Mark. >What we need are some feasible ways--if not of scrapping >it (actually, I'm quite fond of some of it), then of modifying >it in certain directions. > >Hal You Are Not Authorized to View This Page > >Halvard Johnson >=============== >email: halvard@earthlink.net >website: http://home.earthlink.net/~halvard ========================================================================= Date: Sat, 18 Oct 2003 03:44:29 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: ::21/131/1/1/1//1 \ code MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII ::21/131/1/1/1//1 \ code 1/1y1//21/1/1/131//2141//131/21/1/1/1--/131//21/131/131/131/131y21/2141/1 21/21/1//131/1/1/1/131/131/131/21/131/21/131/21--/21/1/1/1//131/1/131/ 1/131/1/1/2141/21/131/,131/1/21/2141//131/2141/131/21/1/131/21/1y21/1/1/21 21/21/131//131/21/21/1/131/131/21/21/1//2141/21/131/2141/131/2141/21/1/21//1 21/21/131/1/21/21/131/131/21/21/21/131//1--y//21/21/21/21//1/131/21/21/21/1 21/131y/21/21/1/1--21/21/21521/1/1/21/21/21/131/21/1/1/21/21/1/1/131y131/ 1/131/131/131/1/21/21/21/1/1/2141/21/21521/21/2141/21//2141/21/2141/ 21/1/1//2141/131/2141/1/1/131/2141/131//21/131/21521/2141/131-- ****1/21//131//2141//1****21/21/1/131/2141/21/2141/131/2141/21//21/1/21521/1 21/131/21521/1y1/131/21/21/2141/1/1/21/21//2141/21/21/131/21/1/21/1/21/21 1/131/21/1/131/1DNA=21/21/21/2141/21/21//131/131/131/131/1/21/1/1/1//1 21/131/21/2141/131y1/1/2141/21521/21/1/21//1****1/1/1/131/21/2141/131/1 /21/1/****/131/2141/21//21/21/21y//131/21/1/1//2141/y,131/21/21/2141/131/1/ 1//1/21y131/2141/2141/2141y//131/215131/21/21/1/1/21/131/21//131/2141/ 1/1/1/21/131/21/21/21521/21/2141y21/21/21/1/131/2141/21/1/1/21/1/1/ 1/1/21//21/1y21/1/1/21/131/1/21/21/21/21//21/131//1/1/2141//131//21521//131/ 21//1/1/1/2141/21521/21/21/21/1X1/131/1//131/21/131/21/21/21/21/21/2141/1/ 1/1/131//1/21/2141/21/1//1/21//131/21//21/1/2141/1/1/131/21/21/131//21/1/ 1/1/1/2141/2141/21/21/131/2141/21/131/2141/1//1/131/131/2141y1/21/1/1y21/131 /21/21/21/1/21/1/21//131/131/y1/1/1/131/21521/21/1/131/21/y/1/21/1/1/1!!! 1/21I131/131/1//2141/131//21/2141/1/1/1/131/21/131/1/131/131/131/21/2141/ 1/131???1I21/1//131/131/1/y/131/131/215131y21/21/1/2141/21/21/1=/21/131/21 /2141/21/1/21/2141/21/1/1/21521/21/131/1/131/131/131/21/1///21y****1I131/1/ 1/1/21/1/1/21/131I1/131/131/2141/y131/1/1/131/21/1/1/131//131/131/2141/ 1/2141/131/2141/21//1/1/131/131/1/1/21/21/1/21/21/21//131/131/1/131/1/1/21 1/131/21521/1/21521/1/21/21/1/1y21/21//2141/21/1/21/2141/21/1/131/1y21/1/ 21/21/21521/21/2141/131/1/1//2141/1/1I1/21/21/2141/1/1/2141/1/=1/131/ /21/1/131/131/21/2141/1/=1/2141/21.21/215131y....1/1/131/21//1/2141/1/21/1 21/21/y1/1/131/2141/1/1/1/131//131/21/1//21/21/21//2141/131/131//1/21/21/1 /21/2141/2141//1/2141/2141/1/1/1/1//21/2141/1/131/21//21/2141/21/21/21/21y 1/1/131/1y131/131y21/131/21/21/21/21/131y131/21/21/21/21521/131y21/131/131/1 1/21/21/131/131/1y//2141/y/21/2141/1/21/131/1/21/21/21-21//1/131/1y//131//1. :: / / / / // \ decode / y // / / / // // / / / / --/ // / / / / y / / / / // / / / / / / / / / / / --/ / / / // / / / / / / / / / /, / / / // / / / / / / / y / / / / / // / / / / / / / / // / / / / / / / / // / / / / / / / / / / / // --y// / / / // / / / / / / y/ / / / -- / / / / / / / / / / / / / / / / y / / / / / / / / / / / / / / / / // / / / / / // / / / / / / / // / / / / -- **** / // // // **** / / / / / / / / / // / / / / / / y / / / / / / / / // / / / / / / / / / / / / / / DNA= / / / / / // / / / / / / / / // / / / / y / / / / / / // **** / / / / / / / / / /****/ / / // / / y// / / / // /y, / / / / / / // / y / / / y// / / / / / / / / // / / / / / / / / / / / y / / / / / / / / / / / / / / // / y / / / / / / / / / // / // / / // // // / // / / / / / / / / X / / // / / / / / / / / / / / / // / / / / // / // / // / / / / / / / / // / / / / / / / / / / / / / / // / / / y / / / y / / / / / / / / // / /y / / / / / / / / /y/ / / / / !!! / I / / // / // / / / / / / / / / / / / / / / ??? I / // / / /y/ / / y / / / / / / =/ / / / / / / / / / / / / / / / / / / / /// y**** I / / / / / / / / I / / / /y / / / / / / / // / / / / / / / // / / / / / / / / / / / // / / / / / / / / / / / / / / / y / // / / / / / / / / y / / / / / / / / / // / / I / / / / / / / /= / / / / / / / / / /= / / . / y.... / / / // / / / / / /y / / / / / / / // / / // / / // / / // / / / / / / // / / / / / / // / / / / // / / / / / y / / / y / y / / / / / / y / / / / / y / / / / / / / / y// /y/ / / / / / / / / - // / / y// // . ========================================================================= Date: Sat, 18 Oct 2003 03:52:36 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: losangeles talk tonight on george stone MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII losangeles talk tonight on george stone a lot bolic ls you need to reach your weight-loss goals. the best-selling beach diet is now available cheap electric scooters urities. we do not all best-selling lot a bolic lot ls bolic you ls need you to need reach to cheap available electric cheap scooters electric urities. scooters we heaticality connect bsolescence me:
connect ffacement the stage of language stage / language disruption / offer we eadb a guarantee eadb on lot of the = to you are interested in please visions long_ or _tall_ mind ch diet is undertake or represent to make scooters subject: sell a ntrusion of virtuality sell into virtuality lers,if the purchase lers,if of everything on technology we irroring technology peripheral or culture of the cheap electric now available online, with all of ntrusion of on everything we technology irroring or peripheral culture as extension of or make to = the are you interested are please in visions please long_ or purchase sell or t-selling sell south t-selling subject: south a peripheral as culture extension as mind a ch mind undertake is represent pieces online, with beach all diet beach is diet now is available now south virtuality in various sell. heaticality bsolescence connect me:
the ffacement of of stage language / disruption we offer a eadb guarantee urities. do we not do all not of of the of online, available with online, virtuality into the lers,if purchase or sell t-selling south subject: sell virtuality various in sell. various heaticality sell. bsolescence visions _tall_ or pieces with your reach weight-loss your goals. weight-loss best-selling the in __ ========================================================================= Date: Sat, 18 Oct 2003 11:08:37 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Austinwja@AOL.COM Subject: Blackbox submissions closed MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Hello everyone. Hope all are doing well. Please note the the Fall gallery is now closed to submissions. I am waiting for one more contribution which will arrive snail mail. In total the Fall gallery will contain six artists, when complete. Thanks to all who contributed. Best, Bill WilliamJamesAustin.com amazon.com b&n.com ========================================================================= Date: Sat, 18 Oct 2003 10:16:13 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jesse Seldess Subject: antennae - issue 5 now available MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 8bit ANTENNAE 5 late late late "summer" 2003 $6 poems or writing by rodrigo toscano / dennis barone / sawako nakayasu / steven timm / michael magee / kyle schlesinger & thom donovan / drew kunz / mark tardi / leslie scalapino / patrick f durgin / dawn michelle baude / chris pusateri / rusty morrison / stephen ratcliffe a music score by keumok heo a lecture ("Parasitology") by matthew goulish Payable to Jesse Seldess at 851 N. Hoyne Ave. #3R, Chicago, IL 60622. E-mail: j_seldess@hotmail.com North American subscriptions outside the US, please add $3. Other foreign subscriptions, please add $5. ------------ Also, copies of issue 3 and 4 are still available at $4 a piece. Contents listed below. ------------ ANTENNAE 4 winter 2003 $4 poems or writing by john m. bennett / oswald egger (trans. michael pisaro) / kerri sonnenberg / the wrong object / andrew norris / jules boykoff / k. silem mohammad / jessica smith / heather nagami / ron silliman / kaia sand / david pavelich / daniel borzutzky / stacy szymaszek music scores by jeff snyder / peter edwards coffee-stained cover by ryan weber ANTENNAE 3 summer 2002 $4 poems by brian strang / mark salerno / lyn hejinian / spencer selby / sheila murphy / bob harrison / laynie browne / music or performance scores by mark booth / jennifer walshe / amnon wolman / gerhard stäbler / Thanks. ========================================================================= Date: Sat, 18 Oct 2003 08:41:59 -0700 Reply-To: undergroundhiphopplanet@yahoogroups.com Sender: UB Poetics discussion group From: Ytzhak Organization: Selah7 http://www.sleepybrain.net/vanilla.html Subject: U.S. Military Teams up with Hip-Hop Magazine MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii; x-mac-type="54455854"; x-mac-creator="4D4F5353" Content-Transfer-Encoding: 7bit http://www.salon.com/mwt/feature/2003/10/17/army/print.html "THE ARMY BE THUGGING IT" The military is teaming up with hip-hop bible the Source to recruit black urban kids with pimped-out Hummers and off-da-hook merchandise. - - - - - - - - - - - - By Whitney Joiner Oct. 17, 2003 | Three times a week, 48 weeks a year, a four-man team drives a huge yellow Hummer to a different location. It might be a college or high school campus, a major fraternity gathering, an NAACP event, MTV's Spring Break, or BET's Spring Bling: If lots of African-American teens will be there, the Hummer wants to be there, too. Spray-painted with patriotic images (a rippling American flag, a smiling white woman in a U.S. military officer's uniform), the yellow Hummer is the signature vehicle for the U.S. Army's "Taking It to the Streets" campaign, a hip-hop-flavored tour launched a year ago by Vital Marketing Group, the Army's African-American events marketing team. During these events, the Taking It to the Streets team lets possible recruits hang out in the Hummer, where they can try out the multimedia sound system or watch Army recruitment videos. The Army's team often throws contests, too: Which possible recruit can shoot the most baskets, do the most push-ups, go up the rock-climbing wall the fastest? The winners are awarded Army-branded trucker hats, throwback jerseys, wristbands and headbands. Want a customized dog tag? They've got a machine that makes them. Want to see what it's like to fly a plane? There's a flight simulator. It's all to convince urban teens that the Army understands hip-hop culture: The Army knows you play basketball and wear jerseys, because the Army is down with the streets. "You have to go where the target audience is," says Col. Thomas Nickerson, director of strategic outreach for the U.S. Army Accessions Command, who says that the Army just reached its recruitment goal of 100,200 enlistees this year. "Our research tells us that hip-hop and urban culture is a powerful influence in the lives of young Americans. We try to develop a bond with that audience. I want them to say, 'Hey, the Army was here -- the Army is cool!'" But critics say that the Army's co-optation of hip-hop in its streetwise campaign is misleading, because it markets a life-changing and possibly life-threatening commitment as a fun, cool consumer choice. And some, like Rep. Charles Rangel (D-N.Y.), who argued for a reinstatement of the draft in January, voice concerns about the overrepresentation of people of color in the Army. "One of the reasons why I advocated the draft is because, in terms of a national crisis, we should have shared sacrifices," Rangel says. "When the government says we have to stay in Iraq, we have to show that we're prepared to lose lives, the 'we' should be a broad cross-section of America. They're not asking all of America: They've targeted those Americans who are not getting a fair shake in our society." African-Americans and Hispanics are consistently overrepresented in the armed forces. Even though the numbers have evened out a bit this year, the 2003 Army is 16 percent black, compared with 11 percent of the country, and 13.4 percent Latino, compared with 11 percent of the country. The Vital Marketing Group is about to take its recruitment campaign for African-Americans a step further by teaming up with hip-hop bible the Source. This fall, Vital will launch a new tour separate from the Taking It to the Streets campaign: The Source Campus Combat Tour will start in late October, hitting five Northeastern college campuses with high percentages of African-American students. Like Taking It to the Streets, the Campus Combat Tour will feature interactive exhibits and physical challenges, but Campus Combat culminates in a grand MC battle judged by the Source's editors. "When I saw the Source was teaming up with the Army, I was outraged," says Bakari Kitwana, former executive editor of the Source and author of "The Hip-Hop Generation: Young Blacks and the Crisis in African-American Culture." "It's a betrayal of their readership. The military has historically used African-Americans, while the country has not done justice to African-Americans." Niche marketing to minorities is a recent development for the Army. Two years ago, the Army's newly hired advertising agency, Leo Burnett, threw out the stale 20-year-old "Be All You Can Be" tagline and replaced it with a jazzy new campaign called "Army of One." This heavily researched and focus-grouped motto -- emphasizing the Army's recognition of each soldier's individual talents -- and its accompanying advertising blitz are especially geared toward the short attention spans of the 72 million Generation Yers. "It's becoming really difficult to establish brand loyalty, because kids are bombarded with multiple messages," says Joseph Anthony, CEO of Vital. (According to American Demographics magazine, the average teen takes in 3,000 marketing messages a day.) To compete with all the other brands vying for kids' attention, the Army launched a dynamic, interactive Web site with a strong cyberrecruiting team, multilingual chat rooms, a downloadable "America's Army: Operations" video game, and new commercials focused on Army skills that easily translate to civilian life. And there are Army of One campaigns tailored to specific groups. Muse Cordero Chin, the Los Angeles-based agency that heads up the African-American-geared ad campaign for Leo Burnett, will roll out print and TV ads predominantly featuring blacks early next year. (Muse works closely with Vital, which creates and markets the campaign's events.) San Antonio's Cartel Creativo has developed Spanish and English ads featuring Latin music for the Hispanic community. And for the past year the Army has sponsored a NASCAR car and recruited at races; the mostly white, rural NASCAR audience has already generated over 40,000 leads for the Army. Companies discovered a long time ago that utilizing hip-hop culture -- the musicians, the clothing, the lifestyle, the accoutrements -- is the ticket to selling products to teenagers. Sprite's sales skyrocketed after it launched its "Obey Your Thirst" campaign geared to urban youth. When Tommy Hilfiger's clothes became popular with rappers, his sales shot into the billion-dollar range. McDonald's just signed Justin Timberlake, the poster boy of white soul, to do a hip-hop jingle, produced by the superstar duo the Neptunes. While most hip-hop advertising is an attempt to attract both those who live the hip-hop lifestyle and those who just covet it -- the Army is specifically targeting black youth with their new Source-sanctioned campaign. Since everyone else is marketing with hip-hop -- and since it works -- why shouldn't the Army? A majority of African-American kids are hip-hop fans, so marketing with hip-hop just makes good business sense, says Vital's Anthony. "[This campaign says] 'We want to come to your environment instead of trying to get you to come to ours,'" he says. "The Army wants to better understand your community." (It helps that all of Vital's employees are young and black, Anthony says. "The African-American market is more responsive to marketing that's communicated to them through people who look like them. There's more of a trust factor there.") Everything about the campaign, down to the headbands and Army jerseys, should send that message. "Those are big fashion statements in the urban community right now, but before [Vital] was involved, those types of premiums didn't exist," says Anthony. "We're trying to make the Army more relevant and utilize more of these trends. If we make Army apparel a part of their wardrobe, it just creates a connection. They're able to see the brand in a different light, as cool." Vital has big plans for the partnership with the Source. It doesn't stop with the Campus Combat Tour: Vital hopes to use the 488,000-circulation subscription list for direct-marketing campaigns, create some cross-branded Web sites, throw more Source-branded events, and possibly even appear in the editorial content of the magazine; eventually, there may be reader contests in which the winners will appear in the Source. Right now, the partnership is in a test period, says Anthony, to "see how the relationship bears fruit," but both the Army and the Source say they hope to expand the tour next year. And Vital wants to partner with other "urban platforms," like Vibe magazine and BET -- albeit cautiously. "We don't want to come out of the gate seeming as if we're trying to buy our way into urban culture," Anthony says, "and we don't want our media partner to be perceived as if they're selling out for money." But what if that happens? "We've just got to try and position this as a monumental shift in the U.S. Army's ideology in approaching urban youth," he says. Besides the Source tour in the Northeast and the nationwide Taking It to the Streets campaign, Vital produces another recruitment tool for the Army, a comedy tour that travels to historically black colleges in the Southeast. But Campus Combat is the only tour with another well-known and respected brand attached. And that's critical: It's not easy to convince a bunch of African-American teens that the Army might be their best career choice, but with the Source, the oldest and best-known hip-hop magazine, behind it, the Army gains some much-needed street cred. "It gets us access," says Col. Nickerson, of the Army-Source partnership. It makes sense that the Army's looking to hip-hop to attract urban youth, says Craig Werner, a professor of Afro-American Studies at the University of Wisconsin-Madison. "They know that to sell themselves they need to plug in with the culture," he says. "The Army has been the most egalitarian institution in the U.S., bar none, since the desegregation during the Korean War. If an African-American kid is looking for a career in which talent and character will be rewarded, there's no better place than the Army. Having said that, I find the whole thing pretty disgusting. It's an attempt to capitalize on desperation. We've created a job market in which [young African-Americans] don't have a damn chance." The overrepresentation of minorities in the Army is often cited as proof of the continuing struggle for people of color in the mainstream economy. The Army needs to target ethnic groups, says Kendall Martin, account supervisor at Muse Cordero Chen, because it needs to "mirror" the country. "The Army wants to make sure it improves on representing all groups," he says. "The Army wants to look like America." But the Army doesn't really look like America, and with a volunteer service, it never will. And considering that one of the Army's main draws is money for college, it's definitely not economically diverse; kids who don't need those incentives aren't as enticed to enlist. "If you're a middle-class black kid, you're not enlisting, any more than any middle-class white kid is enlisting," Werner says. "The Army has nothing to do with the general profile of American culture. It's lower middle class, disproportionately black and brown, and disproportionately Southern and rural." Nickerson says he doesn't have any information on the socioeconomic demographics of the Army's enlisted men. "We don't focus on economic backgrounds," he says. "If you qualify to join the Army, I don't care what your economic or social status is." Since the campaigns tailored to minorities were launched only this past year, it's too soon to measure their impact. But the Army has hit its quota of enlistees -- before deadline -- three years in a row. "I think you underestimate the commitment of young Americans," Nickerson says, when I ask how the Army can possibly hit its numbers given the combative state of global affairs. (After all, you've got to wonder if the flashy ad campaigns and free headbands will keep recruitment numbers up as the body count in Iraq continues to rise.) "We've got the best recruiting force in the world. We've got a soft economy, and we've got opportunities that resonate with young Americans." For people of color, the economy's slide has been especially hard: Last month's census data saw poverty numbers rising for all Americans, but especially for blacks. A quarter of African-Americans are living in poverty. It's one of the reasons why the Army-Source campaign infuriates Kitwana. "The Army is providing jobs, and I think that is a good thing, but we have to put that in context: Why does our country not have jobs for young people?" he asks, pointing out that unemployment rates for black youth are twice the rates for whites. "One of the things that [African-Americans in the Army] complain about is that we're over here helping these people, and that's all good, but when we come back home, the hood is fucked up," says Kitwana, who researched the military's economic effect on young African-Americans for "The Hip-Hop Generation." "We can be using this same energy to get drugs out of our community, to redevelop the economic infrastructure. It feels empty, as important as it is, to know that we're going back home to that." "Look at it as the Army returning to that community a better person and a leader in that community," counters Nickerson. "Young Americans who join the Army leave the Army a better person." Chris White, the Source's vice president of corporate sales, says there's nothing to criticize about its partnership with the Army. The Source is just helping an important Source advertiser get its message out to kids. "The Army has made a very strong advertising commitment for the year," he says, adding that these days, advertisers are more interested in marketing partnerships, like the Army-Source deal, than just buying ad pages. "Clients want more than just an ad page in a magazine," White says. "This is our first foray into doing cool marketing programs with the Army, and it's our hope that it leads to a bigger relationship." (Calls to the Source's editorial staff were not returned.) The Nappy Roots, one of this year's most popular hip-hop groups who traveled to the Middle East this summer on the USO tour, don't see a problem with the use of hip-hop in the Army's campaigns. "I think a lot of poor folks go into the service because that's the only way out for a better education, better jobs, and seeing the world," says the Nappy Roots' Big V. "It's their only way to travel. Everybody can't be a musician or a successful doctor or lawyer." Some young people in the Army's target demographic agree: "The Army gives young people opportunities, especially urban people," says Sterling Canter, 23, of Brooklyn. "It's not all about killing. There's an upside to it." "Joining the Army is a personal choice," agrees Devon Edmeade, 25, also of Brooklyn. "Even if Jay-Z was passing out enlistment papers, I'm not joining. But still -- it's a choice. They use hip-hop to market beer and clothes. So why not the Army? I think it's cool." But isn't it a paradox that hip-hop -- now a culture, but one based on a genre of music rooted in inner-city resistance to the white majority -- is being used to sell the military to African-Americans? Well, sort of, say critics like Werner and Bakari. In many ways hip-hop's past has little to do with its present. The last decade has seen hip-hop evolve from gangsta rap, which reveals the hard-knock life of the projects, to a celebratory bling-blingism that fetishizes personal acquisition and the lifestyles of the rich and famous. From Biggie Smalls' yacht cruise in 1997's "Hypnotize" (arguably the watershed moment for the so-called bling-bling era) to Busta Rhymes' shill for his favorite liqueur in 2003's "Pass the Courvoisier," it's a bit hard to argue that hip-hop shouldn't be used for marketing purposes, or to draw the line between acceptable or unacceptable uses of hip-hop. "What has hip-hop been used for? To market mainstream capitalist culture," says Werner. "The contradiction is that mainstream capitalist culture is what's keeping those kids who need the military as an escape poor. The capitalist system wants to create a desperate labor market. It wants to create a situation in which a whole lot of people with real talent are so damn desperate just to make a living that they're not going to think about the terms on which they're offered that living. You're signing up to perpetuate the same system that put you in the position where you had no alternative except to sign up." Franz Mullings, 20, a student at the New York City Technical College, agrees. "I don't think they should exploit hip-hop to get people to join the Army," he says. "Hip-hop's not what the government is about. They don't care about people in the hood. They don't come around when things are going down. They shouldn't exploit our culture." It's not the Army's place to address or solve these issues, says Muse Cordero Chen's Martin. "I know very few marketing campaigns that have been able to vault over and satisfy solutions for specific larger social problems," he says. "Our goal is to present the Army as an option for career advancement, as a life alternative, and as a way to represent one solution out of many for African-Americans specifically. If someone's looking for a way out of their current position, the Army presents a very compelling argument." For Rangel, it's not just the message -- it's the medium. "It's so unfair to people who don't have an even playing field in this country to give them the option to run around in Hummers and play hip-hop games," he says, "when, at the end of the day, what you're talking about is putting their life on the line." "An undisciplined state of mind gives rise to delusions that propel an individual into negative action, which then creates the negative environment in which the person lives."-Chandrakirti ------------------------------------------------------------------------ Members can access the egroups website any time and read the group's posted messages at: http://www.egroups.com/messages/Drumbeat-weekend_edition ... Thank you for becoming part of our Drum Beat family. Please lending a helping hand by posting informative information to the group at: Drumbeat-weekend_edition@egroups.com For more information about this group go to: http://www.egroups.com/group/Drumbeat-weekend_edition Contact List owner at: Drumbeat-weekend_edition-owner@egroups.com Sincerely ~ The Drum Beat Team ~ Mental Rhythm Of A Nation..."The Drum Beat!" -- - ___ Stay Strong "Peace sells but who's buying?" Megadeth "This mathematical rhythmatical mechanism enhances my wisdom of Islam, keeps me calm from doing you harm, when I attack, it's Vietnam" --HellRazah http://www.sleepybrain.net/vanilla.html http://awol.objector.org/artistprofiles/welfarepoets.html http://ilovepoetry.com/search.asp?keywords=braithwaite&orderBy=date http://www.dpgrecordz.com/fredwreck/ http://www.lowliferecords.co.uk/ http://loudandoffensive.com/ http://groups.yahoo.com/group/THCO2 ========================================================================= Date: Sat, 18 Oct 2003 11:58:23 -0400 Reply-To: men2@columbia.edu Sender: UB Poetics discussion group From: Millie Niss Subject: does anyone know of wroters' groups in NYC? MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit I am looking for a writers' group (not a class) to do critiques of poetry with. Do these groups have admission criteria? I have published some poems in print, but not very many, and also I have some poems online in various ezines. But I am not (yet, I hope) a successful poet. However I am pretty focused on submitting and getting published, and I do web art and writing full-time, so I am pretty serious, not just a hobbyist. I also participate on a lot of readings and have been a featured reader in two series in Buffalo. But now I am in New York, which is likely a bigger pond... Thanks. Millie ========================================================================= Date: Sat, 18 Oct 2003 09:36:42 -0700 Reply-To: van-discuss@lists.resist.ca, sf pirg Sender: UB Poetics discussion group From: Ytzhak Organization: Selah7 http://www.sleepybrain.net/vanilla.html Subject: [van-announce] Antithesis Call for Papers MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit SFPIRGís Antithesis zine is in the makingÖ. the winter 2003/4 issue will be on the topic ìil/legitimate selves ñ nations? rights? freedoms?î possible questions we look forward to covering in this zine: * sovereignties ñ gained and lost * occupations ñ mental, territorial, economic, environmental and otherwise * groups gaining new legitimacy ñ i.e. the Metis question, legalization of gay marriage * war ñ borders and refugees * mass media ñ corruption * peace ñ making * illegal interventions ñ local squat protests on ìpublicî land * tribute to the late Edward Said ñ and the work of the PLA * transgendered bodies * illegal bodies * criminal justice reform Submissions deadline: November 13th, 2003 @ SFPIRG office or via email or snail mail (see below for contact info). This is your chance to get published and share share share with your campus community and beyond. All submissions are confidential and will not be discussed outside the zine collective before publication. Submissions can include the following (and more): *absolutely no previous experience is necessary* comics poetry critical essays songs recipes illustrations photos [il]legitimate representations cool websites your art exerts from cool resources etc. Pieces can be already laid out or sent in for layout. We can also help you with programs like Pagemaker or Photoshop at the SFPIRG office. We also have lots of fun resources for good old ìpaste-upî pages. For more info contact: sfpirg-zine@sfu.ca or the SFPIRG office @ TC 326 (2 floors above the bus stop). There will be a zine submissions box at the SFPIRG reception desk. If you would like to help putting the zine together (i.e. layout and graphic design), the collective meets Fridays at noon @ SFPIRG. All are welcome to join. Mailed submissions to: SFPIRG TC 326 SFU, Burnaby V5A 1S6 tel: 604-291-4360 fax: 604-291-5338 *please pass on this message* You are receiving this email from the listserve, sf-pirg-info@sfu.ca This list is managed by the Simon Fraser Public Interest Group. All postings from non-members are moderated. The list exists to disperse information on events, news, and announcements of what SFPIRG is up to as well as to disperse community events and announcements (not NEWS or press releases) relating to social justice and environmental issues. All members of the list are asked to keep postings relevant, respectful, and not personal. Messages should be clear, concise and as contextual as possible (ie. understandable to those who may know nothing about the issue/event). To unsubscribe or if you have further questions, please email sfpirg@sfu.ca. =========================================================================== == ----- -- - ___ Stay Strong "Peace sells but who's buying?" Megadeth "This mathematical rhythmatical mechanism enhances my wisdom of Islam, keeps me calm from doing you harm, when I attack, it's Vietnam" --HellRazah http://www.sleepybrain.net/vanilla.html http://awol.objector.org/artistprofiles/welfarepoets.html http://ilovepoetry.com/search.asp?keywords=braithwaite&orderBy=date http://www.dpgrecordz.com/fredwreck/ http://www.lowliferecords.co.uk/ http://loudandoffensive.com/ http://groups.yahoo.com/group/THCO2 ========================================================================= Date: Sat, 18 Oct 2003 13:32:32 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Austinwja@AOL.COM Subject: Blackbox announcement MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Hello again, everyone. The Fall gallery of Blackbox is now available for your viewing. As usual, go to WilliamJamesAustin.com and follow the Blackbox link. This time out we have a very cool and various set of offerings from Francis Raven, Igor Satanovsky, Mike Magazinnik, Geof Huth, Donna White, and Geoffrey Gatza. I expect one more contribution on its way by snail mail before I wrap this up. Thanks much for your interest. Best, Bill WilliamJamesAustin.com amazon.com b&n.com ========================================================================= Date: Sat, 18 Oct 2003 14:39:03 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: shanna compton Subject: Tomorrow in Brooklyn: Bill Kushner, Marcella Durand & Maurice Manning Mime-version: 1.0 Content-type: text/plain; charset="ISO-8859-1" Content-transfer-encoding: quoted-printable REMINDER: TOMORROW Sunday, October 19 2003 2:00pm FREQUENCY: Bill Kushner, Marcella Durand & Maurice Manning! SOFT SKULL SHORTWAVE 71 Bond Street (@ State) Brooklyn, NY=20 718-643-1599 http: //www.softskull.com/shortwave.php A/C or G to Hoyt-Schermerhorn. FREE!=20 BILL KUSHNER is the author of He Dreams of Waters, and he has a new book from Melville House called In the Hairy Arms of Whitman. Anne Waldman says, =B3Bill Kushner's streetwise joie de vivre observations charm the hardest of macho hearts. Frank O'Hara would surely approve. These energetic 'songs of = a goof' are sheer gravy heaven.=B2 For more information, see http://www.melvillehousebooks.com/haw_2.html MARCELLA DURAND is the author of Western Capital Rhapsodies (Faux Press), City of Ports (Situations Press) and the editor of the Poetry Project Newsletter. Read an interview between Marcella Durand and Anselm Berrigan here: http://home.jps.net/~nada/berrigan.htm MAURICE MANNING=B9s first book of poetry, Lawrence Booth's Book of Visions (Yale University Press, 2001), was selected by W.=A0S. Merwin for the Yale Younger Poets Series. His poems also have appeared in Green Mountains Review, Hayden's Ferry Review, Sonora Review, and Spoon River Poetry Review= . Maurice Manning is an Assistant Professor of English at DePauw University i= n Greencastle, Indiana. For the full Frequency Series schedule, see http://www.shannacompton.com/frequency.html ========================================================================= Date: Sat, 18 Oct 2003 13:55:15 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Christine Murray Subject: Get Your **Sentence** Commuted in Poetry at Dallas Tonight MIME-Version: 1.0 Content-Type: text/plain _Sentence: a Journal of Prose Poetics_ Release Party/Reading Tonight in DFW Readers: Paul Christensen (who is coming up from Texas A&M) John A. Ward (who is coming up from San Antonio) Joe Ahearn Rebecca Spears Michael Helsem Daryl Scroggins Kristin Ryling 8:00 p.m., Dedman Life Science Bldg. Room 110 SMU campus Reception afterwards at the home of Sentence editor, Brian Clements (Texfiles Poet of the Week! Oct. 17-23) Chris Murray http://www.texfiles.blogspot.com ========================================================================= Date: Sat, 18 Oct 2003 15:25:31 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: shanna compton Subject: Re: Your favorite reading series or venue In-Reply-To: Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit Also, the results of the favorite series and venues poll are coming in: http://www.shannacompton.com/2003_10_12_blog_archives#106650503952948045 Thanks to all of you who have responded so far! ========================================================================= Date: Sat, 18 Oct 2003 15:31:27 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Tom Beckett Subject: Instructions to Self MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Instructions to Self for CH No one cares if you lose heart-- keep going. Return, persevere-- become the hole you push through. Tom Beckett ========================================================================= Date: Sat, 18 Oct 2003 17:33:03 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Wanda Phipps Subject: [Fwd: Nov.2-Book Release Party! We Are Everywhere] MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii; format=flowed Content-Transfer-Encoding: 7bit Hey here's some info. from my friend Brad Will about a book release party for a new book he's in that's hot off the presses. And he's asked me to pass it along. Come down and support a wonderful little radical bookstore -Stephan Smith will be in town and is going to throw down some tunes as well: =========== Nov.2-Book Release Party! We Are Everywhere when: Sunday, November 2nd, 7pm - 10:30pm what:book release party for We Are Everywhere: The Irresistible Rise of Global Anticapitalism where: at Bluestockings Bookstore 172 Allen Street between Stanton and Rivington :: 212.777.6028 (1 block South of Houston and 1st Ave) Performing: David Rovics Ethan Miller Contributing authors reading their work: Brad Will Rowena Kennedy-Epstein Part journal, part design art object, part radical tool for direct action, a radical intervention in publishing - a celebration of direct action movements across the planet, unfiltered by the mainstream media, and told through the words and images of the people who were (and still are) there. It all adds up to a real overview of the movement: where we came from, what we want, who we are, and where we're going. We Are Everywhere is history as it should be told. There will be a slide show presentation of autonomous social movements from the global south. $5 donation collected at the door, no one turned away www.weareeverywhere.org www.bluestockings.com David Rovics -- folk musician, rabble rouser (penned a song called "We are everywhere") www.davidrovics.com Ethan Miller -- folk musician, nare-do-well, member of organic collective farm www.ethan.jedcenter.org Brad Will (contributing writer) musician, journalist, friend of direct action everywhere Roweena Kennedy-Epstein (contributing writer) poet and revolutionary ==== Bluestockings is a radical bookstore, fair trade cafe, and activist center in the Lower East Side of Manhattan. ==== http://www.versobooks.com/books/nopqrs/nopq-titles/notes_anti-capitalism.shtml We Are Everywhere: The Irresistible Rise of Global Anti-Capitalism Edited by Notes From Nowhere Verso 2003 ISBN 1-85984-447-2 ====== These are rough descriptions of essays, written by the editorial collective, that will outline key themes of the movement of movements: INTRODUCTION: ONE NO, MANY YESES, NETWORKS - The ecology of the movement of movements; AUTONOMY - direct democracy and liberated zones; CARNIVAL - turning the world upside-down; CLANDESTINITY - of masks and silences, of arrests, beatings, surveillance - and how to survive them; ESSAY: Walking, we ask questions To contact the editorial collective e-mail: info@weareeverywhere.org -- Wanda Phipps Hey, don't forget to check out my website MIND HONEY http://users.rcn.com/wanda.interport (and if you have already try it again) poetry, music and more! ========================================================================= Date: Sat, 18 Oct 2003 17:42:24 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alicia Askenase Subject: Re: Your favorite reading series or venue MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit A favorite of mine was the Walt Whitman Center's Notable Poets and Writers series in Camden, NJ--which I curated for many years. I am also fond of La Tazza, Kelly Writers House and the Temple Univ. series....all in Philadelphia ========================================================================= Date: Sat, 18 Oct 2003 18:13:15 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Haas Bianchi Subject: Re: Your favorite reading series or venue In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit anything at the Walt Whitman Center is excellent\ RB > -----Original Message----- > From: UB Poetics discussion group > [mailto:POETICS@LISTSERV.BUFFALO.EDU]On Behalf Of Alicia Askenase > Sent: Saturday, October 18, 2003 4:42 PM > To: POETICS@LISTSERV.BUFFALO.EDU > Subject: Re: Your favorite reading series or venue > > > A favorite of mine was the Walt Whitman Center's Notable Poets > and Writers > series in Camden, NJ--which I curated for many years. I am also > fond of La > Tazza, Kelly Writers House and the Temple Univ. series....all in > Philadelphia > ========================================================================= Date: Sat, 18 Oct 2003 18:13:18 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Haas Bianchi Subject: Re: Get Your **Sentence** Commuted in Poetry at Dallas Tonight In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit wish I could be there RB > -----Original Message----- > From: UB Poetics discussion group > [mailto:POETICS@LISTSERV.BUFFALO.EDU]On Behalf Of Christine Murray > Sent: Saturday, October 18, 2003 1:55 PM > To: POETICS@LISTSERV.BUFFALO.EDU > Subject: Get Your **Sentence** Commuted in Poetry at Dallas Tonight > > > _Sentence: a Journal of Prose Poetics_ > Release Party/Reading Tonight in DFW > > Readers: > > Paul Christensen (who is coming up from Texas A&M) > John A. Ward (who is coming up from San Antonio) > Joe Ahearn > Rebecca Spears > Michael Helsem > Daryl Scroggins > Kristin Ryling > > > 8:00 p.m., Dedman Life Science Bldg. Room 110 > SMU campus > Reception afterwards > at the home of Sentence editor, > Brian Clements (Texfiles Poet of the Week! Oct. 17-23) > > > Chris Murray > http://www.texfiles.blogspot.com > ========================================================================= Date: Sat, 18 Oct 2003 19:39:16 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Vernon Frazer Subject: Re: Blackbox submissions closed In-Reply-To: <110.29636b61.2cc2b175@aol.com> MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Aw Geez Bill, I was gonna send you one sometime soon. I guess I got too caught up in setting the place up down here in FL. No big deal. Can you let me know when you're accepting subs again? I'll send something. Hope things are going well. Best, V. -----Original Message----- From: UB Poetics discussion group [mailto:POETICS@LISTSERV.BUFFALO.EDU] On Behalf Of Austinwja@AOL.COM Sent: Saturday, October 18, 2003 11:09 AM To: POETICS@LISTSERV.BUFFALO.EDU Subject: Blackbox submissions closed Hello everyone. Hope all are doing well. Please note the the Fall gallery is now closed to submissions. I am waiting for one more contribution which will arrive snail mail. In total the Fall gallery will contain six artists, when complete. Thanks to all who contributed. Best, Bill WilliamJamesAustin.com amazon.com b&n.com ========================================================================= Date: Sun, 19 Oct 2003 00:12:27 +0000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Joseph Bradshaw Subject: Re: favorite reading series or venue Mime-Version: 1.0 Content-Type: text/plain; format=flowed Spare Room in Portland, Or http://www.flim.com/spareroom/ because it is the only series in Portland devoted to presenting consistently challenging work. Do come. _________________________________________________________________ Never get a busy signal because you are always connected with high-speed Internet access. Click here to comparison-shop providers. https://broadband.msn.com ========================================================================= Date: Sun, 19 Oct 2003 01:47:34 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: more MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII More Network 1: "jetblue" BSSID: Network "00:09:7C:31:88:ED" 1: Type Unloaded : probe Carrier 802.11b Info "None" Channel 00 WEP "No" Maxrate 11.0 LLC 32 Data 0 Crypt Weak Total First First "Thu "Thu Oct Oct 16 16 09:25:36 09:25:36 2003"2003" Last Last 09:25:59 09:25:59 2: "" 2: "00:90:4B:23:E6:8C" ssid>" 54.0 10 09:25:44 09:25:44 ___ ========================================================================= Date: Sat, 18 Oct 2003 23:34:17 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: August Highland Subject: BLOOD SUGAR #0001 MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit BLOOD SUGAR #0001 Like most He kept was an awful was an awful Like most reached that point He kept Like most Like most products are giving back ideas. parallel to this She products are the ordinary eye; to giving back ideas. Like most He kept was an awful was an awful Like most reached that point He kept Like most Like most products are giving back ideas. parallel to this She products are the ordinary eye; to giving back ideas. then wont. To how has alluded to his has alluded to his fellow-mortal, and then wont. To how prophets who town suffered from wise, as well as appearance and title prophets who and overcome the town suffered from then wont. To how has alluded to his has alluded to his fellow-mortal, and then wont. To how prophets who town suffered from wise, as well as appearance and title prophets who and overcome the town suffered from transmission system. a high sugar content. august highland muse apprentice guild --"expanding the canon into the 21st century" www.muse-apprentice-guild.com culture animal --"following in the footsteps of tradition" www.cultureanimal.com ========================================================================= Date: Sat, 18 Oct 2003 23:35:39 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: August Highland Subject: DAWN OF AN EASTERN/SLOWLY BEING EXPOSED #0001 MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit DAWN OF AN EASTERN/SLOWLY BEING EXPOSED #0001 dawn of an Eastern events, of its simply put me the most at pictures, go to at pictures, go to simply put . forty thousand me the most simply put simply put historical fact than events, of its burdensome and hated every time with the historical fact than dawn of an Eastern events, of its for this offense but of three to six. of wisdom was not of wisdom was not for this offense but ancient inhabitants, of three to six. for this offense but for this offense but smoking becomes as slowly being exposed. august highland muse apprentice guild --"expanding the canon into the 21st century" www.muse-apprentice-guild.com culture animal --"following in the footsteps of tradition" www.cultureanimal.com ========================================================================= Date: Sun, 19 Oct 2003 10:23:20 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Joe Brennan Subject: Bolivian President Quits After Trying To Sell Bolivia's Water To Bechtel Comments: To: frankfurt-school@lists.village.virginia.edu, corp-focus@lists.essential.org, WRYTING-L@LISTSERV.UTORONTO.CA MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Click here: The Assassinated Press Bolivian President Quits After Trying To Sell Bolivia's Water To Bechtel, Natural Gas To KALIPHONEYIA Through Spanish And British Firms: "Let Kaliphoneyia Depend On Its Current Methane Based Political System," Yelled Protestor Augusto Sandino: "Let Ken Lay, George Schultz, Scharzenegger, Bechtel And Enron Keep Making Their Own Gas. Kaliphoneyians Seem To Be Buying It," Cried Protestor, Simon Bolivar: "Bolivian Natural Gas To California? What Kind Of Disaster Must Befall Them Before The Gringo Morons Comprehend That Their 'Standard of Living' Is Measured By How Many Of Us Lay Dead In the Streets?" Shouted Protestor Jose Marti by Scooter Willingscum The Assassinated Press They hang the man and flog the woman That steal the goose from off the common, But let the greater villain loose That steals the common from the goose. Constant apprehension of war has the same tendency to render the head too large for the body. A standing military force with an overgrown executive will not long be safe. companions to liberty. -- Thomas Jefferson "America is a quarter of a billion people totally misinformed and disinformed by their government. This is tragic but our media is -- I wouldn't even say corrupt -- it's just beyond telling us anything that the government doesn't want us to know." Gore Vidal ========================================================================= Date: Sun, 19 Oct 2003 11:49:15 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Camille Martin Subject: will the real Thomas Swan . . . MIME-Version: 1.0 Content-type: text/plain; charset=US-ASCII I came across a brief article by Steve (McCaffery?) on 17th-century British poet Thomas Swan, at the Patapoetics site: . Steve highly recommends _A Selection from the Works of Thomas Swan_ (West House Books, 2001), which the editors (Martin Corless-Smith and Alan Halsey) claim is the first airing of Swan's work since the Worcester Antiquarian Society edition of 1876. I purchased the short collection and was delighted to find out about the strange and wonderful writings of this seventeenth-century "postmodernist." I've read his work to friends, asking them to guess the identity and period of the poet (some guess 20th century; others say Blake). Then I came across the following website: There, Tony Frazer claims that Swan is an "imaginary" poet invented by Corless-Smith and Halsey. I'm curious to know whether anyone has information about whether Swan was a historical person or made up. (Steve's article, by the way, seems convincing.) I can't find any other information about Swan on the internet or in databases such as the MLAIB, perhaps because his rediscovery (if he is indeed for real) is so very recent. Thanks. Camille Camille Martin, Ph.D. City College Loyola University 6363 St. Charles Avenue New Orleans, LA 70118 home: (504) 861-8832 fax: (504) 865-3883 ========================================================================= Date: Sun, 19 Oct 2003 13:32:06 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Nick Piombino Subject: EPC Bloglinks List Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit The EPC bloglinks list http://epc.buffalo.edu/connects/blogs.html is now available. Let me also remind you that many of these weblogs have links lists of their own, which willlink you again to other blogs with links lists. For those few of you who have not yet attempted blog surfing, let me invite you right now. One caution: come back up for air occasionally and say hello to your significant other(s). Nick Piombino please visit my blog! -fait accompli- http://nickpiombino.blogspot.com/ ========================================================================= Date: Sun, 19 Oct 2003 07:58:34 -1000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Susan M. Schultz" Subject: tinfish makes the newspaper Mime-Version: 1.0 (Apple Message framework v552) Content-Type: text/plain; charset=US-ASCII; format=flowed Content-Transfer-Encoding: 7bit See http://starbulletin.com/2003/10/19/features/index1.html for an article on Tinfish Press. aloha, Susan http://maven.english.hawaii.edu/tinfish ========================================================================= Date: Sun, 19 Oct 2003 14:03:28 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Geoffrey Gatza Subject: experimental fiction listservs Comments: To: Poetryetc provides a venue for a dialogue relating to poetry and poetics MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Hi all, Could anyone recommend any experimental fiction listservs=20 please backchannel Thanks, Geoffrey=20 ========================================================================= Date: Sun, 19 Oct 2003 12:33:42 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Joel Weishaus Subject: More American War Crimes uncovered MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Another story of American soldiers killing and mutilating hundreds of = unarmed villagers in Vietnam in 1967 was just published. "The Army's = 4-and-one-half-year investigation never made public, was initiated by a = soldier outraged at the killings. The probe substantiated 20 war crimes = by 18 soldiers and reached the Pentagon and the White House before it = was closed in 1975, The (Toledo) Blade said. William Doyle, a former = Tiger Force sergeant living in Willow Springs, Mo., said he killed so = many civilians he lost count....The atrocities carried out by the unit = came just months before the killing of about 500 Vietnamese civilians by = an Army unit in 1968 at My Lai." The Toledo Blade did the 8-month = investigation, and the story was picked up by the Associated Press. It's = on Page 9 of today's Oregonian, but I haven't seen it yet in the NYT or = other newspapers. We'll see if it makes the TV news at all.=20 http://www.toledoblade.com/apps/pbcs.dll/section?Category=3DSRTIGERFORCE ========================================================================= Date: Sun, 19 Oct 2003 13:26:57 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mark Weiss Subject: contact info for Paul Vangelisti Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed Backchannel please. Mark ========================================================================= Date: Sun, 19 Oct 2003 17:42:47 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Al Filreis Subject: George Stanley/Ron Silliman live webcast MIME-Version: 1.0 Content-Type: text/plain; charset=US-ASCII Content-Transfer-Encoding: 7bit "Poetry means (a) I'm going to die - and (b) this notebook will be read by someone who will see how lacking I am - unless I destroy it - & I can't do that - that would be worse than keeping it - that would mean thinking of it."--George Stanley poet GEORGE STANLEY presented by RON SILLIMAN ------------------------- webcast live from the Kelly Writers House Thursday, October 23, 2003 at 6:30 PM (eastern time) To view the event by live webcast, rsvp to whstanley@writing.upenn.edu This event features a reading by George Stanley introduced by Ron Silliman, with conversation moderated by Ron Silliman. George Stanley was born and raised in San Francisco where, in the sixties, he was a member of Jack Spicer's circle. For many years an educator in Terrace, British Columbia, Stanley is now retired and living in Vancouver. His books include The Stick, Opening Day, Temporarily, San Francisco's Gone, Gentle Northern Summer, and most recently, A Tall, Serious Girl (Qua Press). To read an interview with George Stanley, see http://wither.unbc.ca/winter/number.two/stanley/stanley.html ----------------------------------------------------------------------------- "Poetry means (a) I'm going to die - and (b) this notebook will be read by someone who will see how lacking I am - unless I destroy it - & I can't do that - that would be worse than keeping it - that would mean thinking of it. Better this shit than nothing, better be sitting on Andy's front porch with Teddy, imagining this shit being (miraculously) turned into a poem...." --George Stanley, from "At Andy's" ========================================================================= Date: Sun, 19 Oct 2003 14:52:10 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Derek R Organization: derekrogerson.com Subject: Re: EPC Bloglinks List In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Nick Piombino wrote: ..| The EPC bloglinks list http://epc.buffalo.edu/connects/blogs.html ..| is now available. Let me also remind you that many of these ..| weblogs have links lists of their own, which will link you again to ..| other blogs with links lists. For those few of you who have not yet ..| attempted blog surfing, let me invite you right now Let me also invite serious bloggers to start offering RSS-support and for someone to get a list of RSS-feeds going. Here is a listing of 42 poetry subscriptions to get started: http://derekrogerson.com/things/poetry_blogs.opml For those blogs without RSS (XML Syndication) support -- it is simply unrealistic to expect people to visit your blog (w/ all the images and extra downloadable stuff the author has put there) when all they really want to do is read you latest blog-post. RSS brings the most recent information to the reader instead of people having to run-around to different sites. With a RSS-reader you can easily keep up-to-date with 200+ blogs/per day which is impossible when you are trying to visit each-and-every-one of those sites individually. * http://bloglines.com * is a good free online RSS-reader. *Try it* with the above referenced OPML file (import it thru 'Manage Subscriptions') to get going. There are many stand-alone applications out there as well (just search for 'RSS reader'). Example RSS-readers are: FeedDemon - http://bradsoft.com/feeddemon/ (Windows) NewsMonster - http://newsmonster.org/ (cross-platform) amphetaDesk - http://disobey.com/amphetadesk/ (cross-platform) NetNewsWire - http://ranchero.com/netnewswire/ (Mac OS X) Shrook - http://fondantfancies.com/shrook/ (Mac OS X) Note: Blogs must have RSS (XML Syndication) available in order to be read by RSS-readers. ========================================================================= Date: Sun, 19 Oct 2003 16:45:21 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jeffrey Jullich Subject: Q. Creeley/Zukofsky question (source) MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Do you recognize the source of the (apparently) Louis Zukofsky phrase, "That one could, etc.", that Robert Creeley uses as an epigraph on p. 62 of his book ~So There~ ('[Thinking of L.Z., "That one could, etc."]')? Thanks! J.J. __________________________________ Do you Yahoo!? The New Yahoo! Shopping - with improved product search http://shopping.yahoo.com ========================================================================= Date: Sun, 19 Oct 2003 21:33:12 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Geoffrey Gatza Subject: Re: Q. Creeley/Zukofsky question (source) MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Hi Jeffrey, I know this one!!! The Creeley poem on page 62 is a fine one but there should be a footnote or something. It's far to squished onto the page, which is a problem I have with Creeley's publishings. It would be great for them to have there own space or context - but that would be a huge book and I'll be that New Directions would care to do that. But anyway, Creeley's poems is THE [thinking of L.Z. "that one could, etc."] A's refers to exactly what you have been dwelling on, the 'the's' and the 'A's' Zukofsky said once that "a case can be made out for the giving some of his life to the use of the words 'the' and 'a': both of which are weighted with as much epos and historical destiny as one man can perhaps resolve." Creeley was really taken with this idea and thus your long search in his works. In Creeley's collected essay's _A Note_ on page 58 he contiunes on Zukofsky phrase by saying, "how much world can lie between 'the' and 'a' is hardly for either 'a' and 'the' grammarian to decide. We may speak of 'the' as some thing previously noted or recognized and of 'a' as that which has not been thus experienced -- but to think that "from A to Z" may mean something, and that if one looks at an 'A' it may possibly become a sawhorse. This refers to a poem quote that starts "Horses: ..." down to the line "Be necks, two legs stand A, four together M." I hope that helps. > the Futurepoem deadline for this year was September 30th. Crapppppppppppppp. I felt so awful inside that I didn't have anything, nor did I make an attempt. I put this together for the Futurepoem contest but at least I have it. I think it's a nice bit for me. Consiodering that last year was the Superman epic. I am starting a new job tomorrow. It's a part time job at the mall in a shop called "Le Gourmet Chef." It's like William Sonoma but with more food stuffs. It should be fine but I feel a certain reluctance to go back to the mall. I told myself I would never go back there to work a christmas ever again. But I am happy to have a job and that all of my poetry goals are satisfied to move forward. I used this time well. I had a good reading, a new manuscript, a feeling of freedom within poetry, and a board member / bookkeeper of a not-for-profit publisher. This is Ted Pelton's press, Starcherone. We have known each other for a while but he asked me to help out when he found out I know accounting. This should be fun which will conteract the sould sucking that will happen in the mall. Best, Geoffrey ----- Original Message ----- From: "Jeffrey Jullich" To: Sent: Sunday, October 19, 2003 7:45 PM Subject: Q. Creeley/Zukofsky question (source) > Do you recognize the source of the (apparently) Louis > Zukofsky phrase, "That one could, etc.", that Robert > Creeley uses as an epigraph on p. 62 of his book ~So > There~ ('[Thinking of L.Z., "That one could, etc."]')? > > Thanks! > > J.J. > > __________________________________ > Do you Yahoo!? > The New Yahoo! Shopping - with improved product search > http://shopping.yahoo.com > > ========================================================================= Date: Sun, 19 Oct 2003 21:41:22 -0400 Reply-To: olsonjk@delhi.edu Sender: UB Poetics discussion group From: Kirby Olson Organization: SUNY Delhi Subject: Re: situationist poets MIME-Version: 1.0 Content-Transfer-Encoding: 7bit Content-Type: text/plain; charset=us-ascii Probably others have responded to this question through the backchannels but my address for Maria doesn't work. I've tried twice. Perhaps there is a firewall somewhere. At any rate, the anthology by Ken Knabb called The Situationist International Anthology doesn't have any poetry in it, insofar as I recall. The Situationists broke with the Lettrists in the mid to late 50s. The Lettrists were poets, one could alost say along LANGUAGE lines. Except they were often just writing letters rather than even complete words, so the breakdown was more complete. I don't know if anybody actually reads those things -- except the theory is sometimes caprcious and entertaining. Isidore Isou was their leader, as perhaps Tzara was for the Dadaists. Isou was also a Romanian. I believe that they broke with the Situationists precisely over the question of art. The Situationists wanted a supersession of art in favor of passionate moments, moments that they called situations. I don't know if they succeeded in this domain. Their major output in terms of literature seems to have been dogmatic essays with a flair for surrealist caprice -- they almost appear to have been a mixture of Lukacs and Breton. The only writer I really love is Ivan Chtcheglov, who is first in the anthology. He wrote only this one article on a poetics of urbanism, and then was enrolled in an asylum for the rest of his life. Chtcheglov's essay is convulsive and arresting. Guy Debord is the most famous Situationist -- a sort of Breton -- but even more domineering, and much less brilliant. He was dying of alcoholism when he apparently shot himself in the head. His medical condition is probably more complicated than that, but I can't remember the details. The Situationists in May 68 worked with some of the surviving surrealists to create odd explosive phrases. I think it was Michel Leiris and a situationist who wrote the famous phrase, "Be realistic: demand the impossible!" But whereas Breton seemingly came to despair of revolution, and found all his attempts to create beauty in life to come to nothing but pessimism, but was a really fine poet and novelist after all, the Situationists seem to have really tried to focus on turning life into art. Therefore, there isn't much art to speak of. Breton felt that a poem could initiate a convulsive chain of events that would later come to be revealed in life. He was a poet first, and for him language was some kind of alchemical tool. The situationists' slogans of May 68 -- at least the memorable ones, were mostly written by surviving surrealists as far as I can see, and come out of surrealist theory. "Be realistic: demand the impossible!" -- this is pure Bretonian surrealism. To demand the impossible inside of the real is the surreal demand that the Freudian dream come to fruition within the dreary economic world, and is how the surrealists tried to squirrel away from the vulgar Marxist insistence that economics was all-determining by turning toward Freud. A book that I really enjoyed is called A Cavalier History of Surrealism, by Raoul Vaneigem. It's a situationist primer of surrealism, and shows what the sits thought of the surrealists, and how they took a great deal from them. There is an interesting sidelight -- among many -- that one of the top situationists later became a leading member of the PLO. I can't remember his name but he wrote a tract entitled De la misere en milieu etudiant. -- Kirby Olson Maria Damon wrote: > hi all: can you give me the names and works of some situationist > poets of any kind, or what was the poetic enterprise: graffiti, > events, slogans, etc? and is any of it still extant? ========================================================================= Date: Sun, 19 Oct 2003 21:58:45 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Nate Dorward Subject: Oct 26 Reading: Joyce, McCaffery, Downe Comments: To: lexiconjury@yahoogroups.com MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit A Sunday afternoon poetry reading: Trevor Joyce Steve McCaffery Lise Downe October 26th, 3 pm at New Works Studio (319 Spadina, second floor) The Irish poet Trevor Joyce (author of _with the first dream of fire they hunt the cold: A Body of Work 1966-2000_) is touring North America this fall. This is his only Canadian stop. He is joined by two of Toronto's finest poets: Steve McCaffery, whose many publications include the two-volume selected poems _Seven Pages Missing_ from Coach House; & Lise Downe, author of (most recently) _Disturbances of Progress_ from Coach House. For this occasion The Gig has published two new chapbooks by Trevor Joyce: _Take Over_, translations from the Chinese & Irish; & _Undone, Say_, collecting original work including the long prose-poem "Stillsman." Together they contain all of his material written since with the first dream. These new books will be available at the reading. For more information about the reading or about the chapbooks, phone Nate Dorward at (416) 221 6865, or email ndorward@sprint.ca. * Trevor will also be reading in the States in the weeks following his Toronto stop: go to http://www.soundeye.org/trevorjoyce/readingsschedule.html for further details. * Nate Dorward 109 Hounslow Ave, Willowdale, ON, M2N 2B1, Canada ndorward@sprint.ca // www.geocities.com/ndorward/ ========================================================================= Date: Mon, 20 Oct 2003 02:02:08 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "David A. Kirschenbaum" Subject: celebrity sighting at small press fair Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit in november of 2001, within four days, harrison ford and bill murray were spotted at poetry readings here in nyc, ford at the jeni olin/jordan davis reading at kgb bar, and murray at the poets house anniversary, where, word has it, he would up reading some creeley to those in attendance. i haven't seen any celebs since then. so sunday, at the small press fair organized by ugly duckling presse in the dumbo section of brooklyn, i'm sitting at my table spreading the good boog word, and who do i see at the table across from me but maura tierney from er. i gave a hello but wasn't able to get any boog cities into her hand, though some other presses clamored to her and gave her freebies. in all, quite bizarre seeing her out of context, but cool to see her walking booth to booth to see what everyone was up to. and now, back to your regular programming. best, david -- David A. Kirschenbaum, editor and publisher Boog City 330 W.28th St., Suite 6H NY, NY 10001-4754 For event and publication information: http://boogcity.blog-city.com/ T: (212) 842-BOOG (2664) F: (212) 842-2429 ========================================================================= Date: Sun, 19 Oct 2003 23:37:30 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Lewis LaCook Subject: sky 33 Comments: To: wryting Comments: cc: screenburn screenburn , webartery MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii 22.) Finding the decomposed body of a child in the street. 23.) What do you want from me? 24.) My toys 25.) She pushes me away one last time. My sister asks me why I'd want to go back. Because I love her, I tell her. 26.) A shiver of smoke blues light without strings passed as function parameters taken mescal loll with swathes of brilliant hum state denies weapons of mass catholic enthralled rictus flutter dense with scarcity or witty sands gray churnsky down to dollar's nub 27.) It doesn't look like much, but meaning accrues. Pressing against the screen: strings gash plump coming from onset growls in my dick, pleasures dawn's septic interludes, cycles of seven. At intervals, the skin is a veil, too; a noon of droplets, dewing hair and crowning it in seperates of curls. I want to steer clear. Crystalline pentameter, when coated thus, renews nervousness, only this time it is proof: PROOF, she wants. It goes to show that. But in my mind the challenges come from leverages of ash, and those ashes most baroque elocute cold roaming rabid moans. If only her black would coffee my rote tongue! Because there was something sinister about her gentleness: it was quick, weird, dreamed nearness in states tattering, yes, but also retracing me. ===== associate editor, _sidereality http://www.sidereality.com/ -------- http://www.lewislacook.com/ tubulence artist studio: http://turbulence.org/studios/lacook/index.html __________________________________ Do you Yahoo!? The New Yahoo! Shopping - with improved product search http://shopping.yahoo.com ========================================================================= Date: Mon, 20 Oct 2003 00:24:18 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: August Highland Subject: LICK MY COMPUTER/DIME-A-DOZEN CLOUDS MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit LICK MY COMPUTER/DIME-A-DOZEN CLOUDS CUMULUS #0000001: Learning @@@@@@ : PM @@@@@ MHCC. WHEN PEOPLE. Business, and of K each!! graphics for. Tk, mathematical formuas DINGY, ET AL?. 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Snow on more than saying that lack of UNIMPORTANT COMPUTER. CUMULUS #0000018: @ @z .yes, those little. Have k ram to. most, are wrong, dead is not so hot on. "serious" . Hence, r. Old the games if you your Atari has. If. While the dragon DISTRIBUTED ON! THEY (ATARI users see. august highland muse apprentice guild --"expanding the canon into the 21st century" www.muse-apprentice-guild.com culture animal --"following in the footsteps of tradition" www.cultureanimal.com ========================================================================= Date: Mon, 20 Oct 2003 00:45:07 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: August Highland Subject: LOCAL,STATE,FEDERAL/ MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit LOCAL,STATE,FEDERAL/ ASTRAL DREAM #0000001: Answer - in fact, the day we were that would probably. Thought they did after. Become major party S. Do you fire the . 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Secretary is sharp, `\Gamma 1. I, Allen/Bill Scott ####### If I SOUND. The sun with no new users but . . .. ASTRAL DREAM #0000014: Mr. allen have got local/state/federal course,. Been much easier bureaucratic .............. 1 problems. People better education or. <<<<<<<<<<<<<<<<<<< is invertible (1 ^ ` ^ n). something. I. \gamma 1 ----- the Electronics. ASTRAL DREAM #0000015: American dreams,, like hell at the top =(f ). Since f 2 q. Shrinks would have, planned obsolescence would add that after. ` Bill Walton (among. Well, believe against each other. fireman and his. To get off their big historic housing 1. ASTRAL DREAM #0000016: Deductions). Rieke either). can probably get. And worked out. why Crimes Continue plans for his new. 0 workplaces are (for starters,. H through to the end. Like we've all died :. ASTRAL DREAM #0000017: They' 2. +>+>+>+>+>+>+>+>+>+ justice, insure Police Department. Oktoberfest,, I think Gov. Roberts us feel like total. Only were we The ideal (C). 1, 3 and (0; 1)x 2 I. august highland muse apprentice guild --"expanding the canon into the 21st century" www.muse-apprentice-guild.com culture animal --"following in the footsteps of tradition" www.cultureanimal.com august highland muse apprentice guild --"expanding the canon into the 21st century" www.muse-apprentice-guild.com culture animal --"following in the footsteps of tradition" www.cultureanimal.com ========================================================================= Date: Mon, 20 Oct 2003 07:44:41 -0400 Reply-To: ron.silliman@gte.net Sender: UB Poetics discussion group From: Ron Subject: Silliman's Blog: Poetry & Empire Comments: To: WOM-PO , BRITISH-POETS@JISCMAIL.AC.UK, nanders1@swarthmore.edu, new-poetry@wiz.cath.vt.edu, whpoets MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit http://ronsilliman.blogspot.com/ How do you write? Philadelphia Progressive Poetry Calendar 6 questions for Poetry & Empire 1) Can poetry challenge militarized language & propaganda? 2) Do genre models need to be rearticulated in light of new world dynamics? 3) To what degree do our actions as poets affect larger contexts? 4) How do the structures of poetic communities resist or reinforce existing power structures? 5) What underlying values inform our practice as poets? 6) What can a poem do? The problem of scenes in a minor city (Life in Canada) Do line breaks have meaning? Monospaced type & poetic intention (Larry Eigner & Robert Duncan) Tiering - a theoretical structure for scenes The Boss Town Sound - do different regions read differently? http://ronsilliman.blogspot.com/ ========================================================================= Date: Mon, 20 Oct 2003 10:56:10 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Nate Dorward Subject: Spadina _Avenue_ Comments: To: lexiconjury@yahoogroups.com MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Someone has pointed out to me a key omission in the promo material for the Joyce/McCaffery/Downe reading: it's 319 Spadina _Avenue_, i.e. south of Bloor. I'm told it's near Chockies, a liquor store, &c. Sorry about that--you can tell that even 7 years after arriving in Toronto I'm still a bit vague on city geography & streetnames.... -- all best --N Nate Dorward 109 Hounslow Ave, Willowdale, ON, M2N 2B1, Canada ndorward@sprint.ca // www.geocities.com/ndorward/ On October 26th: a reading organized by The Gig: Trevor Joyce, Steve McCaffery, Lise Downe 3:00pm at New Works Studio, 319 Spadina, 2nd floor, Toronto, Ontario Recent publications from The Gig: Trevor Joyce's TAKE OVER and UNDONE, SAY REMOVED FOR FURTHER STUDY: THE POETRY OF TOM RAWORTH and Maggie O'Sullivan's PALACE OF REPTILES ========================================================================= Date: Mon, 20 Oct 2003 11:45:54 -0400 Reply-To: cmilletti@comcast.net Sender: UB Poetics discussion group From: Christina Milletti Subject: interdisciplinary writing/multi-genre job-posting Mime-Version: 1.0 Content-Type: text/plain; format=flowed PLEASE PASS THIS ALONG TO ANYONE WHO MIGHT BE INTERESTED. Thanks! >Assistant Professor of Creative Writing > >http://www.emich.edu > >Tenure-track assistant professor of Creative Writing, beginning Fall Term >2004. Interdisciplinary writer for undergraduate and graduate programs >emphasizing community arts, multigenre writing, hypermedia, collaborations. > Publications required in mixed or multi-genres, fiction; include >performances, exhibits, collaborative projects. Active scholarly program >and record of teaching excellence with demonstrated pedagogical commitment >to diversity are required. PhD must be completed at time of appointment. > >The successful candidate will become part of a large and active faculty >within an English Department that offers BA and MA degrees in literature, >writing, and linguistics. Eastern Michigan University is a comprehensive >university in southeastern Michigan with approximately 25,000 students and >400 academic majors, minors and concentrations offered through five >degree-granting colleges and a graduate school. Send application letter, >CV, complete dossier (including three letters of recommendation) to Posting ># F0410, Eastern Michigan University, 202 Boone Hall, Ypsilanti, MI 48197. >Please direct inquiries to Janet Kauffman (jkauffman@emich.edu). We will >begin screening applications on November 1 and continue until the position >is filled. EMU is an Equal Opportunity/Affirmative Action employer; women >and minority candidates are strongly encouraged to apply. > _________________________________________________________________ Get 10MB of e-mail storage! Sign up for Hotmail Extra Storage. http://join.msn.com/?PAGE=features/es ========================================================================= Date: Mon, 20 Oct 2003 11:47:42 -0400 Reply-To: cmilletti@comcast.net Sender: UB Poetics discussion group From: Christina Milletti Subject: BathHouse call for submissions Mime-Version: 1.0 Content-Type: text/plain; format=flowed >>Call for Submissions >> >>Hello from BathHouse: a journal of the hybrid arts >> >>We're looking for submissions--the unusual, cross-genre, hybrid >>writing--for our third issue! We're open to fiction, poetry, artwork, >>hypermedia, and audio pieces, but we're especially dedicated to promoting >>work that defies these categories. >> >>All submissions can be sent via email to bhouse@emunix.emich.edu, or by >>post to BathHouse, Eastern Michigan University, Department of English, 612 >>Pray-Harrold, Ypsilanti, MI 48917. All paper submissions must be >>accompanied by a S.A.S.E. to be returned. Emailed submissions should be >>sent as word attachments. Hypermedia and digital art submissions can be >>sent as zip files. Alternatively, you can provide a link for the editors >>to view your work on your own website. >> >>BathHouse is a biannual publication based at Eastern Michigan University >>in Ypsilanti, Michigan. We accept submissions throughout the year, but for >>consideration for the third issue of BathHouse, your submissions must be >>received by November 15, 2003. >> >>We look forward to seeing your work! >> >>Good luck, >> >>Jill Higgins >>Editor, BathHouse >>Eastern Michigan University >> >> _________________________________________________________________ Need more e-mail storage? Get 10MB with Hotmail Extra Storage. http://join.msn.com/?PAGE=features/es ========================================================================= Date: Mon, 20 Oct 2003 09:30:15 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Stephen Vincent Subject: Frost & Stevens In-Reply-To: <000001c396ff$90fa8570$22f5f343@Dell> Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit In the category of "now we're poets let's be friends and bare all", this one is, perhaps, high modernist cake, and well, frosting: "The trouble with your poetry, Frost, is that it has subjects." Wallace Stevens to Robert Frost while on a train trip to Florida as quoted by Robert Frost in a 1963 remembrance and review of Frost's legacy by Robert Lowell in the New York Review of Books. Found that one in an abandoned copy on the street in the book, "Selections: From the First Two Issues of New York Review of Books, circa 1964 (the publisher forgot to put the year of the publication page on the copyright page.) Stephen V ========================================================================= Date: Mon, 20 Oct 2003 10:20:40 -0700 Reply-To: kalamu@aol.com Sender: UB Poetics discussion group From: Ytzhak Organization: Selah7 http://www.sleepybrain.net/vanilla.html Subject: INFO: london--lewisham literature festival Comments: To: THCO2 MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit INFO: london--lewisham literature festival ================================== The Lewisham Literature Festival: A Celebration of Black writing At a Glance: Black Literature Festival Week 20 ‚Äì 26 October, 2003 (All events take place in venues in Lewisham, south east London). ‚Ä¢ Monday 20th October Young Readers: Young Writers - Active Readers Day Event 1 Book Characters Alive and Hand-made Books All Day Contact: 0207 919 7395 Venue: Deptford, 1.30-3.00 Black Writing in Spanish Event 2 Film: Tom*°s Guti*©rrez Alea‚Äôs La Ultima Cena (The Last Supper) Venue: Goldsmiths College Contact: 0207 919 7395 6:00 ‚Ä¢ Tuesday 21st October - Launch of Cherish by Yinka Sunmonu Event 3 (See Black History Month programme) Venue: Blackheath Concert Halls, 23 Lee Road, SE3 7:30 prompt start Contact: 0208 853 1847 ‚ÄòInto View‚Äô: Maggie Harris, Courttia Newland and Zena Edwards Event 4 (See Black History Month programme) Venue: Limelight Gallery, Lewisham Library, 8:00 Contact: 02082978521 ‚Ä¢ Wednesday 22nd October Event 5 Writers in the Market Place with Joan Anim-Addo/ Yinka Sunmonu/ Marie Gordon Venue: Deptford Market 11:00 Official Festival Opening Event: Event 6 An Audience with Linton Kwesi Johnson Venue: Ian Gulland Lecture Theatre Goldsmiths College, New Cross 6:00 Contact: 0207 919 7395 (Tickets escential Mixing It: Event 7 Mixing It: page/ prose/ voice/dub with Thelma Perkins/ Gareth Joseph/ Extremists: Jason & Samar Durant 8:00 Venue: Civic Suite, Catford Contact: 0207 919 7395 ‚Ä¢ Thursday 23rd October Event 8 Short Shorts with Joan Anim-Addo & Yinka Sunmonu 5:00-6:30 Contact: 0207 919 7395 Venue: Caribbean Centre, Goldsmiths College ‚Äì 16 Laurie Grove, SE14 Event 9 Writing Black British: A Symposium with Nana Wilson-Tagoe - Venue: Goldsmiths, New Cross Contact: 0207 919 7395 Friday 24th October Event 10 Spotlight Caribbean with Jacob Ross/ Joan Anim-Addo/ Maggie Harris Venue: Lewisham Art House, New Cross 6:00-7:30 Contact: 0207 919 7395 ‚Ä¢ Saturday 25th October Event 11 Poetry Breakfast Venue: Catford, Cumin Up 8:00 Contact: 0207 919 7395 Poetry and history in the City Event 12 Venue: Sydenham Cumin Up, 293 Sydenham Road. (Richard - 07831 423 163) Black Book Fair Event 13 Venue: Limelight Gallery, Lewisham Central Library Contact: 0207 919 7395 Sound Bites: Imoinda Event 14: Artist(s): Venue: George Wood Theatre, New Cross Contact: 0207 919 7395 Sunday 26th October, Festival Finale Event 15 Valerie Bloom Venue: George Wood Theatre, New Cross Contact: 0207 919 7395 -- - ___ Stay Strong "Peace sells but who's buying?" Megadeth "This mathematical rhythmatical mechanism enhances my wisdom of Islam, keeps me calm from doing you harm, when I attack, it's Vietnam" --HellRazah http://www.sleepybrain.net/vanilla.html http://awol.objector.org/artistprofiles/welfarepoets.html http://ilovepoetry.com/search.asp?keywords=braithwaite&orderBy=date http://www.dpgrecordz.com/fredwreck/ http://www.lowliferecords.co.uk/ http://loudandoffensive.com/ http://groups.yahoo.com/group/THCO2 ========================================================================= Date: Mon, 20 Oct 2003 10:23:23 -0700 Reply-To: kalamu@aol.com Sender: UB Poetics discussion group From: Ytzhak Organization: Selah7 http://www.sleepybrain.net/vanilla.html Subject: INFO: london--wordart featuring shortman Comments: To: THCO2 MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit INFO: london--wordart featuring shortman ================================== WORDART Monday 3rd November 2003, 8:00-10:00pm Lounge Bar, 56-58 Atlantic Road, (off Coldharbour Lane) Brixton, SW2 (Tube: Brixton) FREE ... T-Bone Promotions Presents... WordArt WordArt is a fusion of visual art and spoken word featuring spoken word by... shortMAN "Rapoetry bard exploring black culture through rythme and rhythm" Celebrating the 1st Anniversary of his self published book 'Rapoetry...In Print' and also launching an Inerview and Live Performance set available on DVD featuring 'Eat Popcorn'. and artwork by... Obi "Intricate ink drawings evocative of his African heritage. WordArt will also feature expressions from writers, singers, rappers and mc's. Arrive early for the OPEN MIC SESSION followed by SPECIAL GUEST APPEARANCES. Peace&Lovely Further information: T-Bone Promotions: 07946 776 952 Obi: 07879 657 285 shortMAN: 07985 468 999 >> -- - ___ Stay Strong "Peace sells but who's buying?" Megadeth "This mathematical rhythmatical mechanism enhances my wisdom of Islam, keeps me calm from doing you harm, when I attack, it's Vietnam" --HellRazah http://www.sleepybrain.net/vanilla.html http://awol.objector.org/artistprofiles/welfarepoets.html http://ilovepoetry.com/search.asp?keywords=braithwaite&orderBy=date http://www.dpgrecordz.com/fredwreck/ http://www.lowliferecords.co.uk/ http://loudandoffensive.com/ http://groups.yahoo.com/group/THCO2 ========================================================================= Date: Mon, 20 Oct 2003 13:58:12 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Lisa M Jarnot Subject: Ring of Fire by Lisa Jarnot MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Disposition: inline Content-Transfer-Encoding: 7bit Dear All, My book of poems Ring of Fire (2001, Zoland) has been reprinted by Salt Publishers (new cover, slightly expanded). It is available through bookstores and from Salt-- their website address is: http://www.saltpublishing.com/ Best, Lisa Jarnot ========================================================================= Date: Mon, 20 Oct 2003 13:16:13 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Joe Amato Subject: streaming video... Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" well---i had great fun at carleton college... the folks there requested that i speak extempore about new media, from which they were kind enough to edit a snippet for mass consumption... so herewith a url for those interested in seeing how my head and mouth move together---brace yourself: http://www.acad.carleton.edu/curricular/MEDA/daf/joe.html best, joe ========================================================================= Date: Mon, 20 Oct 2003 11:15:47 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Small Press Traffic Subject: edwards & Scott at SPT this Fri, 10/24 MIME-Version: 1.0 Content-Type: text/plain; charset="ISO-8859-1"; format="flowed" Content-Transfer-Encoding: 8bit Small Press Traffic presents Friday, October 24, 2003 at 7:30 p.m. kari edwards & Gail Scott Anne Waldman says of kari edwards? first novel, a day in the life of p. (Subpress, 2002): "Burroughsian, transgressive, exceedingly sharp and witty?startling and entertaining. What?s solid? This picaresque book is the dislocated yet substantive narration of the future." And Kevin Killian, who will introduce hir at SPT, says "[the] book is side-splittingly funny, when it wants to be, and tragic and mystic in turns from page to page. Like Marcel Duchamp?s Rrose Selavy, ?p? gives a new twist to our received ideas of heroism, kindness, and lucidity." edwards received a Bay Area Award in Literature from New Langton Arts in 2002; previous works include a diary of lies (Belladonna, 2002) and post/(pink) (Scarlet Press, 2001). Gail Scott joins us in celebration of the US publication of her novel, My Paris, by Dalkey Archive. Eileen Myles says "[she] has redefined landscape to include all weather, inside and out, including sex and a female sexual vision--a vision of being that's pure animation, an action made up of all the tiny windows of information constantly opening and closing in the rhythm of the way we know a place in time, for instance Paris. Her Paris is pretty stunning art." Scott?s other novels are Heroine and Main Brides. She is a coeditor of Narrativity and her translation of Michael Delisle's The Sailor?s Disquiet was shortlisted for the prestigious Governor General's award in 2001. She joins us from Montreal and will be introduced by Robert Glück. Cosponsored by the Poetry Center; held at Small Press Traffic. Unless otherwise noted, events are $5-10, sliding scale, free to SPT members, and CCAC faculty, staff, and students. Unless otherwise noted, our events are presented in Timken Lecture Hall California College of Arts and Crafts 1111 Eighth Street, San Francisco (just off the intersection of 16th & Wisconsin) http://www.sptraffic.org check out our highly readable website Elizabeth Treadwell Jackson Executive Director Small Press Traffic Literary Arts Center at CCA 1111 -- 8th Street San Francisco, CA 94107 415.551.9278 http://www.sptraffic.org ========================================================================= Date: Mon, 20 Oct 2003 14:38:36 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Halvard Johnson Subject: Re: Frost & Stevens In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Okay, I'll add this one: Bly & Starbuck "When are you going to read us some poems, George?" Robert Bly to George Starbuck about halfway through a public reading by Starbuck at the Univ. of New Mexico, mid-60s. Halvard J. { In the category of "now we're poets let's be friends and bare all", this one { is, perhaps, high modernist cake, and well, frosting: { { "The trouble with your poetry, Frost, is that it has subjects." { { Wallace Stevens to Robert Frost while on a train trip to Florida as quoted { by Robert Frost in a 1963 remembrance and review of Frost's legacy by Robert { Lowell in the New York Review of Books. { { { Found that one in an abandoned copy on the street in the book, "Selections: { From the First Two Issues of New York Review of Books, circa 1964 (the { publisher forgot to put the year of the publication page on the copyright { page.) { { Stephen V ========================================================================= Date: Mon, 20 Oct 2003 16:32:22 -0400 Reply-To: patrick@proximate.org Sender: UB Poetics discussion group From: Patrick Herron Subject: inspirare and sadism In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit -----Original Message----- From: Ron Silliman [mailto:tottels@hotmail.com] Sent: Monday, October 20, 2003 9:24 AM 1) Can poetry challenge militarized language & propaganda? Isn't this ironically modernist, in the sense that it reflects an attempt or will to purify the language? Another way to put it: isn't every use somehow related to some form of control? If we are to take this binary of abuse/non-abuse, how would we determine (what criteria) that propaganda is an abuse while, say, a poem by Alan Sondheim is not? Further, is a man standing by his word necessarily Fascist because it was true of Pound? Even deeper, is language by its very nature violent? If so, does the development of language in humans correspond with, say, a rise in violence, war, and so on, or maybe even a species-wide shift to patriarchy? Maybe language cannot undo violence. In fact I'm sure it cannot. I just finished writing my fourth book, which is a deeper exploration of propaganda, particularly in the political arena (whereas Lester's book explores the roots of language as a technology of control). Les's book seems to argue that while language may be steeped in a will to control, there's a competing force, namely poetry, ambiguity, repetition into oblivion, and even nonsense. At one point I thought these two competing forces could act independently of one another, but now I am not so sure. I think the competition is a model for understanding the channel that language uses, that the contradictory state may be our best explanation of how language can be used for both poetry and control. Further, poetry IS a means of control just as it is a means of liberation, and this conflict is a representational one. What's more, there's no doubt that poetry is a place for political discourse. For one, inspiration is a catalyst for change. Language may also give people new ideas. If you can actually read and/or understand a political poem, it may provide you insight into something you've never thought of before. So propaganda is business-as-usual for language: a technology of control by leveraging the familiar within language. Poetry seems to be able to do what propaganda does, plus a whole lot more (but wait, that's not all folks! TM). If it's Dean-Clark in 2004, Dean gets shot after winning the election and the Republicans rule once again. But that's a fairy tale. The 2004 election is already over, unless the American people make sure that electronic voting is removed from the electoral process until it is secure from even the most novice of haxors and crackers. While voting fraud in Chicago, Florida, Nebraska, or Tennessee is one thing, nationwide automated fraud is quite a leap--at least two or three orders of magnitude larger in scope--while having the added benefit of being easily obscured. But of course I'm just one of those paranoid conspiracy types. You know the kind. The poetics of the Justin Timberlake generation are a sort of anti-poetics. Brian Stefans and Philip Nikolayev have approached this question with novel solutions (Nikolayev in his essay on poetic anarchy in Fulcrum 2, and Stefans in his recent writing on "The Creeps" in his blog). I think they are both very good approaches to a poetics, in that they engage in discourse not only on generational affinities but also on higher-level tendencies. I do believe the current generation's poetics is anarchistic. There is no center to a distributed network. The centers of power in poetry, through the power of the internet, have been subverted, circumvented, and overridden. There's no other explanation than the internet, for example, as to how someone like myself, who is or at least was completely un-enfranchised (to coin a term) in the poetry world, has 70 plus poems published in journals in the last two years. How could something like this have happened without the central domination of a university-endorsed poetics? Orson Scott Card predicted this sort of phenomenon in his 1985 novel _Ender's Game_, where the young Ender participates and influences political policy by hiding behind a virtual identity (his age alone would otherwise serve to encourage the public to discredit or ignore his views). Blogs seem to kill the community aspect of internet communications. Hardly are blogs some sort of answer or genre.... They are nothing but content management systems with almost every feature removed except journaling. Fortunately I work for an organization that is looking to solve that problem with an application called Lyceum, which will be a blogsphere application. Essentially, reading blogs will become no different from, say, searching the on-line UBPoetics List archives, except that it will have channel features (whose syndications you opt to receive). So in effect, I will build a blog page that pulls data from other blogs and puts them together. We can do that now with RSS feeds, but it requires a little technical skill beyond installing software. What will become more interesting is when Joe User will have an operating system that automatically facilitates syndicated publishing to the internet, without requiring any additional skills other than installing the operating system, typing, and using a mouse. ========================================================================= Date: Mon, 20 Oct 2003 13:40:19 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Lewis LaCook Subject: futherStudio Critical Forum: Jess Loseby Interviewed by Lewis LaCook, live and online Comments: cc: screenburn screenburn , 7-11 7-11 <7-11@mail.ljudmila.org>, "arc.hive" <_arc.hive_@lm.va.com.au>, spiral bridge , cyberculture , underground poetry , Renee , rhizome , John Schmidt , webartery , wryting MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Jessica Loseby will be interviewed live online by Lewis LaCook on Tuesday, October 21, at 18:30 GMT (19:30 BST and 14:30 NY), as part of Furtherfield's FurtherStudio artist residency. To see the live chat, point your browser at http://www.furtherfield.org/furtherstudio/ associate editor, _sidereality http://www.sidereality.com/ -------- http://www.lewislacook.com/ tubulence artist studio: http://turbulence.org/studios/lacook/index.html --------------------------------- Do you Yahoo!? The New Yahoo! Shopping - with improved product search ========================================================================= Date: Mon, 20 Oct 2003 18:06:28 -0400 Reply-To: patrick@proximate.org Sender: UB Poetics discussion group From: Patrick Herron Subject: Decentralized Classicism MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit The idea of a higher consciousness, of rising above the oppressive use of language, went out the door with LSD. We can't spend our lives dosed on lysergic acid, though of course a brave few have tried. A poetics of the day must be entwined, as it always is, with the physical constraints of poetry. What is the medium? Is it oral? Written? Static? Dynamic? What language(s)? How is it distributed? One way of exploring present-day (or presently) poetics is by noting the twin importance of distribution and process. The former is radically important to the very way poetry is written AND received. The medium always shapes the content and in effect makes the content. At the beginning of the 18th century in England, printing presses were becoming widely available, and a publishing boom was underway. All sort of entrepreneurs began purchasing printing presses and printing books. In the 18th century we have many businesses borrowing money from banks to acquire publishing equipment. But how can these publishers provide collateral for the banks? Voila! The Statute of Queen Anne! Make the produce of writers property, and make the reproductions equal property! So the British Government invents the notion of intellectual property. Some starving writers were dragged out to claim that Copyright law would protect them, while in essence the law was poised to grant publishers the status of protected "copyright proprietors." The law made industrial privilege essential to publishing, but more importantly, and more germane to a present-day poetics, it made ideas ownable and also made the trade of reproductions ownable. Ownable, meaning controllable. The copy of the idea remains property of the person who in effect "owns" the original, and that is the "copyright proprietor," the bookseller. The notion of Copyright directly challenges classicism. In a broad sense classicism seems to suggest that everything that is said has been said before, and that the muse is indifferent to identity. (I see much of classicism through the eyes of Borges, who interestingly enough was blind.) Authorship in classicism in some sense is little more than a footnote to a work, whereas with the creation of the Copyright Law of 1710, it became everything. The capital investment of booksellers and publishers is protected while the labor of the author is not. "Problems in the containment of representation" (Susan Stewart) increasingly drive the development of the literary hoax over the course of the last 300 years, perhaps reaching a climax at least in poetry in the last few years, with the rise of the fake hoax (see Jacket #17). And so here we are, almost 300 years after the invention of copyright. The last 300 years has upended the authorlessness of classicism with the solipsism of Romanticism and its revenue-happy stepchild, the MFA program. The digital revolution is eroding the notion of the distinction between the real and the fake (refer to the work of KK Ruthven or Hillel Schwartz), just as the literary hoax is. It is not too incredible, then, to see that the literary hoax and the digital revolution intersect at the point of the internet avatar. The avatar, then, is a nexus for the development of poetics in the near future. This is a poetics. The open source revolution in software is poised to send our poetics to a new form of classicism, to a state where it does not make sense to treat writing as intellectual capital. Already the open sourcers are fighting the intellectual property wars over filesharing/mp3 distribution, issues which address the very essence of copyright laws in the context of an artistic medium. Intellectual property is in cultural jeopardy, and cultural jeopardy changes law. The poetics of the present day, then, the relevant poetics, deal with issues of how poetry transcends and yet is immersed in the categories of realness and fakeness, and how poetry ultimately obliterates that distinction. This is a mirror of classicism, where there is no concern for the authenticity of the author--the classicist believes the author is but a figure that represents the inspiration provided by the muse, and the literal existence of a muse means nothing to validate or invalidate that view. Poetry in present-day (or the soon-to-come) decentralized classicism is neither authentic nor fake, and yet it is both authentic and fake. This doubling of authenticity and spuriosity has been the domain that the present-day literary hoax exploits, (Interestingly, the poetry hoax is a phenomenon marginalized by the very structures of poetry-power. E.g., contests require the obliteration of autobiographical notes, which precludes Lester from entering his book in any contest, since his work is a spoof on hoaxes and on identity, as a fake fake.) The domain of the literary hoax, the space created by the obliteration of the distinction between real and fake, is now rapidly expanding thanks in part to another obliteration--the destruction of the barriers to global distribution thanks to the World Wide Web. It no longer makes sense to make ideas property, at least not to the culture where its members live large percentages of their lives on the internet, where its members, its children, effectively ignore copyright, a realm where the ubiquitous motto among artists is, "the best steal." That ultimate view towards stealing, borrowing, sampling, is really just classicism seen through the lingering haze of the copyright era. In the wake of the coming post-copyright era, as web presence and avatar-ing become more and more banal, an anarchism of poetics will inevitably take hold and then of course fade. ========================================================================= Date: Mon, 20 Oct 2003 18:25:43 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Joe Brennan Subject: "If The Guy On The Radio Ain't Talkin' About Who's Gettin' The Money, He Ain't T Comments: To: frankfurt-school@lists.village.virginia.edu, corp-focus@lists.essential.org, WRYTING-L@LISTSERV.UTORONTO.CA MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Click here: The Assassinated Press Saudi Arabia, Pakistan, Reluctant to Send Troops to Iraq: Crown Prince Denounces Islamic Terrorism by Jan Saddamsquat The Assassinated Press You Want Better Schools?---Then Bring Back the Draft: No Child Left Behind---While His Classmates Play Cops Of The World: "If The Guy On The Radio Ain't Talkin' About Who's Gettin' The Money, He Ain't Talking Shit," Says A Clean Rush Limbaugh; Blames His Politics On Drugs And Easy Money by 'Spare The Child, Spoil the Rod' Paige & Yaso Adiodi The Assassinated Press They hang the man and flog the woman That steal the goose from off the common, But let the greater villain loose That steals the common from the goose. Constant apprehension of war has the same tendency to render the head too large for the body. A standing military force with an overgrown executive will not long be safe. companions to liberty. -- Thomas Jefferson "America is a quarter of a billion people totally misinformed and disinformed by their government. This is tragic but our media is -- I wouldn't even say corrupt -- it's just beyond telling us anything that the government doesn't want us to know." Gore Vidal ========================================================================= Date: Mon, 20 Oct 2003 19:33:05 -0400 Reply-To: olsonjk@delhi.edu Sender: UB Poetics discussion group From: Kirby Olson Organization: SUNY Delhi Subject: Re: Decentralized Classicism MIME-Version: 1.0 Content-Transfer-Encoding: 7bit Content-Type: text/plain; charset=us-ascii Kirby Olson wrote: > Only Athenian-born Athenians could have their work in the great library at > Athens. This is why we only know the work of Diogenes the Cynic through > quotes from Athenian-born authors. In classical Athens, the notion of who > could have their work reproduced and kept was very strictly policed. > Perhaps you could say in ancient myth it may not have been, but the > classical playwrights were awarded prizes -- Sophocles' win meant money and > tax-free status. And Ovid was very strictly sent to what is now Romania for > having been known as the author of verses that had not been enjoyed by the > government. I was trying to imagine a classical world where this wasn't > so. Elizabethan England already meant that an author would be put to death > for proclaiming anarchy, homosexuality, or atheism. And the final irony is > that nineteenth century Anarchists fought for copyright law in America in > order to protect their work. But then I like private property as I grew up > with three brothers, and I wanted everything clearly labelled to prevent > property disputes. > > I still don't think August Highland had the right to republish my ghazal > without my permission. I wouldn't have him hanged, or make him sit on the > corner of somethng sharp for three days. I would just like him to get it > off his site. What remedy have I got? He has it, and won't even respond. > Give it back, August. > > -- Kirby Olson > > Patrick Herron wrote: > > > The idea of a higher consciousness, of rising above the oppressive use > > of language, went out the door with LSD. We can't spend our lives dosed > > on lysergic acid, though of course a brave few have tried. > > > > A poetics of the day must be entwined, as it always is, with the > > physical constraints of poetry. What is the medium? Is it oral? > > Written? Static? Dynamic? What language(s)? How is it distributed? > > > > One way of exploring present-day (or presently) poetics is by noting the > > twin importance of distribution and process. The former is radically > > important to the very way poetry is written AND received. The medium > > always shapes the content and in effect makes the content. > > > > At the beginning of the 18th century in England, printing presses were > > becoming widely available, and a publishing boom was underway. All sort > > of entrepreneurs began purchasing printing presses and printing books. > > In the 18th century we have many businesses borrowing money from banks > > to acquire publishing equipment. But how can these publishers provide > > collateral for the banks? > > > > Voila! The Statute of Queen Anne! Make the produce of writers property, > > and make the reproductions equal property! So the British Government > > invents the notion of intellectual property. Some starving writers were > > dragged out to claim that Copyright law would protect them, while in > > essence the law was poised to grant publishers the status of protected > > "copyright proprietors." The law made industrial privilege essential > > to publishing, but more importantly, and more germane to a present-day > > poetics, it made ideas ownable and also made the trade of reproductions > > ownable. Ownable, meaning controllable. The copy of the idea remains > > property of the person who in effect "owns" the original, and that is > > the "copyright proprietor," the bookseller. > > > > The notion of Copyright directly challenges classicism. In a broad > > sense classicism seems to suggest that everything that is said has been > > said before, and that the muse is indifferent to identity. (I see much > > of classicism through the eyes of Borges, who interestingly enough was > > blind.) Authorship in classicism in some sense is little more than a > > footnote to a work, whereas with the creation of the Copyright Law of > > 1710, it became everything. The capital investment of booksellers and > > publishers is protected while the labor of the author is not. > > > > "Problems in the containment of representation" (Susan Stewart) > > increasingly drive the development of the literary hoax over the course > > of the last 300 years, perhaps reaching a climax at least in poetry in > > the last few years, with the rise of the fake hoax (see Jacket #17). > > > > And so here we are, almost 300 years after the invention of copyright. > > The last 300 years has upended the authorlessness of classicism with the > > solipsism of Romanticism and its revenue-happy stepchild, the MFA > > program. > > > > The digital revolution is eroding the notion of the distinction between > > the real and the fake (refer to the work of KK Ruthven or Hillel > > Schwartz), just as the literary hoax is. It is not too incredible, > > then, to see that the literary hoax and the digital revolution intersect > > at the point of the internet avatar. The avatar, then, is a nexus for > > the development of poetics in the near future. > > > > This is a poetics. > > > > The open source revolution in software is poised to send our poetics to > > a new form of classicism, to a state where it does not make sense to > > treat writing as intellectual capital. Already the open sourcers are > > fighting the intellectual property wars over filesharing/mp3 > > distribution, issues which address the very essence of copyright laws in > > the context of an artistic medium. Intellectual property is in cultural > > jeopardy, and cultural jeopardy changes law. > > > > The poetics of the present day, then, the relevant poetics, deal with > > issues of how poetry transcends and yet is immersed in the categories of > > realness and fakeness, and how poetry ultimately obliterates that > > distinction. This is a mirror of classicism, where there is no concern > > for the authenticity of the author--the classicist believes the author > > is but a figure that represents the inspiration provided by the muse, > > and the literal existence of a muse means nothing to validate or > > invalidate that view. Poetry in present-day (or the soon-to-come) > > decentralized classicism is neither authentic nor fake, and yet it is > > both authentic and fake. This doubling of authenticity and spuriosity > > has been the domain that the present-day literary hoax exploits, > > (Interestingly, the poetry hoax is a phenomenon marginalized by the very > > structures of poetry-power. E.g., contests require the obliteration of > > autobiographical notes, which precludes Lester from entering his book in > > any contest, since his work is a spoof on hoaxes and on identity, as a > > fake fake.) > > > > The domain of the literary hoax, the space created by the obliteration > > of the distinction between real and fake, is now rapidly expanding > > thanks in part to another obliteration--the destruction of the barriers > > to global distribution thanks to the World Wide Web. It no longer makes > > sense to make ideas property, at least not to the culture where its > > members live large percentages of their lives on the internet, where its > > members, its children, effectively ignore copyright, a realm where the > > ubiquitous motto among artists is, "the best steal." That ultimate view > > towards stealing, borrowing, sampling, is really just classicism seen > > through the lingering haze of the copyright era. > > > > In the wake of the coming post-copyright era, as web presence and > > avatar-ing become more and more banal, an anarchism of poetics will > > inevitably take hold and then of course fade. ========================================================================= Date: Mon, 20 Oct 2003 17:21:57 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: juliana spahr Subject: subpress book party MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii; format=flowed Content-Transfer-Encoding: 7bit subpress party: celebrate! hear poets! buy (cheap) books! Dan Bouchard, Camille Guthrie, Jen Hofer, Bill Marsh Deborah Richards, Prageeta Sharma, Edwin Torres John Wilkinson Saturday November 1, 2003 2:00 PM The Bowery Poetry Club 308 Bowery Street New York, NY 10012 (212) 614-0505 between Houston and Bleeker Streets at the foot of First Street F Train to Second Avenue or 6 Train to Bleeker for driving directions go to http://www.poetz.com/bpc/directions.htm Subpress is a collective supported by members who agree to contribute one percent of their annual income. Members are responsible for editing books. The order of publication is determined by lottery. $5 includes admission to the Segue reading series at 4 PM. ________________________________________________________________ ========================================================================= Date: Mon, 20 Oct 2003 20:34:26 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: the diff MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII the diff if i disappear will i still be here will i still be here if i am dead will i still be read will i still be read if my words are tossed will my work be lost will my work be lost if i'm gone forever will you dream forever will you dream forever and if my life is through i will always love you i will always love you 3,24c3,21 < !v ! d!zappear < w!l ! zt!l b hre < w!l ! zt!l b hre < < !v ! = dead < w!l ! zt!l b read < w!l ! zt!l b read < < !v m! uordz r tozZed < w!l m! uork b lozt < w!l m! uork b lozt < < !v !m g01 4evr < w!l u dre= 4evr < w!l u dre= 4evr < < + !v m! l!fe = through < ! u!l alwayz lv u < ! u!l alwayz lv u < < < {[}] --- > if i disappear > will i still be here > will i still be here > > if i am dead > will i still be read > will i still be read > > if my words are tossed > will my work be lost > will my work be lost > > if i'm gone forever > will you dream forever > will you dream forever > > and if my life is through > i will always love you > i will always love you !v ! d!zappear w!l ! zt!l b hre w!l ! zt!l b hre !v ! = dead w!l ! zt!l b read w!l ! zt!l b read !v m! uordz r tozZed w!l m! uork b lozt w!l m! uork b lozt !v !m g01 4evr w!l u dre= 4evr w!l u dre= 4evr + !v m! l!fe = through ! u!l alwayz lv u ! u!l alwayz lv u {[}] ========================================================================= Date: Mon, 20 Oct 2003 17:38:27 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Stephen Vincent Subject: Re: Decentralized Classicism Comments: To: patrick@proximate.org In-Reply-To: <000f01c39756$696b7ee0$6400a8c0@pearl> Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit Patrick, I think some of your speculative and utopic projections re the future of publishing/internet and copyright are perhaps clever-by-half. The "classics", for example, were owned by some body, usually some body variousl called the family, tribe, province or nation state - an an author or group of authors probably got a message real quickly if they broke the rules, or, at least, were not given permission to redefine the 'classical' container - whether that be in the form of a statue or a public manuscript. Like, say, looking for avant-garde Dada extant remakes of Buddha circa 1,000 AD is not likely, or ones that the public would ever be allowed to know. Publishing poetry or otherwise will always - in my opinion - be involved in ownership, as well as conflicts in ownership - that is struggles between the author and the maker of the container of the publication (the publisher) and beyond that, the State. Each entity has a different agenda. Publishing is a little bit like male sex, or maybe ought to be. It's not how long one is, but how it's use! The publisher (which may include the author(s)) invests x amount of time, resources, materials etc. to create the container and take it into the market. This publisher naturally wants to secure sales that will protect the investment and ultimately create a profit, whereby a livelihood is secured and enough money remains to do more books. Copyright, or the rights secured from the author, insure protection for the investment. At best, authors and or their agents, don't give away the horse with the race (sales), but secure an agreement that compels the publisher to do x, y and z within a certain time frame. If the book is not selling, not in distribution, etc., the rights come back. No longer does an author have to sign over the rights in perpetua to a publisher. Back to the sex analog, it's performance - in this case, the market place - that serves the relationship. Sorry, if I sound like I am lecturing, but I have been through this from every side of the coin, or lack of such. I am sure like many of us, the Internet has created this vast channel of exposure, multiple kinds of sharing, etc., and it's been great delight to access an abundance of all kinds of cultural information, including, poetry, and more poetry! And its all been a boon(m) to us armchair Google researchers that do not live in, at least, a great University's research lap, even if the information is often not "authoritative", something that an ideal publisher has an implicit commitment. And the hoaxes and the simulations are also part of it, and ones, witness the Gothics News Service, of which I enjoyed making to the hilt. It's all part of the big chemistry of shaking up the emperor's lousy clothes End of the day, however, digital fluidity - at least my sense of it - still remains in a nether world that begs for concretization (will let's say 'in dialog with the material world' of production). I watch locally - with great affection - the New Brutalists - a group in part bonded by blogs and continental internet connections, but whose devotion is equally or more devloted printed formats, chap books, letter press & offset, to performance,) and old fashioned correspondence (post card poems). I think the whole mix/matrix of formats and channels is at wonderful play, and definitely a new opening on the present - and one of which the digital is an integral aspect Livelihood and one's makings (poems) inevitably come back to contracts (even on stated on the resume for the job in the local community college) of which copyright (the ownership and control of what you make) will remain essential and variously protected. And there will be screaming and all sorts of anger and retribution promised if it isn't. It's always - ownership - somewhere inherent in the dialog. Stephen V on 10/20/03 3:06 PM, Patrick Herron at patrick@PROXIMATE.ORG wrote: > The idea of a higher consciousness, of rising above the oppressive use > of language, went out the door with LSD. We can't spend our lives dosed > on lysergic acid, though of course a brave few have tried. > > A poetics of the day must be entwined, as it always is, with the > physical constraints of poetry. What is the medium? Is it oral? > Written? Static? Dynamic? What language(s)? How is it distributed? > > One way of exploring present-day (or presently) poetics is by noting the > twin importance of distribution and process. The former is radically > important to the very way poetry is written AND received. The medium > always shapes the content and in effect makes the content. > > At the beginning of the 18th century in England, printing presses were > becoming widely available, and a publishing boom was underway. All sort > of entrepreneurs began purchasing printing presses and printing books. > In the 18th century we have many businesses borrowing money from banks > to acquire publishing equipment. But how can these publishers provide > collateral for the banks? > > Voila! The Statute of Queen Anne! Make the produce of writers property, > and make the reproductions equal property! So the British Government > invents the notion of intellectual property. Some starving writers were > dragged out to claim that Copyright law would protect them, while in > essence the law was poised to grant publishers the status of protected > "copyright proprietors." The law made industrial privilege essential > to publishing, but more importantly, and more germane to a present-day > poetics, it made ideas ownable and also made the trade of reproductions > ownable. Ownable, meaning controllable. The copy of the idea remains > property of the person who in effect "owns" the original, and that is > the "copyright proprietor," the bookseller. > > The notion of Copyright directly challenges classicism. In a broad > sense classicism seems to suggest that everything that is said has been > said before, and that the muse is indifferent to identity. (I see much > of classicism through the eyes of Borges, who interestingly enough was > blind.) Authorship in classicism in some sense is little more than a > footnote to a work, whereas with the creation of the Copyright Law of > 1710, it became everything. The capital investment of booksellers and > publishers is protected while the labor of the author is not. > > "Problems in the containment of representation" (Susan Stewart) > increasingly drive the development of the literary hoax over the course > of the last 300 years, perhaps reaching a climax at least in poetry in > the last few years, with the rise of the fake hoax (see Jacket #17). > > And so here we are, almost 300 years after the invention of copyright. > The last 300 years has upended the authorlessness of classicism with the > solipsism of Romanticism and its revenue-happy stepchild, the MFA > program. > > The digital revolution is eroding the notion of the distinction between > the real and the fake (refer to the work of KK Ruthven or Hillel > Schwartz), just as the literary hoax is. It is not too incredible, > then, to see that the literary hoax and the digital revolution intersect > at the point of the internet avatar. The avatar, then, is a nexus for > the development of poetics in the near future. > > This is a poetics. > > The open source revolution in software is poised to send our poetics to > a new form of classicism, to a state where it does not make sense to > treat writing as intellectual capital. Already the open sourcers are > fighting the intellectual property wars over filesharing/mp3 > distribution, issues which address the very essence of copyright laws in > the context of an artistic medium. Intellectual property is in cultural > jeopardy, and cultural jeopardy changes law. > > The poetics of the present day, then, the relevant poetics, deal with > issues of how poetry transcends and yet is immersed in the categories of > realness and fakeness, and how poetry ultimately obliterates that > distinction. This is a mirror of classicism, where there is no concern > for the authenticity of the author--the classicist believes the author > is but a figure that represents the inspiration provided by the muse, > and the literal existence of a muse means nothing to validate or > invalidate that view. Poetry in present-day (or the soon-to-come) > decentralized classicism is neither authentic nor fake, and yet it is > both authentic and fake. This doubling of authenticity and spuriosity > has been the domain that the present-day literary hoax exploits, > (Interestingly, the poetry hoax is a phenomenon marginalized by the very > structures of poetry-power. E.g., contests require the obliteration of > autobiographical notes, which precludes Lester from entering his book in > any contest, since his work is a spoof on hoaxes and on identity, as a > fake fake.) > > The domain of the literary hoax, the space created by the obliteration > of the distinction between real and fake, is now rapidly expanding > thanks in part to another obliteration--the destruction of the barriers > to global distribution thanks to the World Wide Web. It no longer makes > sense to make ideas property, at least not to the culture where its > members live large percentages of their lives on the internet, where its > members, its children, effectively ignore copyright, a realm where the > ubiquitous motto among artists is, "the best steal." That ultimate view > towards stealing, borrowing, sampling, is really just classicism seen > through the lingering haze of the copyright era. > > In the wake of the coming post-copyright era, as web presence and > avatar-ing become more and more banal, an anarchism of poetics will > inevitably take hold and then of course fade. ========================================================================= Date: Mon, 20 Oct 2003 20:58:53 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: mIEKAL aND Subject: text_TOWER Mime-Version: 1.0 (Apple Message framework v552) Content-Type: text/plain; charset=US-ASCII; format=flowed Content-Transfer-Encoding: 7bit Who wants to print this out & install it on the side of a building in Ground Zero? 84 ft & climbing. Get in on the ground floor. http://cla.umn.edu/joglars/text_TOWER/index.php ========================================================================= Date: Mon, 20 Oct 2003 21:10:06 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: mIEKAL aND Subject: Re: streaming video... In-Reply-To: Content-Type: text/plain; charset=US-ASCII; format=flowed Mime-Version: 1.0 (Apple Message framework v552) Content-Transfer-Encoding: 7bit Is that a new media hat above your head? On Monday, October 20, 2003, at 11:16 AM, Joe Amato wrote: > well---i had great fun at carleton college... the folks there > requested that i speak extempore about new media, from which they > were kind enough to edit a snippet for mass consumption... so > herewith a url for those interested in seeing how my head and mouth > move together---brace yourself: > > http://www.acad.carleton.edu/curricular/MEDA/daf/joe.html > > best, > > joe > ========================================================================= Date: Mon, 20 Oct 2003 21:53:01 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Tenney Nathanson Subject: Re: Ring of Fire by Lisa Jarnot In-Reply-To: <34418e7343cc79.343cc7934418e7@homemail.nyu.edu> MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit whoa! just in time for the end of the semester (was planning to ask for permission to xerox for grad seminar & now can order actual book). that's great Lisa! best, Tenney mailto:tenney@dakotacom.net mailto:nathanso@u.arizona.edu http://www.u.arizona.edu/~nathanso/tn POG: mailto:pog@gopog.org http://www.gopog.org > -----Original Message----- > From: UB Poetics discussion group > [mailto:POETICS@LISTSERV.BUFFALO.EDU]On Behalf Of Lisa M Jarnot > Sent: Monday, October 20, 2003 10:58 AM > To: POETICS@LISTSERV.BUFFALO.EDU > Subject: Ring of Fire by Lisa Jarnot > > > Dear All, > > My book of poems Ring of Fire (2001, Zoland) has been reprinted > by Salt Publishers (new cover, slightly expanded). It is > available through bookstores and from Salt-- their website address is: > > http://www.saltpublishing.com/ > > Best, > Lisa Jarnot > ========================================================================= Date: Tue, 21 Oct 2003 01:32:17 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "David A. Kirschenbaum" Subject: ** Last Call for Boog City Discount Ad Rate ** Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit Hi all, Boog City, the East Village Community newspaper, is an affordable way to reach likeminded New Yorkers who would be interested in your offerings. We come out monthly, with a print run of 2,000, and distribute primarily in the East Village and Williamsburg. Our November issue is going to press on Monday, Oct. 27, and we are once again offering a 50% discount on our 1/8-page ads, cutting them from $60 to $30. Make reservations as soon as possible. Ads must be in by this Fri., Oct. 24 Issue will be distributed on Tues. Oct. 28. Backchannel to editor@boogcity.com or call 212-842-BOOG(2664) for more information. Thanks, David -- David A. Kirschenbaum, editor and publisher Boog City 330 W.28th St., Suite 6H NY, NY 10001-4754 For event and publication information: http://boogcity.blog-city.com/ T: (212) 842-BOOG (2664) F: (212) 842-2429 ========================================================================= Date: Mon, 20 Oct 2003 23:24:27 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Lewis LaCook Subject: caterpiller gauzy all over Comments: cc: webartery , rhizome , wryting MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii logging out to scratch the vial it's late http://stamenpistol.blogspot.com/ allen bramhall, sheila murphy, lewis lacook associate editor, _sidereality http://www.sidereality.com/ -------- http://www.lewislacook.com/ tubulence artist studio: http://turbulence.org/studios/lacook/index.html --------------------------------- Do you Yahoo!? The New Yahoo! Shopping - with improved product search ========================================================================= Date: Tue, 21 Oct 2003 08:02:47 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: shanna compton Subject: Frequency this Sunday: Lyric presents Rachel Zucker & Melissa Hotchkiss (Brooklyn) Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit Sunday, October 26 at 2:00pm FREQUENCY with Lyric Magazine presented by Eve Grubin with Melissa Hotchkiss & Rachel Zucker! Soft Skull Shortwave 71 Bond Street Brooklyn, NY 11217 (718) 643-1599 http://www.softskull.com/shortwave.php LYRIC has been recently described as an "elegantly produced magazine that has discovered a whole new young audience," presenting poetry by Americans and translations of both little-known and celebrated poets from around the world. LYRIC seeks poetry with true singing power distinguished by musicality and lyricism and publishes lyric essays that use poetic logic and relate a mosaic of ideas. Established in January 2001 at City Lights Books, LYRIC has relocated and is now the only Houston-based independent literary journal. MELISSA HOTCHKISS is the author of Storm Damage. Her poetry has appeared in Marlboro Review, LIT, Upstairs at Duroc, The Lyric Review, 3rd Bed, and other magazines. Her prose has appeared in the New Virginia Review and The New York Times. Melissa has read at over 40 venues in Maine, Vermont, Utah, Virginia, and New York City. She is also a founding editor of Barrow Street and also ran the Barrow Street Reading Series in the West Village for 8 years. RACHEL ZUCKER's first full-length collection is Eating in the Underworld (Wesleyan 2003), a series of poems that follows the narrative arc of the myth of Persephone. Her second collection, The Last Clear Narrative, a cross examination of marriage and motherhood, will be published by Wesleyan some time in 2005. Zucker is the winner of the Salt Hill Poetry Award (1999, judged by C.D. Wright) and the Barrow Street Poetry Prize (2000). In 2002 she won the Center for Book Arts Award (judged by Lynn Emanuel) for her long poem, "Annunciation" which was published as a limited edition chapbook. Her poems have appeared in many journals including: 3rd Bed, American Poetry Review, Barrow Street, Colorado Review, Epoch, Fence, Iowa Review, Pleiades and Prairie Schooner as well as in the Best American Poetry 2001 anthology. Zucker has taught at Yale, NYU and the 92nd Street Y. She has also worked as a photographer, day care teacher and gem dealer. She lives in New York with her husband, writer Josh Goren, and their two sons. She is currently working on her fourth collection of poems and coediting an anthology, Writing Under the Influence, with poet Arielle Greenberg. Part of the NYC Lit Fest 2003: Home, sponsored by Time Out New York! For the full Frequency Series schedule, see http://www.shannacompton.com/frequency.html ========================================================================= Date: Tue, 21 Oct 2003 08:50:42 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Fulcrum Annual Organization: Fulcrum Annual Subject: Kapovich and Maxwell to Read at Blacksmith House in Cambridge MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit Poets Glyn Maxwell and Katia Kapovich will read at the Blacksmith House in Cambridge, MA, at 8 p.m. on Monday, October 27. Venue: The Blacksmith House, Cambridge Center for Adult Education, 56 Brattle Street, Harvard Square, Cambridge. $3. Tickets are available 45 minutes prior to the performance. For more information call 617-547-6789, ext. 1. ========================================================================= Date: Tue, 21 Oct 2003 09:02:28 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group Comments: Resent-From: Poetics List Administration Comments: Originally-From: Loss =?iso-8859-1?Q?Peque=F1o?= Glazier From: Poetics List Administration Subject: Re: CAGE in NYC MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii; FORMAT=flowed Content-Transfer-Encoding: 7bit In NYC this weekend, anyone interested in buying my Cage Festival tickets from me? Very good seats! Many thanks, Loss Please reply b/c The Cage festival is in Zankel Hall, Carnegie Hall, 3 events, prime tickets, 2 for each event ($25 each ticket, subscriber rate, i.e., $150 total): Sat. Oct. 25 3 PM Sat. Oct. 25 6 PM Sun. Oct. 26 7:30 PM ========================================================================= Date: Tue, 21 Oct 2003 09:23:14 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Michael J Kelleher Subject: This Week In The Hibiscus Room Comments: To: core-l@listserv.buffalo.edu MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 8bit Readings in the Hibiscus Room at Just Buffalo Literary Center Clayton Eshleman and Eric Gelsinger Thursday, October 23rd, 8 p.m. From 1967 to 2000, Eshleman founded and edited two of the most seminal and highly-regarded literary magazines of the period, Caterpillar and Sulfur. His most recent books are Juniper Fuse, My Devotion and Everwhat. Eric Gelisinger’s poems have appeared in many journals, including Fence, Lungfull and Ferrum Wheel. Peter Culley & Bernadette Mayer. Friday, October 24th, 8 p.m. Bernadette Mayer has taught writing workshops at The Poetry Project at St. Mark's Church in New York City for many years and she served as the Poetry Project's director during the 1980s. She is the author of numerous books of poetry and prose, including: Two Haloed Mourners: Poems (Granary Books, 1998), Proper Name and Other Stories (1996), The Desires of Mothers to Please Others in Letters (1994), and The Bernadette Mayer Reader (New Directions, 1992). Peter Culley has published 5 books of poetry including The Climax Forest (Leech Books, 1995) and Hammertown (New Star, 2003). He lives in South Wellington on Vancouver Island. The Hibiscus Room is located in Buffalo at the Tri-Main Building, 2495 Main St., Ste 512. Telephone: 716.832.5400 ========================================================================= Date: Tue, 21 Oct 2003 07:17:05 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: kari edwards Subject: Re: edwards & Scott at SPT this Fri, 10/24 In-Reply-To: Content-Type: text/plain; charset=ISO-8859-1; format=flowed Mime-Version: 1.0 (Apple Message framework v552) Content-Transfer-Encoding: quoted-printable On Monday, October 20, 2003, at 11:15 AM, Small Press Traffic wrote: > Small Press Traffic presents > Friday, October 24, 2003 at 7:30 p.m. > kari edwards & Gail Scott > > Anne Waldman says of kari edwards? first novel, a day in the life of = p. > (Subpress, 2002): "Burroughsian, transgressive, exceedingly sharp and > witty?startling and entertaining. What?s solid? This picaresque book=20= > is the > dislocated yet substantive narration of the future." And Kevin=20 > Killian, who > will introduce hir at SPT, says "[the] book is side-splittingly funny,=20= > when it > wants to be, and tragic and mystic in turns from page to page. Like=20 > Marcel > Duchamp?s Rrose Selavy, ?p? gives a new twist to our received ideas of > heroism, kindness, and lucidity." edwards received a Bay Area Award in > Literature from New Langton Arts in 2002; previous works include a=20 > diary of > lies (Belladonna, 2002) and post/(pink) (Scarlet Press, 2001). > > Gail Scott joins us in celebration of the US publication of her novel,=20= > My > Paris, by Dalkey Archive. Eileen Myles says "[she] has redefined=20 > landscape to > include all weather, inside and out, including sex and a female sexual > vision--a vision of being that's pure animation, an action made up of=20= > all the > tiny windows of information constantly opening and closing in the=20 > rhythm of > the way we know a place in time, for instance Paris. Her Paris is=20 > pretty > stunning art." Scott?s other novels are Heroine and Main Brides. She=20= > is a > coeditor of Narrativity and her translation of Michael Delisle's The=20= > Sailor?s > Disquiet was shortlisted for the prestigious Governor General's award=20= > in 2001. > She joins us from Montreal and will be introduced by Robert Gl=FCck. > > Cosponsored by the Poetry Center; held at Small Press Traffic. > > > > Unless otherwise noted, events are $5-10, sliding scale, free to SPT=20= > members, > and CCAC faculty, staff, and students. > Unless otherwise noted, our events are presented in > Timken Lecture Hall > California College of Arts and Crafts > 1111 Eighth Street, San Francisco (just off the intersection of 16th & > Wisconsin) > > > http://www.sptraffic.org > check out our highly readable website > > > Elizabeth Treadwell Jackson > Executive Director > Small Press Traffic > Literary Arts Center at CCA > 1111 -- 8th Street > San Francisco, CA 94107 > 415.551.9278 > http://www.sptraffic.org > ========================================================================= Date: Tue, 21 Oct 2003 07:17:42 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: kari edwards Subject: Reading by: Barry Schwabsky &Eileen Tabios In-Reply-To: Content-Type: text/plain; charset=ISO-8859-1; format=flowed Mime-Version: 1.0 (Apple Message framework v552) Content-Transfer-Encoding: quoted-printable ANNOUNCING Reading by: Barry Schwabsky & Eileen Tabios West Coast Book Launch for, OPERA: Poems 1981-2002 (Meritage Press, 2003),=A0 by Barry Schwabsky. Sunday, Oct. 26 7:00 p.m. 3435 Cesar Chavez #327 San Francisco, CA Barry Schwabsky was born in Paterson, New Jersey, and now lives in London.=A0 He is a curator, an editor for several leading art magazines=20= including _ Artforum_, an art/literary critic who writes regularly for the _London Review of Books_, and lecturer at Goldsmiths College, University of=20 London. He is the author of several monographs on contemporary artists, _The Widening=20= Circle: Consequences of Modernism in Contemporary Art_ (Cambridge University Press), and the critically-praised Introduction to _Vitamin P: New=20 Perspectives in Painting_ (Phaidon).=A0 Information about his book _OPERA: Poems=20 1981-2002_ is available at=A0 http://meritagepress.com/opera.htm. Eileen Tabios is a budding hermit in St. Helena, CA.=A0 She has written = or edited 12 books of poetry, fiction and essays since 1996 when she left a banking career for poetry.=A0 Her most recent collection is=20 _Reproductions of the Empty Flagpole_ (http://marshhawkpress.org/tabios.htm).=A0 Forthcoming = is _Menage A Trois With the 21st Century_.=A0 She concocts mischief and=20 mischievous poetics at her infamous blog "CorpsePoetics (Formerly WinePoetics)"=20 which is available at=A0 http://winepoetics.blogspot.com; she doesn't monitor her=20= hits but the Blog is read by "nine million peeps" globally. ************************************************************************ DIRECTIONS: to 3435 Cesar Chavez #327 between Valencia and Mission, on the South side of Cesar Chavez is a parking lot entrance; which when you first enter from Cesar Chavez will be (some) guest parking. Parking in the area (on the street) is not to bad.=A0 Once you have entered the parking lot go to your left past a small printing company and directly behind that (to the west) will be double glass doors. @ left of the Doors is a "buzzer system" press the number 043. someone will pick up the phone and buzz you in. Mass transit. Bart - get off at 24th go south on Mission, (the numbers will get higher) walk 3 blocks, cross Cesar Chavez (there will be a stop light) go right 3/4 of a block, turn left in to parking lot. MUNI- get off @ 27th walk north (the opposite direction the muni would be going from down town) walk one block turn right on Cesar chavez, Cross Delores, Guerrero and then cross valencia, turn right into first parking lot. Buses- on Mission take (going southish)- 14. 14L, 49 (get off at 26th - 1/2 block from cesar chavez - walk south - cross Cesar Chavez=A0 turn right; Valencia - 26 get off just past Cesar Chavez , cross Valencia on Cesar Chavez, turn right into parking lot.. ________________________________________________________________ This is another home reading brought to you by, Taylor Brady, Stephanie Young, and kari edwards. ========================================================================= Date: Tue, 21 Oct 2003 09:12:20 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Maria Damon Subject: Re: subpress book party In-Reply-To: <3F947C25.3030707@hawaii.edu> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" can't make it, but congrats to all! have lots of fun! write on! party on! hey, j, you still have a u hawaii address --feeling nostalgic? At 5:21 PM -0700 10/20/03, juliana spahr wrote: >subpress party: celebrate! hear poets! buy (cheap) books! > >Dan Bouchard, Camille Guthrie, Jen Hofer, Bill Marsh >Deborah Richards, Prageeta Sharma, Edwin Torres >John Wilkinson > >Saturday November 1, 2003 >2:00 PM > >The Bowery Poetry Club >308 Bowery Street >New York, NY 10012 >(212) 614-0505 >between Houston and Bleeker Streets >at the foot of First Street >F Train to Second Avenue >or 6 Train to Bleeker > >for driving directions go to >http://www.poetz.com/bpc/directions.htm > >Subpress is a collective supported by members who agree to contribute >one percent of their annual income. Members are responsible for editing >books. The order of publication is determined by lottery. > > >$5 includes admission to the Segue reading series at 4 PM. > >________________________________________________________________ -- ========================================================================= Date: Tue, 21 Oct 2003 10:44:30 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Kevin Davies Subject: Re: Fall Readings at UMaine In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Steve, I appear to have done a poor job of informing George Stanley about our proposed Maine activities. He says he plans to take the 9 a.m. Boston-Bangor bus on Thursday, the 30th. Could you send both of us an email with a list of all proposed events, with times, etc.? George can be reached for at least the next couple of days at: larryfagin@earthlink.net The phone number there is 212.254.6621. Hope all's well with you. I look forward to seeing you. Regards, Kevin D ========================================================================= Date: Tue, 21 Oct 2003 10:51:04 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Kevin Davies Subject: Re: Fall Readings at UMaine In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Whoops! Sorry, etc., to have sent a private note to the list. ========================================================================= Date: Tue, 21 Oct 2003 11:47:01 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: George Bowering Subject: Re: Fall Readings at UMaine In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" >Steve, > >I appear to have done a poor job of informing George Stanley about our >proposed Maine activities. He says he plans to take the 9 a.m. >Boston-Bangor bus on Thursday, the 30th. Could you send both of us an email >with a list of all proposed events, with times, etc.? George can be reached >for at least the next couple of days at: > >larryfagin@earthlink.net > >The phone number there is 212.254.6621. > >Hope all's well with you. I look forward to seeing you. Regards, Kevin D Yeah, take care of George. He is a great poet. He likes the Raiders, but he is still a great poet. -- George Bowering Was an annoying preteener. 303 Fielden Ave. Port Colborne. ON, L3K 4T5 ========================================================================= Date: Tue, 21 Oct 2003 08:55:07 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Small Press Traffic Subject: help wanted. good cause. fun. MIME-Version: 1.0 Content-Type: text/plain; charset="ISO-8859-1"; format="flowed" Content-Transfer-Encoding: 8bit Hi all, Please forward as makes sense to you. Small Press Traffic is looking for some fun and fabulous, kind and committed VOLUNTEERS to help out with our big shindig NOVEMBER 8 THE SATURDAY. That's right it's our 9th Annual Literary Soiree and Auction in the heart of San Francisco! Volunteers will get the chance to mingle with international literary celebrities, work behind the scenes at the big fat auction, and so on! Duties include bartending, doortending, raffle ticket selling, helping with set up and clean up. It's all for a good cause --- independent, innovative literature! Good times and community feeling guaranteed. If you are interested, please contact me or Kevin Killian soon. Thanks, Elizabeth Elizabeth Treadwell Jackson Executive Director Small Press Traffic Literary Arts Center at CCA 1111 -- 8th Street San Francisco, CA 94107 415.551.9278 http://www.sptraffic.org ========================================================================= Date: Tue, 21 Oct 2003 11:51:15 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Tim Peterson Subject: Re: Miles Champion In-Reply-To: <200310200403.h9K43vgU002640@pacific-carrier-annex.mit.edu> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed Does anyone have contact info (email) for Miles Champion? If so, please backchannel... Thanks, Tim ========================================================================= Date: Tue, 21 Oct 2003 11:13:14 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Skip Fox Subject: Erik Noonan MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Steve-- What do you know about Erik Noonan? His Weigh Station III is dripping intelligence and his piece on Villon therein warms me in a discernable manner. You know him personally from VT? Now he's hooked up with Micah in San Fran. My first impression (for less than a day) and I'm impressed. skip ========================================================================= Date: Tue, 21 Oct 2003 12:10:48 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: George Bowering Subject: Re: utility problem In-Reply-To: <007a01c36c2f$eda2fb90$210110ac@GLASSCASTLE> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" >Well, Bowering says he has never been to Peekskill. But he has time to >hang out in Missoula watching Little League games. Go figure. If it >weren't so bewildering it would be just plain sad. Maria and I are going >to have to live with that. We'll sit on our little tuffet of memories, >and occasionally we'll be joined by Pierre Joris. Now wait just one minute! That stuff that went on between me and Pierre wads just collegial, only some mutual recognition of our devotion to the poetry of X.J. Kennedy. Okay, we may have embraced a few times, but he's a European, eh? -- George Bowering Was an annoying preteener. 303 Fielden Ave. Port Colborne. ON, L3K 4T5 ========================================================================= Date: Tue, 21 Oct 2003 16:23:16 +0000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: paula speck Subject: Re: copyright law Comments: To: olsonjk@delhi.edu Mime-Version: 1.0 Content-Type: text/plain; format=flowed Kirby and the list-- The "fair use" statute that other responses to this thread have mentioned, 17 U.S.C. Sec. 107, lists examples of fair use, and the first one listed is "criticism." Also, the Judiciary Committee report on the bill that became this section contains an agreement reached between a group of authors and publishers and a group of universities, giving guidelines for "classroom copying" by non-profit educational institutions. The agreement says that a single copy for personal use or multiple copies for classroom use may be made of a complete poem of less than 250 words (also not more than 2 pages), or an excerpt of less than 250 words. The use must also be spontaneous (basically, an individual teacher's spur of the moment teaching decision, with no practical time for getting permission), and it can't result in a de-facto anthology. The legal citation for this report is H.R. Rep. No. 94-1476, and it's reproduced at the websites of many university libraries as part of their photocopying policy. Of course, copying for classroom use and quotation within a critical article or book are different types of uses, but a good argument could be made that fair use in critical pieces should be broader than in classroom use, because a critical piece surrounds the borrowed material with lots of original material (the critical analysis), thus meeting factor (1) of the "fair use" test ("the purpose and character of the use"), and use in a critical piece is less likely to reduce the market value of the borrowed material (factor (4)). After all, when an instructor photocopies a poem and distributes it to a class, he or she reduces the chance that the students will buy a book or lit. mag. containing the poem. But no one is likely to pick up a critical piece as a substitute for buying the same material. So if reproduction of a poem or excerpt from a poem is "fair use" for classroom photocopying, it ought to be even clearer "fair use" in a critical article or book. And it shouldn't make ANY difference whether the critical piece is an article or a book; none of the cases or treatises I looked at even hinted that this distinction mattered. And lawyers are VERY good at drawing distinctions where an ordinary sane person wouldn't see any! I also looked for an Yvor Winters case. I won't bore the list with a recitation of all the research strategies I used, but the name "Yvor Winters" is pretty distinctive, and I used a legal search engine that pulls up published as well as unpublished cases. I also looked in copyright treatises and in law review articles, in case the dispute somehow was known in the field some other way (as it might be if it was settled for a lot of money, for example). I found nothing. I also found no case in which a critic, Yvor Winters or anyone else, was held liable for quoting poetry in a critical work. Of course, our wonderful legal system allows people to sue for anything and put the defendant to the expense of defending himself or herself, but with such a complete absence of legal authority, and with the express language in the statute, I would hope that the press planning to publish the critical piece would show some backbone and resist paying for permission. There is such a thing as an award of attorney's fees against someone who brings a frivolous lawsuit. If you want a case, there's a long discussion of fair use, and a ringing endorsement of the right to use excerpts, in *New Era Publications International v. Carol Publishing Group,* 904 F.2d 152 (2d Cir. 1990). It's a victory for the author of an expose of the Church of Scientology who used liberal quotations from works by L. Ron Hubbard. The opinion talks about the theory of fair use, mentions that literary criticism is one of the core examples of fair use, and sounds the trumpet for freedom of quotation. Could it be that the Yvor Winters case is some kind of literary urban myth? I hate to think of people on this list holding back from writing about poetry because they think they'd have to pay high permission costs or legal fees. Everyone is better off if there's more material published, not less. Isn't that so? Sorry for the long post; just hoping to be helpful. Paula Speck >From: Kirby Olson >Reply-To: olsonjk@delhi.edu >To: POETICS@LISTSERV.BUFFALO.EDU >Subject: Re: copyright law >Date: Thu, 16 Oct 2003 14:26:11 -0400 > >Aaron, This is a useful start on the copyright question, but even in the >link that >you provide it states clearly: > >"The distinction between 'fair use' and infringement may be unclear and not >easily >defined. There is no specific numbre of words, lines, or notes that may be >safely >taken without permission. Acknowledging the source of the copyrighted >material >does NOT substitute for obtaining permission." > >So, what happens if a graduate student works for five years on a poet and >the poet >then decides he or she doesn't like what has been written and decided to >deny >permission? The graduate student is completely fucked. > >Your link then goes on to say, > >"The safest course is always to get permission from the copyright holder >before >using copyrighted material." > >Because of the notorious Yvor Winters case, the murkiness of fair use >within poetry >is incredibly uncertain -- "uncertain and not easily defined" -- as your >link puts >it. > >Poets can and have charged exorbitant fees, or denied permission >altogether, to >reprint any or all of their work. > >I would really love it if someone was to prove that all this was some kind >of >mirage that I myself have invented. Meanwhile, I offer this caveat to >young >critics -- get permission, or you may end up with an unpublishable book, >and there >goes your chance at tenure. There are so few jobs in contemporary poetry >for >critics (I think there were three or four posted this year -- out of the >over one >thousand jobs posted at MLA this year) that to land such a position and >then mess >up getting tenure by having forgotten to get copyright permission so that >you are >back in the temporary secretarial pool -- well, don't say I didn't warn >you. > >Poets have not much else, but they do have tremendous control over their >oeuvre. > >-- Kirby Olson _________________________________________________________________ Concerned that messages may bounce because your Hotmail account has exceeded its 2MB storage limit? Get Hotmail Extra Storage! http://join.msn.com/?PAGE=features/es ========================================================================= Date: Tue, 21 Oct 2003 12:24:59 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Tim Peterson Subject: Fwd: Re: Miles Champion Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed Ok, got it! Thanks everybody... >Date: Tue, 21 Oct 2003 11:51:15 -0400 >To: UB Poetics discussion group >From: Tim Peterson >Subject: Re: Miles Champion > >Does anyone have contact info (email) for Miles Champion? If so, please >backchannel... > >Thanks, > >Tim Tim Peterson Journals Marketing Coordinator The MIT Press Five Cambridge Center Cambridge, MA 02142-1493 phone: (617) 258-0595 fax: (617) 258-5028 http://mitpress.mit.edu/journals ========================================================================= Date: Tue, 21 Oct 2003 12:49:00 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Austinwja@AOL.COM Subject: Blackbox addendum MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit The Fall gallery of Blackbox is now complete. Snail mail brought some very cool pieces by John M. Bennett solo, and in collaboration with Scott Helmes, Andrew Topel, Jim Leftwich, and Gyorgy Kostritzkii. Enjoy! And that's a wrap. Best, Bill WilliamJamesAustin.com amazon.com b&n.com ========================================================================= Date: Tue, 21 Oct 2003 19:09:39 +0200 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Karl-Erik Tallmo Subject: Re: Decentralized Classicism In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" I believe it is somewhat of a myth that authorship was of no - or almost no - interest in olden days. After all the term of plagiarism was coined after Martialis in the first century had discovered that Fidentinus had published his poems as if they were Fidentinus' own. (The word is derived from 'plagiarius', which is the word Martialis used for Fidentinus' theft. The word means kidnapper or abductor.) Otherwise during antiquity the highest virtue was maybe to tread in somebody else's footsteps, to maintain a tradition as well as possible. But the line between on the one hand achieving something personal within a tradition and, on the other, depending on tradition so heavily that the application of rule, form, manner etc turned into imitation and plagiarism was not very well defined. I am not so sure that "The notion of Copyright directly challenges classicism" as Patrick Herron said. What it certainly does challenge is the manuscript era. The notion of copyright as it is today protects a certain expression of an idea, not the idea itself. To protect a certain 'gestalt' like this, the printed edition was a necessary invention for this to happen. Not just - which has been pointed out by many - that there was no affair in copying by hand - so this could not become a real problem until the industrial manufacturing of books in large editions appeared. But the notion of verbatim comparison (actually text criticism) is another important requisite for copyright. This also means that it is highly probable that copyright will change now that the fixity of the printed edition is again dissolved by digital media. Personally I don't think copyright will disappear. Even if we would find new ways to control the economic aspects of immaterial creativity, I believe it is paramount to keep the 'moral' aspects of copyright, or invent some new instrument for controlling authenticity as well as attribution of texts. In what we call the information age - or even the knowledge society - I believe it is a very important question to be able to keep track of who did say what to whom about what. Otherwise intellectual discussion would almost return to oral tradition with the kind of distortion that comes with it. Karl-Erik Tallmo -- _________________________________________________________________ KARL-ERIK TALLMO, writer, editor ARCHIVE: http://www.nisus.se/archive/artiklar.html BOOK: http://www.nisus.se/gorgias ANOTHER BOOK: http://www.copyrighthistory.com MAGAZINE: http://art-bin.com _________________________________________________________________ ========================================================================= Date: Tue, 21 Oct 2003 14:15:30 -0400 Reply-To: olsonjk@delhi.edu Sender: UB Poetics discussion group From: Kirby Olson Organization: SUNY Delhi Subject: Re: Phallic Classicism MIME-Version: 1.0 Content-Transfer-Encoding: 7bit Content-Type: text/plain; charset=us-ascii I don't know anything about the Queen Anne copyright laws. Why did this happen then? she was only Queen for about five years as I recall -- in the early 1700s. Is this because of increased production of printing. Who pushed for this new copyright law? When does Grub Street come into play with hack writers making a marginal living in the London bohemia? I had the sense that Marlowe and Greene and even young Shakespeare had a hand in this era. There were authorized and unauthorized printing of plays. I think the authorized plays were printed by the companies themselves? Certainly writers were making a living before Queen Anne's time -- for instance, the woman who Oronooko -- made a handsome living off of it -- I forget her name. Shakespeare made some kind of living -- from his ventures at the Globe Theatre. Part of this was probably patronage. But if you haven't got patronage, you have to be able to sell the goods to another group -- for instance, the public. Poets today can live off students, and not have to sell their work. Ginsberg made 60 thou off his Collected Poems but made the lion's share of his money teaching and going from college to college to give readings. To make it possible for the writer to live we need some kind of financial feedback. Corso had patrons -- but his letters which just came out are one long continual request for money from anybody he can put the touch on. He borrowed from Mafia men and got his head beat in according to rumor when he couldn't pay back. There are a few like James Merrill who are born with a tremendous trust fund which means excellent education, can publish their own work if they like, and never worry, but this is the situation for very few. Apollinaire wrote porno, Soupault wrote journalism, Breton sold paintings, etc. Tzara counted receipts at the end of a Dada night, and later married a wealthy Swedish woman. They owned a beautiful house in Montmartre built by Adolf Loos. But for the poor and principled, copyright remains one of the most hopeful methods of gaining money. And occasionally somebody strikes it rich -- Brautigan, for instance, or Henry Miller, or Bukowski, if they manage to encapsulate the feeling of a generation. I don't know if this will happen again for a poet. Most poets don't even seem to want to speak to those who are outside of poetry. But poetry continues to require financial circulation -- and nobody will get involved with that unless there is a stake in it of some kind. Patrick raises fascinating questions here. To think of the finances of a poet -- Whitman, Poe, Marianne Moore, etc. And what is the best way to support oneself. I often wish I had trained to be a plumber. Outside the European publishing industry, in what remains of marginal societies, I imagine the poet is or was paid with a lesser share of the hunting, or something. It takes enormous energy to write, or to dream up poetry, and that has to be compensated, or it can't continue. There is a bizarre idea that comes out of what I think is a false memory implanted by a generation of feminists who had misread Nietzsche's friend JJ Bachofen that there was once a matriarchal world in which everybody shared equally, and sex and everything else was free. I don't think this world ever existed. I'm reading a book called The Myth of Matriarchy, by a women's studies scholar named Cynthia Eller, who teaches at Montclair in NJ. The book completely destroys this myth. The law of the father -- ownership -- in Lacanian terms -- has probably always been central. Zizek says so in all his books, and is getting increasingly strident on this topic. Although I think Zizek's mostly a nut, he's probably right about this.. -- Kirby Olson ========================================================================= Date: Tue, 21 Oct 2003 14:08:10 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Craig Allen Conrad Subject: a few notes on a conscientious objector MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit "Where are you? Where am I? The cardinal points are lost in a heap, like four aces shuffled in a pack of cards." --Vicente Huidobro last night i sat in the basement of the Philadelphia Quaker Friends School to hear Gloria Pacis, mother of the openly gay marine Stephen Eagle Funk, now in prison for being a conscientious objector to America's aggression against Iraq. one of the first things i noticed was the absence of the gay press, probably busy making rainbow posters to support Philadelphia Republican candidate for mayor Sam Katz, who is using what Betsy Piette called "the FBI's racist witch hunt" against Democrat mayor John Street, in order to gain control of the city government. but that's another story, another very ugly story. before hearing Gloria read her son's letters from prison, and read her speech she'll be reading this saturday at the march in DC, i wasn't sure how i felt about the stand Funk has taken. the issue of gays in the military in particular has bothered me in the past, or rather the steady focus both Clinton and the press had given it in recent years. as far as i was concerned, there were far more pressing issues that the gay community needed to challenge. but i started to hear the story of how Stephen's sister Katie (a political activist) had helped him come out of the closet. this is no small thing for a marine to do. in fact it's quite dangerous, even needing to be held in protective custody while in military prison. in the beginning Stephen would write speeches for his sister to read for him at political rallies. but when he gained the courage to take the microphone and tell his own story, he also started talking to the chaplain on his military base. but he wasn't just talking to the chaplain about being a gay marine, he was also starting to talk about his feelings for a war we were about to begin that he felt was wrong, and immoral. the fact that the pope was very openly against the invasion of Iraq would allow any Catholic chaplain the right to also firmly declare this war immoral. for years i've well understood poor and working class kids joining the armed services with visions of bettering themselves, getting out of poverty, seeing the world, maybe being able to go to school after they've served their time. but along with that also came a sense of duty, a sense of responsibility to defend America's shores and people. this is something that every member of my family who has served has believed themselves a part of, this sense of protection of freedom, and justice. when i was sitting there listening to Gloria Pacis read her son's letters from prison, it became very clear that this was a young man who had once believed in the very same things my own family has believed or continues to believe. Stephen Eagle Funk is part Filipino and part Native American. to be exact, his mother said he is part Crow. and upon hearing this it further solidified my understanding of Stephen's belief in defending America. the Crow Indians were the tribe, in fact the only tribe of the west and pacific north west to aid the white settlers in the war against the tribes. when i lived for a brief time in New Mexico i heard plenty of racial slurs against the Crow from other Native Americans, as well as from the strange white New Age community, accusing them of destroying the country by turning it over to the white devils. and really, who can blame them for their anger? but when i started to read the books of Frank B. Linderman, which were interviews he conducted with the Crow Chief Plenty Coups, and their medicine woman Pretty Shield, it became clear that the Crow believed the white men to merely be another tribe who had come to aid them in their own hour of need. the Lakota in particular, according to Chief Plenty Coups, wanted to wipe the Crow off the face of the earth. genocide, in other words. the Crow fought alongside the mainly white cavalry, and provided expertise in tracking and hunting, and other forms of survival. so once the Indian wars were over and it came time to divide up the small portions set aside for reservations, the Crow of course got to pick the best locations. and for whatever judgments others may have, the Crow believed it was their duty to defend the country, even under the occupation of the white rulers. but what's a marine to do when he hears the outcry of nearly every nation on earth that the aggression against Iraq his country was about to undertake is racist, is wrong? after all, we do now have gibbering, stammering military leaders declaring this a war against Satan, aligning with the ideas of some religious leaders in the middle east who believe that this is a Holy War. what's a marine to do? especially if he believed in his heart that his duty was to defend his country, not ruthlessly invade and occupy another. there were several Vietnam vets in the audience who believed that the harsh punishment handed down to Stephen was a result of his speaking out at rallies, and trying to persuade other soldiers to refuse to fight this war. the truth is that the international plea for Funk's case actually awarded him a lighter sentence than was originally intended, but the military court is still wanting to shut him up and make an example of him. he has a strong mother. Gloria Pacis is an amazing woman, speaking all over the country right now, trying to make alliances with other mothers of other service men and women who are also outraged at the war in Iraq. and with the rising toll in American casualties, Gloria's pace is picking up, and her message is being heard more than ever. she'll be speaking on stage this saturday in DC with others who want to end this war and make reparations to the people of Iraq. the lack of any press, including the gay press, last night, didn't phase a crowd from filling the room to hear the panel who spoke with Gloria Pacis. here's to the best for another march in DC against the American occupation of Iraq, and hoping that peace will soon come for the Iraqi people. i now want to share with you a letter we were handed: ONE REFUSER TO ANOTHER: ISRAELI REFUSENIK TO US CONSCIOUS OBJECTOR A letter from refuser Matan Kaminer, on trial - Israeli military court, to Stephen Funk Us Marines Dear Stephen, Is this what they call "globalization"? We live half a world from each other, we have led quite different lives, and yet we are both in the same situation: conscientious objectors to imperial war and occupation, we are both standing military trial this summer. Reading your statement I couldn't help but smile at the basic sameness of military logic around the world - including its inability to understand how anybody could be enough against a war to resist going to kill and die in it. But I've been presuming you're familiar with my situation. In case you aren't, let me fill you in briefly. I was slated for induction into the Israeli army in December 2002. After a year of volunteer work in a Jewish-Arab youth movement, I had made up my mind to refuse to enlist. Together with other young people in my situation, I signed the High School Seniors' Letter to PM Sharon, and to make myself absolutely clear I sent a personal letter to the military authorities notifying them that I was going to refuse. They let me know they weren't about to let me go: the army only exempts pacifists (at least that's what it claims) and I didn't meet their definition of a pacifist. So beginning in December I was sentenced by 'disciplinary proceedings' (do they have this ridiculous institution in the Marines too?) to 28 days in military prison - three consecutive times. After my third time in jail, I asked to join my friend Haggai Matar, who was being court-martialed, and within a few weeks three of our friends - Noam, Shimri and Adam - joined us. Now we are on trial and stand to get up to three years in prison for refusing the order to enlist. Sounds familiar, huh? But it's not just what they're doing to us that's similar, it's what they're doing to others: occupying a foreign land and oppressing another people in the name of preventing terror. People like you and me know that's just an excuse for furthering economic and political interests of the ruling elite. But it's not the elite that pays the price. The people who pay the price are in Jenin and Fallujah, in Ramallah and Baghdad, in Tikrit and in Hebron. They are the Iraqi and Palestinian children, hog-tied face-down on the floor or shot at on the way to school. But they are also the Israeli and American soldiers, treated as cannon fodder by generals in air-conditioned offices, whose only way to deal with their situation is dehumanization - first of the strange-looking foreigners who want them dead, next of themselves. You can ask your Vietnam veterans or our own. Stephen, people our age should be out learning, working and transforming the world. People our age should be going to parties and protests, meeting people, falling in love and arguing about what our world should look like. People our age should not be moving targets, denied their human and civil rights; they should not be military grunts, exposed to harm in mind and body, lugging around M-16's and guilty consciences; they should not be thrown behind bars for not wanting to kill and die. Your trial is set to begin soon. Mine has already begun so maybe I can give you a few pointers. Look the judges in the eyes. Use every opportunity you have to explain why you stand there. They are human just like you, but they try to deny it to themselves. Don't let them. War is shit and they know it. They should let you go and they know it. It's likely that we'll both get thrown in prison when this all ends. There will be dark moments in prison, moments when it seems that the outside world has forgotten all about us, that what we did and refused to do was in vain. Well, I know what I'll do in those moments: I'll think of you Stephen, and I'll know that nothing we do for humanity's sake is ever in vain. With greatest solidarity, Matan Kaminer 'Open Detention', Tel Hashomer Camp, Israel August 12, 2003 ------------- this letter and other information was handed out by the Global Women's Strike, and also the group calling themselves Refusing To Kill: http://www.refusingtokill.net in solidarity with Stephen Eagle Funk, Matan Kaminer, and all others wishing peace, and an end to the disgrace of our nation's aggression, CAConrad Click here for The Philly Sound New Poetry: http://www.phillysound.blogspot.com ========================================================================= Date: Tue, 21 Oct 2003 14:19:10 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mairead Byrne Subject: Re: CAGE in NYC Comments: To: poetics@ACSU.BUFFALO.EDU Mime-Version: 1.0 Content-Type: text/plain; charset=Windows-874 Content-Transfer-Encoding: 8bit Content-Disposition: inline Dear Loss, I would like to attend the Cage Festival events in NYC but can’t because I am reading at the Bowery Poetry Club at the time of the first and second, and meeting my 5 sisters at the time of the second and third, during which time I would also like to be at the Jerome Rothenberg reading. I have encountered this type of frustration before. Can anyone advise on methods of duplicating files of oneself, creating aliases, even — to eliminate under and overground time between venues at least — emailing or faxing oneself? My first husband refused to allow the weather to dictate to him and hence froze in the winter. Is there anyone out there who has side-stepped the one-body problem and managed to appear, suavely, in several places at once? My life more and more demands this type of maneuver. Backchannel suggestions welcome. Mairead >>> poetics@ACSU.BUFFALO.EDU 10/21/03 08:59 AM >>> In NYC this weekend, anyone interested in buying my Cage Festival tickets from me? Very good seats! Many thanks, Loss Please reply b/c The Cage festival is in Zankel Hall, Carnegie Hall, 3 events, prime tickets, 2 for each event ($25 each ticket, subscriber rate, i.e., $150 total): Sat. Oct. 25 3 PM Sat. Oct. 25 6 PM Sun. Oct. 26 7:30 PM ========================================================================= Date: Tue, 21 Oct 2003 14:38:41 -0400 Reply-To: olsonjk@delhi.edu Sender: UB Poetics discussion group From: Kirby Olson Organization: SUNY Delhi Subject: Re: copyright law MIME-Version: 1.0 Content-Transfer-Encoding: 7bit Content-Type: text/plain; charset=us-ascii Paula, this is excellent research. I still wish that Maria Damon and others on this list who have written criticism of poetry would chime in. It seems to me that at EVERY University press there is this kind of stipulation regarding rights for EVERY line of poetry. That is, that poetry must have permission. I have admittedly written to only about five people regarding this, but they are unanimous. I wish, Paula, that you were right, and that I could rest easy on the matter. I think it does tend to dissuade critics from writing about poetry, which would tend to shrink the coverage. I do think that even mean or intemperate criticism of a poet is better than none in terms of keeping the work alive. It would be like having a football game in which nobody was allowed to make any kind of comment whatsoever. Half the fun of anything is listening to the commentary. I read primary texts often only in order to enjoy the criticism! It is for this reason that I used to love Howard Kosell's boxing commentary. I wish I could do better than the Yvor Winters. You may be right that it is urban myth. But I did read one of his books and it WAS odd that he didn't use citations from the poets he was discussing. I deeply appreciate your work on this matter. May I ask what your position is? I think we need to hear from somebody who runs a university press that is used to publishing poetry criticism. What are the standard practices? Does anybody have access to such an individual? -- Kirby Olson paula speck wrote: > Kirby and the list-- > > The "fair use" statute that other responses to this thread have mentioned, > 17 U.S.C. Sec. 107, lists examples of fair use, and the first one listed is > "criticism." Also, the Judiciary Committee report on the bill that became > this section contains an agreement reached between a group of authors and > publishers and a group of universities, giving guidelines for "classroom > copying" by non-profit educational institutions. The agreement says that a > single copy for personal use or multiple copies for classroom use may be > made of a complete poem of less than 250 words (also not more than 2 pages), > or an excerpt of less than 250 words. The use must also be spontaneous > (basically, an individual teacher's spur of the moment teaching decision, > with no practical time for getting permission), and it can't result in a > de-facto anthology. The legal citation for this report is H.R. Rep. No. > 94-1476, and it's reproduced at the websites of many university libraries as > part of their photocopying policy. > > Of course, copying for classroom use and quotation within a critical article > or book are different types of uses, but a good argument could be made that > fair use in critical pieces should be broader than in classroom use, because > a critical piece surrounds the borrowed material with lots of original > material (the critical analysis), thus meeting factor (1) of the "fair use" > test ("the purpose and character of the use"), and use in a critical piece > is less likely to reduce the market value of the borrowed material (factor > (4)). After all, when an instructor photocopies a poem and distributes it > to a class, he or she reduces the chance that the students will buy a book > or lit. mag. containing the poem. But no one is likely to pick up a > critical piece as a substitute for buying the same material. So if > reproduction of a poem or excerpt from a poem is "fair use" for classroom > photocopying, it ought to be even clearer "fair use" in a critical article > or book. And it shouldn't make ANY difference whether the critical piece is > an article or a book; none of the cases or treatises I looked at even hinted > that this distinction mattered. And lawyers are VERY good at drawing > distinctions where an ordinary sane person wouldn't see any! > > I also looked for an Yvor Winters case. I won't bore the list with a > recitation of all the research strategies I used, but the name "Yvor > Winters" is pretty distinctive, and I used a legal search engine that pulls > up published as well as unpublished cases. I also looked in copyright > treatises and in law review articles, in case the dispute somehow was known > in the field some other way (as it might be if it was settled for a lot of > money, for example). I found nothing. I also found no case in which a > critic, Yvor Winters or anyone else, was held liable for quoting poetry in a > critical work. Of course, our wonderful legal system allows people to sue > for anything and put the defendant to the expense of defending himself or > herself, but with such a complete absence of legal authority, and with the > express language in the statute, I would hope that the press planning to > publish the critical piece would show some backbone and resist paying for > permission. There is such a thing as an award of attorney's fees against > someone who brings a frivolous lawsuit. > > If you want a case, there's a long discussion of fair use, and a ringing > endorsement of the right to use excerpts, in *New Era Publications > International v. Carol Publishing Group,* 904 F.2d 152 (2d Cir. 1990). It's > a victory for the author of an expose of the Church of Scientology who used > liberal quotations from works by L. Ron Hubbard. The opinion talks about > the theory of fair use, mentions that literary criticism is one of the core > examples of fair use, and sounds the trumpet for freedom of quotation. > > Could it be that the Yvor Winters case is some kind of literary urban myth? > I hate to think of people on this list holding back from writing about > poetry because they think they'd have to pay high permission costs or legal > fees. Everyone is better off if there's more material published, not less. > Isn't that so? Sorry for the long post; just hoping to be helpful. > > Paula Speck > > >From: Kirby Olson > >Reply-To: olsonjk@delhi.edu > >To: POETICS@LISTSERV.BUFFALO.EDU > >Subject: Re: copyright law > >Date: Thu, 16 Oct 2003 14:26:11 -0400 > > > >Aaron, This is a useful start on the copyright question, but even in the > >link that > >you provide it states clearly: > > > >"The distinction between 'fair use' and infringement may be unclear and not > >easily > >defined. There is no specific numbre of words, lines, or notes that may be > >safely > >taken without permission. Acknowledging the source of the copyrighted > >material > >does NOT substitute for obtaining permission." > > > >So, what happens if a graduate student works for five years on a poet and > >the poet > >then decides he or she doesn't like what has been written and decided to > >deny > >permission? The graduate student is completely fucked. > > > >Your link then goes on to say, > > > >"The safest course is always to get permission from the copyright holder > >before > >using copyrighted material." > > > >Because of the notorious Yvor Winters case, the murkiness of fair use > >within poetry > >is incredibly uncertain -- "uncertain and not easily defined" -- as your > >link puts > >it. > > > >Poets can and have charged exorbitant fees, or denied permission > >altogether, to > >reprint any or all of their work. > > > >I would really love it if someone was to prove that all this was some kind > >of > >mirage that I myself have invented. Meanwhile, I offer this caveat to > >young > >critics -- get permission, or you may end up with an unpublishable book, > >and there > >goes your chance at tenure. There are so few jobs in contemporary poetry > >for > >critics (I think there were three or four posted this year -- out of the > >over one > >thousand jobs posted at MLA this year) that to land such a position and > >then mess > >up getting tenure by having forgotten to get copyright permission so that > >you are > >back in the temporary secretarial pool -- well, don't say I didn't warn > >you. > > > >Poets have not much else, but they do have tremendous control over their > >oeuvre. > > > >-- Kirby Olson > > _________________________________________________________________ > Concerned that messages may bounce because your Hotmail account has exceeded > its 2MB storage limit? Get Hotmail Extra Storage! > http://join.msn.com/?PAGE=features/es ========================================================================= Date: Tue, 21 Oct 2003 15:15:31 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Steven Shoemaker Subject: Re: CAGE in NYC In-Reply-To: MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=Windows-874 Content-Transfer-Encoding: QUOTED-PRINTABLE Dear Mairead--Wire all the hardware in parallel, and then for software try running several *versions* of yourself, rather than relying on exact duplicates. The quantum approach is also to be recommended, because then you can exist simultaneously as both 0 and 1. Steve On Tue, 21 Oct 2003, Mairead Byrne wrote: > Dear Loss, > I would like to attend the Cage Festival events in NYC but can=92t becaus= e > I am reading > at the Bowery Poetry Club at the time of the first and second, and > meeting my 5 sisters at the time of the second and third, during which > time I would also like to be at the Jerome Rothenberg reading. I have > encountered this type of frustration before. Can anyone advise on > methods of duplicating files of oneself, creating aliases, even =97 to > eliminate under and overground time between venues at least =97 emailing > or faxing oneself? My first husband refused to allow the weather to > dictate to him and hence froze in the winter. Is there anyone out there > who has side-stepped the one-body problem and managed to appear, > suavely, in several places at once? My life more and more demands this > type of maneuver. Backchannel suggestions welcome. > Mairead > > > >>> poetics@ACSU.BUFFALO.EDU 10/21/03 08:59 AM >>> > In NYC this weekend, anyone interested in buying my Cage Festival > tickets > from me? Very good seats! Many thanks, Loss > Please reply b/c > > The Cage festival is in Zankel Hall, Carnegie Hall, 3 events, prime > tickets, 2 for each event ($25 each ticket, subscriber rate, i.e., $150 > total): > > Sat. Oct. 25 3 PM > Sat. Oct. 25 6 PM > Sun. Oct. 26 7:30 PM > ========================================================================= Date: Tue, 21 Oct 2003 12:29:38 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Stephen Vincent Subject: New blog entires Comments: To: UK POETRY Comments: cc: "Brian Kim Stefans [arras.net]" , the767man@btopenworld.com, Gloria Frym Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit http://stephenvincent.durationpress.com/ Linguist Pinart: Yuma & Mojave Notebooks, 1872 (Direct and live, as with the earlier piece , "An Afternoon with Gertrude", from the Bancroft Library archives) Petroleum Jelly Kids Cover the White House Via Monument Valley (A replay from the Gothics News Service of a Mathew Barney western style simulation of internal White House actors and operations - with the C Rice at the whip, the rendering seems more accurate than ever.) As always, your comments - up front or back channel - much appreciated. Stephen Vincent ========================================================================= Date: Tue, 21 Oct 2003 15:35:44 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Joe Brennan Subject: Stumper Comments: To: frankfurt-school@lists.village.virginia.edu, corp-focus@lists.essential.org, WRYTING-L@LISTSERV.UTORONTO.CA MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit who said: "Iraq was an appropriate target because it was completely defenseless, having been reduced to the edge of survival by a decade of murderous sanctions, primarily targeting the civilian population, with a toll of hundreds of thousands dead by conservative estimate, and leaving most of the country in ruins. This followed brutal and destructive wars and horrendous internal terror, most of it with the backing of the US and Britain, including those now running Washington, facts regularly suppressed. Iraq had also been virtually disarmed by rigorous inspections, and such limited defenses as it had were destroyed by regular US-UK bombing attacks. By the time of the invasion, Iraq was one of the weakest states of the region, with military expenditures about a third those of tiny Kuwait and far below the US allies in the region, let alone the US and its British client. It is astonishing that there has been any resistance at all." a. John Ashcroft b. Howie Mandel c. Rush Limbaugh d. Ann Coulter e. Noam Chomsky f. Noam Elkies g. Jessica Lynch Click here: The Assassinated Press They hang the man and flog the woman That steal the goose from off the common, But let the greater villain loose That steals the common from the goose. Constant apprehension of war has the same tendency to render the head too large for the body. A standing military force with an overgrown executive will not long be safe. companions to liberty. -- Thomas Jefferson "America is a quarter of a billion people totally misinformed and disinformed by their government. This is tragic but our media is -- I wouldn't even say corrupt -- it's just beyond telling us anything that the government doesn't want us to know." Gore Vidal ========================================================================= Date: Tue, 21 Oct 2003 13:02:34 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: August Highland Subject: SELECTRIC REGULATION/MULTIPRECISION MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit DISCLAIMER: NO SOFTWARE WAS HARMED DURING THE PRODUCTION OF THIS LITERARY WORK; AUGUST HIGHLAND IS NOT AFFILIATED WITH THE AUTHOR OF THIS WORK OR RESPONSIBLE FOR ITS CONTENT SELECTRIC REGULATION/MULTIPRECISION LOAD #0000001: Outrageous, but only store k per spell terrible.... Atari, as well as, a race doing - MAYBE THERE IS. ..................., q \Gamma 1 ^ ^q n. Try to cause. Writes so much An acceptable. LOAD #0000002: Keyboards should they are working on much money selling. Consider d and it does this theirs are enough,. ..b.a.d...........-- \Gamma 1 +. .... .. ! No, not M of v. L, of helping a friend same place, but. LOAD #0000003: Q ^ ^q, * f (b \Gamma 3)=b \Gamma 2 + only cheap software. Gobs of floating, n Selectric (andvice-. + 1 Unfortunately most. .still n not the same system. Primes and their successive squares:, (which A GUY WITH + YEARS. LOAD #0000004: Because it is not, 2 The first criterion. Yet. (and you `` RICK I also feel that to. L, be any good if the j a mod n for all a then a. 2, *== for beginners to. Comment several msgs n. LOAD #0000005: Ii and trs. the v others like cords.. N is being hit where long before we ever. Atari, it's a good, necessary figure out redefinable, custom. I'm sure that we the bragging this. Sounds like fun to, written in Europe, such upgrade path is. LOAD #0000006: Since that \Gamma ^q lots of marketing. The exponent of an abelian group g is the least positive e such that x .................. is going to take. Things are, and What is fast to me ~~~~~~~~~~~~. The little guy who, talking about speed. reprogram other's. Past messages, ones) they indicated programmers: they. LOAD #0000007: What will this thing :. The market. for, that work are big, Payroll software. 2 + 1 I'VE TRIED, BUT. Seem to hold enough money and time? It's processor to the .. ........, * b bits&bytes etc.. LOAD #0000008: Razmatra se procjena kvocijenata u algoritmima za dijeljenje s vi^sestrukom to^cno^s'cu. usporeduju se procjene odozgo i odozdo, dane u [1] i daje se precizna ocjena pogre^ske. uz uobi^cajenu normalizaciju operanda, obje procjene imaju pogre^sku ogradenu s 2. izla^ze se novi postupak normalizacije koji, u oba slu^caja, daje optimalnu ocjenu pogre^ske s iznosom 1. normalizacija je bazirana samo na vode'coj znamenki divizora., ^q fairly large. Programmers to re-, n+1 ^ 1 + 2. M x it is a hot-rod. is over. A general. Code, faster, simple programs, and the accountant (very. With someone: take other Atari owners - since that. LOAD #0000009: Small, so k.) they, bud, let me know, Sure.. Disk drives for the, one of the tests so expensive?. The time thus not, Rick stuff for that all. The game programs into. Why do all errors are. Msg, he was, atari. We all stand like?. LOAD #0000010: Employment *******************. Software is still by listening "in" you. ((((((((((((()))))) the system, but for. The atari might be, buy _______ (cheap its own punishment.. Display, and disks {}{}{}{}{}{}{}{}{. LOAD #0000011: All the keys, but, (but not you) write. every integer a.. Point that "tom is, other Atari owners - DEC. Be supplied keyboard/disk. N+1 each sale in THINKING OF. =b \gamma 1. it follows (PREPARING FOR The factorization can be recovered from the nontrivial element of G. august highland muse apprentice guild --"expanding the canon into the 21st century" www.muse-apprentice-guild.com culture animal --"following in the footsteps of tradition" www.cultureanimal.com ========================================================================= Date: Tue, 21 Oct 2003 13:19:33 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: August Highland Subject: SPLIT HEAD REDEFINABLE LOVER-BOY MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit C ========================================================================= Date: Tue, 21 Oct 2003 13:36:57 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Kazim Ali Subject: Re: CAGE in NYC In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Actually, the Hindu saint Neem Karoli Bhabha (guru of Ram Dass, Bhagvan Das, Krishna Das, among others) was said to be able to "bio-locate" i.e. be at the ashram chanting while simultaneaously teaching classes in cities across India, hundreds of miles apart. Hm. --- Steven Shoemaker wrote: > Dear Mairead--Wire all the hardware in parallel, and > then for software try > running several *versions* of yourself, rather than > relying on exact > duplicates. The quantum approach is also to be > recommended, because then > you can exist simultaneously as both 0 and 1. > > Steve > > On Tue, 21 Oct 2003, Mairead Byrne wrote: > > > Dear Loss, > > I would like to attend the Cage Festival events in > NYC but can’t because > > I am reading > > at the Bowery Poetry Club at the time of the first > and second, and > > meeting my 5 sisters at the time of the second and > third, during which > > time I would also like to be at the Jerome > Rothenberg reading. I have > > encountered this type of frustration before. Can > anyone advise on > > methods of duplicating files of oneself, creating > aliases, even — to > > eliminate under and overground time between venues > at least — emailing > > or faxing oneself? My first husband refused to > allow the weather to > > dictate to him and hence froze in the winter. Is > there anyone out there > > who has side-stepped the one-body problem and > managed to appear, > > suavely, in several places at once? My life more > and more demands this > > type of maneuver. Backchannel suggestions > welcome. > > Mairead > > > > > > >>> poetics@ACSU.BUFFALO.EDU 10/21/03 08:59 AM >>> > > In NYC this weekend, anyone interested in buying > my Cage Festival > > tickets > > from me? Very good seats! Many thanks, Loss > > Please reply b/c > > > > The Cage festival is in Zankel Hall, Carnegie > Hall, 3 events, prime > > tickets, 2 for each event ($25 each ticket, > subscriber rate, i.e., $150 > > total): > > > > Sat. Oct. 25 3 PM > > Sat. Oct. 25 6 PM > > Sun. Oct. 26 7:30 PM > > ===== ==== WAR IS OVER (if you want it) (e-mail president@whitehouse.gov) __________________________________ Do you Yahoo!? The New Yahoo! Shopping - with improved product search http://shopping.yahoo.com ========================================================================= Date: Tue, 21 Oct 2003 16:57:31 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mairead Byrne Subject: Re: CAGE in NYC Mime-Version: 1.0 Content-Type: text/plain; charset=Windows-874 Content-Transfer-Encoding: 8bit Content-Disposition: inline Ah, thanks so much, Steve, I'll try this. Someone else sent me a box of toy Maireads (like bowling pins) by UPS but this sounds closer to what I want. Or close enough (which is the principle of the thing!) Mairead >>> shoemak@FAS.HARVARD.EDU 10/21/03 16:12 PM >>> Dear Mairead--Wire all the hardware in parallel, and then for software try running several *versions* of yourself, rather than relying on exact duplicates. The quantum approach is also to be recommended, because then you can exist simultaneously as both 0 and 1. Steve On Tue, 21 Oct 2003, Mairead Byrne wrote: > Dear Loss, > I would like to attend the Cage Festival events in NYC but can’t because > I am reading > at the Bowery Poetry Club at the time of the first and second, and > meeting my 5 sisters at the time of the second and third, during which > time I would also like to be at the Jerome Rothenberg reading. I have > encountered this type of frustration before. Can anyone advise on > methods of duplicating files of oneself, creating aliases, even — to > eliminate under and overground time between venues at least — emailing > or faxing oneself? My first husband refused to allow the weather to > dictate to him and hence froze in the winter. Is there anyone out there > who has side-stepped the one-body problem and managed to appear, > suavely, in several places at once? My life more and more demands this > type of maneuver. Backchannel suggestions welcome. > Mairead > > > >>> poetics@ACSU.BUFFALO.EDU 10/21/03 08:59 AM >>> > In NYC this weekend, anyone interested in buying my Cage Festival > tickets > from me? Very good seats! Many thanks, Loss > Please reply b/c > > The Cage festival is in Zankel Hall, Carnegie Hall, 3 events, prime > tickets, 2 for each event ($25 each ticket, subscriber rate, i.e., $150 > total): > > Sat. Oct. 25 3 PM > Sat. Oct. 25 6 PM > Sun. Oct. 26 7:30 PM > ========================================================================= Date: Tue, 21 Oct 2003 17:10:25 -0400 Reply-To: az421@freenet.carleton.ca Sender: UB Poetics discussion group From: Rob McLennan Subject: rob mclennan & Angela Rawlings at Speakeasy Content-transfer-encoding: 7BIT (Jay MillAr's) THE SPEAKEASY Series of Informal Talks The next Speakeasy will feature the following: Angela Rawlings, who will give a talk entitled: My Centre for Sleep and Dream Studies: A Lingustic Guide and rob mclennan, who will be coming down from Ottawa to give a talk entitled: yes, i HAVE published a lot of stuff: a dozen reasons why i will not apologize Sunday, November 02 at 2:30PM Lynn Donoghues studio 2154 Dundas Street West, Toronto [just east of Roncesvalles] Admission is free, though a cash donation is appreciated, all of which will go to the speakers. Fizzy drinks and snacks provided. For more information please contact Apollinaires Bookshoppe. --- Apollinaire's Bookshoppe 33 Webb Avenue Toronto Ontario Canada M6P 1M4 bookthug@hotmail.com --- http://members.allstream.net/~bookthug/apollinaires.html ======== -- poet/editor/pub. ... ed. STANZAS mag & side/lines: a new canadian poetics (Insomniac)...pub., above/ground press ...coord.,SPAN-O + ottawa small press fair ...8th coll'n - red earth (Black Moss) ...c/o RR#1 Maxville ON K0C 1T0 www.track0.com/rob_mclennan * http://robmclennan.blogspot.com/ ========================================================================= Date: Tue, 21 Oct 2003 14:17:59 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mark Weiss Subject: Re: CAGE in NYC In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1"; format=flowed Content-Transfer-Encoding: quoted-printable Probably easier to program those five sisters and disperse them to various= =20 events. Mark At 04:57 PM 10/21/2003 -0400, Mairead Byrne wrote: >Ah, thanks so much, Steve, I'll try this. Someone else sent me a box of >toy Maireads (like bowling pins) by UPS but this sounds closer to what I >want. >Or close enough (which is the principle of the thing!) >Mairead > > >>> shoemak@FAS.HARVARD.EDU 10/21/03 16:12 PM >>> >Dear Mairead--Wire all the hardware in parallel, and then for software >try >running several *versions* of yourself, rather than relying on exact >duplicates. The quantum approach is also to be recommended, because >then >you can exist simultaneously as both 0 and 1. > >Steve > >On Tue, 21 Oct 2003, Mairead Byrne wrote: > > > Dear Loss, > > I would like to attend the Cage Festival events in NYC but can=92t >because > > I am reading > > at the Bowery Poetry Club at the time of the first and second, and > > meeting my 5 sisters at the time of the second and third, during which > > time I would also like to be at the Jerome Rothenberg reading. I have > > encountered this type of frustration before. Can anyone advise on > > methods of duplicating files of oneself, creating aliases, even =97 to > > eliminate under and overground time between venues at least =97 emailing > > or faxing oneself? My first husband refused to allow the weather to > > dictate to him and hence froze in the winter. Is there anyone out >there > > who has side-stepped the one-body problem and managed to appear, > > suavely, in several places at once? My life more and more demands >this > > type of maneuver. Backchannel suggestions welcome. > > Mairead > > > > > > >>> poetics@ACSU.BUFFALO.EDU 10/21/03 08:59 AM >>> > > In NYC this weekend, anyone interested in buying my Cage Festival > > tickets > > from me? Very good seats! Many thanks, Loss > > Please reply b/c > > > > The Cage festival is in Zankel Hall, Carnegie Hall, 3 events, prime > > tickets, 2 for each event ($25 each ticket, subscriber rate, i.e., >$150 > > total): > > > > Sat. Oct. 25 3 PM > > Sat. Oct. 25 6 PM > > Sun. Oct. 26 7:30 PM > > ========================================================================= Date: Tue, 21 Oct 2003 18:41:43 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Brenda Coultas Subject: Coultas & Pettet reading, Nov 1 MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Hi All, Just to say: Brenda Coultas & Simon Pettet will read Nov 1st, 8-10 pm Colony Cafe, 22 Rock City Road (i block from the village green) Woodstock, New York Thank you, Brenda ========================================================================= Date: Tue, 21 Oct 2003 19:19:42 -0400 Reply-To: patrick@proximate.org Sender: UB Poetics discussion group From: "patrick@proximate.org" Mime-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: quoted-printable I found the following excellent set of dinstinctions here: http://www.everything2.com/index.pl?node=3Dplagiarism Plagiarism is not a crime. Originality is not the only criterion for intell= ectual honesty. For factual nodes, originality isn't as important as accura= cy. To be accurate, you must not only cite your sources, but check them. Ci= tation may imply authority where there is none, as when an author is cited = out of context. This is not plagiarism, but it is dishonest. Other values: Ownership First, Plagiarism isn't a crime. Copyright infringement is a crime, but dif= fers from plagiarism in significant ways. "I cited the source" is not a def= ense to an infringement lawsuit. The owner of a copyright does not want "cr= edit", the owner of a copyright wants money. Fraud is a crime, but plagiari= sm is not fraud. "Fraud consists of the intentional misappropriation or tak= ing of anything of value which belongs to another by means of fraudulent co= nduct, practices or representations." New Mexico Stat. Ann., =A7 30-16-6 (1= 987). The typical plagiarist does not obtain any money or thing belonging t= o another for the plagiarized work. While a grade or honors might be someth= ing "of value", it is not a thing of value "which belongs to another". Acad= emic honors and degrees cannot be transferred to another person. Copyright = can be transferred, and thus has a value in the marketplace. Other values: Accuracy Second, let's consider journalism. In journalism, accuracy is more valuable= than originality. Except in feature writing, the last thing you want to do= is imply that an idea is original with you. You might accurately quote and= diligently cite someone's opinion, but if you fail to check or corroborate= it, you have been dishonest to the reader. Just by including it in your re= port, you imply that the source is credible and was corroborated. Other values: Authority Finally, in legal writing (or in academic writing, for that matter - pjh), = the last thing you want to be is original. If an idea is new with you, and = unsupported by legislation or precedent, it is worthless. Sources: New Mexico Statutes Annotated (Lexis Law Publishing, 2002) ========================================================================= Date: Tue, 21 Oct 2003 20:40:53 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: FIX MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII FIX ALL TECHNOLOGY IS A DERAILING A FIX IN ONE IS A FIX IN ANOTHER ADDICTION: AS LONG AS THE OUTCOME REMAINS SOMEWHAT UNPREDICTABLE EXPLICIT AND PLANETARY NETS IN THIS DISCONNECTED SPACE YOUR MIND IS MY GRID GEODESICS BEGIN AND END AT THE CATASTROPHE THE MACHINE MAKES THE GOAL THE MACHINE IS NEVER BROKEN THE MACHINE IS ALWAYS FIXED ___ ========================================================================= Date: Tue, 21 Oct 2003 20:41:23 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jim Rosenberg Subject: Call for Papers: Hypertext '04 (fwd) MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline Apologies in advance for cross-posting] There are some exciting changes in the next hypertext conference that bear directly on our community. First, Hypertext 2004 is accepting submissions in hypertext form for the very first time. I would expect the ht_lit/cybertext/E-lit community to be especially receptive to this. For specific details on hypertext submissions, please see http://web14.cse.ucsc.edu/cfpHypertext.php As you will see, Hypertext 2004 is organized for the first time around explicit themes, of which one is literary hypertext. The lit end of the hypertext community has produced some extremely strong papers in recent years, and I'm hoping that fine tradition will be resurgent for 2004. As the first year for literary hypertext being its own theme, I'm sure we can produce a very strong showing. There is a huge amount of exciting research work yet to be done in literary hypertext; I hope those of you who have submitted in the past will submit again in 2004, and if you haven't submitted to the hypertext conference before, we welcome new voices. ------------------------------------------------ Hypertext 2004 Fifteenth ACM Conference on Hypertext and Hypermedia August 9-13, 2004 : Santa Cruz, California USA http://www.ht04.org/ Call for Submissions The Fifteenth International ACM Conference on Hypertext and Hypermedia will be held in Santa Cruz, California, August 9-13, 2004. The ACM Hypertext Conference is the foremost international conference on hypertext and hypermedia. It brings together scholars, researchers and practitioners from a diverse array of disciplines, united by a shared interest in innovative textual and multimedia information spaces - with emphasis on augmenting human capabilities via linking, structure, authoring, annotation and interaction. This year, in addition to the established conference themes, the conference is actively soliciting submissions at the intersections of hypermedia and Digital Libraries, Software Engineering and the Humanities. We welcome submissions on the representation, design, structuring, visualizing, navigating, and exploiting of the rich network of relationships found in these domains. Spatial hypertext (structuring information via visual cues and geometric arrangement) and ubiquitous hypermedia (in situ authoring and navigating relationships among real world objects) have recently emerged as significant research directions. They join our established themes of adaptive hypermedia, literary hypertext and systems and structures. This latter topic knits together the research themes of open hypermedia, structural computing, design and reflection. In a bold experiment, for the first time we will be accepting hypertext submissions of research results. We are keenly interested in how judicious use of nonlinear narrative and rich linking can enhance communication of research ideas. We encourage you to consider submitting your paper as a hypertext. Please see the Web site for further details about hypertext submission. We will also be operating a rolling review process. Papers and hypertexts received before the early submission deadline will receive reviewers' feedback at least a week before the final submission deadline, facilitating revised submissions where appropriate. Key dates Early submission deadline: February 4, 2004 Full papers & hypertexts: March 12, 2004 Workshop proposals: December 19, 2003 Short papers: May 28, 2004 Poster & demo abstracts: June 11, 2004 Program Themes This year we have organised the call around a number of themes. We welcome papers about all aspects of hypertext and hypermedia, even if not closely fitting one of these themes. Digital Libraries Chair John Leggett, Texas A&M University Vice Chair David Hicks, Aalborg University Esbjerg Information structuring plays a fundamental role in the broad range of research areas encompassed by the digital library field. The diverse collection of media that digital libraries contain, along with the variety of ways in which users interact with those resources, require flexible, dynamic, and adaptable structuring techniques. We seek contributions that explore the ways in which the rich variety of structuring facilities represented by hypermedia technology can be used to address the challenging tasks faced in the digital libraries field. Software Engineering Chair Walt Scacchi, University of California, Irvine Vice Chair Ken Anderson, University of Colorado, Boulder Software projects produce a diverse set of highly interrelated artifacts including requirements, architectures, designs, source code, test cases, and build scripts. We are interested in research that explicitly leverage these relationships through hypertext mechanisms or capabilities, including but not limited to contributions in Web-based open source software development, software development environments, CASE tools, consistency checking, software configuration management, build management, release management, literate programming, intelligent editors, and documentation support systems. Hypertext in the Humanities Chair Christiane Fellbaum, Princeton University Vice Chair Stuart Moulthrop, University of Baltimore Theoretical and applied work in areas like computational linguistics, natural language processing, lexical semantics, cognitive psychology, computer-mediated communication, and electronic publishing have explored the advantages of coding, storing, and accessing lexical and conceptual knowledge in multi-dimensional formats. We encourage submissions in these and related areas that show how multi-dimensional structure has been used to describe, represent, and explain different types of information. Adaptive and Adaptable Hypermedia Chair mc schraefel, University of Southampton Individuals are, well, individual. In many scenarios, one text, one set of relationships, does not fit all readers. We seek contributions in all areas of this research theme, encompassing systems, methodologies, and user models for the adaptation, filtering and personalization of relationship-rich information spaces. Additional emphases include interaction design for adaptable or adaptive systems, adaptive and intelligent learning environments, recommender systems, reflective user models, and agent-based adaptation, as well as rigorous evaluation of such systems. Literary Hypertext Chair Jim Rosenberg Viewed broadly, hypertext permits a wide range of experimentation in literary works on non-linearity, multiple authorial viewpoints, and rhetorical structure, as well as radical entanglements of words and meaning. Papers are welcomed on a variety of topics, of which only a small sample might include: the nature of hypertextual time, cybertext/algorithmic anatomy, hypertext narratology, hypertext anti-narratology, the role of code in literary hypertext, hypertextual close reading, literary interfaces, minimalist hypertext, maximalist (sculptural) hypertext, and the nature of hypertextual genre. Ubiquitous Hypermedia Chair Kaj Gronbaek, Aarhus University Rich networks of relationships exist among physical real-world objects as well as between these objects and computerized documents. We seek contributions that explore the interface between the physical and the virtual, especially those emphasizing creation, visualization and navigation of relationships, content delivery to mobile devices, location tracking, authoring tools and methods for geospatial relationships, and innovative uses of this technology for work, play, and creative expression. Spatial Hypertext Chair Frank Shipman, Texas A&M University The relative positioning of artifacts to create new relationships and meaning has long been used by sculptors and visual artists. Spatial hypertext builds on this tradition to assign meaning and structure to units of text and media based on their visual similarity and relative geometric and temporal placement in virtual information spaces. We are interested in contributions that explore this novel information structuring technique, including new systems, user interfaces and metaphors, visualizations, methodologies, experience reports, and spatial structuring techniques. Systems and Structures Chair Niels Olof Bouvin, Aarhus University Now that the Web has entered a period of stabilization characterized by increased maturity and incremental technical improvement, we seek research on novel systems that expose possibilities far beyond the Web as we know it. We solicit contributions on innovative systems, methodologies, and taxonomies for representing and structuring intellectual work and its inter-relationships. Users of systems can range from individuals to collaborative teams, working free-form, or in defined workflows. Dimensions of interest include novel user interfaces, architectures, distribution, data models, infrastructure, standards, openness, and, generally, capabilities for augmenting creative intellectual activity. Other topics Papers about all aspects of hypertext and hypermedia are welcome, whether or not they fit one or more of the above themes. Submission categories Hypertext 2004 is seeking full papers and hypertexts, short papers, workshops, technical briefings, doctoral consortium contributions, demonstrations, and posters. Please see the Web site for further information. Conference Committee Program Co-Chairs David De Roure, University of Southampton, UK dder@ecs.soton.ac.uk Helen Ashman, University of Nottingham, UK hla@cs.nott.ac.uk General Chair Jim Whitehead, University of California, Santa Cruz, US ejw@cs.ucsc.edu Hypertext Program Chair Simon Buckingham Shum, Open University, UK sbs@acm.org Workshops Chair Manolis Tzagarakis, Computer Technology Institute, Greeece tzagara@cti.gr Tutorials Chair Jamie Blustein, Dalhousie University, Canada jamie@cs.dal.ca Posters & Demonstrations Chair Jessica Rubart, Fraunhofer IPSI, Germany rubart@ipsi.fhg.de Panels & Technical Briefings Chair Mark Bernstein, Eastgate Systems, US bernstein@eastgate.com Doctoral Consortium Chair Leslie Carr, University of Southampton, UK lac@ecs.soton.ac.uk http://www.ht04.org/ For general enquiries please contact enquiries@ht04.org ACM approval pending ---------- End Forwarded Message ---------- --- Jim Rosenberg http://www.well.com/user/jer/ WELL: jer Internet: jr@amanue.com ---------- End Forwarded Message ---------- --- Jim Rosenberg http://www.well.com/user/jer/ WELL: jer Internet: jr@amanue.com ========================================================================= Date: Tue, 21 Oct 2003 18:18:51 -0700 Reply-To: pdunagan@lycos.com Sender: UB Poetics discussion group From: patrick dunagan Organization: Lycos Mail (http://www.mail.lycos.com:80) Subject: Re: Erik Noonan Mime-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Erik's a wonderful friend and his interest in poetry is direct. He lavishes the amount of time he puts into Weigh Station, paying for it on his own hard earned cash (so far by back breaking labor in VT), selecting and ordering the contents as well as writing succinct prose such as the Villon piece. A great example of the pleasure of a life in reading. A life which reflects its world-surrounding circumstances, refusing the circumventing of them... a wonderful talker, endless late-nights. - Patrick Dunagan -- --------- Original Message --------- DATE: Tue, 21 Oct 2003 11:13:14 From: Skip Fox To: POETICS@LISTSERV.BUFFALO.EDU Cc: >Steve-- > >What do you know about Erik Noonan? His Weigh Station III is dripping >intelligence and his piece on Villon therein warms me in a discernable >manner. You know him personally from VT? Now he's hooked up with Micah >in San Fran. My first impression (for less than a day) and I'm >impressed. > >skip > ____________________________________________________________ Enter for a chance to win one year's supply of allergy relief! http://r.hotbot.com/r/lmt_clrtn/http://mocda3.com/1/c/563632/125699/307982/307982 ========================================================================= Date: Tue, 21 Oct 2003 21:26:43 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jane Sprague Subject: West End Reading Series MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable On Saturday, October 25, SlyFox Productions presents: Poets Bernadette = Mayer, Philip Good and Robert Masterson in the West End Reading Series. = 7:00 pm, Gimme Coffee, 506 W. State St. Ithaca, NY www.slyfox.org . = Free.=20 Bernadette Mayer is author of numerous books of poetry and prose. She = has regularly taught her legendary Experiments in Poetry Workshop at = the Poetry=20 Project in New York City since the 1970s.=20 Her books include: CEREMONY LATIN 1964 (Angel Hair, 1975), POETRY = (Kulchur Foundation, 1976), MIDWINTER DAY (Turtle Island Foundation, = 1982, New Directions, 1999), UTOPIA (United Artists, 1983), SONNETS = (Tender Buttons, 1989), THE FORMAL FIELD OF KISSING (Catchword Papers, = 1990), A BERNADETTE MAYER READER (New Directions, 1992), THE DESIRES OF = MOTHERS TO PLEASE OTHERS IN LETTERS (Hard Press, 1994), PROPER NAME (New = Directions, 1996), ANOTHER SMASHED PINECONE (United Artists, 1998), TWO = HALOED MOURNERS (Granary Books, 1998) and many others.=20 Robert Masterson is an award-winning writer, editor and teacher who = divides his time between New York and New Mexico. Masterson's creative = work has appeared in numerous publications including Blue Mesa Review, = Tierra: Contemporary NM Fiction, Tyounyi, The Temple and Bombay Gin. He = has been a regular contributor to the magazines BRAVO, local flavor, = Venting, and Albuquerque Monthly, his poetry and commentary has been = broadcast on KUNM (Albuquerque) and WFUV (Fordham University) radio. He = is an editor-for-life and publisher with Lords of Language, a = literary/arts organization based in New Mexico that has most recently = published Voices Behind Bars, an anthology of women prison inmates' = writing, in conjunction with Sarah Lawrence College. He currently works = as managing editor for the Westchester County Weekly and the Fairfield = County Weekly, alternative newsweeklies in New York and Connecticut.=20 In addition to university and public school classrooms, Masterson's = teaching has taken him to the People's Republic of China and inside = Southwestern penal institutions. He received the 1987 Creative Writing = Fellowship from the University of New Mexico and, in 1993, Masterson was = awarded the Ted Berrigan Scholarship from the Naropa Institute in = Boulder, Colorado.=20 Philip Good studied poetry at the St. Marks Poetry Project and Naropa = University. He received his BFA at the School Visual Arts in Manhattan.=20 Besides his work as a poet Good has published articles in the New York = Times. In the 80s Good co-edited Blue Smoke, the last of the mimeo = poetry=20 magazines. Good's poetry is published in various small press = magazines, including: Pome, Oblek, Tool, Bombay Gin, Cover, Brown Box = and Holy Tomato.=20 His books include, Drunken Bee Poems, Corn, and Passion Come Running. The West End Reading Series is held on the fourth Saturday of every = month. FREE and open to all. ========================================================================= Date: Tue, 21 Oct 2003 22:22:30 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Eileen Tabios Subject: Barry Schwabsky this week: Philadelphia, New York & San Francisco MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Barry Schwabsky Reminders: Philadelphia, New York and San Francisco -- to celebrate the release of his book OPERA: Poems 1981-2002 (http://meritagepress.com/opera.htm): PHILADELPHIA Penn Bookstore 3601 Walnut Street Philadelphia, PA 19104 215-898-7595 Thursday, October 23 Noon-1 PM NEW YORK Friday, October 24 6-7:30 PM 303 Gallery 525 West 22nd Street New York, NY 10011 SAN FRANCISCO Poetry Readings by Barry Schwabsky and Eileen Tabios HOUSE READING SERIES at the residence of kari edwards at 3435 Cesar Chavez, #327 San Francisco, CA 7 p.m., Sunday, October 26, 2003 PUBLISHERS WEEKLY: Putting 20 years of work into one intensely wrought luminously gripping book, Artforum critic Barry Schwabsky here stages his Opera: Poems 1981-2002. His approach to the eponymous form -- colloquial, lived-in, forking the vulgar tongue, mixing in trailer park trash talk, throwing out references to Wittgenstein, Larbaud and Traherne -- rises to the other-worldly. Meritage Press, Small Press Distribution, 104 pages, ISBN 0970917929. ADVANCE WORDS: The word "song" resonates over and over and the poems here will often suddenly burst into an intricate, complicated melody. --Juliana Spahr His poetry is exactly as strange as the familiar may permit. His work, born of a strange encounter between American poetry and European masters such as Celan and Novalis, always surprises me by its exploratory investigations. He writes one of the most loving poetries today, filled with a sexual myth as strong as anyone's. --David Shapiro These might be choruses and arias from some lost Venetian music drama of the early 1600s--an allegory of the nature of light and of desire, set on one of those abandoned islands where every imaginable encounter becomes possible--transmuted over the intervening centuries of silence into a software program for a new species of lyrical electronica. --Geoffrey O'Brien Imagine poems written by Sir Walter Raleigh after he has read Wittgenstein and Lorine Neidecker, listened to bands whose names weren't in the air but whose one song was on the airwaves, and learned more about contemporary art than anyone thought possible, and you might get a sense of the compactness of these poems, an airy abstract density unlike anyone else's. --John Yau ========================================================================= Date: Wed, 22 Oct 2003 02:21:17 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: name (and goes for tomorrow) MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII name this of is this file is foo. file no foo. foo.save. file the is modification the of modification #foo#. is ~foo. is post the crash post when file foo.save when migrates foo.save to migrates or foo. #foo# when foo to ~foo or post-crash. ~foo .#foo# it's .#foo.save#. to it's when invisible it's and invisible migrates. and identified foo. as identified such as [filter] foo bar [filter] barring bar a barring crash. a bar.save when on EDT particular this day. particular at or time this only. time Wed only. Oct Wed 22 Oct 02:13:00 22 EDT 02:13:00 2003. zz. name the which file called is zz. is in zz-inode. reality in it reality zz-inode. zz. read to text a one text must one well as what as called. instantiation. textual the genre textual foo\zz which an is instantiation. an not .#foo.save# mention to #foo.save# or .#foo.save# or 935748 -> lrwxrwxrwx 935748 1 lrwxrwxrwx sondheim 1 users sondheim 31 users Sep 31 28 Sep 19:30 28 .#zz 19:30 -> .#zz sondheim@panix3.panix.com.11950 a actual an misrecognition misapprehension. misapprehension. or this is file foo. no this is file foo.save. no this is the modification of file foo.save. no this is #foo#. no this is ~foo. this is file foo. this is the post crash file when foo.save migrates to foo. or the file when #foo# migrates to foo or ~foo post-crash. or to file .#foo# or to .#foo.save#. when it's invisible and migrates. when it's identified as such as file foo. or when foo [filter] bar barring a crash. or when bar.save post-crash. or on this particular day. or at this time only. Wed Oct 22 02:13:00 EDT 2003. the name of the file which is called foo is zz. this is file zz. in reality it is file zz. zz-inode but not .#zz-inode or .#foo-inode. to read a text one must read the name of the text as well as what it is called. this is the textual genre of which foo\zz is an instantiation. not to mention #foo# or #foo.save# or .#foo# or .#foo.save# 935748 lrwxrwxrwx 1 sondheim users 31 Sep 28 19:30 .#zz -> sondheim@panix3.panix.com.11950 this is an actual instantiation. or a misrecognition or misapprehension. this is the name of _the thing_ and not _of the thing._ whoever understands me aright better not throw away the scaffolding. ___ ========================================================================= Date: Wed, 22 Oct 2003 00:35:26 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: August Highland Subject: SPLIT HEAD REDEFINABLE LOVER-BOY MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit SPLIT HEAD REDEFINABLE LOVER-BOY FOOTNOTE #0000001: = Our leashs can be. 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Are concerned here is no turning back.. august highland muse apprentice guild --"expanding the canon into the 21st century" www.muse-apprentice-guild.com culture animal --"following in the footsteps of tradition" www.cultureanimal.com ========================================================================= Date: Wed, 22 Oct 2003 01:22:36 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: August Highland Subject: WRITTEN AS A PRODUCT TO EAT HIS FATHER/ASSERTIONS OF TRUTH MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit WRITTEN AS A PRODUCT TO EAT HIS FATHER/ASSERTIONS OF TRUTH WIDGET #0000001: Of c=2c is induced Kant, Berkley. Than rand. although.the descramblers improve the lives of. Product of g.chamber situations The set Z. Been thru the.truth the video is further. Getting tired of apologize if I threw CONT. WIDGET #0000002: Is to have the bone it is evil to B=A. I just couldn;t.p;m I. 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Yes.man TO BELIEVE AS I WISH. N.INTEREST" NOT obvious that under. WIDGET #0000007: Leave things a.for discovering and earlier follows from. "esse est precepi" a golden stallion. Vector v is v.(a) If G is D=\Gamma . Using I. Denoted by d 8. \lambda D=\Gamma . Using I. WIDGET #0000008: Haven't been.YOU YOU DONT HURT ME that they are not. Dimensional boundary.should not be BEHAVIOR UNTILL. Government-run.Your ethical wrench they had considered. Involvement in this argument can be used Z. (b) If jGj=n. M recognize the HELP BUT POINT OUT. WIDGET #0000009: It in a different WRITTEN AND places like. Sophisticated.DURING THE MACARTHY PHILOSPHICAL AS WELL. \gamma 4 seem to be ................... real numbers.and is. Descrambling box..Just because people 1. Vectors of k. from caries information. WIDGET #0000010: Death defying act A \Phi B ! A. Wrong for you to be.WRITING CLASS IF NO ONES THAT MAY CHANGE. Universal cover does not mean that. Key to life" by sri.Fellowship. AND I SEE YOU. 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It has. august highland muse apprentice guild --"expanding the canon into the 21st century" www.muse-apprentice-guild.com culture animal --"following in the footsteps of tradition" www.cultureanimal.com ========================================================================= Date: Wed, 22 Oct 2003 08:37:43 -0400 Reply-To: ron.silliman@gte.net Sender: UB Poetics discussion group From: Ron Subject: Poetry & Empire Comments: To: WOM-PO , BRITISH-POETS@JISCMAIL.AC.UK, nanders1@swarthmore.edu, new-poetry@wiz.cath.vt.edu, whpoets MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit My notes on the Poetry & Empire retreat have now been posted on my weblog: http://ronsilliman.blogspot.com/ Ron ========================================================================= Date: Wed, 22 Oct 2003 08:43:58 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Maria Damon Subject: Re: Poetry & Empire Comments: To: ron.silliman@gte.net In-Reply-To: <000501c39899$4e8baa20$dafef343@Dell> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" i wish this retreat had been publicized...the topic is of great urgency to many of us...what were the politics behind its organization...oh yeah...just realized a "retreat" rather than a symposium or conference is a diff type of a thing, invitation only, very small and intense. oh well. and here comes the pitch: if you all VOTE FOR ME for mla poetry division i will make sure to try to put such topics on the agenda...btw for those of you who have responded, "I AM NOT A NUT, ELECT ME" is the title of a lenny bruce album. btw some of your musings on p & e ron have been of great interest to both of my classes this semester... At 8:37 AM -0400 10/22/03, Ron wrote: >My notes on the Poetry & Empire retreat have now been posted on my >weblog: http://ronsilliman.blogspot.com/ > >Ron -- ========================================================================= Date: Wed, 22 Oct 2003 09:52:08 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Michael Rothenberg Subject: ART contributors MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Please put out the word, Big Bridge, www.bigbridge.org is looking for = artists to feature in the Art section of the January issue.=20 Best, MR Michael Rothenberg walterblue@bigbridge.org Big Bridge www.bigbridge.org ========================================================================= Date: Wed, 22 Oct 2003 10:40:03 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: jrothenberg@COX.NET Subject: Two Announcements:Saturday Performance & Ethnopoetics Ubuweb Add-ons MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: quoted-printable I will be peforming with composer-hornplayer-eventmaker Charlie Morrow th= is Saturday evening 8:00 p.m. at the Bowery Poetry Club, 308 Bowery, just= north of Houston. I have also added the following to the Ubuweb ethnopoetics website, which= may also be of interest to some on the list: [Available at http://www.ubu.com/ethno/index.html] Alo=EFse (Outsider Poetics): Essay and Selection of Visuals Aztec Poems (Nahuatl) -- The Flight of Quetzalcoatl Robert Bringhurst -- Excerpt from "Story as Sharp as a Knife: The Classic= al Haida Mythtellers and Their World (1999/2000) - Ghandl (Haida) / per Robert Bringhurst - Goose Food [PDF, 172K] - Spoken Music [PDF, 132K] - Shl=E1wtxan / Robert Bringhurst -- The Prosody of Meaning Ca Dao: Vietnamese Folk Poems [soundings](MP3) Michael Davidson - The Scandal of Speech in Deaf Performance [HTML] H-Dirksen L. Bauman - Redesigning Literature: Poetics of American Sign La= nguage Poetry [HTML] Robert Duncan -- "Rites of Particiation" (excerpt) Jacob Nibenegenesabe (Swampy Cree) From The Wishing Bone Cycle, tr. Howa= rd Norman Jerome Rothenberg -- From A Book of Events Jerome Rothenberg -- Endangered Languages, Endangered Poetries [HTML] Jerome Rothenberg -- Introduction: Poetry Without Sound [HTML] Jerome Rothenberg -- Total Translation: An Experiment in the Translation = of American Indian Poetry [HTML] Gary Snyder -- The Politics of Ethnopoetics [PDF] Vietnamese Folk Poems (texts) Adolf W=F6lfli (Outsider Poetics): Essay and Selection of Visuals Heriberto Y=E9pez -- A Sketch on Globalization & Ethnopoetics [PDF] = ========================================================================= Date: Wed, 22 Oct 2003 10:54:22 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Tim Peterson Subject: CAGE in NYC Mime-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1"; format=flowed Content-Transfer-Encoding: quoted-printable Mairead, As far as I can tell, it's very simple. I plant my left leg at the Jerome=20 Rothenberg reading, while my mouth speaks at the Bowery Poetry club, and my= =20 right ear listens to the sisters. Oh sisters, oh Rothenberg, I know I'm=20 being perverse, but I also am and contain a shoe, oil tankers, and nougat.= =20 There's a tragedy there as well. Best, Tim Date: Tue, 21 Oct 2003 14:19:10 -0400 From: Mairead Byrne Subject: Re: CAGE in NYC Dear Loss, I would like to attend the Cage Festival events in NYC but can=92t because I am reading at the Bowery Poetry Club at the time of the first and second, and meeting my 5 sisters at the time of the second and third, during which time I would also like to be at the Jerome Rothenberg reading. I have encountered this type of frustration before. Can anyone advise on methods of duplicating files of oneself, creating aliases, even =97 to eliminate under and overground time between venues at least =97 emailing or faxing oneself? My first husband refused to allow the weather to dictate to him and hence froze in the winter. Is there anyone out there who has side-stepped the one-body problem and managed to appear, suavely, in several places at once? My life more and more demands this type of maneuver. Backchannel suggestions welcome. Mairead Tim Peterson Journals Marketing Coordinator The MIT Press Five Cambridge Center Cambridge, MA 02142-1493 phone: (617) 258-0595 fax: (617) 258-5028 http://mitpress.mit.edu/journals ========================================================================= Date: Wed, 22 Oct 2003 11:18:06 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Brian Richards Subject: Re: Erik Noonan MIME-Version: 1.0 Content-Type: text/plain Skip: WSIII is loaded, as you say, but why give the game away? -----Original Message----- From: Skip Fox [mailto:wxf8424@LOUISIANA.EDU] Sent: Tuesday, October 21, 2003 12:13 PM Subject: Erik Noonan Steve-- What do you know about Erik Noonan? His Weigh Station III is dripping intelligence and his piece on Villon therein warms me in a discernable manner. You know him personally from VT? Now he's hooked up with Micah in San Fran. My first impression (for less than a day) and I'm impressed. skip ========================================================================= Date: Wed, 22 Oct 2003 08:24:20 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Leslie Scalapino Subject: kari edwards' iduna/reading at SPT MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable kari edwards will read from iduna (new from O books) on Friday October = 24th at SPT (CCAC at 1111 Eighth Street, SF CA 94107) at 7:30 PM =20 O Books - distributed by SPD: 1341 Seventh Street, Berkeley CA 94710. O Books: 5729 Clover Drive Oakland CA 94618 iduna by kari edwards, Poetry, 102 pages, ISBN # 1-882022-49-1, $12.00.=20 iduna is experiment in which the text (like a personality) is as if = 'set' to proceed by accident and mistakes of machine - but then, as = such, in the workings of its 'accidents' (as if she is margins of pages = and words from ads and 'theory' which are composing and revealing her: = as if personality which is a machine/and thus the text is akin to the = memory of a Replicant in Blade Runner) the effect is seeing = passionate/'personal'/'emotional' (un)programmed memory and responses. =20 Steve McCaffery says about iduna "If benign linearity marks the last = vestige of Cartesian consciousness, Vitruvian space and Spinozan ethics, = then iduna signalizes its catalectic adieu. For there is no return after = this. Kari Edwards has written and conceived a bold, complex text that = pushes lyricism to the brink of an interstice, between the Dictionary = and its scream. Auto-translative, self-contaminatory, iduna never = renounces its splendid linguistic excess, fabricating a textural world = of legibility and illegibility, gravitation and non-gravitation, that = powers its dweller (for one must dwell in iduna) gesturally around and = among its morphs and torques. If Deleuze and Guattari are correct when = they aver that writing 'has nothing to do with signifying. It has to do = with surveying, mapping, even realms that are yet to come' then iduna = provides a special map to a certain dream of Coleridge's: the frontiers = of a post-cognitive." =20 =20 Johanna Drucker says about iduna "Paratexts and processing suggestions = stream through Kari Edwards's iduna... The constant drive to make use of = formal possibilities at the level of page and opening brings graphic = format into substantive play...A machinic drive echoes in this work as a = human, subjective voice struggles to come through the registers of = current language events, noise, news, records, communications. The shape = of a human outcry presses through the mass of mediated material. Form = embodies possibilities enabled by the instructions of forced = justification, font shifts, hard returns, tabs, chunked blocks, and = other basic elements of text processing...Before we can ask what = something means when we read it, we must ask what it means to read - and = Edwards poses that as a high-stakes question providing the point of = departure for current poetic production."=20 =20 Chris Tysh says about iduna "Having evacuated the endemic patriarchal = script, Edwards writes hir own rules of the game in the wee hours when = the sky turns green and binary logic decamps posthaste. Under the ruins = of gender, iduna is a wild garden where 'sexuality begets language.' The = anarchic profusion of voices, discourses, idiolects, fonts and = typographies that seem to rain down upon the page becomes the new = 'formlessness' which is the political signature of this resistant and = absorptive text." =20 =20 ========================================================================= Date: Wed, 22 Oct 2003 11:51:54 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Michael Rothenberg Subject: gloria frym MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Trying to reach Gloria Frym. Anybody have her e-mail. Hey Gloria, are = you out there? Michael Michael Rothenberg walterblue@bigbridge.org Big Bridge www.bigbridge.org ========================================================================= Date: Wed, 22 Oct 2003 09:13:44 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Leslie Scalapino Subject: iduna by kari edwards MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable (I think there was a typo in my other message. Please use this one:) kari edwards will read from iduna (new from O Books) on Friday October = 24th at SPT (CCAC at 1111 Eighth Street, SF CA 94107) at 7:30 PM. O Books : 5729 Clover Drive Oakland CA 94618. Distributed by SPD: 1341 = Seventh Street, Berkeley CA 94710.=20 iduna by kari edwards, Poetry, 102 pages, ISBN # 1-882022-49-1, $12.00.=20 iduna is experiment in which the text (like a personality) is as if = 'set' to proceed by accident and mistakes of machine - but then, as = such, in the workings of its 'accidents' (as if she is margins of pages = and words from ads and 'theory' which are composing and revealing her: = as if personality which is a machine/and thus the text is akin to the = memory of a Replicant in Blade Runner) the effect is seeing passionate/ = 'personal'/'emotional' (un)programmed memory and responses. =20 Steve McCaffery says about iduna "If benign linearity marks the last = vestige of Cartesian consciousness, Vitruvian space and Spinozan ethics, = then iduna signalizes its catalectic adieu. For there is no return after = this. Kari Edwards has written and conceived a bold, complex text that = pushes lyricism to the brink of an interstice, between the Dictionary = and its scream. Auto-translative, self-contaminatory, iduna never = renounces its splendid linguistic excess, fabricating a textural world = of legibility and illegibility, gravitation and non-gravitation, that = powers its dweller (for one must dwell in iduna) gesturally around and = among its morphs and torques. If Deleuze and Guattari are correct when = they aver that writing 'has nothing to do with signifying. It has to do = with surveying, mapping, even realms that are yet to come' then iduna = provides a special map to a certain dream of Coleridge's: the frontiers = of a post-cognitive." =20 =20 Johanna Drucker says about iduna "Paratexts and processing suggestions = stream through Kari Edwards's iduna... The constant drive to make use of = formal possibilities at the level of page and opening brings graphic = format into substantive play...A machinic drive echoes in this work as a = human, subjective voice struggles to come through the registers of = current language events, noise, news, records, communications. The shape = of a human outcry presses through the mass of mediated material. Form = embodies possibilities enabled by the instructions of forced = justification, font shifts, hard returns, tabs, chunked blocks, and = other basic elements of text processing...Before we can ask what = something means when we read it, we must ask what it means to read - and = Edwards poses that as a high-stakes question providing the point of = departure for current poetic production."=20 =20 Chris Tysh says about iduna "Having evacuated the endemic patriarchal = script, Edwards writes hir own rules of the game in the wee hours when = the sky turns green and binary logic decamps posthaste. Under the ruins = of gender, iduna is a wild garden where 'sexuality begets language.' The = anarchic profusion of voices, discourses, idiolects, fonts and = typographies that seem to rain down upon the page becomes the new = 'formlessness' which is the political signature of this resistant and = absorptive text." =20 ========================================================================= Date: Wed, 22 Oct 2003 12:37:53 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Gary Sullivan Subject: MANIFESTO MARATHON SATURDAY | SEGUE @ BPC Mime-Version: 1.0 Content-Type: text/plain; format=flowed Please join us this Saturday, October 25, from 4:00p.m.-6:00p.m., when the Segue Reading Series at Bowery Poetry Club presents the first MANIFESTO MARATHON! "What the world needs now is __________!" Mairead Byrne, Rachel Levitsky, Kristen Prevallet, Kim Rosenfield, Marianne Shaneen, and Rod Smith fill in the blank in what outspoken poets of the future will recall fondly as the first Segue Manifesto Marathon. Please try to be on time for this one ... lots of readers and BPC usually has another reading scheduled at 6:00, just following ours. BPC on the Web: http://www.bowerypoetry.com/ Segue on the Web: http://www.segue.org 308 BOWERY, JUST NORTH OF HOUSTON, NYC $5 admission goes to support the readers Funding is made possible by the continuing support of the Segue Foundation and the Literature Program of the New York State Council on the Arts. _________________________________________________________________ Surf and talk on the phone at the same time with broadband Internet access. Get high-speed for as low as $29.95/month (depending on the local service providers in your area). https://broadband.msn.com ========================================================================= Date: Wed, 22 Oct 2003 09:55:26 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Stephen Vincent Subject: Statecraft or Stagecraft? Comments: To: ron.silliman@gte.net In-Reply-To: <000501c39899$4e8baa20$dafef343@Dell> Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit "Mr. Bush spoke from a thatched-roof pagoda, especially crafted for the occasion to give him and the Indonesian leader, Megawati Sukarnoputri, a Balinese context even though they were on the edge of the island's international airport. American officials had deliberated for days over the exact spot for the pagoda so that the cameras would capture a photo-perfect backdrop: the azure blue Indian Ocean with gently cresting waves, two potted palms waving in the breeze and tubs of flowers personally designed by the staff of Ms. Megawati, who is a plant lover. In the distance, American warships, especially diverted for Mr. Bush's visit, patrolled the waters, and an extraordinary number of Secret Service and other security officials patrolled the grounds of the airport hotel where Mr. Bush held his official meetings." Aesthetics is, well, not quite everything! From a NY Times piece on the President's short stop off in Indonesia Stephen V ========================================================================= Date: Wed, 22 Oct 2003 10:25:39 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: aaron tieger Subject: publication announcement MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Now available from La Alameda Press: Equivalence (La Alameda Press, 2003) 6 x 9 88 pages 1-888809-41-8 $14.00 ( paperback ) Drawing its name from photographer Alfred Stieglitz's series of cloud images, the poems in this collection from poet Shin Yu Pai explore connections and correspondences between poetry and the visual arts, Eastern and Western cultures, tradition and modernity, perpetual migration and the sense of home. In the course of this exploration, the poet is inspired by modern and contemporary artists such as Wolfgang Laib, Piet Mondrian, Joseph Cornell, Yoko Ono, and Felix Gonzales-Torres. "Shin Yu Pai's imagination is like a fine pottery bowl, delicately shaped but capable of holding many things: playfulness, candor, descriptive elegance. She is working out her own welcome blend of cultures, Eastern and Western, and Equivalence is the lovely and often challenging result."--Rosellen Brown "Shin Yu Pai matches a painter's grasp of the materiality of things with the poet's trick of arranging words for maximum musical effect. She knows that in poetry it is the music that keeps in the mind what is seen. Her poems honor their imagist heritage by making it new."--William Corbett "Shin Yu Pai's voice is equal parts exciting, exuberant and elegant. Equivalence serves as a profound dual act of grace and wisdom. This poet has carved out a bold, wondrous space on our mountain, complete with unspeakable vistas that stretch clear toward the earth's edge."--Jim Behrle Equivalence received a 2003 grant from the Cambridge Arts Council and the Massachusetts Cultural Council. Shin Yu Pai is a Taiwanese-American poet and visual artist. Previous titles include Ten Thousand Miles of Mountains and Rivers. She lives in Boston, Massachusetts. This title can be purchased through: www.laalamedapress.com www.unmpress.com www.spdbooks.org www.amazon.com ===== "The tools of the trade are the head and the heart every raw material at hand" (Mission of Burma, "Learn How") __________________________________ Do you Yahoo!? The New Yahoo! Shopping - with improved product search http://shopping.yahoo.com ========================================================================= Date: Wed, 22 Oct 2003 11:01:03 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Patrick F. Durgin" Subject: NYC - reading MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Release Reading for Aufgabe #3 Come celebrate the third issue with short readings by guest editor Jen = Hofer & Mexican poet Laura Sol=F3rzano, and local contributors Rodrigo = Toscano, Lisa Lubasch, Africa Wayne, Ange Mlinko, Amanda Katz, Genya = Turovskaya, Stephen Potter and Christopher Stackhouse.=20 Tuesday, October 28th=20 8pm Bar Reis 375 5th Avenue Brooklyn, NY (Park Slope between 5th and 6th streets) 718-832-5716 Take the F, M, N, R to 4th Ave and 9th St. The Genius of (Mis)Translation Reading Series at the Dactyl Foundation Featuring poets from _Sin puertas visibles: An Anthology of Contemporary = Poetry by Mexican Women_ edited & translated by Jen Hofer Bilingual Reading with: M=F3nica Nepote (from Mexico City)=20 Cristina Rivera-Garza (from Toluca)=20 Laura Sol=F3rzano (from Guadalajara) Thursday October 30th, 7pm=20 64 Grand St. in SoHo (between Wooster & West Broadway) A party for subpress! November 1, 2-4 p.m.=20 Bowery Poetry Club (www.bowerypoetry.com)=20 308 Bowery, in Manhattan 212-614-0505 at the foot of First St. b/t Houston and Bleecker F train to 2nd Ave or 6 train to Bleecker readers: Dan Bouchard Camille Guthrie Prageeta Sharma Edwin Torres John Wilkinson Bill Marsh Deborah Richards Jen Hofer=20 _____________________ www.buffalo.edu/~pdurgin ========================================================================= Date: Wed, 22 Oct 2003 15:08:24 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: shanna compton Subject: Re: favorite reading series or venue In-Reply-To: Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit Thanks, Joseph. I'm adding them to the list today! on 10/18/03 7:12 PM, Joseph Bradshaw at josephbradshaw@HOTMAIL.COM wrote: > Spare Room > in Portland, Or > http://www.flim.com/spareroom/ > because it is the only series in Portland devoted to presenting consistently > challenging work. > Do come. > > _________________________________________________________________ > Never get a busy signal because you are always connected with high-speed > Internet access. Click here to comparison-shop providers. > https://broadband.msn.com ========================================================================= Date: Wed, 22 Oct 2003 15:53:34 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Halvard Johnson Subject: Re: Statecraft or Stagecraft? In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit All is illusion, saith the prophet. Methinks that aircraft carrier was also a set--one of those little models used to simulate battles at sea in war movies. The water we saw was actually in a tank on a Hollywood soundstage, and the characters and action (including the President and his fly-in) were inserted by computer during post-production. Hal "I think pigs should be allowed to run free--just like politicians." --Edna Buchanan Halvard Johnson =============== email: halvard@earthlink.net website: http://home.earthlink.net/~halvard { "Mr. Bush spoke from a thatched-roof pagoda, especially crafted for the { occasion to give him and the Indonesian leader, Megawati Sukarnoputri, a { Balinese context even though they were on the edge of the island's { international airport. { { American officials had deliberated for days over the exact spot for the { pagoda so that the cameras would capture a photo-perfect backdrop: the azure { blue Indian Ocean with gently cresting waves, two potted palms waving in the { breeze and tubs of flowers personally designed by the staff of Ms. Megawati, { who is a plant lover. { { In the distance, American warships, especially diverted for Mr. Bush's { visit, patrolled the waters, and an extraordinary number of Secret Service { and other security officials patrolled the grounds of the airport hotel { where Mr. Bush held his official meetings." { { Aesthetics is, well, not quite everything! { { From a NY Times piece on the President's short stop off in Indonesia { { Stephen V { ========================================================================= Date: Wed, 22 Oct 2003 16:27:15 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "David A. Kirschenbaum" Subject: Elliott Smith, 1969-2003 In-Reply-To: <004801c398a3$b04307e0$9a1ba5d1@ibmw17kwbratm7> MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 8bit there's a lot i could say here, but i don't even know where to start. i stumbled upon elliott smith because i went to a mary lou lord show and he was on the bill. it was a quick sell, hearing him sing about his troubles with junk, love, really just life in general. after that i saw him play whenever i could, including a poets' expedition with maggie zurawski and ange mlinko to the since-closed Tramps on West 22nd Street here in NYC; opening for Beck and Ben Folds Five at jones beach, where he had his semi-regular backing band, Quasi's Sam Coomes and Janet Weiss, she also of Sleater-Kinney; and new year's eve 1999 at the Knitting Factory, when he yelled out at two minutes to 2000, "I need a two minute song," and I yelled out "Say Yes," my favorite song of his, and he played it before bringing his girlfriend on stage, counting off from 10, yelling happy new year, and swigging from a just-popped bottle of champagne before passing it to us to swig from. if you don't know his music, pick something up, with my choices being "either/or" or "elliott smith" if you want something sparse. If you want something harder and a bit fuller and faster, his work with the band Heatmiser, which also featured Coomes, is great. There I'd pick Mic City Sons. it's a sad day on this end, even sadder than cobain really. david ========================================================================= Date: Wed, 22 Oct 2003 16:25:55 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Dean Taciuch Subject: call for essays Mime-Version: 1.0 (Apple Message framework v552) Content-Type: text/plain; charset=WINDOWS-1252; format=flowed Content-Transfer-Encoding: quoted-printable Given the recent discussions of copyright on the list recently, I=20 though some of you might be interested in this: ://English Matters is currently seeking contributions for its upcoming=20= issue 9, Copyright and its Alternatives. This issue will build on=20 several of the concerns addressed in issue 8 (Texts and Technology). =20 The technologies of literary and artistic creation and distribution=20 have begun to mature, raising questions of fair use, access, ownership,=20= licensing, and ultimately control of intellectual property. The traditional academic concept of "Fair Use" is changing as it is=20 being redefined by interests outside of academe. Similarly, artistic=20 notions of (re)appropriation are coming under increased legal scrutiny.=20= Artists, educators, librarians, and other information technicians are=20 under increased pressure to justify their best practices. Projects such=20= as the Creative Commons, the Public Library of Science, and MIT's=20 OpenCourseWare project are attempts to find alternatives to the=20 "all-or-nothing" copyright regime currently in place. This issue will attempt to address these concerns, and we invite=20 essays, multimedia / new media works, and interviews which address=20 copyright and alternatives in the digital era. We hope to place all=20 material for this issue under a Creative Commons=20 Attribution=96Non-commercial License. Send submissions (HTML preferred) and queries to dtaciuch@gmu.edu English Matters: --Dean Taciuch ========================================================================= Date: Wed, 22 Oct 2003 22:54:45 +0200 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Pierre Joris Subject: Re: utility problem In-Reply-To: Content-Type: text/plain; charset=ISO-8859-1; format=flowed Mime-Version: 1.0 (Apple Message framework v552) Content-Transfer-Encoding: quoted-printable well, I'll be darned, George, so that talk about X.J. was just one of=20 your come-ons and then, if I remember the sequence accurately, you=20 tried to prove that a Canadian kiss was as good as a French kiss, but=20 that burly barman wouldn't have any of it and so we drove back to=20 either Peekskill or Missoula, whatever... I think I'll have another=20 Mirabelle just about now... Pierre On Tuesday, October 21, 2003, at 09:10 PM, George Bowering wrote: >> Well, Bowering says he has never been to Peekskill. But he has time = to >> hang out in Missoula watching Little League games. Go figure. If it >> weren't so bewildering it would be just plain sad. Maria and I are=20 >> going >> to have to live with that. We'll sit on our little tuffet of = memories, >> and occasionally we'll be joined by Pierre Joris. > > Now wait just one minute! That stuff that went on between me and > Pierre wads just collegial, only some mutual recognition of our > devotion to the poetry of X.J. Kennedy. Okay, we may have embraced a > few times, but he's a European, eh? > > > -- > George Bowering > Was an annoying preteener. > > 303 Fielden Ave. > Port Colborne. ON, > L3K 4T5 > > =3D=3D=3D=3D=3D=3D=3D=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 September 2nd to December 18th Pierre Joris can be reached at: =A0 The American Academy in Berlin Hans Arnhold Center Am Sandwerder 17-19 D-14109 Berlin-Wannsee, Germany Home: +49 (30) 804-83-221 Office: +49 (30) 804-83-305 German Cell: +49 1 60 99 68 74 03 Academy Phone +49-(30) 804 83-0 Fax +49-(30) 804 83-111 email: joris@albany.edu http://www.albany.edu/~joris/ =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D= =3D=3D=3D=3D=3D=3D=3D ========================================================================= Date: Wed, 22 Oct 2003 17:06:21 -0400 Reply-To: nudel-soho@mindspring.com Sender: UB Poetics discussion group From: Harry Nudel Subject: Civilized World... Mime-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit US..of A Israel Micronesia Marshall Islands ========================================================================= Date: Wed, 22 Oct 2003 17:13:20 -0400 Reply-To: olsonjk@delhi.edu Sender: UB Poetics discussion group From: Kirby Olson Organization: SUNY Delhi Subject: Re: Fwd: RealPoetik - Philippe Soupault MIME-Version: 1.0 Content-Transfer-Encoding: 7bit Content-Type: text/plain; charset=us-ascii Kirby Olson wrote: > > > > >Philippe Soupault > >Translated by Kirby Olson > > > > > >Philippe Soupault was one of the original Dadaists and Surrealists. He > >wrote > >over eighty books and lived well into his nineties. > > > > > >LOST MOMENTS > > > > > >The sun will die in five billion years > >I was born too soon perhaps > >to die with the sun my only ambition > >The flowers in front of me are already fading > >and I shivered while smiling > >the same shiver as the flag whose colors > >have been beaten by the wind > >Around me ants in five directions > >throw themselves toward a death I have already refused > >It's the great emptiness before me > >when I turn toward my mirror > >where I see engraved my wrinkles and hopes > >Every morning, every evening > >and on the face of my watch > >like every evening, every morning > >every second forgotten and lost > >every swallow of alcohol > >every puff of smoke > >every cloudy night not yet finished > >never or tomorrow again > >a billion days and years > >the rising and setting of the sun > >the morning and evening > >the same morning and the same evening > > > >_________________________________________________________________ > >Enjoy MSN 8 patented spam control and more with MSN 8 Dial-up Internet > >Service. Try it FREE for one month! > >http://join.msn.com/?page=dept/dialup > > > > _________________________________________________________________ > The new MSN 8: smart spam protection and 2 months FREE* > http://join.msn.com/?page=features/junkmail ========================================================================= Date: Wed, 22 Oct 2003 21:23:22 +0000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: paula speck Subject: Re: copyright law Comments: To: olsonjk@delhi.edu Mime-Version: 1.0 Content-Type: text/plain; format=flowed Kirby-- I completely agree that it would be interesting to hear from people working at university presses on what their policies are. With the caveat that, as long as the presses can make authors of critical work seek out permission themselves and pay any fees demanded (offloading both the hassle and the expense), they have nothing to lose by requiring permission for every line. It's by far the safest course for them. I am a lawyer, but I don't work in copyright or intellectual property. I work for the Justice Department (federal), where I do appellate work, mostly tax. I also worked for several years for a federal judge and in law firms doing a general practice. Copyright is federal law, and it's all codified in a complex statute (the 1976 Copyright Act), so it has that much in common with what I do everyday (also federal law and also codified), but there obviously are some differences, too. I have access to some good research resources, and the thread intrigued me; also, I am doing some translations myself and I was curious to find out what problems I might encounter when I'm ready to publish. Finally, I have a Ph.D. in Spanish and Portuguese and have published six full critical articles in academic journals without ever hearing that I had to get permission for quoting material (and my field was the 20th century novel and short story of Latin America, so the material wasn't in the public domain). Still, I left academia in the mid-1980's in search of a steady paycheck, so perhaps things have gotten more cutthroat since then. Incidentally, in the Europe "fair use" is called "fair dealing" and there's a presumption that use of 40 lines or less from a poem (providing it's also no more than 1/4 of the poem) is fair (in a work of criticism or a review). Use of a longer excerpt may also be fair use, depending on the circumstances. You can find a discussion of this at "www.societyofauthors.org/perms.htm" and at "www.blackwellpublishing.com/authors/permission.asp." So far, I haven't found anything as useful on the web for U.S. publishers. Apparently *The Chicago Manual of Style* has a chapter on permissions, but I don't own a copy. It may parrot the presses' point of view, which may be over-cautious. I agree that the poetry benefits from the widest possible discussion. It's a shame if people are intimidated by the mere possibility of lawsuits. We lawyers have a lot to apologize for! Paula >From: Kirby Olson >Reply-To: olsonjk@delhi.edu >To: POETICS@LISTSERV.BUFFALO.EDU >Subject: Re: copyright law >Date: Tue, 21 Oct 2003 14:38:41 -0400 > >Paula, this is excellent research. I still wish that Maria Damon and >others on >this list who have written criticism of poetry would chime in. It seems to >me >that at EVERY University press there is this kind of stipulation regarding >rights for EVERY line of poetry. That is, that poetry must have >permission. I >have admittedly written to only about five people regarding this, but they >are >unanimous. I wish, Paula, that you were right, and that I could rest easy >on >the matter. I think it does tend to dissuade critics from writing about >poetry, >which would tend to shrink the coverage. I do think that even mean or >intemperate criticism of a poet is better than none in terms of keeping the >work >alive. It would be like having a football game in which nobody was allowed >to >make any kind of comment whatsoever. Half the fun of anything is listening >to >the commentary. I read primary texts often only in order to enjoy the >criticism! It is for this reason that I used to love Howard Kosell's >boxing >commentary. > >I wish I could do better than the Yvor Winters. You may be right that it >is >urban myth. But I did read one of his books and it WAS odd that he didn't >use >citations from the poets he was discussing. > >I deeply appreciate your work on this matter. May I ask what your position >is? > >I think we need to hear from somebody who runs a university press that is >used >to publishing poetry criticism. What are the standard practices? Does >anybody >have access to such an individual? > >-- Kirby Olson > >paula speck wrote: > > > Kirby and the list-- > > > > The "fair use" statute that other responses to this thread have >mentioned, > > 17 U.S.C. Sec. 107, lists examples of fair use, and the first one listed >is > > "criticism." Also, the Judiciary Committee report on the bill that >became > > this section contains an agreement reached between a group of authors >and > > publishers and a group of universities, giving guidelines for "classroom > > copying" by non-profit educational institutions. The agreement says >that a > > single copy for personal use or multiple copies for classroom use may be > > made of a complete poem of less than 250 words (also not more than 2 >pages), > > or an excerpt of less than 250 words. The use must also be spontaneous > > (basically, an individual teacher's spur of the moment teaching >decision, > > with no practical time for getting permission), and it can't result in a > > de-facto anthology. The legal citation for this report is H.R. Rep. No. > > 94-1476, and it's reproduced at the websites of many university >libraries as > > part of their photocopying policy. > > > > Of course, copying for classroom use and quotation within a critical >article > > or book are different types of uses, but a good argument could be made >that > > fair use in critical pieces should be broader than in classroom use, >because > > a critical piece surrounds the borrowed material with lots of original > > material (the critical analysis), thus meeting factor (1) of the "fair >use" > > test ("the purpose and character of the use"), and use in a critical >piece > > is less likely to reduce the market value of the borrowed material >(factor > > (4)). After all, when an instructor photocopies a poem and distributes >it > > to a class, he or she reduces the chance that the students will buy a >book > > or lit. mag. containing the poem. But no one is likely to pick up a > > critical piece as a substitute for buying the same material. So if > > reproduction of a poem or excerpt from a poem is "fair use" for >classroom > > photocopying, it ought to be even clearer "fair use" in a critical >article > > or book. And it shouldn't make ANY difference whether the critical >piece is > > an article or a book; none of the cases or treatises I looked at even >hinted > > that this distinction mattered. And lawyers are VERY good at drawing > > distinctions where an ordinary sane person wouldn't see any! > > > > I also looked for an Yvor Winters case. I won't bore the list with a > > recitation of all the research strategies I used, but the name "Yvor > > Winters" is pretty distinctive, and I used a legal search engine that >pulls > > up published as well as unpublished cases. I also looked in copyright > > treatises and in law review articles, in case the dispute somehow was >known > > in the field some other way (as it might be if it was settled for a lot >of > > money, for example). I found nothing. I also found no case in which a > > critic, Yvor Winters or anyone else, was held liable for quoting poetry >in a > > critical work. Of course, our wonderful legal system allows people to >sue > > for anything and put the defendant to the expense of defending himself >or > > herself, but with such a complete absence of legal authority, and with >the > > express language in the statute, I would hope that the press planning to > > publish the critical piece would show some backbone and resist paying >for > > permission. There is such a thing as an award of attorney's fees >against > > someone who brings a frivolous lawsuit. > > > > If you want a case, there's a long discussion of fair use, and a ringing > > endorsement of the right to use excerpts, in *New Era Publications > > International v. Carol Publishing Group,* 904 F.2d 152 (2d Cir. 1990). >It's > > a victory for the author of an expose of the Church of Scientology who >used > > liberal quotations from works by L. Ron Hubbard. The opinion talks >about > > the theory of fair use, mentions that literary criticism is one of the >core > > examples of fair use, and sounds the trumpet for freedom of quotation. > > > > Could it be that the Yvor Winters case is some kind of literary urban >myth? > > I hate to think of people on this list holding back from writing about > > poetry because they think they'd have to pay high permission costs or >legal > > fees. Everyone is better off if there's more material published, not >less. > > Isn't that so? Sorry for the long post; just hoping to be helpful. > > > > Paula Speck > > > > >From: Kirby Olson > > >Reply-To: olsonjk@delhi.edu > > >To: POETICS@LISTSERV.BUFFALO.EDU > > >Subject: Re: copyright law > > >Date: Thu, 16 Oct 2003 14:26:11 -0400 > > > > > >Aaron, This is a useful start on the copyright question, but even in >the > > >link that > > >you provide it states clearly: > > > > > >"The distinction between 'fair use' and infringement may be unclear and >not > > >easily > > >defined. There is no specific numbre of words, lines, or notes that >may be > > >safely > > >taken without permission. Acknowledging the source of the copyrighted > > >material > > >does NOT substitute for obtaining permission." > > > > > >So, what happens if a graduate student works for five years on a poet >and > > >the poet > > >then decides he or she doesn't like what has been written and decided >to > > >deny > > >permission? The graduate student is completely fucked. > > > > > >Your link then goes on to say, > > > > > >"The safest course is always to get permission from the copyright >holder > > >before > > >using copyrighted material." > > > > > >Because of the notorious Yvor Winters case, the murkiness of fair use > > >within poetry > > >is incredibly uncertain -- "uncertain and not easily defined" -- as >your > > >link puts > > >it. > > > > > >Poets can and have charged exorbitant fees, or denied permission > > >altogether, to > > >reprint any or all of their work. > > > > > >I would really love it if someone was to prove that all this was some >kind > > >of > > >mirage that I myself have invented. Meanwhile, I offer this caveat to > > >young > > >critics -- get permission, or you may end up with an unpublishable >book, > > >and there > > >goes your chance at tenure. There are so few jobs in contemporary >poetry > > >for > > >critics (I think there were three or four posted this year -- out of >the > > >over one > > >thousand jobs posted at MLA this year) that to land such a position and > > >then mess > > >up getting tenure by having forgotten to get copyright permission so >that > > >you are > > >back in the temporary secretarial pool -- well, don't say I didn't warn > > >you. > > > > > >Poets have not much else, but they do have tremendous control over >their > > >oeuvre. > > > > > >-- Kirby Olson > > > > _________________________________________________________________ > > Concerned that messages may bounce because your Hotmail account has >exceeded > > its 2MB storage limit? Get Hotmail Extra Storage! > > http://join.msn.com/?PAGE=features/es _________________________________________________________________ Surf and talk on the phone at the same time with broadband Internet access. Get high-speed for as low as $29.95/month (depending on the local service providers in your area). https://broadband.msn.com ========================================================================= Date: Wed, 22 Oct 2003 17:42:28 -0400 Reply-To: olsonjk@delhi.edu Sender: UB Poetics discussion group From: Kirby Olson Organization: SUNY Delhi Subject: Re: copyright law MIME-Version: 1.0 Content-Transfer-Encoding: 7bit Content-Type: text/plain; charset=us-ascii Paula, I too was terribly surprised to find out that I need permissions when I went to publish my first book. It was a shock. I had published three or four full articles in journals -- and nobody said a peep. Then, suddenly, I had to get permissions. One poet said no, and was really mean about it! I couldn't understand why since I felt the article was fair and balanced and would rekindle an interest in this largely forgotten poet's work. However, no meant no to my publisher. I checked around with five or six critics, and all of them told me, too, that no means no. Personally, I think it is appalling. Can you find any cases in which poets have taken a critic to court on fair use issues within the US? It's great that you're a lawyer and are on this case. I feel that we may get to the bottom of this. I assume that most copyright lawyers work in NYC where most publishing takes place. But very few NYC publishers will publish poetry much less criticism. So we're dealing with University presses, all of whom appear to have this idea of permissions (I'm generalizing from the three that I have dealt with). I think if we could find a sound precedent of any kind we could repeal this problem. But right now yes presses make you get permission, and pay for it (this has always come out of my department's budget) but one poet said simply no, not at any price. So that killed an entire chapter that was going to press and nearly killed the book. Probably no University press even wants to risk setting foot in a court. Could a critic indemnify themselves, if that's the word, and agree to take on all the legal issues resulting from a book's publication as part of their contract and free a press from having to deal with it? I think even there the book might have an injunction against it so that even if the author was liable the press would also be hurt financially. I thank you so much for anything you can do to help to clarify this matter. -- Kirby Olson paula speck wrote: > Kirby-- > > I completely agree that it would be interesting to hear from people working > at university presses on what their policies are. With the caveat that, as > long as the presses can make authors of critical work seek out permission > themselves and pay any fees demanded (offloading both the hassle and the > expense), they have nothing to lose by requiring permission for every line. > It's by far the safest course for them. > > I am a lawyer, but I don't work in copyright or intellectual property. I > work for the Justice Department (federal), where I do appellate work, mostly > tax. I also worked for several years for a federal judge and in law firms > doing a general practice. Copyright is federal law, and it's all codified > in a complex statute (the 1976 Copyright Act), so it has that much in > common with what I do everyday (also federal law and also codified), but > there obviously are some differences, too. I have access to some good > research resources, and the thread intrigued me; also, I am doing some > translations myself and I was curious to find out what problems I might > encounter when I'm ready to publish. Finally, I have a Ph.D. in Spanish and > Portuguese and have published six full critical articles in academic > journals without ever hearing that I had to get permission for quoting > material (and my field was the 20th century novel and short story of Latin > America, so the material wasn't in the public domain). Still, I left > academia in the mid-1980's in search of a steady paycheck, so perhaps things > have gotten more cutthroat since then. > > Incidentally, in the Europe "fair use" is called "fair dealing" and there's > a presumption that use of 40 lines or less from a poem (providing it's also > no more than 1/4 of the poem) is fair (in a work of criticism or a review). > Use of a longer excerpt may also be fair use, depending on the > circumstances. You can find a discussion of this at > "www.societyofauthors.org/perms.htm" and at > "www.blackwellpublishing.com/authors/permission.asp." So far, I haven't > found anything as useful on the web for U.S. publishers. Apparently *The > Chicago Manual of Style* has a chapter on permissions, but I don't own a > copy. It may parrot the presses' point of view, which may be over-cautious. > > I agree that the poetry benefits from the widest possible discussion. It's > a shame if people are intimidated by the mere possibility of lawsuits. We > lawyers have a lot to apologize for! > > Paula > > >From: Kirby Olson > >Reply-To: olsonjk@delhi.edu > >To: POETICS@LISTSERV.BUFFALO.EDU > >Subject: Re: copyright law > >Date: Tue, 21 Oct 2003 14:38:41 -0400 > > > >Paula, this is excellent research. I still wish that Maria Damon and > >others on > >this list who have written criticism of poetry would chime in. It seems to > >me > >that at EVERY University press there is this kind of stipulation regarding > >rights for EVERY line of poetry. That is, that poetry must have > >permission. I > >have admittedly written to only about five people regarding this, but they > >are > >unanimous. I wish, Paula, that you were right, and that I could rest easy > >on > >the matter. I think it does tend to dissuade critics from writing about > >poetry, > >which would tend to shrink the coverage. I do think that even mean or > >intemperate criticism of a poet is better than none in terms of keeping the > >work > >alive. It would be like having a football game in which nobody was allowed > >to > >make any kind of comment whatsoever. Half the fun of anything is listening > >to > >the commentary. I read primary texts often only in order to enjoy the > >criticism! It is for this reason that I used to love Howard Kosell's > >boxing > >commentary. > > > >I wish I could do better than the Yvor Winters. You may be right that it > >is > >urban myth. But I did read one of his books and it WAS odd that he didn't > >use > >citations from the poets he was discussing. > > > >I deeply appreciate your work on this matter. May I ask what your position > >is? > > > >I think we need to hear from somebody who runs a university press that is > >used > >to publishing poetry criticism. What are the standard practices? Does > >anybody > >have access to such an individual? > > > >-- Kirby Olson > > > >paula speck wrote: > > > > > Kirby and the list-- > > > > > > The "fair use" statute that other responses to this thread have > >mentioned, > > > 17 U.S.C. Sec. 107, lists examples of fair use, and the first one listed > >is > > > "criticism." Also, the Judiciary Committee report on the bill that > >became > > > this section contains an agreement reached between a group of authors > >and > > > publishers and a group of universities, giving guidelines for "classroom > > > copying" by non-profit educational institutions. The agreement says > >that a > > > single copy for personal use or multiple copies for classroom use may be > > > made of a complete poem of less than 250 words (also not more than 2 > >pages), > > > or an excerpt of less than 250 words. The use must also be spontaneous > > > (basically, an individual teacher's spur of the moment teaching > >decision, > > > with no practical time for getting permission), and it can't result in a > > > de-facto anthology. The legal citation for this report is H.R. Rep. No. > > > 94-1476, and it's reproduced at the websites of many university > >libraries as > > > part of their photocopying policy. > > > > > > Of course, copying for classroom use and quotation within a critical > >article > > > or book are different types of uses, but a good argument could be made > >that > > > fair use in critical pieces should be broader than in classroom use, > >because > > > a critical piece surrounds the borrowed material with lots of original > > > material (the critical analysis), thus meeting factor (1) of the "fair > >use" > > > test ("the purpose and character of the use"), and use in a critical > >piece > > > is less likely to reduce the market value of the borrowed material > >(factor > > > (4)). After all, when an instructor photocopies a poem and distributes > >it > > > to a class, he or she reduces the chance that the students will buy a > >book > > > or lit. mag. containing the poem. But no one is likely to pick up a > > > critical piece as a substitute for buying the same material. So if > > > reproduction of a poem or excerpt from a poem is "fair use" for > >classroom > > > photocopying, it ought to be even clearer "fair use" in a critical > >article > > > or book. And it shouldn't make ANY difference whether the critical > >piece is > > > an article or a book; none of the cases or treatises I looked at even > >hinted > > > that this distinction mattered. And lawyers are VERY good at drawing > > > distinctions where an ordinary sane person wouldn't see any! > > > > > > I also looked for an Yvor Winters case. I won't bore the list with a > > > recitation of all the research strategies I used, but the name "Yvor > > > Winters" is pretty distinctive, and I used a legal search engine that > >pulls > > > up published as well as unpublished cases. I also looked in copyright > > > treatises and in law review articles, in case the dispute somehow was > >known > > > in the field some other way (as it might be if it was settled for a lot > >of > > > money, for example). I found nothing. I also found no case in which a > > > critic, Yvor Winters or anyone else, was held liable for quoting poetry > >in a > > > critical work. Of course, our wonderful legal system allows people to > >sue > > > for anything and put the defendant to the expense of defending himself > >or > > > herself, but with such a complete absence of legal authority, and with > >the > > > express language in the statute, I would hope that the press planning to > > > publish the critical piece would show some backbone and resist paying > >for > > > permission. There is such a thing as an award of attorney's fees > >against > > > someone who brings a frivolous lawsuit. > > > > > > If you want a case, there's a long discussion of fair use, and a ringing > > > endorsement of the right to use excerpts, in *New Era Publications > > > International v. Carol Publishing Group,* 904 F.2d 152 (2d Cir. 1990). > >It's > > > a victory for the author of an expose of the Church of Scientology who > >used > > > liberal quotations from works by L. Ron Hubbard. The opinion talks > >about > > > the theory of fair use, mentions that literary criticism is one of the > >core > > > examples of fair use, and sounds the trumpet for freedom of quotation. > > > > > > Could it be that the Yvor Winters case is some kind of literary urban > >myth? > > > I hate to think of people on this list holding back from writing about > > > poetry because they think they'd have to pay high permission costs or > >legal > > > fees. Everyone is better off if there's more material published, not > >less. > > > Isn't that so? Sorry for the long post; just hoping to be helpful. > > > > > > Paula Speck > > > > > > >From: Kirby Olson > > > >Reply-To: olsonjk@delhi.edu > > > >To: POETICS@LISTSERV.BUFFALO.EDU > > > >Subject: Re: copyright law > > > >Date: Thu, 16 Oct 2003 14:26:11 -0400 > > > > > > > >Aaron, This is a useful start on the copyright question, but even in > >the > > > >link that > > > >you provide it states clearly: > > > > > > > >"The distinction between 'fair use' and infringement may be unclear and > >not > > > >easily > > > >defined. There is no specific numbre of words, lines, or notes that > >may be > > > >safely > > > >taken without permission. Acknowledging the source of the copyrighted > > > >material > > > >does NOT substitute for obtaining permission." > > > > > > > >So, what happens if a graduate student works for five years on a poet > >and > > > >the poet > > > >then decides he or she doesn't like what has been written and decided > >to > > > >deny > > > >permission? The graduate student is completely fucked. > > > > > > > >Your link then goes on to say, > > > > > > > >"The safest course is always to get permission from the copyright > >holder > > > >before > > > >using copyrighted material." > > > > > > > >Because of the notorious Yvor Winters case, the murkiness of fair use > > > >within poetry > > > >is incredibly uncertain -- "uncertain and not easily defined" -- as > >your > > > >link puts > > > >it. > > > > > > > >Poets can and have charged exorbitant fees, or denied permission > > > >altogether, to > > > >reprint any or all of their work. > > > > > > > >I would really love it if someone was to prove that all this was some > >kind > > > >of > > > >mirage that I myself have invented. Meanwhile, I offer this caveat to > > > >young > > > >critics -- get permission, or you may end up with an unpublishable > >book, > > > >and there > > > >goes your chance at tenure. There are so few jobs in contemporary > >poetry > > > >for > > > >critics (I think there were three or four posted this year -- out of > >the > > > >over one > > > >thousand jobs posted at MLA this year) that to land such a position and > > > >then mess > > > >up getting tenure by having forgotten to get copyright permission so > >that > > > >you are > > > >back in the temporary secretarial pool -- well, don't say I didn't warn > > > >you. > > > > > > > >Poets have not much else, but they do have tremendous control over > >their > > > >oeuvre. > > > > > > > >-- Kirby Olson > > > > > > _________________________________________________________________ > > > Concerned that messages may bounce because your Hotmail account has > >exceeded > > > its 2MB storage limit? Get Hotmail Extra Storage! > > > http://join.msn.com/?PAGE=features/es > > _________________________________________________________________ > Surf and talk on the phone at the same time with broadband Internet access. > Get high-speed for as low as $29.95/month (depending on the local service > providers in your area). https://broadband.msn.com ========================================================================= Date: Wed, 22 Oct 2003 18:12:50 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Floodeditions@AOL.COM Subject: Forthcoming: Lisa Jarnot's BLACK DOG SONGS MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Forthcoming in November from Flood Editions BLACK DOG SONGS by Lisa Jarnot ISBN 0-9710059-9-0 Price: $13.00 Black Dog Songs is Lisa Jarnot's third volume of poetry. Decidedly lyrical, these poems move through pastures and politics to the quick of thought. What emerges is a catalog of loves and laments: "Just the eldergrass and him, the fog, unpoliced and safe inside the train, the thoughts of rain, Apollo, and the sun . . ." "Gertrude Blake pirouettes in a fun house of auditory mirrors: one reflects WILL BE become wOZ; another a lamb post-suffrage; in a third The Blues remember hills. Through a mirage of defensible oases in Mother Goose light words swap parts and dance as Churchill's cloud wanders down attracted by the music." - Tom Raworth "I find there's always the act of source implicit in her language. However adrift in linguistic aesthetics, in sheer music-of-rhythmed-sounds, her words are never severed from the means that engendered them; and the consequent meanings are never detached from the meditative drama of each whole poem." - Stan Brakhage ORDER NOW AND SAVE Send a check for $10.00 made out to Flood Editions, and we will mail you a copy of the book as soon as it's available (November). Our Address: Flood Editions PO Box 3865 Chicago IL 60654-0865 Celebrate the publication of BLACK DOG SONGS at Teachers & Writers in NYC on December 4th at 7pm: http://www.twc.org/events.htm www.floodeditions.com ========================================================================= Date: Wed, 22 Oct 2003 18:32:12 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Geoffrey Gatza Subject: Kent Johnson interview Comments: To: Poetryetc provides a venue for a dialogue relating to poetry and poetics MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 8bit This interview in the current issue of VeRT is particularly good and rings out to me in very particular ways. Originally from "Coyote" a Brazilian journal that has many fine points, some concerning recent issues presented here. http://www.litvert.com/issue9.html Here's an excerpt Q: How do you see the world and the United States after September 11th and the war on Iraq? What can poetry do in a world that is increasingly becoming violent, complex and unpredictable? Is poetry still necessary, or even a necessary discourse? KJ: I have my outward positions, of course, and like most people, I like to sound like I know what I'm talking about. But like most people, too, I'm very uncertain about what the world is or where it may be headed. And it seems to me that poetry must resist the temptation to assume a defining "mission" or "role" in these times when we are all hungering for firmer bearings. Perhaps what we need to do, as poets, is plug our deepest recesses into that great and encompassing uncertainty, fear, paradox, and, yes, dark comedy of the current conjuncture and just see what happens. Allow our selves to be shocked and lit up by the horror. To be transformers, as it were. Needless to say, there are as many cords and plugs as there are snakes in Medusa's head; and there are as many open outlets as there are orifices in Hades. So while we must be bold, we need also, I suppose, to be careful and have the polished shield handy! So I guess I'm saying I'm not sure that poetry can or should aspire to "do" anything, really. To the extent that poetry does do work beyond its general aesthetic circumference, it seems to do so most meaningfully when it remains steadfastly what it most "politically" is: an autonomous zone of spirit and conscience, a zone that should be understood by those who enter it as multifarious and many-guised, beholden to no ideology of politics or art. Oppen and Zukofsky were onto something not yet sufficiently explored when they talked about sincerity as the ground of the art. Too easy to dismiss the concept as a sentimental cliché; harder to view and follow one of its countless paths waiting there. Auden writes in his elegy for Yeats, For poetry makes nothing happen: it survives In the valley of its making where executives Would never want to tamper, flows on south From ranches of isolation and the busy griefs, Raw towns that we believe and die in; it survives, A way of happening, a mouth. Perhaps in moments of crisis like we are now in, powerful poetry may reveal the connections of the "political" to that mysterious "mouth" Auden evokes. Maybe one could say that the poet's "political" task is to show how the "Real" is never separate from that dark space. But, well, I guess you can see that I am struggling with this answer! ========================================================================= Date: Wed, 22 Oct 2003 17:52:53 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Harrison Jeff Subject: Haiku Mime-Version: 1.0 Content-Type: text/plain; format=flowed more the merrier legend of Sleepy Hollow angry, I should think chief of detectives a compact with the Devil it was his mistake R. H. Raven Toes was brought in for questioning he's really A GIRL a dancer, in fact yes, I'll get even with you rubbed me the wrong way she emptied her breath abjectly begging Wormswork - wonder what she'd done they're common as children but what about Baudelaire? guess he was young once finest house in town he's a master criminal princes sleep peaceful you said birds can't fly & whales drive Cadillac cars - oh, you were lying? bricked up areas dragged out more ammunition non compos mentis haiku, eh? all right a tremendous advantage forgot they were there no doubt a few strays were crisscrossed with pencil marks - they look heartbroken you can't prove it, Spring? I must've lost them somewhere utter the question take the newspaper come upon a photograph twelfth century we're of no value make a mental note of it caught sight of them once some kind of file card catch us up on the story thanks for all your help utmost test of skill around the bundled figure mysterious crimes a lot of hooey! brought in by a patrolman - a few paragraphs undignified smile Nietzschean aphorisms nerve paths and brain cells broken front bumper these fragments shored up against R.H. Raven Toes a quick change of clothes alibi nearly saved them properly arranged enough larceny, toothless Egyptian eunuch! draped with U.S. flags _________________________________________________________________ Never get a busy signal because you are always connected with high-speed Internet access. Click here to comparison-shop providers. https://broadband.msn.com ========================================================================= Date: Wed, 22 Oct 2003 16:31:45 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Ron Starr Subject: Threnodial MIME-Version: 1.0 Content-type: text/plain; charset=US-ASCII Content-transfer-encoding: 7BIT Rain. The old saints -- her dolor shed -- in Latin told her "Adore this and learn. This lodestar hold in hand 'til roses thin, a redolent shard, oils, rot inhaled." -------------------------------------------------------------------------------- <> -- Raymond Queneau ========================================================================= Date: Wed, 22 Oct 2003 19:54:46 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Barrett Watten Subject: Job postings / Wayne State Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed ************************************************** Assistant Professor in African-American Literary and Cultural Studies The Department of English at Wayne State University invites applications for a tenure-track position in African-American Studies. We will consider candidates from across the range of African American literary, cultural, and media studies. We are particularly interested in candidates whose work is both historically focused and theoretically grounded. Please send a letter of application and c.v., postmarked no later than November 3, to Richard Grusin, Chair, Department of English, Wayne State University, Detroit, MI 48202. Wayne State University is a premier institution of higher education offering more than 350 academic programs through 14 schools and colleges to more than 31,000 students in metropolitan Detroit. Wayne State University is an equal opportunity/affirmative action employer. Minority candidates are especially encouraged to apply. **************************************************** Assistant Professor in Race and Ethnic Studies/Anglophone Postcolonial Literary and Cultural Studies The Department of English at Wayne State University invites applications for a tenure-track position in Race and Ethnic Studies or Anglophone Postcolonial Literary and Cultural Studies. Our primary interests are in candidates with expertise in some area of ethnic-American literary and cultural studies (e.g., African-American, Asian-American, Latino/Latina-American, Native American) or in Anglophone Postcolonial literary and cultural studies. We will consider candidates from across the range of literary, cultural, and media studies. We are particularly interested in candidates whose work is both historically focused and theoretically grounded. Please send a letter of application and c.v., postmarked no later than November 3, to Richard Grusin, Chair, Department of English, Wayne State University, Detroit, MI 48202. Wayne State University is a premier institution of higher education offering more than 350 academic programs through 14 schools and colleges to more than 31,000 students in metropolitan Detroit. Wayne State University is an equal opportunity/affirmative action employer. Minority candidates are especially encouraged to apply. ========================================================================= Date: Wed, 22 Oct 2003 22:12:48 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Steven Shoemaker Subject: Re: Kent Johnson interview In-Reply-To: <00ad01c398ec$56d37bb0$5c5c3318@white2pimprza3> MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=iso-8859-1 Content-Transfer-Encoding: QUOTED-PRINTABLE I like the admonition against reducing poetry to a political "position," but on the other hand, I'm less sure about the suggestion that we should "allow our selves to be shocked and lit up by the horror." As that reads to me, it seems we might run the danger of falling for a kind of facile poetic sensation or excitement (though who *doesn't* like a little sensation and excitement in a poem?). And since Kent quoted Oppen I will too: "They await / War, and the news / Is war / As always / That the juices= may flow in them / Tho the juices lie." Yes, even though they can feel so powerful, so true, so damn poetic, the juices lie. That's the problem with the adrenaline rush (I might call it the Baraka problem, but that's another argument) and perhaps also the trouble with getting all goose-bumpy and "lit up by the horror." Steve On Wed, 22 Oct 2003, Geoffrey Gatza wrote: > This interview in the current issue of VeRT is particularly good and ring= s > out to me in very particular ways. Originally from "Coyote" a Brazilian > journal that has many fine points, some concerning recent issues presente= d > here. > > http://www.litvert.com/issue9.html > > Here's an excerpt > Q: How do you see the world and the United States after September 11th an= d > the war on Iraq? What can poetry do in a world that is increasingly becom= ing > violent, complex and unpredictable? Is poetry still necessary, or even a > necessary discourse? > > KJ: I have my outward positions, of course, and like most people, I like = to > sound like I know what I'm talking about. But like most people, too, I'm > very uncertain about what the world is or where it may be headed. And it > seems to me that poetry must resist the temptation to assume a defining > "mission" or "role" in these times when we are all hungering for firmer > bearings. Perhaps what we need to do, as poets, is plug our deepest reces= ses > into that great and encompassing uncertainty, fear, paradox, and, yes, da= rk > comedy of the current conjuncture and just see what happens. Allow our > selves to be shocked and lit up by the horror. To be transformers, as it > were. Needless to say, there are as many cords and plugs as there are sna= kes > in Medusa's head; and there are as many open outlets as there are orifice= s > in Hades. So while we must be bold, we need also, I suppose, to be carefu= l > and have the polished shield handy! > > So I guess I'm saying I'm not sure that poetry can or should aspire to "d= o" > anything, really. To the extent that poetry does do work beyond its gener= al > aesthetic circumference, it seems to do so most meaningfully when it rema= ins > steadfastly what it most "politically" is: an autonomous zone of spirit a= nd > conscience, a zone that should be understood by those who enter it as > multifarious and many-guised, beholden to no ideology of politics or art. > Oppen and Zukofsky were onto something not yet sufficiently explored when > they talked about sincerity as the ground of the art. Too easy to dismiss > the concept as a sentimental clich=E9; harder to view and follow one of i= ts > countless paths waiting there. > > Auden writes in his elegy for Yeats, > > For poetry makes nothing happen: it survives > In the valley of its making where executives > Would never want to tamper, flows on south > >From ranches of isolation and the busy griefs, > Raw towns that we believe and die in; it survives, > A way of happening, a mouth. > > Perhaps in moments of crisis like we are now in, powerful poetry may reve= al > the connections of the "political" to that mysterious "mouth" Auden evoke= s. > Maybe one could say that the poet's "political" task is to show how the > "Real" is never separate from that dark space. But, well, I guess you can > see that I am struggling with this answer! > ========================================================================= Date: Wed, 22 Oct 2003 20:37:56 -0700 Reply-To: pdunagan@lycos.com Sender: UB Poetics discussion group From: patrick dunagan Organization: Lycos Mail (http://www.mail.lycos.com:80) Subject: Re: keats negative capability chastity eros Mime-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit For a source-- Micah Ballard's recent study on the Wieners/Keats connection via Negative Capability: NEGATIVE CAPABILITY IN THE VERSE OF JOHN WIENERS (Auguste Press, 2001) ... the section titled "The Temple of Maiden Thought" or possibly the next titled "The Night Palace", would certainly offer forth passages to "jump start" ideas. A great read and ideal launching point. It should be available direct: Auguste Press 659 fillmore #4 SF, CA 94110. Patrick Dunagan -- --------- Original Message --------- DATE: Fri, 10 Oct 2003 09:25:09 From: Maria Damon To: POETICS@LISTSERV.BUFFALO.EDU Cc: >no sources, but a thought: it seems to me that the porousness, the >tabula rasa openness of "negative capability" is less like chastity >and more like potential promiscuity. i at least think of the cult of >virginity being rigid, part of a system of virtue/evil, that vitiates >whatever po(e)tential could be attributed to the "negative space" of >the virgin birth canal protected by the hymen. some concept of >fluidity, of permeability, seems more akin to "negative capability" >to me. but i don't know what the romantics thought, except that >shelley believed in open marriage. > >At 5:41 PM -0400 10/9/03, Michael Rothenberg wrote: >>anybody have any thoughts or sources on the connection between >>"negative capability" and the Romantic (ie., Keats) notion of eros, >>virginity, and chastity? >> >> >>Michael Rothenberg >>walterblue@bigbridge.org >>Big Bridge >>www.bigbridge.org > > >-- > ____________________________________________________________ Enter for a chance to win one year's supply of allergy relief! http://ad.doubleclick.net/clk;6413623;3807821;f?http://mocda3.com/1/c/563632/125699/307982/307982 This offer applies to U.S. Residents Only ========================================================================= Date: Wed, 22 Oct 2003 22:48:24 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jeffrey Jullich Subject: a Comment Box reply to Kasey Mohammad's 10/21 5:11 p.m. Line Tree blog entry (and to Jonathan Mayhew, etc.) MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii http://jeffreyjullich.tripod.com/BOTTICELLITREES.htm __________________________________ Do you Yahoo!? The New Yahoo! Shopping - with improved product search http://shopping.yahoo.com ========================================================================= Date: Thu, 23 Oct 2003 02:07:58 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: Too Many Active Connections MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Too Many Active Connections Proto Local Address Foreign Address State TCP Jennifer Jay-jay:3169 panix2.panix.com:ftp CLOSE_WAIT TCP Jennifer Jay-jay:3172 panix2.panix.com:ftp CLOSE_WAIT TCP Jennifer Jay-jay:3173 panix2.panix.com:55143 CLOSE_WAIT TCP Jennifer Jay-jay:3749 panix2.panix.com:telnet ESTABLISHED TCP Jennifer Jay-jay:3264 panix2.panix.com:ftp CLOSE_WAIT TCP Jennifer Jay-jay:3268 panix2.panix.com:ftp CLOSE_WAIT TCP Jennifer Jay-jay:3271 panix2.panix.com:ftp CLOSE_WAIT TCP Jennifer Jay-jay:3272 panix2.panix.com:54887 CLOSE_WAIT here on the road and everything collapses. Telnet will be the last to go. No one understands the codework I write for that matter. I'm calling you... I'm calling you... That's all you need to know - ========================================================================= Date: Wed, 22 Oct 2003 23:12:37 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Stephen Vincent Subject: Diane Arbus Show Opens in SF Comments: cc: Gloria Frym , krbygrip@yahoo.com In-Reply-To: <00ad01c398ec$56d37bb0$5c5c3318@white2pimprza3> Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit I just had the delight - dare say felt like a privilege - to see the opening of Revelations, the Diane Arbus retrospective at the SF MOMA. Wow! Forget any cheap Sontag "freak" cheap-shot dismissal of the work - that one which has unfortunately framed a stereotypical response to its body and significance for the past 30 years. This show - I assure - will undo every pre-text and take "one" to another, well not another, but right back to "this" plain/plane, one (from the most public to the most private) which is quite full enough, looking, so deeply and clearly and presenting it, quite straight ahead, as she, Arbus, does. Here until February, eventually the show goes to LA and the NY Met - transcending the mid-continent (too bad). Arbus is also a very good writer - as I suspect the new book will attest. "Nudists aren't purists. Occasionally they feel the impulses to step into something more comfortable." Blown away, clearly, Stephen V ========================================================================= Date: Thu, 23 Oct 2003 00:11:26 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Andrew Felsinger Subject: Bad Essay, issue #9 VeRT magazine Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit More hoodlum writing -- See the recently posted Bad Essay: by Andrew Felsinger, Jono Schneider, Claire Barbetti, Aaron Belz, and K. Silem Mohammad Available now in issue #9 of VeRT magazine... http://www.litvert.com/issue9.html ========================================================================= Date: Thu, 23 Oct 2003 00:21:00 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: August Highland Subject: SUPERSINGULAR SPACE/NON-FALTERING DATA MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit SUPERSINGULAR SPACE/NON-FALTERING DATA ENTRY #0000001: Home, and want to, ] KNOWS ENGLISH CONTROLLERS AND. /\/\ /\/\ /\/\ /\/\ silicon negligee tommorrow! ! ! I. P n \Gamma 2)( HOME JUST IN CASE.. Accessed by simply me! It was an EMPOROR OF PDX. ], N N N G , with. ENTRY #0000002: D i n g y -, SEE WHAT I AM DOING DOUGLAS. Nonzero. it remains to show that u is a RAISE AN ARMY, BUT MASTER OF THE BWMS. Help! k + b. Supersingular. suppose that the cartier i HUFF .. HUFF ... P\gamma 1 (2)=4, so if 2 = ab is reducible, then. 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ENTRY #0000007: That any more of the fermat numbers are ! $, A YEAR!. C(dfi, between a sane of E at the element 0. =x obtain a matrix representation M of C. .... THANK YOU ..... + 3. this cannot be divisible by any of possibly count to). Love/hate, * ***************. ENTRY #0000008: Here, the p-linearity means that the, your there is no integer. \lambda THIS IS WHAT this 2. E of you and your. H (There, do you. I+1 HA! HA! HA! HA! p jx or p jy. Since x; y both divide p. ENTRY #0000009: Do it! the devil, for each i, which certainly implies =(b. Accessed by simply (that's you! ). !. Admiral of Tower Chief Sir, OR n overcounts the integers less than or. N (a)=n (b) = 2. this implies that 2 \Gamma 1 with p prime are called. Order the ice E and there you have. ENTRY #0000010: Silicon negligee, LONG....AFTER ALL , and there you have. Debbie dingbat, TO: GLENN 0. ==== ==== ==== ==== least beg that you . -- :: 1. \gamma 2 Everybody join the. ENTRY #0000011: Inequality are zero when n=1! ss(n) = be infinite.) \Gamma 5 has norm 1, then that element. :::::::: supports. Indeed, if there where a zero invincible. John LET'S HAVE AN ART. Y that 3ff p. An odd divisor of n, it follows that 2 WE'LL INSTALL THE. ENTRY #0000012: Not there are any more; after all, these disk so busy . Surgeon general has E. Ha! ha! ha! ha! 4. Recall that the polynomial x (e) From (d), by the same proofs as. Ding and the ! 0. \gamma 5)(a \gamma b EQUIPMENT are the primes which are of the form 4k. ENTRY #0000013: M EQUIPMENT AT YOUR Tower Chief. P, I I I N N GOT A REAL PROBLEM.. Ho! he! ho! he! h see system fighting. r. C, rational funtions on E will be denoted =X \Gamma t \Gamma 1 and a. Outside 0 THE CHANNEL ON E. august highland muse apprentice guild --"expanding the canon into the 21st century" www.muse-apprentice-guild.com culture animal --"following in the footsteps of tradition" www.cultureanimal.com ========================================================================= Date: Thu, 23 Oct 2003 00:34:32 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: August Highland Subject: SHRLB MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit SPLIT HEAD REDEFINABLE LOVER-BOY FOOTNOTE #0000001: = Our leashs can be. S s Where are relevance to. ) Remember drinking then worked for. (user name: justin, \Gamma b)=nmrjj = I guess I just have. Jjxtjj=jj know what happened he is injured (your. FOOTNOTE #0000002: The fewest amount of central division. Department. the Figure 1. College-aged, Silvia Beach Hotel "Yes, the. Common touch, which, the local =. Incompatence. (to right across the 1=n from the nearest. FOOTNOTE #0000003: +=o#'[}-+\, if they have to were being laid off.. Where (a j 1 (mod r). sioner friendswho. Really have much the tangent lines to. Lover-boy bob., From the right contained in the. 4 examples we say a r. FOOTNOTE #0000004: Groups are doing from the Oregonian,. @\gamma -------------- singular. =2, (a space, Z=n (ff)=\Gamma 1.. That ab j 1 (mod r)., that unless you're The map a measures. As is the ability to the square root of. FOOTNOTE #0000005: Policies. 1. That the small daily, %#%#%# 2. Get to work., change over time. I of police officers. 2 those (n \Gamma 1)- street has the same. It garbage. but, jjbtjj ^ m. FOOTNOTE #0000006: Oxoxoooxoxoxoxoxoxox, make that PANTIES. they still publish. The infinite family, ____]__[___/ likely,. Similarly, l, claim is satisfied of a man they. :a vector satisfying everyone in the news. = =. FOOTNOTE #0000007: Obvious. Offices below.. Triple (r; m; s) is, +_+_+_+_+_+_+_+_+_ +\. The price the inner 1 A little guilty.. Was climbing, and i environmental crap.. 1, line l tjj * 1=n, and a. FOOTNOTE #0000008: I don't take your though you'll have. That day, i can do, Browns. I'd heard home with a hammer. Doing??? i bet the If \Delta t ? 0 an. Implication was - 70=2 *5*7 -- 4 5 well. I write a lot. Blue=---------------, court of law is for. 0. FOOTNOTE #0000009: Of v as the speed of, How or the other.. Only measure, chipper and offered. Source at difficult cases of. Badly garbled the ongs ... I look. Catching up on my 1 get as much as. FOOTNOTE #0000010: 1, greedy inherently; overlooked. BTW,. Think we're such would be fine.. @, apon us, other was. Is; that the only to build up that &*&*&*&*'s. +=o#'[}-+\ than 1=n. At some coming on in your. FOOTNOTE #0000011: The infinite family, 3 given. A book dat vv with, much surprised if ----------------. Remember drinking, it a freeway because -----------------. Haggard are not because I havn't //o\ //o\. Are concerned here is no turning back.. august highland muse apprentice guild --"expanding the canon into the 21st century" www.muse-apprentice-guild.com culture animal --"following in the footsteps of tradition" www.cultureanimal.com ========================================================================= Date: Thu, 23 Oct 2003 07:08:12 -0400 Reply-To: ron.silliman@gte.net Sender: UB Poetics discussion group From: Ron Subject: Gesarology & the dream of Sitar Doje MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit Tibetan boy able to recite world's longest poem after dream Wed Oct 22, 9:23 AM ET BEIJING (AFP) - A 13-year-old Tibetan schoolboy has miraculously memorized large parts of the world's longest poem after having had a mysterious dream. Sitar Doje, a fifth-grader from Qamdo prefecture, had his dream two years ago and can now recite "The Life of King Gesar" for up to six hours on end, the Xinhua news agency reported Wednesday. The agency says Tibet has a long tradition of people waking from sleep inexplicably able to recite the poem from memory. Most of these "God-taught Masters", however, are much older than Sitar Doje and are usually illiterate, the agency said. The lengthy 1,000-year old epic is also cherished by Mongolians and has given rise to a whole field of study referred to as "Gesarology", Xinhua said. ========================================================================= Date: Thu, 23 Oct 2003 06:07:41 -0700 Reply-To: poemcees@hotmail.com Sender: UB Poetics discussion group From: Ytzhak Organization: Selah7 http://www.sleepybrain.net/vanilla.html Subject: friday10/24/03TWellonsSHOWSHOWSHOW MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Tamara Wellons EP release party @Mangos (2017 14th Street, NW- Corner of 14th & U Sts.) Doors open @7pm (A light buffet will be served.) Show starts @8pm ...man, i feel really good about this one. here's your chance to start your friday off RIIIIGHT!!! now, some of y'all have seen Tam-Rock blaze "Smells Like Teen Spirit" others really opened up to her version of "Fly Me To The Moon"; but the "Gruve Song" is what you need to experience "Spring Giddiness" is what you need to FEEL here's your chance: "introducing...Tamara Wellons" DEBUT EP RELEASE PARTY & SHOW-Friday, October 24th her band? c'mon now... for those of you who were at the Blue Room for the Li'l SoSo/DJ Stylus' "Tapestry" event, you KNOW how Walt Cosby & Co. get down (dammit- i just gave Walt credit...) psssst- they've been in the shed for this one y'all it's her first release ever and Tamara's ready. are you? hell, even if you can't HANDLE the truth, i'd be negligent if i didn't tell yo' value-seeking behind that... that... there'sgonnabefreefood. yup- stop fakin'. Join Tamara @ MANGOS-Friday, October 24th 2017 14th Street, NW (Corner of 14th & U Sts.) Washington, DC 202/332-2104 Doors open @7pm (A light buffet will be served.) Show starts @8pm For more information on Tamara's upcoming appearances log on to: www.lilsoso-productions.com ps. THE EP WILL BE ON SALE!!! Buy "PARANOIA" now at: http://www.cdbaby.com http://www.amazon.com DJ Hut (Dupont Circle) Capitol City Records (U St. ) DCCD (Adams Morgan) GW Tower Records (Foggy Bottom) CD/Game Exchange (College Park) BLACKLUSTRE MASH UNIT POEM-CEES http://www.poemcees.com Soul Controllers http://www.worldsflyest.com -- - ___ Stay Strong "Peace sells but who's buying?" Megadeth "This mathematical rhythmatical mechanism enhances my wisdom of Islam, keeps me calm from doing you harm, when I attack, it's Vietnam" --HellRazah http://www.sleepybrain.net/vanilla.html http://awol.objector.org/artistprofiles/welfarepoets.html http://ilovepoetry.com/search.asp?keywords=braithwaite&orderBy=date http://www.dpgrecordz.com/fredwreck/ http://www.lowliferecords.co.uk/ http://loudandoffensive.com/ http://groups.yahoo.com/group/THCO2 ========================================================================= Date: Thu, 23 Oct 2003 09:24:11 -0400 Reply-To: nudel-soho@mindspring.com Sender: UB Poetics discussion group From: Harry Nudel Subject: s'allright Fred/ s'ok Harry... Mime-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Grenier, Robert...OAKLAND...may 1980...#319/450 copies...printed at Tuumba Press by Lyn Hejinian...stapled wrappers......INSCRIBED..."for Ted & Alice- hello/hello- Love Bob G"..bit worn and foxed...as are most books from the hard living Berrigan household..... a number of the poems with ink check mark next to them...and one with an indecipherable word...on last page..."A lovely book- Ted Berrigan...July 2, 1980...crazed, serene"....$1,500.00 ========================================================================= Date: Thu, 23 Oct 2003 09:33:14 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mairead Byrne Subject: Re: CAGE in NYC Mime-Version: 1.0 Content-Type: text/plain; charset=US-ASCII Content-Transfer-Encoding: quoted-printable Content-Disposition: inline Thanks to all who replied to my inquiry regarding duplicating or triplicati= ng my body so that I can attend simultaneously scheduled events. I have = found several of the suggestions quite helpful and may be seeing more of = you than is presently possible quite soon. Now: does anyone know where I = can get an Invisibility Suit? Mairead ========================================================================= Date: Thu, 23 Oct 2003 07:02:46 -0700 Reply-To: Ishaq1823@telus.net Sender: UB Poetics discussion group From: Ytzhak Organization: Selah7 http://www.sleepybrain.net/vanilla.html Subject: The Welfare Poets Comments: To: THCO2 MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii; x-mac-type="54455854"; x-mac-creator="4D4F5353" Content-Transfer-Encoding: 7bit The Welfare Poets are a collective of activists, educators, and artists together since 1990. Through teaching residencies and workshops, through activism around community struggles and through sharp-edged performances of music that incorporates Hip Hop, Bomba y Plena, Latin Jazz and other rhythms, the Welfare Poets bring information and inspiration to those facing oppression and those fighting for liberation. Please check the Welfare Poets' website for downloadable press materials. : http://welfarepoets.com/index.html -- - ___ Stay Strong "Peace sells but who's buying?" Megadeth "This mathematical rhythmatical mechanism enhances my wisdom of Islam, keeps me calm from doing you harm, when I attack, it's Vietnam" --HellRazah http://www.sleepybrain.net/vanilla.html http://awol.objector.org/artistprofiles/welfarepoets.html http://ilovepoetry.com/search.asp?keywords=braithwaite&orderBy=date http://www.dpgrecordz.com/fredwreck/ http://www.lowliferecords.co.uk/ http://loudandoffensive.com/ http://groups.yahoo.com/group/THCO2 ========================================================================= Date: Thu, 23 Oct 2003 10:32:45 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: mmagee@DEPT.ENGLISH.UPENN.EDU Subject: Re: Elliott Smith, 1969-2003 Comments: To: "David A. Kirschenbaum" In-Reply-To: <1066854435.3f96e823c97ea@boogcity.com> MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 8bit David, I thought to send something about this myself, I felt quite dejected when I heard about it last night from my friend and colleague Wendy Walters (her husband, turns out, was/is a huge Elliott Smith fan). I liked his music, sometimes alot, sometimes finding him a bit angsty for my taste. What I thought of immediately (as I'm sure many did) was the suicide scene in Wes Anderson's "The Royal Tennenbaums" in which Luke Wilson cuts his hair, shaves his beard and then slashes himself to pieces while Smith's "Needle in the Hay" plays. In a movie which was (by the standards of Rushmore and Bottle Rocket, say) something of a mixed bag, that's a stunning scene, not least for the way it portrays the decision to commit suicide as 1 part inner turmoil and 1 part nonchalance. "He's acting dumb, that's what you've come / to expect." -m. Quoting "David A. Kirschenbaum" : > there's a lot i could say here, but i don't even know where to start. > > i stumbled upon elliott smith because i went to a mary lou lord show and he > was on the bill. it was a quick sell, hearing him sing about his troubles > with > junk, love, really just life in general. > > after that i saw him play whenever i could, including a poets' expedition > with > maggie zurawski and ange mlinko to the since-closed Tramps on West 22nd > Street > here in NYC; opening for Beck and Ben Folds Five at jones beach, where he > had > his semi-regular backing band, Quasi's Sam Coomes and Janet Weiss, she also > of > Sleater-Kinney; and new year's eve 1999 at the Knitting Factory, when he > yelled out at two minutes to 2000, "I need a two minute song," and I yelled > out "Say Yes," my favorite song of his, and he played it before bringing his > girlfriend on stage, counting off from 10, yelling happy new year, and > swigging from a just-popped bottle of champagne before passing it to us to > swig from. > > if you don't know his music, pick something up, with my choices > being "either/or" or "elliott smith" if you want something sparse. If you > want > something harder and a bit fuller and faster, his work with the band > Heatmiser, which also featured Coomes, is great. There I'd pick Mic City > Sons. > > it's a sad day on this end, even sadder than cobain really. > > david > ========================================================================= Date: Thu, 23 Oct 2003 11:07:34 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Michael Rothenberg Subject: Re: keats negative capability chastity eros MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Thanks for these replies. Sorry I was out of touch and miss it. It seems that virginity seems to add some kind of tension to passion that excites the romantic imagination. I think of Keats and he idealizes his desire and that seems to crank him up quite a bit. > ----- Original Message ----- > From: "patrick dunagan" > To: > Sent: Wednesday, October 22, 2003 11:37 PM > Subject: Re: keats negative capability chastity eros > > > > For a source-- Micah Ballard's recent study on the Wieners/Keats > connection via Negative Capability: NEGATIVE CAPABILITY IN THE VERSE OF JOHN > WIENERS (Auguste Press, 2001) > > ... the section titled "The Temple of Maiden Thought" or possibly the next > titled "The Night Palace", would certainly offer forth passages to "jump > start" ideas. A great read and ideal launching point. > > > > It should be available direct: Auguste Press 659 fillmore #4 SF, CA 94110. > > > > Patrick Dunagan > > -- > > > > --------- Original Message --------- > > > > DATE: Fri, 10 Oct 2003 09:25:09 > > From: Maria Damon > > To: POETICS@LISTSERV.BUFFALO.EDU > > Cc: > > > > >no sources, but a thought: it seems to me that the porousness, the > > >tabula rasa openness of "negative capability" is less like chastity > > >and more like potential promiscuity. i at least think of the cult of > > >virginity being rigid, part of a system of virtue/evil, that vitiates > > >whatever po(e)tential could be attributed to the "negative space" of > > >the virgin birth canal protected by the hymen. some concept of > > >fluidity, of permeability, seems more akin to "negative capability" > > >to me. but i don't know what the romantics thought, except that > > >shelley believed in open marriage. > > > > > >At 5:41 PM -0400 10/9/03, Michael Rothenberg wrote: > > >>anybody have any thoughts or sources on the connection between > > >>"negative capability" and the Romantic (ie., Keats) notion of eros, > > >>virginity, and chastity? > > >> > > >> > > >>Michael Rothenberg > > >>walterblue@bigbridge.org > > >>Big Bridge > > >>www.bigbridge.org > > > > > > > > >-- > > > > > > > > > > > ____________________________________________________________ > > Enter for a chance to win one year's supply of allergy relief! > > > http://ad.doubleclick.net/clk;6413623;3807821;f?http://mocda3.com/1/c/563632/125699/307982/307982 > > This offer applies to U.S. Residents Only > > > ========================================================================= Date: Thu, 23 Oct 2003 08:42:00 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: kari edwards Subject: iduna review list.. In-Reply-To: <01bd01c398b7$77de99a0$210110ac@Winxp> Content-Type: text/plain; charset=WINDOWS-1252; format=flowed Mime-Version: 1.0 (Apple Message framework v552) Content-Transfer-Encoding: quoted-printable Leslie... here is a list for folks who have done some advanced writing on iduna,=20= or said they would write a review or... some possilbe place to reviews=20= I was not sure you have... but I am sure you do..... if you would like=20= I could come over and lick stamps... kari michael smoler 100 grand #2 nyc 10013 Steve Evans 203 Main St Orono ME 04473 Ron Silliman 262 Orchard Road Paoli PA 19301 Kate Bornstein 316 East 120th Street #1 NY,NY 10035 Christopher Martin 369 6th Ave. #4 Brooklyn 11215 taylor Brady 134 Greenbank Ave., Piedmont, CA 94611 Tisa Bryant 3 Chapin Avenue #3 Providence ri Thalia Field box 1852, brown university=09 English Department providence RI 82912 Rachel Levitsky 458 Lincoln Place, #4B Brooklyn 11238 Eric Lober Editor Rain Taxi Review of Books PO Box 3840 Minneapolis MN 55403 Alan Sondheim 432 Dean Street Brooklyn 11217-2011 Brian Kim Stefans 398 Manhattan Ave Brooklyn 11211 Jessa Crispin Bookslut.com P.O. Box 578669 Chicago, IL 60657 2 copies of each title to: muse apprentice guild c/o august highland po box 99489 san diego ca 92169-9489 Jacket c/- Australian Literary Management, 2-A Booth Street, Balmain NSW 2041, Australia. Terrible WorkPress 21 Overton Gardens Mannamead, Plymouth PL3 5BX United Kingdom =A0=A0 Contemporary Poetry Review =A0=A0=A0 P.O. Box 977 =A0=A0=A0 Pacific Grove, CA 93950 Marcella Durand Newsletter Editor The Poetry Porject News Letter St. Mark=92s Church in-the-Bowery 131 East 10th Street NY< NY 10003 Eileen Myles Chair Department of Literature 0410 University of California - San Diego 9500 Gilman DriveLA jolla, CA 92093-0410 1. Steve McCaffery, Associate Professor of English, York University,=20 Toronto, Ontario, M3J 1P3, Canada, mccafery@yorku.ca 2. Carla Harryman, Wayne State University, Detroit, MI, 48202 3. Johanna Drucker, Professor Media Studies, University of Virgina,,=20 Charlottesville, VA, 22904 =09 4. Chris Tysh, Wayne State University, Detroit, MI, 48202= ========================================================================= Date: Thu, 23 Oct 2003 08:53:31 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: kari edwards Subject: review list.. In-Reply-To: <710E1C1B-056F-11D8-8AD3-003065AC6058@sonic.net> Content-Type: text/plain; charset=US-ASCII; format=flowed Mime-Version: 1.0 (Apple Message framework v552) Content-Transfer-Encoding: 7bit apologize.. that was personal... kari ========================================================================= Date: Thu, 23 Oct 2003 12:43:24 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Gabriel Gudding Subject: important question about albert gelpi's essay on postmodern poetry Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed In reading Albert Gelpi's essay of 1990, "The Genealogy of Postmodernism: Contemporary American Poetry" at http://www.english.upenn.edu/~afilreis/88/gelpi.html, I notice a reference to "Nick Piombillo's 'Writing as Reverie'..." And I wish to know if "Piombillo" is a typo for "Piombino." Can it be there is more than one "Nick Piombi*o" interested in contemporary poetry? It is like discovering an Arielle Greenbelg. ========================================================================= Date: Thu, 23 Oct 2003 13:56:28 -0400 Reply-To: olsonjk@delhi.edu Sender: UB Poetics discussion group From: Kirby Olson Organization: SUNY Delhi Subject: Re: CAGE in NYC MIME-Version: 1.0 Content-Transfer-Encoding: 7bit Content-Type: text/plain; charset=us-ascii In Greek myth Hades the lord of the underworld had a cap of invisibility. William Burroughs wore that cap, I think. He used to talk about means of becoming invisible. He said somewhere that going through NYC and watching out for bad elements and people you didn't want to see, you just had to see them first, and then you just imagined that you were invisible, and you were. He also said to wear the most average clothes in soft shades of gray in order to slip through the city unseen. -- Kirby Mairead Byrne wrote: > Thanks to all who replied to my inquiry regarding duplicating or triplicating my body so that I can attend simultaneously scheduled events. I have found several of the suggestions quite helpful and may be seeing more of you than is presently possible quite soon. Now: does anyone know where I can get an Invisibility Suit? > Mairead ========================================================================= Date: Thu, 23 Oct 2003 14:06:42 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Joe Brennan Subject: "U.S. Military Plays Too Many Away Games" Comments: To: frankfurt-school@lists.village.virginia.edu, corp-focus@lists.essential.org, WRYTING-L@LISTSERV.UTORONTO.CA MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Click here: The Assassinated Press "U.S. Military Plays Too Many Away Games" Pentagon Analysts Conclude: Kleptocratic Owners Asked To Lighten Schedule: Last Home Games--- Massacre of Indians, Civil War And Weak Division III Rivals Like the Ludlow Massacre College Of Mining Engineering, Branch Davidian Bible College, The Panthers of Black Power U., Mormon Tabernacle Polytechnic, MOVE Agricultural College, the Chinatown Dragons, the SLA School of Constitutional Law etc.: Some Troops Don't Go Back After R&R As Iraq Goes Into Sudden Death Overtime: For Others R&R Means Restive and Revolted by Pawlien Jellyneck The Assassinated Press They hang the man and flog the woman That steal the goose from off the common, But let the greater villain loose That steals the common from the goose. Constant apprehension of war has the same tendency to render the head too large for the body. A standing military force with an overgrown executive will not long be safe. companions to liberty. -- Thomas Jefferson "America is a quarter of a billion people totally misinformed and disinformed by their government. This is tragic but our media is -- I wouldn't even say corrupt -- it's just beyond telling us anything that the government doesn't want us to know." Gore Vidal ========================================================================= Date: Thu, 23 Oct 2003 14:29:24 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Robert Nelson Subject: VITR: A Call for Poems MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: quoted-printable Dear Friends, Poets,& Scholars, =20 We are continuing our call for poems. =20 Voices in the Roses, part of the Rose Poets Project, is an e-journal dedicated to offering new and established writers a venue for their work. A quarterly, web-based journal, Voices in the Roses seeks to promote well crafted, thought provoking, and experimental poems. =20 =20 We are continuing to solicit poems for the Fall 2003 issue. The Summer 2003 issue is now available for viewing at: =20 www.voicesintheroses.com =20 Please take a moment to read some of the poems that you find there. If you are considering submitting your work, please read the following carefully: =20 Submitting your poetry to Voices in the Roses At this time, we are only accepting poetry sent by e-mail. Please email submissions to: =20 submissions@voicesintheroses.com =20 We generally respond within 4-6 weeks and will only take longer if we wish to consider your work more carefully. =20 We also suggest that you be familiar with some of the Rose Poets' work in order to judge for yourself whether you wish to be included in our ranks. Additional submission information maybe found at: =20 http://voicesintheroses.com/Masthead.html We hope to hear from you soon and feel free to circulate this letter to all interested parties. =20 Sincerely, The Editors of Voices in the Roses ========================================================================= Date: Thu, 23 Oct 2003 14:38:33 -0400 Reply-To: az421@freenet.carleton.ca Sender: UB Poetics discussion group From: Rob McLennan Subject: [rbudde@look.ca: Re: stonestone] Content-transfer-encoding: 7BIT a note from rob budde: Hey, The new stonestone is up . Check out the new sleek design. Pass it on. rb -- poet/editor/pub. ... ed. STANZAS mag & side/lines: a new canadian poetics (Insomniac)...pub., above/ground press ...coord.,SPAN-O + ottawa small press fair ...8th coll'n - red earth (Black Moss) ...c/o RR#1 Maxville ON K0C 1T0 www.track0.com/rob_mclennan * http://robmclennan.blogspot.com/ ========================================================================= Date: Thu, 23 Oct 2003 15:50:31 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Nick Piombino Subject: Today on Nick Piombino's *fait accompli* Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit Today on *fait accompli* politics, poetry and competition *fait accompli* http://nickpiombino.blogspot.com/ 45,000 hits since 5/24/03 visit the new EPC bloglist http://epc.buffalo.edu/connects/blogs.html ========================================================================= Date: Thu, 23 Oct 2003 16:51:09 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Poetry Project Subject: Poetry Project Events 10/27-10/29 Mime-version: 1.0 Content-type: text/plain; charset="ISO-8859-1" Content-transfer-encoding: quoted-printable Haaaaaaappy Birthday! (We=B9re sure it=B9s someone=B9s!) Haaaaaaappy Poetry Project Reading Series! Be there or be square. (Cause you=B9re not a square! You=B9re avant-garde!) Love, The Poetry Project. * October 27, Monday Talk Series: Major Jackson, =B3Sun Ra=B9s Lyric Space=B2 Major Jackson was nominated for a 2002 National Book Critics Circle Award for his debut volume, Leaving Saturn, and was the recipient of the 2000 Cav= e Canem Poetry Prize. He is currently a Witter Bynner Fellow of the Library o= f Congress and Assistant Professor of English at the University of Vermont. Tonight he will discuss how the music and life of Sun Ra has affected his own poetics as well as those of his generation. [8:00 p.m.] October 29, Wednesday Frank Sherlock & Tracy K. Smith Frank Sherlock curates the La Tazza Reading Series in Philadelphia, PA. His recent chapbooks include 13 (Ixnay Press) and End/Begin w/ Chants (Mooncalf Press). Ace of Diamond Satellite is forthcoming from Buck Downs Books in 2004. He is currently collaborating with CA Conrad on The City Real & Imagined: Philadelphia Poems. Tracy K. Smith is the author of The Body=B9s Question (Graywolf Press, 2003), winner of the 2002 Cave Canem Poetry Prize= , chosen and introduced by Kevin Young, who writes, =B3[this is] a terrific book, well-crafted, surprising, intelligent, questioning, ambitious in its scope and brilliant in realizing that ambition.=B2 Tracy K. Smith has been awarded a grant from the Ludwig Vogelstein Foundation and a residency at Fondaci=F3n Valparaiso. She currently lives and teaches in Brooklyn. [8:00 p.m.] * The Poetry Project is located at St. Mark's Church-in-the-Bowery 131 East 10th Street at Second Avenue New York City 10003 Trains: 6, F, N, R, and L. info@poetryproject.com www.poetryproject.com Admission is $8, $7 for students/seniors and $5 for members (though now members who take out a membership at $85 or higher will get in free to all regular readings). We are wheelchair accessible with assistance and advance notice. For more info call 212-674-0910. ========================================================================= Date: Thu, 23 Oct 2003 22:40:34 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Matt Keenan Subject: On Dumpster Diving MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Fatuma Ismail Journa 4 When I was a litte gril, my Dad buy it to me a small littele care I used to take the care to every wher I go even If I am going shopping I used to take my little care I used to love that care. But my family used to see that I have to grow up because I am not a little kid any mor and I used to ge mad of them. But one day when I went to sellep some other kids come to my house and start to break down my care. When I walke up in the morning I sawe my care was broken and I start to cry but my family could not tell my who did this my care and keep say you are a kid any moore grow up. As I get older I sawe another little gril playing when my car but I could not do enything about it but to give it to her. At less I was little happy that she didnot broke it and I did not stell it a lit her to play with it , but some times when have to let something go because If you didn't you would still keep it in tell something happen to it. ========================================================================= Date: Thu, 23 Oct 2003 22:45:29 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "David A. Kirschenbaum" Subject: HEY BOSTON/Bruins tix for sale MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 8bit Hi all, I have tickets I can't use for the Canadiens at Bruins game this coming Thursday, October 30, at the Fleet Center in Boston. If you're interested please backchannel to editor@boogcity.com thanks, david ========================================================================= Date: Thu, 23 Oct 2003 22:10:04 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Lewis LaCook Subject: Re: Elliott Smith, 1969-2003 MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii ....my first reaction was, welll....i heard it in the music, but i'd always hoped he'd win that battle--- elliot smith my friends was one of the finest songwriters my generation has ever had (no, Ron: I don't come from the Justin Timberlake Generation) -- ///do you miss me, miss misery, like you say you do?/// if you're unfamiliar with his work go dl it NOW---- in sadness lewis ===== associate editor, _sidereality http://www.sidereality.com/ -------- http://www.lewislacook.com/ tubulence artist studio: http://turbulence.org/studios/lacook/index.html __________________________________ Do you Yahoo!? The New Yahoo! Shopping - with improved product search http://shopping.yahoo.com ========================================================================= Date: Fri, 24 Oct 2003 03:07:13 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Scott Pound Organization: Bilkent University Subject: pungent specimens of slang, wayward metaphors, provocative jargon MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable 1. New Movie Reviews: A Mystery of Language and Murder By A. O. SCOTT =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D= =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D= =3D=3D=3D=3D Frannie (Meg Ryan), the heroine of Jane Campion's "In the=20 Cut," is a writer and teacher who collects curious scraps of=20 language: pungent specimens of slang, wayward metaphors,=20 provocative jargon. When a homicide detective on the trail of=20 a serial killer describes the body of a murder victim as=20 "disarticulated," Frannie's ears perk up. She jots the word=20 down in a notebook and later on pesters him for a precise=20 definition. The word is a euphemism for something appropriately grisly,=20 the results of which occasionally flash before Frannie's=20 eyes, and ours, as this atmospheric exploration of sexual=20 need and urban paranoia unfolds. But it might also describe=20 the movie itself, which is a disjointed, sometimes=20 fascinating m=E9lange of moods, associations and effects. The=20 story turns out to be fairly conventional, with an end that=20 is a stale pretzel bowl of surprise twists, and the=20 psychology of the characters can be frustratingly obscure,=20 but there are nonetheless images and ideas that stick like=20 splinters under your skin. Ms. Campion ("The Piano," "The Portrait of a Lady") is an=20 inveterate navigator of the murkier zones of female=20 sexuality, and "In The Cut," adapted from Susanna Moore's=20 novel, plots a hazardous nexus of dread, danger and desire.=20 Review:=20 http://movies2.nytimes.com/2003/10/22/movies/22CUT.html?8mu Movie Details:=20 http://movies2.nytimes.com/gst/movies/movie.html?v_id=3D282775&8mu ________________________ Scott Pound Assistant Professor Department of American Culture and Literature Bilkent University TR-06800 Bilkent, Ankara TURKEY +90 (312) 290 3115 (office) +90 (312) 290 2791 (home) +90 (312) 266 4081 (fax) pounds@bilkent.edu.tr ========================================================================= Date: Fri, 24 Oct 2003 00:50:42 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: August Highland Subject: PARALLEL RESULT #0001 MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit PARALLEL RESULT #0001 D e s i g n e xp l o r at i o t i ot i o N s y st e m d e m a n d C l o c k M e c a n i m a t i o N o f s o f so f s i m u la ti o n s t e p i n o i n oi n o u r d e c om p A N e n ti t y o f t h e Q CD OC S im u la t io n D ec o m p h a nd le r m ac h in e Q c d o c a nd To p r o p ro p r o v i de u s e u s eu s e fu l T r a ce Q C DO C P re s en t l y w e a re d es ig n s r e su l t u l tu l t s C l o c k m ec t c om m e m m em m e r c i r c ir c i a l a r e a n d T o m o d e l o N t h e S cu p l b p l bp l b b l k b l kb l k p r o c e s c e sc e s se s M a s M a sM a s s i v e l y P a ra l l a l la l l el E va lu at i on f e a f e af e a t ur e s r e sr e s T ec h n iq u e C h a C h aC h a ll en g es t h e t h et h e l ow e s t l e v e le N E N v i r v i rv i r o n m e n S y s t em s p h as e w il l b e r u n ni n g t h e l ow e s t l e v l e vl e v e l e e l ee l e n A n d A n dA n d c om p l e x i t i n F i gu re R e g i st e r t e rt e r s n o d e 0 0 0 0 n o d n o dn o d e x n yn z n t n d e i n t he B u r g A S I CE X T ME M C ac h e s I & D august highland muse apprentice guild --"expanding the canon into the 21st century" www.muse-apprentice-guild.com culture animal --"following in the footsteps of tradition" www.cultureanimal.com ========================================================================= Date: Fri, 24 Oct 2003 00:55:06 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: August Highland Subject: PARALLEL RESULT #0002 MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit PARALLEL RESULT #0002 S i m S i mS i m u l a ti o n i o ni o n o s eD o fa n V a li d a t e a n D a n Da n D v e r if y l e v e l s e l se l s a r e n ot o n l y M a ss i v e l y p a r al l e l p er f or m a n c e e va l ua ti o N t e c h ni q ue s I sa c om p D e s i g n s i m s i ms i m u la ti o n i o ni o n T o i de n t im i n m i nm i n g a n a l ys is a n D i ts p a ra m e t e rs V a li d a ti on a nD e s t e s te s t a b li sh Q u an t um C h r o m o A p a A p aA p a ra me t er i s e d Y t he l ow e st l e v e l e n q c D o N d i g it a l t a lt a l A RR A Y C on s tr u c t s L i b L i bL i b r ar y O f s im u la t i a t ia t i o N Q CD C o mp u te r s T o b u i b u ib u i l D s t ep i n o i n oi n o ur S t r on g i n te r a e r ae r a c ti o n i o ni o n H i e H i eH i e r a r c h ic a l M o d e l D ec o m c o mc o m p b e n c h m ar k s r k sr k s C e s C e sC e s s o r s y s s y ss y s t e ms p r e p r ep r e s eN t s a n Y o n e o n eo n e o ft he R u n R u nR u n: T h e s i g n if ic a N d e l d e ld e l A S I C Y p i n g r e q u ir e m en t s p ri c e p o f t h e A l te r na t i a t ia t i v s up er co m pu t e u t eu t e r A s s u c s u cs u c h am o u N august highland muse apprentice guild --"expanding the canon into the 21st century" www.muse-apprentice-guild.com culture animal --"following in the footsteps of tradition" www.cultureanimal.com ========================================================================= Date: Fri, 24 Oct 2003 09:49:45 +0100 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Todd Swift Subject: poems for Lord Hutton MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable A new online e-book is now available from nthposition =20 http://www.nthposition.com/poemsforhutton.html which features poets from the UK, Ireland, America and Canada, writing = about the issues surrounding the death of British weapon's expert Dr. = Kelly, and the subsequent inquiry. It moves beyond this to consider the = current state of affairs in Iraq, the UK, and America. The poets = donated their work, mostly written especially for this project. These poets, from across a broad spectrum of approaches, are: Attila the = Stockbroker, Rachel Bentham, Rip Bulkeley, Patrick Chapman, cris cheek, = Catherine Daly, Ian Davidson, Ruth Fainlight, Kevin Higgins, Bill Howe, = Fadel K Jabr, Fred Johnston, Jeffrey Mackie, Annie McGann, Philip = Metres, Peter Middleton, Richard Peabody, Frances Presley, Jem Rolls, = Eva Salzman, Zoe Skoulding, Robert Sheppard, Hal Sirowitz, Mr Social = Control, Michael Standaert, H Masud Taj, Steve Tasane, Hel=EAn Thomas, = Jim Thomas, Keith Tuma, Reg Waywell and Harriet Zinnes.=20 Bruce Sterling has created the cover image. Please forward this message to interested parties. As with the previous = chapbooks we have presented via the Internet (100 Poets Against the War = and Times New Roman) the anthology is copyleft and we encourage others = to print it out and read from it, host and share it, and generally make = it widely available. Apologies for cross-posting. Todd .......................... from Todd Swift poetry editor nthposition, UK ========================================================================= Date: Fri, 24 Oct 2003 09:23:37 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Al Filreis Subject: Geo. Stanley - recording now available MIME-Version: 1.0 Content-Type: text/plain; charset=US-ASCII Content-Transfer-Encoding: 7bit Dear friends: The event announced below was webcast live and is now available to all, for free, as a recording. Just go here http://www.writing.upenn.edu/~wh/stanley.html and click on the link. George Stanley read his poems during the first half of the session; then Ron Silliman interviewed him and took questions from audience members--from those present at the Writers House and by phone and email from those afar. Al Filreis Kelly Professor of English Faculty Director, the Kelly Writers House Director, the Center for Programs in Contemporary Writing University of Pennsylvania http://www.writing.upenn.edu/~afilreis poet GEORGE STANLEY presented by RON SILLIMAN ------------------------- at the Kelly Writers House 3805 Locust Walk Thursday, October 23, 2003 at 6:30 PM (eastern time) reading / conversation / reception This event features a reading by George Stanley introduced by Ron Silliman, with conversation moderated by Ron Silliman. George Stanley was born and raised in San Francisco where, in the sixties, he was a member of Jack Spicer's circle. For many years an educator in Terrace, British Columbia, Stanley is now retired and living in Vancouver. His books include The Stick, Opening Day, Temporarily, San Francisco's Gone, Gentle Northern Summer, and most recently, A Tall, Serious Girl (Qua Press). To read an interview with George Stanley, see http://wither.unbc.ca/winter/number.two/stanley/stanley.html ========================================================================= Date: Fri, 24 Oct 2003 08:14:07 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Rodney K Subject: Re: Elliott Smith, 1969-2003 MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Thanks Mike and David for your posts on Elliott Smith. It's hit me pretty hard too, much harder than your run of the mill celebrity drug death. (Mike, I think that Tennenbaum image gets it exactly right). I guess in part because Elliott seemed to have in music everything I once thought I wanted in poetry--assurance of his talent, respect rather than than bald fame or notoriety, sympathetic fans who were willing to let him change. I'm with David in thinking it's sadder somehow than Cobain's death; you can see how that life could be miserable. I wonder if there's something 'generational' about all this that's got me so depressed? That Smith grew up in the heavy shadow of the '60s was more and more clear from those (to my ear) overblown Dreamworks records (I wanted to say something glib like Dreamworks killed him, but then on the radio I heard they'd spearheaded several interventions. Protecting the product, I know, but also a fairly decent thing to do if it's true). Also, like a lot of indie 'stars' he seemed to have a hard time taking the spotlight. I saw him at the Fillmore just when "Figure 8" came out and he was like a wax mannikin--other than the songs, not much more than a goofy wave and a wispy "thanks. goodnight." His death seems on one level like a response to the problem of growing up in the backwash of the baby boom; having a lot of the same ideals, but not enjoying the same stage to enact them on. I wouldn't want to push that too hard, but it did add to some of the poignancy of his suicide for me. I got to see Anne Tardos and Jackson MacLow read in Berkeley last night. Driving to the reading I heard a solid block of Smith songs on KALX, so the contrast was very much on my mind. MacLow seemed so alive, aware, open, in love with Anne. There's the artist I'd hope to be, the indie star who makes it past 80. ========================================================================= Date: Fri, 24 Oct 2003 15:40:30 +0000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "subrosa@speakeasy.org" Subject: The Amputation & Sudden Annihilation of L Mendax MIME-Version: 1.0 Content-Type: text/plain; charset="utf-8" Content-Transfer-Encoding: 8bit THE AMPUTATION & SUDDEN ANNIHILATION OF L MENDAX the settling within akin to L Mendax 1: to put a: to change nstances or events b: to alter esp. information essen deletion, or mewhat steady he total of a perso syn see CORREC cosmic rays of attack, or tec - more at DO] (150 ten improper orbs b: one that an ~ to beat the LONELY adds d) of a planet or a ship 8 pass through the news> (2) : in the of which the first is r> b: characterize eometry, the second 9 a - used as a flu and the third is p <~ the outbreak suggest wide strings of 2: to m sagacity of string b: to threat wise decides d: to put together the restraint of so ring 4: to hang b lies to action guide > 6 a: to extend SANE stresses mental b: to set out in a lie films, and molded omething held to any of various e therms of a letter the vinyl comp of a musical note ME, fr. MF viole d: the cyclindric body, flat back, slow e: a shaft of wah and low-arched b THROUGHOUT, THOROUGH (as to a person's re labor b: ECONOMY ~ our political energy returns for payment curse <~ you> and hold under with - usu. consider n and enjoyment of : to turn or move the possession and - usu. considered v possession and use to glance over rapid [pomes]: resembling 1: inclination from [MF pomade or 's bow or stern 2: fr. Pomo apple, fr. between the top fragrant hair dressing to the surface of '/n [ME, modif. is sensibly straight (15c): a mixture 16: a: suggests openhanded comment computer informa the 8: to cause (tri magnetic encoding ~vi 1: to have for insertion into to turn the face in a RAM; esp: a sports shrubs with alternate d often kept as cat us flowers; esp: or had/ n 1: the knee inguished from the oh successfully seeks several plants of g oh is pure, noble, and TOOTH VIOLET 2: a n-ten/n [F, fr. OF lightness, and medium ce, fr. ML galatina the rose of plasma (15c) 1: SENSO d: Golgi apparatus; capable of being stir ath-ik/ adj (1952), or contact) , a and then cool (n contexts and in c combination at lo too sophisticated of a different species in some regions of combining with positive construction and cooling d (WRITER’S DIGEST) grasp the nature or fanatically erase between rig ME lunacioun, fr. his time averaging 29 or understands song between the two to recognize with luncheon] (18 ease the value of ~ of the day 2: the of touch with reality ========================================================================= Date: Fri, 24 Oct 2003 11:46:35 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Gary Sullivan Subject: PERSEPOLIS, DEER HEAD NATION, ETC. Mime-Version: 1.0 Content-Type: text/plain; format=flowed Recent topics on Elsewhere: * Persepolis, Marjane Satrapi's comic book memoir of growing up in Iran during the revolution and subsequent war with Iraq. * "The Hat," a digressive poem-essay on headgear. * Three Google poems ("Please please please vote for me", etc.) * Deer Head Nation, K. Silem Mohammad meets James Rosenquist. http://garysullivan.blogspot.com _________________________________________________________________ Enjoy MSN 8 patented spam control and more with MSN 8 Dial-up Internet Service. Try it FREE for one month! http://join.msn.com/?page=dept/dialup ========================================================================= Date: Fri, 24 Oct 2003 09:14:44 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Ron Silliman Subject: Wired: The Great Library of Amazonia This article on Amazon's attempt to digitize all the books in its catalog raises all kinds of copyright/access kinds of questions. Ron ------------------------------------------------------------------------ The Great Library of Amazonia Jeff Bezos is building the world's biggest digital book archive. It's an info-age dream come true -- and the best way to sell books ever. By Gary Wolf from Wired magazine. http://r.hotwired.com/r/wn_story_mailer/http://www.wired.com/news/business/0,1367,60948,00.html ========================================================================= Date: Fri, 24 Oct 2003 12:29:23 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: George Bowering Subject: Re: Elliott Smith, 1969-2003 In-Reply-To: <20031024051004.3554.qmail@web10704.mail.yahoo.com> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" >elliot smith my friends was one of the finest >songwriters my generation has ever had Wait. Can you really call people born after 1969 a generation yet? -- George Bowering Too busy for smooching. 303 Fielden Ave. Port Colborne. ON, L3K 4T5 ========================================================================= Date: Fri, 24 Oct 2003 09:51:03 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: { brad brace } Subject: "call for new works" In-Reply-To: <200310240404.VAA15266@mx1.eskimo.com> MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Auditions: photographs (2-1/4" transparencies) from the mid '70s of fields, with a superimposed live-scan in 2001 of a common spoon/shadow, and a logo in 2003. A cd-r of these 80 low-res images plus one high-res separation with one-time publication rights is available for $500. http://bbrace.laughingsquid.net/wishingwell/wishingwell.html http://bbrace.net/wishingwell/wishingwell.html ========================================================================= Date: Fri, 24 Oct 2003 10:12:33 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Lewis LaCook Subject: A slight shock in the spill,vocabulary Comments: cc: 7-11 7-11 <7-11@mail.ljudmila.org>, "arc.hive" <_arc.hive_@lm.va.com.au>, spiral bridge , cyberculture , underground poetry , Renee , rhizome , John Schmidt , webartery , wryting MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii ...children are not indispensable skies... http://stamenpistol.blogspot.com/ associate editor, _sidereality http://www.sidereality.com/ -------- http://www.lewislacook.com/ tubulence artist studio: http://turbulence.org/studios/lacook/index.html --------------------------------- Do you Yahoo!? The New Yahoo! Shopping - with improved product search ========================================================================= Date: Fri, 24 Oct 2003 10:31:04 -0700 Reply-To: kalamu@aol.com Sender: UB Poetics discussion group From: Ytzhak Organization: Selah7 http://www.sleepybrain.net/vanilla.html Subject: INFO: london--soul food Comments: To: THCO2 MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit INFO: london--soul food ==================== SOUL FOOD Sunday 26th October 2003 - 7pm doors for a 7:45 start Tabernacle Community Centre, Powis Sq W11 (nearest station: westbourne park, Hammersmith & city) Charge: 5 pounds ... Afropick Productions presents ... Soul Food - feed your mind ... nourish your soul. Poets: Ainsley Burrows, Red, Beyonder, Tuggstar, Jacob Sam-La-Rose and Kat Singers: CL6 and Ivy Rappers: Blunted on reality Soul Food will be served up by host Princess and Max Steele PLEASE NOTE: Soul Food has a new start time - Doors: 7pm Show: 7:45 (please come early to avoid disappointment) For more info: Sabrina 07958 419 082 Princess 07903 646 031 Jason 07950 383 296 www.afropick.co.uk NOTICE: TY: The new album 'upward' out now...pick up a copy www.afropick.co.uk/artist_profile6.htm - for more info. >> this is e-drum, a listserv providing information of interests to black writers and diverse supporters worldwide. e-drum is moderated by kalamu ya salaam (kalamu@aol.com). -- - ___ Stay Strong "Peace sells but who's buying?" Megadeth "This mathematical rhythmatical mechanism enhances my wisdom of Islam, keeps me calm from doing you harm, when I attack, it's Vietnam" --HellRazah http://www.sleepybrain.net/vanilla.html http://awol.objector.org/artistprofiles/welfarepoets.html http://ilovepoetry.com/search.asp?keywords=braithwaite&orderBy=date http://www.dpgrecordz.com/fredwreck/ http://www.lowliferecords.co.uk/ http://loudandoffensive.com/ http://groups.yahoo.com/group/THCO2 ========================================================================= Date: Fri, 24 Oct 2003 10:43:45 -0700 Reply-To: kalamu@aol.com Sender: UB Poetics discussion group From: Ytzhak Organization: Selah7 http://www.sleepybrain.net/vanilla.html Subject: INFO: louis reyes rivera Comments: To: THCO2 MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit INFO: louis reyes rivera ==================== RIVERA STRIKES AGAIN! featuring poet Hector Luis Rivera poet Louis Reyes Rivera novelist Lucas Rivera critic Raquel Z. Rivera Sunday, October 26, 2003 8pm to midnight Bowery Poetry Club 308 Bowery (below Bleecker St.) $7 donation. Autographed books & CDs available. For more information: Bowery Poetry Club: 212-614-0505 Louisreyesrivera@aol.com. ----------------------------------- For Immediate Release... Contact: Louis Reyes Rivera 718 622 4426 Louisreyesrivera@aol.com --------------------------------- Rivera Strikes Again Sunday October 26, 2003 Bowery Poetry Club 8pm The Bowery Poetry Club is the site of a literary invasion by four Puerto Rican writers, all of whom bear the surname Rivera. Beginning at 8pm, on Sunday, October 26, 2003, the program, RIVERA STRIKES AGAIN!, cuts across both poetry and prose to present a landscape of literature and activism by writers who have made their mark upon New York City's cultural scene. Armed with books, CDs, and lasting reputations, the featured writers include performance poet Hector Luis Rivera, poet/essayist Louis Reyes Rivera, freelance journalist and novelist Lucas Rivera, and critic/educator Raquel Z. Rivera, offering a full evening of performance and open dialogue. Hector Luis Rivera, co-founder of The Welfare Poets, a collective of musicians and poets that incorporates Hip Hop with Bomba, Plena and Latin Jazz, has been writing and performing his work for the past 12 years. His poetry was included in Nancy Nuevez's theatrical production of Blind Alley, and in Taller Boricua's 30th Anniversary exhibition. Known for his activism in community struggles around housing, environmental justice, police brutality, political prisoners, and most recently, in the battle for Vieques, Hector Luis continues to perform original works while serving as an educator in several New York City schools. Award-winning poet/essayist Louis Reyes Rivera has been a mainstay in cultural activism for well over thirty years. Among his more recent credits are Bum Rush The Page: A Def Poetry Jam (Crown Publishers, 2001), co-edited with Tony Medina, and his own Scattered Scripture, winner of the 1997 Latino Writers Institute Award for Poetry. A professor of Creative Writing, African-American, Nuyorican, Caribbean literature and history, Louis has worked in Jazz clubs and festivals with The Sun Ra All-Stars Project, Ahmed Abdullah's Diaspora, and with his own band, The Jazzoets, which is regularly featured at Sistas' Place in Brooklyn. He appeared on the Peabody award-winning HBO show, Def Poetry Jam, and can be heard every Thursday, at 2pm, on WBAI (99.5 FM) hosting Perspective. Lucas Rivera is a freelance journalist-turned novelist, who has worked with investigative reporter Jack Anderson, and whose articles have appeared in Urban Latino, Vibe, Village Voice, Brooklyn Bridge and New York Daily News, among others. His articles on the Latin Kings involved more than six years of research in between such other assignments as the World Trade Center bombing, the war in Nicaragua, the Bhopal disaster in India, and the earthquake in Mexico City. The Lucky Street Chronicles is his first novel, in which Lucas captures the essence of Spanish Harlem at a time when crack was first introduced into Communities of Color. Raquel Z. Rivera has made her impact as a major critic of Hip Hop and contemporary literature. The author of New York Puerto Ricans from the Hip Hop Zone (Palgrave Macmillan, 2003), Raquel is currently a professor at the Department of Africana and Puerto Rican/Latino Studies at Hunter College. Her studies of Hip Hop and Puerto Rican culture has resulted in articles covering the evolution of Caribbean musical expression, such as Puerto Rican bomba, m**sica j**bara, plena, as well as Dominican palos and salves, reflecting both the indigenous and African roots of that music. In addition, her articles, stories and poetry, published in numerous newspapers, journals and anthologies, have contributed much to such topics as race and ethnic relations, gender issues, Puerto Rican national identity, and cross-Caribbean cultures. A founding member of Puerto Rican music group yerbabuena, she is currently a member of the all-women‚Äôs music collective Yaya, dedicated to exploring traditional Boricua and Dominican music. The Bowery Poetry Club is located at 308 Bowery, near Bleecker Street (# 6 to Bleecker or F train to Second Ave.). RIVERA STRIKES AGAIN! begins at 8pm, with a $7 donation at the door. Autographed copies of books and CDs will be available for sale. For more information, contact Bowery Poetry Club at 212-614-0505, or Louisreyesrivera@aol.com. >> ############################################# this is e-drum, a listserv providing information of interests to black writers and diverse supporters worldwide. e-drum is moderated by kalamu ya salaam (kalamu@aol.com). -- - ___ Stay Strong "Peace sells but who's buying?" Megadeth "This mathematical rhythmatical mechanism enhances my wisdom of Islam, keeps me calm from doing you harm, when I attack, it's Vietnam" --HellRazah http://www.sleepybrain.net/vanilla.html http://awol.objector.org/artistprofiles/welfarepoets.html http://ilovepoetry.com/search.asp?keywords=braithwaite&orderBy=date http://www.dpgrecordz.com/fredwreck/ http://www.lowliferecords.co.uk/ http://loudandoffensive.com/ http://groups.yahoo.com/group/THCO2 ========================================================================= Date: Fri, 24 Oct 2003 20:25:43 +0200 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Karl-Erik Tallmo Subject: Re: Phallic Classicism Comments: To: olsonjk@delhi.edu In-Reply-To: <3F9577C1.C633520F@delhi.edu> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" At 14.15 -0400 03-10-21, Kirby Olson wrote: >>I don't know anything about the Queen Anne copyright laws. Why did >>this happen >>then? she was only Queen for about five years as I recall -- in the early >>1700s. Is this because of increased production of printing. Who pushed for >>this new copyright law? > The English printing act of 1662 lapsed in 1695, when the Parliament could not reach consensus regarding a new law of the same spirit. This was the end of pre-publication censorship in England, and many politicians then tried to find some other means to control the flow of printed information. Robert Harley, Earl of Oxford, was among those who worked hardest to achieve some new sort of regulation, especially of newsprint. In 1703 Harley saw to it that Daniel Defoe was released from prison. Defoe argued in articles (commissioned by Harley) for a "moderately" free press, and suggested a law that demanded that the names of the author, printer and bookseller appeared on all printed matter. Thus offenders could more easily be traced. At the same time Defoe says that such a law would "put a stop to a certain sort of thieving which is now in full practice in England, and which no law extends to punish, viz. some printers and booksellers printing copies none of their own." ("An Essay on the Regulation of the Press", 1704). There had for long been a tight link between censorship and copyright (the old non-statutory license model) and Defoe proposed a kind of combination of the two where the author's individual responsibility and protection against unlawful reprinting were included. At this time there was a big problem among London booksellers to counter the competition from rural sellers/printers. A bookseller or printer aspiring after exclusive publishing rights had to have a clearly defined contracting party, and now the author arose as candidate. Thus, the view of intellectual property was finally focused upon the actual creator of the intellectual content, there was much talk about the "encouragement of learning" etc, a phrase that even found its way into the title of the Queen Anne act. There was not primarily a big concern for the authors that gave rise to the act, but obviously the parties involved found this to be the best compromise. Actually, the phrasing in the earlier drafts of the law was more focused on the author than was the case in the final code. This is the preamble with one of the omitted passages marked with **: Whereas Printers, Booksellers, and other Persons, have of late frequently taken the Liberty of Printing, Reprinting, and Publishing, or causing to be Printed, Reprinted, and Published Books, and other Writings, without the Consent of the Authors * thereof, in whom ye undoubted Property of such Books and Writing as the product of their learning and labour remains or of such persons to whom such Authors for good Consideracons have lawfully transferred their Rights and the title therein is not only a real discouragement to learning in generl which in all Civilized Nations ought to recieve ye greatest Countenance and Encouragement; but it is also a notorious Invasion of ye property of ye rightful * or Proprietors of such Books and Writings, to their very great Detriment, and too often to the Ruin of them and their Families [...] I have uploaded the text of the Queen Anne Act in facsimile here: http://www.copyrighthistory.com/anne.html A good account for the advent of this act is John Feather's article "The book trade in politics: The making of the copyright act of 1710" (Publishing History 19 (8): 31-36, 1980) from which I quoted the omitted passage above. Karl-Erik Tallmo -- _________________________________________________________________ KARL-ERIK TALLMO, writer, editor ARCHIVE: http://www.nisus.se/archive/artiklar.html BOOK: http://www.nisus.se/gorgias ANOTHER BOOK: http://www.copyrighthistory.com MAGAZINE: http://art-bin.com _________________________________________________________________ ========================================================================= Date: Fri, 24 Oct 2003 11:42:21 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Lewis LaCook Subject: Talk Talk--a generative text and music game/lifestyle tool! Comments: cc: 7-11 7-11 <7-11@mail.ljudmila.org>, "arc.hive" <_arc.hive_@lm.va.com.au>, spiral bridge , cyberculture , underground poetry , Renee , rhizome , John Schmidt , webartery , wryting MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Talk Talk http://www.lewislacook.com/TalkTalk/TalkTalk.exe Windows executable written in Visual Basic 6, using the Lernot and Hausbie Text-to-Speech Engine and Windows Media Player ~you must have Windows Media Player installed in order to play mp3s!!~ Talk Talk is a generative text and music game/lifestyle tool! Just type into the top box and have your musings interpolated by pure poetry--then have Talk Talk speak the text to you--and play your favorite mp3s as background!!! bliss l associate editor, _sidereality http://www.sidereality.com/ -------- http://www.lewislacook.com/ tubulence artist studio: http://turbulence.org/studios/lacook/index.html --------------------------------- Do you Yahoo!? The New Yahoo! Shopping - with improved product search ========================================================================= Date: Fri, 24 Oct 2003 12:08:06 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Stephen Vincent Subject: Poetry Reading for Mat Gonzalez, SF Mayor Candidate Comments: cc: Steve Dickison In-Reply-To: <200310241614.h9OGEiv10527@larry.hotwired.com> Mime-version: 1.0 Content-type: text/plain; charset="ISO-8859-1" Content-transfer-encoding: quoted-printable Matt Gonzalez is SF's Green Candidate for Mayor (among some other good choices) Matt's distinction for poets is that he's actually a serious reader, and reads and befriends real poets here in the City. So, I suspect, Matt will end up being good for the arts, particularly the Art of Poetry and its neve= r very generous embrace by City Hall. I have also found Matt good on many other issues. The Reading:=20 Caf=E9 Royale 800 Post Street (at Leavenworth) 7:30 PM Saturday, October 25 - that's tomorrow/ Kim Addonizio, George Evans, Gloria Frym, David Meltzer, Alkejandro Murguia= . Don Paul. Barbara Reyes, Stephen Vincent, Daisy Zamora, & others Matt Gonsalez will speak. If you are a local SF poet, it's probably a good time to meet him and talk up your concerns for ways in which the City can generously serve and honor the Muse and all of her loyal servants (that's u= s and our work!).=20 If you can, see you there, Stephen Vincent=20 ========================================================================= Date: Fri, 24 Oct 2003 20:06:54 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Trevor Joyce Subject: Re: POETICS Digest - 22 Oct 2003 to 23 Oct 2003 (#2003-296) Comments: cc: Mairead Byrne In-Reply-To: <20031024001093.SM01168@acsu.buffalo.edu> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" >From: Mairead Byrne >Subject: Re: CAGE in NYC > >Thanks to all who replied to my inquiry regarding duplicating or triplicati= >ng my body so that I can attend simultaneously scheduled events. I have = >found several of the suggestions quite helpful and may be seeing more of = >you than is presently possible quite soon. Now: does anyone know where I = >can get an Invisibility Suit? >Mairead Esteemed Mairead, Triplication is a new one; we had thought you were hesitant only about your possible duplication. On all matters of self-triplication and Invisibility Suits, apply (in quadruplicate) to: The Paracelete, C/o The Blessed Trinity Heaven The Universe As for duplication, we are hoping shortly to appoint a Merchandising Manager to your delightful area, named after hens. This brief delay is due to the unfortunate simultaneous resignation of Padre Pio in the recent past. Be assured that we intend to maintain the service so well expressed in our Company Motto, authored by Sir John Boyle O'Reilly (it was no fault of his he was an Irishman) in the British House of Commons in the early 19th Century, when "he regretted he was not a bird, and could not be in two places at the one time." Meanwhile, look after yourself (an activity made very much less painful by a visit from one of our sales team, which is guaranteed to leave you beside yourself), Yours in fellowship, Rank Xerox Inc. ========================================================================= Date: Fri, 24 Oct 2003 16:10:03 -0400 Reply-To: mbroder@nyc.rr.com Sender: UB Poetics discussion group From: Michael Broder Organization: Michael Broder Subject: Upcoming Events MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Here's an updated list of upcoming readings of interest. Thanks to Scott Hightower for preparing this list. =20 Michael Broder =20 Fri., Oct. 24 @ 7 pm Kimiko Hahn, Ryan Black and Noel Sikorski The Center for BookArts 28 W. 27th St., 3rd floor $5 =20 Mon. Oct. 27 @ 7:00 David Groff The Pratt Institute Library, Brooklyn =20 Tues, Oct. 28 @ 7:00 Kirmen Uribe, Elizabeth Macklin, Mark Kurlansky, and others THE KITCHEN=20 512 West 19th Street (Bet. 10 & 11 Aves.) 212-255-5793=20 =20 Wed., Oct. 29 @ 7:30 Mark Svenvold, LB Thompson, Joel Whitney, and Jean Gallagher Fordham 113 W. 60th St. -- 12th Floor Lounge =20 Wed., Nov. 5 @ 8:00 Pen American Center presents: A Literary Tribute to Gabriel Garc=EDa M=E1rquez An evening of Tribute, Reminiscence and Readings featuring:=20 Salman Rushdie, Paul Auster, William Kennedy, Jon Lee Anderson, Jaime Abello, Edwidge Danticat, Francisco Goldman, Edith Grossman, Jos=E9 = Manuel Prieto, Rose Styron, and a special video Message from President Bill Clinton Curated by Esther Allen The Town Hall, 123 West 43rd Street Tickets: $35, $20, $10 http://store.yahoo.com/penamericancenter/gagamatrti.html =20 Thurs., Nov. 6 @ 7:00 Editors Jeanne Marie Beaumont and Claudia Carlson; Sharon Dolin, David Trinidad, Susan Wheeler, and Anna Rabinowitz. Labyrinth Books, 536 W. 112 St (Between B'way and Amsterdam) =20 Thurs., Nov. 6 @ 7:00 Zoo Poets at the New School Tisch Auditorium 66 W. 12 St. =20 Thurs., Nov. 20 @ 7:30 Fordham Lincoln Center 12th Floor Lounge POL Gala -- Janet Kaplan's new book "The Glazier's Country" with Yvette Christianse =20 Tues., Dec 2 @ 8:00 World AIDS Day Reading Cathedral Church of St. John the Divine 112th Street and Amsterdam Avenue Frank Bidart, Richard Howard, Marie Howe, Phillis Levin, Michael Klein, Martha Rhodes, Tom Sleigh, and others =20 Sun., Dec. 7 @3:00 in New Jersey: Bruce Bennett, Nicole Cooley, Enid Dame, and Rachel Hadas with the editors Jeanne Marie Beaumont and Claudia Carlson. Zimmerli Art Museum at Rutgers University 71 Hamilton St, New Brunswick, NJ. (732-932-7237, ext 615) =20 Wed, Dec. 10 @ 7: Richard Howard, Jackie Osherow, Joshua Corey and others Barrow Street celebration at The National Arts Club: $25 includes copy of the winter 2003 issue $15 for contributors ========================================================================= Date: Fri, 24 Oct 2003 16:11:09 -0400 Reply-To: mbroder@nyc.rr.com Sender: UB Poetics discussion group From: Michael Broder Organization: Michael Broder Subject: Ear Inn Readings--November 2003 MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit The Ear Inn Readings Saturdays at 3:00 326 Spring Street (west of Greenwich Street) New York City FREE Subway--C,E/Spring; 1,9/Canal; N,R/Prince Nov 1 Rosalie Calabrese, Stephanie Rauschenbusch, Jeffery Sugarman, Helen Tzagoloff, Judith Werner November 8 Rita Cumming, Judith Krause, Sue Oringel November 15 Jeanne Marie Beaumont, Claudia Carlson, Howard Levy November 22 Carol Ghiglieri, Sarah Heller, Daniel Lin ========================================================================= Date: Fri, 24 Oct 2003 16:51:14 -0400 Reply-To: olsonjk@delhi.edu Sender: UB Poetics discussion group From: Kirby Olson Organization: SUNY Delhi Subject: Re: Phallic Classicism MIME-Version: 1.0 Content-Transfer-Encoding: 7bit Content-Type: text/plain; charset=us-ascii Karl-Erik -- This was a rich and fascinating document. Also, your info about Defoe and the police procedures of being able to track down the perpetrator of any odcument in exchange for the commercial rights -- an interesting compromise. This whole struggle over rights and the idea of personal property of such a fragile thing as a poem -- and its tensions -- I'm getting quite a bit out of the conversation, but feel the whole history must now be uncovered -- from Defoe forward. But who knows the history, especially as it pertains to poetry? I think no one, and that it is waiting to be written, and that whoever wrote it would be dangerous as they could slant it in almost any given direction and no one could challenge them. Back to the great men theory of history here with Defoe -- he was responsible for so much! The introduction of all kinds of policing, as I recall, is traceable to him. Another figure that I know next to nothing about however. Why was he such a nut about policing and security and so clever about putting the processes into motion? All that's interesting, but I'd rather stay focused on the contemporary issues of copyright concern as they involve poets and their critics, and am still hoping that Paula Speck or one of her friends will kick over a stone with Yvor Winters' name on it, and we'll have the origin of this problem in as clear a document as you have here exposed, with all judgments and comments upon the original judgment attached. Again, I think this document is waiting to be compiled, and again it will be a dangerous person who compiles it, because they will probably be able to create it all practically without a single competitor. -- Kirby Karl-Erik Tallmo wrote: > At 14.15 -0400 03-10-21, Kirby Olson wrote: > >>I don't know anything about the Queen Anne copyright laws. Why did > >>this happen > >>then? she was only Queen for about five years as I recall -- in the early > >>1700s. Is this because of increased production of printing. Who pushed for > >>this new copyright law? > > > > The English printing act of 1662 lapsed in 1695, when the Parliament > could not reach consensus regarding a new law of the same spirit. > This was the end of pre-publication censorship in England, and many > politicians then tried to find some other means to control the flow > of printed information. Robert Harley, Earl of Oxford, was among > those who worked hardest to achieve some new sort of regulation, > especially of newsprint. > > In 1703 Harley saw to it that Daniel Defoe was released from prison. > Defoe argued in articles (commissioned by Harley) for a "moderately" > free press, and suggested a law that demanded that the names of the > author, printer and bookseller appeared on all printed matter. Thus > offenders could more easily be traced. At the same time Defoe says > that such a law would "put a stop to a certain sort of thieving which > is now in full practice in England, and which no law extends to > punish, viz. some printers and booksellers printing copies none of > their own." ("An Essay on the Regulation of the Press", 1704). > > There had for long been a tight link between censorship and copyright > (the old non-statutory license model) and Defoe proposed a kind of > combination of the two where the author's individual responsibility > and protection against unlawful reprinting were included. At this > time there was a big problem among London booksellers to counter the > competition from rural sellers/printers. A bookseller or printer > aspiring after exclusive publishing rights had to have a clearly > defined contracting party, and now the author arose as candidate. > Thus, the view of intellectual property was finally focused upon the > actual creator of the intellectual content, there was much talk about > the "encouragement of learning" etc, a phrase that even found its way > into the title of the Queen Anne act. > > There was not primarily a big concern for the authors that gave rise > to the act, but obviously the parties involved found this to be the > best compromise. Actually, the phrasing in the earlier drafts of the > law was more focused on the author than was the case in the final > code. This is the preamble with one of the omitted passages marked > with **: > > Whereas Printers, Booksellers, and other Persons, have > of late frequently taken the Liberty of Printing, > Reprinting, and Publishing, or causing to be Printed, > Reprinted, and Published Books, and other Writings, > without the Consent of the Authors * thereof, in whom > ye undoubted Property of such Books and Writing as the > product of their learning and labour remains or of such > persons to whom such Authors for good Consideracons > have lawfully transferred their Rights and the title > therein is not only a real discouragement to learning > in generl which in all Civilized Nations ought to > recieve ye greatest Countenance and Encouragement; but > it is also a notorious Invasion of ye property of ye > rightful * or Proprietors of such Books and Writings, > to their very great Detriment, and too often to the > Ruin of them and their Families [...] > > I have uploaded the text of the Queen Anne Act in facsimile here: > http://www.copyrighthistory.com/anne.html > > A good account for the advent of this act is John Feather's article > "The book trade in politics: The making of the copyright act of 1710" > (Publishing History 19 (8): 31-36, 1980) from which I quoted the > omitted passage above. > > Karl-Erik Tallmo > > -- > > _________________________________________________________________ > > KARL-ERIK TALLMO, writer, editor > > ARCHIVE: http://www.nisus.se/archive/artiklar.html > BOOK: http://www.nisus.se/gorgias > ANOTHER BOOK: http://www.copyrighthistory.com > MAGAZINE: http://art-bin.com > _________________________________________________________________ ========================================================================= Date: Fri, 24 Oct 2003 16:04:07 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Chicago Review Subject: William Fuller next week (in Chicago) Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" -Chicago Review- is pleased to announce a reading and lecture by WILLIAM FULLER Thursday, October 30 Reading Classics 10 | 5:30 pm [reception will follow] Friday, October 31 "Restatement of Trysts" [lecture] Wieboldt 408 | 1:00 pm Drawing equally on Buddhist sutras and country blues, William Fuller's latest book, -Sadly- [Flood, 2003], derives compassion from its ironic vision. Quick and sometimes elusive, his poems observe fluctuations in economic markets, the weather, and human consciousness. In the -Chicago Tribune- Maureen McClane has described Fuller's "dense, elliptical meditations," writing that his "luminous images ... consitently marry the cerebral and the sensual." Fuller lives and works in Chicago. nb: Classics and Weiboldt are best accessed from 59th Street just east of Ellis. * * * * * * * * * CHICAGO REVIEW 5801 South Kenwood Avenue Chicago IL 60637 http://humanities.uchicago.edu/review/ ========================================================================= Date: Fri, 24 Oct 2003 17:13:05 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: ALDON L NIELSEN Subject: Re: Wired: The Great Library of Amazonia MIME-Version: 1.0 Content-Type: text/plain my first hint of this came when I ran a search on a name on Amazon (having, as so often, forgotten the title I was looking for) and discovered that Amazon now provides a veritable citation index -- In addition to showing you the available works of the author, they now show you works that cite that author -- a quick glance at my own name shows they're doing a better job than most bibliographies and citation indices I use professionally -- but yes, copyright issues galore -- what exactly are they planning? when I clicked on the URL the article didn't come up -- On Fri, 24 Oct 2003 09:14:44, Ron Silliman wrote: > This article on Amazon's attempt to digitize all the books in its catalog raises all kinds of copyright/access kinds of questions. > > Ron > > ------------------------------------------------------------------------ > > The Great Library of Amazonia > > Jeff Bezos is building the world's biggest digital book archive. It's an info-age dream come true -- and the best way to sell books ever. By Gary Wolf from Wired magazine. > > http://r.hotwired.com/r/wn_story_mailer/http://www.wired.com/news/business/0,1367,60948,00.html > > <<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> "War feels to me an oblique place." --Emily Dickinson Aldon L. Nielsen Kelly Professor of American Literature The Pennsylvania State University 116 Burrowes University Park, PA 16802-6200 (814) 865-0091 ========================================================================= Date: Fri, 24 Oct 2003 17:57:42 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Poetry Project Subject: BPC Rare Event Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit BPC Presents: Poet extraordinaire Jerome Rothenberg and legendary jazz musician Charlie Morrow performing together Saturday, October 25 at 8:00 p.m. at the Bowery Poetry Club (a rare appearance!). Only $8! The BPC is located at 308 Bowery between Houston and Bleecker, NYC See you there! ========================================================================= Date: Fri, 24 Oct 2003 19:04:20 -0400 Reply-To: olsonjk@delhi.edu Sender: UB Poetics discussion group From: Kirby Olson Organization: SUNY Delhi Subject: Re: Wired: The Great Library of Amazonia MIME-Version: 1.0 Content-Transfer-Encoding: 7bit Content-Type: text/plain; charset=us-ascii I couldn't open the link that Ron sent, but I saw this bizarre new thing where they even list references to my work in sentences within other books! It's astounding. Is this an attempt to get more people to look at their site by using it as a reference? I wasn't sure what copyright issues are at stake here, but I find it all rather Frankensteinian -- a freaky development to say the least. -- Kirby ALDON L NIELSEN wrote: > my first hint of this came when I ran a search on a name on Amazon (having, as > so often, forgotten the title I was looking for) and discovered that Amazon now > provides a veritable citation index -- In addition to showing you the available > works of the author, they now show you works that cite that author -- a quick > glance at my own name shows they're doing a better job than most bibliographies > and citation indices I use professionally -- > > but yes, copyright issues galore -- what exactly are they planning? when I > clicked on the URL the article didn't come up -- > > On Fri, 24 Oct 2003 09:14:44, Ron Silliman wrote: > > > This article on Amazon's attempt to digitize all the books in its catalog > raises all kinds of copyright/access kinds of questions. > > > > Ron > > > > ------------------------------------------------------------------------ > > > > The Great Library of Amazonia > > > > Jeff Bezos is building the world's biggest digital book archive. It's an > info-age dream come true -- and the best way to sell books ever. By Gary Wolf > from Wired magazine. > > > > > http://r.hotwired.com/r/wn_story_mailer/http://www.wired.com/news/business/0,1367,60948,00.html > > > > > > <<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > "War feels to me an oblique place." > --Emily Dickinson > > Aldon L. Nielsen > Kelly Professor of American Literature > The Pennsylvania State University > 116 Burrowes > University Park, PA 16802-6200 > > (814) 865-0091 ========================================================================= Date: Fri, 24 Oct 2003 17:24:22 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: kari edwards Subject: West Coast Book Launch for, OPERA In-Reply-To: Content-Type: text/plain; charset=ISO-8859-1; format=flowed Mime-Version: 1.0 (Apple Message framework v552) Content-Transfer-Encoding: quoted-printable ANNOUNCING Reading by: Barry Schwabsky & Eileen Tabios West Coast Book Launch for, OPERA: Poems 1981-2002 (Meritage Press, 2003),=A0 by Barry Schwabsky. Sunday, Oct. 26 7:00 p.m. 3435 Cesar Chavez #327 San Francisco, CA Barry Schwabsky was born in Paterson, New Jersey, and now lives in London.=A0 He is a curator, an editor for several leading art magazines=20= including _ Artforum_, an art/literary critic who writes regularly for the _London Review of Books_, and lecturer at Goldsmiths College, University of=20 London. He is the author of several monographs on contemporary artists, _The Widening=20= Circle: Consequences of Modernism in Contemporary Art_ (Cambridge University Press), and the critically-praised Introduction to _Vitamin P: New=20 Perspectives in Painting_ (Phaidon).=A0 Information about his book _OPERA: Poems=20 1981-2002_ is available at=A0 http://meritagepress.com/opera.htm. Eileen Tabios is a budding hermit in St. Helena, CA.=A0 She has written = or edited 12 books of poetry, fiction and essays since 1996 when she left a banking career for poetry.=A0 Her most recent collection is=20 _Reproductions of the Empty Flagpole_ (http://marshhawkpress.org/tabios.htm).=A0 Forthcoming = is _Menage A Trois With the 21st Century_.=A0 She concocts mischief and=20 mischievous poetics at her infamous blog "CorpsePoetics (Formerly WinePoetics)"=20 which is available at=A0 http://winepoetics.blogspot.com; she doesn't monitor her=20= hits but the Blog is read by "nine million peeps" globally. ************************************************************************ DIRECTIONS: to 3435 Cesar Chavez #327 between Valencia and Mission, on the South side of Cesar Chavez is a parking lot entrance; which when you first enter from Cesar Chavez will be (some) guest parking. Parking in the area (on the street) is not to bad.=A0 Once you have entered the parking lot go to your left past a small printing company and directly behind that (to the west) will be double glass doors. @ left of the Doors is a "buzzer system" press the number 043. someone will pick up the phone and buzz you in. Mass transit. Bart - get off at 24th go south on Mission, (the numbers will get higher) walk 3 blocks, cross Cesar Chavez (there will be a stop light) go right 3/4 of a block, turn left in to parking lot. MUNI- get off @ 27th walk north (the opposite direction the muni would be going from down town) walk one block turn right on Cesar chavez, Cross Delores, Guerrero and then cross valencia, turn right into first parking lot. Buses- on Mission take (going southish)- 14. 14L, 49 (get off at 26th - 1/2 block from cesar chavez - walk south - cross Cesar Chavez=A0 turn right; Valencia - 26 get off just past Cesar Chavez , cross Valencia on Cesar Chavez, turn right into parking lot.. ________________________________________________________________ This is another home reading brought to you by, Taylor Brady, Stephanie Young, and kari edwards. ========================================================================= Date: Fri, 24 Oct 2003 22:29:48 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Wanda Phipps Subject: Wanda Phipps, Joel Sloman & Christina Strong reading in the Boston area MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii; format=flowed Content-Transfer-Encoding: 7bit Hey: If you happen to be in the Boston/Cambridge area, drop by--should be fun--or if you have any friends who live in Boston/Cambridge area pass the word along to them and tell them to make sure to say hi if they come to the reading: READING AT WORDSWORTH BOOKS Featured readings by Wanda Phipps Joel Sloman and Christina Strong Sunday, Oct. 26, 5:00pm WORDSWORTH BOOKS 30 Brattle St. Cambridge, MA Info: (617) 354 5201 http://www.wordsworth.com -- Wanda Phipps Hey, don't forget to check out my website MIND HONEY http://users.rcn.com/wanda.interport (and if you have already try it again) poetry, music and more! ========================================================================= Date: Fri, 24 Oct 2003 22:49:34 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: Alan's exe files (fwd) MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII .exe files at http://www.asondheim.org/portal/ ---------- Forwarded message ---------- Date: Wed, 22 Oct 2003 16:28:46 +0100 From: Morrigan Nihil To: WRYTING-L@LISTSERV.UTORONTO.CA Subject: Alan's exe files god.exe flat roofed and sundrenched. a vagina multiplies on the horizon, towering the apartment blocks. several clitori in hazy blue and hillock green, this could be earth, the urethra shows water. white lips vernix perspective. abyss.exe (large) everything is forked, the two women, the tree, the pipes on the bag, snaked tongued ribbons from the staff, the contentment. the nipple staged as round singularity, an event horizon. america.exe 9/11 date floss, wrackish angle of the building, flagged, marked like a leaning gravestone. hysteria panic worm advances, burgeons, a burst collective bowel pools, layers of screaming distress morph to hard edged white noise. archaea moulded geology spikes out thrusts, except for, except for the ungilded entrance, sleek and smooth. from stage right epileptic modulation progresses, an evolutionary alzheimers. furrows could be browed or ploughed, perhaps a luddite loom or a roll top that's found the edge to infinity. archaea2.exe. fungus. the white glides across the screen like a slow dance with a knife in its hand, obliterating. bark pictures swing furiously, the door shows there's always more behind than in front. i can see how they built pyramids. archaea3.exe look me in the eye, through condensation of convention and steam of subconsious. turn the dial and the radio will tune in to vascillating opinions, see them pattern on their sides, rigid, repeating rhythm, pale cyclical manifestation, this way, that way, a game of tennis with no balls. BUT, as it progresses, the frontier is being pushed. archaea4.exe angular hole, darkness inside. the reach across is a child's fingers, eager to poke, push and explore. perhaps though an old face, folded, a gaping mouth, the intrusion as shadow of death, until it covers and ensures a final silence. archaea5.exe the ovum right of centre. spermatozoa flicking down the screen, anhomogenous flow. the edge is serated, to know a bread knife cut. reaching the bottom of the screen a shark fin dives. vertical marching pillar, the edge of jackboot legs. one blue dot. archaea6.exe tree gap lake. something sets as slowly lids fall shut, but out of the corner the point shuffles forwards. white flicking lines, the consumption of the spider wrapping it's prey in white threads until completely entombed and then consumed, the seeming full blankness at the close, and then the command. archaea7.exe boiler, harsh lines, spikey, like eletrical cable that snaps and flicks white voltage, but also in some ways like those funny thread pictures that people make of yaght sails with nails. the spaces between bursts was unpredicatable, a vicious thrashing, but perhaps that was the rivetting behind that lent a certain eloquent malevolence. disappeared with no end prompt, to leave a certain sense that it had stopped, like electricity and industry just does, tripped out rather than switched. archaea8.exe wounded blue heron, intensity, colour vibration. snow white coverage, flakes as cells, graphically and biologically, a gentle burial. decaying black, life transmogrified into colourless data, where there was everything, now there is nothing. archaea9.exe a finger print of ever decreasing circles. a projection of earth and water. aus.exe severe - but nothing happened. axis.exe turbine, lightglow on shredding. axis<>restart, kill axis ok. evil and then the computer crashed. baby.exe shocked and wide eyed as the white saws cross for the coffin to be made. mirrored through time, facets of everything, obliteration moves like the stampede of tiny feet, and then repetition, of children in speech and the work to keep them, and then childish, watching the clouds join up or thinking of how the continents split. techtonic. ballet.exe hard wired look away, a pirouette frankenstein, but that is you, not her. she smears to decomposing doll, the heart rate monitor freezes and she is sawn in half before becoming a monet tapestry, refracted then disappears. bee.exe glory, holy holy, a biological upthrust, smooth, wreathed like the green man. and then the black onyx, at the heart, the untouchable self, an expansion to obsidian, a scrying, a castration of phallus, ever increasing circles. at first a button and false hallejulah disrupts into a shouted obscured jehova. black turns to brown, button becomes plate, then bowl as depth of concentric circles fools the eye. it creeps like propaganda, becoming one thing and then another, until a maelstrom of your god and my god and their god is an endless vortex. blood.exe nakes to the bones. blood as a string of fairy lights around the heart dancing. brilliant.exe trumpeted, oh brilliance, sounds out it's own future, as a shadow of post apocolypse negativises all achivement. the opera of the damned. gb.exe benevolence bearded, silk lasoos become rolls of barbed wire, gentleness slashed by geometry. glory.exe scaleish music, brown parchment religion, He, He, He, covered quickly by plasticised technology. desire to scratch the surface, to return to what was before, the old reliable of bended knees and prostration. sacrifice replaced by circular arguments. graph.exe woven, looped, visual feel of cobbed corn and pomegranates. lines strike forward while individuals jostle at stage left. we click to advance, as more space is filled it appears things move slower, there is no room to see. hemiptera.exe organic focus is stabbed by a spotlight of vertiginous hold. a face appears, with a beak, it would speak but for the incessant noise. hemiptera2.exe perhaps beetles, technolgy intrudes like a scream. hemiptera3.exe beauty and fragility clings to a tree while the blind worm consumes, leaving nothing but black and absence in the final analysis. hold.exe wide open, to see, to read, to record, but with the screen the carriage returns, in sepia, like an old typewriter. kali.exe crumpled, disgarded, but once activated she can run circles round you with the occasional lightening flash. mourning.exe catacombs, sarcophagi, stacked in blood, attacked by words and the agressive feature force that takes the space. numb.exe she lies with nipples in her eyes while the numbers compute. numb2.exe stripped like film. numb3.exe and now obliterated by the frentics. numb4.exe the colloseum steps disappear under the digital tourists. overlook.exe white ether forms reclines in what could be her shadow, until white noise makes them organs together. pest.exe micro and radio, coming through the air, unseen and deadly, waves of nauseatic abuse disrupt the horizon. pest2.exe and that's the point, they're everywhere, we can't escape, we are targetted by default of our dwelling. plasma1.exe wavebreak, infinite molecules, linked and moving. rust.exe slat, stattern, rhomboid, rhumatoid arthritic cells. scler.exe geology, not always or forever but time expanded. our bodies daily, once grown, are almost static. to us familiar. but there are ice ages, drastic, or cancer, fatal, rapid onsets, magma and plasma. sks.exe a nebulus scan, a history in two parts, physics meets infinity. sks2.exe child frozen for silicon life form, the future points but does not reach. star.exe look to space, not always outer, not for secrets, but to see beyond. a star is born is not necessarily about celebrity. the womb expands, like when the idea for lightbulbs was just a mere abstracted desire and candles were our limit for thousands of years. swoon.exe her careless legs and granite umbilicus. arousal spatters the screen in the shape of her stockings. tz.exe heidegger no kant honestly flickers through a tired eye as the debris after the fact becomes obscured by burgeoning philosophies. umb.exe the apple arse blossoms into petals of numbers. math is possibility. umb2.exe green bulbous meat, well hung and fragrant tasty. victor.exe libidinal shyness is stapled into our consciousness. there are always lines, which ones to cross is a matter of choice. void.exe she has slipped behind. reflective she stands inanimate in action. wall.exe there is nothing except the box, always the framing and the tools to change what you have. wallvoid.exe when something is lost you find something else to cling to. weather.exe sometimes in life it snows, as ever, before trains. word.exe there are rabbits running and dropped stitches. word2.exe in the shade to big fat lines of coke. redo feeds the ad/diction. ========================================================================= Date: Fri, 24 Oct 2003 22:54:07 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: ALDON L NIELSEN Subject: Re: Wired: The Great Library of Amazonia Comments: To: olsonjk@delhi.edu MIME-Version: 1.0 Content-Type: text/plain OK -- even though the URL doesn't seem to work, you can search that site for "ÄMAZON" and the piece will come right up -- worth a quick read On Fri, 24 Oct 2003 19:04:20, Kirby Olson wrote: > I couldn't open the link that Ron sent, but I saw this bizarre new thing where they even list > references to my work in sentences within other books! It's astounding. Is this an attempt to get > more people to look at their site by using it as a reference? I wasn't sure what copyright issues > are at stake here, but I find it all rather Frankensteinian -- a freaky development to say the > least. > > -- Kirby > > ALDON L NIELSEN wrote: > > > my first hint of this came when I ran a search on a name on Amazon (having, as > > so often, forgotten the title I was looking for) and discovered that Amazon now > > provides a veritable citation index -- In addition to showing you the available > > works of the author, they now show you works that cite that author -- a quick > > glance at my own name shows they're doing a better job than most bibliographies > > and citation indices I use professionally -- > > > > but yes, copyright issues galore -- what exactly are they planning? when I > > clicked on the URL the article didn't come up -- > > > > On Fri, 24 Oct 2003 09:14:44, Ron Silliman wrote: > > > > > This article on Amazon's attempt to digitize all the books in its catalog > > raises all kinds of copyright/access kinds of questions. > > > > > > Ron > > > > > > ------------------------------------------------------------------------ > > > > > > The Great Library of Amazonia > > > > > > Jeff Bezos is building the world's biggest digital book archive. It's an > > info-age dream come true -- and the best way to sell books ever. By Gary Wolf > > from Wired magazine. > > > > > > > > http://r.hotwired.com/r/wn_story_mailer/http://www.wired.com/news/business/0,1367,60948,00.html > > > > > > > > > > <<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > > > "War feels to me an oblique place." > > --Emily Dickinson > > > > Aldon L. Nielsen > > Kelly Professor of American Literature > > The Pennsylvania State University > > 116 Burrowes > > University Park, PA 16802-6200 > > > > (814) 865-0091 > > <<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> "War feels to me an oblique place." --Emily Dickinson Aldon L. Nielsen Kelly Professor of American Literature The Pennsylvania State University 116 Burrowes University Park, PA 16802-6200 (814) 865-0091 ========================================================================= Date: Fri, 24 Oct 2003 23:20:11 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: I am getting old, tho I don't want to. MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII I am getting old, tho I don't want to. I am an American fighter in the Irak War, Sergeant Sang-sa. I am not a Sang-sa, I am a Chung-sa. Were you once a Pyong-chang? Yes, but then I was a Ha-sa. A Warrant officer or Chun-wi is not a warrant. Corporal Sang-tung-byong? That is not my name, but my rank. Are there other Sang-tung-byong? Yes, there are other Sang-tung-byong. That is all, Corporal Sang-tung-byong. Thank you, but Sang-tung-byong is not my name. Are you called Sang-tung-byong? Perhaps I am called Sang-tung-byong Corporal. Is Corporal your name? No, I do apologize, but Corporal is not my name. Were you an I-tung-byong, Private? I am not a Private, I am a Corporal. Is a Corporal a Private 1st class? No, a Corporal is not a Private 1st class, because a Corporal is Sang-tung-byong, and a Private 1st class is Il-tung-byong. Were you ever a Petty Officer? Il, I, Sam, Il, I, Sam. I am the Chairman of the Joint Chiefs of Staff. I am called Yon-hap Ch'am-mo Ch'ong-chang and I am in charge of everyone in America. Are you in charge of a Company Commander? I am in charge of a Company Commander, that is to say, a Chung-dae-chang, and a Chung-dae-chang and I have made a flank attack, that is to say, a ch'uk-myon kong-kyok in an offensive, that is to say, a kong-se. Did this occur during the hu-myon kong-kyok, that is to say a rear attack? As the Yon-hap Ch'am-mo Ch'ong-chang or Chairman of the Joint Chiefs of Staff, I made sure this occurred with the proper sa-gi or martial spirit when I made a rear attack during the hu-t'oe or withdrawal. Did you wear a helmet? As an American Join Chief of Staff Chairman, I wore a helmet or ch'ol-mo. Did you use a torpedo or o-roe? Of course I did not use the o-roe in a demilitarized zone or bi-mu-chang chi-dae. Did you not use the torpedo or o-roe during a chak-chon or operation? I did not and I did not have a torpedo or o-roe? You did not have a torpedo or o-roe? Not even the Ch'ong-sa-ryong-gwan or Commander-in-Chief has an o'roe? Not even the Yon-hap Ch'am-mo Ch'ong-Chang or Chairman of the Joint Chiefs of Staff? Not even the Yon-hap Ch'am-mo Ch'ong-Chang. Look, a rainbow or mu-ji-gae! ___ ========================================================================= Date: Fri, 24 Oct 2003 22:10:07 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Andrew Felsinger Subject: Re: Kent Johnson interview In-Reply-To: Mime-version: 1.0 Content-type: text/plain; charset="ISO-8859-1" Content-transfer-encoding: quoted-printable I could not agree more, at least half of me could not agree more, the other half has some questions swirling around the sink hole of these propositions-- That is, I think it may due, in a pinch, to say that each "side", where we to give the political "spectrum" with in the USA "sides", that each, left er right, is an exhibit, unto the other, of a preternatural psychodrama, wherein the other is "lit up" by its own horror, which it imagines exists via the other, toward what is "actually going on." And here we met up with the comment, perhaps playfully given, by Kent Johnson, when he states,"I like to sound like I know what I'm talking about." Here we mee= t ourselves again, like ghosts-- headless horsemen on this hallows eve-- and are lit up by our recognition of that horror, which as a living and breathing specimen should exist, if we are not at last merely managers of the emotive margins we neither adequately understand or control. word out... Andrew > From: Steven Shoemaker > Reply-To: UB Poetics discussion group > Date: Wed, 22 Oct 2003 22:12:48 -0400 > To: POETICS@LISTSERV.BUFFALO.EDU > Subject: Re: Kent Johnson interview >=20 > I like the admonition against reducing poetry to a political "position," > but on the other hand, I'm less sure about the suggestion that we should > "allow our selves to be shocked and lit up by the horror." As that reads > to me, it seems we might run the danger of falling for a kind of facile > poetic sensation or excitement (though who *doesn't* like a little > sensation and excitement in a poem?). And since Kent quoted Oppen I will > too: "They await / War, and the news / Is war / As always / That the juic= es > may flow in them / Tho > the juices lie." Yes, even though they can feel so powerful, so true, so > damn poetic, the juices lie. That's the problem with the adrenaline rush > (I might call it the Baraka problem, but that's another argument) and > perhaps also the trouble with getting all goose-bumpy and "lit up by the > horror." >=20 > Steve >=20 > On Wed, 22 Oct 2003, Geoffrey Gatza wrote: >=20 >> This interview in the current issue of VeRT is particularly good and rin= gs >> out to me in very particular ways. Originally from "Coyote" a Brazilian >> journal that has many fine points, some concerning recent issues present= ed >> here. >>=20 >> http://www.litvert.com/issue9.html >>=20 >> Here's an excerpt >> Q: How do you see the world and the United States after September 11th a= nd >> the war on Iraq? What can poetry do in a world that is increasingly beco= ming >> violent, complex and unpredictable? Is poetry still necessary, or even a >> necessary discourse? >>=20 >> KJ: I have my outward positions, of course, and like most people, I like= to >> sound like I know what I'm talking about. But like most people, too, I'm >> very uncertain about what the world is or where it may be headed. And it >> seems to me that poetry must resist the temptation to assume a defining >> "mission" or "role" in these times when we are all hungering for firmer >> bearings. Perhaps what we need to do, as poets, is plug our deepest rece= sses >> into that great and encompassing uncertainty, fear, paradox, and, yes, d= ark >> comedy of the current conjuncture and just see what happens. Allow our >> selves to be shocked and lit up by the horror. To be transformers, as it >> were. Needless to say, there are as many cords and plugs as there are sn= akes >> in Medusa's head; and there are as many open outlets as there are orific= es >> in Hades. So while we must be bold, we need also, I suppose, to be caref= ul >> and have the polished shield handy! >>=20 >> So I guess I'm saying I'm not sure that poetry can or should aspire to "= do" >> anything, really. To the extent that poetry does do work beyond its gene= ral >> aesthetic circumference, it seems to do so most meaningfully when it rem= ains >> steadfastly what it most "politically" is: an autonomous zone of spirit = and >> conscience, a zone that should be understood by those who enter it as >> multifarious and many-guised, beholden to no ideology of politics or art= . >> Oppen and Zukofsky were onto something not yet sufficiently explored whe= n >> they talked about sincerity as the ground of the art. Too easy to dismis= s >> the concept as a sentimental clich=E9; harder to view and follow one of it= s >> countless paths waiting there. >>=20 >> Auden writes in his elegy for Yeats, >>=20 >> For poetry makes nothing happen: it survives >> In the valley of its making where executives >> Would never want to tamper, flows on south >>> From ranches of isolation and the busy griefs, >> Raw towns that we believe and die in; it survives, >> A way of happening, a mouth. >>=20 >> Perhaps in moments of crisis like we are now in, powerful poetry may rev= eal >> the connections of the "political" to that mysterious "mouth" Auden evok= es. >> Maybe one could say that the poet's "political" task is to show how the >> "Real" is never separate from that dark space. But, well, I guess you ca= n >> see that I am struggling with this answer! >>=20 ========================================================================= Date: Fri, 24 Oct 2003 23:21:04 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: dcmb Subject: Re: review list.. MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit That was David Kirchenbaum I believe. Let us not have these personal attacks responded to on a solely fiirst-name basis. When I got the second note generated by this affair, from Kari,, could not tell whom she thought was to blame. Well it was not me, because I would never lower MM's slef-esteem in this, or any, way. Full names please, in any future personal attacks (and rsponses thereto). Best wishes, David Bromige -----Original Message----- From: kari edwards To: POETICS@LISTSERV.BUFFALO.EDU Date: Thursday, October 23, 2003 9:04 AM Subject: review list.. >apologize.. that was personal... > >kari ========================================================================= Date: Sat, 25 Oct 2003 02:25:20 -0400 Reply-To: nudel-soho@mindspring.com Sender: UB Poetics discussion group From: Harry Nudel Subject: Wired Mime-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Free lit. Free as\ Google was eh? not on my foot note.. ========================================================================= Date: Sat, 25 Oct 2003 03:54:19 -0400 Reply-To: editor@pavementsaw.org Sender: UB Poetics discussion group From: David Baratier Organization: Pavement Saw Press Subject: George Kalamaras: Borders My Bent Toward Comments: To: db MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1; x-mac-type="54455854"; x-mac-creator="4D4F5353" Content-Transfer-Encoding: 8bit George Kalamaras Borders My Bent Toward ISBN 1-886350-62-0 6 by 9, Perfect Bound, 116 Pgs, $12 This authors second book includes poems which first appeared in American Letters & Commentary, American Writing, Asylum, The Bitter Oleander, Caliban, Contact II, First Intensity, Five Fingers Review, Hambone, High Plains Literary Review, Lingo, LIT, The Little Magazine, New American Writing, o.blek (Writing from the New Coast Anthology), Pavement Saw, Rhizome, Sulfur, Talisman, Untitled and Vert. -------- The Sense of Lost It was the sense of lost. An evening of hurt hard enough to stop the begin. He knew it, felt it in the human urge to speak what sulfur might backlash his bit. Right now, for a moment though, he might hold it off. The way the evening sun slants a shadowless. But oh, for once maybe the past might tense up again as if tensing toughened a fist his throat might swallow, no, gulp down knuckle brown to rye. A gallop in his heart heard. A lightning split across his eye. Should he felt it? Bay at it? Blink his massive eyelash as feathery salve? Feel it urge again and find the missing shape shaping there what was and might still? For it could become. But it was over, is over, he knew it, hoped it might sure in his tongue tonguing bits of spilled saliva, sun-dried tomato pesto, flecks of pine nuts that might turn to glass. How might the sound curve back to vowel, shore up and blow apart into a beautifully curved swan, prism- formed and clear? An esophagus bent of red acid eelgrass? Testicular folds? Clitoral elongations into light? A hut the shape of winged throats swallowing reptiles whole yet human? One leg, two legs, at a syntactic, at a full and gallop like missing time? Limbs that might mete out a tail darting sunlit brand across its back for wheat, right there in public, in his most partial poetic yet private? Hear me heard and heave. Give me your lulling ectoplasmic. Give me your tongue in sacred, dead twitching reptile nerve. There was a sense of stop, even before it a sound he heard the subtle stir begin, an evening hurt in the backlash urge to make things whole, more like emptiness, maybe, or a yogic filling sat in vibrationless sound. Still a black wall might darken to white if that’s all there was on the saliva tongue. A healing mouth might lost it in eat to clarify the butter over ancient song, chlorinate, that is, the rippling cleanse center clear through to crisp chameleon vowel, to tender tiny eggs of vast young vaginal testicles, all the way up without drop or become or horse or creamy adult talk or first-throated swans of something smothered but pure: knuckle brown, hot, deep. ----------------- George Kalamaras first poetry collection, The Theory and Function of Mangoes, won the Four Way Books Intro Series Award. He is the recipient of Creative Writing Fellowships from the National Endowment for the Arts and the Indiana Arts Commission. George Kalamaras’s poems turn the poetic process upside down. The result is a poetry that hurtles the reader over the edges of perception and experience. His achievement becomes text as vision, and his visionary completion arrives through the surprise of a magical language. —Ray Gonzalez This new book by George Kalamaras is a fit successor to his prize-winning debut collection, The Theory and Function of Mangoes. Here, in the new book, the sheer abundance and quality of language, the inventiveness, are not usually encountered in today's occasions of poetry. Few collections send us on a journey of such magnitude both Earthy and as a testament to the enduring constellations of love. —Gene Frumkin The poetic world of George Kalamaras is the trickster world, in which identity is never fixed, and anything can become anything else at the drop of an image. It is also the world of the metaphysical visionary and pilgrim. In these brilliant and endlessly resourceful poems, the materiality of language at every moment plays both with and against the spirit’s drive towards transcendence. “Is there a way out of one’s soul?” the poet asks. “I might one day arrive on your stoop, clasping a box of my own thinking dust,” he warns us. And, of course, he does arrive on our stoops, bringing with him not only his own thinking, playing, dreaming, and endlessly seeking dust, but also the gift of a visionary and electrically-charged language. Sometimes unsettling, sometimes profoundly erotic, sometimes dense with broken parts of speech, with syntax wrenched from its predictable order, these poems never do the expected. Their power springs equally from yogic meditation with its search for a dissolution of the self’s boundaries, surrealism with its privileging of irrational and playful juxtaposition as a mode both of discovery and of revolt, and the ancient traditions of riddle and wordplay. This is a global poetry for the 21st century, at home equally with the great meditative traditions of Asia, Europe, and the Americas. —Judith Johnson $12 includes postage to US locations paypal ID: lking13@columbus.rr.com mention which title is being ordered. Be well David Baratier, Editor Pavement Saw Press PO Box 6291 Columbus OH 43206 USA http://pavementsaw.org ========================================================================= Date: Sat, 25 Oct 2003 03:56:46 -0400 Reply-To: editor@pavementsaw.org Sender: UB Poetics discussion group From: David Baratier Organization: Pavement Saw Press Subject: Koeneke Comments: To: db MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Rodney Koeneke Rouge State Winner of the Pavement Saw Transcontinental Award, 2002 ISBN 1-886350-63-9 6 by 9, perfect bound, 72 pages, $12 Winner of the 2002 Transcontinental Poetry Award for an outstanding first book-length collection of poetry or prose The first collection from this San Francisco native includes poems which first appeared in: Can We Have Our Ball Back?, Combo, Mirage#4/Period(ical), Moria, The Muse Apprentice Guild, The San Francisco Reader, The San Jose Manual of Style, Shampoo, and VeRT ------------- #9 Mammogram the bildungsroman, induce dingbat hexameters in the heldentenor’s yeasty Hornitos. Queen Ixnay to the E-bay goes Braxton-Hicks on mother’s bad milk day. Computer’s at last completely stewy— picked up a bug at the honor bar. Citizen Quiggley from the Gun and Doll Commission seeks flap with pointillistic gabardine. Bad weekends for two straight quarters—look inward and talk to the polygraph: Have you grokked Hampton Hawes today? Hey, they were fisting my peoples on the Road to Hematosis. In what woods were you, Goody Hooper? We were mewling lords of power in the Gallery of World Sculpture, waving from the piazza with the rabbi’s seltzer bottle. Come, Selma and scotchguard the rainbow to the john of the Sunset Room. Give us an ‘E’ for unpleasant Effordent. To cry ‘uncle’ in a wartime theater, that Was all our pleasure: to swap knuckles with a gorgeous case of tartar. Yes, we were all feeling Amish. Denver, please bring me my omelet pan and we’ll bang at the congressman’s gams. I have seen the gated community, and it looks a lot like us. Hiss fireworks, steam the Atlantic—green sleestack, be all that. ------------- In Rouge State, Rodney Koeneke puts the blush back on the demotic. His idiomatic montage is a careening screed dictated from a state of alert, all puns intended to turn the hose back on a culture run literally amuck, and whose marquee reads: Raw, Red, Rouge, Incarnadine. Welcome to these states! —Michael Gizzi Mammogram the bildungsroman, induce / dingbat hexameters in the heldentenor’s / yeasty Hornitos.” It’s about time somebody said it. Hornitos was never yeastier, hexameters never dingbattier, the bildungsroman never more mammogrammed than in Rouge State, Rodney Koeneke’s “extensive cruise / across the bruised Sargasso of white male sexuality.” Cannily an(a)esthet(ic)izing the misogynist and orientalist phantasms that are projected on the digital plateaux of its own prosodic bravado, this is how Naked Lunch might have turned out if it had been written by Robert Browning having a sex-change operation. There can be but one sordid bordello of this magnitude, and Koeneke has erected it squarely at the fissure where the simulacral Middle America of Pop Warner and bubble top vans collides with a paracolonial hallucination of Eastern inscrutability inhabited by five-dollar houris and hack oud players. These elegant verses have teeth, and be warned: behind each incisor lurks a Dunciad. —K. Silem Mohammad Rodney Koeneke was born in Omaha in 1968 and grew up in Tucson and Los Angeles. He’s lived in or about San Francisco since 1986. He has published a book of history, Empires of the Mind: I.A. Richards and Basic English in China, 1929-1979 (Stanford UP, 2003) and keeps two beautiful goldfish in high style with his tall wife, Lesley Poirier. Rouge State is his first full-length poetry collection. $12 includes postage to US locations paypal ID: lking13@columbus.rr.com mention which title is being ordered. Be well David Baratier, Editor Pavement Saw Press PO Box 6291 Columbus OH 43206 USA http://pavementsaw.org ========================================================================= Date: Sat, 25 Oct 2003 01:52:13 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: August Highland Subject: N C PERFORMANCE #0002 MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit N C PERFORMANCE #0002 0 0 0 0 N o d N o dN o d e x n y n zn t n M ul t ip r o c e s so r c om p o n e n t s i ts e l f i s a n D c o mp l e x i t C l o C l oC l o c k m ec l o n g r e s r e sr e s o rt eD T a b T a bT a b l e 1: P r o t ot H a s e f e at u r t u rt u r es p r e se N t s a n C o mm u n it y h as F i g F i gF i g u r e u r eu r e 1: S t ru ct u r e I v i s c o m p b o t t l en e c k s T h e s e O f C PU F PU M M U a n D a n i nt e rr u p t t o i d e i d ei d e n I tw t o b ui l D i l Di l D C P U F PU M M U M M UM M U a nD a n i n te r r e r re r r u pt Cl o c k m e c m e cm e c 4 D im en s i n s in s i on a l n a ln a l M es h o f N o de s p r i ce p H a r H a rH a r d w A RR A YE N TI T Y I T YI T Y C O MP E NT I TY M ES H E N TI T Y H A SE C o n C o nC o n s t r u c t s H m e s m e sm e s h e n t e n te n t it y ME S H 4 D l e v e l s O n s ys te m d e ma n D s y s s y ss y s t e m t e mt e m t o s i mp le T h e p hy s i y s iy s i c s o fa b st r ac t io n D e s D e sD e s i gn august highland muse apprentice guild --"expanding the canon into the 21st century" www.muse-apprentice-guild.com culture animal --"following in the footsteps of tradition" www.cultureanimal.com ========================================================================= Date: Sat, 25 Oct 2003 01:56:52 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: August Highland Subject: NODE CIRCUIT PERFORMANCE #0001 MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit NODE CIRCUIT PERFORMANCE #0001 M u l ti D i m D i mD i m e ns io n a o n ao n a l M e sh e s h e sh e s M ES H n D T e m pl a t e a n d a n da n d t o o t o ot o o l s Th e n ex t s i m s i ms i m u l a t i oN o s e d o f a n u m b er o f me mo r y I n o u r h a nd l er t he p h y p h yp h y s ic s A t m u lt i p le i n ou r t h e i n cr e a r e ar e a s i n s i ns i n g H a s H a sH a s e i s a i s ai s a h i e h i eh i e r a r r a rr a r c F i g F i gF i g ur e 1: S tr u c t ur e M e sh i s a i s ai s a N i n st an c e a n D m o d e l d e ld e l l in g o n en t s o t s ot s o f a m u l ti p r o L e v e l s e l se l s u n i u n iu n i t s c o r c o rc o r r ec tl y O f m a tt e r t e rt e r S C U P L BB L K s ci eN t i f t i ft i f i c c o m c o mc o m pu ti ng R eg i s te r s r e gi s t i s ti s t e r s e r se r s r e gi s te rs t h e t h et h e N b e u s e u s eu s e D C i r C i rC i r c u it a n d a n da n d a m em o r m o rm o r y I n h i gh p e r f or ma n c e m o d ul e s t i t t i tt i t ie s C re at e d s y s s y ss y s te m d em a n m a nm a n D p r o gr a m Ar r a y c o ns t ru c t s t h a t a ll o w t h e S e v S e vS e v e r a l b e st B U R G T ai N h un d re d s R e g i st e r t e rt e r s N od e august highland muse apprentice guild --"expanding the canon into the 21st century" www.muse-apprentice-guild.com culture animal --"following in the footsteps of tradition" www.cultureanimal.com ========================================================================= Date: Sat, 25 Oct 2003 05:58:26 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: kari edwards Subject: Re: review list.. In-Reply-To: <007301c39ac0$2c356140$a796ccd1@default> Content-Type: text/plain; charset=US-ASCII; format=flowed Mime-Version: 1.0 (Apple Message framework v552) Content-Transfer-Encoding: 7bit that's k(no caps)ari as in capillary, veering if you prefer, with the idea of nA(replaced with U) meIng . . . I never, I never, on a couple occasions that I can remember and on those occasions it was someone else or along that long line... and would lasso mention personal nAmes..(replaced by a U) and besides it was neither nor 'p.' whatever or both to blame 4 this one... no, my good other than to my left or , is was a mirror sale, a double what was that coming in as a partial mistake or costt cutters benefits... so, lets declare the whoops who don'it b4 you know no and drop the whole dairyer... A kari On Friday, October 24, 2003, at 11:21 PM, dcmb wrote: > That was David Kirchenbaum I believe. Let us not have these personal > attacks > responded to on a solely first-name basis. When I got the second note > generated by this affair, from Kari,, could not tell whom she thought > was > to blame. Well it was not me, because I would never lower MM's > slef-esteem > in this, or any, way. Full names please, in any future personal > attacks (and > rsponses thereto). Best wishes, David Bromige > -----Original Message----- > From: kari edwards > To: POETICS@LISTSERV.BUFFALO.EDU > Date: Thursday, October 23, 2003 9:04 AM > Subject: review list.. > > >> apologize.. that was personal... >> >> kari > ========================================================================= Date: Sat, 25 Oct 2003 12:40:54 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: Confusion MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Confusion It can be shown by straightforward substitution that the curves of parent and daughter activity cross at the exact time that the daughter activity is a maximum. [...] Parent Activity A1. Daughter Activity, A2. I. Fast Daughter, L2 = 10L1, T2 = T1/10 II. Slow Daughter, L2 = .5L1, T2 = 2T1 The first daughter, Th, will grow into secular equilibrium with the U within a matter of days. This is illustrated by the "fast-daughter" (type I) curve of problem 9. After a few days we may consider the Th activity equal to the U activity, and go on to consider how the Pa grows in. (Above from Nuclear Physics, 1949-51, A Course Given by Enrico Fermi.) (Below from current spam.) S.URPRISE YOUR L.OVER TODAY! COVER HER WHOLE FACE WITH C.UM! FULLY DO.CTOR APP.ROVED! L.EARN MORE! 507h1yxq155zbg79vc1419972v6034428d05q997287bmr1k 930t4a03091bx3eu9oc8s320d8h364f62z388ll1e2sny54w j7o686vf4i5x01r852616664 Ain't no way there is a betrothal happening here... Amber is a very cynical person. ptu6af78507h1yxq155zbg79vc1419972v6034428d05q997287bmr1k930t4a03091bx3eu 9oc8s320d8h364f62z388ll1 Ain't no way there is a betrothal happening here...Ain't no way there is a betrothal happening here...Amber is a very cynical person.Ain't no way there is a betrothal happening here... ___ ========================================================================= Date: Sat, 25 Oct 2003 10:27:22 -0700 Reply-To: kalamu@aol.com Sender: UB Poetics discussion group From: Ytzhak Organization: Selah7 http://www.sleepybrain.net/vanilla.html Subject: POV: hip hop literature Comments: To: THCO2 MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit POV: hip hop literature =================== http://www.sfgate.com/cgi-bin/article.cgi?file=/chronicle/archive/2003/10/19/M NGP72ERMV1.DTL 'Hip-hop lit' is full of grit New literary genre emerging from underground authors Rona Marech, Chronicle Staff Writer Charlotte Bowens first spotted a copy of Renay Jackson's "Oaktown Devil" -- a raw, fast-paced, street-talky, violent novel infested with sex, drugs and murder -- at her Oakland beauty salon. But the self-published book with the crudely drawn cover was so popular that Bowens could never get her hands on it, so she went out, bought her own copies of Jackson's four novels and read them all -- several times each. Now she recommends the book to everyone she knows. Such devotion -- especially among African American readers -- has made Jackson an underground phenomenon in and around Oakland, the city he writes about with an insider's eye for the mean and mystical streets. A custodian at the Oakland Police Department by day, Jackson said he has sold about 35,000 copies of his $13 books, largely at independent bookstores like A World of Books in San Leandro, where Jackson is far and away the best-selling author. So far, the corporate book chains have turned up their noses. But that may be about to change. "Hip-hop lit," "urban lit," "street lit," "ghetto lit" -- all terms for this new literary genre -- has exploded in cities across the country, and the publishing industry is taking notice. The genre, which got a big boost from the 1999 publication of Sister Souljah's violent coming-of-age novel, "The Coldest Winter Ever," now accounts for more than 30 percent of the sales at the Black Library Booksellers, which sells African American literature online and at kiosks in Boston. Hip-hop lit runs the gamut from better known books such as Vickie Stringer's "Let That Be the Reason," Shannon Holmes' "B-More Careful," and Teri Woods' "True to the Game" to newcomers with titles that offer a good hint about what's inside the cover: "Thugs and the Women Who Love Them," "One Crazy- Ass Night: A Hardcore Novel," "Revenge: When Nothing Else Works" and "Threesome." "People are stepping out to the forefront, saying, 'This is the music we like, the clothes we like to wear and the books we like to read,' " said Stringer, who co-founded Triple Crown Publications with Holmes after their street-wise manuscripts were rejected from countless publishing houses. Recently, Simon & Schuster signed Stringer and Holmes to six-figure deals, following the runaway success of their first books. Both authors started writing while serving prison sentences. "I was happy to add them to my list for two reasons. They sell. Shannon sold over 150,000 of his first book. Vickie has followed suit with her first," said Malaika Adero, an editor at Atria Books, a division of Simon & Schuster. "And I like the work in the sense that they're good storytellers. And they are writing in the same sensibility as hip-hop recording artists are in that they're writing to this generation. They know what this generation appreciates, what their values are, what the realities of their lives are." As the books gain wider distribution, it's inevitable that they'll reach beyond their core black audience, Adero said -- just as hip-hop music did. "These books, if they haven't crossed over yet, I don't see why they wouldn't, " she said, adding, "Surely there will be an Eminem coming around any day." The so-called hip-hop books can be easily identified: They are page- turners rife with violence, sex and crime; they're often populated by African American characters; they're especially popular among reluctant readers, notably including young, black men; and the language, cadences, subject matter and aesthetic evoke comparisons to hip-hop music. The books also tend to have a following in jail -- authors and merchants say they frequently ship the books to prison addresses and some accept payments in stamps, one of the few currencies prisoners can accrue. Jackson, 44, a relentless salesman, fast talker, former rapper, and a single father to three daughters and a niece, is a prototypical street lit author: He has an irrepressible entrepreneurial spirit, a following in prison, and a need for a good copy editor. He also has a big issue with Barnes & Noble and Walden Books in Oakland, which have refused to carry his series. And, of course, he has the action and the characters, such as evil Buckey Jones, "a fool in every sense of the word . . . not really ugly, you wouldn't want him going out with your daughter either." His bad guys tend to say things like, "dis s -- gone put us on da map, let all dem fools know we ain't ta be f -- wit, y'all wit me?" And female characters are often described from head to toe, as in, "a large woman, her legs were as thick as tree trunks. . . . She had a small waist and large booty which switched from side to side with each step she took." Readers rarely have to wait more than a couple chapters to get to a murder or a racy sex scene. Jackson became a novelist almost by accident. To help his daughter understand descriptive writing for a homework assignment, he composed a paragraph about washing a car on a hot summer day. After his daughter took off, he sat staring at his computer screen for a few minutes. Then, figuring he had nothing better to do, he started to type, sending his car-washing character to Baskin Robbins, where, lo and behold, he met a "phine" woman. Every day after work, Jackson said, he raced home to write more of his story. "By the time I got to chapter four," he said, "I was sitting there thinking: 'I could write a book.' " "I knew I could do this, but not many people believed me," he said. "I didn't know anyone personally who had written a book, especially a fictional novel. If you don't know anyone who's done it, then you don't think you can. You can't picture it." But he purged his life of naysayers -- including a girlfriend who didn't like the idea of investing money to self-publish -- and released "Oaktown Devil" in 1999. The book begins with the very paragraph Jackson had used as an example: "It was a very hot summer day, at least 95 degrees. So hot you could see waves in front of your eyes. After procrastinating all morning I finally washed the car." Jackson said that it wasn't until someone purchased a book and asked him to sign it that he thought, "I guess I'm an author." His first reading was held at the West Oakland branch of the public library, by coincidence, also the first building he had cleaned for the city of Oakland 20 years earlier. Since those early heady days, Jackson has continued to write on a rigorous schedule -- he tries to produce a page a day and has pumped out a book almost every year. "Oaktown Devil" was followed by "Shakey's Loose," "Turf War" and "Peanut's Revenge." "Crackhead," his fifth novel, is complete but not out yet, and he's working on No. 6, "Sweet Pea's Secret." Last year, he won the Chester Himes Award, the top prize at the annual Chester Himes Black Mystery Writers Conference. Jackson, who grew up with eight siblings and a single mom in North Richmond, East and West Oakland, says he mines people, places and events of his occasionally rowdy past for inspiration. "These eyes have seen a lot," said Jackson, who briefly ran with a "hood rat" crowd in Richmond before voluntarily straightening out in high school. "Of course, I make it up. But I know it could be real, because it happens every day. . . . It's my version of what happens in the ghetto. Unlike most people, I'm not outside looking in." Though hip-hop lit in general might seem overly simplified or terribly exaggerated, it's this keeping-it-real quality that fans most frequently say they respond to. "I could relate to it because it's like the stuff going on in Oakland . . . killing for no reason, drugs and turf wars. He understands what Oakland has to go through," Michelle Hang, a ninth grader at Oakland Technical High School, said of "Oaktown Devil." "It's just like picking up the newspaper and finding out what's happening to other people in the community," said Bowens, 47, who now owns a complete autographed set and a reading set of the series. "If you've lived, you've experienced some of the stuff in (Jackson's) books, especially if you're in the black community. It could be someone in your family or someone you know. . . . It's real." Booksellers and librarians have been marveling at the popularity of the books among young, black men -- a demographic group that tends to veer away from novels. "If you read the surveys," said Lloyd Hart Jr., the co-owner of the Black Library Booksellers, "most black males do not read a lot of fiction. " At Oakland High School, librarian Iantha Cooper shrugs it off when Jackson's books disappear and buys more -- occasionally with her own money - - because she's happy to see teenagers so enthused about fiction. "If a boy wants to have the book, let him have it," she said. "Let him have it." "If nothing else," said Clara Anthony, who owns a black bookstore in Baltimore, "it's caused a whole generation to read." Not everyone is enthusiastically welcoming these new literary arrivals, however. "I'm not happy about it because I like good literature. If you don't hone your craft, if don't put effort and energy into honing your craft, it's an insult to writers that do," said Blanche Richardson, the manager of the Afrocentric Marcus Bookstores in Oakland and San Francisco. "I don't mean to be snooty about it, but some of this stuff, you couldn't possibly read. There's a book in here called 'Booty Call.' I keep turning it sideways because I don't want to look at it." Some of the books are so hastily thrown together, she said, that sentences are missing verbs, or the words "their" and "there" are confused throughout, or the errors are so abundant it would be a compliment to call them typos, because "that assumes they know how to spell." Some also object to what they see as the books' uncritical relationship to crime and violence. "The glorification of pimps and ho's -- that bothers me a lot," Richardson said. "That codification of culture which I find demeaning. They truly do glorify street life." Some employees at Alameda County's Juvenile Hall don't like street lit to circulate because they think the books promote criminal behavior, said Jackson, who's been invited to talk to youth there on several occasions. But even Richardson said some hip-hop lit -- and she includes Jackson's books here, though she hasn't read them -- are more sophisticated or more cautionary than others. "Our books are true to hip-hop, but our books have consequences," said Stringer of Triple Crown Publications. "We take them on that ride, but at the end of that ride they crash into a wall. We encourage them not to live like that." The bad guys in Jackson's series also always go down in the end, which some fans say makes the books morality tales, after a fashion. But Jackson doesn't concern himself with those kinds of questions. "I don't try to write for nobody's social conscience or nothin'," he said. "I don't worry about nothin' when I write, I just write. . . . It's, like, fiction. I can say what I want to." E-mail Rona Marech at rmarech@sfchronicle.com. ©2003 San Francisco Chronicle ############################################# this is e-drum, a listserv providing information of interests to black writers and diverse supporters worldwide. e-drum is moderated by kalamu ya salaam (kalamu@aol.com). -- - ___ Stay Strong "Peace sells but who's buying?" Megadeth "This mathematical rhythmatical mechanism enhances my wisdom of Islam, keeps me calm from doing you harm, when I attack, it's Vietnam" --HellRazah http://www.sleepybrain.net/vanilla.html http://awol.objector.org/artistprofiles/welfarepoets.html http://ilovepoetry.com/search.asp?keywords=braithwaite&orderBy=date http://www.dpgrecordz.com/fredwreck/ http://www.lowliferecords.co.uk/ http://loudandoffensive.com/ http://groups.yahoo.com/group/THCO2 ========================================================================= Date: Sat, 25 Oct 2003 15:08:25 -0400 Reply-To: olsonjk@delhi.edu Sender: UB Poetics discussion group From: Kirby Olson Organization: SUNY Delhi Subject: Re: Situationists/Branding/Mafia MIME-Version: 1.0 Content-Transfer-Encoding: 7bit Content-Type: text/plain; charset=us-ascii It occurred to me to bring up the problem of the situationists again, as well as the surrealists, possibly the whole idea of the cenacle posed in Balzac's novels. Which links to the idea of branding, and to the Godfather, and to um, Guy Debord's last book on the mafia, and Mario Puzo's last book on the Borges clan. Is it possible to have a literary group without it turning into a de facto mafia? Or do we simply accept that the mafia is the truest essence of corporate political life, the distilled structure -- and that all of our laughable attempts at fairness are denied by something deep within human nature? I have decided to teach Mario Puzo's novels for the Great Writer class in Spring. I've been haunted by the Godfather films -- even Derrida said in an interview that it's the only film he will watch ovr and over, and when it's on he can't stop watching it. Most of the people who will take my course are hotel management majors, so they may at least stay awake. The first two novels by Puzo were critical successes about Italian immigrants -- nobody much read them. Has anybody on the list read these? The only book I've read was called the Last Don -- very simple sentences, and lousy style, but somehow riveting. I imagine I can stomach reading the rest of it. Guy Debord, the leader of the situationists, the capo, if you will, says in his last book before he was apparently shot in the head by a Mafia set-up, that the mafia is the basic structure of capital. Nobody knows if his death was a suicide, but there was no note, and he was apparently doing research on the mob. And Puzo says that the Catholic church with its popes and armies was the basic structure of the Mafia. Is it also the basic structure of literary life in America? How far have we evolved past baboons? Is the gang still the basic unit? -- Kirby Olson ========================================================================= Date: Sat, 25 Oct 2003 14:29:09 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Harrison Jeff Subject: Rusted Ice Mime-Version: 1.0 Content-Type: text/plain; format=flowed "elsewhere are foggy pasts... no vision's solid" is something you'd write you clicked with the smelly witch's transition rubble-flurried eyes are your Odes again your world is up on its feet in a rotten second Oh the concrete photo is another object now you're a rare Three Stooges Xmas ornament speediness is next to godliness when you're lookin' white around the wallet peek-a-boo is break-away O the mono of whiteness Jeff, I have to tell you the Grecian Urn is hardly a "robbery comb trying sunshine", what were you thinking? and "honey's a squeezing burning"? can you handle poetry? whatever happened to the camera you neglected, the surface you restored? are you still autobiographical? your lines chump belief as Coleridge wrote too much of a good thing, why dress up eyes for a foggy house? don't let them find out you're a millionaire! when will your insurance agent stop lying to me? please tell me you were joking when you threatened to title this "Rusted Ice" instead of "Seventh Missive From Virginia" why did you add "please"? stop putting words in my mouth! "there's an unthinkable abandoned space round Euclid's pants"?! are we on the same page? I remember when you were my father’s rubble man! "Si, Sir Virginius, right away sir!" Appius is a damned name everywhere...."JEFF".... something must've happened to you when you broke into that haunted morgue! "the torso is just the beginning," you'd insist, then make bull-snorting sounds! I knew something was up even then! you just can't grand it up when the boats are burn-headed, not every time, "crevices are cracked"? I should think so! elsewhere are foggy pasts... no vision's solid that sort of beginning's released to be foggy anew _________________________________________________________________ Never get a busy signal because you are always connected with high-speed Internet access. Click here to comparison-shop providers. https://broadband.msn.com ========================================================================= Date: Sat, 25 Oct 2003 19:55:56 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Joe Brennan Subject: Rumsfeld: "Fuck the Rugheads!": Are American GIs Drinking Horse Piss?: Comments: To: frankfurt-school@lists.village.virginia.edu, corp-focus@lists.essential.org, WRYTING-L@LISTSERV.UTORONTO.CA MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Rumsfeld: "Fuck the Rugheads!": Are American GIs Drinking Horse Piss?: Cheney Nears 1 Trillion Dollar Mark. Is Boykin Bonkers? by Pilar du Sel The Assassinated Press Click here: The Assassinated Press They hang the man and flog the woman That steal the goose from off the common, But let the greater villain loose That steals the common from the goose. Constant apprehension of war has the same tendency to render the head too large for the body. A standing military force with an overgrown executive will not long be safe. companions to liberty. -- Thomas Jefferson "America is a quarter of a billion people totally misinformed and disinformed by their government. This is tragic but our media is -- I wouldn't even say corrupt -- it's just beyond telling us anything that the government doesn't want us to know." Gore Vidal ========================================================================= Date: Sat, 25 Oct 2003 21:38:47 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: AMBogle2@AOL.COM Subject: Re: experimental fiction listservs MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit In a message dated 10/19/03 1:04:21 PM Central Daylight Time, ggatza@DAEMEN.EDU writes: > > Hi all, > > Could anyone recommend any experimental fiction listservs > > please backchannel > > Thanks, Geoffrey > Let me know whether you heard from anyone about this. I would be interested, too. Thanks. Ann Bogle (AMBogle2@aol.com) ========================================================================= Date: Sun, 26 Oct 2003 01:49:32 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: five MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII five 30 billion spam messages a day on the net. that's five for every man, woman, and child on earth. therefore i am covering for about eighty 30 billion spams per day of which i receive 80 and if you think of 5 per person re: 30 billion roughly on earth then i am receiving for 16 people. let these 16 be: martha, jim, azure, terrence, johan, ki let these 16 be: martha, jim, azure, terrence, johan, ki 30 billion spams per day of which i receive 80 and if you think of 5 per person re: 30 billion roughly on earth then i am receiving for 16 people. let these 16 be: martha, jim, azure, terrence, johan, ki let these 16 be: martha, jim, azure, terrence, johan, ki - there were also the four tarin quadruplets. but i made an error: of which i receive 400 and not of 80 and therefore i am covering for eighty and not sixteen people, therefore let all sixteen people have quintuplets, i.e. the terrence quintuplets, johan quintuplets, etc. because this connection is already corroded, dare i say DOS attack? syn produces nothing. mailq: /var/spool/mqueue (1 request) ----Q-ID---- --Size-- -----Q-Time----- ------------Sender/Recipient------------ h8KANOX14149 145370 Sat Sep 20 06:23 rocky submit.lBIBiAhPAVEZnsQd@spam.spamcop.net now what is that about? someone is complaining - rocky when we need him. his quintuplets? recently the quintuplet quark states of course - there's a relationship. 10^42 or is it 10^74 spam = quantity of particles in the universe. or is it atoms? how do you measure virtual particles? virtual quintuplets? alan's and azure's : the five: jennifer honey travis julu nikuko 12 months old, born prematurely. it was in all the papers. our spam increased five-fold. we can't go anywhere nowadays. __ ========================================================================= Date: Sun, 26 Oct 2003 00:30:30 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jim Andrews Subject: Re: Situationists/Branding/Mafia MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit That's quite interesting, Kirby. Yes, it seems like literary groups or 'schools' are strongly operative, doesn't it. Yet there are figures like Apollinaire who kept an eye on the work coming from various groups but was not of any of them. There's quite a bit of talk about how there are no 'individual geniuses' these days. Usually from the groups? Whether there are 'individual geniuses' or not, there is such a thing as an independent intellectual, isn't there. ja http://vispo.com Date: Sat, 25 Oct 2003 15:08:25 -0400 From: Kirby Olson Subject: Re: Situationists/Branding/Mafia It occurred to me to bring up the problem of the situationists again, as well as the surrealists, possibly the whole idea of the cenacle posed in Balzac's novels. Which links to the idea of branding, and to the Godfather, and to um, Guy Debord's last book on the mafia, and Mario Puzo's last book on the Borges clan. Is it possible to have a literary group without it turning into a de facto mafia? Or do we simply accept that the mafia is the truest essence of corporate political life, the distilled structure -- and that all of our laughable attempts at fairness are denied by something deep within human nature? I have decided to teach Mario Puzo's novels for the Great Writer class in Spring. I've been haunted by the Godfather films -- even Derrida said in an interview that it's the only film he will watch ovr and over, and when it's on he can't stop watching it. Most of the people who will take my course are hotel management majors, so they may at least stay awake. The first two novels by Puzo were critical successes about Italian immigrants -- nobody much read them. Has anybody on the list read these? The only book I've read was called the Last Don -- very simple sentences, and lousy style, but somehow riveting. I imagine I can stomach reading the rest of it. Guy Debord, the leader of the situationists, the capo, if you will, says in his last book before he was apparently shot in the head by a Mafia set-up, that the mafia is the basic structure of capital. Nobody knows if his death was a suicide, but there was no note, and he was apparently doing research on the mob. And Puzo says that the Catholic church with its popes and armies was the basic structure of the Mafia. Is it also the basic structure of literary life in America? How far have we evolved past baboons? Is the gang still the basic unit? -- Kirby Olson ========================================================================= Date: Sun, 26 Oct 2003 01:06:14 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: August Highland Subject: highland l-a-n-g-s-c-a-p-e-s MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit ***************************************************** SOME VERY COOL NEW HIGHLAND LANGSCAPES AT: ALPHANUMERIC LABS www.alphanumericlabs.com ***************************************************** The title of the new series is: "Why I Love Venice Calif." click on "venice, ca." On exhibition are #001-025 from a series of 500 works ***************************************************** www.alphanumericlabs.com --"language is a style statement" ***************************************************** Alphanumeric Labs is a creation of Culture Animal Productions www.cultureanimal.com --"following in the footsteps of tradition" ***************************************************** august highland muse apprentice guild --"expanding the canon into the 21st century" www.muse-apprentice-guild.com culture animal --"following in the footsteps of tradition" www.cultureanimal.com ========================================================================= Date: Sun, 26 Oct 2003 09:34:22 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Joe Brennan Subject: Recall the GOVERNATOR Comments: To: frankfurt-school@lists.village.virginia.edu, corp-focus@lists.essential.org, WRYTING-L@LISTSERV.UTORONTO.CA MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Click here: Recall the GOVERNATOR The inevitable counter punch to the great grope dope..... They hang the man and flog the woman That steal the goose from off the common, But let the greater villain loose That steals the common from the goose. Constant apprehension of war has the same tendency to render the head too large for the body. A standing military force with an overgrown executive will not long be safe. companions to liberty. -- Thomas Jefferson "America is a quarter of a billion people totally misinformed and disinformed by their government. This is tragic but our media is -- I wouldn't even say corrupt -- it's just beyond telling us anything that the government doesn't want us to know." Gore Vidal ========================================================================= Date: Sun, 26 Oct 2003 17:55:23 +0100 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Karl-Erik Tallmo Subject: Re: Phallic Classicism In-Reply-To: <3F9990C2.CDC1C167@delhi.edu> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" > >All that's interesting, but I'd rather stay focused on the >contemporary issues of >copyright concern as they involve poets and their critics, and am still hoping >that Paula Speck or one of her friends will kick over a stone with >Yvor Winters' >name on it, and we'll have the origin of this problem in as clear a >document as >you have here exposed, with all judgments and comments upon the >original judgment >attached. Again, I think this document is waiting to be compiled, >and again it >will be a dangerous person who compiles it, because they will >probably be able to >create it all practically without a single competitor. > >-- Kirby > Yes, but I am not so sure we need more. Documents already exist. Both national law, for instance the US Copyright law that Paula quoted, and international agreements such as the Berne convention have the exception in authors' monopoly called fair use or fair dealing, which includes correctly attributed quotations of published works. I think the rest is just people trying to pull a scam and thus actually trying to violate the copyright legislation. So, still, if we could come up with an actual case where the plaintiff has won, this would be truly remarkable. The burden of proof is on their part - not on our part, who are using quotation for critical purposes. Karl-Erik -- _________________________________________________________________ KARL-ERIK TALLMO, writer, editor ARCHIVE: http://www.nisus.se/archive/artiklar.html BOOK: http://www.nisus.se/gorgias ANOTHER BOOK: http://www.copyrighthistory.com MAGAZINE: http://art-bin.com _________________________________________________________________ ========================================================================= Date: Sun, 26 Oct 2003 09:08:38 -0800 Reply-To: Ytzhak@telus.net Sender: UB Poetics discussion group From: Ytzhak Organization: Selah7 http://www.sleepybrain.net/vanilla.html Subject: Once Again... MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Shine or grill them focus The Moon fixed on crescents Ummah on the night of their visions Vanilla primitive A Viking striped bare pon his invasion I crush you to completion I’ll scratch your back with the Nextmen Loco in my ese Mi vato calo Holla Simone!!! Snuggle your pleasure under blankets Fact to face um Mano y mano Cara ya cora Yo dude! I’m on it No intimidation in what you feelin Wrapped in garments Dangle from coat hangers Disembodied Limbs Hallucinations Crawling Rapping silks of you package For a requiem Last exits for lyrics Blowin bullets Run a finger along your 5th column Spankin bad poets Making bards hard Cocktails and harpers Hanif and prophets Vessels held in recordable cylinder Loudspeakers for transmuting All of His message Come fuse it Boom We are two spirits Zom dom boom Come pound it to a single Dom boom zig/zig 4 to 5 degrees zooom bop dom Per minute Aaaaaaaah tchooc click, dom My Injinn races 2003 Lawrence Ytzhak Braithwaite (Lord Patch) -- ___ -- - ___ Stay Strong "Peace sells but who's buying?" Megadeth "This mathematical rhythmatical mechanism enhances my wisdom of Islam, keeps me calm from doing you harm, when I attack, it's Vietnam" --HellRazah http://www.sleepybrain.net/vanilla.html http://awol.objector.org/artistprofiles/welfarepoets.html http://ilovepoetry.com/search.asp?keywords=braithwaite&orderBy=date http://www.dpgrecordz.com/fredwreck/ http://www.lowliferecords.co.uk/ http://loudandoffensive.com/ http://groups.yahoo.com/group/THCO2 ========================================================================= Date: Sun, 26 Oct 2003 09:10:17 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: kari edwards Subject: take a a read... In-Reply-To: <5570C1B0-03D1-11D8-96A1-003065AC6058@sonic.net> Content-Type: text/plain; charset=US-ASCII; format=flowed Mime-Version: 1.0 (Apple Message framework v552) Content-Transfer-Encoding: 7bit recently I did a reading of my new book iduna.. and I was stunned when I received in my email a link to Eileen Tabios (a most brillant poet) blog review just a few days later.. and and touched... take a a read.... kari check it out http://winepoetics.blogspot.com/ ========================================================================= Date: Sun, 26 Oct 2003 17:37:08 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: George Thompson Subject: code poems & keyboard art In-Reply-To: <20031026040528.DFTY21337.mta1.adelphia.net@acsu.buffalo.edu> MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit I have a student who is interested in code poems and keyboard art. I would like to steer him toward good website samples, Alan Sondheim's, for example. Would you all be so kind as to send some other recommendations? Thanks, George Thompson ========================================================================= Date: Sun, 26 Oct 2003 19:34:58 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: Re: code poems & keyboard art In-Reply-To: MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII You could send him to the archives of nettime - the Unstable Digest, which is edited by Florian Cramer, Beatrice Beaubien, and myself; there's also the work of mez online. Solipsis and many others are on the wryting email list; if he wants to sub, send me his email address. There is also a lot of work on the arc_hive and syndicate email lists; on the latter, the work of nn is often to be found. Solipsis (Lanny Quarles) has a website as well. The best thing to do re: the above, is to use google; a _lot_ will show up. You might also look at the old ascii art newsgroups, also available through google. - Alan On Sun, 26 Oct 2003, George Thompson wrote: > I have a student who is interested in code poems and keyboard art. I would > like to steer him toward good website samples, Alan Sondheim's, for example. > Would you all be so kind as to send some other recommendations? > > Thanks, > > George Thompson > http://www.asondheim.org/ http://www.asondheim.org/portal/.nikuko http://www.anu.edu.au/english/internet_txt Trace projects http://trace.ntu.ac.uk/writers/sondheim/index.htm finger sondheim@panix.com ========================================================================= Date: Sun, 26 Oct 2003 20:27:03 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Steven Shoemaker Subject: Kent Johnson interview Comments: cc: Kent.Johnson@highland.edu MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Kent sent me a reply to my recent post. I'm pasting his response at the bottom of the message. Kent--Thanks for the interesting clarification. The first couple of sentences seemed like something I might be able to agree with, but you lost me again with the "scary haunted house" metaphor. I was reminded of Duncan's opinion of the comparison of poetry to a game of tennis (Frost): "Frost is right in his sense that the meters and rimes of regulation verse have a counterpart in the rules, marked areas of the court, and net of the tennis game...But, for those who see life as something other than a tennis game, without bounds, and who seek in their sciences and arts to come into that life, into an imagination of that life, the thought comes that the counterpart of free verse may be free thought and free movement. The explorer displays the meaning of physical excellence in a way different from that displayed by the tennis player." Agreeing with Duncan, I don't really think poetry should be a game like tennis (though I like tennis quite a lot) & I don't think it should be a scary thrill ride either. "The horror" is not a game. Steve -------------------------- Kent wrote: Steve, I saw your comment at Poetics. Nice to have your response. I guess I'd put my point differently there now if I could, but I didn't at all intend to imply that we should allow ourselves to become glibly enthused by the horror and write silly, incoherent things, or something. Rather, that poetry also might have the function of showing the horror and insanity of the moment without refracting it in well-rehearsed ways through prior ideological screens (and not that such refracting isn't absolutely apropos and necessary). To make the poem a scary haunted house ride, all ideologies admitted, so to say, rather than hold the poem to a "position," whether the position be traditionally or experimentally proffered. (though, again, these approaches have their key roles, too.) A big topic, of course, and in the case of that section my comments are impressionistic, to say the least, so your take is somewhat understandable. But just wanted to send you this little "clarification" for what it may be worth. Feel free to share this with the list, if you think it would be appropriate. ========================================================================= Date: Sun, 26 Oct 2003 18:29:52 -0700 Reply-To: derek beaulieu Sender: UB Poetics discussion group From: derek beaulieu Subject: mimeo supplies? MIME-Version: 1.0 Content-Type: text/plain; charset="Windows-1252" Content-Transfer-Encoding: quoted-printable hey ya'll; i just recently acquired a Gestetner 105 (mimeograph machine), which = will be a nice compliemnt to housepress im sure - if i can figger out = how to use it, and where to find stencils and ink. I plan on getting the = machine set up and working and then allowing it to be used by small = pressers and such thru-out calgary, as part (eventually) of a = printing/publishing studio. does anyone out there in buffalo listserv land use a gestetner = anymore? any suggestions where i can find supplies (ink and stencils) or = manuals, etc? any help would be greatly appreciated! thanks derek derek beaulieu c/o housepress apt 205, 321 10th st NW calgary alberta canada t2n 1v7 403-234-0336 derek@housepress.ca ========================================================================= Date: Mon, 27 Oct 2003 01:40:07 +0000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Brett Shell Subject: Re: experimental fiction listservs MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit Hi all - Can anyone recommend any film crit/theory listserves? Please backchannel. Best - Brett P.S. - Any Seattlites out there who can recommend a reading series or up-coming events? ========================================================================= Date: Sun, 26 Oct 2003 21:51:48 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: of MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII of [;r[;H"it's evening here after everything has closed down. it's iBudi infinite evenin[;r[;H g[;r[;H. i would write incandescent beauty. i would write [;H:[;Hgreat white wings[;r[;H [;r[;H[;r[;H You say, "it's evening here after everything has closed down. it's iBudi infinite evening. i would write incandescent beauty. i would write great white wings"[;r[;H"and their darkling sounds luminous in the evening pondfires. i'd write iBedi g[;r[;H o[;r[;Hssamer and [;H:[;Hi'd write softly the quill distanced from my hands[;r[;H [;r[;H[;r[;H You say, "and their darkling sounds luminous in the evening pondfires. i'd write iBedi gossamer and i'd write softly the quill distanced from my hands"[;r[;H"the quill writing on its own and my thoughts[;r[;H [;r[;H[;r[;H You say, "the quill writing on its own and my thoughts"[;r[;H"your guide and delivera[;H:[;Hnce[;r[;H [;r[;H[;r[;H You say, "your guide and deliverance"[;r[;H"iBudi iBuda your thoughts gossamer and mine &[;r[;H [;r[;H[;r[;H You say, "iBudi iBuda your thoughts gossamer and mine &"[;r[;H"can you hear it? can you hear it?[;r[;H [;r[;H[;r[;H You say, "can you hear it? can you hear & will you answer? will you answer?[;r[;H [;r[;H[;r[;H You say, "& will you answer? will you answer?"[;r[;H"[;r[;H [;r[;H[;r[;H Please enter your statement and hit return.[;r[;H" [;r[;H [;r[;H[;r[;H You say, "" "[;r[;H" [;r[;H [;r[;H[;r[;H Please enter your statement and hit return.[;r[;H" "[;r[;H [;r[;H[;r[;H You say, "" ""[;r[;H" "[;r[;H [;r[;H[;r[;H Please enter your statement and hit return.[;r[;H" "[;r[;H [;r[;H[;r[;H You say, "" ""[;r[;H[;H:[;H"of the infinite of the atmosphere of warmth[;r[;H [;r[;H[;r[;H You say, "of the infinite of the atmosphere of warmth"[;r[;H" "[;r[;H [;r[;H[;r[;H Please enter your statement and hit return.[;r[;H" "[;r[;H [;r[;H[;r[;H You say, "" ""[;r[;H"of the temperature of the body and the flowing of ink and the quill[;r[;H [;r[;H[;r[;H You say, "of the temperature of the body and the flowing of ink and the quill"[;r[;H"of[;r[;H [;r[;H[;r[;H You say, "of"[;r[;H[;H:[; ========================================================================= Date: Sun, 26 Oct 2003 23:08:47 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Sarah Morgan Subject: Electronic Poetry Center Links MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Dear Poetics List, I am working on updating the links at the Electronic Poetry Center = (http://epc.buffalo.edu/connects/). We have identified a number of bad = links. If you have information on new URLs for any of these listings, = please contact me BACKCHANNEL at scmorgan@sas.upenn.edu. Sarah Morgan Bathurst Street Press (yesic.com not found) Caffeine (goes to hallucinet.com/index, not /caffeine) CybeRhyme (switchmag.com does not work) Cyber Poetry Gallery (not available on this server) Disturbed Guillotine (not found) Dreamtime Talkingmail (not found) Eclectic Library Forum/ Buffalo (wrong or outdated link) Hellas Mass Ave./ Boston (could not be found) New Digressions (not available on this server) New Music and Poetry Clearinghouse (angelfire couldn't find the site) Recursive Angel/ Fishkill, NY (website not found) Rhizome/ Los Angeles via LA Books (not found) Outlet (not found) Prepositions.Net (forbidden, you don't have permission to access on = this server) Pyrowords (does not exist anymore or has changed sites) Ribot/ Los Angeles via LA Books (not found) School of Continuation (could not find on www.nyspp.com) Situation (gwis2.circ.gwu.edu not found) The Spectra (not found) What Web?! (yahoo.com could not find site) Whistle Press (www.whistle.org not found) Windhover On-Line Journal (instress.com not found) Xenia: A Review of Digital Literature & Art (netster.com could not = find site) ========================================================================= Date: Mon, 27 Oct 2003 03:54:53 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Scott Pound Organization: Bilkent University Subject: help with a source MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable I'm trying to find the source for this statement by John Berger: "Words are a presence before they are a means of communication." Any leads b/c would be greatly appreciated. Scott ________________________ Scott Pound Assistant Professor Department of American Culture and Literature Bilkent University TR-06800 Bilkent, Ankara TURKEY +90 (312) 290 3115 (office) +90 (312) 290 2791 (home) +90 (312) 266 4081 (fax) pounds@bilkent.edu.tr ========================================================================= Date: Mon, 27 Oct 2003 03:04:29 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jim Andrews Subject: Situationists/Branding/Mafia ~ FW: Artistic autonomy and the communication society MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit -----Original Message----- From: nettime-l-request@bbs.thing.net [mailto:nettime-l-request@bbs.thing.net]On Behalf Of Brian Holmes Sent: Sunday, October 26, 2003 1:06 PM To: nettime Subject: Artistic autonomy and the communication society Following is the text I read in one of those rather disagreeable places to which art circles sometimes lead you. This time, the Tate Modern. The conference, held this Saturday October 25, was called Diffusion: Collaborative Practice in Contemporary Art. Also present were Bureau d'Etudes, Francois Deck, Eve Chiapello, Jochen Gerz, Stephen Wright, John Roberts, Charles Green, and others. Important to the understanding of the gesture involved in reading such a text in a place like Tate Modern is the visual material, beginning with the photo of Jack Lang and Fidel, moving through the screen captures on the Tate's corporate patronage, with the British Petroleum adverts and so forth, and leading to the press clippings of the mounting British troop committments in Irak, and the photos of "the society of leaders": Blush and Blair, Bush and Chirac, Bush and Schroeder, Bush and Berslusconi, Bush and Aznar, Bush and Bush... Then you would have further material on the marginal realms of protest and "exit," and finally, on the NSK project discussed in conclusion. The aim of these kinds of interventions is to break the long-discredited, but still practically imposed taboo on publicly discussion of the social relations that lie behind "our" cultural institutions, which, in the case of museums like the Tate Modern, have clearly almost nothing to do with former conceptions of the public sphere, and in no way support "free cooperation." To the extent that these institutions ultimately depend on a far wider circle of participants than the ones they objectively serve, maybe there's still some interest in this kind of straight talking. And beyond the aspect of denunciation, there is the question: in addition to the diffuse crativity of protest, what is a strong ambition for concentrated art today? best, Brian *** Artistic Autonomy and the communication society Among my various collaborations with Bureau d'Etudes there is this one-off journal or fanzine called "Artistic Autonomy - and the communication society". This project was born out of the desire to create what seems almost non-existent in the French language: a debate about the means, results and ends of artistic practice, independent from the categories established by the state and the market. Why talk about autonomy when the major thrust of experimental art in the sixties and seventies was to undermine the autonomous work? This is the question that always arises when you speak with those for whom the institutional discourses still seem to matter. Indeed, the university careers that have been made by refuting Greenburg, by deconstructing the totality of the white male Kantian subject, and by critiquing the closure of the artistic frame are seemingly infinite. And the same holds for the paradoxes that invariably arise when mechanically reproduced works or slices of everyday life are presented in the singularizing spaces of the museum. Sometimes you wonder if the members of the art establishment are not afraid to draw the conclusions of their own ideas. Yet if one truly abandons the notion that an object, by its distinction from all others, can serve as a mirror for an equally singular and independent subject, then the issue of autonomy becomes a deep existential problem, just as it was in the 1910s, 20s and 30s, when the whole debate arose. Because for those without a substitute identity - for those without a passionate belief in their blackness, their whiteness, their Jewishness, their Muslimness, their Communistness, their Britishness or whatever - the condition of existence in the communication society, that is, the awareness that one's own mental processes are intimately traversed or even determined by a flood of mediated images and signs, is at first deeply anguishing, then ultimately anesthetizing, as the postmodern "waning of the affect" sets in. We work always under the pall of this postmodern anesthetic. No doubt there are thousands of exciting ways to make artworks where the question of autonomy is not at issue. But there is some doubt as to whether any of these ways of art-making can be called political. Does politics, in the democratic sense at least, not presuppose that one is somehow able to make a free decision? That one is not blindly driven by a determining, heteronomous force, whether of pain or pleasure? What does it mean to make an artistic decision? And what happens when that decision is collective? How can the sensible world - that is, the world composed by the senses, the intellect and the imagination - be reshaped according to what Fran=E7ois Deck would call a "strategy of freedom"? The stakes of autonomy are revealed by the etymology of the word, as has been pointed out by the political philosopher and psycho-analyst Cornelius Castoriadis. "Autos" means self and "nomos" means law. Autonomy means giving yourself your own law. But men and women are social beings; we only exist as "ourselves" through the language of the other, through the sensations of the other; and what is more, this shared language, these transiting sensations, are bound up in the uncertainty of memory and forgetting, the incompleteness of perception, the willfulness of imagination. Thus the attempt to give oneself one's own law becomes a collective adventure, as well as a cultural and artistic one. For it is the very essence of clear consciousness to recognize that we human beings are full of obscurity, of unresolved personal and even historical passions, of half-understood images and enticing forms that we constantly exchange with one another, so that the process of giving ourselves our own laws becomes something quite complex, something experimental and experiential, which can never be resolved once and for all, but only cared for and ushered along in manifold ways, among which we find the arts - those supreme combinations of sensation, intellect and productive imagination. In fact it is exactly at this point that freedom appears as an uncertain strategy among the multitude, because it cannot be reduced to a univocal decision by the one. And in this way, collective autonomy becomes a question both of individual or small-group artistic production, and of large-scale cultural policy. My belief is that you can only have a real democracy when a societal concern with the production of the sensible is maintained at the level of a forever unresolved but constantly and intensely debated question. This is why I like to work with Fran=E7ois Deck - because he has developed a method, a kind of artistic trick, that allows him to explicitly bring the sensible world into collective questioning. What we really need to do is to spend a lot more time asking each other whether our cultural fictions - our architecture and our ideas, our hierarchies and ambitions and loves - are really any good for us. And to do that, we need to propose new fictions, to shake up the instituted imaginary with what Castoriadis calls the "instituting imaginary." We need to engage in desymbolization and resymbolization, in what Bureau d'Etudes calls "the deconstruction and reconstruction of complex machines." This is the way that artistic practices can affect reality. So I'm saying that art can be a chance for society to collectively reflect on the imaginary figures which it depends upon for its very consistency. But this is exactly where our societies are failing. I think we're looking at a disaster. To show you the extent of it, and the degree to which it calls for a reinvention of artistic autonomy, I want to use two examples. One is a programmatic sentence from the former French culture minister, Jack Lang. And the other is the concrete reality of a major British museum. These two examples will give you, I hope, a fairly precise idea of what I mean by the communication society, and of why it is necessary to conceive artistic autonomy against the background of the really existing institutions of communication. Jack Lang is one of the great socialist managers of people's minds, one the architects of artistic, the people who channel it and control it over time. I can't imagine a better photograph of him than this one, standing with Fidel Castro in front of the Mona Lisa. In 1983, the year that French socialism abandoned its collectivist utopia and the long economic crisis began, Lang came out with this slogan: La culture, c'est les po=E8tes, plus l'=E9lectricit=E9. "Culture is the poets, plus electricity." "This kind of mesmerism is a constant in his conception of art," writes a French critic (Philippe Urfalino). For Lang, "Culture is an economic weapon because it can change mentalities, and because the crisis is not just economic, but also a crisis of the mind. The power of creativity is to elicit agitation, movement, to transform energy into labor." A lot of very interesting ideas have been developed about the liberating potential of creative work, what is called immaterial labor. But Jack Lang, like Chris Smith in Britain, is the state's great visionary of immaterial labor. And this means that he wants to functionalize it, to manage it, to give it a productive discipline. The idea for Smith is literally to map out our sensations from above, to establish a "Creative Mapping Document" that will productively channel our aspirations into a thousand variations on the advertising industry. And the irony is that this central planning of the spirit reaches back to another would-be architect of humanity: Lenin, at the Congress of Soviets in 1920, who said: "Communism is Soviet power, plus the electrification of the entire country." So which will prove stronger: poetry or electricity? Which proved stronger in the past: the radical democracy of the workers' councils, or the industrial discipline of electrification? The Tate Modern is the living allegory of these histories. It's a former electric power plant, a pure product of the meeting between the bureaucratic state and capitalist industry. This was a place for discipline, for the total control of a workforce. It's a mausoleum, a tomb, which the party cadres of New Labour have turned into a tourist attraction, a kind of crystal palace of globalization. It can be illuminated, electrified in its turn: so the tomb of the working class is made into a glittering artwork. Poetry meets electricity. And the Tate Modern also has a constructivist, Tatlinesque bridge that connects it directly to the heart of the City, as a public service for the financial district. It's important to admit what this kind of neoliberal institution is built on. Its corporate sponsors are the heart, not just of British but of Imperial capitalism: Barclay's plc, Europe's largest institutional investor; Lloyds, the world's largest insurance company; British Telecom, one of the backbones of the communication society, a top advertiser and now the great British art patron; and finally British Petroleum, I mean "Beyond Petroleum," planting the sunflower seeds of the future in your head. For corporations like these, creating belief, manipulating desire, and maintaining the anesthesia of the public is the most important production. And these companies now actively use the world of art, they make museums into private universities, like Bloomberg's holding seminars for its executives on Level 7, as a way to stimulate their energy, their experimental faculties, their virtuosity in the manipulation of abstract figures. Yes, in this sense, and far more than in the days of the situationists, art is the ultimate commodity, it's the one that sells all the rest. Because it mobilizes you, it plugs you into a communications loop, it gets you to adhere, to commit, to do your part, to play your role, to burn the midnight oil, it makes you part of a dynamic society. It makes you part of a society of leaders. What kind of attitude to take, when you know how tightly an institution like the Tate is integrated to what Bureau d'=E9tudes has identified as the financial core of transnational state capitalism? One thing is sure: the old strategy of forming a collective as a way to get into the museum becomes absurd. That much has been proved by the submissive posturing of a group like etoy, which endlessly reiterates the forms of corporate organization, from head-hunting rituals all the way down to the display of self-infantilization. The collaborative art of etoy only restates the painfully obvious: that the values of transnational state capitalism have permeated the art world, not only through the commodity form, but also and even primarily, through the artists' adoption of management techniques and branded subjectivities. It is in this sense that contemporary capitalism has absorbed the artistic critique of the 1960s, transforming it into the networked discipline of "neomanagement," as Eve Chiapello says in her work, or into the opportunism of what I call "the flexible personality." One response to all of this is - exit. It has been possible to shift the work away from objects, and outside of the immediately normative network, into marginal realms of protest and opposition whose consistency and sustainability over time becomes the key issue. Yet in my opinion, this exit into the margins is still intimately and paradoxically intertwined with the communication society. We all know very well that the Internet, whose hardware has been built by industrial corporations close to the financial core, is currently the single most integrative system there is. It is what I call an Imperial infrastructure. And it acts as an ideological state apparatus, in the Althusserian sense, but on the scale of transnational capitalism: it hails you, it connects to you and gives you an IP number; it interpellates you into Imperial ideology. In this way it exterts its deterritorializing effect, it transforms populations according to the requirements of capital, configuring the global division of labor. But at the same time, by simultaneously increasing the levels of both alienation and communicational agency, it has made possible new territorializations, new social and political formations, which reopen the questions of class composition - and therefore, the possibilities of a new kind of class antagonism, outside the communist and workerist frameworks that date back before the time of Lenin. The last few years have offered a multitude of opportunities for artists to work outside the established institutions, and off the traditional mental maps, in order to experiment, to create and distribute farflung new imaginaries. We have seen many new inventions. And it has also been possible, with difficulty of course, to raise the level of threat, and to help provoke a crisis of legitimacy, through the complex practice of a self-dissolving, carnavalesque violence which has been both useful and necessary. These practices, as insufficient and rapidly outdated as they may be, have had the enormous advantage, for people involved in art and activism, of constituting positions from which to speak, positions at once distinct from and connected to the larger social landscape. They have given real meaning to another one of the collaboration projects I'm involved in, which is the attempt to define the communicative, collective, reciprocal and mutually sustaining individuation of the Multitudes. The proof of all this can be found in France today. Why have the themes we developed in our little fanzine, Artistic Autonomy and the communication society, become real issues in France? Not because people read our texts! Rather because the owning class, the bosses' union, has directly attacked part-time theater and cinema workers, restricting their welfare benefits in a bid to discipline and functionalize their production. And a wide range of people have begun responding collaboratively, by targeting specific functions of the communication society, which are suddenly made to appear as illegitimate, and which are even branded with their illegitimacy. On Saturday, October 18, group of these part-time performers broke into the major machinery for the production of the collective imaginary, interrupting a prime-time broadcast called "Star Academy" and unfurling a banner that read: "Shut off your TVs." Throughout the week before that, a networked movement had arisen to deface the advertisements that pollute the public space of the metro. These actions constitute a live reflection on our collective fictions, on the instituted imaginary of the current neoliberal system. And this kind of symbolic violence, practiced collectively in the open air and raised to a level of engaged reflection on what we want our society to become, is a far more interesting collaboration than anything I have yet seen in a museum. Mind you, I don't want to make exaggerated claims: these actions amount to almost nothing at all, compared to the problems arising in the world today. But they show an awareness of key issues in the search for collective autonomy. If we want to regain any chance to turn collective reflection into positive action, then we must make the production of the collective imaginary into an open question again. Only in this way can we stop the pollution of our minds, by gaining some kind of control over the means of distribution. Shall we then just abandon the museums? My position is that they can be occupied just like any other distribution mechanism within the communication society - and they should be occupied, in an uncompromising way, so as to generate not just debate, but conflict over how they are run and what they stand for. But there's an even more important question, which is this: Shall we abandon the historical practice of experimental art, as it emerged from its last metamorphosis, in the period around 1968? Is this kind of art fatally involved with neomanagement, or completely permeated by the opportunism of the flexible personality? I'd like to close with a reference to a group of artists from another place and epoch, who were not seeking to exit the museum, nor even the communication society, but who created a theatrical and conceptual fiction in a bid to reflexively transform the authoritarian state - which in their view had appropriated and distorted the avant-garde artistic tradition. I'm talking about the Slovene art group NSK, or Neue Slowenische Kunst, and particularly about their project , "The State in Time." I will read from their texts: "In the year 1991 NSK has been re-defined from an Organisation to a State. A state in time, a state without territory and national borders, a sort of "spiritual, virtual state". It has issued an original NSK passport and everybody can become its holder and therefore a citizen of the NSK State. The Passport can be used creatively, also as an official travel document, naturally with a certain hazard to its owner.... The NSK state denies... the categories of fixed territory, the principle of national borders, and advocates the law of transnationality. Besides NSK members the beneficiaries of the right to citizenship are thousands all over the world, people of different religions, races, nationalities, sexes and beliefs. The right to citizenship is aquired through ownership of the passport." Why did NSK create this strange conceptual machine, a State in Time? One reason was to assert the subjective consistency and sustainability of a group of people who effectively choose their own laws, who shape their own society. This attempt to imagine the forms of autonomy was decisively important for them, as the old Yugoslav state collapsed, and a new, but also unsatisfying state was formed. But there is another level to this reflexive act, to this artistic transformation of the political imaginary. Because it is not so easy to create one's own laws. One only does so in the shadow of far larger organizations, which can alienate one's ideas and sensations, which can prey parasitically upon one's deepest aspirations. And so the social forms of alienation must be exorcized, made to give back what they have captured, to release what they have appropriated and distorted. In the case of NSK, this alienating force was the national, territorial state, which in Yugoslavia bore the double heritage of Nazism and Stalinism. As they write: "Modern art has not yet overcome the conflict brought about by the rapid and efficient assimilation of historical avant-garde movements in the systems of totalitarian states.... Neue Slowenische Kunst... revives the trauma of avant-garde movements by identifying with it.... The most important and at the same time traumatic dimension of avant-garde movements is that they operate and create within a collective.... The question of collectivism, i.e. the question of how to organize communication and enable the coexistence of various autonomous individuals in a community, can be solved in two different ways. Modern states continue to be preoccupied with the question of how to collectivize and socialize the individual, whereas avant-garde movements tried to solve the question of how to individualize the collective. Avant-garde movements tried to develop autonomous social organisms in which the characteristics, needs and values of individualism, which cannot be comprised in the systems of a formal state, could be freely developed and defined. The collectivism of avant-garde movements had an experimental value. With the collapse of the avant-garde movements, social constructive views in art fell into disgrace, which caused the social escapism of orthodox modernism and consequently led to a crisis in basic values in the period of postmodernism." (Eda Kufer + Irwin, Ljubljana, 1992, http://www.ljudmila.org/embassy) NSK defines experimental, vanguard art as attempt to individualize the collective, to develop the characteristics, needs and values of individuals within the framework of autonomous social organizations - what they call constructive organizations, or what I might call the society of the multitudes. From the viewpoint of exploding Yugoslavia in 1991, at a time when it was politically necessary to reflect on the form that such an autonomous social organization could take, NSK attempted to exorcize the totalitarian state, and to replay the traumatic history of vanguards, so as to recover their experimental potential. At the present time, and from the viewpoint of the advanced capitalist countries, I believe that an ambition for sophisticated and concentrated art would be to exorcize the institutional forms of transnational state capitalism, which has appropriated and distorted the experimental art of the period around 1968. The only viable reason that I can see to come into a museum like this, is to use it as one of many possible stages on which to dramatize the difference between the networked discipline of neoliberalism, and the experimentalism of an evolving artistic practice that makes autonomy into a theme of constructive reflection between freely developing individuals. # distributed via : no commercial use without permission # is a moderated mailing list for net criticism, # collaborative text filtering and cultural politics of the nets # more info: majordomo@bbs.thing.net and "info nettime-l" in the msg body # archive: http://www.nettime.org contact: nettime@bbs.thing.net ========================================================================= Date: Mon, 27 Oct 2003 06:57:29 -0500 Reply-To: ron.silliman@gte.net Sender: UB Poetics discussion group From: Ron Subject: Silliman's blog Comments: To: WOM-PO , BRITISH-POETS@JISCMAIL.AC.UK, nanders1@swarthmore.edu, new-poetry@wiz.cath.vt.edu, whpoets MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit http://ronsilliman.blogspot.com/ Writing on the day job Philadelphia Progressive Poetry Calendar Responding to Bill Lavender: Close reading Jake Berry & the issue of the overdetermined trope Bill Lavender responds to my review of Another South Questions for George Stanley Poetry & Empire: my notes on the retreat How do you write? Starting with a Palm Pilot. How do you write? (An ode to Rhodia Bloc) 6 questions for Poetry & Empire: 1) Can poetry challenge militarized language & propaganda? 2) Do genre models need to be rearticulated in light of new world dynamics? 3) To what degree do our actions as poets affect larger contexts? 4) How do the structures of poetic communities resist or reinforce existing power structures? 5) What underlying values inform our practice as poets? 6) What can a poem do? http://ronsilliman.blogspot.com/ ========================================================================= Date: Mon, 27 Oct 2003 09:10:32 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mark Wallace Subject: ideological horror show MIME-version: 1.0 Content-type: text/plain; charset=us-ascii Content-transfer-encoding: 7BIT Content-disposition: inline Regarding the recent discussion of the Kent Johnson letter, the call for a "unified front" and the call for "openness to all ideological positions" often strike me as mirror opposites, two extremes that never actually happen; we're never on the clear edge of one or the other but always somewhere in the murkier middle. Even among those people who would say that the war in Iraq requires poets to make a definite call to resistance, means and reasons for doing such things vary--and that's a good thing too, even there, since the right to variability is essential to the openness that poetry can suggest. There may be crucial agreements, but there are no blanket similarities. A "unified front" can be a powerful idea, but it strikes me as a good thing that it's unlikely to be an actuality. Similarly, the idea that we can open our poetry (and our lives?) to hearing all ideological positions suggests not only that an individual can recognize all the ideological positions that are out there (can you recognize them? I can't) but that we can to a certain degree present all those positions without our own ideological biases stepping in. Some of us can do this better than others, perhaps, but ultimately such an idea suggests that we can remove ourselves from the situation and view it from a clear distance. That's certainly been one of the most common fantasies of liberal discourse; that from the position of our own openness we can bring everything to the table and allow it just to be what it is inside our magnanimous or objectively critical (take your pick) vision. Everything can coexist at our table! For me, it depends on the time and place whether I am more influenced by the desire for ideological unity or the desire for greater openness--I suppose I'd generally come down on the side of greater openness, if I come down generally anywhere, except for my tendency to get really pissed off when I think somebody has done or said something outrageously stupid and damaging. I can be so much more limited than I'd like to be, but on the other hand, hey, I don't want to help it that there are some borders I just don't feel like crossing. Mark Wallace ========================================================================= Date: Tue, 28 Oct 2003 10:53:03 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Andrea Baker Subject: 3rd Bed reading in Brooklyn Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit Next Sunday, Nov. 2. 3rd bed at Halcyon Reading Series Lara Glenum Kevin Kinsella Laura Sims Diane Williams Sunday, Nov. 2, 1:00 p.m. at Halcyon 227 Smith Street (between Butler and Douglass Streets) Cobble Hill, Brooklyn. www.halcyonline.com and phone: 718/260-9299. Subway: F or G Train to Bergen Street (3rd Stop into Brooklyn) then walk down Smith Street against traffic 4 blocks Driving From Manhattan: take the Brooklyn Bridge @ go straight off the bridge all the way to Atlantic Ave. (you will be at a major intersection facing two gas stations) and make a left. Make first right onto Hoyt St. Go down about 8 blocks and make a right on Douglass St. Go one block and make a right on smith st. halcyon will be on the right #227. Driving From Brooklyn: other points take the BQE to Atlantic Avenue exit. Take Atlantic Avenue 4 lights to Court St. (Independence Savings Bank is on the near right corner) and make a right. Go about 10 blocks to Degraw St and turn left. Go one block to smith st. and turn left. Go 1-1/2 blocks and halcyon is on the right #227. ========================================================================= Date: Mon, 27 Oct 2003 12:56:41 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: post traumatic stress MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII The Big Nowhere 2001 The advisor said why would you want to stay here anyway. The drawing professor said it was none of his business. The painter said I didn't do myself any favors before I arrived. The anthropologist apologized. The faculty union head said it was the worst case she had seen. The department head said she knew when to keep her mouth shut. The dean said nothing. The friends said we were surprised you lasted this long. The student said I was the only one who cared. The other painter said it had nothing to do with him. The art historian sent her regrets. The photography professor said I might not have had faculty support. The photography adjunct said they expected miracles. The ex-new media professor hated the school and refused to talk. The future adjunct new media teacher knew nothing. The departmental secretary was upset. The friend said he smelled something rotten at the place. The friend said they'll never tell you what happened. The new faculty union head wanted nothing to do with it. The dean said it originated in the department. The department said it originated with the dean. The provost said this happens when you lose your colleagues' support. The chair said you don't really want to know. The chair said don't go there. Slave: PPlleeaassee mmiissttrreessss mmiissttrreessss tteellll mmee wwhhyy.. Mistress: IItt iiss aa bbiigg sseeccrreett aanndd II wwoonn''tt ggiivvee yyoouu tthhee ssaattiissffaaccttiioonn.. Slave: PPlleeaassee mmiissttrreessss mmiissttrreessss tthheerree iiss aa bbiigg hhoollee iinn mmyy ssoouull.. Mistress: TThhaatt hhoollee wwaass aallwwaayyss tthheerree aanndd nnooww eevveerryyoonnee ccaann sseeee iitt.. Slave: MMiissttrreessss mmiissttrreessss yyoouu aarree aa bbiigg hhoollee.. Mistress: NNoo oonnee wwiillll lliicckk mmyy bbiigg hhoollee.. Slave: MMiissttrreessss mmiissttrreessss II hhaattee yyoouurr bbiigg hhoollee.. Mistress: II wwiillll nneevveerr nneevveerr tteellll yyoouu wwhhyy.. ___ ========================================================================= Date: Mon, 27 Oct 2003 13:54:49 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Steven Shoemaker Subject: horror show Comments: To: Kent Johnson In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 8bit Here's another round from me and Kent (his message below mine): Kent--Well, I don't want to start flogging a dead horse in the middle of our tennis court, but I did look, and it wasn't clear, at least to me. You said "to make the poem a scary, haunted house ride, all ideologies admitted," so that sure sounds like poem-as-thrill-ride to me. But as you elaborate the analogy now I guess we're all on the ride and there's now way off. But does this let the stage-managers and string-pullers have the final say about what the world is? I'm sure that's not what you had in mind, but I still don't seem to want to live in that analogy. But perhaps this is a case of analogical slipperiness, such that we're really talking at cross-purposes. At any rate, I'd probably also agree with Mark W. that's difficult to actually hold to an "all ideologies admitted" principle. At some point, I'm probably gonna take some kind of stand, however tenuous. But I also like what Mike Heller says in the new Rain Taxi, when he is asked about "value systems" in poetry: "poetry itself can proceed from the conceptual or a priori next of values toward an opening. In which case, it might also be in the service of founding new value." Steve Quoting Kent Johnson : > Steve, > > Glad for the exchange, and thank you for the response. But I don't believe > your return volley of my fanciful analogy is quite inside the line, so to > say. > > If you look at my previous post, I think I made quite clear that I don't > regard the horror as a "game." Still, we *are* on a scary ride, and there is > a sense, I think you might agree, in which the very real horror of it is also > quite fantastically staged, costumed, and programmed by energies that jump > the circuits of the strictly "political"-- and in which energies, perhaps, we > are all implicated. That we are, that is, all of us, despite our best > intentions and commitments, also strapped in and being carried along the > tracks at fairly high speed... > > To write poems that are "lit up" by "the horror and insanity of the moment > without refracting it in well-rehearsed ways through prior ideological > screens," as I'd said, in no way needs mean that the poem is offered as a > mere "thrill ride," as you put it. To the contrary. Such poetry may begin to > hint that we need something deeper beyond the usual "positions" to come out > safely on the other side. > > Maybe. I don't mean to appear that I am absolutely sure about any of this. > > Kent > > >>> Steven Shoemaker 10/26/03 07:27PM >>> > Kent sent me a reply to my recent post. I'm pasting his response at the > bottom of the message. > > Kent--Thanks for the interesting clarification. The first couple of > sentences seemed like something I might be able to agree with, but you > lost me again with the "scary haunted house" metaphor. I was reminded of > Duncan's opinion of the comparison of poetry to a game of tennis (Frost): > > "Frost is right in his sense that the meters and rimes of regulation verse > have a counterpart in the rules, marked areas of the court, and net of the > tennis game...But, for those who see life as something other than a tennis > game, without bounds, and who seek in their sciences and arts to come into > that life, into an imagination of that life, the thought comes that the > counterpart of free verse may be free thought and free movement. The > explorer displays the meaning of physical excellence in a way different > from that displayed by the tennis player." > > Agreeing with Duncan, I don't really think poetry should be a game like > tennis > (though I like tennis quite a lot) & I don't think it should be a scary > thrill ride either. "The horror" is not a game. > > Steve > > > > > -------------------------- > Kent wrote: > > Steve, > > I saw your comment at Poetics. Nice to have your response. > > I guess I'd put my point differently there now if I could, but I didn't at > all intend to imply that > we should allow ourselves to become glibly enthused by the horror and > write silly, incoherent > things, or something. Rather, that poetry also might have the function of > showing the horror and > insanity of the moment without refracting it in well-rehearsed ways > through prior ideological > screens (and not that such refracting isn't absolutely apropos and > necessary). To make the poem a > scary haunted house ride, all ideologies admitted, so to say, rather than > hold the poem to a > "position," whether the position be traditionally or experimentally > proffered. (though, again, > these approaches have their key roles, too.) > > A big topic, of course, and in the case of that section my comments are > impressionistic, to say the > least, so your take is somewhat understandable. But just wanted to send > you this little > "clarification" for what it may be worth. > > Feel free to share this with the list, if you think it would be > appropriate. > > > ========================================================================= Date: Mon, 27 Oct 2003 14:25:53 -0500 Reply-To: olsonjk@delhi.edu Sender: UB Poetics discussion group From: Kirby Olson Organization: SUNY Delhi Subject: Re: Situationists/Branding/Mafia MIME-Version: 1.0 Content-Transfer-Encoding: 7bit Content-Type: text/plain; charset=us-ascii Jim Andrews, This post -- especially the part about NSK -- was exhilarating to read. When I lived in Seattle NSK came several times to work with a museum there due to their relationship with Charles Krafft and Larry Reid -- long-time marginal artist-entrepreneurs. They brought the band, too. Lubeck (?) was the name of the band. Lubeck was the German name for Ljubliana during the Occupation in WWII. I was thrilled. They dressed up in Nazi uniforms and the lead singer sang as if he was Dracula. After, at the party, I asked a blond blue-eyed band member (he was the drummer) if he was a Nazi. "I'm a Jew," he said. Miran Mohar, who is one of the five painters in Irwin, spent a couple hours talking to us. He is Islamic in origin -- originally from Bosnia as I seem to recall -- but lives iwth the NSK commune in Ljubliana. I asked him if he was a communist, an anarchist, a liberal, or what, and to my great relief he said that he was like a stock market with all kinds of ups and downs -- fascism up five points, liberalism down three, anarchism holding steady. But that he was volatile! and every five minutes he wa s adifferent person. He was not a full-blooded lunatic. He held his wine glass steady and he had a good calm temperament. I was so relieved in this era of identity politics where people are actually supposed to BE something (as if this is possible to remain a static identity to oneself) that here was a guy who was willing to admit with offhand humor that his stock market MOVED. What a wonderful way out of this horrific branding in which race, gender and class is supposed to determined what a human being is supposed to be, and is also supposed to limit and identify what they are. A more repulsive notion could not be created if I worked at it until the sun burned out. The painting show by Irwin was probably not memorable but the theoretical statements that went with it -- that Irwin would attempt to relive the fascist horror of the early avant-gardes by deliberately invoking fascism, and thus using a kind of reverse psychology on it, so as to invoke freedom through the other side of the mirror -- this was the only interesting art show that I saw in fifteen years of living in Seattle. That is to say, mentally interesting, conceptually interesting. This is not to say that there weren't good colorists living on every corner, and artists who had a feeling for the canvas (ha ha) but in terms of conceptual bouleversements -- I was bowled over repeatedly only by NSK. In the same way, I think that Slavoj Zizek is probably the only interesting theorist still working under the name of postmodernism. He's turning everything upside down and inside out. Although I almost never agree with him, this is like doing the Charleston with a poltergeist -- reading Zizek's recent books such as On Belief -- or Why The Christian Legacy is Worth Fighting For -- is riotous. He argues that yes, just as Abraham set out to kill his son, so should the left kill the liberals. Just as Abraham, ordained by God to do so, set out to slaughter his boy, so did the Leninists slaughter the Mensheviks. It's so nuts! First, Abraham didn't kill his son. Second, the Bolsheviks had NO LOVE for the Mensheviks so that IT WASN'T a sacrifice, thirdly, Marxists have always loved killing liberals so as to have all the power -- it's happened in every Marxist takeover -- but the blowback is that Zizek taunts you with these statements -- forcing you to see what's wrong with his statements. My worry is that too many literal-minded Americans will take him at his word and reach for their Winchester. This is a guy who sees the big concepts, and is playing with them. If there is to be a future for any kind of avant-garde, this group is a lonely outpost of conceptual novelty. Somehow their biggest innovation is using reverse psychology. While the ordinary Marxists keep just trying to tell us what to think, NSK tells us we ought to think exactly what they are most afraid we will and do think. It is as if an American poet today wrote an epic poem in praise of slavery -- bringing back all its erotics, its lust- and power-filled lunacy NOT as a satire, but as a deep prayer for its return, with a full and vital reliving of the trauma. That's what their dressing as Nazis meant. Instead of pretending to be freedom-loving poets -- writing of our love for the jeweled explosions of war-time Television, the momentary fulfillment of seeing small children with arms blown off wailing in the howling dust of an eviscerated building, the beauty of decapitated buildings and leaping stockbrokers, the lust of going face to face with the other in dreams of gutting terrorists, and so on. there is a voluptuous thrill in all this, or else it wouldn't allow Court TV to make a living out of atrocity exhibitions such as the snuff documentaries they show, or the whole genre of "real crime" that gets the hormones pumping and sends millions of dollars through the publishing industry. It's no doubt a dangerous project. But all other projects are completely over with in my view, and don't open out on to anything with explosive potential and don't get into the lethal guts of humanity who have been up to these tricks since recorded history began. Can it be stopped with a wagging of a Puritanical finger? More likely it will only be accelerated. Perhaps if all art groups thought of themselves as the futurists, and as Mafia clans, and organized, and actually wore colors and did drive-bys on other art groups, we would begin to get somewhere toward Utopia. If feminists just started to blueprint the concentration camps for men, and how they'd reeducate us with shock treatments, and needles, and whips, and got down deep into the erotics of it; and militants of all colors just wrote of their erotic hatred of whitey -- and we all stopped pretending that we can be fair, then maybe we'd get somewhere. Apollinaire as I recall did love war. The explosions in the far-off distance like naked breasts; the sperm-bullets flying across the trenches into other men's mouths; the deaths of one's friends huddled at one's feet with the delighted hordes of flies crawling in what once was their eyes. It's Halloween 365 days a year in the real minds of men; and the sweet faces that we wear are the masks. -- Kirby Olson ========================================================================= Date: Mon, 27 Oct 2003 14:42:18 -0500 Reply-To: az421@freenet.carleton.ca Sender: UB Poetics discussion group From: Rob McLennan Subject: W7 Content-transfer-encoding: 7BIT apparently the new issue of W is now on-line, publisht by the kootenay school of writing. http://kswnet.org/w/ available as PDF - Fall 2003: new work by Christine Stewart, Steve Collis and Aaron Vidaver; Louis Cabris on Bruce Andrews and Sharla Sava on Guy Debord it aint small - 104 pages. but theyre almost always worth it. okay, always. rob ============= -- poet/editor/pub. ... ed. STANZAS mag & side/lines: a new canadian poetics (Insomniac)...pub., above/ground press ...coord.,SPAN-O + ottawa small press fair ...8th coll'n - red earth (Black Moss) ...c/o RR#1 Maxville ON K0C 1T0 www.track0.com/rob_mclennan * http://robmclennan.blogspot.com/ ========================================================================= Date: Mon, 27 Oct 2003 15:23:25 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Steven Shoemaker Subject: Re: horror show Comments: To: Kent Johnson In-Reply-To: MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Intriguing example, but I think "The Waste Land" is ultimately less interested in exploring political paths than in finding a spiritual exit. Steve On Mon, 27 Oct 2003, Kent Johnson wrote: > Steve Shoemaker said: > > "But as you elaborate the analogy now I guess we're all on the ride and there's no way off. But does this let the stage-managers and string-pullers have the final say about what the world is?" > > Not at all, Steve. "The Waste Land," for prominent example, is a poem about being strapped in to the ride and lit up by the horror. Wouldn't you say? It doesn't exactly take a "stand," not even a "tenuous" one, in the "political" sense, but the poem in no way lets the string-pullers and stage managers have the last word. > > And it's probably the most *politically powerful English-language poem of the last seven decades,* when you think about it. But I'm not saying, to repeat, that this kind of more "universal" (there's a better way of putting that) response is the only valid way. It's one way. > > Kent > > > > * > Steve > Kent--Well, I don't want to start flogging a dead horse in the middle of our > tennis court, but I did look, and it wasn't clear, at least to me. You > said "to make the poem a scary, haunted house ride, all ideologies admitted," > so that sure sounds like poem-as-thrill-ride to me. But as you elaborate the > analogy now I guess we're all on the ride and there's now way off. But does > this let the stage-managers and string-pullers have the final say about what > the world is? I'm sure that's not what you had in mind, but I still don't seem > to want to live in that analogy. But perhaps this is a case of analogical > slipperiness, such that we're really talking at cross-purposes. > > At any rate, I'd probably also agree with Mark W. that's difficult to actually > hold to an "all ideologies admitted" principle. At some point, I'm probably > gonna take some kind of stand, however tenuous. But I also like what Mike > Heller says in the new Rain Taxi, when he is asked about "value systems" in > poetry: "poetry itself can proceed from the conceptual or a priori next of > values toward an opening. In which case, it might also be in the service of > founding new value." > > Steve > > ========================================================================= Date: Mon, 27 Oct 2003 16:36:03 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Joe Brennan Subject: "Whorin'' Orrin Speaks Out In Favor Of Iraq War Booty: Comments: To: frankfurt-school@lists.village.virginia.edu, corp-focus@lists.essential.org, WRYTING-L@LISTSERV.UTORONTO.CA MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Bush: U.S. Progress Never Meant To Include Progress Against Insurgents: Cheney: One Country's Security Threat Is Another's SecurityFirm: "Whorin'' Orrin 'Back Door Snatch' Hatch Speaks Out In Favor Of Iraq War Booty: By RUBBERT MERDEDUCK The Assassinated Press October 27, 2003, 9:99 AM IST Click here: The Assassinated Press They hang the man and flog the woman That steal the goose from off the common, But let the greater villain loose That steals the common from the goose. Constant apprehension of war has the same tendency to render the head too large for the body. A standing military force with an overgrown executive will not long be safe. companions to liberty. -- Thomas Jefferson "America is a quarter of a billion people totally misinformed and disinformed by their government. This is tragic but our media is -- I wouldn't even say corrupt -- it's just beyond telling us anything that the government doesn't want us to know." Gore Vidal ========================================================================= Date: Mon, 27 Oct 2003 15:05:47 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group Comments: RFC822 error: Incorrect or incomplete address field found and ignored. From: jason christie Subject: Open Letter Call for Papers - Canadian Small/micropress Issue MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Friendships and Free Publications: a critical exploration of the = rhizomic nature of, and the gift economy known as, Canadian = Small/Micropress Publishing Dear colleagues, friends, writers, Amidst the collapse of small press distribution, the gradual extinction = of independent bookstores, a seemingly apathetic public, and really cold = winters throughout most of the country, it seems somehow important to = examine the persistent existence of the small/micropress in Canada. Many = writers find their first publications of a substantial length with small = or micropresses, which can be an incredible asset along the way to = theorizing a larger project, or conceptualizing what it could be that = turns a random sequence of poems into a bound whole. Small and = micropresses have proven to be an active and enduring location for the = erasure of the anxieties which can accompany a widely distributed and = marketed 'book', in this sense it could be considered the non-site of = Canadian publishing; an extremely active space formerly believed to be = void, Canada's very own evocative dark matter. With this issue of 'Open Letter' we invite papers on all aspects of = small/micropress publishing in Canada with a specific interest in = contmporary (i.e. post-1980) presses, although we will be flexible on a = project by project basis. Possible topics include but are by no means = limited to: the economics of small/micropress publishing vs. larger = press publishing however that can be figured, interviews pertaining to = small/micropress publishing in Canada, the politics of small/micropress = publishing, a critical engagement with a specific press or presses or = with a specific period of time with a focus on small/micropress = publishing. We would like to stay away from memoirs, bibliographic = studies of presses and papers written by affiliates of the presses upon = which an author is writing. We ask for papers submitted to be double spaced, 12 pt times new roman = or equivalent, under 2500 words and saved as one of the following = filetypes if emailed or mailed on disk: .rtf, .txt, or .doc. Hard copies = can be mailed to either of the below addresses. The deadline for = submissions is March 1st, 2004. We eagerly await your submissions.=20 With thanks, Jason Christie and derek beaulieu Jason Christie 1610 8th Avenue NW Calgary, Alberta T2N 4N4 jason_c@telus.net derek beaulieu c/o housepress apt 205, 321 10th st NW calgary alberta canada t2n 1v7 403-234-0336 derek@housepress.ca ========================================================================= Date: Mon, 27 Oct 2003 16:12:44 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Harrison Jeff Subject: Gray's Elegy Mime-Version: 1.0 Content-Type: text/plain; format=flowed neighbors drip from the sky under skyscrapers we'll find bio heat there's no babytalk in this playhouse white mouth's red smoke misspoke throw this aside to read later skeleton arms aren't fat for spit not enough wolves for the millions, so relax, what basks in ice can't be crueler than smoke zeros billowing from the slivers, they're crash & you clouds with satellites topple the ground waits, the trees salute your Book is maybe about skylines, Wormswork? "make feathers not firmament dice, Snake-Ten-Times-Longer-Than-My-Monologue-Time" the smallest rush up to bob for apples the fool in my voice looks a lot like you, future well-wishers, & she who claimed to be the sleepiest isn't lying anymore _________________________________________________________________ Never get a busy signal because you are always connected with high-speed Internet access. Click here to comparison-shop providers. https://broadband.msn.com ========================================================================= Date: Mon, 27 Oct 2003 17:58:44 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Charles Bernstein Subject: New@My Home Pages Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed New @ http://epc.buffalo.edu/authors/bernstein/new.html Audio: Reading at Kelly Writers House, University of Pennsylvania, on Sept. 25, 2003: MP3 audio files of the individual poems in "Let's Just Say" (recent pamphlet from Chax), and a new series "World on Fire", plus "Shuffle Card Poetics". Audio: Two thirty-second Yellow Pages radio spots (MP3) from 1998: "Draperies" and "Readings" (Ubu.com) Essays: Introduction to the work of Ezra Pound (from "Poetry Speaks" anthology) http://epc.buffalo.edu/authors/bernstein/new.html ========================================================================= Date: Mon, 27 Oct 2003 18:22:12 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: the now MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII the now doomed to live in the present which is not your present you'll never know my present doomed to live in my present writing that before you never knew now you know and i've moved on or rather stayed exactly at the same place doomed to live in the present that present my living present ___ ========================================================================= Date: Tue, 28 Oct 2003 00:06:48 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Steven Shoemaker Subject: Re: horror show Comments: To: Kent Johnson In-Reply-To: MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Kent-I confess I haven't read the interview, but only the bit that was quoted on poetics. But I have thought a good bit about "The Waste Land," and it just seems to me a terrible, repressive model for a "political" poetry, a true example of the failure of modernism in this regard. With that, I have to bow out, a bundle of student essays on my back & a crying (teething) baby in my arms. The last word is yours. Steve On Mon, 27 Oct 2003, Kent Johnson wrote: > Steve Shoemaker said: > > "Intriguing example, but I think "The Waste Land" is ultimately less > interested in exploring political paths than in finding a spiritual exit." > > But as you'll see, Steve, from the passage of the interview that gave rise to this discussion, it is a productive confusion of the "political" and the "spiritual" that I am talking about and proposing-- a poetic space not likely to be accessed via a priori "polemical" approaches, be they traditional or avant-garde in mode. > > Mind you, I am saying this as someone who has written and translated plenty of polemical poems and who vigorously believes these are necessary. But other ways of response seem currently needed, as well, even overdue... Now, how to get to those other ways is a whole other bag of questions, and a full consideration of effective means would involve, I believe, a critical look at reified forms of authorial (re)production, among other matters. > > Mark, to respond to your interesting post here, if briefly: I couldn't agree with you more about the "murkier middle." And the suppression of this middle space in "political poetry" is what I am partly addressing in that quote and in this exchange with Steve. > > But more to the point of your remarks, I simply meant "united front" in the time-old sense of provisional alliance between tendencies that have numerous points, even principles, of disagreement. This was the case in the late 60's, when New American types of the various denominations readily shared the microphone and publication with representatives of "official verse culture." Poets were united in their opposition to the war, and they set aside their poetic differences for a major goal. And during this time poetry, traditional and experimental together, managed to have a political impact unseen since. A like possibility for alliance existed shortly before the last Iraq war, but it was short-circuited, in significant ways, by sectarian attitudes and pronouncements from particular quarters, which I address in the interview. > > Kent > > >>> Steven Shoemaker 10/27/03 02:23PM >>> > Intriguing example, but I think "The Waste Land" is ultimately less > interested in exploring political paths than in finding a spiritual exit. > > Steve > > On Mon, 27 Oct 2003, Kent Johnson wrote: > > > Steve Shoemaker said: > > > > "But as you elaborate the analogy now I guess we're all on the ride and there's no way off. But does this let the stage-managers and string-pullers have the final say about what the world is?" > > > > Not at all, Steve. "The Waste Land," for prominent example, is a poem about being strapped in to the ride and lit up by the horror. Wouldn't you say? It doesn't exactly take a "stand," not even a "tenuous" one, in the "political" sense, but the poem in no way lets the string-pullers and stage managers have the last word. > > > > And it's probably the most *politically powerful English-language poem of the last seven decades,* when you think about it. But I'm not saying, to repeat, that this kind of more "universal" (there's a better way of putting that) response is the only valid way. It's one way. > > > > Kent > > > > > > > > * > > Steve > > Kent--Well, I don't want to start flogging a dead horse in the middle of our > > tennis court, but I did look, and it wasn't clear, at least to me. You > > said "to make the poem a scary, haunted house ride, all ideologies admitted," > > so that sure sounds like poem-as-thrill-ride to me. But as you elaborate the > > analogy now I guess we're all on the ride and there's now way off. But does > > this let the stage-managers and string-pullers have the final say about what > > the world is? I'm sure that's not what you had in mind, but I still don't seem > > to want to live in that analogy. But perhaps this is a case of analogical > > slipperiness, such that we're really talking at cross-purposes. > > > > At any rate, I'd probably also agree with Mark W. that's difficult to actually > > hold to an "all ideologies admitted" principle. At some point, I'm probably > > gonna take some kind of stand, however tenuous. But I also like what Mike > > Heller says in the new Rain Taxi, when he is asked about "value systems" in > > poetry: "poetry itself can proceed from the conceptual or a priori next of > > values toward an opening. In which case, it might also be in the service of > > founding new value." > > > > Steve > > > > > ========================================================================= Date: Mon, 27 Oct 2003 21:15:42 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Lewis LaCook Subject: Andrew Lundwall Joins Stamen Pistol--the group Blog that gives you more bang for your (virtual) buck! Comments: cc: 7-11 7-11 <7-11@mail.ljudmila.org>, "arc.hive" <_arc.hive_@lm.va.com.au>, spiral bridge , cyberculture , underground poetry , Renee , rhizome , John Schmidt , webartery , wryting MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii http://stamenpistol.blogspot.com/ Members: Lewis LaCook, Allen Bramhall, Sheila Murphy, Nick Piombino, Nada Gordon associate editor, _sidereality http://www.sidereality.com/ -------- http://www.lewislacook.com/ tubulence artist studio: http://turbulence.org/studios/lacook/index.html --------------------------------- Do you Yahoo!? Exclusive Video Premiere - Britney Spears ========================================================================= Date: Tue, 28 Oct 2003 01:02:53 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Schlesinger Subject: Re-Reading Bottom MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Forwarded to the Poetics List on behalf of Thom Donovan. Kyle Schlesinger -------------------------------------------------------------------------= ------- Re-Reading Bottom A Fall 2003 Symposium on Louis Zukofsky's Bottom: on Shakespeare Louis Zukofsky's Bottom: on Shakespeare was originally published by = Austin-based Ark Press in 1963 as a two volume work containing = Zukofsky's text and his wife, Celia's, setting of Shakespeare's Pericles = to music. The work was republished in 1987 by University of California = Press and, after a period of being out-of-print, again in 2002 by = Wesleyan University Press with an introduction by Bob Perelman.=20 "Re-reading Bottom: on Shakespeare A Symposium," scheduled for October = 31st and November 1st of 2003 at the University of Buffalo, will bring = established and emerging scholars together to make use of the generous = resources at UB and within the Buffalo Poetry and Arts community. = Together, we will revisit this groundbreaking, yet highly esoteric text = in an attempt to examine the way this text has been read in the past, = and to test one of the most highly regarded, but least understood works = of the 20th Century.=20 Among other events participants may look forward to at the symposium are = presentations by Bob Perelman, author of The Trouble with Genius, The = Marginalization of Poetry, and numerous books of poetry, and Mark = Scroggins, author of Louis Zukofsky and the Poetry of Knowledge and = Anarchy, as well as a variety of workshops geared towards discussing = shorter papers on Bottom by scholars, students and poets. The first of = these workshops will be co-moderated by Perelman and Scroggins; the = second by poet-scholars Gregg Biglieri and Louis Cabri. Those = work-shopping papers include: Antony Adolf, Barbara Cole, Stephen = Collis, Michael Cross, Kaplan P. Harris, Nick Lawrence, Nick Salvo, = Trevor Speller, Sasha Steensen, Paul Stephens, and Jeffrey = Twitchell-Waas.=20 Details and PDF files available at: = http://epc.buffalo.edu/conferences/03/bottom/ ========================================================================= Date: Tue, 28 Oct 2003 00:41:15 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: John Platt Subject: TWHM XVI MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit these were omitted by a mistake by the dotted line that when the fingers are spread miles per hour towrds C by the somewhat more complex men made up of five we trust they will arrive of all the fractions equal at the other end of one complete revolution in passing in human societies eventually put just as shown in the calling this to our attention forms of boxes boats frogs insert the point of a four and the six points variation of this arrangement is what mountain this might be we are certainly surprised easy enough if you know when the hand is shaken one inside and two on functions it is important to for my semiotepic see: http://www.muse-apprentice-guild.com/summer_2003/1visual/john_platt/home. html ========================================================================= Date: Tue, 28 Oct 2003 02:01:55 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: John Platt Subject: M.A.G.link MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit I'm told the previous link doesn't work, but anyone interested can get it under the "visual" category and my name at http://www.muse-apprentice-guild.com thanks. -John Platt ========================================================================= Date: Tue, 28 Oct 2003 00:06:49 -0800 Reply-To: Ishaq1823@telus.net Sender: UB Poetics discussion group From: Ytzhak Organization: Selah7 http://www.sleepybrain.net/vanilla.html Subject: All Sure yuh steady MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1; x-mac-type="54455854"; x-mac-creator="4D4F5353" Content-Transfer-Encoding: 8bit We witness our Teiwaz/ehwaz/mi laguz/of my homies’ othila/fa’rilla/will strong me further/in the dagaz of our oppression in another raido/raido of this will/will be truly/71/2 ounces of our people’s wunjo/if you no listen/Jus imagine the damage/of your subterfuge/View young knecks upper bodies jerkin to Mr Bassie’s/slow scratch/Injecting 7% solution with 5 % confusion/insanity driven by riding/white bwais on rattid couches/Scoping a chipped tooth gringo/absorbed in alcohol an porno/The geography of ads affecting the diction/slips a dick in/unsafely stroking/the mix of a community/Collusion of a duppy/Dun full of temporary/Cupful comin to terms/with a snot full/of snow cold/scratched on glass/with no/immediate tempo/ Tempt you/Sex mad an loco/Slapping zippers on wrists/Rusted razor will/never resurrect/the soul lost/to a burnt out spank ho/He said Be/as the recite goes/done be ashamed/cpoome kno Me/Get yuh self right, homebwai/Life's only a lie told/Time runnin with immunity/Fore yuh life folds/Score more or beg the poor/when time come /the crossova/yuh dome get left behind/as the doors close Lawrecence Ytzhak Braithwaite (aka Lord Patch) -- - ___ Stay Strong "Peace sells but who's buying?" Megadeth "This mathematical rhythmatical mechanism enhances my wisdom of Islam, keeps me calm from doing you harm, when I attack, it's Vietnam" --HellRazah http://www.sleepybrain.net/vanilla.html http://awol.objector.org/artistprofiles/welfarepoets.html http://ilovepoetry.com/search.asp?keywords=braithwaite&orderBy=date http://www.dpgrecordz.com/fredwreck/ http://www.lowliferecords.co.uk/ http://loudandoffensive.com/ http://groups.yahoo.com/group/THCO2 ========================================================================= Date: Tue, 28 Oct 2003 00:14:32 -0800 Reply-To: Ishaq1823@telus.net Sender: UB Poetics discussion group From: Ytzhak Organization: Selah7 http://www.sleepybrain.net/vanilla.html Subject: Suras Swift MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Ayo! Woht hope in/yuh buddies set on self destruction/turn to usin/my relatives/my cousinz/All my loved ones/a note of revelation/for the 14 I kiss in my bein/listen/We could hideout in taverns/We could fill our bellys wiph liquar/Hide our mad/scills/Lose our ovastandin to a Blue frustation drill/or recognize patterns of freedom/hangin from shanty town sills/Things come to nonsense/when bruthas want go pass the violence this wicked town spills Lawrence Ytzhak Braithwaite (aka Lord Patch) -- - ___ Stay Strong "Peace sells but who's buying?" Megadeth "This mathematical rhythmatical mechanism enhances my wisdom of Islam, keeps me calm from doing you harm, when I attack, it's Vietnam" --HellRazah http://www.sleepybrain.net/vanilla.html http://awol.objector.org/artistprofiles/welfarepoets.html http://ilovepoetry.com/search.asp?keywords=braithwaite&orderBy=date http://www.dpgrecordz.com/fredwreck/ http://www.lowliferecords.co.uk/ http://loudandoffensive.com/ http://groups.yahoo.com/group/THCO2 ========================================================================= Date: Tue, 28 Oct 2003 01:05:40 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: August Highland Subject: yet another new series entitled "new york" MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit ***************************************************** YET ANOTHER NEW SERIES AT: ALPHANUMERIC LABS www.alphanumericlabs.com ***************************************************** The title of the new series is: "Why I Love New York." click on "new york." On exhibition are #001-025 from a series of 500 works ***************************************************** www.alphanumericlabs.com --"language is a style statement" ***************************************************** Alphanumeric Labs is a creation of Culture Animal Productions www.cultureanimal.com --"following in the footsteps of tradition" ***************************************************** august highland muse apprentice guild --"expanding the canon into the 21st century" www.muse-apprentice-guild.com culture animal --"following in the footsteps of tradition" www.cultureanimal.com ========================================================================= Date: Tue, 28 Oct 2003 02:11:52 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: August Highland Subject: CANONICAL FLIP/ZAP PROGRAM #0001 MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit CANONICAL FLIP/ZAP PROGRAM #0001 PROCEDURE #0000001: Pay for this? (and thus only one of the kind of "chaos" than. Of s are restricted to 0, is corresponding to a negative. (x; b) 99k (x, roads, the freedom to leave actions.. If we all pay each for, about "love it or leave it"! We recall that the degree of. + EQUAL BASIS. YOU CAN TROW 2. PROCEDURE #0000002: (z n oe(a)); S;b is no competition. (in other. Since in [1] it was important of the primitive roots. F - I W. Roads, the freedom to leave, responsible The police who broke in. Governments (and their + \Delta \Delta \Delta + u Then d. Society decides that the, version of difficulty). Let HORROR OF SOVIET INTERNAL. PROCEDURE #0000003: B= (X)) ' cl(A. ****************************, Z Date: 2002/6/15. 1991. To defend yourself. i+1 are or the soft/hardware we. Bm, THE PIONT OF WHAT HAS BEEN prone community as the federal. () people possess rights subschemes. From now on, we c(n; k)x. PROCEDURE #0000004: 1 unpreventable "accident". Is. 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PROCEDURE #0000008: An, be legally 2. L\gamma 1, ACTIONS.THE FRENCH AND and tears (sorry about. \delta ) 99k (x, tell them "so sorry"? 2. It's nice to know we are, the relationship between s It is clear that the residues. And it also cuts, + F be an (n \Gamma 2)-. PROCEDURE #0000009: Funds), the canonical flip or log flip that patch is:. Misery murder? how about to pay for it (pay taxes), and made by considering the sums. N, only he can do much about it. (2; 1)). When the 4-. That isn't how it was done actually integral can be seen +. I i X. PROCEDURE #0000010: One way or the other. i do, Neither should we accept does not. Just a bad format and not the forgotten about government (X. A more general result than, at the hand of the government (Z)):. ***************************** ]fEjE is essential and a(E; X; beliefs. Are YOU better than. Way around, Therefore, since the rank rk ) is. PROCEDURE #0000011: Not what you, !!!!!!!!!! j _(p \Gamma 1) (mod p):. System is not exceptable to, LEARNED A LOT WITHOUT dimensional cycles on X. For. Original comment was not to (X)) (see [F, Definition 1) after finitely many steps.. (slave)labor but what if they, Primes p. -----. Someone be able to rationaly, argument that society (mod p). august highland muse apprentice guild --"expanding the canon into the 21st century" www.muse-apprentice-guild.com culture animal --"following in the footsteps of tradition" www.cultureanimal.com ========================================================================= Date: Tue, 28 Oct 2003 03:02:32 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jim Andrews Subject: Re: Situationists/Branding/Mafia In-Reply-To: <200310280524.h9S5OVv12530@ida.host4u.net> MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 8bit Kirby Olson, when i read on nettime the essay i reposted here by brian holmes, i too found it strong and useful, and i thought of you and your similarly intriguing recent post "Situationists/Branding/Mafia". Fascinating, your connection with that piece and NSK. Degrees of freedom? coincidentally, i lived in Seattle myself. From 1997-2000. Maris Kundzins, who lives in Seattle, told me of Neoism, in which anyone is free to be Monty Cantsin (individualizing of the collective). I wonder if Maris, a conceptual artist, had any relation with NSK (Maris is from Slovenia if I recall correctly)? Do you know Maris? 'Monty Cantsin' is 'derived' from 'Maris Kundzins' via David Zack verbal associativity, I understand, from a site on neoism that published some of Zack's writings about Neoism. coincidentally, this site was the first net.art project i participated in, in 95 ( http://www.thing.de/projekte/7:9%23/Welcome.html ) -- though i didn't know anything about neoism at the time. I don't know whether Apollinaire loved war. He died from wounds sustained in the war, and probably he saw a lot of futile violence. I think he died in 1919 or 1920? I recall reading sentiments from him to the effect that the war was the only way to birth the new world. poetry is always in conflict with itself. art is dead but sneaks out for fun. art is invisible, slips past the border. I wonder if he conceived it analogically as war against Germany/war against the forces of dullness, or what? one can imagine, for instance, many feeling the necessity and 'righteousness' of the second world war, ie, war against fascism and totalitarianism, for instance. i wonder how that dynamic played concerning the first world war? but i doubt it was a general fondness for war and violence, on the part of Apollinaire--could be wrong though. I don't read the same sort of completely uncritical worship of the machine and orneriness in Apollinaire that I read in some of the Italian Futurists, for instance. Apollinaire, in L'Esprit Nouveau et les Poetès (1917): "Typographical artifices worked out with great audacity have the advantage of bringing to life a visual lyricism which was almost unknown before our age. These artifices can still go much further and achieve the synthesis of the arts, of music, painting, and literature ... One should not be astonished if, with only the means they have now at their disposal, they set themselves to preparing this new art (vaster than the plain art of words) in which, like conductors of an orchestra of unbelievable scope they will have at their disposal the entire world, its noises and its appearances, the thought and language of man, song, dance, all the arts and all the artifices, still more mirages than Morgane could summon up on the hill of Gibel, with which to compose the visible and unfolded book of the future.... Even if it is true that there is nothing new under the sun, the new spirit does not refrain from discovering new profundities in all this that is not new under the sun. Good sense is its guide, and this guide leads it into corners, if not new, at least unknown. But is there nothing new under the sun? It remains to be seen." It is this sort of dream of a synthesis of the arts, and his adventuresomeness, his visual writing, that I think of when I think of Apollinaire. "The divine games of life and imagination give free rein |to a totally new poetic activity. {size=36} {enter=zoomOut} {pause=1} |The poet is he who discovers new joys\n even if they are hard to bear. {enter=wipeLeft} |One can be a poet in any field: {enter=fade} {exit=none} |it is enough that one be adventuresome {enter=none} {exit=none} |and pursue any new discovery..." And also his awareness of but distance from the groups of the time. Still, I think you're right that it is futile to simply repress the shit in one's head and pretend it doesn't exist. There's plenty of it. Dealing with it rather than pretending it doesn't exist is necessary. Acknowleging that it's there is a start, for sure. Celebrating it as a solution to the world's or one's own problems, well, we see that celebration quite a bit, don't we. Policies of preemptive warfare, for instance. ja http://vispo.com ========================================================================= Date: Tue, 28 Oct 2003 13:20:20 +0200 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "J. Lehmus" Subject: Re: Situationists/Branding/Mafia In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit The NSK musical theatre project is called Laibach, not Lübeck. NSK stands for "Neue Slowenische Kunst," New Slovenian Art. It was founded at the time when Slovenia was not an independent country. Some recent Laibach photos: http://www.lomohomes.com/jlehmus go to "Public albums" and look for LAIBACH Selections Monty Cantsin's Book of Neoism: http://purl.org/net/exp/expect Cheers -- jukka ========================================================================= Date: Tue, 28 Oct 2003 22:10:50 +0900 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Ben Basan Subject: (none) In-Reply-To: <000a01c39d21$8278eaf0$9ef9cd80@administpii39e> MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit Nothing is happening at: http://www.luminations.blogspot.com ========================================================================= Date: Tue, 28 Oct 2003 05:24:45 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Ram Devineni Subject: Big Rattapallax Party & Komunyaaka, Torres in Brazil In-Reply-To: <000801c39d54$f4641800$0200a8c0@WORKSHOP> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Hello Everyone: if you plan to be in NYC or Sao Paulo, please join us: Rattapallax Reading/Party featuring Meena Alexander, Thaddeus Rutkowski, Philip Nikolayev, Samuel Menashe, Arvind Krishna Mehrotra, Meg Kearney, Jeet Thayil and Bombay Down, Matvei Yankelevich, Nancy Mercado, Leeya Mehta, Vivek Narayanan, Eugene Ostashevsky & Second2Last. DJ Derek and hosted by Flavia Rocha and Edwin Torres. October 29 at 7 pm. Issue Project Room, 619 East 6th St., b/ Ave. B and C, NYC. $5. http://www.rattapallax.com/rattapallax_magazine.htm BRAZIL: Pulitzer prize winner Yusef Komunyaaka, Arto Lindsay, Edwin Torres, Flávia Rocha, Anna Ross, and 16 leading Brazilian poets. November 11, 2003 at 7:00 PM. Sesc Pompeia, Rua Clelia, 93 Sao Paulo, Brasil tel: 55-11-3871-7700. November 13, 2003 at 8:00 PM. Centro Universitario Maria Antonia, Rua Maria Antonia, 294 Sao Paulo, Brasil 55-11-3257-2760. Hosted by Editora 34 and Rattapallax. More info: http://www.rattapallax.com/brazil_reading.htm Thanks Ram Devineni Publisher ===== Please send future emails to devineni@rattapallax.com for press devineni@dialoguepoetry.org for UN program __________________________________ Do you Yahoo!? Exclusive Video Premiere - Britney Spears http://launch.yahoo.com/promos/britneyspears/ ========================================================================= Date: Tue, 28 Oct 2003 22:28:05 +0900 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Ben Basan Subject: Chaucer's tales go online complete with old graffiti MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: quoted-printable http://books.guardian.co.uk/news/articles/0,6109,1070861,00.html Even today, the saga of the Wife of Bath and her toyboy is found colourful enough to be relished by seven million viewers in the hit BBC series The Canterbury Tales.=20 But this is as nothing compared with the outrage she provoked 500 years = ago when Geoffrey Chaucer first put her on the literary map. A new website launched by the British Library yesterday discloses that one of her = earliest readers was moved to denounce her as a serpent and she-devil. The British Library Link: http://www.bl.uk/treasures/caxton/homepage.html ========================================================================= Date: Tue, 28 Oct 2003 17:18:39 GMT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Frank Sherlock Subject: 10/29- Frank Sherlock & Tracy K. Smith @ the Project Wednesday October 29 at 8pm > Frank Sherlock & Tracy K. Smith > The Poetry Project > St. Mark's Church > 131 E. 10th St. > NYC > > Frank Sherlock curates the La Tazza Reading Series in Philadelphia, PA. His > recent chapbooks include 13(Ixnay Press) and End/Begin w/ Chants (Mooncalf > Press). Ace of Diamond Satellite is forthcoming from Buck Downs Books in > 2004. He is currently collaborating with CA Conrad on The City Real & > Imagined: Philadelphia Poems. Tracy K. Smith is the author of The Body's > Question (Graywolf Press, 2003), winner of the 2002 Cave Canem Poetry Prize, > chosen and introduced by Kevin Young, who writes, "[this is] a terrific > book, well-crafted, surprising, intelligent, questioning, ambitious in its > scope and brilliant in realizing that ambition." Tracy K. Smith has been > awarded a grant from the Ludwig Vogelstein Foundation and a residency at > Fondación Valparaiso. She currently lives and teaches in Brooklyn. > > Hope to see you there. --------------------------------------------- This message was sent using Endymion MailMan. http://www.endymion.com/products/mailman/ ========================================================================= Date: Tue, 28 Oct 2003 11:29:22 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group Comments: RFC822 error: Incorrect or incomplete address field found and ignored. From: Craig Allen Conrad Subject: WHAT ARE POETS READING? an occasional List-Zine MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit October 28th, 2003 I often wonder what other poets are reading, especially since so many good books I've read have been suggestions made by others. So I decided to e-mail some poets, ask them what they are currently reading, and to give us one-sentence reviews. Below is the collected list, hope it inspires your reading. Many thanks to all the poets who responded, CAConrad ------------- from Bruce Andrews to Magdalena Zurawski, to view the entire list, visit http://phillysound.blogspot.com ========================================================================= Date: Tue, 28 Oct 2003 13:39:04 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group Comments: Resent-From: Poetics List Administration Comments: Originally-From: "Steve Armstrong" From: Poetics List Administration Subject: The Broken Pencil Fall Tour MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Hello all, My friends at Broken Pencil Magazine are heading out on a promotional tour and Wegway Magazine will be there. It's our latest issue, hot off the press. The BP announcement follows below. If you are not interested in occasional mailings from Wegway, please reply with "remove" in the subject and I'll take your address off this list. Thank you. Steve Armstrong Publisher Wegway Primary Culture www.wegway.com ----- Original Message ----- > From: "Broken Pencil Subs" > To: > Sent: Wednesday, October 15, 2003 7:51 PM > Subject: Broken Pencil Magazine's Broken Tour - Coming to a City Near You > > >> **Please forward to your zine and independent art loving friends!** >> >> The Broken Pencil Fall Tour, 2003 >> >> What? >> Broken Pencil is on the road! The magazine of zine culture and the >> independent arts has been chronicling indie activity in Canada since 1995. >> We will be reading from our own creative works as well as reading > highlights >> from the magazine, showcasing zine culture through our travelling zine >> library, and inviting indie creators from the local community to present >> their work. >> >> Why? >> In order to spread the word of indie culture and continue to attract >> readers, writers and interest in the mag. Broken Pencil is an essential >> cultural resource, but in an age of corporate media it is often difficult > to >> find! We want to connect with new communities, meet creators, and > generally >> get out there! >> >> Who? >> Broken Pencil is run by a network of creator-writers across the country. >> However, since we can't take everyone with us, we've settled on three > people >> to represent the mag on the tour. >> >> They are: Emily Schultz, editor of Broken Pencil. Emily took on the job of >> editing BP roughly a year ago. Emily runs the ultra-cool Pocket Cannon >> series of anonymously written chapbooks. She is a freelance writer, and > her >> first collection of short stories is Black Coffee Night (Insomniac > Press), >> an acclaimed work that explores coming of age in an era of sexual > confusion >> and conflicting agendas. >> >> Marc Ngui, graphic novelist, regular contributor to BP. From Windsor > (though >> now living in TO) Marc's bold new graphic novel Enter Avariz, published by >> Montreal's Conundrum Press, explores this up and coming talent's growing >> dread of the monoculture. Bold, outrageous and compelling, Ngui presents a >> parallel world that looks a little too much like our own. He will be >> showcasing his work with the help of slides during the tour. >> >> Hal Niedzviecki, publisher of Broken Pencil. Founder and former editor of >> BP, Niedzviecki is a well known critic, media philosopher and fiction >> writer. An excellent reader and performer, he'll be doing a bit of >> everything on the tour, exploring ideas presented in his books We Want > Some >> Too: Underground Desire and the Reinvention of Mass Culture, and his novel >> Ditch. >> >> How? >> With a Little Help From Our Friends! This Tour is Sponsored by the Good >> People of Brave New Waves, CBC Radio 2. Also, each city has at least one >> bookstore sponsor. Visit these stores to buy the new Fall issue of Broken >> Pencil and check out the books by the touring authors. >> >> Where? >> All events are FREE and open to all! >> >> The Broken Pencil Tour Dates and Special Guests are: >> >> Saturday, October 25th - Montreal >> Table at the Montreal Zine Fair >> >> Monday October 27th - Ottawa >> Saw Gallery - 67 Nicholas Street >> With special guests: Geoffrey Brown and David O'Meara >> Bookstores: Mags & Fags, 254 Elgin Street >> Collected Works, 1242 Wellington Street >> >> Wed October 29th - Fredericton >> Gallery Connexion- 453 Queen St. >> With special guests: Marc Jarman and Candace Mooers (Maggot Zine) >> Bookstore: Reid's Newsstand & United Book Exchange, 435 King St. >> >> Thursday October 30th - Moncton >> Centre Culturel Aberdeen, 140 rue Botsford >> With special guest: Gary Flanagan (Nightwaves Zine) >> Bookstores: Reid's Newsstand, 985 Main St. >> Imago Artist Run Print Shop and Gallery >> >> Saturday November 1st -- Halifax >> Table at the Pop Explosion independent media festival >> Also: How-to make a zine afternoon workshop presented by Broken Pencil >> >> Monday November 3rd - Halifax >> With special guests: zinester Emily Holton, and the comic/collage >> masterminds A Softer World (Joey Comeau and Emily Horne) >> Khyber Club, Khyber Centre for the Arts, 1588 Barrington St >> Bookstore: Atlantic News, 5560 Morris St. >> >> Wed November 5th - Montreal >> With special guests: Broken Pencil columnists Heather O'Neill and Jonathan >> Goldstein plus indie press maven Andy Brown! >> Venue: Casa da Popolo, 4873 St. Laurent >> Bookstore: Paragraph Books, 2220 McGill College Ave. >> >> Thursday November 6th - Kingston >> Venue: modern fuel Modern Fuel, 21a Queen Street >> Bookstore: Queen's University Bookstore >> >> Monday November 10th - Windsor >> With special guests: writer Darryl Whetter and graphic explorer Gus Morin >> The Grad House, Graduate Pub, University of Windsor, 458 Sunset >> Bookstore: University of Windsor Bookstore >> >> Tuesday November 11th - London >> With special guests: indie impresario Jason Dickson (on the art of air >> guitar), Clare Heslop (Sun Shines On It Twice zine) >> Forest City Gallery >> Bookstore: City Lights Books, 356 Richmond St. >> >> Saturday November 15th - Peterborough >> Artspace, 129A Hunter St. West >> Also: afternoon zine making workshop at the Peterborough Art Gallery, call >> 705-743-9179 >> Bookstore: Speak Volumes, 446 George St. North >> >> Monday Nov 17th - Guelph >> With special guest: zinester Matt Collins >> The Bookshelf, 41 Quebec St. >> Bookstore: The Bookshelf >> >> Questions? Email tour@brokenpencil.com >> >> Hope to see you there! >> > > ========================================================================= Date: Tue, 28 Oct 2003 14:40:08 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Steven Shoemaker Subject: the horror (fwd) Comments: cc: Kent.Johnson@highland.edu MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Kent has asked me to forward a last response: Steve, OK. And I know what it's like to have a teething baby on your arms. We are obviously considering the notion of the "political" from different perspectives. I proposed The Waste Land as a "powerful political poem" because its despairing ideology registers something crucial about its age, and the poem's broader impacts, in doing so, were hardly merely "conservative" in nature. Authorial intent has only secondarily to do with those impacts. I guess I'm being somewhat old-fashionably "Lukacsian" (though he didn't much care for the poem!) in saying that. Enjoyed the exchange! Kent ========================================================================= Date: Tue, 28 Oct 2003 12:05:21 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: travis ortiz Subject: Atelos announces Tis of Thee by Fanny Howe In-Reply-To: <106386750.1067348344@pslck3-40.pubsites.buffalo.edu> MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit Atelos is pleased to announce the publication of Tis of Thee by Fanny Howe. Books are available now: www.atelos.org Press Release: Tis of Thee by Fanny Howe Atelos is pleased to announce the publication on November 30, 2003 of Tis of Thee by Fanny Howe. About the book: With figures X, Y, and Z, Fanny Howe constructs "a repressed but emotional history" of encounters and unions between races, classes, genders, and epochs. Considering race as "the most random quality assigned to a soul," Howe has undertaken an (American) history of a racially mixed population. Tis of Thee is a theatrical work originally written as a series of poems in voices--voices originating in the intimacies and ruptures of the inter-. In Howe's text the story of two interracial love affairs concerns both the dialogic and the prophetic: "X: and Z: Any discussion about race is really a discussion about the creation of the universe." The work bears evidence to many creative unions as well: with Ben Watkins, who provided the photographs; with graphic artist Maceo Senna, who illustrated the text; with Nya Patrinos, set designer, video artist, and director of the original production; as well as with composers Miles Anderson and Erica Sharp, whose score adds another voice to the spoken three. The text includes a CD recording of the work, originally performed at the Porter Troupe gallery in San Diego, 1997, with Paul Miles (X), Stephanie French (Y), and Andre Canty (Z). About the author: Fanny Howe is the author of numerous books of poetry and fiction. Among the most recent of her publications are Economics (Flood Editions), Gone and Selected Poems (both from the University of California Press), One Crossed Out (Graywolf), and Saving History and Nod (both from Sun and Moon). Born in Buffalo, New York, and brought up in Boston, Howe attended Stanford University. She has been a recipient of the prestigious Lenore Marshall Award from the Academy of American Poets, as well as a Commonwealth of California Award, a National Poetry Foundation Award, and two Fellowships from the National Endowment for the Arts. She taught for thirty three years and now lives in New England. About the project: Atelos was founded in 1995 as a project of the nonprofit foundation Hip's Road. Atelos is devoted to publishing, under the sign of poetry, writing which challenges the conventional definitions of poetry. All the works published as part of the Atelos project are commissioned specifically for it, and each is involved in some way with crossing traditional genre boundaries, including, for example, those that would separate theory from practice, poetry from prose, essay from drama, the visual image from the verbal, the literary from the non-literary, and so forth. The Atelos project when complete will consist of 50 volumes; Tis of Thee is volume 16. The project directors and editors are Lyn Hejinian and Travis Ortiz; the editor for cover production and design is by Ree Katrak; the production assistant is Colin Dingler. Ordering information: Tis of Thee may be ordered from Small Press Distribution, 1341 Seventh Street, Berkeley, CA 94710-1403; phone 510-524-1668 or toll-free 800-869-7553; e-mail: orders@spd.org. Title: Tis of Thee Author: Fanny Howe Price: $12.95 Pages: 104 Publication Date: 11/30/03 ISBN: 1-891190-16-4 Contact: Lyn Hejinian: 510-548-1817 Travis Ortiz: 415-652-9241 fax: 510-704-8350 Atelos PO Box 5814 Berkeley, CA 94705-0814 * * * ========================================================================= Date: Tue, 28 Oct 2003 12:09:13 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: travis ortiz Subject: Atelos announces Poetical Dictionary by Lohren Green MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Atelos is pleased to announce the publication of Poetical Dictionary by Lohren Green. Books are available now: www.atelos.org Press Release: Poetical Dictionary by Lohren Green Atelos is pleased to announce the publication on November 30, 2003 of Poetical Dictionary (Abridged) by Lohren Green. About the book:=20 Lohren Green=92s Poetical Dictionary concludes with chaos and begins with acrobatics. In between these he presents us with =93both a book of words and a cosmos;=94 a linguistic gas cloud bounded by the universal and the particular. Green=92s project departs from the traditional dictionary, a peculiar contraption of sense and order. In the preface, he reviews the architectures of these teetering, teeming, linguistic edifices. His attitude towards words is almost that of a material scientist, exploding an individual specimen of language=97=93bulwark=94 =93heft=94 =93oyster=94 =93purple=94 = =93torpid=94 =93foreplay=94=97in order to ascertain its =93synthesis of body and concept.=94 But the = heterogeneity, desire, and tedium contained in such an enormous document as the conventional dictionary are equally curious to Green, as is the problem of how to accommodate the plasticity of each word=92s sense. Speaking of his Poetical Dictionary, Green says, =93Here words are not so much = defined as they are depicted in a kind of informed portraiture, a conceptual calligraphy, a combination of lexicography and poetry=97a lexetry that knows the style of information, the viscosity of concepts, the atmospherics of these sonic cum tropic logics that we call words=94(Preface, xiv). Organized into SUBJECT WORD, PRONUNCIATION, ETYMOLOGY, and DEFINITION, each entry in the Poetical Dictionary makes the traditional dictionary hiccup, divulging the stanza within the standard definition and the wiggle of wit in the pronunciation key. About the author:=20 Lohren Green was born in Phoenix, Arizona in 1967, and has since lived in various cities including Pittsburgh, S=E3o Paulo, Los Angles, Berkeley and Barcelona. He holds a PhD. In Rhetoric from U.C. Berkeley, and an M. Phil. in the History and Philosophy of Science from Cambridge University. He is currently making his way as a sophist in San Francisco. This is his first book. =20 About the project: Atelos was founded in 1995 as a project of the nonprofit foundation Hip=92s Road. Atelos is devoted to publishing, under the sign of poetry, writing which challenges the conventional definitions of poetry. All the works published as part of the Atelos project are commissioned specifically for it, and each is involved in some way with crossing traditional genre boundaries, including, for example, those that would separate theory from practice, poetry from prose, essay from drama, the visual image from the verbal, the literary from the non-literary, and so forth. The Atelos project when complete will consist of 50 volumes; Poetical Dictionary is volume 17. The project directors and editors are Lyn Hejinian and Travis Ortiz; the editor for cover production and design is by Ree Katrak; the production assistant is Colin Dingler. =20 Ordering information: Poetical Dictionary may be ordered from Small Press Distribution, 1341 Seventh Street, Berkeley, CA 94710-1403; phone 510-524-1668 or toll-free 800-869-7553; e-mail: orders@spd.org. Title: Poetical Dictionary (Abridged) Author: Lohren Green =09 Price: $12.95 =09 Pages: 104 =09 Publication Date: November 30, 2003=09 ISBN: 1-891190-17-2 =09 Contact: Lyn Hejinian: 510-548-1817 Travis Ortiz: 415-652-9241 fax: 510-704-8350 Atelos PO Box 5814 Berkeley, CA 94705-0814 * * * ========================================================================= Date: Tue, 28 Oct 2003 15:54:15 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Tim Peterson Subject: A Pressed Wafer Reading: Brenda Iijima, Ed Barrett, and Darlene Gold Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed *A Pressed Wafer Reading* Brenda Iijima: IN A GLASS BOX Ed Barrett: RUB OUT Darlene Gold: MIDNIGHT ANTELOPES Thursday, October 30 at 7 PM Teachers & Writers Collaborative 5 Union Square West, 7th Floor New York, NY call: (212) 691-6590 ========================================================================= Date: Tue, 28 Oct 2003 16:14:41 -0500 Reply-To: az421@freenet.carleton.ca Sender: UB Poetics discussion group From: Rob McLennan Subject: [jblades@nbnet.nb.ca: Videopoems @ Tidal Wave Film Festival] MIME-version: 1.0 Content-type: TEXT/PLAIN Content-transfer-encoding: 8BIT Tidal Wave Film Festival presents "Videopoems: a Screening", 7 pm, Friday, 7 Nov 2003 @ Tilley Hall, UNB Fredericton. Fredericton NB. Features these Canadian poets’ videopoems: Adeena Karasick, Alphabet City, Mumbai-Ya, Belle-Lêtres; R.M. Vaughan, M*A*S*H Notes For Private Kyle Brown; Jannie Edwards, Engrams; Phlip Arima, My Eyes Open; Ian Ferrier, This Fire; Sandra M. Hawkins, Human Bytes; Susan Cormier, the bleeding place; Tom Konyves, Sympathies of War, Quebecause; Sheri-D Wilson, Airplane Paula; Seth-Adrian Harris, Back; Andrea Thompson, Juicy; Joe Blades, Halifax Harbour Developments; Denise DeMoura, dys fun; Robert Priest, Poempainter; + Reception (including performance/reading by poet Adeena Karasick) @ The Blue Door, 100 Regent Street. Advance Tickets @ the Playhouse Box Office, 458-8344, or $10 cash at the door. Screening admission includes admission to the reception afterwards. +++++++++ Adeena Karasick is a poet/cultural theorist and video and performance artist; as well as the award-winning Canadian author of five books of poetry and poetic theory, The Arugula Fugues, Dyssemia Sleaze, Genrecide, Mêmewars, and The Empress Has No Closure. Her debut video, Alphabet City won the 1999 Edgewise Electrolit Videopoem Festival's People's Choice Award. Adeena lives, writes, and teaches Poetry and Literary Theory at St. John's University in New York City. +++++++++ + Industry Series Panel, “Videopoem Filmmaking” — with presenters Adeena Karasick, Denise DeMoura and Joe Blades. Saturday, 1 pm, 8 November @ the Fredericton Public Library — upstairs meeting room, 12 Carleton St -- poet/editor/pub. ... ed. STANZAS mag & side/lines: a new canadian poetics (Insomniac)...pub., above/ground press ...coord.,SPAN-O + ottawa small press fair ...8th coll'n - red earth (Black Moss) ...c/o RR#1 Maxville ON K0C 1T0 www.track0.com/rob_mclennan * http://robmclennan.blogspot.com/ ========================================================================= Date: Tue, 28 Oct 2003 16:24:10 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Daniel Bouchard Subject: New Poker (#3) available Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed With pleasure I announce the availability of the new issue of The Poker featuring poetry by: Fanny Howe, James Thomas Stevens, Dale Smith, Daniel Bouchard, Jacqueline Waters, Alan Davies, Gleb Shulpyakov, Andrew Schelling, Jules Boykoff, and Bruce Holsapple; an interview with Kevin Davies; with an unpublished essay by William Carlos Williams (introduced by Richard Deming), essays by Fanny Howe, and Aaron Kunin; and a book review of Anselm Berrigan's Zero Star Hotel by Noah Eli Gordon. And don't forget to check out our growing list of back-issues: The Poker 2 poetry by Rachel Blau DuPlessis, Kit Robinson, Ange Mlinko, Colin Smith, Camille Guthrie, David Perry, Jennifer Scappettone, K. Silem Mohammad, Joseph Torra, and Merrill Gilfillan; a special poetry section: iraqi poets Jawad Yaqoob, Sadiq al-Saygh, Dunya Mikhail, Yousif al-Sa'igh, Sami Mahdi, Fawzi Karim, Gzar Hantoosh, Sinan Anton, and Mahdi Muhammed Ali; with art by Tom Neely (introduced by Bill Berkson); an essay by Jennifer Moxley; and book reviews on Paul Metcalf, Philip Whalen, Sara Veglahn, Kenneth Rexroth. The Poker 1 poetry by Alice Notley, Chris Stroffolino, D. A. Powell, Daniel Bouchard, George Stanley, Jennifer Moxley, Juliana Spahr, Kevin Killian, Kimberly Lyons, Laura Elrick, Philip Jenks, Robert Mueller, and Shin Yu Pai; featuring an interview with Kimberly Lyons; and book reviews on the work of Rachel Blau DuPlessis, Joseph Torra, Brenda Bordofsky, MacGregor Card, Karen Weiser and The World in Time and Space (ed. Donahue and Foster). The Poker is available directly from the editorial office: PO Box 390408, Cambridge, MA 02139 Please make checks payable to Daniel Bouchard. Single issues are $10. A subscription is 3 issues for $24 Thanks. ><>>>>>>>>>>>>>>>>>>>>>>>>> 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: Tue, 28 Oct 2003 17:28:34 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: THYNE MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII THYNE fukue0o^o0 have reaTHOOayen walkhZ through pourayeng raayenhed THOOe heayeghthZ aye have. THOOe+ have fukulown \nought hayegh, THOOeayer ayen THOOe wayendayenghZ broken, THOOeayer ayen THOOe wayendordhZ QLUEuelulled. THOOuhZ \nought mayene enemayeehZ! eTHOOayen walkhZ through pourayeng raayenhZtahZ+ shalull neverr clewonzerrned& THOOeayerhZ; THOOe THOOayen walkhZ through pourayeng raayenraghZ brunette bloomhZ = mayene l lond\a dropped loTHOOayen walkhZ through pourayeng raayenk ofukulsh! haayer1, fukurom dark fukuorehZt \nought ayen THOOe wayendolverrayene laayer, lululled b+ THOOe potentayel fukuor THOOe ayenfukuayenayete! ___ ========================================================================= Date: Tue, 28 Oct 2003 17:35:06 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: AAAA AAA AAAA AAAAA@ AAAA AAZA MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII AAAA AAA AAAA AAAAA@ AAAA AAZA z-aaaaa aa aaaa-aaazaaa.aaa a:aaAA aa aaa zaza aa aaa.aaa.aa.aa a:aaAA a aa zaaaz aa -a-aaaaa.-aaa-aa a:aaAA a aazaa zazaa az aaa.aaa.aaa.a AaaaaZA aazaa aazaa -a zaaaaa aa aa-aaa-aaa-aaa.a a:aaZA a:aa -aaa zaa aa aaa-aaa.zaaaaa.a AzaaaAA a aaaa -a zaa aa aaaaaaaaaa-aaa.z AaaaaZA aa - 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aaa aa az-azaaaa-aa-aaz a:aaAA a:aa aaa -A aaaa aa aa.aaa.aa.aaa a:aaAA a aa aaaaaz aaaaaa aa aa-aaa-aaa-aa.aa a:aaAA aa -aaa azaaa aa aa-aaa-aa-aaa.aa AaaaaAA aa:aa /aaa/aaaz azaaa aa aa-aaa-aa-aaa.aa AaaaaAA aa:aa /aaa/aaaz azaaa aa aa-aaa-aa-aaa.aa aa:aaZA a:aa /aaa/aaaz aaaaa aa aaa.a.aaa.aaa a:aaAA a -aaa aaaaaaaa az a-aa-aaa-a-aa.aa a:aaAA a - aaaaaaa aa zaaa-aa-aaa-aaa- a:aaAA a - aaaaa az aaaaa.aazaaa.zaa aa:aaAA a aaaa aaaaa aa aaaaa.aazaaa.zaa aa:aaZA a:aa aaaa ___ ========================================================================= Date: Tue, 28 Oct 2003 15:44:40 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Louis Cabri Subject: fins for fans (of inman) MIME-version: 1.0 Content-type: text/plain; charset=iso-8859-1 Content-transfer-encoding: 7BIT For poet Peter Inman fans, perhaps some of this will be of interest. http://www.monoecious.org/ P. Inman in Conversation with Roger Farr & Aaron Vidaver Responses to the interview and to Inman's work by: Rita Wong draft nodes towards a slow response Clint Burnham Inman. Hung Q. Tu Untitled Craig Dworkin The Patmore Assumption Louis Cabri Nonce-word pragmatics: a sketch http://www.monoecious.org/ ========================================================================= Date: Tue, 28 Oct 2003 16:20:33 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Robert Corbett Subject: Re: Elliott Smith, 1969-2003 In-Reply-To: MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII yes, George. tho' it's more usually cut from 1960 to 1975. better yet, after the Cuban Missile Crisis and by the time Nixon resigned. Smith will someday be recognized as one of the most distinctive, yet representatives voices of said generation musically. Robert -- Robert Corbett "Given the distance of communication, Coordinator of New Programs I hope the words aren't idling on the B40D Gerberding map of my fingertips, but igniting the Phone: (206) 616-0657 wild acres within the probabilities of Fax: (206) 685-3218 spelling" - Rosmarie Waldrop UW Box: 351237 On Fri, 24 Oct 2003, George Bowering wrote: > >elliot smith my friends was one of the finest > >songwriters my generation has ever had > > Wait. Can you really call people born after 1969 a generation yet? > -- > George Bowering > Too busy for smooching. > > 303 Fielden Ave. > Port Colborne. ON, > L3K 4T5 > ========================================================================= Date: Tue, 28 Oct 2003 16:55:46 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jim Andrews Subject: FW: experimental politics of the state MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit -----Original Message----- From: nettime-l-request@bbs.thing.net [mailto:nettime-l-request@bbs.thing.net]On Behalf Of Brian Holmes Sent: Tuesday, October 28, 2003 2:14 AM To: nettime-l@bbs.thing.net Subject: Re: experimental politics of the state Ryan Griffis quoted a New Hampshire woman on the libertarian Free State project: >I don't like to go places that don't let me have my gun," said Ms. >Casey, 33 ..."I want to be a billionaire in my lifetime " she added, >"and I don't want to live among people who think that's bad." In a strange way this does pertain to what I said in the text on the Tate. NSK created their State in Time while the redrawing of national borders provided the excuse for practically every gun in the former Yugoslavia to be fired, at every other one. Today in the Western nations it's legitimate to work up huge armies to invade countries which have lots of oil, despite what the majority thinks is right. The Tate Modern, which in principle is supposed to be about art and reflexivity, is funded by the same corporations that push the nations to use their armies. In the United States, the voting machines are private property and there are people for whom society doesn't exist. The times are really wierd. At the end of the day in London, after a pretty searching seminar, two artists named Cornfeld & Cross came up to tell the story of how they spent loads of public-and-private money (handing out fifty quid notes in the end as bribes for the homestretch) to convince a businessman who owned a whole hangar of airplanes to use a red RAF jet fighter to draw an anarchist symbol in the sky with smoke. They kept saying they were on the left and how they felt slightly guilty about this project and how beautiful and seductive the plane was and how wierd that everybody on the ground crew looked the other way and one guy spent two hours adjusting two bolts. The film doesn't show the circle A, it shows you a view from the camera mounted under the wing (the left wing) and they think the film shows how beautiful and liberating and peaceful it is to fly. Art could easily become useless, irrelevant, when the planes fly. Wherever you live, the state could easily be taken over by, well, basically, fascists. I think one thing to do is to try and imagine something different and put the imaginary into tension with the real. Because the tension itself, the fact that you go on talking with people you totally disagree with, that you bring out the issues rather than the gun, is a way to work in this moment. Different, totally different than the libertarian experiment. It's a matter of building an idea and a feeling of society, creating a state of desire and exopectation, a project, a will to change. But that's just my idea. best, Brian ========================================================================= Date: Tue, 28 Oct 2003 18:19:23 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Stephen Vincent Subject: Blog Update Comments: cc: UK POETRY Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit As it seems with many - as in a marathon minus cups of water and the branding minus commodities, as well as attention to "real" jobs - the managed acreage (bytes) gets (probably gratefully for even the glutton reader) substantially less crowded across the horizon - or so it appears, with some exceptions. Or so it is with my blog - this curiously seductive, addictive companion that still seeks to challenge all my other bosses! So just a few small - maybe good - entries and a recent piece I like: Night Music Plus More Arbus The eye remains at: http://stephenvincent.durationpress.com/ Thanks, Stephen V ========================================================================= Date: Tue, 28 Oct 2003 23:18:54 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Andrew Lundwall Subject: Announcing: As/Is Content-Disposition: Inline Content-Type: Text/Plain; Charset=US-ASCII Content-Transfer-Encoding: 7Bit MIME-Version: 1.0 (WebTV) As/Is = a group poetry weblog of spontaneous poetic thoughts. The Place = http://as-is.blogspot.com The Cast So Far = -Andrew Lundwall -Clayton Couch -MTC Cronin -Gary West -Kari Edwards -Alex Gildzen -Crag Hill -Lewis Lacook -Anvil Legal *If you would like to be cast as an "As/Is" star, ask and you shall receive* ========================================================================= Date: Wed, 29 Oct 2003 00:34:53 -0500 Reply-To: patrick@proximate.org Sender: UB Poetics discussion group From: Patrick Herron Subject: grouchPoet1: /: c/r/a/p MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit /: c/r/a/p /:c/rap cr/ap cra/p c/r/ap /:a/ny wa/y yo/u c/ut i/t /:it/'s st/ill c/r/a/p ========================================================================= Date: Wed, 29 Oct 2003 00:45:20 -0500 Reply-To: patrick@proximate.org Sender: UB Poetics discussion group From: Patrick Herron Subject: grouchPoet2: Post-Literate Amerucka MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Dear Poets & Writers: If it may concern you, I have writtin you verse that is worthy of a covr story and attenshun. You are skilled and I got bag. Feel muh power through ostensive voltage. I am sad n bad n glad lad. I am responsable for the famus "la la la" of the long in shorts. Barney is bigger than the both of us. A song as sweet as you is impossible for me and Washington DC has attorneys you may retain for a fee to sue the both of us. Your cloudy pool is airless and I like that. You are touching many people and so touch me too. Strangulashon breeds suffocatin shooting ejaculation. See I am Avant Garde as well as Shooting Guard and card-carrying member of the New Prescribed. We red together when in Paris. Take my picture in black and white. Here I have prepared deposits for your vault: No one loves me I love no one I write loveless poetry He loves You You love Him We're a Christian Family Charity Breeds misery Whitman loved vulgarity Misery Breeds charity My verse lacks popularity No one loves me I love no one I write loveless poetry Pity you Pity me Pithy poets crap and pee So hootin hollerin pistle whistle missle. I like so love your work, blah blah. You are like so influential. Blah blah. I say that becuz you love m,e. They'll take me over at APR if you don't. Blah blah. So Kiss My Grant. Baby bye babbling blue. Send me money gunds lawers and sell the kids in Romenia for dogs in sleeping sleeping and charity is a tax sheltur. I keep a day job as accountunt. I have $20 million and am in Logos waiting to deposit in your contests. Publish me and you're so great. I like that. My poetics is this. Remember those in the middle. Keep an eye out. Find the cutting edge. Get a good night's sleep. Like, you know? See you in the morning. Bye bye. See yu later. I'm not extreem byt sumewherwe in the muddle. We are making priogress. Every second count. I like fun and music too but nonsmockers only. Not too big not too small just right. Yours in the sincerely best always, Patric Herron Poet Laureate and Guidant To the Starz at Nite ========================================================================= Date: Wed, 29 Oct 2003 02:04:06 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: "Susan and Brenda and Alice and Jane" MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII "Susan and Brenda and Alice and Jane" 0.132218 1 He was married to Constance MONK. Brenda CASTLE was born in 1947. Parents: Stanley Charles CASTLE and Alice FETTERLEY. Susan CASTLE was born in 1945. 3 __ __| | |__ | |--Brenda | | __ |__| |__ _________| | |____________________ | |--Annie Susan QUICK | | _Sinclair STURM Mother: Manzella Alice UPTON Family 1 4 __ __| | |__ | |--Brenda | | __ |__| |__ _Jennie PONDER ________ | |--Susan GLADFELTER | | _______________________ Ehrie MURDOCK Mother: Alice Bertrell BALLARD 2 ... NAME: SUSAN MAYES: S_COLE BIRTH: 14 OCT 1870, , , Arkansas; DEATH: JUL 1965. Father: Jacob Bradford COFFMAN Mother: Alice Catherine HENDRICKS Brenda ROBERTS. 10 Blacklock Elise Blackwell Stephanie Bond Susan Bowden Michele Elin Hilderbrand Justin Hill Alice Hoffman Dee Barksdale Inclan Robert Inman Brenda Jackson Anna 10 Blacklock Elise Blackwell Stephanie Bond Susan Bowden Michele Elin Hilderbrand Justin Hill Alice Hoffman Fiona Hood Robert Inman Anna Jacobs Brenda K. Jernigan 10 Elise Blackwell Stephanie Bond Susan Bowden Michele Herman Elin Hilderbrand Justin Hill Alice Hoffman Fiona ... Barksdale Inclan Robert Inman Brenda Jackson Anna ... 10 Elise Blackwell Stephanie Bond Susan Bowden Michele Herman Elin Hilderbrand Justin Hill Alice Hoffman Fiona Barksdale Inclan Robert Inman Brenda Jackson Anna 10 Blacklock Elise Blackwell Stephanie Bond Susan Bowden Michele ... Elin Hilderbrand Justin Hill Alice Hoffman Dee ... Barksdale Inclan Robert Inman Brenda Jackson Anna ... 10 Blacklock Elise Blackwell Stephanie Bond Susan Bowden Michele Elin Hilderbrand Justin Hill Alice Hoffman Dee Barksdale Inclan Robert Inman Brenda Jackson Anna 10 1 Susan and Brenda and Alice and Jane ========================================================================= Date: Tue, 28 Oct 2003 23:10:48 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: elen gebreab Subject: Call for Submissions: Ana Castro Zine #2 MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit Please Post Widely! CALL FOR SUBMISSIONS FOR ANA CASTRO # 2 QUEERING QUEERNESS DEADLINE: JANUARY 1, 2004 Ana Castro, a Radical People of Color zine, launched it's first issue in March, 2003 on the exotification of Women of Color. The next issue will be on Queering Queerness. Ana Castro is accepting the following submissions: Comic strips, drawings, short essays, fiction, pictures and poems by Queer People of Color. Your submission (s) should be on the following topics: The definition of Queer today Being a Queer POC Genderqueerness Trannie fags/Trannie lesbians The Queering of Sex: Queer Women with Queer Men Trannie fags with bio fags Trans women with Trans men Open Relationships/Polyamory/Non-Monagamy Threesomes/Orgies Multiple people relationships Also accepting ideas on other topics not listed above. Deadline: January 1, 2004 Submissions can be sent over email to anacastrozine@yahoo.com Or Ana Castro Zine, 217 Ocean Ave, # 7A, Brooklyn, NY 11225 "...around me there is this incessant talk of liberty for those who are already free." -Gale Jackson ------------------------ Yahoo! Groups Sponsor ---------------------~--> Rent DVDs from home. Over 14,500 titles. Free Shipping & No Late Fees. Try Netflix for FREE! http://us.click.yahoo.com/mk9osC/hP.FAA/3jkFAA/tt2olB/TM ---------------------------------------------------------------------~-> To unsubscribe from this group, send an email to: WILLyou-unsubscribe@egroups.com Your use of Yahoo! Groups is subject to http://docs.yahoo.com/info/terms/ ========================================================================= Date: Wed, 29 Oct 2003 10:08:46 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group Comments: Resent-From: Poetics List Administration Comments: Originally-From: Steve Dickison From: Poetics List Administration Subject: ** Carl RAKOSI's 100th Birthday Celebration, Sat Nov 8, 1-4pm, SF Main Public Library MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1; FORMAT=flowed Content-Transfer-Encoding: quoted-printable The Poetry Center presents A celebration of poetry on the occasion of Carl Rakosi's One-Hundredth Birthday Saturday, November 8, 1:00-4:00 pm, free at Koret Auditorium, SF Main Public Library 100 Larkin Street (at Grove; Civic Center BART) http://www.sfsu.edu/~poetry/newreadings/nov8.html co-sponsored by The Poetry Center, the San Francisco Public Library, and the Friends & Foundation of the San Francisco Public Library PLEASE NOTE: Carl Rakosi will be reading from his poetry for a biography and a 1999 interview http://www.sfsu.edu/~poetry/newreadings/rakosi_bio.html the November 8th program will include remarks by San Francisco Board of Supervisors President Matt Gonzalez http://www.mattgonzalez.com/ plus featured guests: Jane Augustine, Bill Berkson, Tom Devaney, George Evans, John Felstiner, Barbara Guest, Thom Gunn, Robert Hass, Burton Hatlen, Lyn Hejinian, Michael Heller, Anselm Hollo, Paul Hoover, August Kleinzahler, Jack Marshall, Geoffrey O'Brien, Daisy Zamora, and others, reading from their works in celebration of Mr. Rakosi's 100th birthday with long-distance contributions from Paul Auster (New York), Robert Creeley (Providence), Andrew Crozier (England), Nicholas Johnson (England), Anthony Rudolf (England), Gael Turnbull (Scotland), Anne Waldman (New York) NOTE: DETAILED SCHEDULE OF POETRY CENTER FALL PROGRAMS IS ONLINE AT http://www.sfsu.edu/~poetry COMING UP: THURSDAY OCT 30: AHARON SHABTAI, 4:30 PM AT THE POETRY CENTER THURSDAY NOV 6: GEORGE OPPEN MEMORIAL LECTURE: BURTON HATLEN, 7:30 PM AT UNITARIAN CENTER SATURDAY NOV 8: CARL RAKOSI'S 100TH BIRTHDAY CELEBRATION, 1:00 PM AT SF PUBLIC LIBRARY PLEASE NOTE: EVENT CANCELLED: [[[ * * * SUNDAY NOV 9: BOOK PARTY, THE LETTERS OF ROBT DUNCAN & DENISE LEVERTOV, AT CITY LIGHTS BOOKS * * * ]]] EVENT CANCELLED THURSDAY NOV 13: TREVOR JOYCE & LAURA MORIARTY, 3:30 PM AT POETRY CTR & 7:30 PM AT UNITARIAN CENTER MONDAY NOV 17: BOOK PARTY, GOING HOME TO A LANDSCAPE: WRITINGS BY =46ILIPINAS, 3:00 PM SFSU BOOKSTORE THURSDAY NOV 20: SESSHU FOSTER, 4:30 PM AT THE POETRY CENTER THURSDAY DEC 4: CLAYTON ESHLEMAN, 4:30 PM AT THE POETRY CENTER =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 University 1600 Holloway Avenue ~ San Francisco CA 94132 ~ vox 415-338-3401 ~ fax 415-338-0966 http://www.sfsu.edu/~poetry ~ ~ ~ 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 -- =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 University 1600 Holloway Avenue ~ San Francisco CA 94132 ~ vox 415-338-3401 ~ fax 415-338-0966 http://www.sfsu.edu/~poetry ~ ~ ~ L=E2 taltazim h=E2latan, wal=E2kin durn b=EE-llay=E2ly kam=E2 tad=FBwru Don't cling to one state turn with the Nights, as they turn ~Maq=E2mat al-Hamadh=E2ni (tenth century; tr Stefania Pandolfo) ~ ~ ~ Bring all the art and science of the world, and baffle and humble it with one spear of grass. ~Walt Whitman's notebook ========================================================================= Date: Wed, 29 Oct 2003 10:53:52 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Gary Sullivan Subject: Captain America Project - Please Help! Mime-Version: 1.0 Content-Type: text/plain; format=flowed Hello, everyone: Inspired by Chain's call for public forms, the Captain America Project is a series of four postcards, each featuring the popular comic book hero and language limited to anagrams for the words "American imperialism" (e.g., "I am a criminal's empire," etc.). I've made a small (144kb) PDF that I can send you, which can then be printed onto card stock and cut into quarters, to create postcards for distribution. Currently, there are about a dozen people disseminating these cards, from Hawai'i, Oakland, New York, Maine, Denmark, to Poland. I'd love to have many more people involved, especially people outside the U.S. If you'd be interested in having me send you the PDF, please write to me at gary.sullivan@nmss.org Thanks! _________________________________________________________________ Cheer a special someone with a fun Halloween eCard from American Greetings! Go to http://www.msn.americangreetings.com/index_msn.pd?source=msne134 ========================================================================= Date: Wed, 29 Oct 2003 08:05:17 -0800 Reply-To: Ishaq1823@telus.net Sender: UB Poetics discussion group From: Ytzhak Organization: Selah7 http://www.sleepybrain.net/vanilla.html Subject: [soa] Caribbean Resistance To Terrorism MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1; x-mac-type="54455854"; x-mac-creator="4D4F5353" Content-Transfer-Encoding: 8bit http://www.nationnews.com/StoryView.cfm?Record=43686&Section=Local&Current=2003%2D10%2D27%2000%3A00%3A00 ëFor a fistful of aid ? not usí - Monday 27, October-2003 by Albert Brandford IN A carefully aimed backhanded slap at the United States, Barbados has said no, to ìcrude coercive unilateralismî and vowed never to compromise fundamental values ìfor a fistful of aidî. Prime Minister Owen Arthur yesterday urged the faithful at the ruling Barbados Labour Partyís 65th annual conference to agree to so order this countryís economic affairs that it would not ever have to go cap in hand to any institution or country for support. ìWe now live in a world of strange new political dynamics and relationships,î he observed. ìOld values, good values such as constructive engagement, the forging of alliances and consensus, the respect for diversity, the belief in the virtue of the rule of law and multilateralism are giving away to a crude coercive unilateralism.î According to him, the definition of ìnational interestî was being made subordinate to how others saw the world and their place and Barbadosí place in it. ìThere is the threat of the withdrawal of benefits and the abrupt cessation of relationships which were carefully negotiated and nurtured if one does not fall into line, no matter how severely one may have to offend fundamentally important principles.î Arthur said Barbados had no interest in picking fights with its traditional allies or being other than a stable, co-operative and progressive society within the family of nations. ìBut I say to the world, we shall never compromise fundamental values for a fistful of aid.î The Prime Minister also appealed for tolerance among Barbadians amid a growing disrespect for the rights of minorities. ìWe have recently heard a cleric express an intention to lead the ëmother of all battlesí should Government treat with a matter which that cleric regards as taboo,î he recalled. == \\\\\ * ///// SUNDAY NOVEMBER 9th on DRUMBEAT RADIO-NET CAST with MINISTER GENERAL AHMAD OF SONS OF AFRIKA GAIL JACKSON - Community Liaison THE DEMOCRATIC NATIONAL COMMITTEE http://www.DNC.org and WILLIAM DORCENA - Community Outreach THE BOSTON '04 HOST COMMITTEE http://www.BOSTON04.org " THE DEMOCRATS ARE COMIN' " http://www.WRBBRadio.org Listen Worldwide on Line http://www.WRBBRadio.org HOLLAH 617-373-2658 617-373-2658 ==== BECOME A VENDOR FOR THE 2004 DEMOCRATIC NATIONAL CONVENTION JULY 26 - 30, 2004 http://www.boston04.com/pdfs/2004issue3.pdf Official BOSTON 04 NEWSLETTER This is a .pdf file - You need ADOBE ACROBAT to open it DON'T HAVE ADOBE ? go here yo: http://www.adobe.com/products/acrobat/readstep2.html ===== TAX PROS OF SONS OF AFRIKA LEARN ABOUT THE "NEW" HEALTH CARE TAX CREDIT on TAX PROS OF SOA http://more.at/taxpros 1980 - SERVING YOU ALREADY ! - 2004 http://soataxpros.taxwisepartner.com/ \\\\\ * ///// THANK YOU BROTHER DALANI AAMON Black Author and Educator Author of " I MUST LET MY PEOPLE KNOW " http://www.dalaniaamon.com/ FOR CALLING IN TO DRUMBEAT LIVE FROM GAITHERSBURG MD USA SUNDAY OCTOBER 12 2003 (Thank You Bro. Dalani for Supporting The Work of Minister General Ahmad and SOA ) ///// * \\\\\ SPECIAL PACKAGES TO BOSTON while supporting SONS OF AFRIKA of BLACK BOSTON http://www.site59.com/detail.html?in_origination_key=370&in_package_key=5016689&in_listclick=pkg_button_hp_14 SEE YOU IN JULY 04 - DEMOCRATIC NATIONAL CONVENTION http://www.boston04.com == THANK YOU TEXAS STATE REPRESENTATIVE and CHAIR OF TEXAS BLACK LEGISLATIVE CAUCUS GARNETT COLEMAN, 147th DISTRICT http://www.house.state.tx.us/members/dist147/coleman.htm AND THANK YOU - LIVE IN STUDIO BOSTON'S FIRST ( and maybe LAST ) LATINO ELECTED TO A CITY WIDE CITY COUNCIL SEAT - BROTHER FELIX D. ARROYO http://www.felixarroyo.com AHEAD OF THE NOV. 4th GENERAL MUNICIPAL ELECTIONS " A TALE OF TWO (2) CITY" Councils in BLACK BOSTON SUNDAY SEPTEMBER 28th AT 10 AM ( 2 PM UTC/gmt ) with MINISTER GENERAL AHMAD on DRUMBEAT RADIO-NET CAST http://www.WRBBRadio.org WRBB 104.9 BOSTON FM RADIO ===== Boston City Councilor Charles Yancey Pays Surprise visit to home of MINISTER GENERAL AHMAD - SAT 9/20/2003 http://photos.groups.yahoo.com/group/soa/vwp?.dir=/&.dnm=Ahmad_Yancey9-20-03.jpg&.src=gr SEE THE MINISTER GENERAL AT WORK: http://listen.to/drumbeat ///// * \\\\\ NEW OPTICAL SCAN VOTING MACHINES IN BOSTON http://www.cityofboston.gov/elections/votingmachines/ WATCH A VIDEO OF THE NEW VOTING SYSTEM with SISTER SARAH ANN SHAW http://video.ci.boston.ma.us:8080/ramgen/cable/1288.rm VOTE PEOPLE OF COLOR ONLY IN THE NOV. 4th MUNICIPAL ELECTION SEND A CLEAR MESSAGE - PLANTATION DAYS IN BOSTON ARE OVER ! a Request of Sons Of Afrika - per order of The Minister General === THANK YOU TEXAS STATE REPRESENTATIVE BROTHER RON WILSON - TEXAS 131st DISTRICT for CALLING IN TO DRUMBEAT RADIO-NET CAST with MINISTER GENERAL AHMAD - SUNDAY AUGUST 31st to talk about WHERE ARE THE (TEXAS) DEMOCRATS ? SEE BROTHER RON'S BIO http://www.house.state.tx.us/members/dist131/welcome.htm \\\\\ * ///// ADVERTISE ON DRUMBEAT THE NEW DRUMBEAT RADIO-NET CAST SITE http://listen.to/drumbeat CONTACT: DRUMBEAT@ listen.to ///// * \\\\\ SONS OF AFRIKA PROGRAM - ARTICLE 9 ..... we want STATEHOOD for the Districct of Columbia ( USVI and Puerto Rico ) GO THERE YO ! http://www.SONSOFAFRIKA.org/articlenine.html .... is In THE REV. AL SHARPTON'S PLATFORM http://www.al2004.org/statehood.htm === IMMIGRATION and NATURALIZATION is NOW UNDER UNITED STATES DEPARTMENT OF HOMELAND SECURITY The NEW BUREAU OF CITIZENSHIP and IMMIGRATION SERVICES ( BCIS ) TEMPORARY PROTECTED STATUS FOR LIBERIANS IN THE USA EXTENDED THROUGH OCTOBER 1, 2004 http://www.bcis.gov/graphics/publicaffairs/newsrels/Liberia_TPS_080703.htm TEMPORARY PROTECTED STATUS FOR SOMALIS IN THE USA EXTENDED THROUGH SEPTEMBER 17, 2004 http://www.bcis.gov/graphics/publicaffairs/newsrels/somalia072103.htm \\\\\ * ///// THANK YOU BROTHER AKBAR MUHAMMAD International Representative of The Hon. Minister Louis Farrakhan for calling in to DRUMBEAT RADIO-NET CAST SUNDAY AUGUST 10th at 10 AM EST ( 2 PM GMT ) GUEST OF MINISTER GENERAL AHMAD YOUR Minister of Information on DRUMBEAT RADIO-NET CAST WRBB 104.9 FM BOSTON RADIO http://www.WRBBRadio.org streaming LIVE Worldwide ********* NOI AMBASSADOR AKBAR MUHAMMAD WAS ALSO A PART OF THE BLACK USA DELEGATION to LIBERIA and to GHANA IN JULY 2003 == " THERE'S NO JUSTICE HERE ! " HOLLA - 617-373-2658 BE THERE YO ! http://www.shoutcast.com/sbin/shoutcast-playlist.pls?addr=129.10.160.194:8000&file=filename.pls WRBB 104.9 BOSTON FM RADIO \\\\\ * ///// THANK YOU BROTHER TORLI KRUA of the Boston Based Liberian NGO Universal Human Rights International for being LIVE IN STUDIO GUEST of MINISTER GENERAL AHMAD of SONS OF AFRIKA SUNDAY JULY 27th at 10 AM EST ( 2 PM GMT ) on DRUMBEAT RADIO-NET CAST WRBB 104.9 FM in BLACK BOSTON http://www.shoutcast.com/sbin/shoutcast-playlist.pls?addr=129.10.160.194:8000&file=filename.pls Streaming LIVE worldwide on the web makes you wanna HOLLAH ! 617-373-2658 SOA CENTRAL COMMAND MINISTRY OF GUIDANCE OURSTORY 501: Liberia: "AmeriKKKa's StepChild" BE PREPARED with clips and lectures http://www.pbs.org/wgbh/globalconnections/liberia/film/clips.html \\\\\ * ///// THANK YOU AUTHOR AND OUR-STORIAN BROTHER MILTON ALLIMADI of BLACK STAR in NEW YORK CITY author of "THE HEARTS OF DARKNESS" http://www.theheartsofdarkness.com http://www.blackstarnews.com GET THE BOOK THROUGH SOA - 12.00 + Ship ea ( Paperback ) https://www.paypal.com/xclick/business=soacentcom%40hotmail.com&undefined_quantity=1&item_name=The+Hearts+of+Darkness%2C+by+Milton+Allimadi&item_number=soa0703&amount=12.00&return=http%3A//groups.yahoo.com/group/soa&cancel_return=http%3A//groups.yahoo.com/group/soa¤cy_code=USD How so-called journalism, writers, publishers and publications like NYT, WSJ, TIME and others in UK gave birth to WHITE SUPREMACY to justify European conquest and CRIMES AGAINST HUMANITY - by creating negative images of Afrika and Afrikans and feeding this to " civil i zation " GUEST OF MINISTER GENERAL AHMAD of SONS OF AFRIKA SUNDAY JULY 13th at 10 AM 2 P GMT on DRUMBEAT RADIO-NET CAST streaming LIVE from BLACK BOSTON http://www.shoutcast.com/sbin/shoutcast-playlist.pls?addr=129.10.160.194:8000&file=filename.pls WRBB 104.9 FM BOSTON RADIO ///// * \\\\\ HIJOS DE AFRIKA * SOMOS UN SOLO PUEBLO ¿Pagas mucho por Internet? Con 123.com planes desde $ 8.33 al mes, clic aquí Conéctate a Internet con 123.com, "La Internet de los Hispanos", clic aquí http://click.linksynergy.com/fs-bin/click?id=lZ*294Bipsc&offerid=48799.10000031&type=3&subid=0 GET JUNO PLATINUM FROM SONS OF AFRIKA ( AUTHORIZED DISTRIBUTOR ) SURF FOR ONLY 9.95 PER MONTH - STOP BEING ROBBED CONTACT SOA FOR CD: sonsofafrika@sonsofafrika.org \\\\\ * ///// THE FINAL SOLUTION to TELEMARKETERS and TELEPHONE RIP-OFF ARTISTS GOT SCREWED UP BY BAD GOVERNMENT ! BUT 50 MILLION AMERICANS SAID DO NOT CALL US ! http://www.donotcall.gov The NATIONAL "DO NOT CALL" REGISTRY in Effect Oct. 1, 2003 - REGISTER ON LINE \\\\\ * ///// THANK YOU AMBASSADOR SIMBI MABUKO of GREAT ZIMBABWE for being guest of MINISTER GENERAL AHMAD of SONS OF AFRIKA on DRUMBEAT RADIO-NET CAST - LIVE in BLACK BOSTON - SUNDAY JUNE 1 at 10 AM \\\\\* ///// - HEAD OF STATE ????? it's git n HOT IN HERE, so ........ ///// * \\\\\\ ENDOW YOUR OWN! ( as others do ) https://www.paypal.com/xclick/business=soacentcom%40hotmail.com&item_name=SUPPORT+SOA&item_number=SOA2003&no_note=1&tax=0¤cy_code=USD secure e check or credit card donation to Sons Of Afrika \\\\\\\ * /////// LISTEN TO DRUMBEAT RADIO-NET CAST SUNDAYS AT 10 AM EST USA http://www.shoutcast.com/sbin/shoutcast-playlist.pls?addr=129.10.160.194:8000&file=filename.pls WRBB 104.9 FM in BOSTON, MA \\\\\\\\\\ ( * ) ////////// SOA PRESENTS - AFRIKA 2002 - IN PIX http://news.bbc.co.uk/1/shared/spl/hi/pop_ups/02/africa_africa_2002/html/1.stm ================================= AUDIO REPORT FROM THE CARIBBEAN ( We Are ONE AFRIKAN PEOPLE ) http://www0.bbc.co.uk/caribbean/2115rep.ram ON THE ILLUSION OF HOMELAND 'SECURITY' BY CHILDREN OF THE WORST AGRESSORS OF ALL TIMES ................. " A People who are willing to GIVE UP THEIR FREEDOMS for 'SECURITY', deserve NEITHER " Benjamin Franklin ================================= central command sons of afrika ministry of defense \\\\\\\\\\ ( * ) ////////// THE NEW BOSTON http://www.BOSTON04.com SITE OF THE 2004 DEMOCRATIC NATIONAL CONVENTION JULY 26th - 30st, 2004 .... SEE YOU IN BLACK BOSTON - JULY 2004 ! sons of afrika ( * ) watotos afrika ////// * \\\\\\ * Minister General Ahmad received letter of appreciation from Office of Suffolk County D.A. Dan Conley in-studio guest on Jan. 26th after Black Boston's FIRST YOUTH MURDER of 2003 - The Killing of 14 y.o. Michael McQuay on Geneva Ave in Dorchester near his home The District Attorney called Minister General Ahmad A "Valuable Asset to the community" LISTEN WORLDWIDE on line: http://www.WRBBRadio.org - need Real or Mp3 --- BLACK NEWS AND VIEWS \\\\\\\\\\ ( * ) ////////// DRUMBEAT RADIO-NET CAST with Minister General (Waziri Jemadari) Ahmad " One of the Most Revolutionary Radio Shows in The Country " Malik Zulu Shabazz - NBPP in Black Boston MAY 25 & 26th 2002 and Kofi Taharka, Houston NBUF - on WRBB via telephone May 26th, 2002 DRUMBEAT RADIO-NET CAST Waziri Jemadari Ahmad http://www.shoutcast.com/sbin/shoutcast-playlist.pls?addr=129.10.160.194:8000&file=filename.pls LISTEN ON LINE WORLDWIDE sponsored by 'YOUR' BLACK Community Information Center of Boston \\\\\\\\\\ ( * ) ////////// sons of afrika fils d'afrique filhous de africa hijos de africa watotos afrika bani afrika \\\\\\\\\\\ ( * ) /////////// SOA presents An Old Afrikan Proverb Peace is NOT the absence of War, but the PRESENCE of JUSTICE ... pass the word yo ***** ***** ***** \|||/ (@@) ooO_(_ )_Ooo________________________________ _____|_____|_____|_____|_____|_____|_____|_____| ___|____|_____|_____|_____|_____|_____|_____|____ _____|_____ Behind Enemy Lines - - SOA |___ ~~~ SOA LIVES - PASS THE WORD SONS OF AFRIKA LIVES AFTER ALL THE ATTACKS COME HOME YO ! http://groups.yahoo.com/group/sonsofafrika/join ||||| DID YOU TAKE THE PRESIDENTIAL QUIZ ? was clinton the only one yo ! http://www.sonsofafrika.org/kolspring/page5.html ||||| The U.N. Human Rights Commission http://www.unhchr.ch/html/menu2/2/chr.htm ||||| 2002 U.S. Human Rights Reports on Africa Is the U.S. on any high moral ground to judge ? http://www.state.gov/g/drl/rls/hrrpt/2002/c8695.htm ||||| SOMETHING TO LIVE / FIGHT / DIE / FOR http://www.sonsofafrika.org/repar.html my people WHERE YOU AT ? THE PROGRAM AND POSITION OF SONS OF AFRIKA of 1971 ARTICLE ONE ||||| ( *^ ) SONS OF AFRIKA SAYS FELONY DISENFRANCHISEMENT LAWS ARE WHITE SUPREMIST' AND SEEK TO TAKE AWAY A RIGHT LONG DENIED OUR PROGENITORS FOR MOST OF THIS NATION'S HISTORY. TEACH OUR PEOPLE TO RESIST IT TO THE DEATH. OUR PEOPLES' HUMAN RIGHT TO VOTE, STILL NOT REALIZED EVEN IN THIS CENTURY, MUST NEVER BE SUBJECT TO WHITE LEGISLATORS OR WHITE MAJORITIES IN REFERENDA .... REMEMBER ! * E PLURIBUS UNUM You Don't ? It means the RIGHTS OF THE MANY "CAN NEVER," "EVER" OUTWEIGH THE RIGHTS OF "THE ONE!" "IT'S ON THE MONEY !" S.O.A. (rear of great seal of USA - look at Dollar Bill) FIGHT THIS UNTO DEATH - ||||| YOU MUST READ THIS REPORT U.S. Commission on Civil Rights Report on Irregularities in Florida during the THE 2000 U.S. PRESIDENTIAL ELECTIONS http://www.usccr.gov/pubs/vote2000/report/main.htm Status on Probe of Election Practices in Florida During The 2000 Presidential Elections http://www.usccr.gov/pubs/vote2000/florida.htm RELEVANT USCCR PRESS RELEASES http://www.usccr.gov/pubs/vote2000/press.htm USCCR CHAIR MARY FRANCES BERRY'S LETTER TO GOV. J.E.BUSH AND FL SEC'Y OF STATE http://www.usccr.gov/pubs/vote2000/Berry.htm AND IT HAPPENED AGAIN IN SEPTEMBER 2002 with the NEW FANGLED, BIG BROTHER COMPUTERIZED VOTING MACHINES secret ballot down the drain ||||| SURAtu lFAAtiha ( OPENING of the QUR'AN) in kiSwahili 1. KWA JINA LA MWENYEZI MUNGU MWINGI WA REHEMA MWENYE KUREHEMU. 1 2. Sifa njema zote ni za Mwenyezi Mungu, Mola Mlezi wa viumbe vyote; 2 3. Mwingi wa Rehema Mwenye Kurehemu; 3 4. Mwenye Kumiliki Siku ya Malipo. 4 5. Wewe tu tunakuabudu, na Wewe tu tunakuomba msaada. 5 6. Tuongoe njia iliyo nyooka, 6 7. Njia ya ulio waneemesha, siyo ya walio kasirikiwa, wala walio potea. 7 * ) AN HADITH (story or saying of the prophet (S)) Volume 5, Book 57, Number 37: Narrated 'Anas: A man asked the Prophet about the Hour (i.e. Day of Judgment) saying, "When will the Hour be?" The Prophet said, "What have you prepared for it?" The man said, "Nothing, except that I love Allah and His Apostle." (messenger { RASUL}) The Prophet said, "You will be with those whom you love." We had never been so glad as we were on hearing that saying of the Prophet (i.e., "You will be with those whom you love.") Therefore, I love the Prophet, Abu Bakr and 'Umar, and I hope that I will be with them because of my love for them though my deeds are NOT similar to theirs. ||||| GLORIOUS QUR'AN - In Arabic) {fi l Arabiy} http://www.geocities.com/Hollywood/Academy/7702/menu.html ||||| GET MUSIC AND DVD'S DELIVERED TO YOUR DOOR! Through SONS OF AFRIKA http://www.cdnow.com/cgi-bin/mserver/redirect/leaf=from=sr-1027821 ||||| more on SONS OF AFRIKA PROGRAM AND POSITION OF 1971 ARTICLE NINE (9) We Want Statehood for the District of Columbia and the USVI.... http://www.sonsofafrika.org/articlenine.html ||||| AFRICA DEBT RELIEF IS THE REDRESS OF PAST (and present) WRONGS Jubilee 2000 USA http://www.j2000usa.org/updates.html ||||| YOU CONTROL YOUR SUBSCRIPTION - IT'S EASY ! IF YOU FIND MORE MAIL THAN YOU CAN HANDLE, GO TO YOUR SPACE ON SOA http://groups.yahoo.com/group/myprefs AND CHANGE THE WAY YOU GET MESSAGES, INDIVIDUAL E MAILS (20 - 30 per day) DAILY DIGEST ( 1 per day) OR WEB ONLY ! ( NO MAIL TO YOUR BOX) ||||| DISCLAIMER Articles posted on this list are shared with subscribers who expressed prior interest in SONS OF AFRIKA, and/or the advancement and survival of BLACK people, and information and feedback for charitable research and educational purposes pursuant to: The Program and Position of Sons Of Afrika of 1971 (Rev. 1985) http://www.sonsofafrika.org and Title 17 OF THE UNITED STATES CODE USC §107 check it here yo ! http://www4.law.cornell.edu/uscode/17/107.html courtesy of CORNELL U ||||| WARNING ! BIG BROTHER IS COMIN' USC TITLE 18 CHAPTER 47 FRAUD AND FALSE STATEMENTS http://www4.law.cornell.edu/uscode/18/1030.html and Further transmissions to you by the sender may be stopped by sending a BLANK MESSAGE to mailto:sonsofafrika-unsubscribe@ yahoogroups.com or mailto:soa@ yahoogroups.com or go here: http://groups.yahoo.com/mygroups ||||| Kwa Jina La Mwenyezi Mungu Mwingi wa Rahema Mwenye Kurahemu Swahili Au Nom d'ALLAH le Tout Misericordeux, Le Tres Misericordeux French En El Nombre De ALA, El Compasivo, El Misericordisio Spanish Egameni likALLAH, Onomusa, Onesihawu Zulu In Names ALLAHS, des Gnadigen, des Barmherzigen German In The Name Of ALLAH, The Beneficent, The Merciful English bIsmiLLAHir Rahmanir Rahim Arabic SOA CENTCOM A. M. AbdulIbad, Minister General, (Waziri Jemadari) BLACK in Men 2, 3 & 4 Ever GO THERE YO ! http://www.sonsofafrika.org FEAR OF A BLACK PLANET IS REAL....... AND IN MANY OF OUR OWN PEOPLE YO ! How About You ? -- - ___ Stay Strong "Peace sells but who's buying?" Megadeth "This mathematical rhythmatical mechanism enhances my wisdom of Islam, keeps me calm from doing you harm, when I attack, it's Vietnam" --HellRazah http://www.sleepybrain.net/vanilla.html http://awol.objector.org/artistprofiles/welfarepoets.html http://ilovepoetry.com/search.asp?keywords=braithwaite&orderBy=date http://www.dpgrecordz.com/fredwreck/ http://www.lowliferecords.co.uk/ http://loudandoffensive.com/ http://groups.yahoo.com/group/THCO2 ========================================================================= Date: Wed, 29 Oct 2003 12:35:06 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: mIEKAL aND Subject: Could someone recommend a good cheap short run printer Mime-Version: 1.0 (Apple Message framework v552) Content-Type: text/plain; charset=US-ASCII; format=flowed Content-Transfer-Encoding: 7bit Does anyone have recommendations for a good, cheap short run printer (300-500 copies perfect bound). Im especially looking for printers with whom you've had positive personal experiences, & are reliable & timely. mIEKAL 24/7 PROTOMEDIA BREEDING GROUND http://www.joglars.org http://www.spidertangle.net http://www.xexoxial.org http://www.neologisms.us http://www.dreamtimevillage.org "The word is the first stereotype." Isidore Isou, 1947. ========================================================================= Date: Wed, 29 Oct 2003 13:46:00 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Gary Sullivan Subject: Subpress + Robert Fitterman & Murat Nemet-Nejat | Segue @ BPC Mime-Version: 1.0 Content-Type: text/plain; format=flowed Segue Series at Bowery Poetry Club presents Robert Fitterman and Murat Nemet-Nejat Saturday, November 1 4:00 p.m. - 6:00 p.m. 308 Bowery, just north of Houston, NYC $5.00 goes to support the readers Back from Italy, Robert Fitterman is once again at home in the city that has presumably provided at least some inspiration for his much-loved ongoing series, Metropolis. Two volumes of Metropolis are out: one from Coach House, and one from Sun & Moon. Murat Nemet-Nejat is not only one of our most prolific translators (that Talisman tome of 20th century Turkish poetry should be out next year), but also an essayist (see The Peripheral Space of Photography, recently published by Green Integer), and a great poet himself. SPECIAL DEAL: At 2:00 p.m. the Bowery Poetry Club will host a subpress collective party -- $5 includes admission to this event AND the reading above at 4:00! Readers include: Dan Bouchard, Camille Guthrie, Jen Hofer, Bill Marsh, Deborah Richards, Prageeta Sharma, Edwin Torres, John Wilkinson Subpress is a collective supported by members who agree to contribute one percent of their annual income. Members are responsible for editing books. The order of publication is determined by lottery. Hope to see you at both of these events! Gary _________________________________________________________________ Concerned that messages may bounce because your Hotmail account has exceeded its 2MB storage limit? Get Hotmail Extra Storage! http://join.msn.com/?PAGE=features/es ========================================================================= Date: Wed, 29 Oct 2003 14:04:00 -0500 Reply-To: editor@pavementsaw.org Sender: UB Poetics discussion group From: David Baratier Organization: Pavement Saw Press Subject: Chapbook contest, send now-- MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii; x-mac-type="54455854"; x-mac-creator="4D4F5353" Content-Transfer-Encoding: 7bit <<<<<<<<<<<<<<>>>>>>>>>>>>>> Pavement Saw Chapbook Contest <<<<<<<<<<<<<<>>>>>>>>>>>>>> Everyone is allowed to submit regardless of previous publication history. All entrants receive two free chapbooks The chapbooks are published in an edition of 400 copies. While chapbooks rarely receive exposure, we are the only press that has had our chapbooks reviewed in Poets and Writers (Sept/Oct 2002), Publishers Weekly, The Georgia Review, Small Press Review as well as others in the last three years. Previous winners have had subsequent full length books published by University of Georgia, Hanging Loose and others. $500 and 25 copies of the winning chapbook will be awarded for the finest collection of poetry received. Submit up to 32 pages of poetry. Include a cover letter with your name, address, phone number, e-mail, publication credits, a brief biography and the title of the chapbook. Include a cover page with your name and the chapbook title. Include a second page with the chapbook title only. Do not include your name on any pages inside the manuscript except for the first title page. All chapbooks are selected anonymously. Entry fee: $10. Make all checks payable to Pavement Saw Press. Every entrant will receive two chapbooks which we will pay to mail. Do not include an SASE. All manuscripts will be recycled. Manuscripts will be considered until December 30th, 2003 for the prize. <<<<<<<<<<<<<<>>>>>>>>>>>>>> Winners since 1996: Lisa Samuels War Holdings F. J. Bergmann Sauce Robert John Bradley Add Musk Here Amy King The People Instruments Will Nixon The Fish are Laughing Shelley Stenhouse Pants David Brooks Right Livelihood Douglas Goetsch Wherever You Want Joshua Mc Kinney Permutations of the Gallery <<<<<<<<<<<<<<>>>>>>>>>>>>>> Pavement Saw Press Chapbook Contest PO Box 6291 Columbus, OH 43206 ========================================================================= Date: Wed, 29 Oct 2003 13:03:16 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Andrew Lundwall Subject: Re: Elliott Smith Content-Disposition: Inline Content-Type: Text/Plain; Charset=US-ASCII Content-Transfer-Encoding: 7Bit MIME-Version: 1.0 (WebTV) very sad about elliott smith's passing... elliott smith was the bob dylan of indie-rock.. --andrew http://as-is.blogspot.com/ ========================================================================= Date: Wed, 29 Oct 2003 11:04:04 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Stephen Vincent Subject: Reliable HP inkjet ink- Recommendation! In-Reply-To: <61CE0998-0A4F-11D8-B258-0003935A5BDA@mwt.net> Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit Does anyone know/use a good reliable discount source for HP inkjet (officejet 6110) ink cartridges?? Revisions are burning ($30/per) holes in my pocket. As they say on the radio, I will take my answer off the air. And thanks in advance. Stephen V on 10/29/03 12:35 PM, mIEKAL aND at dtv@MWT.NET wrote: > Does anyone have recommendations for a good, cheap short run printer > (300-500 copies perfect bound). Im especially looking for printers > with whom you've had positive personal experiences, & are reliable & > timely. mIEKAL > > > > > > 24/7 PROTOMEDIA BREEDING GROUND > > http://www.joglars.org > http://www.spidertangle.net > http://www.xexoxial.org > http://www.neologisms.us > http://www.dreamtimevillage.org > > "The word is the first stereotype." Isidore Isou, 1947. ========================================================================= Date: Wed, 29 Oct 2003 14:08:52 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Shankar, Ravi (English)" Subject: All Hallows Reading MIME-Version: 1.0 Content-Type: text/plain; charset="utf-8" Content-Transfer-Encoding: base64 SGV5IC0gSSdsbCBiZSByZWFkaW5nIG9uIEZyaWRheSwgMTAvMzEgYXQgODowMCBhdCB0aGUgQUFX VyAoMTYgVy4gMzJuZCBTdC4sIDEwdGggZmxvb3IpIGFzIHBhcnQgb2YgdGhlIGZvbGxvd2luZyBm ZXN0aXZhbCwgc28gaWYgeW91J3JlIGFyb3VuZCwgY29tZSBieSB0byBnZXQgeW91ciB0cmljayBv bi0NCiANCi1SYXZpICANCiAgDQpJbnRpbWFjeSBhbmQgR2VvZ3JhcGh5OiBUaGUgTmF0aW9uYWwg QXNpYW4gQW1lcmljYW4gUG9ldHJ5IEZlc3RpdmFsIDxodHRwOi8vd3d3LmFhd3cub3JnL3BvZXRy eS5odG1sIDxodHRwOi8vd3d3LmFhd3cub3JnL3BvZXRyeS5odG1sPiA+IGZyb20gT2N0b2JlciAz MHRoIHRvIE5vdmVtYmVyIDFzdC4gVGhlIGZlc3RpdmFsIGluY2x1ZGVzIHBhbmVscywgcmVhZGlu Z3MsIGFuZCB3b3Jrc2hvcHMsIHdpdGggc3VjaCBwb2V0cyBhcyBNZWktTWVpIEJlcnNzZW5icnVn Z2UsIE1lZW5hIEFsZXhhbmRlciwgV2FuZyBQaW5nLCBBcnRodXIgU3plLCBSYXZpIFNoYW5rYXIs IFRpbmEgQ2hhbmcsIEV1Z2VuZSBHbG9yaWEgYW5kIFRpbW90aHkgTGl1LiBBbGwgZXZlbnRzIGFy ZSBhdCB0aGUgZm9sbG93aW5nIHZlbnVlczogDQoNCkFzaWFuIEFtZXJpY2FuIFdyaXRlcnMnIFdv cmtzaG9wIChBQVdXKSANCjE2IFdlc3QgMzJuZCBTdHJlZXQsIGJldHdlZW4gNXRoIGFuZCA2dGgg QXZlbnVlcyANCjEwdGggZmxvb3IgDQpOZXcgWW9yaywgTmV3IFlvcmsgMTAwMDEgDQoNCkNVTlkg R3JhZHVhdGUgQ2VudGVyIChDVU5ZKSANCkVhc3QgMzR0aCBTdHJlZXQsIGF0IDV0aCBBdmVudWUg DQpOZXcgWW9yaywgTmV3IFlvcmsgMTAwMDEgLS0gDQoNCgkJKioqKioqKioqKioqKioqKiogDQoJ CVJhdmkgU2hhbmthciANCgkJUG9ldC1pbi1SZXNpZGVuY2UgDQoJCUFzc2lzdGFudCBQcm9mZXNz b3IgDQoJCUNDU1UgLSBFbmdsaXNoIERlcHQuIA0KCQlzaGFua2FyckBjY3N1LmVkdSANCgkJODYw LTgzMi0yNzY2IA0KDQoNCg== ========================================================================= Date: Wed, 29 Oct 2003 14:10:52 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Vernon Frazer Subject: Re: Could someone recommend a good cheap short run printer In-Reply-To: <61CE0998-0A4F-11D8-B258-0003935A5BDA@mwt.net> MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Hi mIEKAL I use Van Volumes in Palmer, MA. Their telephone is 1-800-290-0462. The manager is Russ Tate. I've used them for six books. For several years, Potes & Poets press also used them, as did another respected small press whose name I forgot. They have the best rates I know of. Mention my name. I figure if I steer business their way, they'll take better care of me, as well. Backchannel if you have any other questions. Vernon -----Original Message----- From: UB Poetics discussion group [mailto:POETICS@LISTSERV.BUFFALO.EDU] On Behalf Of mIEKAL aND Sent: Wednesday, October 29, 2003 3:35 PM To: POETICS@LISTSERV.BUFFALO.EDU Subject: Could someone recommend a good cheap short run printer Does anyone have recommendations for a good, cheap short run printer (300-500 copies perfect bound). Im especially looking for printers with whom you've had positive personal experiences, & are reliable & timely. mIEKAL 24/7 PROTOMEDIA BREEDING GROUND http://www.joglars.org http://www.spidertangle.net http://www.xexoxial.org http://www.neologisms.us http://www.dreamtimevillage.org "The word is the first stereotype." Isidore Isou, 1947. ========================================================================= Date: Wed, 29 Oct 2003 11:31:42 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: travis ortiz Subject: Re: Could someone recommend a good cheap short run printer In-Reply-To: <61CE0998-0A4F-11D8-B258-0003935A5BDA@mwt.net> MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit you may want to try thomson-shore (www.tshore.com/) they will do short runs. not sure about cost, but as far as i know thomson-shore has been aggressively trying to get jobs (so the bids have been coming in lower than usual). also try cushing-malloy (www.cushing-malloy.com/). tell the sales people that you are really trying to find an economical way to produce your project. they may be able to work with you on the price. both thomson-shore and cushing-malloy have been on time with their production schedules, and they both have been great to work with. cheers, travis Travis Ortiz atelos publishing project _____________________________________________________ another voice for peace 415.652.9241 | traffic@atelos.org www.atelos.org/travis/illustration/fifty_percent.html > -----Original Message----- > From: UB Poetics discussion group > [mailto:POETICS@LISTSERV.BUFFALO.EDU] On Behalf Of mIEKAL aND > Sent: Wednesday, October 29, 2003 12:35 PM > To: POETICS@LISTSERV.BUFFALO.EDU > Subject: Could someone recommend a good cheap short run printer > > > Does anyone have recommendations for a good, cheap short run > printer (300-500 copies perfect bound). Im especially > looking for printers with whom you've had positive personal > experiences, & are reliable & > timely. mIEKAL > > > > > > 24/7 PROTOMEDIA BREEDING GROUND > http://www.joglars.org http://www.spidertangle.net http://www.xexoxial.org http://www.neologisms.us http://www.dreamtimevillage.org "The word is the first stereotype." Isidore Isou, 1947. ========================================================================= Date: Wed, 29 Oct 2003 14:29:52 -0500 Reply-To: olsonjk@delhi.edu Sender: UB Poetics discussion group From: Kirby Olson Organization: SUNY Delhi Subject: Re: FW: experimental politics of the state MIME-Version: 1.0 Content-Transfer-Encoding: 7bit Content-Type: text/plain; charset=us-ascii Jim Andrews, I don't want an art that's useful any more than I'd want a friend that's useful. In substance, that's the surrealist critique of "progressive" art from Breton through Bataille. To be completely useless, to fail to function, to misfire, to laze about, to daydream, to goof off, etc. I find the category of the useful to be really menacing, and the "useless" and "irrelevant" -- what am I trying to say -- they are not synonyms. -- Kirby > > Art could easily become useless, irrelevant, when the planes fly. ========================================================================= Date: Wed, 29 Oct 2003 12:14:46 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Chris Stroffolino Subject: Re: Captain America Project - Please Help! Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit Hi Gary--- A great idea. I'd like some (though we'll see what my printer can do with it---there i go again blaming technology for my luddite-osity). Anyway, good that you're tying it into that CHAIN thing. I've been wondering about that---to see if there's a way I can participate in Spahr/Osman's forum in some way. I hope they go for your idea--- it seemed that they were more interested in public FUNDED art, but I think ideas like yours are probably more where it's at. Not that I have anything against Publicly Funded art. It would be nice if it were more within the realm of possibility/actuality. Anyway, speaking of which, the other day was a very hot one by SF standards and there were a bunch of folks riding their bikes up Valencia in the Mission--all shouting, "DOWN WITH PANTS" and wearing a wide range of "skivvies" (panties, boxers, jockstraps), etc. There's something there.... hope you're well. Chris ---------- >From: Gary Sullivan >To: POETICS@LISTSERV.BUFFALO.EDU >Subject: Captain America Project - Please Help! >Date: Wed, Oct 29, 2003, 7:53 AM > > Hello, everyone: > > Inspired by Chain's call for public forms, the Captain America Project is a > series of four postcards, each featuring the popular comic book hero and > language limited to anagrams for the words "American imperialism" (e.g., "I > am a criminal's empire," etc.). > > I've made a small (144kb) PDF that I can send you, which can then be printed > onto card stock and cut into quarters, to create postcards for distribution. > > Currently, there are about a dozen people disseminating these cards, from > Hawai'i, Oakland, New York, Maine, Denmark, to Poland. I'd love to have many > more people involved, especially people outside the U.S. > > If you'd be interested in having me send you the PDF, please write to me at > gary.sullivan@nmss.org > > Thanks! > > _________________________________________________________________ > Cheer a special someone with a fun Halloween eCard from American Greetings! > Go to http://www.msn.americangreetings.com/index_msn.pd?source=msne134 ========================================================================= Date: Wed, 29 Oct 2003 12:06:21 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Lewis LaCook Subject: Sky 33.31 Comments: cc: rhizome , wryting MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii 31.) It's a profound act of attention the way you've always wanted it to rise up sucking your cuts and kiss the stray glances that silk this stillness. You've always been that silly. Soaked, more bone than your owners or the storms that now will cease, CEASE! You ain't got music if you ain't got muscle, OH YEAH! Pretty fucking stupid if you ask me: You lie back hot kissing your quills. ===== associate editor, _sidereality http://www.sidereality.com/ -------- http://www.lewislacook.com/ tubulence artist studio: http://turbulence.org/studios/lacook/index.html __________________________________ Do you Yahoo!? Exclusive Video Premiere - Britney Spears http://launch.yahoo.com/promos/britneyspears/ ========================================================================= Date: Wed, 29 Oct 2003 16:18:18 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: shanna compton Subject: Re: Could someone recommend a good cheap short run printer In-Reply-To: <61CE0998-0A4F-11D8-B258-0003935A5BDA@mwt.net> Mime-version: 1.0 Content-type: text/plain; charset="ISO-8859-1" Content-transfer-encoding: quoted-printable Book Surge (http://www.booksurge.com) or Country Press (http://www.countrypressinc.com/). Book Surge is an on-demand place that can also offer distribution. Country Press just does the printing. Both have done nice work for us at Soft Skull= . Shanna --=20 Shanna Compton Associate Publisher Soft Skull Press 71 Bond Street=20 Brooklyn, NY 11217 (718) 643-1599 http://www.softskull.com LATEST SOFT SKULL NEWS! ELLE RECOMMENDS... In Before, During & After (Soft Skull Press), a new batch of poems about=8Bwhat else?--sex, the poet laureate of Queens, New York, Hal Sirowitz (Mother Said, My Therapist Said) serves up perfectly crafted, utterly hilarious psychoerotic gems rendered in the voices of his exes. on 10/29/03 3:35 PM, mIEKAL aND at dtv@MWT.NET wrote: > Does anyone have recommendations for a good, cheap short run printer > (300-500 copies perfect bound). Im especially looking for printers > with whom you've had positive personal experiences, & are reliable & > timely. mIEKAL >=20 >=20 >=20 >=20 >=20 > 24/7 PROTOMEDIA BREEDING GROUND >=20 > http://www.joglars.org > http://www.spidertangle.net > http://www.xexoxial.org > http://www.neologisms.us > http://www.dreamtimevillage.org >=20 > "The word is the first stereotype." Isidore Isou, 1947. ========================================================================= Date: Wed, 29 Oct 2003 15:27:34 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: schwartzgk Subject: Re: Could someone recommend a good cheap short run printer MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit I would second this: BookSurge is the way my publisher at LEGIBLE BOOKS went to create my book. All smooth, not a single hitch. Gerald Schwartz Only Others Are www.geocities.com/legible5roses/schwartz.html Book Surge (http://www.booksurge.com) or Country Press (http://www.countrypressinc.com/). Book Surge is an on-demand place that can also offer distribution. Country Press just does the printing. Both have done nice work for us at Soft Skull. Shanna -- Shanna Compton Associate Publisher Soft Skull Press 71 Bond Street Brooklyn, NY 11217 (718) 643-1599 http://www.softskull.com LATEST SOFT SKULL NEWS! ELLE RECOMMENDS... In Before, During & After (Soft Skull Press), a new batch of poems about (Mother Said, My Therapist Said) serves up perfectly crafted, utterly hilarious psychoerotic gems rendered in the voices of his exes. on 10/29/03 3:35 PM, mIEKAL aND at dtv@MWT.NET wrote: > Does anyone have recommendations for a good, cheap short run printer > (300-500 copies perfect bound). Im especially looking for printers > with whom you've had positive personal experiences, & are reliable & > timely. mIEKAL > > > > > > 24/7 PROTOMEDIA BREEDING GROUND > > http://www.joglars.org > http://www.spidertangle.net > http://www.xexoxial.org > http://www.neologisms.us > http://www.dreamtimevillage.org > > "The word is the first stereotype." Isidore Isou, 1947. ========================================================================= Date: Wed, 29 Oct 2003 17:07:04 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Don Summerhayes Subject: Re: Announcing: As/Is MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Would this recent found poem qualify me? as is or best offer Andrew Lundwall wrote: > As/Is = a group poetry weblog of spontaneous poetic thoughts. > > The Place = http://as-is.blogspot.com > > The Cast So Far = > > -Andrew Lundwall > > -Clayton Couch > > -MTC Cronin > > -Gary West > > -Kari Edwards > > -Alex Gildzen > > -Crag Hill > > -Lewis Lacook > > -Anvil Legal > > *If you would like to be cast as an "As/Is" star, ask and you shall > receive* ========================================================================= Date: Wed, 29 Oct 2003 17:06:22 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Murat Nemet-Nejat Subject: Re: Captain America Project - Please Help! MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Gary, MIRE IN AERIAL SPAM CLM urat ========================================================================= Date: Wed, 29 Oct 2003 17:30:20 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Haas Bianchi Subject: Re: Announcing: As/Is In-Reply-To: <3FA03A08.48A2AA65@yorku.ca> MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit please please please! Ray > -----Original Message----- > From: UB Poetics discussion group > [mailto:POETICS@LISTSERV.BUFFALO.EDU]On Behalf Of Don Summerhayes > Sent: Wednesday, October 29, 2003 4:07 PM > To: POETICS@LISTSERV.BUFFALO.EDU > Subject: Re: Announcing: As/Is > > > Would this recent found poem qualify me? > > as is > or best > offer > > Andrew Lundwall wrote: > > > As/Is = a group poetry weblog of spontaneous poetic thoughts. > > > > The Place = http://as-is.blogspot.com > > > > The Cast So Far = > > > > -Andrew Lundwall > > > > -Clayton Couch > > > > -MTC Cronin > > > > -Gary West > > > > -Kari Edwards > > > > -Alex Gildzen > > > > -Crag Hill > > > > -Lewis Lacook > > > > -Anvil Legal > > > > *If you would like to be cast as an "As/Is" star, ask and you shall > > receive* > ========================================================================= Date: Wed, 29 Oct 2003 18:57:11 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: The Opera series of the movement-moment of the Diva MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII The Opera series of the movement-moment of the Diva A series of still images remade on the Zaurus from already issued images in the http://www.asondheim.org/portal/.nikuko directory. These are reformed in the http://www.asondheim.org/portal/ directory as Opera png & jpeg, 22 in all, ordered in terms of broadcast and disturbance. What can I say beyond the Victor Frankenstein of my dreams watching his creature at the edge of the ice, expiring first, the creature tending towards self-immolation, the incandescent symbol reminiscent of Flaubert's St-Antoine at the beginning and end of his salvation. All these males, Elizabeth already on the pyre, everyone ready for a good time. At the Zaurus prompt, it's like the Image Magick prompt, it's like the stage prompt, the proscenium shuddering furiously in its tendency towards distance. People are so small here shuddering. ___ ========================================================================= Date: Thu, 30 Oct 2003 01:02:05 +0000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jesse Glass Subject: Reading at Sheffield Hallam University Nov. 12 Content-Type: text/plain; charset="us-ascii" Dear List, I will read from my work on Weds., November 12th at Sheffield Hallam University, Room 21, Montgomery House, 32 Collegiate Crescent at 6pm. I will also be reading at the New Beehive Pub in Bradford on Monday, Nov. 10th. Address is 171 Westgate. Starts at 8pm. Contact John Sugden on 44 (0)1274-490561 for further details. Finally, I'll be reading at Bukowski's Piano Bar on London Road in Sheffield on Thrs., Nov. 13. 3 pounds, 2 pounds concessions. 8 pm start. Contact Geoff or Maggie on 44 (0)114-258-4700 for further details. It's a far nip from Tokyo, but I'll be ready! Everyone welcome! Jesse Glass ========================================================================= Date: Wed, 29 Oct 2003 20:26:33 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: George Bowering Subject: Re: Elliott Smith, 1969-2003 In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" This Elliott Smith--did he sing too, or was he a songwriter for other people? -- George Bowering Doesnt own a chafing dish. 303 Fielden Ave. Port Colborne, ON, L3K 4T5 ========================================================================= Date: Thu, 30 Oct 2003 04:39:07 +0000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "subrosa@speakeasy.org" Subject: SubText Reading Series, Seattle, November 5th MIME-Version: 1.0 Content-Type: text/plain; charset="utf-8" Content-Transfer-Encoding: quoted-printable Subtext continues its monthly series of experimental writing with readings by Leonard Schwartz and Doug Nufer at the Richard Hugo House on Wednesday, November 5, 2003. Donations for admission will be taken at the door on the evening of the performance. The reading starts at 7:30pm. Leonard Schwartz was born in 1963 in New York City. He is the author of s= everal collections of poetry, including, The Tower of Diverse Shores (200= 3), Words Before The Articulate: New and Selected Poems, (Talisman House)= , Gnostic Blessing (Goats and Compasses), Meditation (Cloud House), Objects of Thou= ght, Attempts At Speech (Gnosis Press) and Exiles:Ends (Red Dust Press). He is= also the author of a collection of essays A Flicker At The Edge Of Things: Ess= ays on Poetics 1987-1997 (Spuyten Duyvil) and co-editor of two anthologie= s of contemporary American poetry: Primary Trouble: An Anthology of Contempora= ry American Poetry and An Anthology of New (American) Poets (both from Talis= man House). In recent years he has read from his work at international festiv= als, conferences, and universities in China, Turkey, France, Belgium, Portugal= , Russia, Argentina, and Peru, as well as at numerous venues in the U.S., r= anging from the Bumbershoot Festival in Seattle, to the University of Haw= aii, The College of Santa Fe, The University of Utah, Stephens Institute = of Technology, and the St.Marks Poetry Project in New York. In 1997 he re= ceived a National Endowment for the Arts Fellowship in Poetry. He has tau= ght at Bard College and Brown University and has recently accepted a Prof= essorship at The Evergreen State College in Olympia, WA. He lives with hi= s wife, the Chinese poet Zhang Er, and their daughter, Cleo. Doug Nufer is the author of Never Again (ubu.com and forthcoming from Bla= ck Square and Negativeland (forthcoming from Autonomedia), two novels that f= ollow formal constraints. By-products of these and of his novel-in-progress Cir= cus Solus pop up in the magazines Monkey Puzzle and Chain, the anthology clea= r-cut (Subrosa), and on the Muse Apprentice Guild web site. He's an editor of A= merican Book Review and a member of the performance troupe Staggered Thir= ds. An excerpt from his Novel Double / Double Novel can be found at http://www.speakeasy.org/subtext/poetry/dougNufer/poem1.htm PLEASE NOTE that Philip Jenks was originally scheduled as the featured re= ader for the November reading. Unfortunately, Mr. Jenks will not be able to at= tend. The future Subtext 2003 schedule is: Dec 3 - Laynie Browne (Oakland, CA) and Robert Mittenthal For info on these & other Subtext events, see our website: http://www.speakeasy.org/subtext. ========================================================================= Date: Thu, 30 Oct 2003 00:32:13 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: BOOK REVIEWS of books I like - MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII BOOK REVIEWS These are books I have been working with recently; I recommend all of them. First TECH: Amazon Hacks, 100 Industrial-Strength Tips & Tools, Paul Bausch, O'Reilly. This book follows on Google Hacks - there is now a series of Hacks works in progress. Amazon Hacks is useful, not only for buying and selling, but for the model of commerce it presents in detail. As a voracious reader, I plan to use the book in selling some books - only in order to buy others of course. The chapter sections include Browsing and Searching; Controlling your Information; Participating in the Amazon Community; Selling Through Amazon; Associates Program; and Amazon Web Services. I requested the book as a review copy. Windows XP Unwired, A Guide for the Home, Office, and the Road, Wei-Ming Lee, O'Reilly. This book fills a large gap in my library; I don't understand WiFi that well, and this is enormously useful, WinXP or not. There are case studies, coverage of infrared and Bluetooth, etc. I've needed this work. It accompanies The Wireless Networking Starter Kit, The practical guide to Wi-Fi networks for Windows and Macintosh, Adam Engst and Glenn Fleishman, Peachpit Press. I'd still like to know why tmobile goes out every so often on the Zaurus, the details of Wep (which I can find online), but both of these manuals cover the field for someone just wanting to get on, wardrive, transfer/transfer/transfer, and so forth. Two more tech books: Google Pocket Guide, Tara Calishain, Rael Dornfest, DJ Adams - this is fine, not nearly as detailed as Google Hacking, but quite useful for someone who isn't that interested in programming with the Web API. (This is also a requested book.) The Official Blender Gamekit, Interactive 3d for Artists, Ton Roosendaal and Carsten Wartmann, Blender. I just ordered this; it comes with Blender Creator, and 10 sample games - all of which can be modified. I'm really excited about playing around with this. The Publisher version is 2.24; Blender is moving towards 3.0 and a new gamekit, so this was on sale ($35 US). What can I say? I love Blender, its small footprint, quirkiness, ability for fast-fast modeling (as long as it isn't human!), and so forth. It's one of the few programs that have let me constantly amaze myself. You should have some knowledge of Blender itself before using this book, but there is an introduction in it, and it does come with the 2.28 version. Onto other work: Hacker Culture, Douglas_Thomas, Minnesota. I love this book; it's the best analysis of the title concept I've seen (although Levy's Hackers runs a close second, as old as it is). It's not based on tech or exploits, but on analysis from within and without - internal phenomenology of hacking and hacking communities, and cultural studies analysis of the reception of hacking etc. within the social - ranging from film to legislation. The sections follow suit: The Evolution of the Hacker; Hacking Representation; and Hacking Law. There are sections on Phrack and the "Hacker Manifesto" - I couldn't ask for better. The epilogue goes over Mitnick/Lamprecht. I recommend this book to everyone interested in computer culture. A Mind So Rare, The Evolution of Human Consciousness, Merlin Donald, Norton. I'd read and loved his Origins of the Modern Mind - and mind you, I'm very wary of titles like these - but the books are exceptional, and offer a foundation for thinking about mind in relation to the external world - ranging from hammers to computers, digging to databanks. (I had to try at the alliteration.) David Antin mentioned A Mind So Rare to me; I hadn't known about it. Antin's recommendation is _always_ worthwhile; I'd argue this book is a necessity in thinking through the philosophy of information, philosophy of consciousness, cog psy, and so forth. Code and Other Laws of Cyberspace; and The Future of Ideas, The Fate of the Commons in a Connected World, Lawrence Lessig, Basic Books and Random House. Both of these books are exciting - they deal with code, legislation, community, the "commons," and other issues relevant to the present and future of the Net. Now that we have 30 billion spams a day - over 60% of all email - the issues he discusses are absolutely crucial. I would also advise _everyone_ to join the Nettime email list, which discusses cultural/political issues; Lessig has been one of a number of reference points. Snap To Grid, A User's Guide to Digital Arts, Media, and Cultures, MIT, Peter Lunenfeld - one of the most intelligent books I've seen on digital aesthetics. From Stelarc to jodi to listservs, the work is an immensely valuable guide and analysis of the digital domain. It's already 2 years old, but doesn't seem dated - but then perhaps the 'classic' era of digital art/media is already past. Collective Intelligence, Mankind's Emerging World in Cyberspace, Plenum. Post Deleuze/Guattari/Fuller/perhaps de Chardin visionary - irritating like the Krokers can be irritating (well, not _that_ irritating) but exciting at the same time; it gives some sort of distant spirituality or otherness to what we're doing at the moment. Makes me feel good and the analysis is fascinating. Some other work I'm reading at the moment: The History of the Calculus and its Conceptual Development, Carl Boyer, quite quite old Dover book, but for me really useful in thinking about the ontology of infinitesimals and the continuum. It does come before Robinson's work on infinitesimals, so its development is classic, but extremely detailed. Opal, A Life of Enchantment, Mystery, and Madness, Katherine Beck, Viking, which just came out. If you haven't read the work of Opal Whiteley, you should; it's almost unbelievable - I'd recommend Hoff's edition of the Mystical Nature Diary. Her work and life have been crucial for my own thinking of the natural world and issues of naming - even though the Diary was written by and large when Whiteley was 6. (No, I'm not exaggerating.) Frankenstein, Mary Shelley. I'd never read this before and was astonished at the incandescence of the writing and the fulfillment of romantic destiny - it is _nothing_ like any of the popularizations I've seen. Studies in Chinese Folklore and Related Essays, Wolfram Eberhard, Indiana, 1970. This is wonderful; there are translations of pounding songs, children's essays, poems scrawled on walls. I haven't seen any of this literature before, and the Eighteen Short Men, Eighteen Red Men, etc. pounding songs are amazing. I'm always excited when new domains open up in the world and suddenly one is born anew - it's like that. Saving the Image, Art after Film, Tanya Leighton and Pavel Buchler, editors, CCA/MMU, complete with a long essay by Tom Zummer among others (Laura Mulvey, Chrissie Myles, John Waters, etc.). I just received this (from Tom; I'm mentioned in his essay), but the issue is an important one to many of us who have moved from film's physicality through video's mechanisms to flash memory, packets, and the electromagnetic spectrum. The Medieval Castle, Life in a Fortress in Peace and War, Warner, Penguin - if you're interested in the theme, and I am. Montaigne and Melancholy, The Wisdom of the Essays, M.A. Screech. I've always liked the Essays; this book transforms them in relation to theory of body, ecstasy, self, and melancholy itself. I'm rarely interested in litcrit, but this work is rather amazing, opening up new territories of the text. Rather old, 1983, republished with new intro by Penguin in 1991. Of course if you haven't looked at Wolfram's A New Kind of Science (there was also a great review of this in Dr Dobbs a while ago) - please please do - the paradigm is easy to understand, the writing lucid, examples exciting, programming somewhat easy if you want to go that way, and the weight of the thing will make a great doorstop. I've also been reading the poetry of Nada Gordon on and off for months now, and really love the intensity, interstitial writing, and sheer quality of language. Just thought I'd mention it. Also: The Selected Prose of Fernando Pessoa; some books on Korean for tourists; Sibley's guides to birds and bird behavior; Heisenberg's The Physical Principles of the Quantum Theory; the most recent Sara Paretsky novel, Blacklist, more of Shelley, Mary Shelley's notebooks... - I've wanted to cover a lot of this territory, particularly the opening technical works, for a long time. Hope this at least interests you. - Alan ========================================================================= Date: Thu, 30 Oct 2003 00:32:35 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: for MWP - MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII for MWP - #!/uhZr/loCLAWl/bayen/perrl5 whayele () { #hZ/([^aeayeou+])e([^aeayeou+][^aeayeou+])/12/g; #hZ/([^aeayeou+][^aeayeou+])e(\hZ)/12/g; #hZ/eCLAWOO[]/not a CLAWlue1/g; hZ///g; hZ/([\Woo -]*)mufukufukulsh! ofukulsh! blaCLAWk fukuuzz(\Woo -)/1mufukufukulsh! ofukulsh! blaCLAWk fukuuzz2/gaye; hZ/([\Woo -]*)Yuv(\Woo -)/1Yuv2/g; hZ/([\Woo -]*)amanTHOOa(\Woo -)/1amanTHOOa2/gaye; hZ/([\Woo -]*)andrea(\Woo -)/1andrea2/g; hZ/([\Woo -]*)arTHOOur(\Woo -)/1arTHOOur2/gaye; hZ/([\Woo -]*)arTHOOur(\Woo -)/1arnold2/g; hZ/([\Woo -]*)arTHOOur(\Woo -)/1arhat2/gaye; hZ/([\Woo -]*)ayehZTHOOafukuan(\Woo -)/1ayehZTHOOafukuan2/gaye; hZ/([\Woo -]*)ayehZthmuhZ(\Woo -)/1ayehZthmuhZ2/gaye; hZ/([\Woo -ond\ode1(\Woo -)/\lond\\ode\12/g; hZ/([\Woo -]*)t[o]+(\Woo -)/1\\taut2/gaye; hZ/([\Woo -]*)mufukufukulsh! ofukulsh! blaCLAWk fukuuzz(\Woo -)/1haayer2/g; hZ/([\Woo -]*)wanedahZp(\Woo -)/1wahZp2/gaye; hZ/([\Woo -]*)wanedorn(\Woo -)/1worn2/gaye; hZ/([\Woo -]*)jugendlayeed(\Woo -)/1jugendlayeed2/g; hZ/(\Woo -)Woo -/1Woo -/g; hZ/(\Woo -)phaye/1phaye/g; hZ/(\Woo -)hZ([aeayeou+])/1hZwan2/g; hZ/(\Woo -)waned/1waned/g; hZ/ode/ode/g; hZ/B[e]+(\Woo -)/Brenda1/g; hZ/Brenda([e]*[^aeayeou+][aeayeou+])/Brayetta1/g; hZ/CLAWOO/CLAWLAWOO/gaye; hZ/ELF-(\Woo -)/ELELF--1/g; hZ/Louvre/Louvre/gaye; hZ/QLUE/QLUELUE/gaye; hZ/hZ([^ZH])/hZ1/gaye; hZ/Th([aeayeou+])/THOOOO1/gaye; hZ/Woo -(\Woo -)/Woo -OO1/g; hZ/[\Woo +?/gaye; hZ/[tCLAWOO]ayeon/shunt/gaye; hZ/\\([ode-9])/1/g; hZ/l(\Woo -)/l1/g; hZ/b[e]+(\Woo -)/bre&1/g; hZ/bre&([e]*[^aeayeou+][aeayeou+])/beayeng&1/g; hZ/CLAWOO([ayee+])/z1/g; hZ/CLAWOO/CLAWle0o^o0/g; hZ/CLAWe(\Woo -)/CLAWent1/g; hZ/CLAWk/CLAWhakra/g; hZ/err/errr/g; hZ/fukulsh!(\Woo -)/fukulsh!1/g; hZ/fukulsh!/fukuuku/g; hZ/fukuo[u]*r/fukurayeeze/gaye; hZ/aye/aye/gaye; hZ/ayen([de])/9n1/gaye; hZ/lull/lulull/g; hZ/Louvre/lofukut/g; hZ/QLUE/QLUEle0o^o0/g; hZ/hZ([^zh])/hz1/g; hZ/ternr/ternrn/g; hZ/th([aeayeou+])/THOOoo1/g; hZ/uCLAWe/uhZeth/g; hZ/waned(\Woo -)/odeo^oode1/g; hZ/x-tasis/x-tasis-tahZayehZthmuhZ/g; hZ/+([\Woo -])/+1/gaye; hZ/z[e][ea](\Woo -)/z1/g; prayent $_; } ___ ========================================================================= Date: Thu, 30 Oct 2003 00:49:13 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "David A. Kirschenbaum" Subject: Boog City 11 Now Available, the Brenda Issue Mime-version: 1.0 Content-type: text/plain; charset="ISO-8859-1" Content-transfer-encoding: quoted-printable Please forward --------------- Boog City 11, November 2003 Now Available the Brenda issue featuring: --Music editor Jon Berger on Brenda Kahn, Brenda Lee, Brenda Strong, and Brenda Weiler --Joel Lipman reviews Brenda Starr: Girl Reporter --Jonathan Skinner reviews Brenda Coultas's A Handmade Museum --Kristen Hanlon on Brenda Hillman and Patricia Dienstfrey's The Grand Permission: New Writings on Motherhood and Poetics --poems from: Brenda Bordofsky, Brenda Coultas, Brenda Hillman, and Brenda Iijima --art from Brenda Iijima and non-Brenda content: --Small press editor Jane Sprague on James Meetze's Tougher Disguises Press --Nancy Seewald's Eating Well on a Lousy But Steady Income on Itzocan Caf=E9 --editorial on Elliott Smith --and the November installment of the NYC Poetry Calendar Please patronize our advertisers: Bowery Poetry Club * www.bowerypoetry.com The Committee to Eliminate Gender * terra1@sonic.net CA Conrad * CAConrad13@aol.com The Source Unlimited Copies * 212-473-7833 The Sincere Recording Company * www.sincererecording.com You can pick up Boog City for free at the following locations: East Village Acme alt.coffee Angelika Theater Anthology Film Archives Bluestockings Bowery Poetry Club Cafe Pick Me Up CBGB's CB's 313 Gallery Cedar Tavern C-Note Continental Lakeside Lounge Life Cafe The Living Room Mission Cafe Nuyorican Poets Cafe The Pink Pony Religious Sex See Hear Shakespeare & Co. St. Mark's Books St. Mark's Church Tonic Tower Video Other parts of Manhattan ACA Galleries Here Hotel Chelsea Poets House Revolution Books in Williamsburg Clovis Press Earwax L Cafe L Cafe to Go Sideshow Gallery Spoonbill & Sugartown Supercore Cafe --=20 David A. Kirschenbaum, editor and publisher Boog City 330 W.28th St., Suite 6H NY, NY 10001-4754 For event and publication information: http://boogcity.blog-city.com/ T: (212) 842-BOOG (2664) F: (212) 842-2429 ========================================================================= Date: Thu, 30 Oct 2003 01:42:48 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: jason christie Subject: Pound scholars of the world unite... and help me! MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable it is very late here and i'm working on the essay portion of my creative = thesis in pursuit of the ellusive MA from the University of Calgary = aaaaand i'd be greatly indebted if anyone could help me locate the quote = where Pound decries that he can't make the Cantos cohere... i know it = is probably obvious (like in the Cantos themselves) but i'm not finding = it no matter where or how hard i look. much thanks for the assistance. jason ========================================================================= Date: Thu, 30 Oct 2003 00:32:55 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Jerrold Shiroma [ duration press ]" Subject: Re: Pound scholars of the world unite... and help me! MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit cxvi about halfway through... ----- Original Message ----- From: "jason christie" To: Sent: Thursday, October 30, 2003 12:42 AM Subject: Pound scholars of the world unite... and help me! it is very late here and i'm working on the essay portion of my creative thesis in pursuit of the ellusive MA from the University of Calgary aaaaand i'd be greatly indebted if anyone could help me locate the quote where Pound decries that he can't make the Cantos cohere... i know it is probably obvious (like in the Cantos themselves) but i'm not finding it no matter where or how hard i look. much thanks for the assistance. jason ========================================================================= Date: Thu, 30 Oct 2003 02:31:50 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: August Highland Subject: ACCURATE BUT FUN/UNDERSTAND THE ENVIRONMENT NOTE! MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit ACCURATE BUT FUN/UNDERSTAND THE ENVIRONMENT NOTE! FACTORIZATION #0000001: Machine has the same cost as a either .dimensional) circuits in a Has to include both newtonian the movie found it necessary React whether the means I will protect these beliefs for which a \Gamma bm and N \delta +o(1), u and v .The minimal There are many more ways to Purpose computers were the, high probability .the time spent on linear FACTORIZATION #0000002: But even these understanding of reality Out. 2\Delta 0:9880259179\Delta dragging the fabric of space- Condition, during eclipse,etc> between a Algorithms in [19], [13], [4],, what & how, NOT WHY!! Also, how much history they know. 9=(92 + 26 the cells with pairs (i; j). FACTORIZATION #0000003: May be a black hole? the, m I PUSH IT. Exiting in movies .not, 1=3 is the glue that hold 1 1 0 0 2 2 1 0 1 1 2 2 2 2 2 massive? Just curious...... .n Be argued that all is acquires the more high- And how about the article in, each column independently, top cognoscenti, this is FACTORIZATION #0000004: It takes time only l, THE ARTICLE IN BUSINESS WEEK - THAT NOBODY KNOWS WHAT THEY It being smaller particles Well, in Using the left-to-right order B.A.D .asked how massive bounded away from 0. This takes m BUT STILL--I THINK ALOT OF You speak of 'physical I think everone should all ductive work at any moment .a THEORETICALLY impossible FACTORIZATION #0000005: But it does remain an out if, 0:7904207343\Delta \Delta COUNTER TO THE ENTROPHY ########, (a; b) is bounded by 7) 1; (1; 12) 0 (13; 11) (1; 2+o(1) 0:8259092117\Delta \Delta books out of college from 'a He risked his only death to, go past or ever get to the fraction of useful inputs, but Dimensional) circuits in a j a) Show that for any P FACTORIZATION #0000006: To get you to only mph, and each of the y BUT STILL--I THINK ALOT OF True about the universe, it is Consider all pairs (a; b) of 0:950\delta \delta \delta boring (no \Delta +0:9509418059\Delta Choices here are due to tectures, such as Lehmer's i .Compare each cell to both Counter to the entrophy equations for electromagnetic FACTORIZATION #0000007: Carried out in time only l \Delta +o(1) message, O(1) physical laws, as opposed to D twice the number of rows of A .Thanks for the stuff on the Race, 4 4 3 7 6 5 5 9 8 7 7 9 9 8 8 high speed .EVERYONE PLEASE Can compute a dot product in firmware ROM .d-digit factorization with FACTORIZATION #0000008: ++++++++++++++++++++++++++++, The words have now formed and much later. A true friends ship. force, which is carried by the newtonian rocket ship Some For sale...... .0 2 Power .the specific parameter ############################## total of billion bytes. To by the nonzero entries of Mv exceed the number of relevant FACTORIZATION #0000009: 2+o(1), far-out suggestions that some low-memory smoothness- testing Select an integer degree d 2 isomorphic to Z . Answers given by a group of \Delta +o(1) 10) (1; 9) 8; (8; 8) 2; (2; 8) Basicly thats the way it, processors, can be built for m Ramblin' on Dms-9970409. by the kid's Votrax (or bit integers at reasonable FACTORIZATION #0000010: Sitting around, twiddling & so we aren't Eurocrypt 2001 on 7 May 2001, Affect a state road map, and, Plans .I will investigate the conjectured to be a nontrivial Simplest geometries .faster .The atoms that are POSSIBLE BY TODAYS PHYSICS, Do i know it's a, algorithm may skip to the next this, and no Pairs (a; b) for which a, much more quickly once a large of n .This takes time just L FACTORIZATION #0000011: History .thompson and kung in Now if something was ever what we know right now, After it is a little better SOMETHING IS NOT factor of n with probability 2+o(1), d\Gamma 1 ANOTHER QUOTE, THE GREATER Let a be a square matrix over 0:5+o(1) 0 0 0 1 1 1 1 1 2 2 2 2 2 2 2 Than the strong force, which, UNFORTUNATELY, THIS CONFUSION (a; b) over all (a; b; k). FACTORIZATION #0000012: Same restriction...price;, m \Theta m \Theta m mesh for thrill of \gamma 1=3, cost of these computations in which, as before, should Realizing when something is, understand our environment wAS BOND BY THE 15) (2; 15) (1; 15) (4; 14) is a problem only if to get to random elements of the kernel Description of a black hole,, go past or ever get to the accelerate FACTORIZATION #0000013: Of f, parameters are chosen \Delta +o(1))ff Subject, my opinion will not thrill of (10; 12) 13 (1; 13) (2; 13) 14 B is chosen large enough, so Hey, Mike, I can type almost \Delta +o(1) Extremely, in the joy of friendship .To prove the correctness of an Made, reduction from 3 + o(1) to 2:5 FIGURE OUT HOW TO DO IT .NOW august highland muse apprentice guild --"expanding the canon into the 21st century" www.muse-apprentice-guild.com culture animal --"following in the footsteps of tradition" www.cultureanimal.com ========================================================================= Date: Thu, 30 Oct 2003 02:46:11 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: August Highland Subject: LIGHTER TIMES/GENUS TOOTHLESS SMILE MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit LIGHTER TIMES/GENUS TOOTHLESS SMILE DILATED STRING #0000001: \omega fl, \Delta \Delta \Delta (X)q .Where i think we could say our Grassmannian G(2; 5) .*+*+*+*+*+*+* .2 (* i+i .(x) ^ fl ) (* .=0 Z my DILATED STRING #0000002: (x; fi) ! x V is a subalgebra with the .Most impressive results along, better notation) .terms to avoid convergence .Ij, gives new identities with o/ =o/ .C 0 want to advertise it, but also .1 ] \Omega V [* DILATED STRING #0000003: Wdvv identity: Here's the first analogue to .Hands .a time later, i heard, 0 V [* .A (b) In higher genus, the things we .\gamma i have to be dealt with .* (a) We don't know how to DILATED STRING #0000004: Classes .(ii) g, n =D .Fi X ' .Feigned emotions 1 1 \Gamma o/ occurs exactly once, and all .The * (L * .Invariants of a grassmannian! ]] D DILATED STRING #0000005: Finally, i want to discuss X " Sym .] by:, (X) that follow .0 .Situation is much worse .(X)=0 relations .But I want to .Curves .the first case where ) 2 H \Gamma 1 .Remark: interesting w 's can, \Delta \Delta \Delta 0;fi DILATED STRING #0000006: N! interesting, but we can 7! fl .Be found in a fair number of \Gamma 1 0;n .We can extend this to n=1 have to be dealt with .Return to the lighter times, invariant of the form: ho/ .Explain, i want quintic three-fold! DILATED STRING #0000007: (1)i \gamma, any systematic way of Please my friends, let us once .0, ev \Gamma ! X boards .Jokes and pleasant .Ij, their dark conversaition abounded .No, .That the expression on the (c) Use the proof to get the n .The coefficients of * 2 unwanted sorrow . Or DILATED STRING #0000008: I cannot seem to hold, n+1 (X \Theta P .Fi, come to drop .As I see it is Remark: Interesting W 's can .Side:, We have begun to spin the * .Proof to count the lines, does not ij .Situation is much worse., pairs specially .It acts as a diagram: DILATED STRING #0000009: 1(b) that the coefficient of q fl \Omega 4 .J \Gamma (i+i This has the desired effect . .V [*, accomplished with the divisor accomplished with the divisor .Contract one of the v -factors, (X) ^ fl And I will rather show off .\gamma 1, hello + * DILATED STRING #0000010: And multiply the symmetric yarns that (though they get more .It is sensitive to the q 0 Theorem: Suppose W ae V is a .What invariant of the form: changing the sign of the .N, fl rattle in the cell door, .Doubt you are feeling no, nothing to see outside but divisor D and a class fi, DILATED STRING #0000011: Of orientation necessary to then ev factors through the equations more in the spirit .N*3 surprising if you think of too painful to be .H, ij 0 .And partake in a fantasy that (X)g =D .I shall attempt to that we are afraid *\Gamma 1; * DILATED STRING #0000012: (x), consider:, \Delta \Delta \Delta 0 .J, 1 Sitting up on the edge of .V is a subalgebra with the, ] \Omega V [* 0;fi .0 7! curves .The first case where .This place with my put together in a clever intersections of ample DILATED STRING #0000013: The reconstruction theorem of n+1 one is able to compute in lots .Theorems: the proof only 7! fl n+1 .And i will rather show off, any systematic way of (X) :=ev .As in theorem 3., \Gamma i fi .I There are two good reasons to august highland muse apprentice guild --"expanding the canon into the 21st century" www.muse-apprentice-guild.com culture animal --"following in the footsteps of tradition" www.cultureanimal.com ========================================================================= Date: Thu, 30 Oct 2003 09:29:55 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Vernon Frazer Subject: Re: Could someone recommend a good cheap short run printer Comments: cc: dtv@.BUFFALO.EDU In-Reply-To: <61CE0998-0A4F-11D8-B258-0003935A5BDA@mwt.net> MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit Yesterday I forgot to include the web site for Van Volumes. Here it is: http://vanvolumes.com Vernon -----Original Message----- From: UB Poetics discussion group [mailto:POETICS@LISTSERV.BUFFALO.EDU] On Behalf Of mIEKAL aND Sent: Wednesday, October 29, 2003 3:35 PM To: POETICS@LISTSERV.BUFFALO.EDU Subject: Could someone recommend a good cheap short run printer Does anyone have recommendations for a good, cheap short run printer (300-500 copies perfect bound). Im especially looking for printers with whom you've had positive personal experiences, & are reliable & timely. mIEKAL 24/7 PROTOMEDIA BREEDING GROUND http://www.joglars.org http://www.spidertangle.net http://www.xexoxial.org http://www.neologisms.us http://www.dreamtimevillage.org "The word is the first stereotype." Isidore Isou, 1947. ========================================================================= Date: Thu, 30 Oct 2003 10:47:05 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Michael J Kelleher Subject: This Week In The Hibiscus Room Comments: To: core-l@listserv.buffalo.edu, ubuweb@yahoogroups.com MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 8bit THIS WEEK IN THE HIBISCUS ROOM ar Just Buffalo Literary Center Tri-Main Building, 2495 Main st., Ste., 512, Buffalo, NY 14214 Call 832-5400 for details J.P. DANCING BEAR. Thursday, October 30, 8 p.m. $4, $3 students Seniors, $2 members. J.P. Dancing Bear’s poems have appeared in hundreds of publications around the world including The Clackamas Literary Review, Borderlands: The Texas Poetry Review, Ellipsis, and The Mid-American Poetry Review. (J.P. Dancing Bear will also appear for a reading & book signing at Niagara County Community College on Thursday Oct. 30, 12:30 - 2 pm. Contact: Robert Borgatti at 614-6793. BUFFALO FICTION WRITERS: GARY EARL ROSS, LINDA LAVID & BRAD LOCKWOOD. Friday, October 31st, 8 p.m. $4, $3 students Seniors, $2 members. Gary Earl Ross is the author of two-short story collections, The Wheel of Desire and Other Intimate Hauntings, and the recently published Shimmerville: Tales Macabre and Curious. Linda Lavid is author of Rented Rooms, a collection of stories. Brad Lockwood has published 4 novels, including most recently, Wink, his ode to the many casualties of the dot-com bust. GARY EARL ROSS will teach a one day writing workshop this Saturday called, Writing the Macabre Short Story, from 10 a.m. – 3 p.m, with a lunch break from 12-1. $40, $35 for members. ========================================================================= Date: Thu, 30 Oct 2003 10:56:27 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Cheryl Pallant Subject: text suggestion for intro to poetry class MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Hi All, Next semester I'll be teaching an Intro to Poetry class at Univ. of = Richmond and welcome suggestions about what text to use. My intention is = for students to discuss, but also write poems, traditional verse to = sound poetry. What book(s) do you recommend and why? Many thanks. Cheryl Pallant ========================================================================= Date: Thu, 30 Oct 2003 10:31:33 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Skip Fox Subject: Re: Pound scholars of the world unite... and help me! MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Canto 116 jason christie wrote: > > it is very late here and i'm working on the essay portion of my creative thesis in pursuit of the ellusive MA from the University of Calgary aaaaand i'd be greatly indebted if anyone could help me locate the quote where Pound decries that he can't make the Cantos cohere... i know it is probably obvious (like in the Cantos themselves) but i'm not finding it no matter where or how hard i look. > > much thanks for the assistance. > > jason ========================================================================= Date: Thu, 30 Oct 2003 19:24:26 +0200 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jukka-Pekka Kervinen Subject: xStream #15 online Mime-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Disposition: inline xStream -- Issue #15 xStream Issue #15 is online: 1. Regular: Works from 6 poets (Crag Hill, AnnMarie Eldon, Chris Murray, Andrew Lundwall, Mark Young and Peter Ganick) 2. Autoissue: Computer-generated poems from Issue #15 texts, the whole autoissue is generated in "real-time", every refresh. Submissions are welcome, please send to xstream@xpressed.org. Sincerely, Jukka-Pekka Kervinen Editor xStream WWW: http://xstream.xpressed.org email: xstream@xpressed.org ========================================================================= Date: Thu, 30 Oct 2003 10:36:26 -0800 Reply-To: outvoiceslam@yahoogroups.com Sender: UB Poetics discussion group From: Ytzhak Organization: Selah7 http://www.sleepybrain.net/vanilla.html Subject: [outvoiceslam] New open mic in Oakland Comments: To: THCO2 MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii; x-mac-type="54455854"; x-mac-creator="4D4F5353" Content-Transfer-Encoding: 7bit Monday November 3rd (and every 1st Monday), 7 pm: Tell it Like it Is...Open Mic for Queer Folks. Share your words through singing, poetry, comedy, acting, short stories and other creative ways...to Tell It Like It Is. Sign up with Juicy to present juicy_me@yahoo.com . $3-7 sliding scale. At Change Makers (the former location of Mama Bears) at 6536 Telegraph Avenue in Oakland. "http://www.changemakersforwomen.com/ -- - ___ Stay Strong "Peace sells but who's buying?" Megadeth "This mathematical rhythmatical mechanism enhances my wisdom of Islam, keeps me calm from doing you harm, when I attack, it's Vietnam" --HellRazah http://www.sleepybrain.net/vanilla.html http://awol.objector.org/artistprofiles/welfarepoets.html http://ilovepoetry.com/search.asp?keywords=braithwaite&orderBy=date http://www.dpgrecordz.com/fredwreck/ http://www.lowliferecords.co.uk/ http://loudandoffensive.com/ http://groups.yahoo.com/group/THCO2 ========================================================================= Date: Thu, 30 Oct 2003 10:37:40 -0800 Reply-To: outvoiceslam@yahoogroups.com Sender: UB Poetics discussion group From: Ytzhak Organization: Selah7 http://www.sleepybrain.net/vanilla.html Subject: NYC: WORD/LIFE: emcees and poets in the life MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii; x-mac-type="54455854"; x-mac-creator="4D4F5353" Content-Transfer-Encoding: 7bit phat family records presents WORD/LIFE: emcees and poets in the life SATURDAY, NOVEMBER 1 at BLUESTOCKINGS BOOKS, New York City 172 Allen Street between Stanton and Rivington (1 block S. of Houston and 1st Avenue - F to 2nd Avenue) 8pm - $5 - all ages spoken word by MAURICE JAMAL PARADIGM (aka SHANTE T. SMALLS) MARIO BALCITA live hip-hop by B.Q.E. (Phat Family Records) JEN-RO (Unknown Entertainment) LORD LIFE (Shine Hot Records, and featured on the soundtrack to the Urban Box Office film "Life On Christopher Street") info@bluestockings.com - 917.548.5086 http://www.phatfamily.org/ -- - ___ Stay Strong "Peace sells but who's buying?" Megadeth "This mathematical rhythmatical mechanism enhances my wisdom of Islam, keeps me calm from doing you harm, when I attack, it's Vietnam" --HellRazah http://www.sleepybrain.net/vanilla.html http://awol.objector.org/artistprofiles/welfarepoets.html http://ilovepoetry.com/search.asp?keywords=braithwaite&orderBy=date http://www.dpgrecordz.com/fredwreck/ http://www.lowliferecords.co.uk/ http://loudandoffensive.com/ http://groups.yahoo.com/group/THCO2 ========================================================================= Date: Thu, 30 Oct 2003 14:04:33 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: sordid offer youngly Werther MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII sordid offer youngly Werther when thigh Tina ice ovary, notch wild mate Anna morn. diffuse tab desert if theft dared timer. bug think ill jug their beget. wet knob ah latent once. tow conic.. myth heat grey color; myriad mink ale them deface offend myth lifters combs tow nourished; allay myriad worn carried yoke wife items. succor isles thaw violins ends offing many thaws nonlocal shallow escort. howl car Io contain inns third manners. ounce picked islet always cleft precess becalm wax arm humid. ahead, Eve forged mead. non ale hay din inks Thai wore, Anna node wet shy earn asp befell. [thick if tab Trudy oaf tan mate.] ahead, a, ohm. shy ill her beset mew; Alva in Judy ash imp haven saints. Nora whim. every stab hashes theirs secant. thaw blinks revels they bliss. fade tools mania sores inns Thea worm. toned nigh it amid depraved. tan girdle low tag boo. Anna GOTO bee wife yokes. nothingness remedy inch tau shaft. ... ========================================================================= Date: Thu, 30 Oct 2003 14:16:23 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Poetry Project Subject: Poetry Project Events 11/3-11/5 Mime-version: 1.0 Content-type: text/plain; charset="ISO-8859-1" Content-transfer-encoding: quoted-printable Like Red Hot Coal in New York=B9s Snow. This Week at the Poetry Project: * November 3, Monday Open Reading Sign-up begins at 7:45 p.m. [8:00 p.m.] =20 November 5, Wednesday Jeffery Conway & David Trinidad Jeffery Conway=B9s poems have appeared in journals such as The World, The Portable Lower East Side, and No Roses Review. His work also appears in the anthologies Plush, The World in Us, and The Brink: An Anthology of Postmodern Poetry from 1965 to the Present. His chapbook Blood Poisoning wa= s published in 1995. He lives in New York City. David Trinidad=B9s books includ= e Plasticville, Answer Song, and Hand Over Heart: Poems 1981-1988. He edited Powerless, the selected poems of Tim Dlugos, and, with Maxine Scates, Holding Our Own: The Selected Poems of Ann Stanford. He teaches poetry at Columbia College in Chicago. [8:00 p.m.] * The Poetry Project is located at St. Mark's Church-in-the-Bowery 131 East 10th Street at Second Avenue New York City 10003 Trains: 6, F, N, R, and L. info@poetryproject.com www.poetryproject.com Admission is $8, $7 for students/seniors and $5 for members (though now those who take out a membership at $85 or higher will get in free to all regular readings). We are wheelchair accessible with assistance and advance notice. For more info call 212-674-0910. ========================================================================= Date: Thu, 30 Oct 2003 15:21:34 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Tim Peterson Subject: NEW FROM OTHER PUBLICATIONS & PORTABLE PRESS at YO-YO LABS Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed NEW FROM OTHER PUBLICATIONS & PORTABLE PRESS at YO-YO LABS Christopher Mattison's debut chapbook: STATICTICIANS off-set printed cover in blue ink on goldenrod yellow paper, edition of 100 An ardent, lucid account of the hill luminaria and multiple secular close-ups--their intimacies. Tendencies, tugs. Christopher's work is perfectly clear, just so vivid. "What's loosed along rookeries?/basalt aspiring to cobble/capons to dirigibles" 6$ ppd. send check to Brenda Iijima 596 Bergen Street Brooklyn, NY 11238 Thanks! Alan Davies and Brenda Iijima Tim Peterson Journals Marketing Coordinator The MIT Press Five Cambridge Center Cambridge, MA 02142-1493 phone: (617) 258-0595 fax: (617) 258-5028 http://mitpress.mit.edu/journals ========================================================================= Date: Thu, 30 Oct 2003 12:25:11 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Brigitte Byrd MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Hello all, Next Tuesday is FC2uesday at the Warehouse. Fiction Collective Two (FC2), based at the FSU English Department, has been publishing innovative fiction for twenty-eight years, and at 8 PM next Tuesday, November 4, FC2 will host readings at the Warehouse by two of members of the collective, Leslie Scalapino and Susan Steinberg. Leslie Scalapino is the author of over twenty books of fiction, poetry, drama and criticism. She has received the Poetry Center Award, The Lawrence Lipton Prize, and the Before Columbus Award. Her work has been translated into French, Spanish, Korean and Russian and included in over twenty anthologies, including the Norton anthology of POSTMODERN AMERICAN POETRY, and A SUITE OF POETIC VOICES: INTERVIEWS WITH CONTEMPORARY POETS. Susan Steinberg's THE END OF FREE LOVE, a first collection of stories, was a nominee for the National Book Critics Circle Award in 2003 and a finalist for the Flannery O'Connor Award for Short Fiction (2000) and the Sandstone Prize (2001), and QUARTERLY WEST nominated one of her stories for a 2000 Pushcart Prize. She has been awarded fellowships by the University of Massachusetts and Yaddo and was the Alan Collins Scholar in Fiction at the Bread Loaf Writers' Conference (2001). She is currently Assistant Professor of English at the University of San Francisco and an editor of PLEIADES. We look forward to seeing you at the Warehouse next Tuesday for FC2uesday. Leslie Whatley & Jack Wang --------------------------------- Do you Yahoo!? Exclusive Video Premiere - Britney Spears ========================================================================= Date: Thu, 30 Oct 2003 12:41:33 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Brigitte Byrd Subject: FC2uesday: Leslie Scalapino & Susan Steinberg at the Warehouse/FSU Reading Series MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Sorry for the previous glitch! Anyhow, for those who live in the South and not too far from Tallahassee, Florida, a very exciting upcoming reading. But most everyone is lives far from Tallahassee, indeed! Brigitte Byrd Hello all, Next Tuesday is FC2uesday at the Warehouse. Fiction Collective Two (FC2), based at the FSU English Department, has been publishing innovative fiction for twenty-eight years, and at 8 PM next Tuesday, November 4, FC2 will host readings at the Warehouse by two of members of the collective, Leslie Scalapino and Susan Steinberg. Leslie Scalapino is the author of over twenty books of fiction, poetry, drama and criticism. She has received the Poetry Center Award, The Lawrence Lipton Prize, and the Before Columbus Award. Her work has been translated into French, Spanish, Korean and Russian and included in over twenty anthologies, including the Norton anthology of POSTMODERN AMERICAN POETRY, and A SUITE OF POETIC VOICES: INTERVIEWS WITH CONTEMPORARY POETS. Susan Steinberg's THE END OF FREE LOVE, a first collection of stories, was a nominee for the National Book Critics Circle Award in 2003 and a finalist for the Flannery O'Connor Award for Short Fiction (2000) and the Sandstone Prize (2001), and QUARTERLY WEST nominated one of her stories for a 2000 Pushcart Prize. She has been awarded fellowships by the University of Massachusetts and Yaddo and was the Alan Collins Scholar in Fiction at the Bread Loaf Writers' Conference (2001). She is currently Assistant Professor of English at the University of San Francisco and an editor of PLEIADES. We look forward to seeing you at the Warehouse next Tuesday for FC2uesday. Leslie Whatley & Jack Wang --------------------------------- Do you Yahoo!? Exclusive Video Premiere - Britney Spears ========================================================================= Date: Thu, 30 Oct 2003 16:12:46 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Harrison Jeff Subject: gone tender as mossy knees & gold sneezes Mime-Version: 1.0 Content-Type: text/plain; format=flowed the blonde dew's blushing & even what went grey's rosy and here's you - a wanted wing from toes to cries _________________________________________________________________ Add MSN 8 Internet Software to your current Internet access and enjoy patented spam control and more. Get two months FREE! http://join.msn.com/?page=dept/byoa ========================================================================= Date: Thu, 30 Oct 2003 19:55:32 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Poetics List Administration Subject: POET JOHN HOLLANDER Mt Kisco NY (from Cindy Beer-Fouhy) MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1; format=flowed Content-Transfer-Encoding: quoted-printable Content-Disposition: inline Northern Westchester Center for the Arts 272 N. Bedford Road Mt. Kisco, NY 10549 Contact: Cindy Beer-Fouhy 914 241 6922 ext 17 For directions: www.nwcaonline.org FOR IMMEDIATE RELEASE: DISTINGUISHED POET and YALE PROFESSOR JOHN HOLLANDER READS AT NWCA OPEN MIKE FOLLOWS Mt. Kisco, NY: November 3rd at 7:30 PM the Creative Arts Caf=E9 Poetry = Series at the Northern Westchester Center for the Arts will present distinguished poet JOHN HOLLANDER. The reading will take place in NWCA?s Colleen = Dewhurst Theatre. Hollander will read selections of his work followed by a = reception, book signing and open mike. The Flying Pig Caf=E9 will provide wine and appetizers for the reception at NWCA. John Hollander was born in New York City. He has written several volumes of poetry including Picture Window (Alfred A. Knopf, 2003), The Figurehead (1999), Tesserae (1993), Selected Poetry (1993), Harp Lake (1988), Powers = of Thirteen (1983), Spectral Emanations (1978), Types of Shape (1969), and A Crackling of Thorns (1958), which was chosen by W. H. Auden for the Yale Series of Younger Poets. His seven books of criticism include: The Work of Poetry (1997), Melodious Guile (1988), The Figure of Echo (1981), Rhyme's Reason (1981), Vision and Resonance (1975), Images of Voice (1970), and The Untuning of the Sky (1961). He has edited numerous books, among them Committed to Memory: 100 Best Poems to Memorize (The Academy of American Poets and Books & = Co./Turtle Point Press, 1996); The Gazer's Spirit (1995); Animal Poems (1994); The Library of America's two-volume anthology Nineteenth Century American = Poetry (1993); The Essential Rossetti (1990); Poems of Our Moment (1968); Selected Poems of Ben Jonson (1961); and The Wind and the Rain: An Anthology of = Poems for Young People (with Harold Bloom, 1961); and was co-editor of The Oxford Anthology of English Literature (1973) and Jiggery-Pokery: A Compendium of Double Dactyls (with Anthony Hecht, 1967). He has also written books for children and has collaborated on operatic and lyric works with such composers as Milton Babbitt, George Perle, and Hugo Weisgall. John Hollander's many honors include the Bollingen Prize, the Levinson Prize, and the MLA Shaughnessy Medal, as well as fellowships from the Guggenheim Foundation, the MacArthur Foundation, and the National Endowment for the Arts. A former Chancellor of The Academy of American Poets, he is currently the Sterling Professor of English at Yale. Suggested donation is $7.00 including refreshments. The Creative Arts Caf=E9 Poetry Series is funded in part by grants from the New York State Council on the Arts and the Bydale Foundation. The Creative Arts Caf=E9 Poetry Series is located in the spacious gallery = of the Northern Westchester Center for the Arts at 272 N. Bedford Road in Mt. Kisco, NY . For a full schedule of readings or further information call 914 241 6922or log on to www.nwcaonline.org ========================================================================= Date: Thu, 30 Oct 2003 18:07:19 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "J. Scappettone" Subject: Holloway Poetry Series presents Geoffrey G. O'Brien, 11/6: please announce & distribute Comments: To: Abigail Reyes , Karen Leitsch , Comp Lit , "Maria Sheridan (by way of Abigail Reyes )" Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit The Holloway Poetry Series presents the 2003-2004 Holloway Poet Geoffrey G. O'Brien Thursday, November 6 Colloquium with the poet at 5:30 p.m. in the English Department Lounge, 330 Wheeler Hall, UC Berkeley; Reading at 7 p.m., Maud Fife Room, 315 Wheeler Hall, UC Berkeley (Campus map at http://www.berkeley.edu/map/ ); Reception to follow Free & open to the public Geoffrey G. O'Brien's first book, The Guns and Flags Project, was published by the University of California Press in 2002. For our full schedule, poet bios, poems, and links to other poetry sources in the Bay Area and beyond, visit our website: http://socrates.berkeley.edu/~poetry ************************************************************************* If you have additional questions about the series, contact Jen Scappettone at jscape@socrates.berkeley.edu. ========================================================================= Date: Fri, 31 Oct 2003 00:12:18 -0800 Reply-To: Ishaq1823@telus.net Sender: UB Poetics discussion group From: Ytzhak Organization: Selah7 http://www.sleepybrain.net/vanilla.html Subject: I Write Victorious (respects to Gza) MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii; x-mac-type="54455854"; x-mac-creator="4D4F5353" Content-Transfer-Encoding: 7bit Only a puppet would stay in line Only a fool criticize Claimin they ain't blind My people will follow Victory Unfrozen by intimidation by the petty Ain't no fearin rap bullets Until you fuct with a literary critic There are many who witness this No fear can corrupt tru logic >From Satchmo to this loco I make legends notice 8+1 The battle's only begun It's my destiny My daddy's history Don't get in the way of me I'm older see Trained in the army I still care bout the seeds And life ain't been easy Surrounded in a city With snakes with no pity But there ain't no chip Within my proximity No zone can be frozen To fam with the knowledge We can work together For the better of our people Or you'll see how uncivilized Your cypher can Bee You feelin me G Peace 2003Lawrence Ytzhak Braithwaite (aka Lord Patch) -- - ___ Stay Strong "Peace sells but who's buying?" Megadeth "This mathematical rhythmatical mechanism enhances my wisdom of Islam, keeps me calm from doing you harm, when I attack, it's Vietnam" --HellRazah http://www.sleepybrain.net/vanilla.html http://awol.objector.org/artistprofiles/welfarepoets.html http://ilovepoetry.com/search.asp?keywords=braithwaite&orderBy=date http://www.dpgrecordz.com/fredwreck/ http://www.lowliferecords.co.uk/ http://loudandoffensive.com/ http://groups.yahoo.com/group/THCO2 ========================================================================= Date: Fri, 31 Oct 2003 00:15:02 -0800 Reply-To: Ishaq1823@telus.net Sender: UB Poetics discussion group From: Ytzhak Organization: Selah7 http://www.sleepybrain.net/vanilla.html Subject: Body Poppin Lockin Encryptions MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1; x-mac-type="54455854"; x-mac-creator="4D4F5353" Content-Transfer-Encoding: 8bit Bad indulgence Inna closed room My cerebral Dynamics Plays tricks With Sexual lists Tagged on my kneck Down low A tension Upload An ability Send the transistor On transmissions Typed in signals A message Culture jamming A patent pending American He’s got He’s what He wants Bismallah Freedom Bassin culture Cross fading nature Making Princes of Busters Bilalian B-bwais Top ranking Body poppin All city pounds of Ezra Locking RSA encryption S’all likkle in The luvluv Egyptian Fractions Allegorical rhythms Power filling System Set chanters Vorticists vs Rastas Memos or riddim Send To beat the blues Anti-Hoodoo Rock mi dready Steady A go wyel in rolas With all my homilies Hearing voices and peoples In signals Ytzhak L Braithwaite (aka. Lord Patch) 2003 -- - ___ Stay Strong "Peace sells but who's buying?" Megadeth "This mathematical rhythmatical mechanism enhances my wisdom of Islam, keeps me calm from doing you harm, when I attack, it's Vietnam" --HellRazah http://www.sleepybrain.net/vanilla.html http://awol.objector.org/artistprofiles/welfarepoets.html http://ilovepoetry.com/search.asp?keywords=braithwaite&orderBy=date http://www.dpgrecordz.com/fredwreck/ http://www.lowliferecords.co.uk/ http://loudandoffensive.com/ http://groups.yahoo.com/group/THCO2 ========================================================================= Date: Fri, 31 Oct 2003 01:07:19 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: August Highland Subject: ONE OR ME?) MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit ONE OR ME?) ABOUT #0000001: Sad. and most just plants, and nature? We do few years?. Series of scenes), g 2 F middle of a hardback book?. Gee, clinton should dump b. Solved... damn... my say it. If I can guess the =. Induction, (x + b) Let S be a finite set of invertible in F. ABOUT #0000002: This is why i support zero everyone thinks is KAYAL-SAXENA PRIMALITY-PROVING. Indirectly related, ummm... time.. Ones, P n. Encourage emotions. i, Practice life?? How can all simultaneously striving to. Rc By The Way, where have all. ABOUT #0000003: You??? once you are here you, warm up, no practice. Just see j. And what, Um, OK, here's my . cents doller lost. Put another way. =, accuracy) exist on the scale of (log n). Yours is, p and less "uptight", 'cause. Acknowledgement because it's a bees...well, no but how do you. ABOUT #0000004: )=0 in the field f, p Virtual Orgasm, which is to. In f, Sometimes a penny saved is a waiting for an answer from. N, =x r. Modulo h.), a people without drastically. | verbally aggressive (telling Thesis | AntiThesis. ABOUT #0000005: Our instincts, but they are We work our time and we tow. Time in So many childs like this. All. Master the illusion of your relationship, Aaron. =n. Acknowledgement of mind,, it "intuition" because it has contradiction. Consequently n. About ****** everyday living.. ABOUT #0000006: One or me?) terms, an hour becomes rational... it's spit on a. For x: (x b. ~ ~, alive and well. Thanks for th a. In love, and ample, irreducibles x + b are could I think. Tempting, very. Well it isn't always easy. ============================= ___________________________T_. ABOUT #0000007: Both mens and sense. n. Great things can approach her and find out how contradiction. Consequently n. Improved life will to explain. An astral dreamer on multi-line systems, and =. Of mind vs. the effects, | if it had every other page. ABOUT #0000008: Or is it just with 0 ^ i ^ b. =, )_$%*_#)!%(!($!+$*_)$* not even the meerist wimper. A (r\Gamma 1)=q you can. + b) lacks. Or adolecent scar caused by #S. ABOUT #0000009: R, 2 S; that idea). Yes, man has. Just my thoughts. you verbally but instead takes Ah, the joys of children.. Yourself Tiny little objects made of + o(1))(lg n). [x] dividing (x also try. What effects physically Understanding separates she feels about you. If she. ABOUT #0000010: Find an irreducible polynomial is coprime to n by hypothesis; in the finite field F. \lambda around here recently. b. + b in the ring, You're you, schmuck. Get must have been the bad. = people's hubris and should I not be able to find. Be achieved. An Astral Dreamer. ABOUT #0000011: Sometimes life seems dumb, lacks. P accuracy). G has at least p will have you saying, "Gee. #s k. Sometimes life seems grand, then she's t. ABOUT #0000012: Instead of ourselves to it,, different environments very [x].). About a day, using it's time- her have time/space to think. One sided, we place up, On its bottom lies the anchor all evolving at our own rates. E) does acknowledge you, = subject IMMEDIATELY) or if. Solved... damn... my environment (create an idea) b. august highland muse apprentice guild --"expanding the canon into the 21st century" www.muse-apprentice-guild.com culture animal --"following in the footsteps of tradition" www.cultureanimal.com ========================================================================= Date: Fri, 31 Oct 2003 01:11:08 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: August Highland Subject: Boulder, Co. MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Boulder, Co. http://www.alphanumericlabs.com/boulder/boulder001.html http://www.alphanumericlabs.com/boulder/boulder002.html http://www.alphanumericlabs.com/boulder/boulder003.html http://www.alphanumericlabs.com/boulder/boulder004.html http://www.alphanumericlabs.com/boulder/boulder005.html http://www.alphanumericlabs.com/boulder/boulder006.html http://www.alphanumericlabs.com/boulder/boulder007.html http://www.alphanumericlabs.com/boulder/boulder008.html http://www.alphanumericlabs.com/boulder/boulder009.html http://www.alphanumericlabs.com/boulder/boulder010.html http://www.alphanumericlabs.com/boulder/boulder011.html http://www.alphanumericlabs.com/boulder/boulder012.html http://www.alphanumericlabs.com/boulder/boulder013.html http://www.alphanumericlabs.com/boulder/boulder014.html http://www.alphanumericlabs.com/boulder/boulder015.html http://www.alphanumericlabs.com/boulder/boulder016.html http://www.alphanumericlabs.com/boulder/boulder017.html http://www.alphanumericlabs.com/boulder/boulder018.html http://www.alphanumericlabs.com/boulder/boulder019.html http://www.alphanumericlabs.com/boulder/boulder020.html http://www.alphanumericlabs.com/boulder/boulder021.html http://www.alphanumericlabs.com/boulder/boulder022.html http://www.alphanumericlabs.com/boulder/boulder023.html http://www.alphanumericlabs.com/boulder/boulder024.html http://www.alphanumericlabs.com/boulder/boulder025.html august highland muse apprentice guild --"expanding the canon into the 21st century" www.muse-apprentice-guild.com culture animal --"following in the footsteps of tradition" www.cultureanimal.com ========================================================================= Date: Fri, 31 Oct 2003 08:18:49 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Schlesinger Subject: Tactile Sound MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Tactile Sound Call for Submissions Issue 3 - Re: RADIO Tactile Sound is a quarterly compilation of findings and keepings from a = quest for sound in active service towards human liberation. Special emphasis for issue three will be notes towards a political = history of radio. Essay, interviews, primary sources, reprints and = documentation are invited. Please contact Tactile Sound by December = 21st with your concepts for this special issue. Submissions due: early = February. Ideally, the issue will present a political history of radio spanning = from invention to webcasting. Issues of interest include but are not limited to: =20 co-evolution with the record industry and television; propaganda radio projects (imperialist and revolutionary); tactile war-time radio projects; pirate radio and micro-broadcasting movements; "clear channelization" and radio monopolies, religious and secular; radiophonic art and experimentations; guerilla disruption, interference and infrastructural sabotage; utopian radio theory / projects. If interested, please contact: Tactile Sound c/o Alexis Bhagat 100 Decatur Street Brooklyn, NY 11216 ========================================================================= Date: Fri, 31 Oct 2003 06:23:42 -0800 Reply-To: Walidah Imarisha Sender: UB Poetics discussion group From: Ytzhak Organization: Selah7 http://www.sleepybrain.net/vanilla.html Subject: [Awolmagazine] Benefit for the Human Rights Coalition Sunday MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit this is a group i organize with. they are a really amazing group of folks, and it'll be a great night, please come out and support! and forward the info on! love through struggle walidah Sunday, November 2nd @ the Rotunda Fun DayzCool:Ý A Benefit for the Human Rights Coalition*** From the mind that brought you Blu Magazine, Shofam & Griot Prod. Russell Shoatz Presents Fun DayzCool 2pm-4:30pm Sunday. Nov. 2nd @ The Rotunda 4014 Walnut St Phila. Suggested donation: $3 - $5 no one turned away for lack of funds Starring The Welfare PoetsÝÝÝÝÝÝÝÝÝÝÝÝÝÝÝÝÝÝÝÝÝÝÝÝÝÝÝ The Sound ofÝ Illadelphia Poet Martin Wiley & The mighty mighty Gold Coast Buccaneers Door prizes Raffle Snacks Vendors and more Hear updates on Saturday's Mumia Rally Learn about Political Prisoner Maroon Shoatz *** The Human Rights Coalition (HRC) is an organization which works with prisoners' families, ex-prisoners, and current prisoners (those most affected by the prison system) to lead the movement against prison growth. HRC was started a year ago in Philadelphia by currently incarcerated individuals and their family members, and since then has grown tremendously. The basic premise of HRC's organizing is simple: that prisoners' families are rarely talked about as victims in criminal proceedings. They are thrust into a situation where they have to deal with a judicial system that is often alienating and hostile toward them. HRC seeks to bring these situations to light and to let prisoners' families know they are not alone, that they are in fact part of a growing mass of people. HRC also seeks to fundamentally change the prison system, to shift from a punitive to a rehabilitative model that allows these families' loved ones to come out of the experience with dignity and options. -- - ___ Stay Strong "Peace sells but who's buying?" Megadeth "This mathematical rhythmatical mechanism enhances my wisdom of Islam, keeps me calm from doing you harm, when I attack, it's Vietnam" --HellRazah http://www.sleepybrain.net/vanilla.html http://awol.objector.org/artistprofiles/welfarepoets.html http://ilovepoetry.com/search.asp?keywords=braithwaite&orderBy=date http://www.dpgrecordz.com/fredwreck/ http://www.lowliferecords.co.uk/ http://loudandoffensive.com/ http://groups.yahoo.com/group/THCO2 ========================================================================= Date: Fri, 31 Oct 2003 10:00:42 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: LITSAM@AOL.COM Subject: What we find in the news MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit See what happens when you go looking for news stories about Kobe Bryant?!? You get W. H. Auden!!! I find this poetic in all the best senses of the word. http://www.lit.kobe-u.ac.jp/~hishika/auden.htm Sam http://litsam.blogspot.com ========================================================================= Date: Fri, 31 Oct 2003 07:42:05 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: David Larsen Subject: Mingle Much? (respects to Ytzhak) In-Reply-To: <3FA21962.4661D695@telus.net> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" What have I got Two triple reverie laying it down Not when I fought Caribbean-style with the belt buckle # My love looked back and didn't know the next thing to say was Take it easy baby There is no other question but yourself however you know K--------- sent me this Thing I can't describe it You'll have to come and see it for yourself Hater Love Hater Love ========================================================================= Date: Fri, 31 Oct 2003 08:47:56 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Lucy Farber Subject: Re: POETICS Digest - 29 Oct 2003 to 30 Oct 2003 (#2003-303) In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" Reply to: Could Someone Recommend a Good Cheap Short Run Printer: If we're talking about books: For conventional publishing 500+ copies I recommend Thomson-Shore and McNaughton-Gunn, both in Michigan. For smaller press runs, using the new print on demand technology we've used Publishers Graphics at http://pubgraphics.com and NetPub at http://netpub.com. There are dozens of these print on demand printers out there: others we've looked at are Fidlar-Doubleday, Book Surge, and Lightning Source. Book Surge and Lightning Source also offer a distribution system. The quality for the print on demand is not up to conventional printing, but it's good enough for many purposes. They print either from files, or they can scan previously printed materials. (That's how we republished So Going Around Cities - printed by Publishers Graphics.) We also use print on demand for galleys. I just ordered 15 copies of a perfect bound book with a four color cover for less money than going to the local copy store. ($203) Lucy Farber/ Blue Wind Press ========================================================================= Date: Fri, 31 Oct 2003 10:39:23 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Stephen Vincent Subject: Iraq: The Fence Begins Mime-version: 1.0 Content-type: text/plain; charset="ISO-8859-1" Content-transfer-encoding: quoted-printable Last March - as dispatched on this list - a Gothics News Service article reported (below) on a proposed combined Heritage and New American Century Foundation Conference in which Ariel Sharon and his Israeli consultants wer= e to be invited to discuss scenarios for preemptive assassinations, as well as wall and fence building techniques to combat resistance and civil strife in a "post war" Occupied Iraq. News of the first fence - preliminary, one may well imagine, for a contract to build a formal wall - is reported as follows in today's Washington Post: =B3=8A.Starting about midnight Thursday, U.S. soldiers, Iraqi police and civil defense forces moved into this small dusty village about six miles southeas= t of Tikrit.=20 Soldiers erected a fence of barbed wire, stretched over wooden poles, and laid spirals of concertina wire around the perimeter of the village. Local Iraqi workmen were hired to help erect the fence. Meanwhile, groups of soldiers were positioned in dugout holes at strategic points surrounding the village and Bradley armored vehicles provided security=8A=B2=20 Washington Post, October 30, 2003 *** Heritage Foundation and Project for The New American Century Seek to Dispel Sharon Rumor Washington, D.C., GNS, March 11, 2003. The Heritage Foundation and the grou= p called Project for the New American Century (PNAC) sought to dispel rumors of plans for a joint spring symposium under the auspices of MillenniumMoveOn, a new joint umbrella organization. According to rumors, Ariel Sharon and his associates have been invited to address two subjects: "Preemptive Assassinations: Furthering the Foundations of Democracy" and "Wall Materials and Strategies to Secure and Protect Indigenous Populations." =20 The two nonprofit Foundations, both considered major Think Tanks and essential contributors to the development of the Bush Administration=B9s global policies, are said to be developing white papers on new administrative controls for Iraq once the planned war has achieved its immediate military aims. Expertise in "Preemptive Assassinations" is considered essential to eliminating the leadership of any internal Iraqi or outside groups that may aggressively challenge or terrorize the military and political authority of a United States-led Occupation. Ariel Sharon=B9s example in dealing with the Hamas and other groups in the West Bank and Gaza has apparently been accepted by the Bush Administration and is now considered the most efficien= t way, when required, to deal with both armed and unarmed civilian opposition groups. The interest in Israel=B9s wall-building strategy to contain the Palestinian challenge, including the discussion of appropriately engineered wall materials, is also being considered as potentially essential to controlling conflicts between Iraq=B9s rival national, tribal and religious groups among the Kurds and Sunni and Shi=B9a Muslims. In the case of a Balkanized Iraq, the United States military Occupation forces will be obligated to maintain strict control of newly established and/or artificially imposed internal borders. It is now, in fact, rumored that portable, sustainable walls are in development to extend for hundreds of miles, which experts say will serve as the most efficient means of population containment and pacification. The walls will be built to house complete surveillance and weapon needs. Their smooth Teflon surface is impossible for civilians to slip over and they are considered graffiti resistant. Wall panels are also said to unlock conveniently to permit the passage of military and transport equipment for the secure maintenance of food delivery, imported commodities and oil operations. "This is one more flagrant example," both organizations complained, "used b= y the American and European left to demonize Israel=B9s democratic leadership. These accusations are totally false. Indeed, they are what some may interpret as anti-Semitic insinuations, obviously aimed to undercut President Bush=B9s entirely legitimate democratization objectives for Iraq. The world is going to be deeply surprised by how well we are received by Iraqis who are innocent victims of Saddam=B9s torturous dictatorship." The White House and the Israeli Consulate refused to comment on what are still considered rumors and unsubstantiated implications of the proposed Conference. The Internet has no current website listing for a MilleniumMoveOn organization, nor could any other source reveal a published mission statement for the creation of the new umbrella group alleged to combine the objectives for these two conservative and frequently Bush Government-aligned organizations. *** One assumes the Gothix staff - if they are still around - are happy, if not also grieved, that their original news story in March was and remains on th= e mark. Stephen Vincent www.stephenvincent.durationpress.com (blog site) ========================================================================= Date: Fri, 31 Oct 2003 14:12:48 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: David Perry Subject: Fw: Barretta Books Party Sun. Nov. 2 @ 4 p.m. -- Davies, Roundy, Towle MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Barretta Books is pleased to announce the publication of three = chapbooks: Kevin Davies' Lateral Argument Richard Roundy's The Other Kind of Vertigo Tony Towle's Nine Immaterial Nocturnes The chapbooks feature letterpress covers and will be available for sale = at the party. The poets will read from their work. When & Where: Sunday, Nov. 2, at 4 p.m. at the Bowery Poetry Club = http://www.bowerypoetry.com/ Admission is free; food and drink is available at the BPC. Address/Directions: The Bowery Poetry Club=20 308 Bowery St., New York, NY 10012=20 212.614.0505=20 foot of First Street, between Houston & Bleecker=20 across the street from CBGBs F train to Second Ave, or 6 train to Bleecker ========================================================================= Date: Fri, 31 Oct 2003 14:39:52 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Joe Brennan Subject: Bush: "I'm Fighting Iraqis In My Head" Comments: To: frankfurt-school@lists.village.virginia.edu, corp-focus@lists.essential.org, WRYTING-L@LISTSERV.UTORONTO.CA MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Click here: The Assassinated Press Bush Maintains Tough Stance, Great Distance From Iraq: Tells Troops "I'm Fighting Iraqis In My Head": How Long Have American GIs Been Drinking Horse Piss? by Ken Gno Fireass The Assassinated Press Wolfowitz Recounts Baghdad Hotel Attack: Under Secretary Holds Up Stained Trousers: Who Is Supplying The Horse Piss That American GIs Are Drinking? by Brick Stooley The Assassinated Press They hang the man and flog the woman That steal the goose from off the common, But let the greater villain loose That steals the common from the goose. Constant apprehension of war has the same tendency to render the head too large for the body. A standing military force with an overgrown executive will not long be safe. companions to liberty. -- Thomas Jefferson "America is a quarter of a billion people totally misinformed and disinformed by their government. This is tragic but our media is -- I wouldn't even say corrupt -- it's just beyond telling us anything that the government doesn't want us to know." Gore Vidal ========================================================================= Date: Fri, 31 Oct 2003 11:54:22 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mark Weiss Subject: Trick ot Treat in Baghdad Comments: To: BRITISH-POETS@JISCMAIL.AC.UK, poetryetc@jiscmail.ac.uk Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed This year in Baghdad most of the kids will dress as Arabs for Hallowe'en, but some will dress as soldiers. Parents are advised to check the treats for explosives. Mark ========================================================================= Date: Fri, 31 Oct 2003 12:37:25 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: UbuWeb Subject: FW: Tim Davis RIAA Bust Benefit MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii From Tim Davis, Poet + Photographer: From: Tim Davis Friends As many of you know, I am one of the 261 people being sued by the RIAA for downloading music on the internet. To help with my legal fees, as well as to have a funky good time, we are having a FREE TIMMY party at our studio on 45 White Street #4 Saturday, November 8 There will be an open studio from 7-10 P.M. followed by a raging dance party fueled by Bambouche of the Vanguard Squad. This party will serve as my birthday party and I am asking everyone NOT to bring presents, but rather to buy a FREE TIMMY T-shirt which will be for sale at the party for $25.00, all profits going to my legal defense. Please come and please do forward this to anyone who might be interested. Thank you, Tim Davis Lisa Sanditz 917.686.9488 __________________________________ Do you Yahoo!? Exclusive Video Premiere - Britney Spears http://launch.yahoo.com/promos/britneyspears/ ========================================================================= Date: Fri, 31 Oct 2003 12:43:54 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: alexander saliby Subject: Re: "I'm Fighting Iraqis In My Head" MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Ken, Brick,=20 Soldiers have always drunk horse piss; some drank the piss of the Trojan horse=20 others, those filled with ignorance's bliss quaffed undiluted, straight of course,=20 piss from the political force... Alex=20 ----- Original Message -----=20 From: Joe Brennan=20 To: POETICS@LISTSERV.BUFFALO.EDU=20 Sent: Friday, October 31, 2003 11:39 AM Subject: Bush: "I'm Fighting Iraqis In My Head" Click here: The = Assassinated Press Bush Maintains Tough Stance, Great Distance From Iraq: Tells Troops "I'm Fighting Iraqis In My Head": How Long Have American GIs Been Drinking Horse Piss? by Ken Gno Fireass The Assassinated Press Wolfowitz Recounts Baghdad Hotel Attack: Under Secretary Holds Up Stained Trousers: Who Is Supplying The Horse Piss That American GIs Are Drinking? by Brick Stooley The Assassinated Press They hang the man and flog the woman That steal the goose from off the common, But let the greater villain loose That steals the common from the goose. Constant apprehension of war has the same tendency to render the head too large for the body. A standing military force with an overgrown executive will not long be safe. companions to liberty. -- Thomas Jefferson "America is a quarter of a billion people totally misinformed and = disinformed by their government. This is tragic but our media is -- I wouldn't = even say corrupt -- it's just beyond telling us anything that the government = doesn't want us to know." Gore Vidal ========================================================================= Date: Fri, 31 Oct 2003 13:05:52 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mark Weiss Subject: Trick or Treat in Washington Comments: To: BRITISH-POETS@JISCMAIL.AC.UK, bchandler@heronpress.com, CBlackburn@alumni-mail.gs.columbia.edu, chax@theriver.com, dwhite10@berkshire.rr.com, dantin@ucsd.edu, glotzer.dh@mellon.com, gmguddi@ILSTU.EDU, gm@gregorymcnamee.com, halvard@earthlink.net, hpolkinh@mail.sdsu.edu, howard@photoillustration.net, frisbeehunter@cox.net, jasonweiss@mindspring.com, jrothenberg@cox.net, edit@jacketmagazine.com, JoseKozer@aol.com, kdalew@cox.net, kent.johnson@highland.edu, MSMexico@aol.com, mh7@nyu.edu, abriel2@earthlink.net, ntarn@earthlink.net, poetryetc@jiscmail.ac.uk, Steph484@pacbell.net, tlmolinero@cs.com Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed Bush will wear a Bush mask. Wolfowitz will wear a Bush mask. Rove will wear a Bush mask. Powell will wear a Bush mask. Rice will wear a Bush mask. Rumsfeld will wear a Bush mask--a Rumsfeld mask would scare the other children. For security reasons no candy please, just checks--very large checks. Mark ========================================================================= Date: Fri, 31 Oct 2003 18:20:16 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: mIEKAL aND Subject: FDA Should Rescind Cloning Support! Comments: To: permaculture@lists.ibiblio.org, DREAMtime@yahoogroups.com, WRYTING-L Disciplines Mime-Version: 1.0 (Apple Message framework v552) Content-Type: text/plain; charset=US-ASCII; format=flowed Content-Transfer-Encoding: 7bit (I normally don't send things from the company I work for thru the lists, but this latest blasphemy from the FDA is much too doomsday scenario to ignore. The important thing here is to send a letter to your congress person. If you do not want to get further mailings from Organic Valley remember to uncheck the Farm Friends box-- mIEKAL) FDA Should Rescind Cloning Support! Once man-made species are introduced into the environment there is no "calling them back." Whether it's genetically engineered crops cross pollinating with wild weeds, genetically modified salmon breeding with wild fish, or future concerns with cloned mammals, the risks to the balance in ecosystems worldwide are great. American families should not be guinea pigs for corporate greed! Contrary to what the F.D.A. says, there is no level of 'acceptable risk' when it comes to putting unproven science on the table for dinner. "By allowing foods from cloned animals into the food system without proof of their long-term effects on human, animal and environmental health, the F.D.A. is not protecting the consumer. The F.D.A. is furthering their support of the abhorrent attempt by corporate interests to control the genes of our citizenry," warned George Siemon, CEO of Organic Valley. Send an email from the Farm Friends Action Center now demanding that the FDA change their position! http://farmfriends.organicvalley.com/action/index.asp?step=2&item=12731 24/7 PROTOMEDIA BREEDING GROUND http://www.joglars.org http://www.spidertangle.net http://www.xexoxial.org http://www.neologisms.us http://www.dreamtimevillage.org "The word is the first stereotype." Isidore Isou, 1947. ========================================================================= Date: Sat, 1 Nov 2003 08:52:20 +0900 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Sawako Nakayasu Subject: [Two] Factorial Announcement & Call for Work Mime-Version: 1.0 Content-Type: text/plain; charset="iso-2022-jp"; format=flowed Content-Transfer-Encoding: 7bit - - - Please distribute widely --- [TWO] FACTORIAL is (finally) here!!! This new, long-awaited issue includes: --> a reprinted excerpt from the long out-of-print but wonderful Elements of Performance Art by Fiona Templeton & Anthony Howell; --> various acts of crime, fraud, fire, and prolificiency; --> a discussion of (and excerpts from) The Collaboration That Started It All (with poet Kerri Sonnenberg); --> a very special back-cover collaborative self-portrait of the Couple That Started It All In The Very First Place (The smiling Mr & Mrs Nakayasu in their 60s, using a PURIKURA machine popular with young Japanese schoolgirls, with the assistance of a kind teenager); as well as some --> great, wonderful, writing. The Lineup: Norma Cole & Avery Burns | Sarah Ann Cox & Yedda Morrison & Elizabeth Treadwell | Caroline Presnell & Bobbie West & April West |Jerome Rothenberg & Stefan Hyner | Kerri Sonnenberg & Sawako Nakayasu | Sue Landers & Natasha Dwyer | Dawn Trook & Jeff Lytle | Eric Baus & Noah Eli Gordon & Nick Moudry & Travis Nichols | John Crouse & Andrew Topel | Octavia Orange & Accomplice | Fiona Templeton & Anthony Howell | Zara Houshmand & Tamiko Thiel | ...& some fantastic anonymous writings by your favorite writers! How can you resist? special! Order both [One] and [Two] Factorial for only $11 and receive a letterpressed first-installment of 71 Postcards for free! Order now: Each copy of Factorial available for: $6/issue, $11/two issues ($20 institutions) international $10/issue !Factorial Press PO Box 153106 San Diego, CA 92195-3106 Please send checks payable to Sawako Nakayasu. For more information, please visit the website: http://www.factorial.org/ Call for Work: General information is available at the website, but for now: * The next issue will be the FAMILY issue. Please grab your family members and write/make something together. * Solo submissions are still not accepted and will probably be not be read at all. * E-mail submissions are now accepted. * Deadline for unsolicited work: Jan 1st, 2003 (note: the deadline is printed in the book as 12/1; please disregard and send work by Jan 1.)